This is a comedy in two acts for 13 actors and s number of non-speaking dancers and extras. It takes about two hours to perform including an intermission. It is written in iambic verse. The script includes stage directions, props and set designs. The play is set in the present but invokes images and themes of the Old West. The story is about a widow (Sally Starr) who owns a ranch left to her by her recently deceased husband (Abe), who also narrates the play as a ghost. The principal protagonists is a grifter (Jehovah Smith) who tries to steal the ranch by stealth. Sally's three puppets, who can talk but only by telling jokes, enlist the town sheriff (Butch Able) to defeat the scam. Meanwhile a Buddhist monk cowboy (Joe de la Paz) comes to town, shares wisdom from the Buddha as comic relief, and is hired by Sally to work at the ranch. The monk persuades Sally and the puppets to go explore for space aliens who were the source of the puppets' enchantment. Smith meets a barmaid (Mabel), with whom he engages in a hilarious, sleazy romance. They are interrupted by Smith's Chicago lawyer (Sophie Bannisher) Who seeks to secure her share of the loot from the ranch scam. But Sophie's jealous husband, Josh, surprises her. Accused on infidelity, Sophie reassures him that his doubts are unfounded and that he should keep an eye on Smith. Thereafter the 8 principals travel to the tree from which the puppets were carved. Beneath the tree they discover a space ship from whom two aliens emerge. The puppets now come alive as the children of the aliens. But Smith gets the drop on the sheriff and threatens to kill everyone. Josh then gets the jump on Smith, incidentally finding gold on the ranch. Sophie then turns her gun on Josh and the others, and instructs Smith to kill everyone again. But before he can do so, the aliens get the drop on them and save the day. An epilogue follows.
Inspired by Edgar Allan Poe's "The Raven"
Nicole Jordan takes the delights of the Regency mating game to breathless new heights in this daring second novel of a superb new trilogy, The Courtship Wars.
Every Child Matters represents the most radical change to education and welfare provision in almost two decades. This book moves beyond a descriptive a how toa (TM) framework to examine the underlying political and social aims of this policy agenda.
The authorsa (TM) analysis reveals that Every Child Matters represents the Governmenta (TM)s attempt to codify perceived risks in society and to formulate their responses. In doing so, children are made the strategic focus of much wider social policy reform, the effects of which are first felt in education. Does Every Child Matter? explores the ramifications of this along three key lines of analysis:
This book provides a unique and insightful critique of Every Child Matters and its contribution to understandings of New Labour social policy. It locates the genesis of the policy in terms of its social, political and historical contexts and questions the validity of constructing social policy around issues of child welfare. Students, academics and researchers in education studies and education policy will find this book of great interest.
You've had a long, wonderful day with your child, but bedtime has come and goneÃ¢Â¦and there's no end in sight! Sound familiar? If so, turn toReady to Go! Bedtime. This kit contains everything parents need to encourage their children to get their much-needed rest. It features:
With help from Ready to Go! Bedtime, your child will learn to enjoy the nighttime rituals that signal the day's end. Plus, parents will discover the key to establishing healthy bedtime routines, common mistakes to avoid, how to overcome "delaying bedtime" tactics, and more.
Grumpy B Articles
Grumpy B Books