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The American Revolution: 1763-1789

A Musical Play for Kids

Script, teacher’s guide, and audio recordingwith songs and instrumental accompaniment

Ron Fink and John Heath

Illustrations by Bert Davis

Bad Wolf PressSanta Cruz, California


AcknowledgementsSpecial thanks to Roger Bridges, who played trumpet on songs 3, 8 and 10; to Mike Fishell, who played all the instruments on songs 2, 5, and 6 (with the exception of the organ on song 5, which was played by Roy Fishell); and to Brenda Tzipori, who sang songs 3, 7, and 10. Thanks also to Joseph Fink, who contributed to the opening dialogue of the play.

A Word About Copyright and Copying• The purchaser is given lifetime performance rights for this play. No royalty

is due as long as the materials are used for educational/non-commercial purposes and ticket prices do not exceed $5 each. Using any portion of these materials for paid workshops, camps, assemblies, commercial performances, etc. automatically incurs a tiny royalty on revenues. See badwolfpress.com/royalties to view rates and pay.

• The purchaser is given permission to reproduce ONE copy of this script for each student/actor.

• The purchaser is given permission to reproduce ONE or TWO songs for each student/actor to help them learn solos or small group parts.

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• Unless a site license has been purchased from Bad Wolf Press, the reproduction of any part of the script or audio recording for more than one teacher/director in a school or theater program is strictly prohibited. Each teacher/director involved with the play MUST have a legal copy of the script and audio recording (either individual or site license).

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From the AuthorsWe’ve spent a tremendous amount of time writing this musical, so we hope that you will do the honest thing and avoid illegal copying. Please encourage your friends and colleagues to purchase their very own copies rather than steal from friendly writers such as us.

© 2003 by Bad Wolf Press, LLCAll rights reservedISBN 978-1-886588-28-8 BWP 0260 3rd Edition

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Table of ContentsAmerican Revolution: Script pages 4-41Teacher’s Guide 42-56 Introduction for the Teacher 42 A Historical Note 43 Getting Started 44-5 Music 45-6 Casting 47 Costumes 48-9 The Set 49 A Four-Week Timetable 50 Staging 51-2 Rehearsals and Assessment 53 Emphasis: Making the Words Come Alive 54 Final Performance 54-5 A Last Bit of Advice 56 Interesting Vocabulary from American Revolution 56Ordering Sheet Music and Other Goodies 57-8

Song List1. “Tell Us, Betsy” Students, Betsy, Chorus pages 5-72. “It’s Great to Be an Empire” King George, Counselors, Chorus 9-103. “Taxation” John Adams, James Otis, Chorus 12-13 4. “Down, Down, Down” Sam Adams, Bostonians, Chorus 155. “Ride on Paul Revere” Rachel, Kids, Paul Revere, Chorus 18-196. “Where Do I Sign?” John Hancock, Ben Franklin, Thomas Jefferson, Chorus 22-237. “Bet You Can’t Find Me, Boys” Minute Men, Redcoats, Chorus 25-268. “13 Little Countries” Colonists, Chorus 31-329. “Big/Small States Rule” Big States, Small States, Chorus 34-3610.“Gonna Vote for President” Voters, Chorus 38-4011. “Tell Us, Betsy” (reprise) Students, Chorus 41


The American RevolutionBy Ron Fink and John Heath

The duration of the show is about 45-50 minutes

CHARACTERS:

BETSY ROSSSTUDENTSKING GEORGE IIICOUNSELORSJOHN ADAMSJAMES OTISSAM ADAMSBOSTONIANSJOHN JAYPATRICK HENRYPAUL REVERERACHEL REVEREREVERE KIDSCLERKBEN FRANKLINTHOMAS JEFFERSONJOHN HANCOCKREDCOATSMINUTE MENBERTALICEGENERAL ROCHAMBEAUJOHN PAUL JONESBENEDICT ARNOLDCOLONISTSJAMES MADISONALEXANDER HAMILTONSMALL STATESBIG STATESVOTERS

and a CHORUS composed of all students who are not playing roles on stage at the time.

4

FLEXIBLE CASTING:From 11-40 students. Use as many Minute Men, Redcoats, etc. as desired. One student can easily play several roles if needed. There are a lot of parts, but some of them have just a few lines. Note that all roles can be played by either boys or girls; see our comments on page 47 of the Teacher’s Guide.


(TWO STUDENTS step forward and address the audience )

STUDENT #1: If you’re like me, you’re tired of the same old stories about the American Revolution. STUDENT #2: Enough about George already! We want to hear from someone else. Like… STUDENT #1: Betsy Ross. STUDENT #2: Betsy Ross! STUDENT #1: Finally the woman who sewed the first American flag tells all about the stitch heard ’round the world. STUDENT #2: And now everybody, here she is…the Seamstress of the Revolution… STUDENT #1: The Empress of Embroidering…

STUDENT #2: The Sultan of the Saddle-Stitch…

STUDENT #1: The Guru of Needlework…

BOTH STUDENTS: Betsy Ross! (Music begins as BETSY steps forward with knitting needles and nods at the audience. She sits in her rocking chair at the side of the stage.)

STUDENTS:

Tell us, Betsy, tell usShoo bee doo bee shoo bee doo shoo Come on, Betsy, tell usShoo bee doo bee shoo bee doo shoo

Tell us how your sewingHelped us win the war.Tell us, Betsy, tell usThe tales you’ve told before.

5

Song 1/12

NOTE: The numbers above refer to the track numbers on the audio recording. The first is the vocal version of the song; the second is the karaoke version.


STUDENTS and CHORUS:

Tell us, Betsy, tell usShoo bee doo bee shoo bee doo shooCome on, Betsy, tell usShoo bee doo bee shoo bee doo shoo

Tell us how you tailoredFood at Valley Forge.Tell us, Betsy, tell usThe one how you saved George.

STUDENTS: Tell us how you knitted muskets

BETSY: I felt it was my duty.

STUDENTS: And then crocheted a cannon

BETSY: Oh that one was a beauty. (spoken) Oh, and it sparkled!


Tell us, Betsy, tell us (clap)Come on, Betsy, tell us (clap)


STUDENTS: When you stitched the revolution

BETSY: You know I’m double-jointed

CLASS: You sewed the Constitution

6Individual License for Huff Elementary School, purchased on 3/20/2018. This is copyrighted material. Contact badwolfpress.com for additional licenses.

BETSY: No, that I needle-pointed. (spoken)And didn’t it turn out fine!

STUDENTS and CHORUS (whispered):


Tell us how you tailoredFood at Valley Forge.Tell us, Betsy, tell usThe one how you saved (loudly)Shoo bee doo bee shoo bee doo Shoo shoo bee doo bee shoo bee doo shoo.

STUDENT #1: Can you tell us about the American Revolution again, Betsy?

BETSY: Oh my. It’s been so many years.

STUDENTS: Pleeeeaaaaase!?

BETSY: Okay, okay. Well, let’s see. A good place to start is when England defeated France and Spain in a long war.

STUDENT #2: My dad told me about that. The colonists helped the British defeat the French here in America in 1763.

BETSY: Yes, but the French and Indian War was just a small part of a much bigger conflict. A patch in the quilt of world politics. England became the leading power in the world. How King George III gloated...

(THEY exit. GEORGE III enters with COUNSELORS)

COUNSELOR #1: Tremendous news, your majesty. We’ve won the Seven Years War.

7


GEORGE III: Well it’s about time. We’ve been fighting for…um…how many years now?

COUNSELOR #1: Seven.

GEORGE III: That’s quite a coincidence, isn’t it?

COUNSELOR #2: Yes, my lord. Our victory is especially beneficial for our prospects in America.

GEORGE III: America? How splendid! Did we get any of those fur hats? You can’t beat America for fur hats.

COUNSELOR #2: Even better, your majesty.

GEORGE III: Better than fur hats? You don’t mean…fur sunglasses?!

COUNSELOR #1: Your majesty. We’ve driven the French out of most of America. The entire North is ours, as well as Florida, and everything east of the Mississippi.

COUNSELOR #2: Our empire’s never been bigger. We rule the seas. Our colonies are rich and well-organized. England is the most powerful country in the world.

GEORGE III: In other words…

COUNSELORS 1 & 2: That’s right, your majesty: (THEY shout)You da man!

(quickly, back and forth)

GEORGE III: Who da man?

COUNSELORS: You da man.

GEORGE III: Who da man?

COUNSELORS: You da man.


GEORGE III: Rootin’ tootin’ right I’m da man.

GEORGE III and COUNSELORS:

We spanked old SpainWe flogged the FrenchWe whipped the worldYeah we’re a mensch.

Our coloniesAre our great joyHey, AmericaOur favorite toy.

And it’s great to be an empireEveryone shines your shoesYeah it’s great to be an empireNobody can refuse.It’s great to be an empireIn its early daysIn its early waysIt’s great to be an empire’Cause it pays.

(During the dobro solo, GEORGE and his COUNSELORS do a Victory Dance.)

Now we’re in debtUp to our kneesSo where to turn?The colonies!

They fought with usTo win the warHey, and now they’ll knowWhat they fought for.

9

Did we say “dance”? Yes we did, but we didn’t necessarily mean it. Please see our comments on page 52 of the Teacher’s Guide.

Song 2/13


10

GEORGE III, COUNSELORS, and CHORUS:

And it’s great to be an empireEveryone shines your shoesYeah it’s great to be an empireNobody can refuse.It’s great to be an empireIn its early daysIn its early waysIt’s great to be an empire’Cause it pays.

It’s great to be an empireIn its early daysIn its early waysIt’s great to be an empire’Cause it pays.

(THEY exit. STUDENTS and BETSY enter.)

STUDENT #3: What do they mean,“it pays”? Does being an empire come with a salary and retirement plan and stuff like that?

BETSY: Even better. England was in debt for over 140 million pounds. King George and Parliament figured the colonies could help pay.

STUDENT #1: 140 million pounds! Wow, like, you’d need to diet for months to lose that.

BETSY: "Pounds" as in English money, dear. The British Parliament passed a series of acts that placed duties and taxes on the colonists. By 1767, those colonists weren’t happy. (THEY exit. JOHN ADAMS and JAMES OTIS enter)

JOHN ADAMS: Mr. Otis, what’s the latest?

OTIS: John Adams! I’m glad I ran into you. It’s another British outrage. They’ve passed the Townsend Acts, which put import duties on just about everything.


ADAMS: I didn’t think it could get any worse. We’ve already had the Hat Act, the Wool Act, Iron Act, Currency Act, and Sugar Act.

OTIS: I know it. The British just can’t get their Acts together.

ADAMS: Remember the Stamp Act?

OTIS: A direct tax on everything we printed, from cards to calendars.

ADAMS: I loved what you said. What was it? “Taxation without representation is exploitation.”

OTIS: “Tyranny.”

ADAMS: What?

OTIS: I said “tyranny.” “Taxation without representation is tyranny.”

ADAMS: You did? (pauses, then:)Doesn’t really rhyme, though, does it?

OTIS: It’s not supposed to rhyme. It’s an aphorism.

ADAMS: Well of course, but the good ones rhyme. Take Ben Franklin’s maxims. “He that goes a borrowing goes a sorrowing.” “Little strokes fell great oaks.” “Plough deep while sluggards sleep.”

OTIS (interrupting): Okay, I get it. The point is the British are not treating us as equals but as subjects. They’ve prohibited us from settling beyond the Appalachians. They’ve even started enforcing the Navigation Laws so all commerce between England and here must be by British vessels.

ADAMS: You’re right. This has got to stop.

11


ADAMS and OTIS:

They’re taxing my coffee, my paper, my wine*They’re paying for theirs with what ought to be mine.They’re taxing my glass—and everything I seeThey call ’em “levies”—they feel like a tax to me.

They’re taxing my sugar, they’re taxing my paintI don’t think there’s nothing I’ve got that they ain’tThey’re taxing my tax—and adding on a feeThey call ’em “duties”—they feel like a tax to me.

TaxationTaxationWithout representationIt’s not rightTime to fightLai lai lai lai lai.


The Hat Act and Wool Act, the Iron Act tooThe Townsend Acts, Greenville Acts, what can we do?So what else is left? They wouldn’t touch my tea!They call ’em “acts” but they feel like a tax to me.

ADAMS, OTIS, and CHORUS:


12

* If for any reason the reference to wine in the first line is objectionable, just substitute the following for the first two lines of the song:

“They’re taxing my coffee, my paper, my hatI’m growing thinner while they’re growing fat.”

Song 3/14



(THEY all freeze on the last note. Then THEY exit. SAM ADAMS enters with BOSTONIANS)

SAM ADAMS: This is the last straw, my fellow Bostonians.

BOSTONIANS: You tell ’em, Sam.

SAM ADAMS: Did we fight the Townsend Acts? We refused to import English goods and pay the duties. And what did they do?

BOSTONIAN #1: They sent warships into our harbor.

SAM ADAMS: And did we relent?

BOSTONIANS: Never!

SAM ADAMS: What about the Boston massacre?

BOSTONIAN #2: Right. The British shot and killed three unarmed colonists.

SAM ADAMS: Did we give up?

BOSTONIANS: Never!

SAM ADAMS: And finally they had to repeal the Townsend Acts in 1770.

BOSTONIANS: Yes!

SAM ADAMS: But here we are, three years later. They’ve passed the Tea Act. Are we going to keep paying a tax on tea?

BOSTONIANS: Never!

13


SAM ADAMS: They’ve shipped a half million pounds of tea to America, driving down the price of tea. Are we going to buy it? (silence)Well, are we?

BOSTONIAN #1: Come on, Mr. Adams. We’ve got to have a spot of tea.

BOSTONIAN #2: Yeah, I mean, we’re only human.

BOSTONIAN #3: And the prices are so low!

(BOSTONIANS mumble in agreement)

SAM ADAMS: Listen to me! Today it’s tea. Tomorrow it’s sugar. The next day it’s those nice fuzzy slippers with the bunny ears that keep our feet so cozy in winter.

BOSTONIANS: Not our slippers!

SAM ADAMS: Yes, your slippers! How long are we going to keep letting the British kick us around? It’s time for action!

BOSTONIANS: Right!

SAM ADAMS: It’s time we stopped calling soccer “football”!

BOSTONIANS: Right!

SAM ADAMS: It’s time we started riding on the RIGHT-hand side of the road!

BOSTONIANS: Right!

SAM ADAMS: And it’s time we dressed up as natives and dumped those 342 chests of tea into the harbor!

BOSTONIANS: Right!


SAM and BOSTONIANS:

Down, down, downJust dump it off the boatDown, down, downLet’s see if it can float.

Down, down, downIt’s sinking in the seaSomething’s brewing boys and it ain’t tea.Something’s brewing boys and it ain’t tea.

Trouble’s brewing for the crownTell them all in London townLondon townAll their lovely tea just drownedSend some more it’s going down.Send some more it’s going down.Send some more it’s going down.

SAM, BOSTONIANS, and CHORUS:

Down, down, downJust dump it off the boatDown, down, downLet’s see if it can float.

Down, down, downIt’s sinking in the seaSomething’s brewing boys and it ain’t tea.Something’s brewing boys and it ain’t tea.

SAM and BOSTONIANS:Something’s brewing boys and it ain’t tea.

(THEY exit. STUDENTS and BETSY enter)

STUDENT #1: I can’t believe the colonists destroyed all that tea.

BETSY: Yes. In Maryland they burned an entire ship—the tea and all the rest of its cargo.

15

Song 4/15


STUDENT #3: King George must have been mad.

BETSY: Oh, the English were really getting their threads in a tangle. They closed Boston harbor, put restrictions on town meetings, and moved the trials for officials who killed colonists from America to England.

JOHN JAY (entering, holding some cloth, exasperated): Betsy, Betsy Ross. I’m so glad you’re home.

BETSY: John Jay! You look like you’re about to bust a stitch.

JAY: I’ve been trying to knit a sweater for my dachshund and something has gone terribly wrong. (HE holds up cloth—it’s an oven mitt)

BETSY: Oh my. Let me take a look at that.

STUDENT #1: But Betsy, what did we do after the British shut Boston Harbor?

JOHN JAY: Why, we called the First Continental Congress.

STUDENT #2: Were you there, Mr. Jay?

JAY: Sure was. 55 men gathered, including John and Sam Adams, George Washington, and Patrick Henry.

(PATRICK HENRY rushes in, or shouts from the side)

PATRICK HENRY: I know not what course others may take, but as for me, give me liberty, or give me death!

(HE exits)

STUDENT #3: Wow. Was that Patrick Henry?

BETSY: Don’t encourage him, children, or he’ll just keep doing it.


STUDENT #1: Did all colonists want independence?

JAY: Well, at that point most of us just wanted the legislation repealed. We called for a complete boycott of all British goods. But when our petitions were rejected, we began to collect muskets.

STUDENT #2: And that’s when the British decided to send troops from Boston to seize weapons and arrest colonial leaders, right?

JAY: And thus the famous ride of Paul Revere.

BETSY: Paul Revere? Sweet boy. I think I once darned a horse for him.

(PAUL and RACHEL enter in their pajamas)

PAUL (racing around): The Redcoats are coming, the Redcoats are coming!

RACHEL: Calm down, Paul. It’s nearly midnight—you’ll wake the kids.

KIDS (entering): We’re awake! The Redcoats are coming!

RACHEL: Sit down, children. Your father is a bit nervous.

PAUL: Of course I’m nervous. The British are heading out of Boston, coming to arrest our colonial leaders and take our weapons and supplies.

RACHEL: Are they coming by land or by sea?

PAUL: I don’t remember. I think it’s two lanterns if by land, one if by sea. Or maybe it’s one if by land and two if by sea. I think three means they’re coming by blimp.

RACHEL: Take it easy. You have to go warn the people of Lexington and Concord.

PAUL (dramatically): Yes! I must go at once! (HE races off, still in his pajamas.)

17


RACHEL and KIDS (singing to the absent PAUL):

Ride and warn John HancockAlert Sam Adams tooThe British will arrest themTheir fate is up to you.

RACHEL:

Hurry, Paul dear, hurryDo not stop to chat. (PAUL races back on stage)Paul—what are you doing?

PAUL: I forgot my hat. (HE grabs it, races off again)

RACHEL and KIDS:

Ride on Paul RevereRide on Paul RevereGet on out of here dear Paul Revere.

Lexington is waitingThey must hear the newsThe redcoats are advancingNow there’s no time to lose.

RACHEL:

Tell the Minute Men thereThey must take a stance. (PAUL races back on stage)Paul—what are you doing?

PAUL: I forgot my pants. (HE runs to grab pants and coat)

18

Song 5/16


19

RACHEL and KIDS:


(During the instrumental PAUL puts on pants and coat with help from family, then exits)

RACHEL, KIDS, and CHORUS:


RACHEL and KIDS:

Then ride out to ConcordWarn them all once moreThe Redcoats want our weaponsThat we have kept in store.

RACHEL:

Tell all the militiaThey must come in force (PAUL races back on stage)Paul, what are you doing?

PAUL: I forgot my horse! RACHEL, KIDS, CHORUS:


(THEY exit. BEN FRANKLIN, THOMAS JEFFERSON, and CLERK enter. )


20

CLERK: Hear ye, hear ye. On this day, July 4, 1776, the Second Continental Congress is now in session in Independence Hall, Philadelphia. The Honorable John Hancock, presiding.

BEN FRANKLIN: Thomas. Tom Jefferson. Where’s John Hancock?

JEFFERSON: Oh, hello Ben. Well, I, uh, sent him out to get some coffee cake.

FRANKLIN: Coffee cake?

JEFFERSON: Of course! What’s a continental congress without a continental breakfast?

FRANKLIN: I heartily agree, Tom, but we already have a selection of coffee, juices, and those delicious individually wrapped danishes.

JEFFERSON: True. But I thought John needed something to do this morning. He’s been acting a bit strange since we voted to endorse the Declaration of Independence this morning.

FRANKLIN: A brilliant document, Tom. And now we must all hang together, or assuredly we shall all hang separately.

JEFFERSON: It’s been over a year since the first shots were fired between us and the British. Just a month later we elected George Washington to head the Continental army. We’ve been unofficially at war ever since.

FRANKLIN: King George has rejected our efforts at reconciliation.

JEFFERSON: Tom Paine put it nicely when he wrote that “these are the times that try men’s souls.”

FRANKLIN: Yes, that was well put. (pauses a moment to reflect)It doesn’t rhyme though, does it?

JEFFERSON: What?


21

FRANKLIN: I think my own maxims always stick a bit better with a cute rhyme. “Vessels large may venture more, but little boats should keep near shore.” See how it flows?

JEFFERSON: Sure, Ben, but I don’t think…

FRANKLIN: Or remember this? “Here Skugg lies snug as a bug in a rug.”

JEFFERSON: What exactly does that mean?

FRANKLIN: That’s not the point. I’ve got four rhyming words there out of ten. That’s a forty-percent rhyme rate. You won’t find that in any of the British poets. Check out Shakespeare. Or Pope. They’ve got a ten-, maybe fifteen-percent rhyme rate, max.

JEFFERSON: That’s great, Ben.

FRANKLIN: Great? It’s crucial. The British may have better trained soldiers. They may have more money, experience, and weapons. But America has the rhymes! Victory will be ours!

JEFFERSON: Oh, oh! Here comes John Hancock.

HANCOCK (entering): Where is it, where is it?

JEFFERSON: What are you looking for?

HANCOCK: The Declaration of Independence.

FRANKLIN: It’s quite exciting, isn’t it?

HANCOCK: You bet. Where is it?

FRANKLIN: Here in Tom’s head. He wrote it. Tom, recite that bit about the self-evident truths again.


JEFFERSON (with pride): “We hold these truths to be self-evident; that all men are created equal; that they are endowed by their creator with certain unalienable rights; that among these are life, liberty, and the pursuit of happiness.”

HANCOCK: Yeah, that’s great. But where IS it? Where’s the parchment itself? I’m ready.

FRANKLIN: Ready for what?

HANCOCK (reaching under cloak, or into pants, and pulling out a gigantic quill pen): Ready to SIGN it, of course.

JEFFERSON: John, I told you this morning. The final document won’t be ready to sign for a month or so.

HANCOCK: But I’m ready NOW. I’ve been practicing!

I don’t have Franklin’s eloquenceI don’t have Tom Paine’s “Common Sense”But man, my signature’s intenseTom, where do I sign?

George Washington and all his staffMay fight real hard on our behalfBut you should see my autographTom, where do I sign?

Ooh ooh oohWhere do I sign?Where do I sign?Ooh ooh oohWhere do I sign?Where do I sign?Where do I sign?

FRANKLIN and JEFFERSON:

He’s practicing on all the wallsOn tablecloths and bathroom stallsGood thing we don’t yet have baseballs

22

Song 6/17


23

HANCOCK: Tom, where do I sign?

FRANKLIN and JEFFERSON: He's signing stuff around the clock

FRANKLIN: He signed my head

JEFFERSON: He signed my sock.

HANCOCK:

No, you can’t stop my John HancockTom, where do I sign?

HANCOCK, JEFFERSON, FRANKLIN, CHORUS:

Ooh ooh oohWhere do I sign?Where do I sign?Ooh ooh oohWhere do I sign?Where do I sign?Where do I sign? (THEY exit. STUDENTS, BETSY, and JAY enter)

STUDENT #1: Did the colonists really think they could defeat the British empire?

JAY: Well, we definitely had some disadvantages.

STUDENT #2: I’ll say. There was no real unity. The colonies distrusted each other.

STUDENT #3: There was no central authority to raise money through taxes.

STUDENT #1: The army was hard to organize and nearly impossible to keep together.


24

STUDENT #2: And don’t forget, probably no more than one-third of the colonists even wanted independence all that much.

STUDENT #3: And there were hundreds of thousands who remained loyal to England.

JAY: True. But the British soldiers were 3000 miles away from home and had a huge area to try to control.

STUDENT #1: And they had second-rate generals.

STUDENT #2: While the Colonists had George Washington, who turned out to be a fantastic leader.

STUDENT #3: And don’t forget the French—they were always ready to help anyone who might hurt England.

STUDENT #1: But you’re forgetting one of the biggest advantages.

BETSY: I was wondering when you’d remember.

STUDENT #2: What?

BETSY: My flag, of course. I tried to talk them into a red, white, and blue lounge chair with matching ottoman, but they said their budget was limited to a flag.

STUDENT #1: Oh, your flag was wonderful. But I was thinking about how the colonists fought dirty!

JAY: I beg your pardon!

STUDENT #1: Oh, I don’t mean it that way. I mean, they were literally dirty. They blended in with the scenery.

(THEY exit. REDCOATS enter)

REDCOAT #1: I tell you, it ain’t right. They should stand up and fight like we do.


25

REDCOAT #2: Yeah. Instead of sneaking around with those fur caps and deerskin coats all quiet-like. You can’t even see ’em. It ain’t fair.

REDCOAT #1: I mean, look at us. All polished up bright and red. They can see us coming miles away. That’s the proper way to fight.

(MINUTE MEN enter, quickly sneaking into position on stage, in full view of the audience but unseen by the REDCOATS)

REDCOAT #2: Exactly. We stand up straight and wait our turn to shoot and be shot at. It’s gentlemanly. None of this skulkin’ around.

REDCOAT #1: Well I’m on to ’em. You won’t find one of them Minute Men sneakin’ up on me. No sirree.

(As MINUTE MEN sing, it is important for the REDCOATS to react to their words—they can hear them, but they can’t see them.)

MINUTE MEN:

In the brushOn the groundWe are hereAll around.In the streamIn a tree…Bet you can’t find me, boysBet you can’t find me, uh-uhBet you can’t find me.

REDCOAT #1 (looking all around): Come out and fight like a man.

Song 7/18


MINUTE MEN:

In the leavesUnder rootsIn your tentIn your boots.Over hereIn your tea… (REDCOATS are looking)Bet you can’t find me, boysBet you can’t find me, uh-uhBet you can’t find me.

REDCOAT #2: This is disgraceful!

MINUTE MEN and CHORUS:

Brown, brown, brown looks good on meIt’s the color of the free!Brown, brown, brown, oh brown looks good on meIt’s the color of the free!

REDCOATS: Give us a hint!

MINUTE MEN:

What’s that bump’Neath the rock?What’s that lumpIn your sock?What’s that itchOn your knee? (REDCOATS should be hopping around by now)

MINUTE MEN and CHORUS:

Bet you can’t find me, boysBet you can’t find me, uh-uhBet you can’t find me, noBet you can’t find me.


27

(EVERYONE freezes on the last word of the song. After applause, THEY exit. BERT and ALICE enter, with a table of items on it. THEY address audience.)

BERT: Good evening, folks. Welcome again to the American History Channel’s Home Shopping Network. Alice, what do we have for our shoppers tonight?

ALICE: Bert, tonight we’ve got memorabilia from the American Revolutionary War.

BERT: Excellent. Well let’s get right to it. We’ve got over six years of war to choose from, with fighting in every colony and more than a dozen important battles.

ALICE (holding up shoe): Our first item, number J-57, is a boot from John Burgoyne, the British general who lost the battle of Saratoga.

BERT (taking shoe): His boot? Wow, I’m guessing we don’t have many of those left.

ALICE: Just two. They come from the famous battle in 1777 that gave the Colonists a badly needed boost.

BERT (sniffing shoe): Smell that, Alice.

ALICE (alarmed): What?

BERT: Go on. Take a whiff. (holds it up to her nose)You know what that smells like, Alice?

ALICE: A really really old boot?


BERT: No. It smells like victory. (to audience)And you too can grab victory from “defeat” by phoning us right now to purchase General Burgoyne’s shoe. (to Alice)Victory from Defeat. Da feet. Get it? (HE points to his feet. ALICE is not amused. BERT quickly moves on.)So what’s that lovely item over there, Alice?

ALICE: This is B-65, a snowball from Valley Forge in Pennsylvania, where George Washington and his army were forced to spend a devastating winter.

BERT: These things are going fast, folks.

ALICE: We sold out in just 15 minutes the last time we offered these at this unbelievable Try Me price.

BERT: Just one per customer, please.

ALICE: We have just a few minutes before our stock completely melts under these studio lights.

(GENERAL ROCHAMBEAU appears on side of stage holding a phone)


29

BERT: And we’ve got a satisfied customer on the phone. Hi there. Who are you, where are you calling from, and tell us just how much you love your snowball.

ROCHAMBEAU: ’Ello? ’Ello? Am I on zee air?

BERT: You sure are.

ROCHAMBEAU: I am Comte de Rochambeau. I am from France.

ALICE: How wonderful! General Rochambeau arrived from France in 1780 with over 6000 troops to aid the colonists. French help was decisive in winning the war.

BERT: Rochambeau, you say? Didn’t you invent chocolate éclairs?

ROCHAMBEAU: No. I was commander of the French troops at Yorktown alongside George Washington and his men. I thought your viewers should know.

BERT: Terrific! So, tell us, how do you like your snowball? You probably serve it with some fancy French sauce. Am I right?

ROCHAMBEAU: I have no idea what you are talking about. I am a general, not a chef! (HE storms off.)

BERT: Ah, those French cooks—so modest!

ALICE (to audience): Our next incredible item is being brought to us right now by John Paul Jones. (HE enters)

JOHN PAUL: Hi, Alice. I helped the American navy get its sea legs, and even defeated a number of British ships off the coast of England.

BERT: So what’s that you’ve got there?


30

JOHN PAUL: This is a button from the coat that British General Cornwallis was wearing when he surrendered to George Washington and our French allies at Yorktown in 1781. It’s a lovely brass finish—and oven safe.

ALICE: Amazing. Hold it up so our viewers can get good look at it.

(HE does. But just then a man races across the stage, grabs the button out of his hand, stops and looks at the audience, and races off.)

JOHN PAUL: Benedict Arnold! Give that back, you traitor! (HE runs after ARNOLD)I have not yet begun to fight! (Exits)

BERT: I guess that will do it for us too! Good night.

ALICE: And stay tuned. Next on the American History Channel we have our new documentary on Grover Cleveland: Man, Myth, City, or Sesame Street Puppet?

(THEY exit. STUDENTS, BETSY, and JAY enter)

STUDENT #1: So what happened after the British surrendered, Mr. Jay?

JAY: I went to help Ben Franklin and John Adams work out the treaty of Paris in 1783. The British conceded all the land from the Mississippi River to the Atlantic Ocean, from Spanish Florida to the Great Lakes.

STUDENT #2: That was great!

JAY: Well, it was complicated. The Articles of Confederation, which had been the basis for the central government, intentionally gave little power to congress.

STUDENT #3: Couldn’t they do anything?


31

JAY: Not much. We did pass the Northwest Ordinance, which provided for the eventual incorporation of new states from the land between the Mississippi and Ohio rivers.

BETSY: And I macraméd the Liberty Bell.

JAY: Now Betsy, you’ve got to stop exaggerating.

BETSY: Dropped a stitch on the seam, though, didn’t I? Nasty little crack opened up. I think a few pleats would have helped.

JAY: Betsy, you know that isn’t…

BETSY: Shush, dear. Let’s listen to the colonists.

(THEY exit. COLONISTS enter)

COLONIST #1: What more could we ask for? We’ve got 13 independent states in a loose confederation. There’s no executive branch in the central government—we don’t need another King around here.

COLONIST #2: But congress has no power to control commerce, or enforce its tax collection program.

COLONIST #3: Exactly! It’s perfect. It’s all up to the individual states.

COLONIST #2: I don’t know. Are you sure this is a good thing?

COLONISTS #1 and #3: What could go wrong?

COLONISTS:

13 little countriesMmm mmm mmm how great!13 little countriesMmm mmm mmm can’t wait.There’s no more king of EnglandJust throwin’ ’round his weight.

Song 8/19


32

13 little countriesMmm mmm mmm yahoo!13 little countriesMmm mmm mmm brand new.No bossy federal governmentTo tell us what to do

13 foreign policies13 kinds of laws13 sets of boundary linesIt kind of gives you pause.13 little armies 13 ways to fight13 major headaches nowWith no relief in sight.

(During the trumpet solo, they all do separate dances, occasionally bumping into each other)

COLONISTS and CHORUS:13 foreign policies13 kinds of laws13 sets of boundary linesIt kind of gives you pause.13 little armies 13 ways to fight13 major headaches nowWith no relief in sight.

COLONISTS:

13 little countriesMmm mmm mmm we’re doomed!13 little countries

COLONISTS and CHORUS (loud): Mmm mmm mmm kaboom.Before we’ve even startedThe end is coming soonBefore we’ve even startedThe end is coming soon.


33

(THEY exit. CLERK enters.)

CLERK: Hear ye, hear ye. On this day, July 16, 1787, the Constitutional Convention is now in session in Philadelphia. The Honorable George Washington, presiding. (JAMES MADISON enters)Good afternoon, Mr. Madison.

MADISON: Good afternoon.

CLERK (exiting, passes ALEXANDER HAMILTON entering in a hurry): Good afternoon, Mr. Hamilton.

HAMILTON: Oh, yes, good afternoon. (to MADISON)James, we have important decisions to make.

MADISON: Yes we do, Alexander. (pretends to see someone off-stage)Look out, it’s Aaron Burr! HAMILTON (screams and runs behind MADISON): Aaaaach!

MADISON: I was just joking. I love doing that.

HAMILTON: That’s not funny.

MADISON: Alexander, lighten up a little. We’re making good progress. We’ve agreed to have three branches of government—the legislative, executive, and judiciary—that will balance and check each other.

HAMILTON: Yes, a wonderful plan. But there are even more important matters. I need your advice.

MADISON: What’s on your mind, Alexander?

HAMILTON: You know I favor a strong central bank. And now I’m faced with a huge decision.

MADISON: What is it?


HAMILTON: Which do you think is more impressive, my left profile or my right?

MADISON: What?

HAMILTON: When we start printing money, I’m just dying to get my picture on one of the bills. George Washington’s already claimed the one-dollar, so I’m shooting for the ten. Personally, I think my left side makes me look taller. What do you think?

MADISON: This is not exactly what I meant by “lightening up,” Alexander. We have some real issues here. (sees BIG STATES and SMALL states entering)Look, the Big States and Small States still can’t agree on how they should be represented in congress.

BIG STATE: We Big States have more people—we are not going to share equally with you little states.

SMALL STATE: Yeah, well we’re not going to settle for proportional representation in BOTH houses of congress. We’re just as important you.

BIG STATE: Oh yeah?

SMALL STATE: Yeah!

BIG STATES:

Big states ruleWe have lots of folks.

Big states ruleWe need lots of votes.

34

Song 9/20


35

Big states ruleWe deserve the best.Little states can scramble for the rest.Little states can scramble for the rest.

Georgia really needs to growNew Hampshire’s just a lump of snowLump of snowI lost Rhode Island in my hairI stubbed my toe on Delaware.I stubbed my toe on Delaware.I stubbed my toe on Delaware.

SMALL STATES:

Small states ruleWe deserve our share.

Small states ruleWe’ve got savoir faire.

Small states ruleWe should be preferredBig states sound a lot like George the Third.Big states sound a lot like George the Third.

Pennsylvania’s grown too fatVirginia’s an aristocratAristocratMassachusetts ain’t so niceNew York New York I hate it twice.New York New York I hate it twice.New York New York I hate it twice.

BIG STATES:

Big states ruleWe have lots of folks


SMALL STATES:

Small states ruleWe deserve our share

BIG STATES: SMALL STATES:

Big states rule Small states rule

BIG STATES and SMALL STATES:

We deserve the bestThe constitution has to pass the test. The constitution has to pass the test.

BIG STATES: SMALL STATES:

Big states Small statesBig states Small statesBig states. Small states.


STUDENT #1: So that’s why we now have one legislative body, the House, that has proportional representation—that is, bigger states have more congresspeople.

STUDENT #2: And the other house, the Senate, gives the same number of representatives to every state no matter how many people live there.

JAY: That’s right. Like so much else in our constitution, it was a compromise.

BETSY: Like deciding to count a slave as three-fifths of a person?

JAY: We weren’t perfect, Betsy. I know it. But we DID stop the slave trade twenty years later.

BETSY: Yes, dear. Altogether it was a beautifully stitched document.


37

STUDENT #3: Did everyone like the constitution?

JAY: Oh no. Some people thought it gave the central government too much power. Others thought the states had too much authority. I wrote some of the Federalist Papers to help convince people to vote for it.

STUDENT #1: Did it work?

JAY: Well, it took a while. We had to promise a Bill of Rights would be added. The Constitution was officially adopted June 21, 1788.

STUDENT #2: Wow. That first election must have been something.

JAY: It was. The members of the House of Representatives were elected directly by citizens in each state. The senators were elected by the legislatures of each state. And George Washington was unanimously elected President by the electoral college.

STUDENT #3: The electoral college? How does that work?

BETSY: No one knows, dear. It’s a complete mystery.

JAY: Please, Betsy. It’s just a bit complicated.

BETSY: Well, why don’t we let these fellows here explain, since they’re on their way to participate in the first electoral college.

(THEY exit. VOTERS enter, one holding a copy of the Constitution)

VOTER #1: So how exactly does this work?

VOTER #2 (looking at Constitution): Dunno.

VOTER #1: Well, look in the Constitution. Read the first sentence.


38

VOTER #2 (reading): “We the people of the United States, in order to form a more perfect Union, establish justice, insure domestic tranquility, provide for the common defence, promote the general welfare, and secure the blessings of liberty to ourselves and our posterity, do ordain and establish this Constitution for the United States of America.”

VOTER #1: I said just the first sentence.

VOTER #2: That WAS just the first sentence.

VOTER #1: Wow. Well, find the part about the electoral college.

VOTER #2: Here it is, in Article 2: “The electors shall meet in their respective States, and vote by ballot for two persons, of whom one at least shall not be an inhabitant of the same State with themselves.”

VOTER #1: Not be an inhabitant of the same State with themselves? How does that work?

VOTER #2: Dunno. Here, maybe this will help. “But in choosing the President the votes shall be taken by States, the representation from each State having one vote; a quorum for this purpose shall consist of a member or members from two-thirds of the States, and a majority of all the State shall be necessary to a choice.”

VOTER #1: What does that mean?

VOTER #2: Dunno. But what the heck, we get to vote!

VOTERS:

I said from the startI’m not all that smartAnd I don’t have political knowledgeI guess there’s no need’Cause though I can’t readI’m off to electoral college.

Song 10/21


39

WohVote vote voteGonna electGonna selectWoh oh oh oh that is my intentGonna voteGonna voteGonna vote for President. Gonna vote for President.

Vote vote voteDon’t have a clue’Bout Article TwoWoh oh oh oh that’s why I’ve been sentGonna voteGonna voteGonna vote for President. Gonna vote for President.

I really doubtI’ll figure this outBut all the Founders are cleverThey’ll rearrangeSoon it will changeCan’t keep this system forever.

VOTERS and CHORUS:

WohVote vote voteDon’t have a clue’Bout Article TwoWoh oh oh oh that’s why I’ve been sentGonna voteGonna voteGonna vote for President. Gonna vote for President.


VOTERS and CHORUS:

Gonna voteGonna voteGonna voteGonna voteGonna vote for PresidentGonna vote for PresidentGonna vote for President.


JAY: So on April 30, 1789, George Washington was sworn in as President of the United States in the temporary capital of New York.

STUDENT #1: Wow. What a great story.

JAY: As my friend Ben Franklin said at the time: “Our constitution is in actual operation; everything appears to promise that it will last; but in this world nothing is certain but death and taxes.”

BETSY: I have a Franklin stove, you know. Doesn’t look a bit like him. (finishing her work)Ah, here you go, John. This should work. (SHE hands him dog sweater)

JAY: It’s perfect. I knew you could fix it. Thank you, Betsy. I’ve got to go show Lafayette.

STUDENT #2: The French general who fought for the Colonists?

JAY: No, my dachshund. (exit)

STUDENT #3: Betsy, could you tell us the story again?

BETSY: We just finished, my dears!

STUDENTS: Pleeeaaase?


41

BETSY: Well, John’s a good man, but he did leave out some of the more important parts. Like when I wove a ship for the navy out of nothing but pine needles. Or how I sewed together all the pants of the British army so they couldn’t run up Bunker Hill. And the time… (music begins as she is speaking her final lines)


Tell us, Betsy, tell usShoo bee doo bee shoo bee doo shoo Come on, Betsy, tell usShoo bee doo bee shoo bee doo shoo.


STUDENTS and CHORUS (whispered):


STUDENTS and CHORUS (loud):

Tell us how you tailoredFood at Valley Forge.Tell us, Betsy, tell usThe one how you savedShoo bee doo bee shoo bee doo Shoo shoo bee doo bee shoo bee doo shoo.

THE END

Song 11/22


Teacher’s Guide

IntroductionThe American Revolution: 1763-1789 is a musical play designed to be performed by elementary and middle school classes, particularly by students in the third through eighth grades. The older students will of course do a more polished job, but please don’t be afraid of having your younger students perform this show. They’ll have a great time (this is not your regular school play) and their parents will have a ball.

In fact, one of the really nice things about this musical play is the response you’ll get from parents. You’ll find them grateful for the opportunity to see their child perform in a truly fun show full of melody and wit. Indeed, rumor has it that some parents have so thoroughly enjoyed the performance that they have had to have the smiles surgically removed from their faces in order to be taken seriously at work.

If you’re an experienced producer of classroom shows, then The American Revolution will be a snap. If you’re new to this sort of thing, relax! Putting on a play is a wonderful experience for your kids, and it’s a heck of a lot easier than you probably think. This introduction is designed to provide you with all the necessary tips for a smooth and joyous production. We consulted teachers whose classes have performed our shows and asked them what they wished they had known before they started. We listened carefully, and now it’s all here for you.

Even if you can’t sing or play an instrument! Honest! We know a teacher who has successfully produced a number of musicals in her classes without singing or playing a note (she’s very shy). Remember, the audio recording demonstrates all the songs.

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Doing a little script-tease

We strongly suggest that you do not send home copies of the script with each student. The problem is that the parents will read the script and when they come to watch the play, well, they’ll already know what to expect. We think your best bet is to copy only the lyrics and narrations for your actors. Let Mom and Dad help their child learn their parts, but give your parents the gift of being pleasantly surprised when they see the performance.


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A Historical Note: Does this show cover all of the Revolution?Well, no. The curricular goal of this musical play is to introduce students to some of the major figures, ideas, and events of the American Revolution. Even though our cast of characters is quite large, we still had to leave out many, many important people and topics. We chose to begin the show with the end of the Seven Years War (French and Indian War). This is a crucial moment in the relationship between England and the colonies, but many of the political currents that led to the revolution were in place long before. And we end our story with the election of George Washington, thus before the adoption of the Bill of Rights, the Louisiana Purchase, and the Miracle Mets of 1969. Perhaps most obviously, we go rather quickly through the revolutionary war itself. What’s with that?

To be honest, there is just so much material that can be included in a short classroom musical. But that’s just fine with us! We want to stimulate your students to think a bit about our choices. We are hoping this will encourage your students to do two things: 1) Research the historical figures and events we mention in the play. We think The American Revolution can provide a great opportunity for student research into this exciting period of our history; 2) Argue about who and what should be in the musical play but didn’t make it! Indeed, it would be great if your students rewrote sections of the show and inserted their own choices. Remember, this is meant to be a supplement to your curriculum and a stimulus for student interest—have some fun and let your students tear us apart!

Is The American Revolution an opera or a musical?

And what’s the difference, anyway? According to our dictionary, in an opera most or all of the story is sung, but in a musical the dialogue plays the more important role. Beyond that, musicals tend to be written in a popular style while operas are supposed to be “artistic.” In truth, there’s no meaningful distinction and you can call this show whatever you like without offending us. (Our own expression for this show is “a stunning piece of contemporary American theater.” Go figure.)


Getting StartedFigure on about a month from first introduction to final performance. This may sound like a lot of time, but remember that most of the days you won’t work for very long, perhaps just singing a few songs together. We have an example of one reasonable timetable on page 50. Play the recording of the show for several days before you start singing songs. Then after the kids get the hang of the songs, you can sing them whenever the class has a few extra minutes. When you get around to casting and staging the show you’ll need more time again. You’ll also want to schedule additional time for the creation of sets, props, and costumes (if you decide to use them—see our advice below).

Lately educators have been talking about teaching “across the curriculum,” that is, using large projects and themes to connect the various skills and subjects to be studied. The American Revolution is ideal for this since you can easily connect reading, art, music and the study of American history under the guise of a fun show.

Now, relax and have some fun. We’ve written this show so you can get out of it what you want. If you choose to work very hard, managing every detail—go

ahead! Really! You’ll probably have a high-quality performance. But make sure that’s the level of activity and stress you’re comfortable with. Don’t let the parents turn this into a Broadway production. You can also choose to be low-key about it all. Tell yourself that these are just kids, your audience isn’t paying fifty dollars a ticket, and you won’t have a perfect show. You’ll stay more relaxed and enjoy the experience. It just depends upon your own personality and the students themselves. No matter how you approach The American Revolution, remember it’s the process which is

important for the students’ education: the reading, creating, singing, thinking, and

developing self-esteem that go into learning the show are the real point to the final performance

anyway. There’s no reason you shouldn’t have as much fun doing all this as your students!


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Here’s a bit of time-tested advice if you’re new to this type of musical production: get another teacher at your school to put on The American Revolution at the same time. You can share sets and costumes and bounce ideas off one another. Your classes can watch each other rehearse and the students can give feedback to their peers. This process has proven to be a great aid to novice directors, and students learn a lot by participating in the assessment and development of the show (more on this later).

Some teachers like to have as much parental help in the classroom as possible; others prefer to work with the kids without interference. Wherever you fall on this continuum, you’ll probably find it useful to ask for a certain amount of help. Be sure you send a parents’ letter at the onset of the project. Include performance dates and tell exactly what sort of assistance you’ll be looking for. If putting on plays is new to your school, you may want to outline some of the educational advantages as well. (See our web site for a template you can use!)

Music (and the enclosed audio recording)

The audio recording is a teaching tool for helping your children learn all the songs. The first recorded version features the composer and some talented friends brilliantly singing the songs with dazzling musical accompaniment. The second version of the show has just the accompaniments to all the songs. We strongly encourage you to make a backup CD or computer file of the audio recording in case it gets lost or damaged. You can also purchase replacements from Bad Wolf Press.

We suggest you introduce the music to your class by playing the recording during a class work session. You might do this several times, starting well in advance of your actual rehearsal of the show. The music will seem easy and familiar when your students finally begin to sing the songs. Have all your students learn all the songs. This is much more fun for the class, and it will give you great flexibility in casting and substituting for absent performers.


Ready for some controversy? The easiest way of getting older students to learn the show is probably to copy the script and give it to them. Some teachers, however, like the students to learn the songs by ear without looking at the script. They play the songs for a week or so during class, and then play the version of the recording without the words. (You’ll be surprised how well students respond to the challenge of singing along!) Other teachers like to display the lyrics on a screen or monitor—or even on large sheets of paper. This can be a lot of work, but if you have the downloadable version of the play, you can cut and paste the lyrics from the PDF into PowerPoint or similar program. (Hint: you can do the same if you want to edit the script—just cut and paste the text into a word processor and make the necessary changes before distributing the script to students.) All of these methods have produced successful shows. Using the “ear-only” method may make for more polished performances with primary grade children, but you may decide that your students’ reading skills will improve if they spend more time looking at the words.

You can perform the show to great applause by simply using the accompanying audio recording. You’ll want to get a volunteer to be in charge of the CD player/iPod/etc. It’s very important that this be the same person throughout the rehearsals and the final performance. The volunteer needs a script and lots of practice with the class. If you can’t find a parent, then try to snag an older student. Don’t try to handle this yourself—you need to keep your eyes on the students and be free to solve problems as they occur.

If you have access to the right equipment you can manufacture copies of the entire recording. Please don’t! It’s strictly illegal, absolutely immoral, and government tests indicate it is probably fattening. Really, we expect better things from someone as nice as you. (Did you see our Official Policy on fair use, photocopying and audio duplication on the second page? It’s a masterful blend of tact, threat, and blatant begging, so maybe this would be a good time to review it.) What you can do is provide one or two songs to each student to help them learn solos or small group parts. They can sing along with the recording daily. This kind of repetition really helps!

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Using a musician

If you know of a parent or other community member who might be willing to play piano or guitar, contact them early. Play them the audio recording and show them the samples of music on page 56 of this book to be certain they are comfortable with it (to order the sheet music for The American Revolution, contact the publisher—flip to the back of this book). Another option is to hire a professional. You may find someone to work for less than you’d think—even starving musicians like to help the schools. Maybe you can get some money from your school PTA. Regardless of who your musician is, paid or not, be sure to schedule at least one rehearsal with them before the performance. Your students will need to get used to the sound of a live player, and the musician needs to learn the cues and get a sense of what the children sound like.


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CastingThe American Revolution was originally written to be performed by a class of from twenty to thirty kids, but the show is very flexible. How many Bostonians are there? How many Small States? Three? Five? (One teacher we know insists that odd numbers work best, and who are we to argue?) Experiment a bit, keeping at least one strong singer in each group. We recommend that you don’t create groups with more than seven students, or the stage begins to look and sound like a rugby scrum.

We suggest waiting until the last week or two before you pick specific children for each part. We don’t recommend a formal audition. Instead, let various children experiment with different roles and try out different combinations. Perhaps a few friends will discover they enjoy singing “Taxation” together. Or perhaps several children will express interest in the Minute Men. Our one recommendation is that when choosing soloists, be sure to pick actors who can sing loudly enough to be heard over a possibly noisy audience.

As you know, some children are a little shy about performing and especially about singing in public. (The lyricist intentionally swallowed his history book in the third grade in order to be excused from singing “I’ve Got A Hammer” in front of the class.) You might want to ask if there are any children who would prefer a speaking part instead of a singing one. Respect their fears, but if you provide regular opportunities for performance you’ll be pleased to see your students gain confidence.

Eventually, of course, you’ll need to make a choice and probably a student or two will feel hurt by the selection. We have attempted to write in as many parts as possible and to spread the singing roles evenly throughout the cast, but somebody is still bound to be disappointed. Try to help them understand that the selection in no way reflects poorly on them. If you put on more than one performance each year you will be able to give different children the opportunity to have a “starring” role.

Blending Genders

Do not feel bound by gender in your casting of these or any parts. All the parts in this show can be played by boys or girls or any combination. One of the great things about the theater is that Thomas Jefferson really can be played by a girl. And don’t hesitate to add actors (how many Students do you want, for example?) or double up roles if that works best for the size of your class.


If you're not an experienced director, keep costumes, sets and staging as simple as possible.

CostumesYou don’t really need any costumes, but most kids (and certainly most audiences) like them. However there is a very real danger that some parents will start competing with each other to provide the fanciest costumes. We suggest that when you first tell parents about the play, explain that the costumes will be designed by you and the class, and so please don’t send in any costume without asking you first. Try to be firm on this.

In general, the fancier the costumes, the more self-conscious the performers— and the quieter they will sing. Make sure what they wear is comfortable, especially the hats (which, unless they fit perfectly, tend to be very distracting). Keep hats, wigs, and beards to a minimum. When in doubt, simplify!

The easiest way for an actor to “become” a character is to wear a simple sign around his/her neck with the appropriate label (e.g. “James Otis”) and/or a decorated baseball cap or t-shirt. An easy way to unify the cast visually is to have everyone wear a black t-shirt, or assign a different color to each scene/group.

If you want to go more elaborate, you can use your history textbooks to get ideas about how the colonists and British dressed in the eighteenth centuries. Here are some ideas:

COLONISTS: These include the majority of the characters in the show. There is no need to differentiate John Adams from James Otis, for example. Standard colonial attire of any kind, but remember that hats and wigs are more likely to get in the way than be helpful. Some of them need a prop: John Jay enters holding an oven mitt; John Hancock must have a truly gigantic quill; John Paul Jones has a shiny brass button; and one of the Voters carries a copy of the Constitution.

BETSY ROSS and STUDENTS: Betsy is a nice old lady in a chair. She wears a long dress and should be sewing or knitting. At the end of the play she hands a knitted dog sweater to John Jay. The students can dress in 19th century garb or just in normal street clothes.


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KING GEORGE and COUNSELORS: King George needs a crown, of course. Anything else that makes him look pompous would be delightful. His counselors are dressed formally.

THE REVERES: They are all in pajamas of some sort. This can be done in actual pajamas (what a concept!), or sweat pants and shirt. Paul needs to grab a hat and a coat, so these should be available.

REDCOATS and MINUTE MEN: The Redcoats need some kind of spiffy uniform, preferably red. The Minute Men should look like rough versions of Daniel Boone—brown everything.

BERT and ALICE: They host a TV show, so they can be dressed up. They will need a big boot and a snowball (styrofoam?).

BIG STATES and SMALL STATES: The simplest way to handle this would be with matching t-shirts and/or baseball caps that said“Big State” or“Small State.” Or they can wear signs that label them as an actual state in the group (see the song for four states in each category).

The SetYou don’t really need a set to put on a successful performance, so don’t worry. Here’s one idea for set and staging in the classroom that has worked very well. (If you have access to an auditorium or stage, you will have a bit more flexibility.) If you want to make a “stage” so the audience can see better, you can put students’ tables together.

This show covers nearly thirty years of American history and takes place in a variety of settings. You won’t be able to indicate the exact background for any single scene. Some scenes obviously take place inside, others outside; still others can be quite vague. One possibility is to make a backdrop out of butcher paper painted with a map of the thirteen colonies on the right, Independence hall in the center, and trees on the left. Tape it across the entire back wall. All songs must be sung to the audience with the actors in the front, middle part of the stage. See our sample stage setup on page 52.

By all means have the kids do most of the set-planning and building—it’s a great art project. If you can get some grown-up assistance the whole thing will flow smoothly and your kids will have a wonderful time. Once everything is ready they’ll feel a real sense of pride and ownership.


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A Four-Week TimetableWeek One

1. 20 minutes a day listening to songs

Week Two

1. 20 minutes a day listening to and singing the songs2. Review curriculum connections with class.3. Maybe move to the songs a bit

Week Three

1. 30 minutes a day singing songs, moving around2. Read script together, taking turns with different parts.3. Plan physical production: costumes (if using), props, staging.4. Halfway through the week ask students to write down or tell you the parts they most want (in order) and make your selections by the end of the week.

Week Four

1. One hour daily2. Get the play on its feet where you will be performing.3. Use removable tape to mark where students will be (you can color code).4. Perform for another class and invite that class to write reviews.5. Video-record the rehearsals/performances so your students can see and hear what they’re really doing.6. Do more performances for other classes. Aim for at least three performances in front of kids before performing for families.7. Perform for families. Don’t worry, it doesn’t have to be perfect.8. Don’t worry, it doesn’t have to be perfect.9. Don’t worry, it doesn’t have to be perfect.


StagingWhether you have access to a “real” stage or are performing in a classroom with a constricted space, we recommend that you keep all the actors on the “stage” at all times. You can have the students sit down on the floor or on chairs until it is their turn to perform. These actors form the chorus for the show and sing on every song, so they need to be present and facing the audience at all times.

On the next page there is an aerial view of this kind of setup in a classroom. You’ll notice that the kids’ chairs are being used by the audience (which is also probably sitting in front of the chairs as well as standing in back).

We’ve also positioned the students in groups on the stage. This is just one possibility. You’ll need to experiment with this—remember, students will probably play more than one one role in this show. The challenge is to place the students so they are not in the way when they are not performing, so they can get where they need to be easily during the show, so they can move about during their “numbers” as they need to, and so they can be heard when they sing. Here are a few ideas we’ve gathered from teachers who have performed our shows:

❖ Most of the action of the play—the singing, narration, and movement—should take place at the front of the stage. The audience cannot see or hear what’s going on in the back.

❖ Make certain that when the students sing they are facing the audience. They can move around, look at each other, do whatever you want before and after their song, but they must move to the front of the stage and face the audience when it is their turn to sing. They can stand side by side, or the taller ones can be behind the shorter ones, or those in front can sit down—whatever you like—but their mouths should be turned towards the front.

❖ Don’t put all the actors and groups of actors in straight lines. This is not very exciting and too regimented—the stage begins to look like a face off between the British and the colonists in the Revolutionary War (which doesn’t work well even for this show). Bunch them together in different formations as they wait for their moment to “star” at the front of the stage.

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The Joys of Tape

You will want to mark the spots on the stage where students are to stand and/or sit throughout the performance. These “marks” can easily be set out with painter's (removable) tape on the floor. Mark where soloists, small groups, and the chorus will stand during each scene. This will keep everyone in place and make your job of managing thirty energetic actors much easier.


❖ Don’t have the students “dance” while they are singing. Making music of any kind while moving is extremely difficult for anyone of any age to do. Moreover, the students are likely to turn away from the audience during their dance, and that, you will remember, is a no-no.

❖ And you’ll notice we keep writing “dance” instead of dance. Isn’t that annoying? The point here is that you don’t have to choreograph a Broadway number and the students don’t have to know anything about formal dance. We want you to think of this as an opportunity for MOVEMENT. What we’re after, and the audience is craving, is some visual excitement to match the musical fun. No need to get fancy. When in doubt, think silly and simple.

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Painted Backdrop

Teacher

Betsy

Student Student John Jay

Audience


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Rehearsals and AssessmentAfter the students have learned the songs and the show has been cast, you will need to start teaching them where to stand and how and when to move. You will also need to work on individual songs, and especially on their behavior when they are NOT on center stage. Don’t worry about the quality of the overall performance when you begin. Remember, this is all part of the learning process, so take advantage of the opportunities for teaching and assessment. Again, teachers have come up with a wonderful variety of ways to make rehearsals a central part of their students’ learning. Here are some of their tips:

❖ Don’t panic. Rehearsals early on, and even up to the day of the performance, can be quite rough. The kids will pull through when it counts.

❖ Each day ask the students to give suggestions on improvement: What can everyone do to make the show better?

❖ Ask the students to self-evaluate as well: How did I do my job? How can I do better next time? (This can be done verbally or in writing.)

❖ It is best to have several full dress rehearsals so students can get used to them. Do these in front of an audience so students learn to project.

❖ Video-record a rehearsal and have the students analyze it. What was good? What could have been done better? This is a very valuable tool. When the students see themselves fidgeting and fooling around, when they can’t hear themselves sing, they will discover for themselves what they need to work on.

❖ Ask a student audience to think like a director and then write anonymous comments. It’s surprising how helpful these comments can be.

Third-Grade Kids Recommend the Following:

* Everyone has to work together as a team. * Cast members don’t need to give directions to others while on stage. It’s distracting. Let the person have some “wait” time and the teacher will help get them back on track.* Don’t worry about making a mistake. The audience probably won’t pick it up.* Use expression.* Don’t talk or play while on stage.* Background needs to sit still and be quiet so as not to be distracting.* Pay attention.* Wait for the audience to stop clapping before speaking again.


Emphasis: Making the Words Come AliveOne of the challenges of putting on children’s plays is to get your students to treat the lyrics and dialogue as language, to speak and sing in natural rhythms. The key is to have the students emphasize the right words and syllables. Kids often sound great when they’re singing but terrible during dialogue. You need to model speaking with expression. Have them analyze their lines for action words—exciting words that make the lines come alive. Then show them how to stress these words to bring out the meaning. Scenes always work best when the actors know which words need to be stressed. Again, we suggest video-recording a rehearsal so students can discover what they really sound like.

Final PerformanceYour most important performance will probably be for the students’ parents and families. There is a tradeoff in setting the time. More people can come if you do it in the evening, but the problem is that you’ll have to go back to school and all the kids will have to remember (and be able) to return. Many teachers perform only during regular school hours.

If you’re new to this you might be a bit nervous. Remember that the parents are there to watch their children and they’ll be pleased with almost anything. When it comes out well, you’ll be a star. If it comes out wonderfully, you’ll be nominated for Teacher of the Century. As we suggested above, we strongly urge you to do a number of informal performances (dress rehearsals) for other classes. You might start with younger kids, since they tend to be easily impressed. Then move up to the students’ peers and older kids. Since the shows are informal it’s okay to stop the action if the kids are having some problems. The main thing is to let them get used to performing. Don’t worry if your musician (if you have chosen to use one) isn’t available for every performance—just use the audio recording.

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If Something Goes Wrong: Ignore it!

Tell your students that if something goes wrong, they should continue with the play as though nothing was amiss. It won’t help to stop and tell fellow actors what to do.


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During the show you should be in clear view of the students. You’re there to help the kids remember what they need to do and encourage them when they do well. You can cue all group singing and mouth the lyrics to help keep the class together. If some of the lyrics seem difficult to memorize, you may want to hold up signs with key words or pictures to remind the kids what comes next. Some teachers just go ahead and sing along on the group songs.

Print up a program, and don’t forget the invitations to the parents. A cast party is traditional after the last performance of a play. The kids will really enjoy it and it will provide a great chance for the parents to talk with one another and congratulate themselves for managing to arrange such a wonderful teacher for their kids. (This may sound flippant but we’ve heard people say things like this at every post-performance party we’ve attended. There’s nothing like a genuinely good school play to fill parents with joy and gratitude.)

Turning on the Applause Sign

The audience wants to applaud, but it needs to be told when it’s the right time to clap. Since you have no applause sign, the actions themselves of the student actors must say loudly and clearly, “Okay, we’re done with the scene, you can applaud now.” To convey this message to the audience, the performing students need to do two things: they must stop all movement, and they must face the audience. If they start moving the second they finish the song, the audience will not know the scene is completed. Finally, don’t be afraid to clap yourself at the right moment. The students deserve it, and the audience will follow your lead. This is especially important after the very first song. If those watching the show understand at the beginning that they are allowed and expected to show their appreciation, they will continue to do so throughout the show.


Last Bit of AdviceWhen you’re learning to cook, you follow the cookbook to the letter. If the recipe calls for 1 1/2 cups of fresh smelt, you put in 1 1/2 cups of fresh smelt. Later, after you gain some confidence, you loosen up and take some chances. The same thing happens with putting on a play—after a few tries, you’ll be spicing up the show at every turn. We’ve tried to give you an accurate and workable recipe for a really fun show, but feel free to do anything that seems best for you and your class. And if you have any great ideas, or even good ones, please contact us so we can include them in the next version of this show.

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actsdutiestaxesleviestraitorconcededincorporationboycottpetitionsCommon SenseTownsend ActsStamp ActGreenville Acts“a patch in the quilt”“getting their threads in a tangle”“about to bust a stitch”pleatembroideringsaddle-stitchneedleworkknittingcrochetedneedle-point

memorabiliasavoir fairegloatedaristocratmenschparliamentaphorismmaximscommercecontinental breakfastreconciliationassuredlyendorseendowedunalienableeloquenceliterallyskulkinglegislativeexecutivejudiciarydarnempire

Interesting Vocabulary and Phrases from The American Revolution


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The Complete Piano/Guitar Music for The American RevolutionThe complete score for piano and guitar accompaniment is available from Bad Wolf Press.

This compilation includes all the music for The American Revolution and is in an easy piano style with complete guitar chord suggestions. It is absolutely necessary if you plan live musical accompaniment of the show. Budding piano students may also enjoy playing some of the catchy tunes including “It’s Great to Be An Empire,” “Down, Down, Down,” and “Gonna Vote for President.”


1But Wait...There’s More!

Complete Your Collection

Can’t get enough of this play? We don’t blame you. You can also purchase sheet music (printed or downloadable) and extra/replacement audio recordings (CD or digital download). Just visit our web site, send in a purchase order, or use the order form in our catalog.

Discounts

We offer money-saving site licenses and school packs for entire grade levels or schools. See our web site or catalog for more details.

Though you are not required to buy scripts or audio recordings for students, they are available at half-price as long as at least ten books or audio recordings are purchased in one transaction. We will ship all the materials to the same address. It’s the perfect and inexpensive way for a teacher to put high-quality literature and music into young impressionable minds. Contact us to order!

The fine print: this offer is for student use only. Teachers/directors may purchase copies at regular retail price only. We are cheerfully making this show available to students at a price barely above cost. Please don’t take unauthorized advantage of our simple-mindedness and turn us into just another crestfallen and cynical team of songwriters squeezing the last nickel out of the innocent children of America.

To order from Bad Wolf PressIf you have any questions about ordering from Bad Wolf Press, please contact us at any of the addresses or numbers listed below. Be sure to check out our web site for tips on producing plays, as well as partial scripts and songs from all our shows.

Have you any ideas or suggestions regarding musicals? Let us know so we can alert the rest of the civilized world!

Please contact us at: Bad Wolf Press 216 Mt. Hermon Rd Ste E372 Scotts Valley, CA 95066 Toll Free: 1-888-827-8661 badwolfpress.com


http://badwolfpress.com?utm_source=dlproduct&utm_medium=ordering&utm_campaign=dlproduct





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