THE EMPEROR’S NEW CLOTHES By Hans Christian Andersen

A Participation Play For Young Audiences Small Cast (Touring) Version

By Kathryn Schultz Miller

Children’s Theatre Plays.com 3936 Millsbrae Avenue Cincinnati, Ohio 45209 Phone & Fax: (513) 351-9978

Copyright 1984, Kathryn Schultz Miller

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The Emperor’s New Clothes A Participation Play for Young Audiences Expanded Cast: A larger cast version of this play is available from Children’s Theatre Plays.com. Soundtrack: A soundtrack CD is available from Children’s Theatre Plays.com. Please request if interested.

IMPORTANT COPYRIGHT NOTICE NO COPIES OF THIS DOCUMENT MAY BE MADE WITHOUT WRITTEN PERMISSION FROM THE AUTHOR. A ROYALTY IS DUE FOR ALL PERFORMANCES, INCLUDING PERFORMANCES FOR NON-PAYING AUDIENCES. This play is fully protected by copyright. Professionals and amateurs are hereby warned that this play, being fully protected under international copyright laws, is subject to a royalty. All rights including professional, amateur, motion pictures, radio broadcasting, television broadcasting and the right of translation into foreign languages are strictly reserved. In its present form this play is reserved for personal reading and perusal purposes only. However, authorized productions of this play are encouraged and supported. Arrangements for productions must be made in writing with: Kathryn Schultz Miller Children’s Theatre Plays.com 3936 Millsbrae Avenue Cincinnati, Ohio 45209 Phone and fax: (513) 351-9978 Email: [email protected]

Copyright 1984, Kathryn Schultz Miller

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

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THE EMPEROR’S NEW CLOTHES CAST OF CHARACTERS ALEX IVANOVA .......................... Also plays NARRATOR, BAKER, BLACKSMITH, EMPEROR, PEASANT, MINISTER, TOWNSPERSON CATHERINE IVANOVA ............... Also plays NARRATOR, GRANDMOTHER, FRUIT VENDOR, HORSE, EMPRESS, MINISTER, TOWNSPERSON PETER IVANOVA........................ Also plays PETER THE LOWLY TAILOR

SETTING The stage is set with a black and red canvas backdrop or banner that announces the IVANOVA FAMILY. The style is 19th century Russian. The poles holding the backdrop have gold painted finials and festive flags and streamers. On either side of the main banner are two smaller banners, also outfitted with pointed flags and streamers. There is a trunk from which the ACTORS get their props as needed. Several pieces of neutral furniture such as cubes, cylinders, stools, a ladder, all painted in black and red, are onstage and used for levels, etc., during the production. To the right of the banners are two stools of various heights, painted in red and black. This will be the “ORCHESTRA” area where ACTORS will be seated when not performing ONSTAGE. See PRODUCTION NOTES at the back of this playbook.

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

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THE EMPEROR’S NEW CLOTHES MUSIC CUES

#1

Page 1

At Rise. Happy Russian dancing music to open the show.

#2

Page 1

“…greatest performers in this room today!” Happy fanfare.

#3

Page 7.

“…the bustling city of Kostroma.” Market sounds, cow, city music while merchants sell their wares, involving audience.

#4

Page 13.

“And so Peter followed the blacksmith…” Pretty violin music as Peter nears the palace.

#5

Page 16.

“Enter!” Flourish as Peter looks at magnificent interior of palace.

#6

Page 35.

“And she said I couldn’t do it!” Townspeople music as they talk about magic clothes.

#7

Page 41.

“…Emperor and his glorious new clothes!”, Emperor’s entrance. Pause for Emperor’s line, “I am pleased to be…” Restart at “Let the procession begin!”, Emperor marches in. Pause for scene on stage. Restart at chase music.

#8

Page 48.

“And that is the story…”

#9

Page 49.

“Ladies and Gentlemen…”

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

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THE EMPEROR’S NEW CLOTHES AT RISE: The ACTORS help seat the CHILDREN on three sides of the playing area, talking with them about the play they are about to see. About the time they are just getting settled, PETER breaks away and finds a place to nap in the AUDIENCE, whispering to those around him not to let anyone know where he is. CATHERINE makes final adjustments to the STAGE, moving a banner or two, placing the cubes, standing back to see that everything is correctly placed. ALEX practices his juggling, trying new tricks, commenting quietly to AUDIENCE MEMBER about a new stunt he is trying. As CATHERINE arranges instruments, she begins to test them out, working out a simple tune on the xylophone. Gradually the actions of these characters builds, and we hear MUSIC CUE #1 that picks up the tune CATHERINE has begun on the xylophone. MUSIC segment should be strident and festive with a Russian flavor. When MUSIC reaches its peak, CATHERINE and ALEX notice the AUDIENCE. ALEX: Catherine! Peter! Look! A crowd has gathered! CATHERINE: Oh, it is a very big crowd. ALEX: Of course it’s a big crowd. They have heard that the Ivanovas are playing here today! (They sing and dance to the MUSIC, which will be used as signature music for the IVANOVA FAMILY whenever indicated in the text. Integrated into the dance will be ALEX juggling, or both juggling if they can. Some Russian knee kicks and any kind of acrobatic tricks the ACTORS may be able to do can also be included. This is very upbeat and joyous. They bow. MUSIC OUT.) Ladies and gentlemen! You are indeed privileged today to witness another magnificent theatrical extravaganza presented by the world-renowned, internationally acclaimed... Ivanova family! Featuring some of the greatest performers in this room (or theatre) today! (MUSIC CUE #2. ALEX and CATHERINE make fanfare with instruments.) Allow me to present to you today an actress of great depth, sensitivity, grace, charm and... humility. Admired and adored by all those who have had the great fortune to witness her talents... my wife, Catherine Ivanova! (CATHERINE moves forward and strikes a dramatic and theatrical pose.) Known throughout Petrograd for her electrifying performance as Juliet in Shakespeare’s heart-wrenching tragedy... “Romeo and Juliet”! CATHERINE: (Pulls scarf from pocket and uses it to chop the air. Recites in very affected manner.) Romeo, oh, Romeo! Oh, oh, oh, Romeo... Where? Where? Wherefore? Art... thou... now. (She bows her head dramatically, overwhelmed with emotion. ALEX applauds with great enthusiasm and urges AUDIENCE to applaud also.)

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

2 ALEX: And I am sure you have heard of me, no? Some have called me the master of drama, the maestro of theatre, the king of the stage, the lord of the bard, the Rasputee-an of Russian thesp-ee-ans! (Trills “Rs,” affecting false modesty.) Ladies and gentlemen... (Removes hat and holds it to heart.) I stand before you a humble servant, nothing more than a ragged player on the great stage of life. I am... Alexander Ivanova. (Bows theatrically. CATHERINE applauds enthusiastically and urges AUDIENCE to join her.) Thank you, thank you, a thousand thank yous! And now, ladies and gentlemen, we shall begin. CATHERINE: (Tugs at his arm.) Alex? ALEX: (Brushes her away.) We shall begin with our presentation for the day— CATHERINE: Alex! ALEX: (Under breath.) Not now, Catherine. CATHERINE: But, Alex... ALEX: (Gives up.) What? What is it? CATHERINE: Peter. You forgot Peter. ALEX: Oh, you’re right. It’s not hard to forget him. CATHERINE: But where is he? He was here just a minute ago. (Looks around.) He was helping me set up. ALEX: Probably napping again. CATHERINE: That boy. ALEX: He is the laziest boy. CATHERINE: Now, Alex. What if he wandered off and got lost? He knows we’re performing here today. (To AUDIENCE.) Has anyone seen my son? (In the following description, choose a feature of the ACTOR who plays PETER.) He’s about this tall, and he has curly hair. (CATHERINE and ALEX call “Peter! Peter!” CHILDREN in AUDIENCE will tell them and point to where he sleeps among them. CATHERINE sees him and goes to him. ALEX remains ONSTAGE, the picture of angry authority.) Peter! What are you doing? It’s time to start the show. PETER: Oh, Mother, just let me sleep a little while longer. Call me when my part comes. I’ll be ready. (Yawns and puts head in AUDIENCE MEMBER’S lap.) CATHERINE: (Angry, whispering, trying to save him from ALEX’S wrath.) Peter, you foolish boy! Peter! © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

3 ALEX: (Walks to them, gesturing to CATHERINE that he will handle it. Speaks to PETER in an overly sweet voice.) Peter? Peter, is that you there, dear boy? CATHERINE: I tried to warn you, Peter. You know your father will not stand for your laziness. ALEX: Nonsense, Catherine. Why should I be angry? Just because my dear, dear son decided to take a little itty bitty nap? PETER: (Smiles sleepily.) See, Mama, you worry too much. That’s right, Papa. ALEX: (False smile.) You were probably very, very tired, weren’t you? (ALL move to STAGE during next few lines.) PETER: (Yawns.) Oh, yes. We had to carry all these things in. I had to carry the stools. ALEX: I carried the stools. PETER: Oh, yes. Well, then I had to carry in the scenery. CATHERINE: I carried the scenery. PETER: Oh, yes, you did. I remember now. Well, then I had to carry these. (Points to cubes or any other prop.) ALEX: (Loses patience.) I carried those! PETER: (Realizes there is almost nothing left.) That’s right. I guess you did. ALEX: (Speaks quietly, close to his ear.) What did you carry in, Peter? PETER: (Realizes he is caught. Thinks quickly, then brightens and takes juggling balls out of pockets.) These! (He juggles merrily, whistling, tapping his foot, happy as a clam, while ALEX boils.) ALEX: Peter! PETER: (Drops all balls.) Yes, sir? ALEX: (Controlled fury.) We are about to do a performance. Do you think you might be able to stay awake long enough to help us out? PETER: (Thinks.) How long will it take? ALEX: Ahhh! (He lunges for PETER, CATHERINE holds him back. CATHERINE breaks from the tussle, trying to stop conflict by introducing the play.) CATHERINE: Ladies and gentlemen! The world-famous traveling thespians, the Ivanova family, will now begin another theatrical extravaganza— (ALEX and PETER continue to struggle behind her. She gets bumped but tries to act like nothing is © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

4 wrong.) Uh... today’s presentation will be... uh... the classic drama of... “The Emperor’s New Clothes.” PETER: (Abruptly breaks away from ALEX and approaches CATHERINE.) “The Emperor’s New Clothes”? Hey, that’s great! You know, I was just dreaming that I was an emperor. Isn’t that something? What a coincidence! I was very rich and powerful, and of course I was very, very handsome. And all my subjects adored me, and when I walked through the streets of my kingdom, all the people would bow before me, and they would say, “Oh, our Lord Master Emperor Peter, sir...” (PETER is caught up in his fantasy, standing regally and gesturing to imagined adoring peasants.) ALEX: (Moves in front of PETER.) Introducing Peter Ivanova as the lowly little tailor. PETER: The lowly little tailor? ALEX: And Catherine Ivanova as the grand and glorious empress! CATHERINE: (Very pleased.) Ah! Yes, of course. (Curtsies theatrically, then sweeps away to ORCHESTRA.) PETER: The lowly little tailor? ALEX: And, I, Alex Ivanova, will, for your pleasure— PETER: (Still trying to comprehend.) Hey, Papa... ALEX: —create, here before your very eyes, one of theatre’s most intellectually complex roles, demanding the efforts of an actor with extreme— PETER: Papa? ALEX: —training, craftsmanship and sensitivity. PETER: Um... ALEX: Ladies and gentlemen, I bring you nothing less than... Hans Christian Andersen’s... “Emperor of the Great Land of Kostroma!” (ALEX Bows elaborately. CATHERINE applauds for him. ALEX moves UPSTAGE to ORCHESTRA and returns with a worn hat for PETER. Abruptly, he plops it on his head and returns UPSTAGE, leaving PETER alone ONSTAGE.) PETER: The lowly little tailor? (CATHERINE and ALEX begin to tell the story from the ORCHESTRA, punctuating their narration with PERCUSSION INSTRUMENTS. PETER looks back at them once or twice and they gesture to him to “go on, go on.” This should happen quickly, giving the feeling that PETER is being swept into this story beyond his will or comprehension. During the first lines, PETER picks up juggling balls.)

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

5 CATHERINE: Once upon a time, ALEX: ...a very long time ago, CATHERINE: ...in a very far off land, ALEX: ...there lived a young man named Peter. PETER: (To AUDIENCE.) That’s me, I guess. ALEX: He cared for nothing but day-dreaming and playing tricks, CATHERINE: ...taking naps, ALEX: ...eating candies and sweets, CATHERINE: ...and playing games. PETER: (Playing with juggling balls, he brightens and speaks to AUDIENCE.) I bet you never saw a trick like this before! (He does elaborate stunts with them. He can also use magic tricks here, such as pulling a “magic” sponge ball from child’s ear.) Pretty good, huh? Watch this. I can juggle with one hand behind my back. (He throws ball in the air and it falls to the ground. SLIDE WHISTLE from ORCHESTRA.) Oops. I guess I have to work on that one. (To AUDIENCE MEMBER.) Would you help me do it with my hand behind my back? (PETER draws the AUDIENCE MEMBER to STAGE. He can do anything that’s funny here. It will depend on how proficient the ACTOR is in juggling. He might continue to have problems with his juggling, dropping balls all over STAGE, asking the CHILD to run around constantly trying to pick them up. The CHILD should really be involved with the stunt.) (To CHILD.) Very good! Hey, you know, maybe we could be an act. You know, a juggling team. What’s your name? (CHILD tells him, PETER repeats it.) Hey! The Peter and (CHILD’S name) Juggling Show! That has a nice ring to it! We could be famous! Why, I bet people would come from miles around just to see us juggle because we’d be so good. CATHERINE/GRANDMOTHER: (Calls GRANDMOTHER.) Peter? Peter!

from

ORCHESTRA

as

she

becomes

ALEX: (Narrates.) Now Peter lived with his grandmother in the country. She disapproved of his laziness. GRANDMOTHER: (ENTERS from ORCHESTRA as OLD LADY with scarf on her head. She may carry a broom or walking stick.) Peter! Peter? What are you up to now?

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

6 PETER: Nothing! We weren’t doing anything! (To CHILD.) Were we? (CHILD responds by shaking his head “no” to GRANDMOTHER. If the CHILD doesn’t do this on his own, PETER can simply tell the CHILD to shake his head.) See? Nothing! Nothing! GRANDMOTHER: Humph! Yes, nothing is a good word to describe it. Would you like to know what we are having for supper tonight, Peter? PETER: Chocolate cake? GRANDMOTHER: No. PETER: Cherry pie? GRANDMOTHER: No. PETER: Strawberry tarts? GRANDMOTHER: No. PETER: What, then? GRANDMOTHER: Nothing. PETER: Nothing? GRANDMOTHER: Nothing. There is not one crust of bread left in the house, not one potato, not one bit of flour. PETER: But why, Grandmother? GRANDMOTHER: Why? Why? Because you are a lazy, foolish boy, Peter. You spend all your time playing and dreaming instead of working. Now all the chickens are gone and the garden is overgrown. I don’t know what will become of us. (Very sad, sits.) I just don’t know what to do. PETER: (Uncharacteristically serious now that he understands the gravity of the situation.) Don’t worry, Grandmother. I’ll think of something. (Thinks, gets idea. “DING” SOUND from ORCHESTRA.) I’ve got it. I know what I’ll do! I’ll go into town, and I’ll get a job and I’ll make lots of money. Yes, that’s it. I’ll get a job, and I’ll make lots of money, and we’ll be rich and— GRANDMOTHER: Peter... PETER: And I’ll buy you a dozen chickens. No, two dozen chickens, and a new house and some fancy clothes and— GRANDMOTHER: Peter! PETER: What?

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

7 GRANDMOTHER: You don’t know how to do anything. You have no skills! Peter, you just can’t—Oh, never mind! You’ll never be anything but a dreamer. PETER: You don’t think I can do it? GRANDMOTHER: Go back to playing tricks and games, Peter. (EXITS to ORCHESTRA and removes scarf to become STORYTELLER.) PETER: You don’t think I can do it! But you’re wrong. Don’t worry, Grandmother. I’m going to make us rich. (PETER Packs his juggling things in his pocket. SOUND EFFECT: MUSIC to identify the IVANOVAS. As PETER mimes the actions of the upcoming narration, the ORCHESTRA punctuates his actions with PERCUSSION SOUNDS.) ALEX: Peter set out for the biggest town on the map… CATHERINE: …The city of Kostrama… ALEX: …which was the largest, most prosperous city in the entire empire. (PETER makes his way through the AUDIENCE for this journey. [NOTE: Timing on the narration must be adjusted to his ad libs.]) CATHERINE: It was a long and difficult journey. (PETER “climbs” mountains, crosses rivers and streams, etc. He may ask the AUDIENCE MEMBERS to help him: “Can you help me cross this stream? Here, take my hand. Whew! Thank you.”) ALEX: Peter climbed the Great White Mountains. CATHERINE: He crossed rivers and streams... ALEX: ...through waterfalls... CATHERINE: ...and deep dark forests. PETER: Whew! I’m getting tired. ALEX: For days and days, Peter traveled alone through the treacherous landscape. PETER: (Sits.) I could use a rest. CATHERINE: Until at last... PETER: Just a little itty bitty nap. (Yawns and puts his head on AUDIENCE MEMBER’S shoulder.) CATHERINE: ...he had reached the bustling town of Kostrama! (SOUND EFFECT: MUSIC indicating a happy, busy marketplace. There may be vendors calling, animal sounds, etc. CATHERINE and ALEX carry baskets and burlap © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

8 sacks, taking on characters in an open-air market. They sing and chant their individual calls.) CATHERINE/FRUIT VENDOR: Strawberries, fresh apples and peaches! Strawberries, fresh apples and peaches! Please try them. They’re simply delicious. Strawberries, fresh apples and peaches... ALEX/BAKER: Fresh muffins, rich pastry and short-cakes! Fresh muffins, rich pastry and short-cakes! How many dozens and dozens will you take? Fresh muffins, rich pastry and short-cakes! (These chants can be repeated as needed. FRUIT VENDOR and BAKER can come into AUDIENCE and actually “sell” their wares to AUDIENCE MEMBERS—they can dicker with them, bite the “coin” to see if it is good. Ad libbing is fine here to make this as much fun as possible. Each ACTOR should visit as many areas of the AUDIENCE as possible. CATHERINE/FRUIT VENDOR in AUDIENCE bumps into the sleeping PETER. MUSIC OUT.) PETER: Ow! CATHERINE/FRUIT VENDOR: Oh, excuse me, sir. I didn’t see you there. Would you like some of my strawberries, fresh apples or peaches? PETER: Oh, I sure would. I’m very hungry! CATHERINE/FRUIT VENDOR: (Holds basket out for him.) Here you go. PETER: (Reaches into basket.) Thank you! CATHERINE/FRUIT VENDOR: Ah, ah, ah. Strawberries cost money. PETER: Oh, but I don’t have any money. That’s why I came to the city. CATHERINE/FRUIT VENDOR: Sorry. No money, no strawberries. (She crosses UPSTAGE and sets up for upcoming BLACKSMITH scene while ALEX/BAKER takes focus in the AUDIENCE.) ALEX/BAKER: Fresh muffins, rich pastry and short-cakes! PETER: Fresh muffins! (Rubs stomach, then runs to BAKER.) BAKER: Don’t forget about my delectable pastries, sir. Would you like one? PETER: Oh, yes! But I don’t have any money. You see, I came to the city to get a job and make lots of money and become rich. BAKER: (Laughs.) Jobs are hard to find these days. Besides, it takes more than a job to become rich, young man. You must be very clever. (Crosses to UPSTAGE area, laughing.) Good luck to you! (PETER sits on cube, discouraged.)

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

9 PETER: Oh, I’ve just got to think of something. A job... a job... (Thinks.) What kind of job? It has to be something that will make me very, very rich. And of course, I have to get rich quickly. Grandmother can’t wait forever. (Yawns.) And then again, it really must be something that doesn’t make me work too hard. After that long trip I don’t think I could— (He hears ALEX/BLACKSMITH tapping and chanting. CATHERINE has become the HORSE.) ALEX/BLACKSMITH: Tap, tap, tap... Blacksmith here, at your service! Tap, tap, tap... Blacksmith here, at your service! Tap, tap, tap... (BLACKSMITH can use a rhythm instrument to suggest pounding of horseshoe.) PETER: (Crosses to BLACKSMITH and HORSE.) Wow! What a beautiful horse! BLACKSMITH: Yes, she is, isn’t she? PETER: Can I brush her? BLACKSMITH: I don’t think you should touch this horse. This horse belongs to the emperor. PETER: Really? That’s something. The emperor! BLACKSMITH: Yes. He’s kept all the blacksmiths in town very busy this past week. One hundred beautiful white horses have been brought in from China for the royal procession next Saturday. PETER: A hundred white horses! All the way from China! The emperor must be very rich. BLACKSMITH: That he is, my boy. It’s a shame. PETER: A shame? Why is it a shame? BLACKSMITH: All that money going to waste. PETER: To waste? But I think she’s a lovely horse! (HORSE agrees, neighs.) BLACKSMITH: Ah! But you should see the money that man spends on clothes! PETER: Clothes? BLACKSMITH: They say he has a different suit of clothes for every hour of the day. PETER: You’re kidding. BLACKSMITH: No. They say his servants wake him up six times a night just so that he can change into a new sleeping robe. Everything he wears is from the finest silks and threads of gold. PETER: Threads of gold? © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

10 BLACKSMITH: Hah! And I have to work day and night just to keep the simplest clothes on my family’s back. PETER: (Thinks.) Threads of gold, you say? BLACKSMITH: Yes. PETER: I imagine threads of gold are very valuable. BLACKSMITH: Just one jacket—just one glove—is probably worth more than I’ll ever see in a lifetime. You don’t get rich being a blacksmith. (Shakes head.) No, that takes a cleverer man than I. PETER: (Happy.) Then I shall be rich. BLACKSMITH: What was that? PETER: Nothing. (Extends hand.) My name is Peter. You’ll be hearing about me. I’ve come to Kostroma to become very rich! BLACKSMITH: (Shakes his hand.) Well, I see you are a dreamer, my boy. (Laughs and shakes head.) I wish you luck. (Starts to leave, shaking head in amusement.) PETER: Wait. Can you tell me which way to the emperor’s palace? I’ve never seen a palace before. BLACKSMITH: I’m on my way there now. I need to return this beauty to the royal stables. Come along, if you wish... uh, Peter, was it? PETER: That’s me! (BLACKSMITH leads HORSE in several circles around the PLAYING AREA, PETER following, then BLACKSMITH and HORSE peel away from the circle and move UPSTAGE to ORCHESTRA. They remove costume pieces to become STORYTELLERS again. MUSIC CUE #4, brief violin melody to set the mood of an elegant palace, making it seem very large and mysterious.) CATHERINE: And so Peter followed the blacksmith through the city of Kostroma to the edge of town. By the time they got to the palace it was very dark. But Peter could see the candles flickering in the windows... ALEX: ...and the torches burning at the gate. The emperor’s palace was more grand and glorious than anything Peter had ever seen before. CATHERINE: But Peter was not afraid. ALEX: He had a plan! CATHERINE: A very clever scheme!

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

11 ALEX: He marched up to the great door of the palace and... (PETER walks up the aisle, standing at edge of PLAYING AREA and knocks. ORCHESTRA makes the SOUND of knocking.) But no one answered. (PETER knocks again.) PETER: Yoo hoo! Anybody home? (PETER knocks yet again. During past few lines CATHERINE has put on an ornate robe and crown identifying her as EMPRESS. ALEX becomes the window, shielding her from view.) ALEX: (“Opening” away from her.) At last he heard a voice from a high window. CATHERINE/EMPRESS: (As if from a window.) Stop that! Go away! (Starts to close “window.”) PETER: Oh, but if you please, madam, I… EMPRESS: Shhhh! Keep your voice down. The emperor is sleeping. PETER: (Whispers.) If you please, madam, I have come to see the emperor. EMPRESS: See the emperor? (Laughs.) What on earth makes you think that the emperor will see you? PETER: (Smiles at how clever he is.) I am a tailor, madam. EMPRESS: (Laughs louder.) A tailor? Look at you! You look like a lowly peasant. The emperor has an army of the finest tailors and weavers! They come from all over the world. PETER: I am a very clever tailor, madam. EMPRESS: Are you, now? What makes you so clever? The emperor’s tailors weave the finest fabrics. PETER: My fabrics are very special. EMPRESS: Special? How? PETER: I know how to weave cloth that is... magic! EMPRESS: (Laughs.) Magic? Magic? (Laughs uproariously.) And do you think that I’d believe that? Magic, indeed. PETER: Very well, madam. I’m sorry I bothered you. (Starts to leave.) EMPRESS: Psst! Wait! (Looks behind her to see if anyone is listening.) Magic, you say? PETER: Magic! EMPRESS: Are you telling me the truth? © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

12 PETER: (Smiles. His plan is working.) Do I look like the kind of person who would dare tell a lie to an empress? EMPRESS: The emperor is always looking for the most extraordinary fabrics. PETER: Madam, if I could just speak with the emperor. EMPRESS: I told you, he is sleeping. PETER: Very well, then, I’ll be on my way. (Starts to go.) EMPRESS: Wait! (EMPRESS looks around, then closes the “window” and ENTERS STAGE area to open the imaginary doors of the castle for him. MUSIC CUE #5, suggest the grandeur inside and the opening of the great doors. With grand gesture.) Enter! (EMPRESS stands before him CENTER STAGE. PETER ENTERS, looks around, awestruck, suddenly a little frightened. MUSIC OUT.) PETER: How... how do you do? My name is— EMPRESS: You! You have made magnificent claims, young man! PETER: Yes, yes... well, I— EMPRESS: I am the wife of the Imperial Majesty! PETER: (Realizing whom he has been talking to, drops to his knees.) Your Majesty. EMPRESS: I will not be tricked! You say you can make magic clothes... then you shall make magic clothes. PETER: (Still with head down, shaking.) I promise you have never seen the kind of clothes I can make. EMPRESS: You shall wait here until the emperor awakens. Then you may tell him all about your magic. (EMPRESS EXITS, leaving PETER still on the floor. He now trembles and stands to run.) PETER: Oh, I don’t think this was such a good idea... (Tries to open door, can’t budge it.) Come on, come on... (SOUND EFFECTS from ORCHESTRA punctuate PETER’S efforts to open the great doors. Stands back, speaks with false authority.) Open sesame! © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

13 (The doors do not open. PETER tries butting it with each shoulder. Finally he uses his head to butt it, the SOUND OF CYMBALS and SLIDE WHISTLE as his head hits the “door.” SOUNDS OF LITTLE BIRDIES as he reels from the impact.) Oh, no. What have I gotten myself into? I don’t know how to make magic clothes. What will I say to the emperor? When the empress finds out that I just made this up... (Suddenly ALEX/EMPEROR ENTERS from behind the banners. He is sleepwalking with his eyes closed and arms extended. PETER quickly runs to hide behind a banner or behind an AUDIENCE MEMBER.) ALEX/EMPEROR: (Having a bad dream.) Nooooooo! No! No! Noooooo! It’s not true! I am the Imperial Emperor! How dare you imply that I am not fit! No! No! It’s not true! (While EMPEROR babbles on, arms flailing, PETER gets a little braver as he realizes the EMPEROR is sleeping. EMPEROR can ad lib here as much as needed—“How dare you say I’m not fit!” PETER goes up to him, circles around and finally waves his hand in front of face. PETER enjoys himself and gets an idea.) I am a good emperor. I am a good emperor! My father and his father before him and his father before him have ruled the empire! It is not true! It is not true! EMPRESS: (ENTERS.) Oh, dear. (Runs to him.) Your Majesty! Your Majesty, wake up! Wake up! (A pat to his cheek turns into a light slap.) You’re having another one of your nightmares. EMPEROR: No! (Wakes, excited, trembling and out of breath, clinging to EMPRESS.) EMPRESS: There, there, now. That’s a good little emperor. There, there now. Did we have a nasty old dream? EMPEROR: Uh-huh. (Buries head in her arms, whimpers.) EMPRESS: Did the little bitty emperor have a bad old dream? (She comforts him, then calls.) Mirror! Mirror! Someone bring the emperor his mirror! Quick! (No one comes. She sees PETER.) Well, don’t just stand there, young man, bring the emperor his mirror. Now! PETER: Uh, yes, Your Majesty. Right away, Your Majesty. (Looks around, cannot find a mirror.) EMPRESS: Quickly, quickly. (Snaps fingers.) (Finally, PETER mimes carrying a mirror before the EMPEROR and becomes the mirror himself, standing before him, “mirroring” his actions. The EMPEROR has his hands over his eyes and peeks between his fingers to see himself in the mirror. PETER also peeks between his eyes and continues to do exactly what the EMPEROR does.)

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

14 There, now, here’s your nice mirror. (The EMPEROR begins to recover. He stands taller and with more confidence. So does PETER, of course.) See how nice we look in the mirror? EMPEROR: Uh-huh. (Turns to admire self.) EMPRESS: See, now, there’s nothing to be afraid of. EMPEROR: (Performs before the mirror now, getting cocky, struts and poses. PETER works hard to keep up.) Yes, you’re right, of course. Such a silly dream. Hah! How could I ever dream that I am unfit to rule? EMPRESS: You? Unfit! Don’t make me laugh. (Laughs.) EMPEROR: Just look! Why, I am the perfect specimen of a ruler. Look at that strong chin and regal physique! (Poses, PETER still mirroring him.) And just look how splendid my costuming is. Ah! This mirror tells me so much. EMPRESS: (Humoring.) It tells you things, dear? EMPEROR: Yes, of course. For instance, if I wear a blue jacket and it happens to match the color of my eyes that day, then I know that it is the day I should raise the taxes. And then again, if I wear red and it makes the bridge of my nose match the blush in my cheek, then I know that is the day that farmers throughout the empire should harvest their crops. Don’t you see? EMPRESS: You are a truly... inspired... ruler, my dear. EMPEROR: I think I shall like to try the purple jacket now. EMPRESS: (Going to get it.) Oh, yes, yes the purple one. Dear, do you want the purple jacket with the emerald collar or the one with the diamond buttons? EMPEROR: I believe I am in the mood for diamonds. (Flashes a smile in the mirror.) EMPRESS: Yes, of course. (Mimes bringing it to him and helping him put it on.) Lovely! Just lovely! EMPEROR: Yes, it is, isn’t it? EMPRESS: You know, my dear, it is so splendid I think this is the one you should wear in the royal procession. EMPEROR: Yes, I think you might be right. (PETER breaks away from being the mirror. EMPEROR and EMPRESS continue as if he has not moved, looking into mirror, both with their hands on their chins, frowning as they consider. PETER stands behind them, puts his hand on his chin, frowns, looks into “mirror” and considers, mimicking them. They stand in this manner for a moment.)

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

15 PETER: (Shakes head.) Oh, no. Huh-uh. That will never do. EMPEROR: What? Who was that? (They turn to see PETER, who drops into a bow.) PETER: I am Peter, sir. Peter the Tailor, Your Majesty. EMPEROR: (Irritated.) How did you get in here? EMPRESS: Dear, it’s all right. I let him in. EMPEROR: But I don’t need another tailor. PETER: Oh, I think you do, sir. EMPEROR: (Takes offense.) You do, do you? And why is that, young man? PETER: I couldn’t help overhearing that you were planning to wear... that... to your royal procession next Saturday. EMPEROR: Well, I was thinking about it. PETER: (Looks, examines.) Hmmm. EMPEROR: (Loses confidence.) What? What? Don’t you think it suits me? PETER: (Walks around, examining with distaste.) Hmmm. EMPEROR: What? Doesn’t it fit properly? PETER: Well, it’s just that— EMPEROR: You know, I was thinking that perhaps it was a little too... a little too... PETER: Ordinary, sir? EMPEROR: Yes. Ordinary! Of course! My dear, bring me the one with the emeralds! PETER: Oh, I don’t think that will do either. EMPEROR: No. No, of course not. Emeralds are a little too... too... EMPRESS: (Tries to help out.) Flashy? PETER: No... EMPEROR: A little too... PETER: Ordinary. EMPEROR: Yes! Ordinary! Of course! (Thinks.) Now, see here, young man. Just what do you consider extra-ordinary? © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

16 EMPRESS: Your Highness, he says that he makes clothes that are... EMPRESS/PETER: (Together, PETER making grand gesture.) Magic! EMPEROR: Magic? (Intrigued.) Magic? Are you a magician? PETER: Of a sort. (Juggles, then pulls sponge ball from EMPEROR’S ear, just as he did in the opening magic trick.) EMPEROR: (Befuddled, stopped in amazement.) Well, well, well... in what way are your clothes magic? PETER: Sir, I know how to weave cloth of the most beautiful colors and magnificent patterns. EMPEROR: Yes, yes, go on. PETER: This wonderful cloth has the most extraordinary magical power. EMPEROR: Yes, yes, what is it? What? PETER: This cloth is... invisible. (EMPEROR and EMPRESS gasp.) EMPRESS: Invisible? PETER: To anyone who is unfit for the office he holds or... EMPEROR/EMPRESS: (Together, leaning into him.) Or...? PETER: ...is very stupid. (Both EMPEROR and EMPRESS are amazed.) EMPEROR: Well! That certainly is extraordinary. (Giggles.) Well, this is wonderful. Wonderful! You see, my dear, I told you my clothes tell me things. Think of the things I will learn from these magic clothes! EMPRESS: Can you have them ready by Saturday for the procession? PETER: Certainly. EMPEROR: What will you need? PETER: (Smiles, almost gloating in spite of himself.) Let me see. I shall need fifty skeins of golden thread... EMPRESS: Fifty? PETER: And one hundred bolts of the costliest silk in the empire. And... © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

17 EMPEROR: And...? PETER: A bushel basket of assorted jewels. EMPRESS: A bushel basket full of jewels? PETER: For the trim. (EMPEROR and EMPRESS look at each other.) EMPEROR: (Makes decision.) And you shall have it! I commission you to dress me in magic clothes for my royal procession! Let it be known throughout the land that I shall be wearing magic clothes! (Extends arm to EMPRESS.) My dear? (They start to go. PETER rubs his hands together, can hardly contain himself.) EMPRESS: (Turns back to PETER.) But wait a minute. EMPEROR: Yes? EMPRESS: Won’t you need a loom? PETER: A loom? EMPRESS: To weave the cloth. PETER: (He hadn’t thought of that.) Oh. A loom. I forgot. EMPRESS: It seems to me that you would need a very large loom to weave fifty skeins of golden thread. PETER: Oh, yes, yes. A loom. (Thinks, trying to sound like he knows what he is doing.) Of course. I’ll need lots of looms. A room full of looms! Looms, looms everywhere! EMPEROR: A room full! How glorious! I shall delight in hearing them buzz and hum and whir throughout the day. What a wonderful sound! PETER: (No enthusiasm because he has no idea how to use a loom.) Oh. Yes. Wonderful. To hear them buzz. And hum. And whir. EMPEROR: (To EMPRESS.) Come along, my dear. Good day to you, young man. (EMPEROR and EMPRESS EXIT up to ORCHESTRA to remove costumes that identified them with those roles.) CATHERINE: (Narrates.) And the emperor ordered that everything be delivered immediately! ALEX/PEASANT: (ENTERS as peasant, wearing cap. He drags in a seemingly-heavy burlap sack with gold tinsel spilling from the top. May use cockney accent.) Here is the gold you ordered, sir. © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

18 PETER: (Pulls out some gold tinsel and lets it fall through his fingers.) Oh, it’s beautiful! ALEX/PEASANT: (Drags in another burlap sack with shiny fabric spilling from the top.) Here is the silk you ordered, sir. PETER: (Holds a piece of cloth.) Wait until Grandmother sees this! ALEX/PEASANT: (Drags in a garden bushel basket with “jewels” piled high.) Here are the jewels you ordered, sir. PETER: (Holds a fist full of “jewels” high.) Ha! Ha! She said I couldn’t do it! (MUSIC CUE #6.) ALEX/PEASANT: And now for the looms. PETER: Looms? (ALEX/PEASANT goes into the AUDIENCE and chooses THREE CHILDREN to play the looms. He brings them ONSTAGE, asks their names and introduces them to PETER. [For example, “This is your Ashley Loom, sir.”] As they are introduced, PETER gets more and more depressed.) CATHERINE: The emperor ordered enough looms to completely fill the great hall of the palace. (As EMPRESS.) The emperor wants to hear those looms buzzing, Peter! PETER: (Calls.) Right! (To ALEX/PEASANT.) Uh... could you just kind of... ALEX/PEASANT: Yes? PETER: Well, could you just give me a little hint... ALEX/PEASANT: A hint? PETER: How do these things work? ALEX/PEASANT: (Laughs.) How do they work? Oh, you are a funny one. That’s a very funny joke. (EXITS up to ORCHESTRA, laughing.) PETER: (Groans.) Ohhh. If I don’t make these looms buzz and hum and whir, the emperor will never believe I’m weaving anything. (He examines the loom, pulling on an arm like a lever and turning an ear like a knob.) [NOTE: ACTORS are encouraged to use their imagination here and experiment with what works for them.] With each movement, PETER makes a half-hearted buzz, hum and whir sound.) EMPEROR: (From the ORCHESTRA.) I wonder when he will begin working, my dear. I have heard nothing but the strangest sounds from the great hall.

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

19 EMPRESS: (From ORCHESTRA.) I do hope he hurries. There isn’t much time left, you know. PETER: (In desperation, turns to them seated in ORCHESTRA and pulls on a “lever,” making a loud buzz.) Buzz! EMPEROR: Ah! PETER: (Is surprised that it worked. Tries again.) Buzzzzzzzzzz! EMPEROR: Nothing to worry about, my dear. He is beginning now. PETER: (Delighted that he has figured out a solution to the problem.) Buzzzzzz! Buzzzzz! Buzzzzz! (Carried away.) Hummm. Hummm. Buzz. Buzz. Whhhhiiiiiirrrrrr! (Dances merrily.) EMPRESS: It sounds like only one of the looms is working though, dear. PETER: (Enthusiasm fading when he hears this.) Buzz. Buzz. Buzz. (Sits.) How can I ever make enough noise to convince the Emperor? (Thinks. Gets an idea, accented by a “DING” from ORCHESTRA.) Hey! That’s it! Didn’t I tell you I was clever? Will you help me make the noise of the looms? (AUDIENCE agrees.) Okay, let’s have this part of the AUDIENCE buzz, this part make a humming sound and this part make the whirring sound. (He instructs AUDIENCE to follow the CHILDRENS’ “loom” sounds and gestures, making them the “leader” looms. You will need to fine-tune your instructions when you actually have an AUDIENCE to work with and you see how it responds to your directions.) Now when I point to your section, make your loom sound, and when I stop pointing, you stop making noise, okay? Ready? (PETER points to each section, conducting an “orchestra” of buzzing and whirring and humming CHILDREN so that it sounds a bit like a song. He can also instruct the AUDIENCE in a loud and soft signal to achieve more variation. The ORCHESTRA might play a simple tune to make this sequence even merrier. PETER gets carried away, wildly dancing and laughing at his achievement until we HEAR a LOUD KNOCK from the ORCHESTRA. PETER tells the AUDIENCE to be quiet, there is someone at the door. He can thank them and the CHILDREN playing the looms. He can then send them back to their seats, having the AUDIENCE applaud them for the good job they’ve done. He may let them settle down a bit before he goes on with the show.) What was that? Did you hear something? (When PETER sees that it is settled, PETER collects himself and goes to “door” located near ORCHESTRA. He opens it and peeks out. The EMPRESS is there.)

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

20 EMPRESS: (Very excited.) Oh, you! You clever, clever little tailor, you! (Pinches his cheeks.) We’ve heard those looms just buzzing away! PETER: (Winks at AUDIENCE.) They sure do a good job of buzzing and humming and whirring, don’t they? EMPRESS: The emperor is just dying to see some of that wonderful cloth! PETER: (He has nothing to show him.) Well, uh... I’ve only just begun, you know. EMPRESS: Of course. I understand. An artist like yourself wants to present the finished product to the emperor. PETER: Yes! Yes, that’s it exactly. EMPRESS: But I was wondering if I might just have a peek... PETER: Well... EMPRESS: Just a teeny, weeny peek? I promise I won’t keep you from your work too long. PETER: You remember, of course, that the cloth is magic. EMPRESS: Of course, of course! (Giddy.) I can’t wait. PETER: And it is invisible to anyone who is unfit for office. EMPRESS: Or stupid. I know, I know, I know. (Pushing past him, looks all around with great anticipation. She looks back at him, still smiling, waiting and expecting him to present it to her.) PETER: Well, what do you think? EMPRESS: What do I think? PETER: Yes. What do you think? EMPRESS: Of what? PETER: Of the magic cloth, Your Majesty. EMPRESS: Uh... uh... which loom exactly were you working on? PETER: Well, all of them, of course. EMPRESS: Of course. (Her smile becomes frozen—it is clear that she is alarmed. She walks to the edge of the AUDIENCE and closely examines the CHILDREN playing the looms in the front row. She closes her eyes, then quickly opens them again. She turns and jumps © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

21 around, trying to surprise herself with it. She turns to PETER, smiles and laughs nervously.) PETER: Well? EMPRESS: Well! PETER: Which is your favorite pattern, Your Highness? EMPRESS: Uh... that’s hard to say. PETER: Yes, I know. They are all so beautiful. EMPRESS: Tell me, which is your favorite? PETER: Well, I should be partial, but I do rather like the deep blues and greens in this one here. EMPRESS: Oh, yes. Such deep blues and greens. Very, very... deep. PETER: And then again I like this one very much. I’ve always enjoyed the gold tones, haven’t you? EMPRESS: Oh, yes. Most definitely. Love the gold tones. Just love them. (She is too shaken for more conversation.) Well! Must be getting back. Just a million and one things to do, you know. PETER: And you’ll tell the emperor that you like the cloth? EMPRESS: Oh, yes, yes, of course. I’ll tell him that it’s most... intriguing. PETER: Good. Thank you, Your Highness. EMPRESS: Yes, well... yes. (EXITS to ORCHESTRA.) PETER: (Snaps his fingers and jumps for joy.) Ha-ha! ALEX: (Hands CATHERINE/EMPRESS a hat that will signify that they are MINISTERS.) Next came a long line of ministers to see the cloth and report back to the emperor. (ALEX and CATHERINE put on their hats in unison and immediately assume the characters of pompous old men. They walk in a line, ONE before the OTHER and mimic each other’s actions. They circle around the PLAYING AREA as if going from loom to loom. Each holds a monocle to one eye and reacts to all with a deadpan expression.) PETER: Aren’t the patterns simply charming? ALEX/MINISTER: Stunning! © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

22 CATHERINE/MINISTER: Dashing! ALEX/MINISTER: Exquisite! PETER: Isn’t this one lovely to the touch? CATHERINE/ALEX/MINISTERS: (Together, deadpan.) The texture is divine. CATHERINE/MINISTER: The reds! ALEX/MINISTER: The purples! CATHERINE/MINISTER: (Speak deeply.) The deep, deep blues! CATHERINE/ALEX/MINISTERS: (Together.) How ever did you do it? PETER: (Laughs, triumphant.) It’s my magic! Magic! CATHERINE/ALEX/MINISTERS: (Together.) Ah, such magnificent, magical clothes! (MINISTERS EXIT UPSTAGE, still in a line. SOUND EFFECT: MUSIC that was used earlier for the marketplace. There should be of feeling of a bustling town.) PETER: Ha-ha! And Grandmother said I couldn’t do it! (PETER Moves away from PLAYING AREA. He can EXIT behind backdrop or simply move UPSTAGE to watch the action gleefully from a distance. ALEX and CATHERINE become characters of TOWNSPEOPLE. They can indicate this through simple costume additions or just by carrying the baskets they used for the market scene. They come straight down and talk to AUDIENCE MEMBERS as if they are TOWNSPEOPLE also.) CATHERINE/TOWNSPERSON: Have you heard about the magic clothes? ALEX/TOWNSPERSON: Oh, yes, isn’t it wonderful? Who would have ever guessed it? Magic clothes! CATHERINE/TOWNSPERSON: I wonder what they’ll look like! ALEX/TOWNSPERSON: (Nudges an AUDIENCE MEMBER.) I can’t wait to see who is stupid! CATHERINE/TOWNSPERSON: (To ALEX.) I bet I know who. ALEX/TOWNSPERSON: Who? (She whispers in his ear, and they both laugh.) No, no, no! It will be the baker. He’s always been a little... (Makes sign for crazy and they laugh.) CATHERINE/TOWNSPERSON: No, it will be the butcher! ALEX/TOWNSPERSON: No, the woodsmith! © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

23 CATHERINE/TOWNSPERSON: No, no, no! The old lady who lives down the way! (They continue their gossip and excitement, going into the AUDIENCE asking, “Have you heard?,” while taped MUSIC continues, adding a sense of excitement to the scene. Eventually, during chaos, ALEX breaks away and EXITS behind banner to become EMPEROR.) PETER: (ENTERS the PLAYING AREA. Claps hands. MUSIC STOPS.) I have an announcement to make! (CATHERINE tells AUDIENCE MEMBERS around them to quiet down and points to PETER.) The emperor’s new clothes are finished! CATHERINE/TOWNSPERSON: Finished? Wonderful! (She creates excitement in the AUDIENCE, speaking to those around her, “They’re finally finished!,” etc.) PETER: It is time for His Majesty to inspect them. (EMPEROR ENTERS, giddy with excitement. Holds his hands over his eyes. CATHERINE becomes EMPRESS and runs to him to guide him DOWNSTAGE. Enlisting the AUDIENCE, PETER asks if the CHILDREN in first row will help hold the garments. They need not stand up, they can hold “garments” from their seats. To AUDIENCE MEMBER.) You may hold the trousers. (To another AUDIENCE MEMBER.) And you may hold the coat. And I will hold this long glorious train. (Mimes, shaking it and rolling it far down the aisle.) Now, Your Majesty. What do you think? EMPEROR: (Peeks through fingers with a look of childish glee, expecting to see something wonderful. Slowly he brings his hands from his eyes and becomes amazed. He opens his mouth to speak but cannot. After a pause.) I... I... PETER: Ah, you’re speechless, I understand. EMPEROR: I... I... PETER: Tell me, Your Highness, what do you think of the detailing in the trousers? EMPEROR: I... I... PETER: Yes, it is lovely. And the coat! See, the cut of the sleeves? It is really quite unusual, don’t you agree? EMPEROR: I... I... PETER: And the train, sir. What do you think of its feather-light texture? Here, touch it. Don’t be afraid.

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

24 EMPEROR: (Reaches to touch it.) It’s... it’s... PETER: Yes, it certainly is. Isn’t it? EMPEROR: (To himself.) It’s like a bad dream. PETER: What was that, Your Highness? EMPEROR: (Recovers himself, but acts stiff and false.) Oh, uh... I said... they’re the most splendid clothes I’ve ever seen. Your magic... your magic is certainly... PETER: Wonderful, isn’t it? EMPEROR: Surely, there is no tailor alive who can equal you. PETER: (Drops to the floor and bows.) Thank you, sir. EMPEROR: I shall wear these... uh... magical clothes in the great procession tomorrow. PETER: I shall be honored, Your Majesty. (Stands.) And now, sir, as soon as I have been paid I shall take my leave. EMPEROR: You’re not leaving? PETER: I must return to my family... my grandmother. EMPEROR: Oh, no, no, no. PETER: No, no, no? EMPEROR: No, no, no, Peter! I want you to arrange the procession. You shall accompany me in my great walk through this great city of Kostrama! I have a very high honor I wish to bestow upon you. PETER: But, sir, I don’t think that’s a real good idea. EMPEROR: (Starts to EXIT up aisle, speaking over shoulder.) There are many preparations to be made. See that you appoint two lords-in-waiting to carry that magical train of yours. (Stops in CENTER aisle, turns.) Oh, and make sure they are not stupid. I don’t want to trip in front of everyone. (EMPEROR EXITS DOWN CENTER aisle and OUT of the door of the theatre or performance facility where he will change his costume. CATHERINE returns to ORCHESTRA, where she begins MUSIC that heightens the excitement of the preparations.) PETER: (Remains CENTER STAGE, pacing and thinking.) A high honor? I wonder what he meant by that? Probably lots of money, don’t you think? (Giddy with the prospect.) Well, I guess Grandmother can wait one more day. Besides, I have nothing to worry about. No one is going to admit they’re stupid. (EXITS.) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

25 CATHERINE: (Crosses DOWNSTAGE in a circle, full of excitement.) Suddenly the town of Kostrama was buzzing with anticipation! Every butcher, ever baker, why, even every candlestick maker busily prepared for that special day—the day of the emperor’s glorious procession. (CATHERINE crosses to the ORCHESTRA, where she makes MUSIC and SOUND EFFECTS for the upcoming procession scene.) PETER: (ENTERS and addresses AUDIENCE MEMBERS as if they were TOWNSPEOPLE.) Attention! Attention! Your attention, please! As you all know, the emperor will soon present himself to you. He wishes to walk among the citizens of this great city in celebration of this great empire! I am sure you all know how to honor His Majesty when he arrives. It is necessary for you all to throw rose petals so the pavement will be softer to his feet. Do you know how to do that? (Asks CHILD to show how and guides him in simple throwing action.) And of course, you know that the most thunderous applause is required when the emperor appears in all his... splendor. Now, I need two lords-in-waiting. (He appoints two of the CHILDREN as LORDS-INWAITING.) Are you stupid? (CHILD answers, “no.”) Are you stupid? (Ohter CHILD answers, “no.”) Then come with me. (SOUND EFFECT: MAJESTIC MUSIC as PETER brings his “LORDS-IN-WAITING” to the back of the auditorium. PETER flashes a banner/flag around in flourish. When MUSIC STOPS, he announces.) Ladies and gentlemen! I have the high honor of presenting to you, the citizens of Kostroma, our beloved emperor and his glorious new clothes! (LORDS-IN-WAITING open door. MUSIC CUE #7: TRUMPET FANFARE BEGINS then FIZZLES as the EMPEROR APPEARS before us, standing smug and regal, wearing the most ridiculous underpants. These can be large boxer shorts with red hearts on them or some kind of pantaloon affair. The EMPEROR is completely confident and raises his scepter high in salute to his people.) EMPEROR: I am pleased to be among you all today. (Raises arm in air, waving to adoring throngs.) Let the procession begin! (PETER and CATHERINE encourage AUDIENCE to clap and throw rose petals. MUSIC is very important during the procession. “LORDS-IN-WAITING” should follow behind EMPEROR, carrying his “train.” PETER follows behind, merrily smiling and waving. PETER can also do any ad libs with the “LORDS” that might be funny here. Basically the AUDIENCE should be laughing through the entire procession. EMPEROR leads procession to PLAYING AREA. PETER stands beside him. EMPEROR gestures for noise and flourish to end. CATHERINE moves DOWNSTAGE to sit with CHILDREN in front row.) I am sure you are all wondering who is responsible for the state of my appearance here today. I look as I do today due to the cleverness of this man, Peter the Tailor. (CATHERINE applauds, encouraging AUDIENCE to applaud. PETER bows.)

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

26 PETER: (False modesty.) Thank you, Your Highness. EMPEROR: Peter, if it had not been for your dedicated work and special magical abilities, I would not be wearing this outfit here today. It is, therefore, my greatest wish to bestow upon you the title of “High Court Weaver to His Majesty the Emperor” and to present you with this medal. PETER: Oh, sir! I am overwhelmed! (PETER goes down on one knee before the EMPEROR. The EMPEROR begins to place medal around his bowed neck when he hears CATHERINE and the AUDIENCE around her making noise. CATHERINE will be quietly asking the CHILDREN if it doesn’t look like the EMPEROR has nothing on.) EMPEROR: What? What is that? Silence! I will have complete silence on this most momentous occasion. (Again he begins to place the medal and again the giggling is heard from CATHERINE and AUDIENCE around her.) What? Do I hear laughter? What is the meaning of this outburst? CATHERINE: Do forgive us, Your Majesty. (Cannot keep from laughing.) EMPEROR: Silence, I say. CATHERINE: I’m so sorry, Your Highness. It’s just that one of your subjects here has something to say to you. (She can whisper in the child’s ear what to say, or if it seems the kids understand what is going on, they may not need prompting. CATHERINE must tell the CHILD to speak up loud and clear. The CHILD should say something like “You’re in your underwear!” or “You have nothing on!”) EMPEROR: What, what was that? CATHERINE: Forgive us, sir, but... but... (Points.) You have nothing on! EMPEROR: (Outraged.) Nothing on?! But that is preposterous! Of course I have something on! I am dressed in the finest— CATHERINE: It’s true! It’s true! (To AUDIENCE.) Do you see anything? (It shouldn’t be hard to get the AUDIENCE to say “No!” together. The EMPEROR looks down at himself, up at AUDIENCE then drops his scepter and the medal and tries to cover his knees with his crossed arms and hands. CATHERINE should encourage AUDIENCE to chant “The emperor has no clothes on!”) The emperor has no clothes on! (PETER slowly moves UPSTAGE, trying to find a way to escape. He tries to hide himself with UPSTAGE banner or flag. EMPEROR runs to get banner to cover himself and yanks it away from PETER, who is shaking in his boots.) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

27 EMPEROR: You! PETER: Your Highness, I can explain everything... EMPEROR: You! (Backs PETER down CENTER aisle.) PETER: You see, these people are just stupid! EMPEROR: You little... little... PETER: See, they are just unfit! EMPEROR: (Lunges for him.) Aaaaaaaaaaahhhhhhh! (EMPEROR chases PETER down aisle and OUT through door from which he just ENTERED for the procession. SOUND EFFECT: CHASE MUSIC. They can run back IN through another door and elaborate on the chase as needed, as it suits the facility. This chase will need to be worked out before each performance in terms of using the doors and entrances of the facility. Chaos and commotion can be encouraged by the ACTORS, MUSIC or SOUND EFFECTS. When the commotion dies down, the EMPEROR and PETER have EXITED and the AUDIENCE calms down, CATHERINE should take focus ONSTAGE. She has put on the scarf she wore as GRANDMOTHER and sits on cube ONSTAGE, counting coins.) CATHERINE/GRANDMOTHER: Forty-five, forty-six, forty-seven... PETER: (ENTERS with a burst through another door of the facility or again through CENTER door in a panic. Calls.) Grandmother! GRANDMOTHER: (Looks up, calm.) Peter? PETER: (Runs to her.) Grandmother! GRANDMOTHER: Peter! What in the world— PETER: (Very excited, out of breath, points behind him, panting.) He followed me over the mountains! GRANDMOTHER: The mountains? PETER: Across rivers and streams... GRANDMOTHER: Rivers and streams? PETER: ...through waterfalls! GRANDMOTHER: Peter... PETER: And the deep dark forests! (Nearly collapses with exhaustion and excitement.) GRANDMOTHER: Peter, why didn’t you tell me you were going? © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

28 PETER: Because I wanted to show you how clever I can be. I wanted to get rich. GRANDMOTHER: Did you, now? And did you get rich, Peter? PETER: Oh, yes, Grandmother. Rich beyond our wildest dreams! GRANDMOTHER: (Amused.) Beyond our wildest dreams. PETER: And not only that, Grandmother. I became a world-famous tailor! GRANDMOTHER: Famous? PETER: Oh, yes! And I was commissioned by the emperor... GRANDMOTHER: (Smiles.) Oh, my. PETER: I made him a suit of magic cloth... GRANDMOTHER: Magic, was it? PETER: Yes, and everyone thought is was beautiful, and there was this big procession and the emperor gave me a medal. GRANDMOTHER: Did he, now? PETER: (Stops.) You don’t believe me, do you? GRANDMOTHER: Where are your riches, Peter? PETER: Riches? GRANDMOTHER: You said we were rich beyond our wildest dreams. PETER: Well, we were... only... GRANDMOTHER: Only? PETER: Well, I had to leave it behind. You see, he chased me... GRANDMOTHER: You know, Peter, you were gone a very long time. PETER: I know, but I had to— GRANDMOTHER: I thought you were never coming back, Peter. PETER: It took a long time to make that suit. GRANDMOTHER: I had to do something for money. PETER: Yes, I know...

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

29 GRANDMOTHER: So I sold your bed. PETER: My bed? GRANDMOTHER: Yes. You know the headboard was made of solid brass and brought a pretty penny. PETER: My bed? GRANDMOTHER: Fifty gold coins. I’ve counted them every night since you’ve been gone. (Holds up a bag of coins and jingles them.) PETER: But where will I sleep? GRANDMOTHER: I suppose you’ll have to sleep on the floor. That is, unless of course you can make a bed. PETER: Make a bed? GRANDMOTHER: Like you made the emperor’s suit... with magic. (Laughs.) PETER: Magic. Oh, yeah. GRANDMOTHER: (Kisses his cheek.) Welcome home, Peter. (GRANDMOTHER removes scarf and becomes CATHERINE the storyteller. Meanwhile, ALEX has ENTERED and taken his place in ORCHESTRA with her. PETER remains ONSTAGE, lamenting his lousy luck. MUSIC CUE #8.) ALEX: And that is the story of how a lowly little tailor... PETER: Hey... CATHERINE: ...lost all his riches… ALEX: …riches beyond his wildest dreams! PETER: Hey, wait a minute. CATHERINE: ...and was run out of town by the emperor... PETER: Yeah, but... ALEX: ...over the Great White Mountains, CATHERINE: ...across rivers and streams, ALEX: ...through waterfalls... CATHERINE: ...and the deep dark forests.

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

30 ALEX: And they say that even today the emperor... CATHERINE: ...and the empress, who also didn’t like being tricked, are still out there, searching... ALEX: ...searching, searching... CATHERINE: For that lowly little tailor. PETER: He wasn’t that lowly! CATHERINE/ALEX: (Together.) Searching, searching, searching... (PETER looks around as if he is being hunted, looking for the dreaded EMPEROR. ALEX walks past him. PETER does a quick double take and yells “Yikes!” before he realizes ALEX is not the EMPEROR.) ALEX: (Moves DOWNSTAGE and speaks to AUDIENCE.) Ladies and gentlemen, that concludes another theatrical extravaganza presented by the world-renowned thespian troupe... CATHERINE/ALEX: (CATHERINE joins him, together.) The Ivanova family! ALEX: Featuring... (Take CATHERINE’S hand and moves her gracefully DOWNSTAGE.) ...the dramatic talents of the lovely, the beautiful, the great... Catherine Ivanova! (CATHERINE sweeps the stage before the AUDIENCE and bows dramatically. PETER has crept up to ALEX and now taps his shoulder.) Not now, Peter. (To AUDIENCE.) And, of course, it has been my great privilege to share my dramatic mastery with you today... (PETER taps his shoulder again. Through smiling teeth.) I said not now, Peter. (Back to AUDIENCE.) I remain your humble servant, a simple vessel of divine inspiration— PETER: (Meek.) Papa? ALEX: (Pushes PETER out of the way and bows in front of him.) I am, yours truly, Alexander Ivanova! (ALEX and CATHERINE join hands and bow again. PETER tries to join them by taking ALEX’S hand which is making grand gestures in the air. Then PETER taps him again. Finally, very irritated.) What? What is it, Peter? PETER: You forgot me. ALEX: Oh. Okay, okay... and also Peter. (Starts to go.) PETER: Ivanova. ALEX: Ivanova.

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

31 (PETER starts to take bow as OTHERS had done, but they have already moved away UPSTAGE and are putting away instruments, props, etc.) PETER: (Smiles. Through teeth to ALEX UPSTAGE.) As the lowly little tailor. (Trying to get enough attention for a bow.) ALEX: Yes, yes. Peter, do you think you can help us carry something out? CATHERINE: The stools, perhaps? (ALEX and CATHERINE EXIT behind backdrop.) PETER: The stools? Naw, too heavy. ALEX: (Calls from OFFSTAGE.) The scenery, perhaps? PETER: Naw, too bulky. CATHERINE: (Calls from OFFSTAGE.) Well, for goodness sake, Peter, you have to carry something! PETER: I know! (Takes juggling balls from his pocket and begins to juggle and whistle. PETER can ad lib here, repeat any trick that has been used in the play, talk to the AUDIENCE, etc.) ALEX: Peter, are you carrying anything? PETER: (Wink to AUDIENCE.) Sure am. ALEX: Then come on! PETER: Coming... (PETER walks OFF, happily juggling. Just as he gets to backdrop, he bows. ALEX reaches out and pulls him OFFSTAGE. MUSIC CUE #9.)

END

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

32

PRODUCTION NOTES PROPERTIES ONSTAGE: Black and red canvas backdrop or banner, with poles, festive flags and streamers; two smaller banners with flags and streamers, antique trunk containing props, cubes, cylinders, stools and/or ladder, xylophone or keyboard, percussion instruments. BROUGHT ON: Juggling balls (ALEX, CATHERINE, PETER); scarves, broom or walking stick (CATHERINE); baskets, burlap sacks, sack with gold tinsel, sack with shiny fabric, basket of jewels (ALEX, CATHERINE); “loom” (ALEX); bag of coins (CATHERINE); medal of honor (EMPEROR).

COSTUMES Costumes will be simple country clothes with a Russian accent. CATHERINE may wear a freeflowing skirt and peasant blouse, adding pieces to her costume as she assumes different characters. Men wear knee pants, boots, high-necked Russian shirts and fur caps. Again, they don new pieces as they assume characters. EMPEROR wears large, ridiculous boxer shorts (with red hearts, etc.) during procession scene.

MISCELLANEOUS When not onstage, ACTORS will use simple instruments in “orchestra” area to make sound effects or simple melodies throughout the play. Instruments included may be xylophone or keyboard, drums, recorder, wood blocks, tambourine, and cymbals. They may also use kazoos, whistles, bells, wind chimes, a can of marbles, a jug, etc. The ACTORS should be given a wide variety of noisemakers to play with during rehearsal. (A slide whistle and tweety-sounding water kazoo are especially fun!) The more sound effects the better. Instruments/noisemakers can be played in full view of the AUDIENCE from the ORCHESTRA area. This area can also serve as a station for props and costumes. Taped (or live) music can also be used during the show to accompany the most dramatic moments. (See text for specific music/sound cue suggestions, i.e., bustling marketplace scene, procession, etc.) Although music is not required, directors are strongly encouraged to be creative and use any available resources that might enhance the dramatic effects of the performance.

Kathryn Schultz Miller Kathy co-founded the professional ArtReach Touring Theatre and served as Artistic Director for over 20 years. Most of her 44 plays have been published and have won countless awards. Her play A Thousand Cranes was performed at the Kennedy Center, the Sundance Institute, and has been produced thousands of times the world over. She has won Playwriting Fellowships from the National Endowment for the Arts, the Ohio Arts Council and the Post-Corbett Foundation. Kathy lives in Cincinnati with her husband Barry, who handles orders, soundtracks and website design for Children’s Theatre Plays.com.

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences).

FULL PLAY LIST - Check our website often for exciting new titles! A Christmas Carol A Christmas Wizard of Oz A Thousand Cranes Aladdin and the Magic Lamp Alice in Wonderland Amelia Earhart Annie Oakley Beauty and the Beast Blue Horses Choosing Sides for Basketball Cinderella Emperor’s New Clothes, The Hansel and Gretel Haunted Houses I Think I Can I'm a Celebrity! Island Son Jack and the Beanstalk Knights of the Round Table Laura Ingalls Wilder Legend of Sleepy Hollow, The Legend of the Trouble Dolls Lewis and Clark Little Mermaid, The Mark Twain Show, The Mountains are a Feeling Peter Pan Pinocchio Poe! Poe! Poe! Princess and the Pea, The Red Badge of Courage, The Robin Hood Rumpelstiltskin Shakespeare to Go! Shining Moment, The Snow White & the Seven Dwarfs Sword in the Stone, The Thomas Edison: Fire of Genius Time Machine, The Trail of Tears Twas the Night Before Christmas Very Bestest Christmas Present, The We Are The Dream Welcome Home Why Do Heroes Have Big Feet? Wizard of Oz, The Yearning to Breathe Free You Don't See Me Young Cherokee

Dicken’s classic story, traditional Christmas songs (SPP) Wizard of Oz – Christmas version with Holiday music! (SPP) Story of Sadako, a young Hiroshima victim (SM, EX, SPP) Magical characters, audience participation! (SM) Lewis Carroll and Alice in Wonderland (SM, EX, SPP) Amelia's life and her final, tragic flight (SM) The true story of an American heroine (SM) A classic tale, beautifully told (SM, SPP) Four children act out their dreams (SM) School friends deal with life and self esteem (SM) The world’s most popular fairy tale (SPP) A rollicking version of the classic tale (SM, EX, SPP) Classic fairy tale, audience participation! (SM) Four children tell haunting real life stories (SM) A young girl gains confidence through imagination (SM) An unpopular boy dreams of becoming famous (SM) A Caribbean boy’s adventure on an enchanted island (SM) Hilarious version, audience participation! (SM) King Arthur fights the forces of evil (SM, EX) Voice of the Prairie: Story of the beloved author (SM, EX) Innovative retelling of the classic Halloween tale (SM, EX) An anciant Central American legend comes to life (SM) American explorers, a Bicentennial of Discovery (SM) Classic musical tale of underwater adventure (SPP) Twain’s writings: Tom Sawyer, Huck Finn and company (SM) Traditional Appalachian stories and folk tales (SM) The popular story that never grows old (SPP) The little puppet who became a real live boy! (SM, SPP) Edgar Allen Poe's classic writings, reader’s theatre style (SM) Full length version of the classic fairy tale (EX) Stephen Crane’s classic Civil War story (SM, EX) The classic Medieval adventure tale (SM, EX) The delightfully rich fairy tale told in a Scottish setting (SM) Scenes from the Bard’s popular works, playfully told (SM) A grandfather's tender story and his final, loving gift (SM) A classic fairy tale and favorite the world over! (SPP) Merlin teaches Arthur to be a good king (SM, EX) Illuminating review of the great inventor's life and times (SM) Two children hitch a ride into the future (SM) Cherokees removal from their homeland (SM) Holiday musical play with famous St. Nicholas poen (SPP) Hilarious holiday fun – great for parties! (SM) The legacy of Dr. Martin Luther King, Jr. (SPP) A Vietnam veteran shares his memories (SM) Midwest tall tales and American folklore (SM) Our most popular play! (SPP, also bilingual Spanish version) A Caribbean boy searches for freedon in America (SM) A young girl deals with the loss of her brother (SM) Native American culture and myths (SM)

*SM=SMall cast (touring), EX=EXpanded cast, SPP=School Play Package (large cast)

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