Patti Lozano • Patricia Karen Lynn

A collection of 12 very humorous,

original short plays designed

Let’sact!

Let’s act! M i n i - p l a y s
for upper primary and lower
secondary students of English.

Mini-plays for the English classroom

Patti Lozano • Patricia Karen Lynn

Let’sact!
Mini-plays for the English classroom

P h o t o c o p i a b l e
• Original plays with unexpected and irreverent twists
on everyday situations

• Scripts using basic vocabulary and structures

(levels A1 and A2 of the Common European Framework
of Reference for Languages)

• Performance times of approximately 15 minutes

• Roles for 3-8 students per play

• Stage directions and production ideas

• Suggested variations

• Minimal sets, props and costumes

P h o t o c o p i a b l e

13570 - Copertina Let’s act

 Patti Lozano • Patricia Karen Lynn

Let’s act!
Mini-plays for the English classroom

P h o t o c o p i a b l e

13570 - Lets’act! - 1 bianca

Original edition:
Mighty Mini-Plays for the ESL Classroom © Patti Lozano 2002

This edition: Let's Act! © ELI 2003

Cover: C. Cornell
Illustrations: M. Eynard

The pages of this book marked:

Photocopiable • Let’s Act! • © ELI 2003
may be photocopied free of charge by the purchasing individual or institution.
This permission does not extend to branches or additional schools of an institution.
All other copying is subject to permission from the publisher.

ELI s.r.l.
P.O. Box 6 - Recanati - Italy
Tel. +39/071/750701 - Fax +39/071/977851
E-mail: [email protected] - www.elionline.com

Printed in Italy - Tecnostampa Recanati 03.83.151.0

ISBN 978-88-536-0019-6

13570 - Lets’act! - 1 volta

 Contents

ACT I
PREVIEWS
Plays Synopses and Language Objectives 4
Introduction 7
• About the introduction

• Language level

• Aims of the book

• How to Use this Book

• Rehearsal Procedure

• Acting Tips

ACT II
PLAYS OVERVIEWS AND SCRIPTS
1. Interruptions 15
2. Snowdonia Weather 20
3. The Lost Book 28
4. Lola 33
5. The Perfect Pet 40
6. A Day of Surprises 46
7. Arnold in Love 53
8. Universal Clothing 59
9. Cooking Today 65
10. Three Brothers 72
11. Scrambled Eggs 78
12. Mum Strikes Back! 84

3
 Plays Synopses
and Language Objectives
1. INTERRUPTIONS
SYNOPSIS:
Mrs Craddock attempts to teach her geography class, but the class keeps shrinking
as Mr Norman, the headmaster, takes more and more students away to other
classes and activities.
LANGUAGE OBJECTIVES:
Vocabulary: classroom objects, school classes, classrooms, school personnel, daily
school situations
Structures: simple present tense sentences

2. SNOWDONIA WEATHER
SYNOPSIS:
Sonny Merriweather, television weather anchor for the Snowdonia Weather
Channel in Wales, and his co-anchor, April Showers, check in with their weather
correspondents around Europe.
LANGUAGE OBJECTIVES:
Vocabulary: weather terminology (for example: snow, foggy, drizzling)
Structures: weather-related phrases (for example: How’s the weather
in ____? ... partly cloudy skies with a warm breeze...)

3. THE LOST BOOK

SYNOPSIS:
Casey searches his house in vain for his missing book as his family
impatiently waits to leave for the library.
LANGUAGE OBJECTIVES:
Vocabulary: rooms of the house, furniture, common household objects
Structures: prepositions (for example: on top of, between, under, inside)
Verbs: informal commands

4. LOLA
SYNOPSIS:
Two simple-minded young men meet a beautiful stranger in the park. They try to
coax her into conversation, but she only wants to talk in rapturous, automatic
phrases about her new car.

4
LANGUAGE OBJECTIVES:
Vocabulary: jobs and careers, nature
Structures: present tense verb conjugations

5. THE PERFECT PET

SYNOPSIS:
Laura goes to the pet shop to buy the perfect animal companion.
LANGUAGE OBJECTIVES:
Vocabulary: domesticated animals, adjectives
Structures: expressing feelings: (to be cold, to be hungry, to be brave)

6. A DAY OF SURPRISES
SYNOPSIS:
A simple trek into town becomes a progression of obstacles for Mike, as he makes
heroic and persistent attempts to attend Katie’s surprise eighteenth birthday party.
LANGUAGE OBJECTIVES:
Vocabulary: town centre buildings and city terms
Structures: telling the time, asking and giving directions

7. ARNOLD IN LOVE
SYNOPSIS:
Arnold tries in every way possible to get Amanda to notice him, but she is only
interested in her book about cats.
LANGUAGE OBJECTIVES:
Vocabulary: body parts, personal descriptions, canteen foods
Structures: describing people

8. UNIVERSAL CLOTHING
SYNOPSIS:
Mrs Ortega, the clothes shop owner, and her assistant, Carmen, desperately try to sell
their frugal customer, Mr Blomberg, the amazing "One-Fabric-Does-All" clothing.
LANGUAGE OBJECTIVES:
Vocabulary: clothing
Structures: useful phrases for shopping

5
 Plays Synopses
and Language Objectives
9. COOKING TODAY
SYNOPSIS:
Ted and Tina are the enthusiastic hosts of the wildly popular and moronic TV
cooking show, "Cooking Today with Ted and Tina!". Join them today as they
discuss and compare fruits as well as answer inane questions from their fervent,
dim-witted studio audience.
LANGUAGE OBJECTIVES:
Vocabulary: fruits (apples, oranges, lemons, bananas, pineapples, etc.) and
vocabulary associated with fruit (pulp, citrus, peel, juice, etc.)
Structures: question forms

10. THREE BROTHERS

SYNOPSIS:
A pushy Narrator relates the absolutely ordinary afternoon of three brothers.
LANGUAGE OBJECTIVES:
Vocabulary: adjectives and adverbs (personal descriptions)
Structures: comparatives and superlatives

11. SCRAMBLED EGGS

SYNOPSIS:
Louise has the dubious pleasure of serving breakfast to Mr Gibson and his
annoying “friend”, Mr Bumpo.
LANGUAGE OBJECTIVES:
Vocabulary: breakfast foods
Structures: common phrases for ordering and dining in a restaurant

12. MUM STRIKES BACK

SYNOPSIS:
Mum wants help with the chores, but everyone in the family is too busy.
Mum has the final revenge.
LANGUAGE OBJECTIVES:
Vocabulary: household chores, household articles, rooms in the house
Structures: “to have to _______,” the imperative tense (commands)

6
 Introduction

1 ABOUT THE INTRODUCTION

Please don’t skip it! It’s brimming with bright ideas and suggestions to get
you into the right mood for trying your hand at acting. Whether you intend to
direct, stage, or act in the plays themselves these preliminaries will help you set the
scene and, most importantly, will spur you and your students to unleash theatrical
talents and creativity you thought you never had.

2 LANGUAGE LEVEL

The plays bring to life English vocabulary and structures based on Levels
A1 and A2 of the Common European Framework of Reference for Languages, which
require students to reach a survival level of English. The plots and style of dialogue
are written to intrigue 11-15-year-olds. The plays deal with everyday expressions and
situations, they practise exchanging information on familiar issues and depict
practical scenarios such as giving and receiving directions, ordering or talking about
food, the weather, household chores, etc.

3 AIMS OF THE BOOK

Let’s Act! is not intended as a serious work of drama and hence has no claims
to match the work of classical playwrights: in other words, it does not aim to instil an
everlasting appreciation of classical theatre in your students! What it does hope to
do is introduce some entertainment and fun into your classroom whilst also
achieving the educational purpose of helping your students discover and develop
their acting abilities using the English language in a controlled, yet creative and
humorous way.
Let’s Act! contains the scripts of twelve mini-play productions which can be
conceived as either very short, but complete plays, or as very long and developed
skits. In each case, the performance is designed to last 15-20 minutes. Several
situations deal with the pursuit of the opposite sex, some deal with superficial
conflict at home or in school whilst others are parodies of the news or television talk
shows.

7
 Introduction

The plays are meticulously written in the present tense, even when alluding
to past and future events, but great care has been taken to ensure the conversation
keeps flowing naturally, despite all dialogues being in the present. However, by
avoiding perfect, continuous, future and subjunctive tenses, where these are
normally standard fare in making requests, expressing hopes, explaining or
remembering something, some dialogues may, occasionally, seem a little stilted. We
strongly feel, though, that the act of putting together and performing these plays
encourages English fluency, peer teaching and learning in context, benefits which by
far outweigh the odd stilted, but correct, sentence. Let’s Act! can be staged and
performed with the support of classroom teachers or, with slightly older students,
can be brought to life as a group activity with minimal adult assistance.
The pages of this book marked: Photocopiable • Let’s Act! • © ELI 2003
may be photocopied.

4 HOW TO USE THIS BOOK

ORGANISATION
Each of the twelve plays includes an Overview page followed by the script,
which is five or six pages long.

THE OVERVIEW
This page, which is written specifically for the teacher’s use, contains the
sections: Synopsis, Language Objectives, Production Notes, How to Extend or
Reduce the Length of the Play and Staging Suggestions. It shares information and
insights that the teacher may want to consider before casting the characters and
staging the play. Students do not receive a copy of this page.

• SYNOPSIS
The synopsis contains a one or two sentence summary of the play that
follows. Every plot has some kind of unexpected twist at the end, designed to
surprise and amuse both the actors and the audience. Sometimes the synopsis
describes the plot twist and other times it keeps it under wraps. You may, or may not
want to share the synopsis with your students.

8
 Introduction

• LANGUAGE OBJECTIVES
Usually language objectives are listed for both vocabulary and structures and
often examples are cited. Remember: the purpose of Let’s Act! is not to teach new
concepts, but to reinforce what has already been introduced during classroom
instruction. For this reason, target vocabulary and structures are not pounded into
the students’ conscience through every spoken dramatic line, but appear
occasionally, as they would be spoken in the context of a natural conversation.
Almost every word spoken in these mini-plays is standard elementary level English.

• PRODUCTION NOTES
The Production Notes provide helpful miscellaneous tips for the teacher, or
"director!" The information in the Production Notes varies, but it is always very
important. Make sure you read it before developing the play. Sometimes the style of
the play is explained or acting "tips" are suggested for a particular character.
Sometimes insights to a character’s personality are explored. Often there are
suggestions for casting, for creating props and optional backdrops.

• HOW TO EXTEND THE LENGTH OF THE PLAY

This section gives you several suggestions for each play on how to add to the
performance length of the play by creating dialogue for additional sub-plots,
characters and situations. There are several situations in which you might want to
use the “How to Extend the Length of the Play” section:
 You are performing for the student body, the annual parents and teachers’
meeting, secondary school or drama class, and need a full-length play.
 You wish to engage all the students in your classroom in the same play
and need roles for all students.
 You want to further reinforce certain vocabulary and structures through
additional dialogue.

There are several ways to create additional dialogue:

 You, the teacher, may try your hand as a playwright.
 Students, either individually or in small groups, may be given a finite length
of time to compose dialogue. Each student or group may audition this dialogue with
the class, and the students may vote to decide which dialogue will be added to the play.
 The class may add dialogue as a large group with the teacher as facilitator
and director.

9
 Introduction

• HOW TO REDUCE THE LENGTH OF THE PLAY

At other times you may need to reduce the length of the play for several
reasons. For example:
 Your students are presenting the play for a competition and have a seven
minute performance time limit.
 You want your students to memorise the play and you wish to delete a
certain amount of dialogue.
 You want smaller rehearsing and performing student groups.

In this case, suggestions are given for reducing characters’ lines without losing
the flow and meaning of the plot and sometimes for deleting entire characters.

• STAGING SUGGESTIONS
The sketches at the bottom of most Overview pages exist to give you a rough
idea of the staging when performing these skits with students both in classroom
settings and on school hall/assembly stages. The drawings represent the placement
of students when the "curtain" rises, in other words when the play begins.
Staging directions for student movement after the play begins are always written in
italics as it occurs in the dialogue.
Occasionally, the Staging Suggestions is omitted where the setting is largely
imaginary or optional.

THE SCRIPT

• CHARACTERS
The characters are always listed, with a minimum of description, in the order
of appearance. The roles for the most part are quite generic. Usually girls can play
boys’ roles and vice-versa. Read through the entire play before casting parts to make
sure you do not assign anyone anything particularly embarrassing to him or her.
Most plays have roles for 4 - 5 students, but you may always create more roles or
omit them, if necessary.

• SETTING
The plays do not need any elaborate staging! The goal is not Broadway, but
fluid communication. The amount of setting is really up to you and your students.
When the play calls for a sofa, if you have a sofa in your classroom, then great!
If not, just drape some chairs with a throw to approximate a sofa.

10
 Introduction

A doorway may be a long piece of brown parcel paper. News anchor desks, TV
cooking show countertops and restaurant tables may all be created with plain, fold-
up tables. A few plastic potted plants can make a great image of a park.
Old linen bedsheets that are painted and parcel paper that is decorated make
wonderful optional backdrops that enhance certain moods or create locations.

• PROPS
The number of props used in the plays varies tremendously. One play entitled
“Lola”, only requires two pine cones as props. Other plays need a great deal of
sundry, seemingly unrelated items. You should not have to purchase any props and
volunteers can bring items from home.
It is important to gather all props together in a box before the first rehearsal.
Always read through the play to make sure you have all the necessary props, and
also to determine where they must be placed for actors to grab them as they need
them during the performance.

• “CURTAIN”
“CURTAIN” gives you the exact location and occupation of each actor as the
play starts. It is also a very theatrical word!

• COSTUMES
You have enough to do as language teachers, without worrying about
costumes! If your students want to wear something special for their role (and some
undoubtedly will), that’s just great, but it’s between you and them. If costumes are
really essential, browse through your local second hand and charity shops, as well as
jumble sales and flea markets for great costume clothes at next-to-nothing prices.

11
 Introduction

5 REHEARSAL PROCEDURE
You may wonder how to actually rehearse and present these plays with students.
Here is a sample one-week schedule.

Standard rehearsal procedure with students

Day 1 (30 minutes): distribute a copy of the chosen play to each student.
Read through the play as a class. Check student comprehension and practise
any new vocabulary.
REMEMBER: The play is only funny, and therefore successful, if students
understand the vocabulary and plot well enough to understand the humour!
Day 2 (30 minutes): divide the class into small groups. Distribute scripts,
each group assigns roles amongst themselves, and read through the
script. They begin to “block” the action if they have time that day.
Day 3 (30 minutes): small groups reconvene to block and rehearse their
plays several more times, add a few simple props. The teacher monitors
groups, assists, and makes suggestions.
Day 4 (The entire class period): present the play to the other groups.
Video-tape the performances, if possible.(The quality of performance
always increases when students know that they are being video-taped!)
IMPORTANT! There is no need for students to completely memorise their
lines, unless they are actually performing for other people. Using their
scripts is fine, or if you want a more polished performance, have them
make cue cards to hide in their props. Ad-libbing is okay: after all, that’s
what communication is all about!

6 ACTING TIPS

As a second language teacher, you are required to act every day. You act as
you teach nouns, verbs, adjectives, prepositions, expressions and just about
everything. The following are some additional acting tips which may help to
"formalise" your theatrical qualities.

12
 Introduction

ACTING TIPS

1. Acting is believing. You are not only playing the role of the Martyred Mother,
the Frantic Suitor, the Perky Waitress or the Angry Customer. You become that
person. You step into their skin and feel what it’s like to be someone else.

2. Acting is a voice. Always project your voice to the back of the theatre (or auditorium,
canteen or classroom). Try to make your voice flexible: experiment with intensity, pitch
and rhythm. Enhance emotions with exaggerated inflections. Always make sure your
words are clear and distinct, especially your beginning and ending consonants.

3. Acting is thought. Think about the meaning of your lines, no matter how many times
you say them. Say your lines more slowly than you do in real life because your audience
needs time to digest your information. Remember that you’ve heard your lines many
times, but your audience only gets the opportunity to make sense of your words once.

4. Acting is movement. All action on the stage should be "big!" Emphasise your
words and actions with gestures and movement. Do not make unnecessary
movements like scratching your face or tapping your foot, because the audience will
watch that instead of the story.

5. Acting is focus. Always focus on the character to whom you are talking. Always
make eye contact with him or her, unless the director or script instructs you otherwise.

6. Acting is creativity. You are often given very little insight into your character.
This is especially true in short works, such as mini-plays. Use your imagination to
create your character. What does she do in her leisure time? What kind of
temperament does he have? Create the physical aspects of your character as well.
What kind of walk does she have? Does he slouch on a couch or sit up straight?
Does he sigh a lot, sniff daintily, or clear his throat loudly?

7. Acting is fun! This is the final and most important advice! Acting is fun because it
allows you to step out of your skin and be someone else for a little while. Acting lets
you react to situations and people in unusual ways without fear of reprisal. Acting is
speaking with strangers who become friends as you work and play together to perfect
a scene. Acting is creating a fine art out of the everyday process of communication.

13
 1
Interruptions 1

Overview
SYNOPSIS
The teacher, Mrs Craddock, is attempting to
teach her geography class, but the class keeps
shrinking as Mr Norman, the headmaster, takes
more and more students away to other classes
and activities.

LANGUAGE OBJECTIVES
Vocabulary: classroom objects, school classes,
classrooms, school personnel, daily school
situations
Structures: simple present tense sentences

PRODUCTION NOTES
Mrs Craddock (the teacher) has the most
demanding role with many lines to memorise.
She may want to “cheat” and hold a “register”
in her hands during the play in order to hide
her script.
All roles in this play may be played by either
boys or girls.

TO EXTEND THE PLAY’S LENGTH

Create additional roles for students in
Mrs Craddock’s classroom, along with
additional reasons for interruptions and removal
of students from the geography classroom. Add
more classroom objects, school personnel, daily
school experiences and school courses to the
CHARACTERS: 8 ACTORS
script. Don’t forget to create a role for the
student who always asks to go to the Mrs CRADDOCK (the geography teacher)
bathroom! Students: CHARLES, LUCY, LEONARD,
PETER, MELINDA, JULIA
Photocopiable • Let’s Act! © ELI 2003

TO REDUCE THE PLAY’S LENGTH Mr NORMAN (the headmaster)

Omit one or more of the student characters
from the script.
SETTING:
A classroom with a large map of Europe in
prominent view, 6 student desks and a door.

PROPS:
large map of Europe, pointer, clipboard,
a tennis racket

15
1 Interruptions
2

CURTAIN:
Mrs CRADDOCK, pointer in hand, is standing at the front of her classroom.The students
are seated in chairs at desks in front of her. (See the staging directions on the previous
page.)
A large map of Europe is displayed on the wall or board next to her.

Mrs CRADDOCK: Good morning, class. Today we are going to study the countries
that make up Europe and their capitals. Open your geography
books to the map on page 154. You can also look at the large map
at the front of the classroom.
CHARLES: (Raises hand)
Mrs CRADDOCK: Yes, Charles?
CHARLES: Um... I don’t have my geography book.
Mrs CRADDOCK: Well Charles, where is your geography book?
CHARLES: I don’t know... but I have my maths book. (Holds it up) See?
Mrs CRADDOCK (Dryly) That’s very nice, Charles, but this is not a maths class. This
is a geography class.
CHARLES: Oh.
Mrs CRADDOCK: Melinda, do you have your geography book today?
MELINDA: Yes, Mrs Craddock.
Photocopiable • Let’s Act! © ELI 2003

Mrs CRADDOCK: Good. Charles, you can look at Melinda’s book today. (Pauses and
watches as Charles very noisily moves his chair next to Melinda)
Okay. Let’s begin. Today we’re going to study the countries that
make up Europe and their capital cities. You know, of course, that
Europe is not a country, it’s a… what?
(Mrs Craddock looks at her class expectantly. The students all look
back at her. No one answers, so she continues). A continent! Europe
is a continent. Now... (Scans class to choose student) Lucy Mitchell,

16
 Interruptions 1
3

what country is this? (Points to France)

LUCY: (Unsure) Is it France?
Mrs CRADDOCK: Exactly. Very good. And what is the capital city of France?
(Interrupted by a knock at the door) Yes, come in please.
Mr NORMAN: (Enters, holding a clipboard. Students suddenly sit straighter)
Mrs CRADDOCK: (Becomes a bit nervous and formal)
Mrs CRADDOCK: Why hello, Mr Norman, what a surprise!
Mr NORMAN: Mrs Craddock, please excuse me. I hate to disturb your geography
lesson, but is (Consults clipboard) Lucy Mitchell in your class?
Mrs CRADDOCK: Yes, she’s here.
Mr NORMAN: Lucy, your mother is in the office. You have an appointment...
LUCY: Oh! That’s right! I have a dental appointment. Goodbye, Mrs
Craddock. See you tomorrow. (Gathers her books, LUCY and Mr
NORMAN EXIT)
Mrs CRADDOCK: (Calls out, but in vain) Lucy, take your geography book! Study
your countries and capitals at the dentist’s! (Pauses, then scans
room again) Leonard, please answer the question.
LEONARD: (Hesitates) Um... what is the question?
Mrs CRADDOCK: The question is, “What is the capital city of France?”
LEONARD: Well, um... what page are we on?
Mrs CRADDOCK: We are on page 154.
LEONARD: Oh, okay... (Finds correct page and reads) France is famous for the
Arts, its wines and the fashion industry.
Mrs CRADDOCK: Well, that’s very interesting, Leonard, but the question is, “What is
the capital city of France?
LEONARD: Oh. (Prepares to answer when he is interrupted by another knock)
Mrs CRADDOCK (A bit annoyed) Yes, come in please.
Mr NORMAN: (Enters, students once again sit up straighter, Mrs CRADDOCK looks a
bit perplexed)
Mrs CRADDOCK: Hello, Mr Norman... again...
Photocopiable • Let’s Act! © ELI 2003

Mr NORMAN: Excuse me, Mrs Craddock. I hate to disturb your geography lesson,
but is (Consults clipboard) Leonard Bishop in this classroom?
Mrs CRADDOCK Yes, he’s here.
Mr NORMAN: Wonderful. Leonard, go to the gym. It’s almost time for the tennis
team photos.
LEONARD: (With excitement) The photos for the school yearbook? Today?
Mr NORMAN: Yes. (Glances at watch) In ten minutes.
LEONARD: In that case I need my racket! Where is my racket?

17

13570 - Lets’act! - 2 bianca

1 Interruptions
4

CHARLES: (Eagerly) It’s under your desk. I’ll get it for you! (Jumps up)
Mrs CRADDOCK: Charles, sit down.
LEONARD: Oh, yeah. It’s under my desk. (Grabs his racket) See you tomorrow,
Mrs Craddock! (LEONARD and Mr NORMAN EXIT)
Mrs CRADDOCK: (Calls after him) But Leonard, what is the capital of–? (The door
slams, silence, then Mrs Craddock says dryly) The capital city of
France is Paris... Well, class, let’s continue... Let’s go north. This
little country is completely surrounded by water. (Points to the UK)
What country is this... Pete?
PETE: (Flustered because he hasn’t been paying attention) Is it October
14th? October 15th?
Mrs CRADDOCK: What? No, Pete, not the date... the country! Name this country.
PETE: Oh... (Thinks hard) Is it... the United Kingdom?
Mrs CRADDOCK: Yes! It is the United Kingdom. Very good! (To class) And now,
what is the capital city of the United Kingdom?
PETE: (Raises hand and waves enthusiastically)
Mrs CRADDOCK: Yes, Pete?
PETE: Are the basketball team pictures today, too?
Mrs CRADDOCK: Pete, this is not your P.E. class and I am not your coach, so I have no
idea. This is geography. Now, what is— (Once again interrupted by
knocking at the door, she calls out angrily) Who is it?
Mr NORMAN: Excuse me, Mrs Craddock. I hate to disturb your lesson again
(Chuckles, oblivious to Mrs Craddock’s frustration) but is (Consults
clipboard) Pete Rivera in this classroom?
Mrs CRADDOCK: (Wearily) Yes, he’s here.
Mr NORMAN: Pete, your maths teacher can’t find your maths test. You need to
take the test again right now. Don’t forget to take your maths
book, your notebook, a pencil and a calculator. (Mr Norman EXITS)
PETE: Yes, sir.
Mrs CRADDOCK: (Watches dejectedly as Pete EXITS, looks at two students left in
Photocopiable • Let’s Act! © ELI 2003

class, and then asks with forced brightness) Julia, look at your book,
and tell me what is the capital of the United Kingdom?
JULIA: (Reads aloud from textbook) The United Kingdom is completely
surrounded by water.
Mrs CRADDOCK: Yes, Julia, we already know that. What is the capital of the United
Kingdom?
JULIA: The capital of the United Kingdom is— (Julia is interrupted as the
door flies open)

18

13570 - Lets’act! - 2 volta

 Interruptions 1
5

Mr NORMAN: (Enters frantically) Excuse me, Mrs Craddock! I hate to disturb

your lesson again, but is (Consults clipboard) Julia Denson in this
classroom?
Mrs CRADDOCK: (Concerned) Yes, she’s here.
Mr NORMAN: (Breathlessly, waving his arms) The science lab!... Julia, it’s an
emergency! Run! It’s your science experiment!
JULIA: (Jumps out of seat anxiously) Mr Norman, is there a problem in the
science lab with my snakes?
Mr NORMAN: Yes, Julia! (Breathes deeply, tries to compose himself) Your snakes
escaped from the aquarium. There are snakes on the floor, on the
chairs, on the desks and on the computers!
JULIA: Oh no, my poor snakes! Sorry, Mrs Craddock! Bye! (Julia EXITS)
Mr NORMAN: (Clapping his hand to his forehead) And now the snakes are
heading towards the canteen and the library! (Mr Norman EXITS)
CHARLES: (Inspired, jumps out of his seat) Snakes! Really? Cool! Julia, wait for
me! (He runs to the door, then turns and faces Mrs Craddock) Sorry,
Mrs Craddock, I have to help the snakes. See you tomorrow!
Mrs CRADDOCK: Charles! (Sighs, then looks at her one remaining – and very attentive –
student) Okay, Melinda, what is the capital of the United Kingdom?
MELINDA: (Raises her hand self-importantly)
Mrs CRADDOCK: (Exasperated) Melinda, why are you raising your hand? Look
around the classroom. Lucy is in the office. Leonard is in the gym.
Pete is in the maths classroom and Julia is in the science lab. And
Charles, well, who knows where Charles is? Melinda, you are the
only student in the classroom. You do not have to raise your hand.
So tell me, Melinda, what is the capital of the United Kingdom?
MELINDA: (Stands up majestically with book) Mrs Craddock, the capital city of
the United Kingdom is – (The bell rings) Oh! There’s the bell! Well,
bye, Mrs Craddock, I have to go to my history class now! (Melinda
EXITS)
Photocopiable • Let’s Act! © ELI 2003

Mrs CRADDOCK: (Points to the map, speaks wearily to the empty chairs) It’s
London... The capital city of the United Kingdom is London…

The End

19
2
1 Snowdonia Weather
Overview
SYNOPSIS
Sonny Merriweather, television weather anchor
for the Snowdonia Weather Channel, and his
co-anchor, April Showers, check in with their
weather correspondents around Europe. CHARACTERS: 5 ACTORS
SONNY MERRIWEATHER
LANGUAGE OBJECTIVES
(SNOWDONIA Weather Channel anchor)
Vocabulary: weather terminology (for example: APRIL SHOWERS
snow, foggy, drizzling) (SONNY’s scatterbrained co-anchor)
Structures: weather-related phrases (for SHIRLEY A. BREEZE
example: How’s the weather in ___________?...
(weather correspondent on the Costa del Sol, Spain)
partly cloudy skies with a warm breeze...)
I.C. WINTERS
(weather correspondent in St. Moritz, Switzerland)
PRODUCTION NOTES MISTY DAY
The focal point of the “stage” is the anchor (weather correspondent in St. James’ Park,
desk. An attractive sign is hung either behind or London, UK)
from the desk, announcing “Snowdonia
Weather.” Other areas of the classroom or stage SETTING:
represent the Costa del Sol in Spain, a skiing
resort in St. Moritz, Switzerland, and St. James’
A news anchor desk with a large SNOWDONIA
Park in London. Posters, signs and/or props,
Weather sign, various areas of the classroom
such as beach towels, heavy jackets and so on decorated with signs, posters and/or props to
may be used to designate each area. represent a crowded beach resort on the Costa
del Sol, Spain, a trendy ski resort in St. Moritz,
TO EXTEND THE PLAY’S LENGTH Switzerland, a peaceful scene from St. James’
Park in London.
Add more news correspondents in other
countries, reporting additional weather patterns
and happenings.
OPTIONAL:
Add roles for cameramen in Wales and in Map of Europe displayed behind the anchor
remote locations. desk.

TO REDUCE THE PLAY’S LENGTH PROPS:

Photocopiable • Let’s Act! © ELI 2003

Delete the role of MISTY DAY in London. SONNY MERRIWEATHER and APRIL SHOWERS
both need papers to shuffle, earphones, a
suitcase and a few items of miscellaneous
clothing to pack hastily. SHIRLEY A. BREEZE
needs a microphone, sun lotion, sunglasses and
a cold drink. I.C. WINTERS needs a
microphone, huge plate of food and a large
drink. MISTY DAY needs a microphone, a sun
visor and a packet of crisps.

OPTIONAL FOR CORRESPONDENTS:

tiny earpieces to hear SONNY
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 Snowdonia Weather 2
2

CURTAIN:
SONNY MERRIWEATHER is seated behind the SNOWDONIA anchor desk, shuffling his
weather report papers. APRIL SHOWERS is seated next to him. Their suitcases and extra
clothing are hidden under the desk, their earphones lie on the anchor desk in front of
them.

SONNY
MERRIWEATHER: (Talking to camera in a jovial, resounding anchorman voice) Good
morning. I am Sonny Merriweather, the weather reporter here at
SNOWDONIA Weather, the only channel that today and every day,
reports only the interesting weather around Europe.
APRIL SHOWERS: And I am April Showers. We are reporting to you live from our
weather studio here in wind-swept Wales. It’s great to be here on
this lovely autumn day, isn’t it, Sonny?

SONNY
MERRIWEATHER: Well April, it’s very foggy outside. It’s also cold and drizzling, but if
you think that’s nice weather, then yes, it’s a lovely autumn day
here in wind-swept Wales.
APRIL SHOWERS: Oh, cheer up, Sonny. My report says that today in Wales the skies
are blue and partly cloudy with a warm breeze and a high
Photocopiable • Let’s Act! © ELI 2003

temperature of 30°C!

SONNY
MERRIWEATHER: Let me see that report, April. (He takes it from her, reads, then speaks
to April in a strained voice while facing the camera with a frozen smile
on his face) April, I’m sorry, but you’re reading the weather report...
from Corfu!
APRIL SHOWERS: Oops! (Shuffles her papers) So... what is today’s weather report for
Wales, Sonny?

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2 Snowdonia Weather
3

SONNY
MERRIWEATHER: Well, April, as I just said, right now it’s very foggy outside. It’s also
cold and drizzling.
APRIL SHOWERS: And the afternoon forecast, Sonny?
SONNY
MERRIWEATHER: (Consults papers) Well, let’s see... Rain, more rain and there is a good
chance of severe thunderstorms.
APRIL SHOWERS: At least it’s not windy.
SONNY
MERRIWEATHER: April, it’s always windy. This is Wales.
APRIL SHOWERS: Oh, sorry. I forgot.

SONNY
MERRIWEATHER: Well, let’s begin our report for today. April, where can we find
some really interesting weather? Where are we going today?
APRIL SHOWERS: Well Sonny, today we’re going to... the Costa del Sol in Spain!
SONNY
MERRIWEATHER: Fantastic! (SONNY and APRIL put on earphones) Let’s talk now
with our SNOWDONIA Weather correspondent on the Costa del
Sol, Shirley A. Breeze. Shirley, are you there? (Pause) Shirley, do
you hear me?
SHIRLEY A. BREEZE: (Wearing sunglasses and lying on a towel on the beach, SHIRLEY
is applying sun lotion, microphone between knees)
SONNY
MERRIWEATHER: Shirley! Are you there? Do you hear me? Shirley A. Breeze, this is Sonny
Merriweather from SNOWDONIA Weather in Wales! Do you hear me?
SHIRLEY A. BREEZE: (Suddenly becomes aware of SONNY; grabs mike, removes
sunglasses, gets professional) Hello, Sonny! Is that you? How are
you? How’s the weather in Wales?
SONNY
MERRIWEATHER: It’s foggy, cold and drizzling.
Photocopiable • Let’s Act! © ELI 2003

SHIRLEY A. BREEZE: It’s not windy, then? That’s good!

APRIL SHOWERS: Actually, it is windy... How’s the weather in Spain?
SHIRLEY A. BREEZE: Hi April. Well, let me tell you, things are really bad here.
APRIL SHOWERS: Oh, no!
SHIRLEY A. BREEZE: Yes, April. It’s hot. It’s terribly hot. It’s sunny everywhere. Not a
cloud in the sky. Sonny, are you there?
SONNY
MERRIWEATHER: (Glumly) I’m here.

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4

SHIRLEY A. BREEZE: Okay, listen. There are a lot of people here on the beach.
Lots of people, Sonny. They have no energy at all because
it’s just so hot and sunny. They are all just lying here on their
beach towels...
APRIL SHOWERS: Oh, those poor people!
SONNY
MERRIWEATHER: (Looks witheringly at April, responds to SHIRLEY with sarcasm)
Yeah, that sounds just awful.
SHIRLEY A. BREEZE: (Takes a long sip of a tropical drink) Oh, yes. It’s just so hot here in
Spain. These people are really suffering in this bright sunshine.
They seem to be terribly thirsty.
APRIL SHOWERS: How terrible! What do those poor people do?
SHIRLEY A. BREEZE: Well, they drink lots of lemonade and ice tea. They just lie on their
towels in the sun and wait for dusk. (Looks around)
APRIL SHOWERS: I see one young man nearby... he seems to be unconscious!
SHIRLEY A. BREEZE: (Gasps) Oh no!
APRIL SHOWERS: Wait... no, he’s okay. He’s just listening to a CD with his eyes
closed – anything to make the hours pass by more quickly.
SONNY
MERRIWEATHER: How awful!
SHIRLEY A. BREEZE: Yes. It’s just lucky for SNOWDONIA Weather that I’m here to
report on this critical situation on the Costa del Sol.
SONNY
MERRIWEATHER: Thank you, Shirley, for that extensive report.
SHIRLEY A. BREEZE: Oh, and there’s one more thing.

SONNY
MERRIWEATHER: (Sighing) Tell us.
SHIRLEY A. BREEZE: Well, it’s so hot and sunny here on the Costa del Sol in Spain, that,
well, how do I say this? People are walking around almost naked!
It’s just too hot to wear clothes! Can you imagine that?
Photocopiable • Let’s Act! © ELI 2003

APRIL SHOWERS: (Wistfully) Oh yes, Shirley, I can imagine it. Believe me. Just
bikinis, bikinis, bikinis as far as I can see! Are you wearing a bikini
too, Shirley?
SHIRLEY A. BREEZE: Well, yes I am... for safety reasons, of course.
APRIL SHOWERS: That’s really terrible. You know what, Shirley? I’d better help you
with this assignment. (Stands) I’m going to the airport now!
SONNY
MERRIWEATHER: No, April. It’s too dangerous!

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APRIL SHOWERS: No, no, no, Sonny. It’s okay. After all, I am a weather
correspondent for SNOWDONIA. I have to do this alone.
SONNY
MERRIWEATHER: Well, back to work now.
SHIRLEY A. BREEZE: This is SHIRLEY A. BREEZE, reporting to you live from the Costa del
Sol in Spain. (SHIRLEY puts microphone down, resumes applying
sun lotion)
SONNY
MERRIWEATHER: (Sighing, takes off headphones) And now we return to SNOWDONIA
Weather, the only channel that today and every day, reports only the
interesting weather around Europe. I am Sonny Merriweather.
APRIL SHOWERS: What about the people in St. Moritz, Billy? Is everyone inside the
restaurant?
I.C. WINTERS: Well, actually no. The people are suffering a lot. They ski down the
mountains until they are very tired and cold. Then they come in
here, into the restaurant, with their red cheeks and noses and
drink lots of hot chocolate.
APRIL SHOWERS: The poor souls!
I.C. WINTERS: Yes, and that’s not all, April. It’s not only the
men in the cold, April, but the women and children too!
The children try to keep their minds off the cold by building
snowmen. They try to have fun.
SONNY
MERRIWEATHER: (Wistfully) I love skiing!
APRIL SHOWERS: Are you going to ski, Billy?
I.C. WINTERS: Oh, no! (Eats and drinks again) I’m working! I’m sitting at a table
here near the window. I can see the moment the weather
changes. Besides, it’s almost time for dinner! I need to get back to
work now, Sonny, so I’ll say goodbye for now. This is I.C. Winters,
reporting to you live from St. Moritz, Switzerland.
Photocopiable • Let’s Act! © ELI 2003

SONNY
MERRIWEATHER: (Sighing, takes off his headphones, speaks dejectedly) And
now we return to SNOWDONIA Weather, the only channel
that today and every day, reports only the interesting weather
around Europe. I am Sonny Merriweather.
APRIL SHOWERS: (Takes off her headphones) And I am April Showers.
SONNY
MERRIWEATHER: How’s the weather in Wales now, April?

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