Sleeping Beauty NODA script

Edna the Dame M – A fairy, but dame role. Needs to build a rapport with the audience and deliver comic lines, sing and move. Old Hag / Minerva F – The...

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Sleeping Beauty The story of a princess who eventually got the point. By Rob Fearn & Leo Appleton ©2019  





This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   

2      This script is published by                  

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This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Welcome to the ninth pantomime in our series. In this pantomime we’ve taken what is a truly grim fairy tale and turned it into another classic re telling of the story, suitable for all ages and societies. That doesn’t mean there are no gags or fun to be had. It is there in bucket loads. We have the fairies, the magic, plus the mean Fairy Godmother casting her dastardly spell. Of course, we must mention the handsome prince that saves the day and a host of other characters for groups to have fun with. As usual, we have provided ample space for songs and given clear direction where we think it’s needed. However, we understand if you want to make adaptions so the panto fits your bill. Please feel free. Again, in our writing we have envisaged a production on a smaller stage with simple sets, but as always could well see these performed on a bigger stage and with bigger budgets having great effects with lavish scenery. Whatever you do with it, as always, our motto is, ‘make it fun’. Best of luck, Rob and Leo PS: If you do perform one of our pantos and let us know when it’s on we’d love to try and come and see it. You can message us via our Facebook site, Robleo Productions. Thanks. L & R.

Others in the series Cinderella A Christmas Carol – the panto Puss in Boots Snow White Jack and the Beanstalk Robin Hood Rumpelstiltskin Aladdin

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Characters The Fairies - All the fairies bar Edna are female roles. Poppy

F – Must be able to act, sing and move.


F – As for Poppy

Tulip F – As for Poppy Daisy F – As for Poppy Snowdrop

F – As for Poppy

Sweet Pea

F – As for Poppy

Edna the Dame M – A fairy, but dame role. Needs to build a rapport with the audience and deliver comic lines, sing and move. Old Hag / Minerva F – The wicked Fairy Godmother / Old Hag. Must be able to act, sing and move and build a rapport with the audience. Sniff M/F – Comedy sidekick to Minerva. Works closely with Snot as a double act. Needs comedy timing and should be able to carry a song and move. Snot M/F – As per Sniff. Sleeping Beauty / Princess Aurora

F – Needs to be able to act, move and sing.

Young Aurora F – Depending on the actual age of the older Aurora this role will be suitable for a younger girl. Needs to be able to act and sing. King M - Works with the Queen and Lord Chancellor. Needs to be able to act, sing and move. Queen F – Works with the King and Lord Chancellor. Needs to be able to act, sing and move. Lord Chancellor

M – Comedic role, needs to be able to act, sing and move.

Prince James (Custardos) M – The second half hero. Needs to be able to act, move, sing and some comic timing. King Custardos M – Can either be a separate character or suitably changed can double with the king in the first half Queen Custardos F - Can either be a separate character or suitably changed can double with the queen in the first half.

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Jester M/F – Has one main scene so can be a nice cameo for one of the chorus to play. Needs to able to deliver lines with comic timing. Raven M/F – Can be a hand puppet or rod arm puppet. Needs a voice as there are lines and they are in the main, comic. Delivery Man parcels).

M/F- A small part. Needs to be able to deliver lines (as well as

Prince 1 M/F – A small part in the second act only. Needs to be able to act and deliver comedy lines. Prince 2 M/F - A small part in the second act only. Needs to be able to act and deliver comedy lines. Chorus 1 & 2 M/F – The odd line here and there but are supporting and generally comedic so need to be delivered well. Guards M/F – A couple of guards (non-speaking), will be required for the second half.

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


List of scenes ACT 1 Scene 1

General set / palace scene. It is set with a child’s crib.

Scene 2

Full stage palace scene. Aurora’s christening, set with the child’s crib.

Scene 3

Still the palace scene but is some months later.

Scene 4 A generic room, inset or front of tabs, used by the fairies. Aurora is some years older now. Scene 5 Set front of tabs. Minerva’s scene with her two henchmen. Only requires a table and book of spells and cauldron perhaps. Scene 6 Full palace ball scene which fades into Minerva set to one side with a spinning wheel. Scene 7 Minerva is set front of tabs with a spinning wheel. The scene where Aurora pricks her finger. Scene 8 Initially same set as Scene 7 then tabs open to reveal the full palace scene plus cast on stage as per the ball Scene 6. End ACT 1 ACT 2 Scene 1 Another palace scene. It can be the same one as in ACT 1, but it should be dressed to make it look different. Scene 2

As per Scene 5 ACT 1

Scene 3

As per Scene 4 ACT 1

Scene 4 Forest scene. Will require some written signs that get changed around by Sniff and Snot. Scene 5

Initially starts front of tabs. Tabs then open to reveal the Wall of thorns.

Scene 6 This is the Palace scene now from ACT 1. All should be repositioned as per the first half. Scene 7

Song sheet scene – Front of tabs.

Scene 8

Full stage walkdown and finale rhymes.

The End This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Act 1

Scene 1 (Lights come up on a general set stage. There should be atmospheric lighting and some haze. There is a cot set centre stage. The seven fairies, Poppy, Marigold, Tulip, Daisy, Snowdrop, Sweet Pea, Edna the Dame are on. They can sing an opening song. As the song ends Edna looks in the cot and then there is a sound of a baby crying.) Poppy

Hush now Aurora. Edna didn’t mean to look at you.

Edna Charming! I’ll have you know in fairy tale legend I’m famed for my looks. Daisy You’re right. I’ve heard even ogres don’t like to look at you. Edna (To audience). That’s not very nice is it? I’m not ugly, am I children? (The audience should respond ‘oh yes you are’) Audience

Oh yes you are.

Edna Oh no I’m not. (This continues until eventually Sweet Pea interrupts.) Sweet Pea Oh please stop. You know I don’t like all this fighting. (She takes out a big hanky and starts crying). (Everyone stops to listen to Snowdrop). Snowdrop

(Dreamily). Peace descends and the world breathes once more.

Edna (To audience). After all that I suppose we should introduce ourselves. We are all fairies and are here to watch over the king and queen’s lovely new baby daughter Princess Aurora. Though, we’ve nicknamed her Sleeping Beauty, as she does love her sleep. I can’t help thinking I’ve seen that name somewhere before. (All the fairies now introduce themselves to the accompaniment of some musical underscoring). Poppy I am the fairy Poppy. I delight in looking after this bundle of joy. This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Marigold I am the fairy Marigold and so glad she wasn’t born a boy. Tulip I am the fairy Tulip. I love that she was born so fair. Daisy I am the fairy Daisy and love to brush her shiny hair. Snowdrop I am the fairy Snowdrop and wipe away all her tears. Sweet Pea I am the fairy Sweet Pea and will guard her through the years. Edna And I am the fairy Edna who isn’t a flower by name Nevertheless, I love her, as the others, just the same. (The music ends. They all curtsey to the audience). Tulip (Matter of fact). Now we have that out of the way, can we get down to business? Have we sent out all the invitations to Aurora’s christening? Mine have gone. Daisy (Likes to please). I did the big pile I was given. I wrote them all by hand, no magic at all and signed them personally. Edna Suck up! Poppy (Gives Edna a look. Poppy is the bossy one). I’ve done all mine. I think there were about two thousand, but I stayed up all night to get them completed. Edna Who’s counting? Sweet Pea (Simpering. She is very empathetic). Ohh, I thought the invitations were so pretty. Such a beautiful design. Once I’d stopped crying at how lovely they were, I wrote them all with a magic pen so that all who touch them will just want to come to the christening. Edna Give me strength! This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   



(All business). Done mine!

Edna More like it! (As Snowdrop says her lines everyone on stage looks at her. She is a bit strange). Snowdrop (She is away with the fairies). I threw mine into the air and watched them flutter to the ground like colourful butterflies and then attached names to them by magic as they landed. Tulip Excellent Snowdrop, everyone. Good job. Marigold

Hang on, haven’t we forgotten someone? What about Edna?

Edna What about Edna? Oops, you mean me don’t you? Marigold thousand?

Yes. How many invites did you have to write? Thirteen hundred, two

Edna Ooh I had lots to do. Tulip How many? Edna Oh you don’t really want to know, do you? All

Yes! How many?

Edna If you insist. All

We do.

Edna (To audience) They’re a pushy lot. (Back to the fairies). Well, if you must know. (In a quiet voice). One. Tulip Sorry? What was that? Edna (Still in a quiet voice). One. Marigold

Did she just say one?

Edna Yes, yes that’s it. I had one to do. Tulip Alright if that’s all you had to do then I assume you did it? Edna Ah, well, I need to tell you something here. Marigold

You’ve not done it have you?

Edna No! Tulip You had one to do and you didn’t do it. Do we still have time to send it? This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Poppy No. Way too late even for magic delivery. All the others will have been received. The one that’s been missed off the list will have realised already. We should just leave it. Tulip Who was the invitation for? Edna I don’t know. Probably a nobody, I think it might have said (insert Prime Minister of the day or someone that has been in the press) (Edna takes the invite out of her pocket or bag). No, I got that wrong. It was for the old hag, Minerva. (Puts it back in her bag). Sweet Pea

Oh she will be so upset when she finds out.

Edna I’m not telling her, are you? Sweet Pea

Perhaps not.

Tulip I must say Edna you are useless, but I agree we say nothing. We don’t really want her there anyway. She’ll just put a complete downer on the whole affair. Marigold

If that’s it, all invites are out and I say job well done.

Snowdrop (Gazing off). A flake of snow hits the ground and melts, its crystal tears watering the earth. Tulip I couldn’t have said it better myself Snowdrop. (The music strikes up and they reprise the earlier song. As they are about to exit the lighting changes to become more menacing as Minerva enters as the old hag accompanied by Sniff and Snot. The Raven also appears). Minerva

All the invites have gone you say? Do I have mine?


Awk, no.

(Sniff and Snot say the following as if there might be trouble) Sniff That is indeed a bit awkward. Snot I think there might be a spot of bother. Edna I did have it and was going to send it but then there was a bit of a mix up and we er, decided, er……. Tulip (Interrupts). It got lost in the post. Edna That’s it, we decided it got lost in the post. Raven

It’s in her bag!

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Sniff and Snot Minerva

(As if Edna has been found out). Aahaaah!

So, you didn’t send me one did you? (She points the wand at Edna).

Edna (Tries hard not to say it). Nnnn No! I wish she wouldn’t do that. Tulip Enough of this Minerva. Everybody, wands! (They all point their wands at her and Sniff and Snot). You might be the most powerful fairy here, but we will at least cause you trouble. Minerva You are right, pick your battles they say, but you will all rue the day you didn’t invite me to Aurora’s christening (To audience). What is it they call her, Sleeping Beauty? That’s given me an idea. (To Sniff and Snot). Come my minions. Ha ha ha Haaa! (She exits in a big swish of her cloak). Raven

See you. Wouldn’t want to be you.

(They all watch the Raven, Sniff, Snot and Minerva exit). Edna (To audience). Ooh! She is a nasty woman! (Blackout, end scene). Scene 2 (Lights up on a full palace scene. Chorus enter excited by the christening. King and Queen enter with Aurora followed by the seven fairies and rest of the chorus. There is a big song to open the scene. As the song ends the chancellor makes a proclamation.) Chancellor Settle down everyone! Thank you. Now before the festivities begin, I have a few things to say. Firstly, the toilets in the emerald room are out of order so please use the bog in the outer field and yes, I do mean that soggy patch of land. Secondly, we have a table set aside for any gifts to be left, that is left, not taken and I am looking at you Mr Turpin (member of chorus slides a bandit’s mask off his face). Finally, can all guests please make sure that they have an allocated driver, we do not want a repeat of last New Year when Fairy Edna crashed her donkey into someone’s parked ass. Now, may I welcome you all to the christening of our sleeping beauty, the beautiful, Princess Aurora. All


Poppy (Steps forward). Your Majesties, Chancellor, if I may say a few words. We, the fairies, would like to take this opportunity for each of us to bestow a gift on the princess. Sweet Pea, I believe you are to be first? Sweet Pea What me? Oh dear, what was it? Oh yes that was it, I think that was it anyway. What did I say I was bestowing? Oh, I’m all at sixes and sevens. This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   



Get on with it, Sweet Pea!

Sweet Pea Oh yes, I have it. I give the princess the gift of confidence so she may never have to doubt herself or be (staring at Poppy) bossed around. Poppy

You next Tulip.

Tulip I give the gift of ingelitence, inletigence, intellisense. Poppy

(Interjects). Cleverishness.

Tulip Thank you, cleverishness, so she will always know what is why. Poppy

Daisy, your turn.

Daisy I give the gift of beauty, so she won’t ever look like Edna. Poppy

That was uncalled for Daisy. Marigold.

Marigold To the virtuous, wonderful princess, I afford the gift of language so, she can speak with clarity and assurance wherever she may orate. Poppy

Snow Drop.

(As Snow Drop speaks everybody looks at her not sure what to think). Snow Drop (Dreamily). As the light fades and the lamps glisten in the sky, the swifts fly up, up, onwards, eternally. Poppy Thank you Snow Drop. She actually gives the princess the gift of, cough cough, good health, cough cough, so she will not have to suffer the flamin’ cough I’ve had for the last twenty years. Marigold

Language, Poppy.

Poppy And I give the princess the gift of wisdom and leadership so she will always be able to make the correct choices and guide her people in the right way. Well, that seems to be that. Tulip Psst! Poppy

Sorry what’s that?

Tulip Psst! Edna. Poppy

What about Edna? Oh yes of course. Edna! Where is Edna?

(Minerva and Raven enter amid smoke and lighting effects).

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Minerva (Darkly). Hello everyone. I do hope I am not too late. (Brighter). Well, I am here now, with, or (stresses) without an invite, so where are we up to? Lord Chancellor made a pompous speech yet? All


Minerva (Indicating the Fairies). These do-gooders bestowed gifts of fluffy niceness have they? All

Oh yes.


(To audience and a little darker) Now it is my turn.


Awk, this is the best bit.

Minerva (To audience). I have a very special gift to give the princess. One I have toiled over for many days. It’s so hard amid the teething rings, silver plated picture frames and egg cups to find the right thing, isn’t it mums? (To Chorus) Alright you lot, put down your vol-au-vents and jellies, I am going to give the princess my gift. Chorus 1

Oh that’s nice of her.

Chorus 2

Are you stupid? This won’t be nice. She is the baddie.

Chorus 1

She can’t be all bad if she’s giving her a present.

Chorus 2

Just you wait and see.


Oh this is so precious!

(Lots of light and smoke plus atmospheric music). The princess before she’s sixteen, will search and find a spinning wheel, She’ll prick her finger on that day and then her life I’ll steal. There can be no stopping it, it will happen very soon. How about that for sweet sixteenth, it’s enough to make you swoon. All


(Minerva exits laughing, the Raven stays). (Edna enters). Edna Sorry about that, I just had to walk all the way to the outer field for a….. Poppy


This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Edna Have I missed something? Tulip Minerva has given Aurora her present. She has cursed her to prick her finger on a spinning wheel before her sixteenth birthday and – oh dear – she will die! Edna That doesn’t sound good does it? I guess there is nothing we can do, is there? Sweet Pea have you?

But, Edna, I mean to say you, that is we have, but you haven’t, err well,

Edna Thank you Sweet Pea. I have absolutely no idea what you’re talking about, but you seem to have put a positive spin on events. Not! Poppy Edna Poppy

(She understands what Sweet Pea was saying). Of course. Of course, what? You have not yet bestowed your gift as you were otherwise engaged.

Edna You mean, I was on the bo….. Poppy

(Interrupts). I know what I meant.

Edna But, my magic is not strong enough to counter Minerva’s. Poppy

You must try Edna. Please.

King Please Edna. Queen

Please Edna.

Edna Alright, let me see. (Thinking out loud). I can’t cancel the magic, but I may be able to change it a little. Here goes. (Said with much gravitas, music plays and the lights alter for effect). Somnambus dorma sleepilius catnapus. (All lights return to normal). There we are. I couldn’t cancel the magic, but if the princess does prick her finger then she will not die, but will sleep for one hundred years. Poppy Thank you Edna. (To the king). My king, I fear it is the best that could be done in the circumstances. Edna Oh sorry, I forgot one other thing. After the one hundred years she can only be woken by the kiss from a handsome prince. (To audience) That’s lucky for her and convenient for us isn’t it? This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   



Awk, Very!

(Blackout, end scene). Scene 3 (Lights up. It is still the palace sometime later. The king, queen and chancellor are on). King I’ve said it before and I will say it again, I want all spinning wheels banished from this realm. Chancellor That’s all very well My Lord, but half of your kingdom relies on people spinning wool to make their very living, you would be condemning them to a life of poverty. King If that’s what I need to do, then I will do it. Queen

You know you don’t really feel that way, do you?

King (Sorry for his outburst). You’re right my dear, of course I don’t. But, I just don’t know what to do. Chancellor We have the princess under lock and key. She is guarded by the fairy’s night and day, how can she ever get to see a spinning wheel, let alone use one? Queen It is indeed a strange existence that she is leading. Perhaps, if we explained all this to her when she is a bit older, she would understand. King And have her living in fear? Never! She must never know of the curse that has been placed on her. (Music plays to introduce the fairy’s arrival. The seven fairies enter). Chancellor My king, it is the guardians of the princess. Queen

(To fairies). You are most welcome. What brings you here?

Tulip We are having one or two problems. Edna Well, actually, when we say one or two problems, we mean lots of problems. Chancellor Can you be more specific? Marigold


Chancellor That’s good (pause) and…? Edna We’ve not ordered any parcels, but we keep getting them. Lots of them. Inundated. Every day. My hand’s numb from signing for them. King Surely, this is not a problem? Snowdrop (Very spookily and full of drama). Time flies past, its fingers pointing to the future. Gone, gone, they cry, but no tears are shed. This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   



What was that?

Edna Don’t worry, she does that a lot. We don’t understand her either. King Why are these parcels a problem? Surely, you just return them? Sweet Pea

No, we don’t actually we er, just er,

Marigold Spit it out women. (To the king). Oh, she is trying to say they are all spinning wheels. Big ones, small ones, coloured ones, gold ones. Every shape and size, just to entice the princess. Edna We’ve really got a lovely collection. I think when this show’s over I might sell them. King (Shouts). That’s it! Sweet Pea Oh please don’t shout. It upsets me and I’m sure the boys and girls won’t like it. King Sorry. (Stage whisper). That’s it. I want every spinning wheel in the kingdom taken and destroyed, gone forever. Edna Sorry, what was that, can you speak up. King (Again in a stage whisper). I said, That’s it. I want, (now in normal voice), for goodness sake, I want every spinning wheel in the kingdom taken and burnt and the ashes scattered on the fields. Queen

What about your subjects?

King I suppose we could burn some of them if you wish. Queen

No, I was talking about your subject’s livelihood.

King My darling this is too great a risk. We will think of something. Daisy Well then, my fairy sisters, you heard the king. We have a job to do. Edna (With glee). Let’s get that bonfire burning! Poppy way?

Not too fast, I’m not sure we should be doing this. Isn’t there another

King No. You have tried with your magic, but it obviously isn’t working. Edna Harsh, but true. King So, now we’ll do it my way. Chancellor Fairies, you have heard what the king said, now go and do his bidding. Tulip Sadly, we must do this my sisters, let’s go at once. (Song opportunity here. End song, blackout, end scene). This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Scene 4 (Lights up. It is a generic room with the seven fairies and a younger Aurora playing with them some years later. The scene opens with all of them singing an opening song. As the song ends Aurora takes up the dialogue). Aurora I’m bored, locked up here day after day. Can’t we go out? We could play hide and seek in the woods. Poppy

(Sharply). No! I mean, no dearest, it is not always safe out there.


What could possibly harm me, if I am with you and the others?


I know, why don’t we sing another song?


I don’t want to sing another song.


How about we play some games then.

All (Except Edna). Oh yes let’s play some games / Let’s play Ludo, chess / hopscotch. Edna Darts, pool, boxing. Poppy charades?

Maybe not some of those Edna. I know, what about a game of

Edna (Sarcastically). Whoopee. Charades again. Poppy

Come on, everyone sit down and I’ll go first. I do love charades.

Edna (Mimicking Poppy) I do love charades. (Poppy gives Edna a stern look before beginning to play the game. The following dialogue can be amended to suit especially if the show used is not popular anymore). All

A book!



Edna What’s a film? Poppy

Shush Edna!


A show!


One word!

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


All (They start to guess with some bizarre answers. Carousel, Evita, Wicked etc. etc.). Poppy

Come on Aurora, have a guess!

Aurora Err. Well, I think it is something to with a candle (or something completely at odds) and perhaps….. Edna (Getting very excited and making lots of guesses before giving up) Annie get your Gun, Oklahoma, Chicago, How to succeed in business without really trying… Poppy

What? I’m sorry Edna you’re not even close.

Edna This game is rubbish, I’m going to go and make myself look presentable, (to audience) you never know who may come calling. Has anyone seen my hairspray? (They don’t respond). I said has someone nicked my (emphasises) hairspray? Poppy

Well done Edna.

Edna What? Poppy

It was Hairspray.

Edna (Thinks for moment then starts to celebrate) Oh yes, (gestures to the other fairies). Losers. Poppy Come on Edna let’s not gloat it doesn’t set a good example to Princess Aurora does it? Edan (Continues whispering) Loooosseerrs. Alright, alright, my turn. (Starts to mime Sleeping Beauty). All

Film, book, show.

(Points at Aurora getting more and more animated and frustrated as they guess incorrectly, the audience will most likely start shouting out the answer and Edna should encourage this) Edna Oh for goodness sake, what am I pointing at? All

Is it The Phantom of the Opera / Fiddler on the roof / Oliver?

Edna How would me pointing here (points at Aurora) indicate that it is Oliver? Do you give up? All


Edna It’s Sleeping Beauty! This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   



I’ve never even heard of it / how can that be a show? / have Disney done it?


Sleeping Beauty, that wouldn’t make much of a show.

(Everyone turns to give the audience a knowing look) Edna S’pose not. (Knock at the door). Poppy

Get that will you Edna, whilst you’re standing.

(Everyone else continues to play charades). Edna Does anyone else do anything around here? (Talking through the door) What do you want? Delivery man

I’ve got a delivery.

Edna (To audience excitedly) Oh it’s a delivery. A delivery of what? Delivery man up with string.

How do I know? It’s wrapped up in brown paper packaging tied

Edna (To audience and sings as per Sound of Music). These are a few of my favourite things. Delivery man

Do you want it or not?

Edna Oh never mind, (Exits into the wings as if opening the door and continues the dialogue) give it here. This is big, what can it be? I think it might be that new exercise bike I was looking at. Hold on, here are the instructions. I hate these flat packs, always something missing. (Lots of noise and exasperations as Edna ‘erects’ the spinning wheel off stage, she returns with the spinning wheel upside down). (To audience) I think this bike is missing a wheel and where on earth are you supposed to sit, that seat looks as sharp as a….. (Aurora is drawn to the spinning wheel as if in a daze and goes to touch it). Poppy

(Spots it). Spinning wheel!

Edna Yes, as sharp as a spinning wheel. Poppy Stop Aurora! Edna get rid of that thing right away. Burn it, break it up, just get rid of it. Edna What? Poppy

It’s a spinning wheel!

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Edna Oh my word, quick help me to get it out of here. Aurora must not touch it. (They bundle the spinning wheel and Aurora off the stage away from the spinning wheel). Poppy Gather round everyone this is very important. (They all join a huddle in the centre of the stage) I am not one to spread worry and rumour.….. All

Oh right / fair enough / That’s good then.

(They all immediately disperse). Edna (To audience) That was a waste of time. Poppy Come back I haven’t finished. (They all return to Poppy). It is obvious that Minerva hasn’t stopped trying to get Aurora to prick her finger. We must remain on guard. No more answering the door and no more going outside. I know this will be tough on our dear princess, but we must do our best to protect her and try not to worry her. As she grows up she will ask some difficult questions and we must be careful not to alarm her. Snowdrop

Life springs, but it is not eternal. Death walks amongst us.

(All stop and look at Snowdrop). Edna Snowdrop did you hear the bit about not worrying Aurora? (Blackout, end scene). Scene 5 (Lights up on Minerva. She is centre stage. There should be a table and lots of witch type things, cauldron, smoke etc. and atmospheric lighting. She is talking with her Raven and minions Sniff and Snot). Minerva I can’t believe that Princess Aurora has not yet succumbed to my postal spinning wheels. I thought at least the one from IKEA might have worked. Snot Perhaps we could go and rough her up a bit? Minerva eye.

I want her put to sleep for a hundred years, not just give her a black

Sniff (He gives a big sniff and looks disappointed). Minerva

(To Snot). Does he not have a hanky?

Snot Nah! That’s why he’s called Sniff. Minerva

And you’re called Snot because…?

(Snot wipes his nose elaborately with his sleeve). This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Minerva (Disgusted). Of course, I keep forgetting. (To audience). Oh for a bit of class. But I suppose when you’re evil this is what you have to put up with. (Thinks). How am I going to get her to prick her finger? Raven

Her guardians protect her, her guardians protect her.

Minerva somehow.

Yes I know they do, you stupid bird! I need to get her away from them

Sniff We could kidnap her. Those fairies wouldn’t stand a chance. Minerva You dolts! They would have you turned into a stone statue before you could say Vicks Vapour rub. No, we must be more subtle. Snot I’m pretty subtle, look, I can touch my toes (touches toes). Minerva Not supple, though I am impressed. Subtle, y’know delicate, elusive, refined, (Sniff and Snot look confused) but I can see that might be problem for you two. Snot Well, if we can’t beat her up or kidnap her what do you want us to do? We can’t be villains if we aren’t doin’ villainous stuff can we? Raven

They’re right, they’re right.

Minerva I know. But I have an idea. I found out the other day, via my crystal ball, that they are throwing a party for Princess Aurora the night before she is sixteen. Why don’t you two go along and work as servants? Sniff That’s sounds good. (To Snot). I’ve heard the king pays really well, a lot better than Miner.. (trails off as he sees Minerva looking at him). Minerva A lot better than who? I don’t want you two actually working there. I want you causing a bit of chaos as a distraction whilst I work my magic. If the fairies are watching you, they’re not watching Aurora. Hahahaaa! (Blackout, end scene). Scene 6 (Lights come up on a full stage. It is Princess Aurora’s birthday party though she isn’t sixteen until the following day. The chorus, King, Queen, Chancellor and the seven fairies are all there. The scene opens with a song and dance. As the song ends the chancellor picks up the dialogue. The queen is trying to shadow Princess Aurora as she moves around the stage. As the dialogue continues there should be quiet music playing in the background). Chancellor (To the king). My Lord, everything seems to be going so well, though would it not have been better to wait until the princess was actually sixteen to hold her party?

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


King As I have already said to you, we have made it so far without incident. This is her last night as a fifteen-year-old and I thought it best to keep her in public where she can be watched over. Chancellor Yes, the fairy guardians have done well, though that spinning wheel they were sent from ye olde IKEA nearly caused a problem. They didn’t realise what they were making until it was almost completely built. They had the instructions upside down. King Have you seen the queen? Chancellor I believe sire, that she is over there, just behind Princess Aurora. (The dialogue shifts to Princess Aurora and the queen). Aurora doing?

(Over her shoulder). Don’t think I can’t see you mother. What are you

Queen Sorry darling, I just wanted to make sure you enjoyed yourself and that I didn’t miss one moment of you having such a lovely time. If you could stand still for say, oh, another five hours, I would love to get one of the palace artists to come and capture this moment in oils, forever. Aurora

Five hours!


I know it’s amazing isn’t it. It’s almost instant.


Instantly boring mother. (She moves off to speak with some chorus).

(The queen moves back to speak with the king). (The dialogue moves to the fairies). Poppy This is all going splendidly. Her last night before she is sixteen, here she is in full view of everybody, we’re here as well. What could possibly go wrong? Edna Isn’t this actually the moment when it all goes wrong, just after you say what could possibly go wrong? (Edna starts scanning the stage in dramatic fashion as if expecting something to happen). Marigold


Edna No I’m not, I’m a Scorpio and we need to keep a sharp lookout as I am sure something is going to happen any minute. (They all look around the stage). Tulip Nothing. Sweet Pea then.

Oh thank goodness. I thought there might have been some trouble

(Sniff enters in disguise carrying a round tray under a cloth – it looks like a wheel. He stops and stands to attention). Daisy Don’t look now, but is that someone trying to sneak a spinning wheel in? This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


(All the fairies look at the servant intently, they then creep up to Sniff and jump him / her. There is a bit of a scrum and Edna picks up the tray and cloth). Edna Ahaaa! Got you. Thought you could sneak a (takes the cloth off) tray in did you? (Double take). It’s a tray! Get off him you lot. (All the fairies let go of Sniff and dust him down apologetically and give him the tray back and stand him back to attention. Aurora has seen this and comes over). Aurora

What on earth are you doing, making such a spectacle of yourselves?

Edna I’m sorry love, we just can’t resist (thinks), a, a, lovely prawn vol-au-vent. Marigold

That’s us, mad for a vol au vent.

(Snowdrop starts to speak and all on stage stop and listen). Snowdrop (With much drama). The winds howl at the window and mice scratch at the flooooor. (All action starts again). Aurora

Well, please behave yourselves. (She walks away).

(Snot enters again disguised, holding a tray of food). Aurora

(To servant). Excuse me, what are those?

Snot Prawn vol au vents, Your Highness. Aurora (Points to the fairies). Make sure that bunch over there see them first. Apparently they are (stress) mad for a prawn vol au vent. (Snot takes the tray over to the fairies who immediately send him on his way. He rejoins Sniff on stage. They are looking around furtively). King How long to go before Aurora turns sixteen? (Chancellor takes a long look outside / off stage). Chancellor Another thirty-one minutes sire. King That is precise, you can tell that just by looking at the moon? Chancellor No, Your Highness, I can just see the church clock through the trees. King Oh! (The queen has joined them). Queen

How long until Aurora is sixteen my love?

(King takes a long look outside). King Twenty-nine minutes and thirty seconds my sweet. Queen

Impressive! All that from the moon.

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Chancellor No, he can… King (Looks at the chancellor and interrupts him) …. yes, I’m very skilled that way. Queen

Not long to go then.

King Not long to go….. (The music strikes up and there is a song, or a dance led by Sniff and Snot – should be quite jolly and upbeat. Everybody watches them. As the music ends Aurora exits unseen by everyone on stage and the music perhaps changes into a minor key or something more threatening, the lighting also changes to pick up Minerva who should be sitting off centre with a spinning wheel). Minerva Dearest Aurora, time is running out, one prick and soon you’ll sleep. Your eyes will close and off you’ll go, an appointment with your bed to keep. One hundred years won’t seem long, then comes your handsome beau, To wake you from your dreams, I think not, with me as his foe. Ha ha haaa! (Lights fade to black out, end scene). Scene 7 (The previous scene should be quickly struck, or this scene set in front of a tab curtain. Minerva is set in the middle of a blank stage except for her spinning wheel. The Raven is also present. Not much else is required unless you want to dress the stage. Lighting and smoke etc, should be used to give the stage as much drama as possible. A nice effect if possible would be to have a large clock at the back projected or otherwise set at 23.45 which could move towards 12.00 midnight. Minerva is sitting at the spinning wheel as Aurora enters as if in a dream. As this scene progresses the addition of music would enhance it). Aurora

(Looking around). My goodness, where am I?


Hello Aurora, I was wondering when you would turn up.

Aurora Wondering when I would turn up? Who are you, (sees the spinning wheel as if for the first time) and what are you doing? Minerva

I Aurora, am Minerva, your Fairy Godmother.

(Minerva spins all the while she is talking with Aurora who acts quite dreamy throughout this sequence). Aurora You’re not my Fairy Godmother. I have seven of those and they have never mentioned you. (Dreamily, moves as if to touch it). It’s a very pretty wheel. Can you show me how to use it? This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


(Whilst Minerva speaks to the audience we see Aurora getting more and more infatuated with the spinning wheel). Minerva (To audience). There’s a surprise, they have never mentioned me. It is so like those fairies. Always them, them them. Never me, me, me! (Aurora goes to touch the spinning wheel). Now, don’t touch dear. You wouldn’t want to prick your finger. (To audience). Yet! Aurora

I’ll be sixteen soon. Will you show me how to use it then?


I’m not sure you will ever make it?


Really, why would you say that?


Because you’re here talking with me.


(Still dreamily). The spinning wheel is so pretty.


Thank you my dear and what about me?


(Distractedly). Not so much.

Minerva not now.

(To audience). Depending on that answer I was going to let her off, but

(She stops spinning). Aurora Please, Fairy Godmother, don’t stop it was lovely watching the wheel going round and round and round. (Minerva starts spinning again). Minerva Alright, (To audience). Only minutes to go now (To Aurora). Would you like to work the spinning wheel child? Aurora (Quite excited in a dreamy sort of way). Yes, oh yes please. (She sits at the wheel and starts to spin). Minerva That’s the way my dear, faster, quicker, but mind you don’t prick……. (simultaneously Aurora pricks her finger). Aurora

Oh! (she sucks her finger).

Minerva ….your finger. (To audience) Oh dear. You all saw, I did try to warn her. Too late I fear, never mind. Raven


(Music starts and Minerva could sing a solo here and exit along with the Raven as she finishes. The song / music carries on and fades as twelve o’clock midnight sounds. Edna runs on). Edna Oh no! Aurora! (Blackout, end scene). This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Scene 8 (The lights come back up on Edna and Aurora who are still on stage. If this is in front of tabs then the palace scene will be set behind). Edna (To Aurora). My sweet child. How many times did I have to tell you? Don’t mess with pointy things. Sisters where are you? Come to my aid Come help Aurora, she’s asleep, I’m afraid. (The rest of the fairies enter in a rush). Poppy (Sees Aurora and the spinning wheel). How can this be? I thought we had got rid of all spinning wheels? Marigold

Obviously not. She is asleep isn’t she, not dead?

Tulip (Examines Aurora). Yes, just sound asleep. Sweet Pea

Whatever are we going to do now?


First things first, we must get her back to the king and queen.

Snow Drop Darkness falls, time has run out, claws are drawn, everything rests. Edna She just gets weirder and weirder. Daisy Edna don’t be unkind, she is not weird, she is just different, that’s all. Poppy Alright, enough now. Everybody raise your wands (to audience), you lot as well. We need powerful magic to get Princess Aurora back. (They all raise their arms and wands and speak the spell led by Poppy. This can be said three times so the audience can join in). Transportus,somnambulos, princessium. (As they speak the spell the curtains finally open or lighting changes to indicate they have been transported back. The chorus, king, queen and Lord Chancellor are on stage. The party is still carrying on. They all react as if the fairies and Princess Aurora have just appeared from nowhere. Throughout this the chorus react to what is going on. Sniff and Snot are still there). Queen

Ohh! Where did you come from?

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


King Is Aurora asleep and what is she doing sitting at a spinning wheel? I thought you were supposed to be guarding her? Have you tried waking her? (The king moves to Aurora as if he is going to shake her awake. Poppy stops him). Poppy My king, it will be of no use. She is asleep now for at least one hundred years. As you and everybody here (to audience) including you lot as well, age day by day, Princess Aurora will stay the same. As beautiful as she is now. Queen

So I will grow old…

Edna I think you mean older. Queen (Gives Edna a look and continues) … I will grow old (looks again at Edna. Edna does a ‘zip thing’ with her lips and throws the ‘key’ away) and Aurora will stay the same? I can’t bear it (She starts to cry and is comforted by the king). Chancellor First, we must take the princess and make her comfortable for her long rest. Poppy Set a bed here in the main room of the palace. Her body is suspended, protected by powerful magic and nothing can harm her in this state. Edna (An aside to Poppy). Won’t she need y’know, to be dusted? Poppy

You foolish fairy. Nothing can harm her. Nothing, not even dust.

Edna That’s alright then. (To chancellor). Looking on the bright side, no dusting then eh, Lord Chancellor. Chancellor Quite. (Music starts to play and the chorus could even start to sing. He motions for some chosen chorus to come forward to lift Princess Aurora and put her on a bed that has been moved into place. As this happens, flowers are placed round the bed. They all gather round her as if watching). (Dialogue can continue over the music). King It breaks my heart to see her like this and when she wakes up we will all be gone. Edna (Looking at the queen). Some sooner than others. Queen up.

(Ignores Edna). I would give anything to be with her when she wakes

Edna (To Poppy) Is there nothing we could do? Individually, or together for that matter, we are not as powerful as Minerva, but when we put our minds to it, well Snow Drop not so much, but when we combine, we are still very powerful. Marigold

I think Edna might be onto something here.

Tulip What? We combine our powers to break the spell? Sweet Pea No, I don’t think Edna is saying that are you? You’re thinking what I’m thinking aren’t you? This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


Edna Does it involve flowers blooming for one hundred years? Sweet Pea

Oh yes.

Edna That’s a no then. (It’s Snow Drop again). Snow Drop Sleep, sleep no more, time ebbs away. Time marches on so keep watch for those years. Tulip Thank you Snow Drop, that’s given me an idea. What if we put a spell on everybody so that they all sleep? Marigold

A bit like the House of Lords. (Or some other well known institution).

Tulip Yes, except they’ll all be breathing and alive. Edna Not so much like the House of Lords then. Daisy I like that idea. And after one hundred years we will see everybody again. Edna (To audience). It’s going to be a long show, have you brought a pillow? Marigold

What do you think Poppy. It must be worth a try.

(Sniff and Snot look at each other and do a quick exit). Poppy Let’s give it a go. Fairies, wands at the ready. (To audience). You can all help as well. After three, one, two, three. (As the fairies say the following ‘spell’ all on stage settle into sleeping postures and gradually fall asleep. This must be accompanied by suitable lighting, music and smoke to create the illusion of the castle going to sleep). All Fairies Sleepus centurious, palacio obscurious. (Poppy can encourage the audience to chant this and as they do so the wall of thorns / trees comes into position obscuring all on stage from view, except for the fairies who are in front of the wall. They then start singing a final song. As the trees / thorns finally come into place and the song ends Edna says the last line of the act). (End song). Edna That’s it. Job done. See you in a hundred years! (Blackout, exit, end scene). (End Act One).

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   


ACT 2 Scene 1 (Lights up on another palace scene. The king, queen, jester and prince are sitting around sighing. They are bored.) Queen

I’m bored!


Me too!

King We could play a game, charades perhaps? Queen Oh no, my dear. Charades is so one hundred years ago (a knowing look to the audience). Prince What about a story then? We could dim all the candles and tell scary stories to each other. The first one to scream loses. Queen Oh yes that sounds like real fun, I’ll sort out the lights (she blows out a candle and the lights dim). (To king). You can start darling, I am sure you must know some really scary stories. (To audience). He went out with one of Cinderella’s stepsisters. King Actually, I don’t know any scary stories. Queen


King What about the jester? He can tell us some stories. Queen Oh good idea. King Jester! Jester

You called my onerous oneness?

King The royal ‘we’ are bored and we have decided that we shall tell some scary stories. Unfortunately, we don’t know any, so earn your salary and get we screaming. Jester As you desire my detestable deities. I do have a little story, one that will chill you to the bone and make the hairs on your chin stand out. (To king). My king it will do the same to you as well. This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   



Oh goody (stops realises what’s just been said). What?

(Raven enters). Raven


Jester Be warned though, this is not a work of fiction. This is a true story and one which to this day remains mysterious, mystifying and magnificently malevolent. Queen

How exciting.

Jester (To audience). Sit yourselves down, gather closely together and blow out the lights (Lights dim to Jester), for this is the tale to end all tales. In a land far far away, in fact not far from here, there was a royal household, a household not unlike your own happy kingdom. A princess was born to the king and queen and they were happy, but all did not go well, (the lights go down and the jester talks in hushed tones) Minerva blah, blah blah, princess blah, spell, blah, blah, spinning wheel, blah, blah, hundred years, blah. (Lights come up) And there she sleeps to this very day. The end. King That is an unbelievable story. Jester

Thank you our highness.

King No don’t thank me. It is unbelievable because you missed out all the best bits by saying blah blah blah blah. Start again and do it properly this time. Queen

It didn’t even make sense.

Prince (Sarcastically). Oh, I was so scared especially when you got to the bit about blah blah blah. Jester Sorry your highnesseseses. Please forgive me, I shall begin again (lights go down. This time the jester gathers the king, queen, prince to him and tells the story but doesn’t actually say anything. As the jester mimes the story all three punctuate it). All

(To audience). Oooh!

(Jester mimes). All


(Jester mimes). All


(Jester mimes) This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]   




(Jester mimes the end) All



(Lights come up). And still she sleeps to this very day.

Prince You mean that this beautiful princess remains in the castle until this day, shrouded by thorns and trees waiting for the passing of one hundred years and the kiss of a handsome prince. Queen Hold on a second there, Sonny Jim. I see what’s happening here. Remember you are betrothed to Princess Rosella Rhubarble and are not in a position to be gallivanting across the known world kissing random young princesses. Prince But mum, Rosella Rhubarble barely looks at me, she moons around Draconius, commander of the guard all the time. She has no interest in me, nor I, in her! King Yes, but son, your marriage to Rosella will forge an alliance between the Rhubarbles and ourselves, the Custardos, which will result in lasting security and harmony for years to come. Jester (To audience) Until the kingdom crumbles. And that’s why I’m the jester! Thank you. Prince

What about love mother?

Queen together.

What about love? I can’t stand the sight of your father, but we are still

King No, indeed your mother’s presence is like a painful wart on my nethers, but we suffer each other for the sake of the kingdom. Queen beauty.

Now promise me son that you will not go off in search of this sleeping


Alright I promise, (to audience) to go in search of her.

King Good lad. Now isn’t it getting close to bedtime? We all need our beauty sleep, heaven knows your mother does. Queen Yes, well it is hard to get enough beauty sleep when you have a hairy walrus snoring in your ear all night. King

Yes, but this hairy walrus likes his little lady walrus being beside him.


Oh stop it kingy, not in front of the child!

This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. E‐mail: [email protected]