Sleeping Beauty cover

Sleeping Beauty
. . . the show with an interval of a hundred years!

To order scripts ISBN 1-873855-41-9Cast ListScenesExtractNotesNotes from MexicoProduction photos 2008Production photos 2022

This pantomime was first performed in Mexico City in December 2004, having first been translated into Spanish!


A pantomime written in a traditional style, but at the same time refreshingly different, Sleeping Beauty treats your cast to some well made characters and dialogue, and conspires to involve your audience to the maximum.

Princess Rose is cursed at her christening by Belladonna - and on her sixteenth birthday the curse is to be implemented. Or is it?

There are many opportunities for song and dance, including 20 suggested titles, and plenty of scope for including an undefined number of senior and junior chorus members in the show.

Principals: 4 Male & 7 Female suggested, but genders can be swapped!

© John Owen Smith 2003

Cast List . . .

The Immortals:

Lilac, a good fairy
Belladonna, a bad fairy
Junior chorus of fairies and elves

The Mortals:

King Harold of Ambrosia
Queen Matilda, his wife
Princess Rose, their daughter (principal girl)
Marigold, her friend in the Palace
Nurse Constance, nurse to the princess (dame)
Benjamin, chancellor to King Harold
Gerald, herald to King Harold
Prince Rufus of Faraway (principal boy)
Sir Rowan, the prince's squire
Senior chorus of Townsfolk, Palace Attendants, etc

List of Scenes . . .

Act I

The Prologue - On the road to Ambrosia (Front of Tabs)
Scene 1 - Ambrosia, in the Palace entrance hall (Full Set)
Scene 2a - With the Fairies (Half Set)
Scene 2b - Somewhere in the Palace (Front of Tabs)
Scene 3 - In the Palace ballroom (Full Set)
Scene 4a - On the road to Ambrosia (Front of Tabs)
Scene 4b - Somewhere in the Palace (Half Set)
Scene 5 - A secret room in the Palace (Full Set)

**** INTERVAL ****

Act II

The Interlogue - Approaching Ambrosia (Front of Tabs)
Scene 1 - Ambrosia, outside the Palace (Full Set)
Scene 2a - Fairy Lilac's advice (Front of Tabs)
Scene 2b - The Battle of the Brambles (Half Set)
Scene 3 - A secret room in the Palace (Full Set)
Scene 4 - Somewhere in the Palace (Front of Tabs)
Scene 5 - In the Palace ballroom (Full Set)

Extract from Act I Scene 2b

Queen What have we done to deserve this, Harold?
King What's that, dear?
Queen Our daughter, dear.
King Now don't make a scene - it is her birthday.
Queen Not make a scene! All the guests are about to arrive, and where is she?
King Getting ready, I should think.
Queen You should think! Do you know how many dresses she's tried on this morning? Perfectly good dresses which I'd bought for her, but none of them were right, oh no. And now she's locked herself in her room, to stop me interfering if you please, and Lord knows what she'll turn up in.
King Fashions change.
Queen And the make-up! I didn't know what make-up was when I was sixteen.
King (Aside) Probably hadn't been invented.
Queen Pardon?
King I believe Cleopatra used make-up to striking effect when she was young.
Queen Yes, and look what happened to her. Struck down by a snake.
King There are no snakes in Ambrosia.
Queen You haven't forgotten the fairy's curse?
King Sometimes I think having a teenage daughter is curse enough.
(Enter Benjamin the Chancellor, carrying a guest list)
Benjamin Your majesties, the guests will be here shortly. Should I …
Queen Harold, exert your paternal authority - go and get her.
King Oh, very well. Wish me luck. Frankly, I'd rather be leading my troops into battle. (Exits)
Queen I hope you've got the guest list right this time, Chancellor.
Benjamin I have taken every care, ma'am.
Queen Let me see. (She takes the list from him) H'm - Baron Hardup, he doesn't look too promising. And Richard Whittington - who's he?
Benjamin I believe he's some rat-catcher who made good.
Queen Got money, has he? That's what I like.
Benjamin We're hardly in need of money, ma'am. Due to our prudence over the years, we have acquired a considerable amount in the State Coffers already.
Queen We can always do with more, Chancellor - we have a teenage daughter. This Ali Baba, now - is he in oil?
Benjamin I'm told that he has had friends in oil.
Queen Well, that's a start.
Benjamin The gifts from the guests are laid out in the Ballroom - if your majesty would care to inspect them.
Queen We might as well, while we're waiting for Rose to grace us with her own presence.
Benjamin With her own presents? Ah, presence! Yes, I see - very droll, ma'am.
Queen (Giving him a withering glance) We are not droll, Chancellor. We are a teenager's mother. Lead me to the gifts.

Producer's Notes

This pantomime uses three different full set scenes, separated by half set or front of curtain scenes to allow for backstage activity.

Directions are suggested, but use your imagination according to the facilities available to you.

A list of suggested songs is included for your guidance, and where special words were written these are also included, but feel free to adapt or adopt your own as required.

The concept of the Community Song is where the audience is invited to come up on the stage to help out, and some sort of raucous competition ensues between those brave enough to come up and those left sitting in the auditorium. ("Invited" is perhaps a little inaccurate on occasions, when members of the cast go down in search of friends and other victims!). The positioning of this event just before the final scene also gives people not involved plenty of time to change into their finery for the Walkdown.

I used the convention of Fairy Lilac speaking in rhyme, but Belladonna and the mortals speak in prose, and I have introduced the concept of a Prologue and an Interlogue (no, the latter is not in the dictionary) as much as anything to give time for the chorus to react to the fact that the show has started, and actually get on stage! This is known as pragmatism.

So good luck with your show. Put in local variations as you wish, and if you think you can improve on the verse then do that too! Have fun - otherwise, why do it?

Notes from Mexico

In December 2004, a version of this script translated into Spanish was performed in Mexico City. I received the following comments …

"The ballet/panto was a complete success. I do believe that this is the first panto in Mexico. I gave out programs with a guide on what to do in a panto, which they followed to the letter - very funny when a 'good' actor entered from the wrong side and was nearly boo'd off stage.
Thank you very much, everyone thought it was funny, and entertaining.
The difference with this one was the ballet content. We managed to get a soloist from the Mexican national ballet company as the male lead, so the quality was very high. The audience was 50% kids under 12 and the rest adults."

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