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SCHOOL PLAYS the plays of Jonathan Dorf for school age actors and audiences |
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Need a play to produce at your school? All of the plays listed on this site page were written specifically for young actors and/or young audiences or have been tested in workshop or production at either the middle school or high school level. |
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Click on the title of any play listed below to go to its own special page, with a full synopsis, cast list, notes or comments about the play and even part of the script for you to preview! Ten-Minute Plays CRASH POSITIONS (1M 1F) is a comedy about two passengers who think their airplane is about to crash. NEW!!! AFTER MATH (minimum 8-10 actors, no maximum) When a student mysteriously disappears in the middle of math class, through a series of scenes and monologues, those left behind try to find some answers. Did anyone really know who he was? And why is it they've only noticed him now that he's gone? Written specifically for teen actors and ideal for school festivals and competitions. TWISTING CAROL (20+ roles) is a one-act slaughter of the Dickens classic. Young Ebenezer Scrooge dancing with a popsicle stick, a ghost named Bob, another ghost who thinks his name is Bob and a Tiny Tim who considers himself short but not tiny. In WAR OF THE BUTTONS (10M 2F) the youth of a town on the brink of ruin battle the students of a local prep school that is gradually buying up their town, all the while protecting one of their own whose parents have abandoned him. Look for a version with more female roles in late 2004. Some people wish the high school years would last forever. Others would do anything to get them over with. The full-length musical DAY ONE (30+ roles) asks, what if they all had a chance to get their way? |
ABOUT THE AUTHOR
Playwright and screenwriter Jonathan Dorf has had his plays produced in more than twenty-five states, as well as in Canada, Europe and Asia. He has been a finalist for the Actors Theatre of Louisville Heideman Award and has worked with such companies as the Walnut Street Theatre, Playwrights Theatre of New Jersey, Moving Arts, Ensemble Studio Theatre - The LA Project and the Pittsburgh New Works Festival. He spent three summers as playwright-in-residence at the Choate Rosemary Hall Summer Arts Conservatory, where, in addition to creating a new play for teen actors each year, he also taught playwriting and screenwriting. His plays are published by Eldridge and by Brooklyn Publishers, with a monologue from WAR OF THE BUTTONS as part of Audition Monologs for Student Actors II. He is the resident playwriting expert for Final Draft and The Writers Store, the co-chair of the Alliance of Los Angeles Playwrights and the former managing director of the Philadelphia Dramatists Center. He formerly headed the theatre program at The Haverford School and has also taught for the Philadelphia Young Playwrights Festival and been a guest artist at more than a dozen schools across the United States. He is a member of the Dramatists Guild of America and the Los Angeles-based Ariadne Group. For screen, he has written a trio of produced shorts (Throwaways, dir. David Marmor, Disconnect and Reunion, dir. Harley Cross), as well as a number of feature-length scripts. He holds a BA in Dramatic Writing and Literature from Harvard University and an MFA in Playwriting from UCLA. EMAIL ME Producing a play by a living author (or even by a recently dead author) requires permission and payment of a royalty. It doesn't matter whether you charge admission, whether you make a profit or whether you pay your actors. Expecting a playwright to provide his or her work for free makes the statement that the work is of no value, and that's not fair. Is it fair to pay someone to flip hamburgers at McDonald's but not pay a playwright for his or her time and effort? So if you want to produce my work, expect to pay a royalty (depending on your situation--for example, if it's a short play and it's only for a class and not open to the public--it may be extremely nominal). If you decide to produce a play from this site, you will receive a contract that adheres to the principles of the Dramatists Guild of America, which you must return signed (along with the royalty) before the production. In the case of the published plays, you will make arrangements directly with the publisher. ROYALTY NEWSFLASH! I now accept payments via |
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