Just Write It

It's always rather terrifying to put your work out there. Not everyone is going to love or even like everything you do. (To read a humorous story on how I first discovered this as a child, please visit: Adam Szymkowicz: I Interview Playwrights Part 783: Jennifer Kirkeby)

On the other hand, if you don't share your creations, there is 100% certainty that you'll never know the impact you may have. Don't we all want to share our stories in some way?

I've written many plays, and I recognize how fortunate I've been to have seen them produced. These experiences of collaboration have taught me so much. What works, what doesn't, what could have, and what should have. I've learned to trust my gut in ways I didn't used to, and that's empowering.

Sometimes the audiences are very vocal. In my case, it's mostly families and children. And believe me, children will let you know what they think! You can see it before you hear it. The restless movement in their seats, or the stillness and huge eyes. Then the voices. I've heard everything from "Is this EVER going to be over?" literally shouted from a poor little guy who couldn't handle anymore dancing fairies, to "This is the BEST show I've ever seen! How did you make it?" from a little girl was enchanted with the very same musical.

'Twas the Night Before Christmas
Stages Theatre Company
Photo by Bruce Challgren Photo.Pixels.com

The Mitten by Jan Brett
Stages Theatre Company
Photo by Bruce Challgren Photo.Pixels.com

I recently sent in a page of a middle grade novel that I'm working on called The Phoenix Theater to Literary Agent, Alex Slater of Trident Media Group through Kathy Temean's wonderful blog, Writing and Illustrating. It's called Free Fall Friday, and people submit the first page of what they're working on and if chosen, are critiqued by an agent. Not only was Alex very complimentary which was wonderful, but reading his thoughts on other's work was just as helpful.

So, just write it. There are eyes and ears just waiting to read and listen to what you are working on! Here's the blog :

https://kathytemean.wordpress.com/2015/07/31/free-fall-friday-results-alex-slater/

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

           Jennifer Kirkeby / THE PHOENIX THEATER / Middle Grade

Tears of happiness welled in Annabelle’s eyes as she beamed at the standing audience, still clapping enthusiastically during the fourth curtain call. She squeezed her parent’s hands as they took another bow. The audience roared. She squealed, and her parents laughed.

Annabelle had never felt so proud in her ten years of life. Not only had she just played her first leading role as the streetwise Ginny in the 1920’s production alongside her parents, but her father had also written and directed it. And if tonight’s audience reaction was any indication, Always was destined to be a huge hit.

She searched the fourth row and found her nanny, Marion, grinning back at her. She was brushing away the large tears that rolled down her dark rosy cheeks. They winked at each other as they had promised they would.

The photographers began their flashing frenzy, shooting blinding white light with every click. Each one hoped to capture the photo chosen for tomorrow’s paper. Her father thanked the audience and invited them all to the opening night party.

Annabelle would wonder about the following moment for years to come. How it began, why it happened, and if there was anything she or anyone else could have done to prevent it.

She smelled the smoke before she saw it. At first, Annabelle assumed it was the obnoxious stage manager, Thomas, who was forever puffing on one of his stinky cigars. But when she looked offstage left, ready to give him a death glare, she knew instantly that no cigar could create the black billowing smoke that was rolling in from under the door.

Here’s what Alex had to say: 

THE PHOENIX THEATER by Jennifer Kirkeby

This is an excellent opening page. The writing is clear and concise, the action is captivating and inviting, and the tension demands the reader read on. I liked the way the play’s name is revealed in a stylistic and natural way. I like the expressive language: “flashing frenzy,” “blinding white light,” “black billowing smoke.” Most of all, I like the way the author sets-up the tragedy that unfolds. It’s a useful device that is employed well here: introduce the moment from the future, as a point in history, thereby captivating the reader with curiosity: what event could stand so tall in a character’s memory? Then, introduce the moment in all its horribleness. Therefore, the reader sees the moment as the character sees it: epic, irrevocable, and in the past. This is a great example of how to tease the reader in the opening pages, which is an effective technique.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Here is more info about Alex:

He is looking to build his list. When asked how he became an agent at Trident, concentrating in the expanding children’s, middle grade and young adult businesses, Alex simply replies, “It was only natural.” While karma is not an established business concept, it is clear that Alex’s career arc led him in this happy direction.

Start with Alex’s love of fiction, and in particular the stories that captivate the minds and imaginations of young people, from those so young that books are read to them, to young adults who get captivated by creative fiction. “I love to let myself go, and become the reader, whether the story is directed at a ten-year-old or a teenager,” says Alex.

Next is Alex’s experience at Trident, where he has been since 2010. He became a very successful agent representing the company’s children, middle grade and young adult authors in many licensing arrangements in the global marketplace for translation and in the English language in the U.K., having placed books with publishers in dozens of countries. Alex was Trident’s representative at the Bologna Children’s Book Fair in Italy, as well as the broader-based London and Frankfurt book fairs. His experience in representing fiction in these areas showed him what elements in stories work well, and how to maximize the value of what an author has created.

He is now building his list domestically at Trident, while keeping his focus on these areas.

Alex’s plan is to, “Look for stories that will rise above the rest with characters that will be remembered well past childhood, with the potential to cross over to other media and formats,” such as programming, games, motion pictures and merchandise. “Trident is the leader on taking advantage of the latest opportunities presented by changing technology,” says Alex, and, “I will be there to help make the latest innovations happen for my authors.”

“I believe that the most successful writers have a bit of the dreamer in them.” And Alex passionately believes that he can help turn their dreams into reality.

Twelve Dancing Princesses

Stages Theatre Company

Photo by Bruce Challgren Photo.Pixels.com

I'd love to hear from you. What have you done recently that took you out of your comfort zone, and are you glad that you did?

Also, please visit my new website: http://www.jenniferkirkeby.com/

INTERVIEW ON AUTHOR TURF

Interview with Award-Winning Author Jennifer Kirkeby

Posted on July 22, 2014 by Brittney Breakey

Get to know Jennifer…

JENNIFER KIRKEBY is an actress, playwright and children’s writer. Kirkeby adapted ‘Twas the Night Before Christmas; The Far-Fetched Fable of the Frog Prince; Madeline’s Christmas,based on the book by Ludwig Bemelmans; and Dot and Tot of Merryland, all of which are published by Dramatic Publishing. Other adaptations include Nancy Carlson’s Harriet and Walt, a musical about sibling rivalry, (Samuel French); Llama Llama Holiday Drama and Llama Llama Red Pajama by Anna Dewdney;Aladdin and His Magical Lamp; The Mitten by Jan Brett; The Paperbag Princess by Robert Munsch; Click Clack Moo: Cows That Type, and Giggle Giggle Quack and Duck for President by Doreen Cronin, and If You Give A Moose A Muffin by Laura Numeroff. Original plays include Midlife Madness, an adult comedy; and Eyes Wide Open, a play about eating disorders (Samuel French). Her ten-minute play, The Glass House has won numerous national awards. Several of her monologues and scenes have been published by Smith & Kraus Publishers in Audition Arsenal for Women in Their 30s and volumes 2 & 4 of Winners Competition Series. Kirkeby is a member of The Dramatists Guild of America, Inc., The Playwrights’ Center and American Federation of Television and Radio Artists and SCBWI. For more info, visit her website, blog, and Facebook.

Quirky Questions 

What do you think will be the next popular catch phrase?

Quirkalicious. 

What do you do every day, without fail?

Look forward to that first cup of coffee! 

What is something you wish you did every day, without fail?

Live in the present. I try, but it’s a tough one for me. 

If you could dis-invent one thing, what would it be?

Nylons. No one should be made to feel like a sausage in a casing. 

What makes you want to throw up?

Abuse and cruelty. 

What makes you laugh until tears roll down your cheeks?

I’m going to tell you, but you can’t tell my husband. We recently got new cable, and the Comcast guy explained to me that one of our remotes can change stations, volume, etc. even if you’re not in the same room as the TV. So I sometimes take that control, go upstairs, and change the channels and volume on my unsuspecting husband. He hasn’t caught on yet because I don’t do it too often. Timing is everything. I find it hysterically funny. Don’t feel too sorry for him, though. He used to stand in our closet wearing a scary Halloween mask and wait for me to walk in until I destroyed it. The mask. Not the closet. 

What compliment do you wish someone would give you?

“Your writing made me feel like there is someone in the world who truly understands and cares about me.” 

What do you waste time doing?

Facebook. 

What’s the biggest inconvenience about where you live?

That’s an easy one, boy-you-betcha. Winters in Minnesota. They are inconvenient in many ways.

1. You freeze your face off, (and other important things).

2. You have to drive in very dangerous and slippery conditions. I’m from California, so this took me a while.

3. You have to shovel. Especially when your husband had hand surgery during a record-setting snowy winter so he could golf in the spring, and your snow blower was broken. Like this past winter for example. Do I sound bitter? HOWEVER, I’m convinced these pesky winters are one of the reasons we have a plethora of amazing writers in Minnesota, so there’s the upside for ya! 

If you were a professional wrestler, what would your name be?

Kirkeby the Krusher.

If you could own a store, what would you sell?  

Books for animals. Maybe it’s just my dogs, but they love it when I read to them. My daughters are in their twenties, and suddenly they think they’re too old to be read to. They actually get embarrassed when we go to Target and I head to the picture books and start reading to them. Can you believe it? So yeah, Baboon Books it is. 

What book (either because of its length or subject) intimidates you?

Moby Dick. 

What was your favorite childhood meal?

Tomato soup and grilled cheese. My mom would make it for me when I was sick, and I felt comfort and love in every bite.

Writing Questions

Ever feel you have to censor your creativity because you don’t want to offend anyone?

No. I believe your character must be 100% authentic. Your character needs to talk the way they would talk in real life, and do the things they would do if they were living down the street. Besides, no one can pick out a poser faster than a young person, right?

Do you do anything special to get your creative juices flowing?

Walking helps my creativity. Or reading a great book or blog from a writer that I admire. And here’s where my theater background comes in. I talk to my characters. I ask them lots of questions. It’s their story after all. They should be willing to pull their own weight now and then. It’s surprising what they’ll tell you if you get them at the right time. And give them chocolate.

What are your words of wisdom for someone starting out in the field of writing?

Ask yourself why you want to write. Is it solely because you want to become published? Because that’s the wrong reason to write. Ask any writer you admire about that one. You have to LOVE writing. Perhaps you want to change people’s perceptions, inform or entertain, or maybe you want to release some nagging pain that you’ve been carrying around since childhood. Just know that like anything, it takes years and years and YEARS to become a good writer. Join SCBWI, take classes and read. Read as much as you possibly can.

How would you define creativity?

A glorious gossamer of amazing thoughts that magically form themselves into a work of art. Not really. I just wanted to write “glorious gossamer.” I would define creativity as a need to express and communicate with others in a fresh and unique way. It might come out of an injustice that you experienced. It could come from a hummingbird that looked right at you, and you’ll never forget that glorious moment. All I know is when I’m in the zone, there is nothing like it.

Why were you drawn to a career in writing rather than a job that offers more stability?

I’ve been involved in theater and dance most of my life, so clearly I never went for stability and security…but even before I began school, I would “write” choreography. I would map out my dance with squiggles for turns, sharp jutting lines for leaps, etc. I wrote some poetry on a dare in high school and was secretly thrilled that it was chosen for a book and published in our local paper. I was the feature editor for my college paper, and began writing plays about fifteen years ago. I’ve written for the classroom for over 30 years. It really comes down to my utter stubbornness and need to live my life in the arts in order to make sense of the world.

Who do you consider a literary genius?

Hemmingway, Camus, Kafka, Steinbeck, Ray Bradbury & Libba Bray. I also think there are literary geniuses writing picture books. I’ve come to the conclusion that picture books are like Zen paintings, and you must be a master in order to be brilliant at it.

What obstacles have you had to deal with in your career?

Rejection. My husband said something years ago that has always helped me. After finding out that I didn’t get a job I thought I had nailed, he said: “Now you’re one audition closer to getting your next job.” It’s a process. I’ve had to change the way I perceive the word “rejection.” I try not to let it be personal. Often the people who we think are judging us and our work are actually hoping we’re a fit. It makes their job so much easier if we are. I try to be the answer to their problem, always give my very best, and if it doesn’t work out, I go for a walk then start on my next project. After I cry, of course. I am human after all.

What are the biggest challenges you’ve experienced in the realm of your art?

Keeping myself motivated when there are long stretches where I feel like I’m limping along barefoot on an endless hot and sticky highway, seeing nothing on the horizon but the mirage that’s shimmering like a mean girl who won’t let me play on her team because I’m afraid of getting hit on the head with the ball, but how is that my fault when my dad said I couldn’t play ball when I was a kid because I was “just a girl”, and the black tar of the road goes on for an eternity and seems to be saying: “What’s the matter, Jennifer? Can’t take the heat?” And I really can’t sometimes, but that highway doesn’t seem to give a hoot, so I wait for the black limo that will eventually pull up, roll down its window, and someone who looks a lot like George Clooney says, “You look like you could use a ride and a cool drink. And say, are those manuscripts in your sweaty hand? How about if I look at your writing, and maybe hook you up with some of my friends?” And scene.

How did you pick your writing genre?

Currently I’m working on a musical for children, a YA magical realism manuscript and several picture books. I haven’t landed on one genre because I love so many things in each of them.

What life experiences have inspired your work?

I think being the oldest of four kids had something to do with it. I babysat a lot and loved to tell stories. Some were horrific and I have apologized multiple times to my siblings about the ghost family I told them haunted our house when they were young. And how President Washington was killed by a crocodile that came out of the drain in his bathtub. My poor brother shared that story with his class, and everyone laughed at him including the teacher. It’s amazing my siblings still talk to me…

How do you know when a book is finished?

With my plays, it’s the deadline. I complain about them, but honestly, they are the best thing for me. Otherwise, I seem to think that I’ll come up with something brilliant if I just keep on writing, but the truth is, I’m prolonging the ending which should have happened already, and now the kids are squirming in the parent’s seats, and it’s my fault because I thought that I was being amazing by adding those extra scenes, but now half the audience needs to go to the bathroom, so for the love of Pete, end it already!   

What impact (good or bad) do you think the media has had on your work?

I remember when GPS became available. I wrote a skit about a GPS that talked to a teenage couple on a date. It told them what the other one was really thinking. Another example is when I adapted Doreen Cronin’s wonderful picture book, Click Clack Moo: Cows That Type for Stages Theatre Company. We used a large screen to show the words as the cows and Farmer Brown were typing them. The kids in the audience squealed and loved seeing the words. There are so many great opportunities to work with the crazy world media is creating. But when all is said and done, it’s still great story and character that’s the most important. 

What traits do creative people have compared to people who are not creative?

Creative people are dreamers. They see things differently. They’re extremely sensitive. They’re walking microscopes and telescopes. They don’t just listen – they’re sponges. Not that other people don’t do these things, but creative people have superpowers.

I love my husband to pieces, but we have very different sensibilities in this area. When we were first dating, we were standing on a mountain. I looked around at the startling blue sky, the soft mountains that looked as if they could stand and become dinosaurs, the way the sun lit up the valleys and how the trees swayed in the breeze. I was thinking about the wonderful life that we were going to have together. I assumed he was having similar thoughts, so I asked him, “What do you think of when you look around this valley?” He looked right, and left, then pointed and said: “I never noticed the 101 freeway cuts through that mountain over there.” We still laugh about it.

Have your personal expectations limited your creativity? 

Absolutely. My expectations are often ridiculous. When I was in the first grade, we had been practicing our writing, and our teacher was ready to announce who had the best handwriting in class. I fully expected to be called. I held my pencil with robot precision, and already had calluses from trying to be “perfect.” When our teacher said, “Rocky Carzo”, I could barely hold back the tears. I wasn’t perfect. But Rocky was. Even sharing this makes me sad. That I was so hard on myself. And still am. This month I read a great blog called The Crushing Weight of Expectations by Robin LaFevers. She quotes my hero, Anne Lamott who said: “Expectations are resentments under construction.” We have to let go of the unrealistic expectations and those voices that tell us we aren’t good enough. That’s just silly. Find your voice and write up a storm. There’s nothing like it!

About Brittney Breakey

I love reading children’s fiction, coffee dates with my husband, trips to the library, thrift store bargains, chips and salsa, music of all kinds, lazy summer days, competitive games of Pictionary, and celebrating a long day of writing with ice cream and peppermint tea. I’m a two-time graduate of the Institute of Children’s Literature, and I’m currently working on a humorous mystery for middle graders. I launched Author Turf in January 2011, and it has been an absolute honor to work with so many inspiring authors, promote their work, and learn about their writing processes. I hope you enjoy each and every interview.

View all posts by Brittney Breakey →

MADELINE'S CHRISTMAS IN A THEATER NEAR YOU!

Stages Theatre Company's 2012 Production of Madeline's Christmas

l. to r.: Georgia Conlin as Kate, Kacie Riddle as Madeline, and Macailah Maxwell as Isabelle

Photo by Bruce Challgren of Photopixels.com
 

In an old house in ParisThat was covered with vines
Lived twelve little girls
In two straight lines.
They left the house at half-past nine
In two straight lines, in rain or shine.
The smallest one was MADELINE.

Madeline’s Christmas by Ludwig Bemelmans, was originally written as a special book insert in the 1956 Christmas edition of McCall’s. The book was published in 1985. In 2003, composer Shirley Mier and I were fortunate enough to be asked to adapt this classic tale of the beloved and ever spunky Madeline for the Stages Theatre Company. This year the production has come back "home" to Stages Theatre Company under the direction of Artistic Director, Sandy Boren-Barrett.


Stages Theatre Company's 2007 production of Madeline's Christmas

Photo: Bruce Challgren www.photopixels.com

I have told a lot of people that adapting this story into a musical was a labor of love. It truly was. Like many young girls, I grew up reading the Madeline books, and I read them to my own daughters as well. Creating the world in which Madeline, the twelve little girls, Miss Clavel, Mrs. Murphy, and the rug merchant (I named him Harsha), live was magical.

Part of the agreement for me to be able to adapt Ludwig Bemelmans’ book was to stay true to his original story. The play needed final approval by Barbara Bemelmans, Ludwig’s daughter. And this approval happened after Shirley and I had put countless hours into the script, lyrics, and music. Lucky for us, Barbara gave it the thumbs up. She even gave me some feedback as to what she felt her father would and wouldn’t have written in certain scenes. She told me that it was very important that the “twelve little girls” always show respect, especially to Miss Clavel. She even gave me some suggestions for names of the girls. I will always be grateful to her for helping me to forward the script in that way.

 

Stages Theatre Company's 2007 production of Madeline's Christmas
Photo: Bruce Challgren www.photopixels.com

As with any adaptation, there were questions that I needed to answer for the audience. Why did everyone but Madeline get sick? There isn’t any explanation in the book. I decided that Madeline was the only one who remembered to wear her scarf when they go on their morning walk. Being a mom and raising my girls in a cold climate, I thought this might help a few parents while trying to encourage their children to dress warmly. ;-)

I also wanted the twelve little girls to be different from one another. On the page they are somewhat like a Greek chorus with their collective “boo hoo’s” and precise straight lines. To give them individuality, I gave them all names and different traits. The more challenging parts of the story occur when the magician makes the dishes move by themselves, and when all of the girls fly on magic carpets to go home for Christmas. One of the great things about being a playwright is that you can write things like: “Plates magically move on cupboard.” “Girls fly on magic carpets by the Eiffel tower.” Then the director and tech crew have meetings to decide how to make those magical elements work!

The first production of Madeline's Christmas was at Stages Theatre Company in 2004. Since that production, it has been published by Dramatic Publishing Company, and has been seen in over 80 theatres nationwide.

 

Thank you to the following theatres who are producing it this year!
 

Stages Theatre Company Hopkins, MN www.stagestheatre.org

Children's Christian Theatre, Garland, TX

The Van Meter Theater of Western Kentucky University, Bowling Green, KY

The Phipps Center for the Arts, Hudson, WI www.thephipps.org

Lynn Meadows Discovery Center, Gulfport, MS

Newnam Theatre Company, Newnam, G www.newnantheatre.org

Horizon Theatre Company, Atlanta, GA www.horizontheatre.com

Topeka Civic Theatre & Academy, Topeka, KS www.topekacivictheatre.com

The Spartanburg Youth Theatre, Spartanburg, SC www.spartanburglittletheatre.com/youth

Broward Center for the Performing Arts, Ft. Lauderdale, FL www.browardcenter.org

Charleston Stage, Charleston, SC www.charlestonstage.com
Theatre of Western Springs, Western Springs, IL www.theatreofwesternsprings.com
Theatre IV, Richmond, VA www.theatreIV.org

Omaha Theater Company, Omaha, NE www.rosetheater.org

Sutter Street Theatre, Folsom, CA www.sutterstreettheatre.com

 

Stages Theatre Company's 2007 production of Madeline's Christmas
Photo: Bruce Challgren www.photopixels.com
 

Playwright Jennifer Kirkeby and Composer Shirley Mier

 

I wish you all the Happiest of Holidays, a very Merry Christmas, and a joyful and healthy New Year!  

 

If you are interested in more information about Madeline's Christmas, or to see some of my other plays, please visit Dramatic Publishing. www.dramaticpublishing.com. In the keyword search click on "title", then type in: Madeline's Christmas. To see other titles, go to keyword search, click on "author's last name" and type in Kirkeby.

 

To read an excerpt of Madeline's Christmas:

http://www.dramaticpublishing.com/download/pdf/exMadelinesChristmasME8.pdf OR

you can read exerpt once you've entered Madeline's Christmas in the keyword search.

MADELINE'S CHRISTMAS

Playwright Jennifer Kirkeby and Composer Shirley Mier at GREAT Theatre

Photo by Mick Kirkeby

Madeline's Christmas at Stages Theatre Company, 2007
Photos by Bruce Challgren
















In an old house in Paris
That was covered with vines
Lived twelve little girls
In two straight lines.
They left the house at half-past nine
In two straight lines, in rain or shine.
The smallest one was MADELINE.
Madeline’s Christmas by Ludwig Bemelmans, was originally written as a special book insert in the 1956 Christmas edition of McCall’s. The book was published in 1985. In 2003, composer Shirley Mier and I were fortunate enough to be asked to adapt this classic tale of the beloved and ever spunky Madeline for the Stages Theatre Company.

Since that time, Madeline’s Christmas has been published by Dramatic Publishing Company. It has been produced in over fifty theatres in the U.S. This year it is being performed in the following theatres:

Dallas Children’s Theatre, Dallas, TX
Milpitas Rainbow Theatre, Milpitas, CA
Roanoke Children’s Theatre, Roanoke, VA
Berkshire Children’s Theater, Pittsfield, MA
Horizon Theatre Company, Atlanta, GA
Harwich Junior Theatre, West Harwich, MA
Premier Arts, Elkhart, IN
Project DayDream, Birmingham, MI
Theatre of Youth Company, Inc., Buffalo, NY
Cretin-Derham Hall H.S., St. Paul, MN
California Theatre Center, Sunnyvale, CA
A Magical Journey Through Stage, Rochester, NY
Town Hall Theatre, Dayton, OH
Great River Educational Arts, St. Cloud, MN
Germantown Community Theatre, Germantown, TN
Stebens Children’s Theatre, Mason City, IA
Spokane Children’s Theatre, Spokane, WA
Oakcrest School, McLean, VA
BroadHollow Theatre Company, East Islip, NY

Here is the description of the musical which can be found on Dramatic Publishing’s website: http://www.dramaticpublishing.com/

"In an old house in Paris that was covered with vines lived twelve little girls in two straight lines." So begins this delightful story of Madeline's Christmas! The day begins like any other day. Miss Clavel takes the twelve little girls on their morning walk. They go to the zoo and then back to school for their French history lesson. Suddenly disaster strikes when everyone gets the flu! Everyone that is, except for the ever-resilient Madeline. Saddened that they may not be able to go home for Christmas, the girls and Miss Clavel take to their beds. But on Christmas Eve, the adventure begins when there is a knock at the front door. Expecting to see Santa, Madeline meets the Rug Merchant who has brought twelve very special rugs. He reminds Madeline that Christmas is the time of miracles, and that these are not ordinary rugs! Soon everyone wakes up feeling healthy. The Rug Merchant shows them that they each have a magic carpet and that they can fly home to be with their families for Christmas! After saying goodbye to the girls, Miss Clavel finds a present that the girls left for her, befriends a little mouse, and counts her many blessings singing: "Everything Is Right Tonight." Before you know it, the girls fly back to the Old House and are together again on New Year's Eve. They thank Madeline for taking care of them and making their Christmas so special!"

I have told a lot of people that adapting this story into a musical was a labor of love. It really was. Like many young girls, I grew up reading the Madeline books, and I read them to my own daughters as well. Creating the world in which Madeline, the twelve little girls, Miss Clavel, Mrs. Murphy, and the rug merchant (I named him Harsha), live was magical.

Part of the agreement for me to be able to adapt Ludwig Bemelmans’ book was to stay true to his original story. Also, the play had to be approved by Barbara Bemelmans, Ludwig’s daughter. And this approval happened after I had put countless hours into the script and lyrics. Luckily, Barbara gave it the thumbs up, and she even gave me some feedback as to what she felt her father would and wouldn’t have written in certain scenes. She told me that it was very important that the “twelve little girls” always show respect, especially to Miss Clavel. She even gave me some suggestions for names of the girls. I will always be grateful to her for helping me to forward the script in that way.

As with any adaptation, there were questions that I needed to answer for the audience. Why did everyone but Madeline get sick? There isn’t any explanation in the book. I decided that Madeline was the only one who remembered to wear her scarf when they go on their morning walk. Being a mom and raising my girls in a cold climate, I thought this might help a few parents while trying to encourage their children to dress warmly.

I also wanted the twelve little girls to be different from one another. On the page they are somewhat like a Greek chorus with their collective “boo hoo’s” and precise straight lines. To give them individuality, I gave them all names and different traits. The more challenging parts of the story occur when the magician makes the dishes move by themselves, and when all of the girls fly on magic carpets to go home for Christmas. One of the great things about being a playwright is that you can write things like: “Plates magically move on cupboard.” “Girls fly on magic carpets by the Eiffel tower.” Then the director and tech crew have meetings and decide how that is going to work!

The first production at Stages Theatre Company of Madeline’s Christmas in 2004 is still the top selling show in the theatre’s history. Last year I was asked to play Miss Clavel for the second production at Stages. It was a delight, and being on the other side of the stage performing 51 shows during the holidays gave me a whole new perspective!

This year I was fortunate enough to be able to see a few of the productions of Madeline’s Christmas. The first one was at the Dallas Children’s Theater. Robyn Flatt, the Artistic Director, the staff, cast and crew were gracious and inviting. My husband, Mick and I were welcomed warmly the minute we entered the lobby. Robyn Flatt gave us a tour of their impressive theatre space. This year is DCT’s 25th anniversary, so prior to the opening show, Robyn gave a speech and then introduced me to the audience. I told them how excited I was to have the opportunity to see the production, and what a great time my husband and I were having in Dallas.

The production was beautiful. Everything from the rich and whimsical set designed by Randel Wright and direction and choreography by Nancy Schaeffer, to the wonderful cast was absolutely delightful. Madeline and the twelve girls were double cast, and fortunately we were able to see both. The flying scene was amazing! I wish that I could thank everyone by name, but I don’t have enough room. Thank you, DCT!

Composer Shirley Mier and I went to see Madeline’s Christmas in St. Cloud, Minnesota at the GREAT Theatre. (Great River Educational Arts Theatre.) They perform in the gorgeous Historic Paramount Theatre. We were welcomed at once by Artistic Director, Dennis Whipple. The theatre was full, and we enjoyed watching the lovely production. GREAT Theatre also double cast the show, which is a challenge during the rehearsal process, but ultimately gave more people the chance to perform. (And a double cast is always very helpful if someone should forget to wear their scarf and get sick!)

After the show, Shirley and I spoke to the cast, crew, and season ticket members, and answered some questions.

“How long did it take to write Madeline’s Christmas?”
I keep telling myself that I need to keep track the next time I write a play. Madeline’s Christmas was at least a year in the making, but that includes outlines, rewrites, waiting for approval, etc.

“How many other theatres have performed Madeline’s Christmas?” Over fifty.

“How did you write the songs?”
I wrote the lyrics and then Shirley Mier wrote the music.

“Who is your favorite character?”
All of them, of course!

Merci to all of the theatres who are performing Madeline’s Christmas! It is such an amazing feeling to listen to the words that you have written being performed onstage with such enthusiasm, excitement and truth. I am indeed fortunate to have had this opportunity, and I am truly grateful.

I wish you all the Happiest of Holidays, a very Merry Christmas, and a joyful and healthy New Year!