The Jungle Book
Play for Kids to Perform!
Running Time: About 45-50 minutes
Flexible Cast of 36 (2 M, 2 F,
All characters may be played by
males or females
Easily adapted for larger or
Large Cast of Happy Jungle People!
Glasgow Christian Academy,
- Storytellers (M/F, 5 lines together)
BIRCHI - Camel (M/F, 13 lines)
MAO - Peacock (M/F, 9 lines)
FERAO - Woodpecker (M/F, 9 lines)
MANG - Bat (M/F, 13 lines)
TABAQUI - Jackal (M/F, 13 lines)
MYSA - Buffalo (M/F, 13 lines)
MAN-FATHER - Human (M, 2 lines)
Panther (M/F, 49 lines)
BAGHEERA #1: (M/F, 20 lines)
BAGHEERA #2: (M/F, 29 lines,
enter page )
SHERE KHAN - Tiger (M/F, 18 lines)
AKELA - Wolf-Father (M, 14 lines)
RAKSHA - Wolf-Mother (F, 11 lines)
GRAY BROTHER - Wolf-Cub (M/F, 11 lines)
SCOUT - Wolf-Cub (M/F, 2 lines)
HUNTER - Wolf-Cub (M/F, 2 lines)
LUNA - Wolf-Cub (M/F, 3 lines)
Man-Cub (89 lines total)
MOWGLI #1 (M/F, 17 lines)
MOWGLI #2 (M/F, 11 lines, enter
MOWGLI #3 (M/F, 32 lines, enter
MOWGLI #4 (M/F, 11 lines, enter
MOWGLI #5 (M/F, 16 lines, enter
IKKI - Porcupine (M/F, 4 lines)
NANGIR - Represents
Antelope-People, Bees, Villagers, etc. (M/F, 8 lines)
DARZOW - Represents
Snake-People, Villagers, etc. (M/F, 8 lines)
HATHI - Elephant (M/F, 8 lines)
HATHI-CALF - Young Elephant
(M/F, 5 lines)
CHIL - Vulture (M/F, 6 lines)
KAA-HEAD - Rock Python (puppet)
(M/F, 18 lines)
KAA-TAIL - Rock Python (puppet)
(M/F, 8 lines)
BALOO - Bear (M/F, 34 lines)
(M/F, 3 lines together)
JAGO (M/F, 3 lines)
ORIEL (M/F, 2 lines)
CARR (M/F, 1 line)
KIKI (M/F, 1 line)
GOLDEN QUEEN OF THE BANDAR-LOG
Queen of the Monkey-People (M/F,
MAN-MOTHER - Human (F, 9 lines)
Comedy & Drama of the Kipling Classic!
Baloo, Bagheera and Mowgli with Red Flower, Mt.
Hood College OR
IS THIS PLAY BEST FOR YOUR SCHOOL?
especially for young people to perform.
While you may find large cast
plays from other publishers, most of those were originally written
for adults or
professional actors to
perform. They often contain difficult dialogue, unfamiliar or
complex language, and speeches too long for young children to
memorize. They may even contain jokes, innuendos and subject matter
that may not be appropriate for children.
understand and memorize.
Dialogue is simple, fresh, quick
and humorous, keeping the action flowing without stops and starts
between scenes. This keeps young people and young audiences engaged
throughout the performance - no awkward pauses, no dead-time, no wiggles!
All children are involved
throughout the performance. This builds confidence, promotes team
spirit and eliminates rehearsal rowdiness. The audience is often
asked to join in the fun, and action often spills into the aisles!
All of our SCHOOL PLAYS give suggestions on how to divide up large
parts (such as Alice or Cinderella) among several performers so that
no one child is the "star".
stories with upbeat endings.
The story line stays as close as
possible to the familiar story the kids already know. While
some authors feel the need to "improve" the story, our
SCHOOL PLAYS stay as close to the familiar narrative as possible,
making it easier for children - and your audience - to understand.
to edit! Go ahead and tape it!
Most publishers insist that no
changes may be made to their scripts. We know that your
goal is to engage every child in the most meaningful way and that
your needs are unique. Cut, eliminate, re-assign lines, or add
as much as you like! Also, there are no restrictions on video
tapes. Parents want a tape or DVD to remember their child's big
moment. Go ahead and tape away!
Kathryn Schultz Miller
is one the most prolific and most produced playwrights for
children. Her script, A THOUSAND CRANES, won the National
Endowment for the Arts Playwright Award (and countless others) at a
time when plays for children were not considered serious works. Now,
many of her published scripts are considered classics for young
audiences. When teachers voiced their need for great plays that
kids can perform Ms. Miller responded with ArtReachs School
Plays: I never dreamed Id write for anyone other
than professionals. But writing for child performers has been
the most profound and rewarding experience of my life.
FROM THE PLAYWRIGHT
about anybody and they will say
Kipling's famous classic, The
Jungle Book, is about
Mowgli, a kid with an amazing story. But as I mentally wandered
the glorious Indian Jungle in search of this adaptation, I came to a
sense that Kipling's book was really about a community. I feel
it is about individuals who are trying their hardest to order their
neighborhood in a way that gives them what we all need: collective
dignity, strength and pride. It's no accident that Kipling tags
all animal groups as "People". He wanted us to look
at his stories and try to understand how we, as people, can truly
communicate and live together.
How I love
this material! I've never
run across a story that gives so many kids such a great chance to
perform. Every child has a character, a name and a special
moment on stage. I hope you and your kids jump right in and
glory in all the wild joy that Kipling has given to us. I hope
you will look at this play not as a show to put on, but a way to use
drama to understand our lives, our natural exuberance and our shared
place in the order of time.
ask you to forget about making
the show "good" and strive instead to make the process
meaningful and free of strife. As a playwright with a little
wolf in her soul, I now invite you to howl with creativity and thrill
to the call of a moonlit adventure! Every one of your young
Mowglis and Jungle-People will find a little something here to carry
with them through the great journey of the days and challenges to come.
young performers roots and
wings! Give them paws and claws and feathers and tails!
Let the animals take over for a little while. Let the Jungle
rumble with the imaginations of young and old, large and small,
animal and human. Let the children pretend and day-dream of
harmony and generosity in our marvelous, many-peopled, unending world!
Mt. Hood Community College, Gresham OR
Cues, sound effects, background
The CD Soundtrack contains
special sound effects and background music (public domain
traditional-classical) that may be used to greatly enhance the
performance. It does not contain music and songs from the movie or
stageplay, nor does it contain music for the performers to sing along
with. Cues have 10 seconds of silence at the end - times shown
[ Click on [sample]
to hear a short sample of the indicated cues. ]
1. JUNGLE SOUNDS
2. WOLF HOWLS, BABY
3. SHERE KHAN LAUGH, BABY
CRY (0:57) [sample]
4. DRUMS, TRANSITION
5. WOLF HOWLS, MUSIC
RISING (2:21) [sample]
7. DRUMS, MUSIC (0:41)
8. INDIAN SNAKE CHARMER
MUSIC (1:01) [sample]
SOUNDS (1:01) [sample]
10. DRUMS, CHAOS,
11. VULTURE WINGS,
CHAOS (0:49) [sample]
12. DRUMS, FAST THEN
13. FEMALE VOICE
SINGING (0:34) [sample]
14. FIRE SOUNDS &
TRUMPETING (0:20) [sample]
17. WOLF HOWLS, AKELA
18. CURTAIN CALL SOUNDS,
DRUMS, MUSIC (2:57) [sample]
Some teachers choose familiar songs, obtain sheet music and insert
these songs into the play. We recognize that each school has a
wide variety of educational needs to fulfill and we invite you to be
creative in your use of our scripts; including changes or additions
that are appropriate for your students. As author/publisher of our
own creative works, we do ask that you obtain proper copyright
permission for any additions you might make - that responsibility is
up to you.
& Sound Resources Available on the Internet
Music, Song Books, CDs, DVDs, Sing-along,
Music Resources: Karaoke
CDs & Sheet
search Internet for karaoke cds or sheet music
Baloo for the first time. Baloo's got nothing on his mind
some snacks, especially honey!
(Script pages 27-31)
MOWGLI: Stay away from me!
BALOO: Aw, come on. I dont
smell that bad.
MOWGLI: I never learned your
Master-Word. Why do I understand you?
BALOO: Im a big fat bear.
Whats to understand?
MOWGLI: Bagheera taught me all the
Master-Words of the Jungle.
BALOO: Did he now? Let me tell
you a little something about that guy. Hes an egg-head.
MOWGLI: Whats an egg-head?
BALOO: You know, a
smarty-snickers. A know-it-all. A snooty-toot-rooty-toot!
MOWGLI: Youre funny.
BALOO: Hey, look whos talking,
mister shorty pants.
MOWGLI: I just mean... well,
youre not like the other Jungle-People.
BALOO: Aw, thats an uptight
crowd, those guys. They make up laws for everything. Who
needs it? You know what I like?
BALOO: Relaxin. I
like to spread out under the sun like this... (Sits by a rock and
leans back, hands behind his head.) And just let it pour
down on me like sweet, sweet honey. (Sits up.) Ooof!
MOWGLI: What is it?
BALOO: I just made myself
hungry! Come here. Listen to my belly.
(BALOO makes up a belly voice.)
Feed me! Feed me! Feed me!
(When MOWGLI comes near to listen to the belly,
BALOO tickles him and they both roll around, laughing. They end
sitting up in an easy embrace.)
Well, what should we feed that belly? No one is supposed to
hunt during the Water Truce.
BALOO: I dont hunt!
(NANGIR climbs ladder with long stick, with a
honeycomb at the end.)
MOWGLI: You dont?
BALOO: Nah. Bum knees.
Bad back. Got the dallys-offen-itis. Bear disease. Plus,
I dont like to mention this...
(Motions for MOWGLI to come near.)
Cant stand the sight of blood.
NANGIR: Zzzzzz! Zzzzz!
BALOO: Now thats good
eatin, little bro. Why dont you climb up on there
and get your old pal Baloo some honey?
BALOO: (Suddenly screams out and
bends over.) Ow!
BALOO: The dallys-offen-itis! (Acting
like hes in extreme pain in his back.) You never know when
its gonna strike. You know whats good for it,
(BALOO mugs mournfully and painfully, pointing
to honeycomb. His back hurts again.)
NANGIR: (Shakes the honeycomb.)
MOWGLI: Oh, all right.
(MOWGLI steps up on rock to reach for
honey. Just as hes about to get it, BAGHEERA enters and growls.)
BAGHEERA: What is this I see? Rrrrroooowwwwwlllllllllll!
(NANGIR gasps and runs away, exiting.
MOWGLI falls from his place on the rock. JUNGLE-PEOPLE may use
percussions to emphasize the fall.)
BAGHEERA: Using a Man-Cub to do your
dirty work, Baloo? This is a new low even for you.
BALOO: Aw, come on, Baggy. Give
a guy a break. Howm I suppose to get along with all this
Truce business going on? I just need a little snack.
MOWGLI: Yeah, hes got the
dilly-dally bear disease!
BAGHEERA: Mowgli, this bear has got
nothing at all but a bad case of laziness.
MOWGLI: I dont care.
Hes funny. And hes my friend.
MOWGLI: And he doesnt tell me
to go to the Man-Village like you do!
BALOO: Yeah! Now wait.
What? Youre going to the Man-Village? You
BAGHEERA: Baloo, might I have a word
(BALOO looks a little cautious and confused.)
BALOO: Sure. I guess.
(BAGHEERA moves BALOO away from MOWGLI and
BAGHEERA: You are doing this boy no
favors, Baloo. Shere Khan has marked him for the kill!
BALOO: What? Poor kid!
BAGHEERA: His life is in danger if we
do not get him safely to his own People.
MOWGLI: I know youre talking
BALOO: No were not.
MOWGLI: What are you talking about then?
BALOO: Uh. Interior
decorating. Uh. Different kinds of wallpaper.
(BAGHEERA moves BALOO away. MOWGLI moves closer.)
BAGHEERA: So you see, if you care
about this boy, you must help me get him to the village.
MOWGLI: Village! I heard you
say it! Youre talking about me going to the
BALOO: Kid, kid. This is
serious. If it was anything else...
MOWGLI: I thought you were my friend,
Baloo. I thought you were different!
BALOO: Aw, kid, I am different.
Maybe thats the problem.
MOWGLI: I wont go, I tell
you! I wont go!
(MOWGLI runs off, exiting. BAGHEERA growls.)
BAGHEERA: Look what youve done, Baloo.
BALOO: Bad Baloo.
(BALOO is almost crying as BAGHEERA leads him,
they exit in the same direction as MOWGLI.)
Note: This is a
sample from the actual script. To review the entire play, order
the PERUSAL SCRIPT (online instant download). Or to save 20%
on the full production kit and royalty for one performance, order the SCHOOL
PLAY PACKAGE (below) and start rehearsals today!
SCHOOL PLAY PACKAGE (Everything)
One payment for everything you
need to perform the play at your school or organization. No need to
purchase multiple scripts, no royalty quote, no separate royalty
payment. Order the School Play Package and you're done -- start
PLAY PACKAGE Includes:
1. Master Script ($9.95)
2. Teachers Guide ($9.95)
3. CD Soundtrack ($29.95)
4. Performance License ($60.00)
(License: Rights to copy script, Royalty
for one performance)
value) - Only $99.95
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