The Midnight Dancers - Stage Play Adaptation

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Only Available at Chesterton PressThis is the stage play adaptation of The Midnight Dancers: a fairy tale retold by Regina Doman. This play has parts for 13 females and three strong male leads. The price includes a performance fee of $50, which allows amateur (nonprofessional) groups to make as many photocopies of the downloadable script as necessary for their production, and to keep all money from the ticket sales. Performance contract included with the script.


Parts for 13 women and 13 men. Small parts can be combined.

4 Principle speaking parts and 20 minor roles, 12 of which are speaking parts.




PAUL FESTER, a freespirited ex-soldier, med-student to be in his early twenties  

Other SOLDIERS heard offstage for the first scene.

COLONEL DURHAM, a man in his early fifties, a soldier and committed Bible Christian

SALLIE DURHAM, his second wife, a woman in her late forties, thin, blond and a bit shy around strangers.  She can sometimes have with her JABEZ, 1 year old, and ROBBIE, age 3. (Optional)


The DURHAM girls, the COLONEL’s biological daughters, all have dark hair and eyes, and are generally more extroverted and aggressive:

RACHEL, 18 – the leader, an equal match to her father

Her younger sisters:

MIRIAM, 17 – the solid, sarcastic one

PRISCA, 15 – a flighty, slightly outrageous flirt


LIDDY, 13 – both LIDDY and BECCA tend to imitate PRISCA

DEBBIE, 11 – outspoken and smart, arguably the most sensible one

 The FENDELMAN girls, SALLIE’s biological daughters, have blond hair and a more introverted natures

CHERYL, 18 – a bookworm and devout Christian

TAMMY, 17 &

TAREN, 17 – the “cool” twin girls

BRITTANY, 15 – the tomboy

MELANIE, 13 – the one everyone loves, everyone’s friend and confidant

LINETTE, 11 – dreamy and quiet, but stubborn

 GUY FRIENDS from school, all 16 or 17: (their numbers can be reduced)

ALAN (speaking part)
PETE (speaking part)

MICHAEL COMUS, 24 years old, handsome and slightly sinister

MICHAEL’s CROWD: all in their mid-twenties: (numbers can be expanded or reduced)

and the particularly handsome BRANDON



SCENE 1: (can be offstage) a desert military base somewhere in the Middle East

SCENE 2: a military hospital

 SCENE 3: The Durham’s house, night

 SCENE 4: The beach near the Durham’s house, night

 SCENE 5: Another area of the beach, the next day.

 SCENE 6: The Durham’s house, that night.

 SCENE 7: The flower garden outside the Durham’s house, later that night.

 SCENE 8: Later that night, on the beach near the Durham’s house

 SCENE 9: On the island.

 SCENE 10: Outside the Durham house, sometime the next day

 SCENE 11: On the island, midnight. 

 SCENE 12: The fairgrounds

Optional intermission

 SCENE 13: The Durham’s house: the girls’ bedroom

SCENE 14: The Durham’s house, evening

 SCENE 15: The garden outside the Durham’s house

 SCENE 16: The island, later that night

 SCENE 17: The beach outside the Durham’s house, a few minutes later

 SCENE 18: The island: the cave

 SCENE 19: The Durham’s house, later that night

 SCENE 20: The Durham’s house, the next morning

 SCENE 21: On the road outside the Durham’s house, a few minutes later.


OPTIONAL SCENES: The following scenes can be added to make a longer, two-act play:
SCENE 13A: The fairgrounds

 SCENE 13B: The girls’ bedroom, some time later

 SCENE 13C: The beach outside the Durham home, sunset

 SCENE 13D: Paul’s campsite.

Using this sequence requires using the slightly longer and restructured ALTERNATE VERSION of SCENE 15, which is included in the script after the standard SCENE 15.