An Intergalactic Midsummer PDF - Drama Notebook

Here is the structured markdown format of the provided text: # An Intergalactic Midsummer By Vanessa Miller and Jennifer Reif ## Important Copyright Notice Published in the United States by Drama Notebook www.dramanotebook.com, a division of Rumpelstiltskin Press, Portland, Oregon USA. All right...

Here is the structured markdown format of the provided text: # An Intergalactic Midsummer By Vanessa Miller and Jennifer Reif ## Important Copyright Notice Published in the United States by Drama Notebook www.dramanotebook.com, a division of Rumpelstiltskin Press, Portland, Oregon USA. All rights reserved. This script may be copied by teachers for use with their students. It may be shared via email and in Google Docs. It cannot be reproduced online on a publicly viewable website. It also cannot be re-sold or shared with other teachers. This script is authorized for individual teacher use only with their students. Please contact the publisher to obtain group licenses for widespread use in after-school organizations, school districts, theatre companies, etc. While A Midsummer Night's Dream was written by William Shakespeare, your support of the rights of the authors who created this adaptation is appreciated. ## Licensing and Copyright Rules 1. **Thank the playwrights.** If you perform this play in front of an audience, either in-person or virtually, you must contact Vanessa Miller and Jennifer Reif to let them know you are performing their play. Vanessa's email is: [email protected] Jennifer's email is: [email protected] 2. **Link to Drama Notebook.** Post a link to the Drama Notebook Script Library (https://www.dramanotebook.com/plays-for-kids/) anywhere on your school or organization's website. 3. **Share your photos.** Send us photos, if you can to [email protected] Click here for more information on our copyright guidelines. ## About the Authors... **VANESSA MILLER** has been working as a Teacher, Director, Actress, and Script Doctor for over 25 years. Her edits of Shakespeare's plays have been produced by Seattle Shakespeare, The Great River Shakespeare Festival, and several area schools in the Seattle area. She's directed numerous productions for Seattle Shakespeare Company and as an actor, her favorite roles include Titania, Lady Macbeth, Beatrice, Maria, Kate, and Adriana. Vanessa earned her BA cum laude from UCLA School of Theater, Film, and Television and continued her post-graduate studies at LAMDA (London Academy of Music and Dramatic Arts). She teaches full-time at The Evergreen School in Shoreline. **JENNIFER REIF** has been teaching, directing, and performing around the Pacific Northwest for decades. Her shelves are lined with children's books and her happy place is in the woods. As an actor, her favorite Shakespeare roles include Rosalind, Titania, and Beatrice. She loves devising creative theatre projects with kids and sharing ideas with teachers. Jennifer holds her BA cum laude in Theatre from Morningside University and studied Renaissance History and Drama at Oxford University in England. Credit Vanessa Miller, Jennifer Reif, and Drama Notebook in your program and advertising. You must also write Vanessa and Jennifer to let them know you are using their play! Contact Vanessa Miller at: [email protected] Contact Jennifer Reif at: [email protected] ## About the play... This adaptation of A Midsummer Night's Dream takes place in a school drama club and features many of the original scenes from Shakespeare's comedy. With less than a week left until opening night, the drama teacher has left the student director, Quince, in charge of rehearsal that day, with a list of the scenes to review. Quince finds it challenging to run rehearsals when the two leads playing Titania and Oberon are not speaking, and the actor playing Bottom wants to play all the roles. Thankfully, Quince is supported by Moth, a self-assigned dramaturg who has an impressive understanding of theatre in the Elizabethan period. The play runs 45-60 minutes depending on pacing and added music. ## A Midsummer To Do By Vanessa Miller and Jennifer Reif Based on William Shakespeare's A MIDSUMMER NIGHT'S DREAM ### CHARACTERS (19 roles, flexible casting) * Please note that some of these roles can (and should) be played by actors of all races, gender identities, and physical abilities. ### ATHENIAN MORTALS: * **Theseus**, Duke of Athens 27 * **Egeus**, father of Hermia - also the Prompter for Rehearsals 20 * **Lysander**, in love with Hermia 29 * **Demetrius**, in love with Hermia 33 * **Hippolyta**, Queen of the Amazons, betrothed to Theseus 10 * **Hermia**, daughter of Egeus, is in love with Lysander 39 * **Helena**, in love with Demetrius 48 ### THE MECHANICALS (Workers in Athens): * **Quince**, a carpenter - also the Student Assistant Director 83 * **Snug**, a joiner; Lion in the play * **Bottom**, weaver; Pyramus in the play 82 * **Flute**, a bellows mender; Thisby in the play (changes roles with Peaseblossom) * **Snout**, a tinker; Wall in the play - also the props master * **Starveling**, a tailor; Moonshine in the play ### THE FAIRIES: * **Oberon**, King of the Fairies -50 * **Titania**, Queen of the Fairies -37 * **Puck**, a mischievous sprite, attendance to Oberon * **Peaseblossom**, fairy (changes roles with Flute) * **Moth**, fairy - also the Official Dramaturg for Rehearsals * **Cobweb**, fairy - also in charge of costumes * **Mustardseed**, fairy - also in charge of costumes ## Script **Open w/ scrolling background information.** **Slow motion/"War" becomes friendly interaction** **At Rise:** Students are gathering in the theatre to rehearse Shakespeare's comedy, *A Midsummer Night's Dream.* Their drama teacher is absent and has left the student director, Quince, to run the rehearsal. Some of the actors have technical jobs and can be tending to those as they enter. For instance, they might be sorting things on a costume rack or organizing the prop table. Preshow music fades as joyful sounds of teenage rehearsal room takes over. **QUINCE** Hey everyone! Listen up! **OBERON** (In a side conversation with Titania as they enter) I don't know why you're so mad at me. **TITANIA** Maybe you should take some time and think about it. (Her posse of friends giggle.) **QUINCE** (Trying all the attention grabbers.) Listen up, everybody! Hello! **HERMIA** (In a side conversation while entering with Helena.) I told him I don't like him, but he keeps texting me. **HELENA** Must be rough. I wish I had your problem. **QUINCE** Is all our company here? **PEASEBLOSSOM** 'You know who' isn't here. **COBWEB** Robin. **MUSTARDSEED** He's so funny. **MOTH** Such a trickster. (Puck comes flying in late as usual.) **PUCK** I'm here! I'm here! Look, how I'm here! **QUINCE** PEOPLE! I have an announcement to make, people!!! **TITANIA** There's no need to shout. (looking around) Where's Ms-M? **QUINCE** That's what I've been trying to say. Ms. M can't make rehearsal because \_\_\_\_\_\_\_ (the cast can come up with a funny reason). *(Reactions depending on the reason.)* **BOTTOM** You know, I'd be happy to step in. I have some experience acting for the stage. **QUINCE** Thanks, but since I'm the student director, she asked me to do it. It's kind of my job. **BOTTOM** I Got it. Cool! Just let me know if you need me. This isn't my first time being in a play you know. **QUINCE** Good to know. Thanks. **BOTTOM** I'm sure you all must remember when I was Max in Where the Wild Things Are. (big dramatic voice) "And he roared his terrible roar, and gnashed his terrible teeth!" **QUINCE** YES! (Others are impressed, adlib, applaud) Yes. We remember. So, Ms. M left us with a worklist of scenes that need to be reviewed. Let me take attendance. Everyone, please gather in your character groups. (Directing them into 3 groups) Athenian nobles and teenagers over here. Fairy world, stand here. And Mechanicals, the workers, stand there. **DEMETRIUS** So, if I'm not needed, can I leave early? **QUINCE** No! Everyone has to be here. You can learn from watching others rehearse. **BOTTOM** Feel free to watch me. This isn't my first play. And by the way, I'm almost off book. **COBWEB** Oh my gosh! Are we supposed to have our lines memorized? **ALL** (Adlib freaking out about memorization and not feeling ready.) **SNUG** Can I just hold my script with me, just in case? **QUINCE** No. **EGEUS** Just call "line" if you need it and I'll be on book. I volunteered to be the prompter. **MUSTARDSEED** You're so responsible. No wonder you're playing the dad. **QUINCE** (to the whole group) First on the work list is to review Act One, Scene One. **BOTTOM** Places everyone! **QUINCE** (Reacts to Bottom's command) Yes, places, please. Spread yourselves! **BOTTOM** Thank you, places! (Actors all spread out and sit on the floor to watch the rehearsal.) **QUINCE** Scene one starts in the palace of Theseus (points to the actor playing Theseus) In Athens, the Duke was impatiently counting the days until he and his bride-to-be Hippolyta would be married. (Theseus paces while Hippolyta is being measured for her wedding dress.) **COBWEB** (Handing to Theseus and Hippolyta each a rehearsal costume piece) Don't forget your rehearsal costumes. **STARVELING** Lights up! (Everyone looks questioningly at Starveling, and then-) I'm the lighting designer. (Everyone reacts with understanding.) **THESEUS** Now, fair Hippolyta, our nuptial hour \ \-> Draws on apace. **HIPPOLYTA** Four days will quickly steep themselves in night. \ Four nights will quickly dream away the time. **QUINCE** Enter Hermia, (beckons to Hermia to enter), a young woman who loves a dreamy poet named Lysander. Now, Egeus, we need to know that you're very frustrated because your daughter wants to marry Lysander, but you want her to marry another man, Demetrius. (Theseus sits in his chair and Hippolyta watches by his side. Egeus drags his daughter into the room, followed by Demetrius and Lysander who wait off to the side until they are announced.) **THESEUS** What's the news with thee? **EGEUS** Full of vexation come I, with complaint \ Against my child, my daughter Hermia.\ Stand forth Demetrius. My noble lord, (Demetrius steps forward and bows/ Egeus points at him.) \ This man hath my consent to marry her.\ Stand forth, Lysander. (Lysander steps forward and bows) \ And my gracious Duke, (pointing at Lysander) \ This man hath bewitched the bosom of my child. **THESEUS** What say you, Hermia? Be advised, fair maid.\ To you your father should be as a god. **HERMIA** I wished my father looked but with my eyes. **THESEUS** Rather with your eyes with his judgement look. **HERMIA** (Hermia begs on her knees.) \ But I beseech your Grace that I may know \ The worst that may befall me in this case \ If I refuse to wed Demetrius. **THESEUS** Either to die the death or to abjure\ Forever the society of men. *(Gasps and reactions from actors watching the scene.)* **HERMIA** Hold on! I've just gotta say, if that was the punishment for disobeying your parents today, I'd be so dead. **HERMIA** And why does the dad get to decide who his daughter marries. I mean, what about Hermia...or her mom? **MOTH** As the official dramaturg on this production, I have been doing some research. May I share my findings with you? **QUINCE** Uh, uh, sure. Yeah. **MOTH** Shakespeare lived during the Renaissance. And remember that the word Renaissance means re-birth and renewal of ancient Greek and Roman ideas. Hence, Hermia who lives in ancient Athens also lives in a patriarchal world where the men made all the decisions. **Quince** Let's get back to the script folks. **HERMIA** Got it. **STARVELING** Lights up! (Quince gives a thumbs-up gesture, grateful to return to the scene.) **DEMETRIUS** Relent, sweet Hermia, and Lysander, yield\ Thy crazed title to my certain right. **LYSANDER** You have her father's love, Demetrius.\ Let me have Hermia's.. you marry him, *(Humiliated by Lysander's remark, Demetrius reacts, and the two young men are about to quarrel.)* **ALL CAST** Oh Snap! (adlibs) **THESEUS** (Angry and standing) \ Demetrius and Egeus, go along! **QUINCE** This is when everyone exits except for Lysander and Hermia. \ (Egeus, Theseus, Hippolyta, and Demetrius exit.) **LYSANDER** The course of true love never did run smooth. **QUINCE** Okay now, in this next scene, Hermia, you are devastated. You are on your knees, crying- **HERMIA** Um, okay... **BOTTOM** I can do 'devastated.' (He does, moaning and beating his chest.) Aw, awwww, oh, oh oh.... **QUINCE** No, no, no! You are not Hermia. **BOTTOM** Got it. You're right. (He retreats.) **QUINCE** So, after she stops crying, she and Lysander make a plan to run away to the woods and get married. **TITANIA** I think she could do better. (Side conversation to her friends.) **OBERON** You're just jealous. **STARVELING** Lights! **LYSANDER** (kneeling) \ There gentle Hermia, may I marry thee. **HERMIA** (Overjoyed, helping him to his feet)\ My good Lysander,\ I swear to thee, by Cupid's strongest bow\ Tomorrow truly will I meet with thee. **LYSANDER** Keep promise, love. (Seeing Helena approaching) \ Look here comes Helena! **HELENA** (Sadly enters) Teach me how you look and how you sway\ the motion of Demetrius' heart. **HERMIA** Take comfort. He no more shall see my face.\ Lysander and myself will fly this place. **LYSANDER** Helena, adieu\ As you on him, Demetrius dote on you. *(Lysander and Hermia exit excitedly.)* **HELENA** (Watching the happy couple exiting, sighing)\ How happy some o'er others some can be!\ Through Athens I am thought as fair as she.\ But what of that? Demetrius thinks not so. *(She discovers an idea)* I will go tell him of fair Hermia's flight.\ Then to the wood, will he, tomorrow night\ Pursue her. And for this intelligence\ If I have thanks, it is a dear expense.\ But herein mean I to enrich my pain,\ To have his sight thither and back again. *(Excited by her plan, Helena runs off in the opposite direction.)* **LYSANDER** Is she really gonna go stalk him? **QUINCE** No. She's just gonna follow him into the woods because she knows he will follow Hermia. (realization) Yea, I guess you're right. She's kind of stalking him. **COBWEB** And is she really going to spill the tea? **MOTH** And tell Demetrius where Hermia went? **HERMIA** I thought they were best friends. **HELENA** (re-entering) I know, right? **HIPPOLYTA** That Helena needs to learn some boundaries. **TITANIA** Girl, you need to love yourself. **HIPPOLYTA** You don't need a guy. **HELENA** You're right. Let me take that again. *(She discovers an idea and gives the monologue her own spin.)* Demetrius and I were once a pair\ And then he dumped me just last year\ He now likes Hermia, my best friend and pal\ But she wants to wed Lysander and she shall.\ Their escape to the woods I will not share\ Even to win his favor, I don't care.\ Her secret I will protect and take to the grave, It doesn't matter how he behaves. He hurt me, I can't to his heart tether My hopes for us still being together. \ For happiness and for my self-respect,\ I must let go, his cruel words I reject! *(The cast members burst into applause and ad-lib their approval - "You go, girl!" "Right on!" "Girl Power!")* **QUINCE** Okay, now let's jump to scene 2. I play Quince here, so Egeus, you're going to be on book, right? **SNUG** (To Bottom) What does that mean? On book? Is that a theatrical term? **BOTTOM** Well, being on book means that you are... standing on a book... so that you can... **MOTH** (To Bottom) No. no. no. Being "on book" means that someone is following along with the script, or is "on book." **SNUG** So, if I forget a line in rehearsal...? **MOTH** Simply say, "Line!" and Egeus will give you a prompt - or will share the first few words of your line to jog your memory. **SNUG** (sighing) Phew. What a relief. **QUINCE** Places for scene two. Another place in Athens. A group of amateur actors meet to rehearse a play they plan to perform for the Duke and Duchess at their wedding reception. **STARVELING** (To Quince) Do I have to be an actor in the show? I really just want to do the lights. **QUINCE** We don't have enough actors for all the roles. And besides, your character doesn't have much to say. **STARVELING** Fine. **SNOUT** Hey Quince! Don't forget your props. (Gives Quince stack of scripts/scrolls) **QUINCE** (Reading from a scroll) \ Our play is 'The most Lamentable Comedy and most Cruel Death of Pyramus and Thisby.' **BOTTOM** *(Pretending to know)*. A very good piece of work, I assure you. **SNUG** Wait! Let me get this straight. They are doing a play for the bride and groom at their wedding? **QUINCE** Yep. **SNOUT** Kind of like one of those flash mob things? But at a wedding reception? **QUINCE** Kind of. (Not really) **STARVELING** And the play is about a "cruel death?" **BOTTOM** Oh, I like that. Do I play a lover or a tyrant? **QUINCE** *(Selling the part with enthusiasm)*. Pyramus is a lover that kills himself most gallant for love. **BOTTOM** Yet my chief humour is for a tyrant. *(He acts out his version of a tyrant, pounding his chest with big and ferocious emotion, to show his skill.)* "The raging rocks \ And shivering shocks \ Shall break the locks \ Of prison gates;" *(The other actors are significantly impressed and applaud wildly.)* **SNUG** (an aside) That was really good. Just like when you played Max in Where the Wild Things Are. **QUINCE** *(Still taking attendance)*. Francis Flute! **FLUTE** (Stepping forward) \ Here, Peter Quince. **QUINCE** Flute, you must take Thisby on you. **FLUTE** What is Thisby? A wandering knight? **QUINCE** It is the lady that Pyramus must love. **FLUTE** Nay, faith, let not me play a woman!\ (Feeling his chin, perhaps making up an excuse)\ I have a beard coming. **COBWEB** Wait. I'm confused. Why not just cast a woman to play Thisby? **MOTH** In my research, I discovered that during Shakespeare's time, women weren't allowed to perform on stage. **ALL FEMALES** Wait. WHAT? Not allowed? That's weird. **MOTH** In fact, it was illegal for women to be on stage. **LYSANDER** Well, then who played the female roles? **TITANIA** Let me guess, the men? **ALL FEMALES** *(Burst out laughing)* **BOTTOM** Let me play Thisby too! I'll speak in a monstrous little voice. *(In a little high voice)* \ Ah Pyramus, dear! **QUINCE** (Getting frustrated) No, no, you must play Pyramus - and, Flute you Thisby. **TITANIA** We're not in the Renaissance, play the women's roles. **FLUTE** I'm cool with that. Who wants to play Thisby? **PEASEBLOSSOM** I'll do it. Do you want to switch roles? **FLUTE** Sure. Who are you again? **PEASEBLOSSOM** I'm Peaseblossom. I'm in Titania's posse. **FLUTE** Right on. (They physically change positions and swap rehearsal costume pieces. With Flute actor moving near the fairies who are seated.) **BOTTOM** *(resigning)*. Well proceed. Now where are we in the script? **EGEUS** Quince is just about to assign the lion's part. **QUINCE** Snug, you, the lion's part. **SNUG** Have you the lion's part written? *(Looking at his script)*. Pray you, if it be, give it me, for I am slow of study. **QUINCE** It is nothing but roaring. **BOTTOM** Let me play the lion too!!! *(He roars ferociously.)* **QUINCE** And you should do it too terribly, you would fright the Duchess and the ladies, that they would shriek. **SNOUT** That would hang us... **STARVELING** ...every mother's son. **BOTTOM** I will roar you as gently as any dove. I will roar you as 'twere any nightingale. *(Cooing like a pigeon.)* **QUINCE** *(Growing severely impatient, beginning to lose his temper.)*. You can play no part but PYRAMUS!!!! **STARVELING** *(Trying to convince Bottom what an excellent part Pyramus is)* ...for Pyramus is a sweet-faced man... **SNUG** *(Trying to persuade Bottom)* ...a proper man... **SNOUT** *(adding in)* ...a most lovely gentleman-like man. **QUINCE** *(Insisting and about to blow his top)*. Therefore you must needs play Pyramus! **BOTTOM** *(Finally agreeing)*. Well, I will undertake it. *(Big relief from others)* **QUINCE** Masters, here are your parts. *(He hands out scripts.)*. Meet me in the palace wood, a mile without the town, by moonlight there will we rehearse. I pray you, fail me not! **SNUG** (Promising enthusiastically) We will meet- **STARVELING** -and there we may rehearse **BOTTOM** -Most obscenely and courageously! **DEMETRIUS** (aside) Obscenely and courageously? **HELENA** (To Egeus) Does he really say that in the script? **EGEUS** Yup. **ALL** Adieu!!!! **QUINCE (Returning to his responsibilities as Assistant Director)** Places for Act 2 Scene 1! *(Everyone moves about getting ready for Act 2)* **OBERON** *(Side Conversation with Puck)*. The plan is that we're all going to meet at the grassy field tonight. **PUCK** Everyone? Even **EGEUS** Come on, you can plan your revels another time. You're on. **OBERON** We know that scene. Why's that on the worklist? **QUINCE** Ms. M. thinks it's missing some tension. Remember, you're in a big fight. Choy Doll or Body Bu over this baby. (Tosses a doll to Quince, who tosses it to Titania who catches it.) **QUINCE** Thank you, Prop Master. **SNOUT** Just doing my job. **TITANIA** But it's not even their baby. **QUINCE** Titania is very loyal, and she promised to take care of this baby who belonged to one of her friends who died. And now they're in a power struggle. **OBERON** Well, if they're supposed to be a married couple, maybe he's mad because she loves the baby more than she loves her husband. *(Growing tension)* **TITANIA** Oberon's just used to getting all the attention. Maybe he's just a big baby himself. *(Growing tension)* **QUINCE** Ok. Ok now. Let's take all that tension and bring it onto the stage. (The scene is fierce and fiery with all this subtext.) **OBERON** Ill met by moonlight, proud Titania. **TITANIA** What? Jealous, Oberon? Fairies, skip hence. **OBERON** Why should Titania cross her Oberon?\ I do but beg a fairy child to be my henchman. **TITANIA** Set your heart at rest,\ The fairyland buys not the child of me.\ His mother was a votress of my order\ And for her sake do I rear up the boy\ And for her sake, I will not part with him. **OBERON** Give me that child! **TITANIA** Not for thy fairy kingdom! Fairies away! **PEASEBLOSSOM** Oh, that was good! **PUCK** I felt the tension. **QUINCE** Speaking of tension, Demetrius, imagine that Helena has been following you throughout the forest like a puppy dog. No matter what you say, you can't seem to shake her. Now, you're losing your Mind. **EGEUS (Cutting him off)** \-Shall we look at Act 2 Scene 1? **QUINCE** Yes. **DEMETRIUS** I love thee not, therefore pursue me not!\ (He pauses and waits for her to speak and when she doesn't, he continues.)\ Do I entice you? Do I speak you fair?\ Or rather do I not in plainest truth\ Tell you I do not nor cannot love you? *(He pauses and then whispers.)*. It's your line. **HELENA** *(She whispers back.)*. I know. But I don't understand why she would lower herself so. **DEMETRIUS** (Back to being in character)\ I am sick when I do look on thee. *(He looks at Helena expecting her to speak.)* **QUINCE** Helena? **HELENA** And I am sick ...when I look not on... no! I can't do this! **QUINCE** (Reminding her). This is when you get down on your knees and beg him. **HELENA** Nope. DEMETRIUS (No choice but to finish the scene, even though she isn't pursuing him.)\ I'll run from thee, and hide me in the brakes,\ And leave thee to the mercy of wild beasts. (Finally exploding with frustration) Why would she want to be with someone who would leave her in the forest to be eaten by wild beasts? DEMETRIUS (Not sure what to do he just continues with his lines)\ I will not stay thy questions. Let me go. (He runs away, although she is not trying to stop him.) Helen awww so Why is Helena desperaite? Why is Helena so HERMIA Yeah it's like she's under a magical love spell. LYSANDER Spell or no spell. People do foolish things when they're in love. TITANIA It's true. Love makes people lose their minds. HELENA Did Shakespeare make all of his female characters so powerless? MOTH Actually, Shakespeare's plays are full of powerful women in love. Cleopatra, Hermione, Desdemona, Beatrice... In fact, many of his plays were written to be performed for the most powerful person in the world at that time who happened to be a woman! TITANIA Oh, I know! Another queen! Like my character. MOTH Exactly. The Queen of England, Elizabeth the first. TITANIA That's right. (Pointedly to Oberon) And she never married. MOTH And in Shakespeare's time, The Elizabethan era, people believed in magic. **PUCK** Speaking of magic, it's our turn! **SNOUT** Speaking of magic, don't forget your prop. *(Hands Puck the magical flower)* **PUCK** Oh, right, got it! **STARVELING** Lights! **OBERON** Hast thou the flower there? Welcome, wanderer. **PUCK** Ay, there it is.\ *(Showing him the flower)* **OBERON** I pray thee give it me.\ (Puck gives Oberon the flower, and Oberon breaks a piece off for Puck.)\ Take thou some of it, and seek through this grove.\ A sweet Athenian lady is in love\ With a disdainful youth; anoint his eyes\ But do it when the next thing he espies\ May be the lady. Thou shalt know the man\ By the Athenian garments he hath on. **PUCK** Fear not, my lord! Your servant shall do so! *(Puck exits flying quickly.)* **COBWEB (holding a clipboard)** Excuse me here. We're in charge of costumes. Who is wearing "Athenian garments?" **MUSTARDSEED (holding a clipboard)** Yeah, we don't have that on our list. And we don't know what Athenian garments are? **BOTTOM** Athenian garments are a kind of jeweled, bedazzled, um, kilt. **MOTH** No. No. Uh, garments mean clothing. And since he's a man from Athens, he's wearing clothes from Athens. **BOTTOM** Exactly right. That's what I was trying to say. ## **QUINCE** (Annoyed by Bottom's interruption) Yes, well now, let's jump to the scene where Hermia and Lysander first arrive in the forest. They find a spot to sleep for the night. (They sit down too close to each other.) No. Farther apart. (They scoot apart a bit.) Even farther. Remember you're not married yet. A little farther. Perfect. (The two end up very far from each other.) **STARVELING** Lights! (So loudly that others jump) **LYSANDER** Here is my bed Sleep give thee all his rest! (They fall asleep. Puck enters and discovers Lysander sleeping on the ground.) **PUCK** Night and silence - Who is here? Weeds of Athens he doth wear. (He applies the potion To Lysander's eyes.) (To Quince) His eyes, right? **QUINCE** That's right! Puck mistakenly puts the magic potion in Lysander's eyes. Helena! Enter! But remember your exhausted from running. **HELENA** O, I am out of breath in this fond chase! (She sees Lysander) But who is here Lysander On the ground? Dead, or asleep See no blood, no wound (Shaking him) Lysander if you live, good sir, awake! **LYSANDER** "Under the spell, walking , stretching, and then seeing Helena; he is bewitched." And run through fire I will for thy sweet sake **HELENA** (Shocked) Do not say so Lysander, say not soil **LYSANDER** Not Hermia, but Helena I love. **HELENA** Wherefore was I lo this keen mockery born? But fare you well, per force I must confess, I thought You Land of More Gentlenesss (Helena exits, running.) **LYSANDER** She sees not Hermia Herm sleeping and never moist thou come to Lysander (He his arm, like a zombie) **HERIMAS** (Waking up screaming ) Lysandre ( the to what he was missing. discover that she What, out of hearing and what if not and now I find what **QUINCE** Nicnice where the we what do the big scream **OBERON** Is this so good to let to tianias eye **TITANIA** We are ready very **OBERON** Well ( Squeezes her eyes shut.down) **MECHANICALS** stage and ready the (4 Puck (casting a spell where the world so is That's why, I've everything That's right because fix to that she should **STARVELING** It gets of Duke thesues I wondered **Teseus** **HIPPOLYTA** the same **Lysander** Pardon the law **THESESU** all , Why We **LYASDNES** Why cannot **EQUIS** Enough I love I said **demetrius** Good And is so **Fairly** (APPROVE ADUBS TO the. love" W FAIR LOVERS * all to the love (All ( **BOTTUM** I will call **Theseses** *This is the script from that performance* ## Need another script? 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