Plays for all Seasons, and all Ages
by
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Wizard: Well, they pretend it's very important to improve their culture, and all sorts of things like that, but really, it's, well -- it's a whole lot of fun.
Nymph: How do they manage to pay for everything?
Wizard: Oh, there's always someone who pays -- they are called philanthropists.
Nymph: My goodness, you are using long words tonight. Never mind though, I'm rather ignorant.
Wizard: Just as well, my dear, the less you know the happier you will be. Nymph sits on the ground and looks a little pensive. Are you concerned about my decision?
Nymph: Well, I am a little worried about me. I'm sort of used to being around you, and I'll feel very lonely when you go on your SABBATICAL.
Wizard: Nonsense. I'm not going far. Come to think of it, you could come with me. I really need someone to keep my buttons in order and shine my shoes. Pause. Don't be offended, that's just an excuse to make you stay.
Nymph: Oh, I'm so happy that you need me. I'm not in the least offended, and I'll be delighted to look after your buttons and even brush your clothes!
Wizard: That's settled, then. The first thing we do is visit my friend, the King of Butterflyland. His kingdom is just over the rainbow.
Nymph: Oh, how exciting, I didn't know you knew a king!
Wizard: Oh yes, we were together in the war. He has a marvelous collection of buttons.
Nymph: Let's go at once. We can catch the evening cloud and be there in no time!
Wizard: I believe he is a widower, and has a young son called Ferdinand. Now let me see. All I need is my precious box of buttons. Perhaps I better bring my crystal ball. Come, my dear. He collects an ornate box of buttons, picks up the ball, and puts on his hat. Then he takes off the hat, and throws it away. They both laugh. Music is played during this scene. Nymph moves the table and carries a little pretty bag with her. They go off arm in arm. Music fades. Then enter Sean and Michael, both happy and smiling. They look around and see that the Wizard has gone.
* * * * *
Sugar Ray: and I could talk, and wanted to play with you,
Rosaleen: and I wanted to be with the birds and the flowers and everything. Oh, what a wonderful gift the Wizard gave me.
My life changed -- I was suddenly happy and free. She runs joyfully to the mound. I seem to be a flower, a tree, a squirrel, just like you, oh, I'm so grateful. Soft music. She caresses the flowers and the bird comes down from the tree and Sugar Ray runs to and fro in delight.
I think you are magnificent,
You tall and lovely trees,
My dearest flowers, I love you,
Give me honey, like the bees.
Oh, birds of gorgeous feathers,
Keep singing day by day.
You have made this possible,
My precious Sugar Ray.
During this verse, the Golden butterfly flutters in, watches, listens, and stands just behind the tree.
Sugar Ray: If I could cry, there would be tears in my eyes. I am so proud to be your friend.
Rosaleen: seeing Butterfly Oh, what a perfectly lovely golden butterfly. I have never seen one like it. Come here, you pretty thing. Don't be afraid of me. She stretches out her hands to the butterfly, but it lifts its wings and goes away. Ah, she's gone. What a pity. Meantime, Sugar Ray has climbed the tree.
Sugar Ray: Oh, look out! Someone's coming. Are they looking for you, Princess?
Rosaleen: Strange, no one ever comes here -- It's a long walk from the palace. Enter Lady May.
Lady May: sternly There you are, Princess, we have been searching for you everywhere!
Rosaleen: Why? I've finished my lessons for the day, thank goodness.
* * * * *
Scene I
A Hillside near Bethlehem
Morning.
Enter Anna, mother of Benjamin, with her two little girls, Sarah and Leah. Anna carries a small basket for the herbs she is gathering. She searches the ground, kneeling and moving about. The girls imitate her.
Anna: Look over there for majoram and mint. It usually grows near that green bank.
Sarah: I found some, here, Mama. She puts it in the basket.
Leah: I cannot see anything. Sarah has picked everything.
Anna: laughing. Dear child, there is enough around here to fill ten baskets.
Sarah: Why don't you look properly, Leah. Stop watching me.
Anna: Well, I have more than enough to make a tasty soup for supper tonight.
Leah: I like it here. She stretches out near the bank. It smells so sweet and the ground is so soft.
Sarah: There is a sweet scent, can you smell it, Mama?
Anna: My nose is full of mint and herbs.
Sarah: near the bank. Look, look, how beautiful.
Anna: What is it, Sarah?
Sarah: A flower, so lovely, it seemed to fall into my hand.
Leah: Let me see, let me see! Oh! They all gather around the flower.
Anna: Now I sense the fragrance. It is wonderful. She takes the flower from Sarah and gazes at it. Very unusual, especially at this time of the year.
* * * * *
Levi: Sounds like trumpets! And harps!
Jacob: Oh yes, I can hear something, too.
Father: Now, now, don't overdo it. Ben, do you hear anything?
Benjamin: quietly. Yes, Father, I hear a most heavenly music and it is coming nearer.
Suddenly there is a huge flash of light which comes and goes several times and trumpets and harps are heard louder. The shepherds are all terrified and throw themselves on the ground, speechless. The Angel can be seen above them flashing brightly. Drums and gongs thunder and up high at a distance from the shepherds, an angel appears. Only the Angel is seen in the spotlight,everything else is dark.
Angel Gabriel: Shepherds of Bethlehem! Do not fear. I bring you news of great joy for the people of Israel and all the world. Soft, beautiful music, then angel continues. This night in the city of David, the Savior has been born. Angel stretches his arms in gesture of joy. The Christ! The Lord! Angel crosses his arms. You will find him in a grotto, a baby in swaddling clothes, in a manger for animals, because no roof was found for the Messiah in the city of David.
The 'Gloria in Excelsis' should be sung in echoing parts and gradually the angel in the spotlight fades and the music too. The shepherds are seen in normal fire light, prostrate on the ground. For a long pause there is no movement, no sound. Then they slowly get to their feet- dazed and frightened.
Benjamin: The beautiful Lady!
Father: Son, have you lost your senses?
Benjamin: Father, father! I told you about them and I took them to the grotto. She was so lovely, I wanted to stay near her.
David: Ben, take us there: we must see this Baby Lord. Oh! What wonders! kneeling.
Father: Ah! Yes, the grotto.
Benjamin: I remember now, she said it would be a palace for the little King.
Father: The little King, the Messiah. falling to his knees. Oh Lord, Oh God!
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About the Book
Early in 1997, I was one of a small group of art lovers to found a center in Cape Charles, VA to encourage and teach visual and performing arts in the small, sleepy town and surrounding rural area. My daughter, Clelia Sheppard, a talented artist trained in Europe, was brimming with enthusiasm and drive, she suggested the name, Arts Enter Cape Charles.
Classes in painting started almost immediately and the town kindly gave us the use of a large room in an old school building, which served as art room, committee room, and our general headquarters; we also had the use of the auditorium. I became the Drama and Performing Arts Director having a rich theatrical background as a retired actress and writer.
We decided to launch our activities by presenting a play. From a fairy tale poem I had written some years before, I developed the theme into a full length play with music and dancing. It was a simple tale with the nymphs, golden butterflies, an eccentric wizard, and a talking squirrel all woven together in a love story between a rebellious princess and an unusual prince. I called it Magia which is Italian for magic.
We held a public audition and had a surprising response. Eventually the play was cast with mostly children, about 50 in all.
Clelia's artistic specialty is sceneography, she has a positive flair for painting the most suggestive and delightful backdrops.
We planned to present the show in the school auditorium, but we ran into innumerable difficulties. The acoustics were terrible, there were dozens of windows ,and the place was invaded regularly by improvised teams of basketball players.
Shortly before the scheduled opening night, we made a fateful decision, we rented the old flea pit of a cinema in part use in the town center. It was dirty, smelly, and the stage was shallow. Somehow we managed to overcome an unspeakably nightmare week and have the place ready, all dolled up, to present our first show at the Palace Theatre for three performances in August 1997.
Magia was a spectacular success with a packed house on our first night, concluding with a standing ovation.
Arts Enter had really entered Cape Charles and we had fallen in love with the old Palace Theatre.
During the ensuing years we have been desperately fund raising, teaching, and expanding in all directions. For Christmas 1997 I had already written another play. This time it was an original story of Christmas with imaginary characters blending with the historic ones. There was a glittering scene at the court of King Herod which introduced exotic dancing other ballets gave students a chance to display their artistry and the profit they had gained from dancing classes. Benjamin's Grotto repeated the success of Magia and we were fired to maintain the standards we had set.
The third play I wrote was A Prodigal Son the familiar story of the wayward son was there but all the characters were original creations and it was set in Medieval Europe with sumptuous costumes and stunning sets. This time it was mostly an adult class with a dramatic theme.
Again in August 1998 we achieved a resounding success, which also included several ballets.
A milestone was reached at this time. We purchased the Palace Theatre. Fund raising, grant applications, and extended classes were now in full swing. We had become a non-profit incorporated company with a mission to teach and propagate the arts. A Prodigal Son was an inauguration of our ownership of the Palace Theatre.
A Christmas play immediately went into rehearsal, I wrote Once Upon A Time my own original version of the Cinderella story. Lots of children were involved both acting and dancing. We had a cast of almost 80 performers. Again we filled the theatre for three performances and added a fourth as a free gift to schoolchildren. It was a joy to see their enthralled faces as they packed the theatre to overflowing just before Christmas 1998.
The Palace Theatre which seats 500 people, has been cleaned, renovated, and elegantly restored. We are continuing to present live shows more and more frequently and the Arts Enter Cape Charles has good hopes of becoming an institution.
I am still writing and hope to present another premier for the last Christmas of this century.
This is the history of the four plays in this book, how they came to be written and where they were performed. I hope many other actors and actresses will bring my creatures to life in future productions of these plays.
Sheila Cardano, Cape Charles, August 1999
About the Author
Sheila Mullin Cardano is a native of London, England. After graduating from the Royal Academy of Dramatic Art and pursuing a short but intense theatrical career rich with interpretations of more than 100 roles, she accompanied her husband, Renato, a metallurgical scientist, to Italy where they lived for many years.
When their two daughters married Americans and left for the U.S., they decided to follow them. Ten years ago they settled on the Eastern Shore of Virginia. It proved to be a reawakening for Sheila to write stories, poetry and plays.
Together with a small group of artists she was co-founder of 'Arts Enter Cape Charles,' a thriving art center dedicated to teach and propagate an awareness of the arts in this rather sleepy area. Eventually they purchased the Palace Theatre. The plays were written specifically for this play house and each premiered there with great success.
Her poetry has appeared in-anthologies and collections. A book 'Patrick' was published a few years ago in memory of the son lost in a tragic accident in Italy.