The Art of Rejection: Two One Act Plays

Welcome to our Featured Play Spotlight. The Art of Rejection: Two One-Act Plays by Christian Kiley consists of two one-act plays that expertly combine realism with the abstract, and include characters that high school students can really relate to. R is the only letter in a sea of numbers. Potential sits in a chair. These two one acts – Art of Rejection and Chaired can be performed separately or together. The Art of Rejection: R is the only letter in a sea of numbers. Always picked last for kickball, never part of the ‘in’ crowd, never gets the girl. What is a letter to do to get through life? An avant-garde look at the price of popularity. Chaired: Potential sits centre stage in a chair. At times Potential is forced to remain seated by family, teachers and friends. At other times Potential will do anything not to stand. It’s better to stay in place, not move, not reach out. Sometimes the hardest thing to do is just stand up… Why did we publish this play?There are two one acts in this fabulous collection. It could be something that you easily divide up in a large class. What I like about the plays is their tone – the dialogue is definitely realistic but the situations sway to absurd. If you’re looking for a transition piece for your students before they do something outside the realism box, pick up The Art of Rejection. Easy to stage, costume and both have little to no set! Who doesn’t love that? Let’s hear from the author! 1. Why did you write this play?This goes back to my junior high days when the school yard was the primary location for bullying. I wanted to capture the feeling of being bullied and rejected for the audience and then give the protagonist the opportunity to get a unique kind of revenge or have an epiphany (which I think R and Potential both experience in different ways). This is truly how I felt in junior high and parts of high school. It is an exaggerated version of it. But the plays grew from seeds of truth. 2. Describe the theme in one or two sentences.Is popularity worth it or is it just conformity with a prettier paint job? When you dig deeper, there is a special kind of courage it takes to be yourself, to discover your full potential and grow into it. 3. What’s the most important visual for you in this play?Definitely when R turns into a tree. It is so unexpected and outside the realm of anything I would have thought of normally. That physical transformation at the end of “The Art of Rejection” is shocking and stunning. 4. If you could give one piece of advice for those producing the play, what would it be?Let the entire production spring forth from the actors. Let the actors represent as much of the world as you think they can. Turn it over to them. The piece is a celebration of minimalism in that way. 5. Why is this play great for student performers?It taps into an energy that I still feel today and I see and feel with the students I teach. Most Theatre students have been R or Potential for at least parts of their lives. And they have been around people like the other characters for so long that they have already engaged in the character study (everyday). I asked one of the actors who played a bully in both plays how he was able to do it (he is such a nice person) and he said, “there are people like this everywhere, you don’t even have to look for them, they are part of your daily life.”

Time for a Tfolk Top Ten Plays For….High School. We’re a company that focuses on high school performers so the majority of our scripts are high school plays. But we know the score: you want a play that is just right for your students. You want work that is specific to your students, and yet is something that can sink their teeth into. And you don’t want to search forever and a day for that play. We’ve got a great list of 10 to get you started. Comedies, Dramas, unique formats. A little bit of everything! Click the link and you’ll be taken to the webpage for each play. There you’ll get the details and read sample pages. All the best with your search! Sixteen in 10 Minutes or Less The lives of seven teenagers become intertwined in this humorous and oftentimes bittersweet collection of ten minute plays. They plays can be performed individually or together. Split Teenagers navigate the winding road of divorce in this honest and theatrical look at the day to day reality of growing up in a family that’s been torn apart. The ending always makes me cry. Anonymous Anonymous is the story of every teenager: the new kid trying to fit in, the best friends, the love interests, the kid in the corner with their secret, individuals trying to belong. The characters are You, Me and Them. They are all of us. Look Me in the Eye Teenagers in the future are obedient, polite, and respectful. Everything about their life is black and white, right or wrong. This is due in large part to the government-required “Observation Sessions.” But there is a dark underside to this utopian vision. Sometimes life is grey. Ashland Falls The students of Herbert Hoover High are too wrapped up in miscues, awful accents, and stolen boyfriends to notice strange things happening around them. Revenge is coming. Each actor must play two vastly different roles in this spine-tingling comedy thriller. This easy to stage and intense theatrical experience will keep your audience on their edge of their seats. And the twist ending will make them question everything they’ve witnessed… Puzzle Pieces This play explores teen issues through a series of monologues. The characters speak frankly about their fears, their futures, and how to embrace the day to day. Somewhere, Nowhere A small town is a place to leave for some, a place to call home for others. The teenagers in Somewhere, Nowhere face a dilemma: Do they stay close to home at the end of high school, or do they get as far away as possible? What if they want to do both at the same time? What then? The Art of Rejection Two plays that look at being alone – whether it’s the only letter in a sea of numbers, or alone in making the right decision to sit or stand. A combination of humanity and the avant-garde the two together make for a great competition piece. The Perils of Modern Education The Perils of Modern Education are many! A comedic romp through the stresses and struggles of making it through the average, or not so average, school day. Gender flexible casting, doubling possibilities, and easy to stage. neeT Teen Teen life – backwards, forwards and inside-out. In every form from kitchen sink, to absurd, to movement, to audience participation, to song, to adding your own scene.

Time for a Tfolk Top Ten Plays For…Large Casts! Maybe your policy is to give a part to everyone who auditions. Or maybe your drama club is bursting with students. Either way, you need plays with a lot of characters. And not just characters who stand in the background holding up the scenery. Click the link and you’ll be taken to the webpage for each play. There you’ll get the details and read sample pages. All the best with your search! The Pauper Princess Cast size: 10M+28W+34 Either A twist on The Price and the Pauper with two girls in the lead roles and Elizabethan England as the location. The Princess is Princess Elizabeth and the Pauper is a girl hiding as a boy in a location theatre production. A huge cast with roles for everyone who tries out. Rebootilization Cast size: 13M+15W+25 Either, Expandable to 85+ Stories all over the world are under attack. Pages are going blank in a pandemic so big, the government’s involved. SynCryn has the original narrative DNA for every story and it’s an easy reboot process, so long as…. nothing goes wrong. Parts for everyone. The Absolutely Insidious and Terrifying Truth About Cat Hair Cast size: 8 Either, Plus ensemble of 8-100 A hilarious piece with an insanely large cast. How will you theatricalize cat hair that is plotting the downfall of humanity even as we speak? Personification at its best. Circus Olympus Cast size: 6M+9W, expandable to 12 M+20W A gleeful celebration of greek myth with excellent large cast expansion and parts for all abilities. Circus elements are optional and are suggested for each myth. Being Bianca: The Semi Complete Guide Cast size: 2M+10W+38 Either When told she should engage in volunteer work, Bianca decides on a great service to mankind: She will teach us all how to “Be Bianca.” (the semi-complete guide). Every life step is Bianca-ized! It may not be the best idea, but it is the most entertaining. The Myths at the End of the World Cast size: 2M+3W+2 Either, Expandable to 30 Four campers are not only lost in the wood, they are lost at the edge of the world with no land, water, stars or sun. The only thing to do is to release stories from around the world and from the wind. Excellent opportunities for mask and movement. A unique cross- curricular storytelling adventure. The Art of Rejection Cast size: The Art of Rejection 1M +1W+14 Either, Chaired 13 Either Two plays that look at being alone – whether it’s the only letter in a sea of numbers, or alone in making the right decision to sit or stand. A combination of humanity and the avant-garde the two together make for a great competition piece. The Canterbury Tales Cast size: 4M+4W, Easily Expandable to 16+19W Chaucer’s classic collection of tales comes to life in a full-length adaptation. Great characters, lots of humour, and strong ensemble work. Text uses modern English. Cobweb Dreams Cast size: 2M+17W+7 Either Cobweb Dreams is a fun-filled fantasy that runs parallel to the events of Shakespeare’s A Midsummer Night’s Dream. Cobweb is not having fun in Titania’s train. She dreams of a life where she plays pranks all day long and doesn’t have to be a stuffy, stuck-up fairy in waiting. Oh will this midsummer night never end? The Snow Queen Cast size: M+20W+31 Either A magical theatrical adaptation of Hans Christian Andersen’s tale of a sister’s love, an ice cold heart, and a fantastical journey. It’s the original Snow Queen story brought to life.

Some drama teachers have their whole production year figured out before the first day of school. If you’re doing a big musical, you need to get that paperwork started way in advance. Or maybe you need to coordinate using the theatre space with other departments – you need to know what you’re doing and when. Or, if you’re lucky, you have an engaged drama club and they’re reading the plays and deciding what they want to do ahead of time. But sometimes all that planning goes out the window. You choose a play, hold auditions and the actors you think you’re going to have don’t show up. Or you choose a small cast play and are faced with a flood of wonderful auditions. And sometimes, just the act of choosing a play is the issue. It can be an overwhelming and frustrating experience. Auditions loom and you still haven’t chosen a script. If you’ve stared at a stack of play catalogues with panic in your eyes, we here at Theatrefolk are ready to come to the rescue! Ok. We’re not a superhero. But we can give you some guidance to what we have available and how you can swiftly navigate our catalogue. If you’re frustrated with your search, or if you have to make a last minute decision NOW, have a look at the following plays. With each play there’s a link to the website page where you can read free sample pages. Enjoy! Top SellersWant something popular? Try these! Hoodie by Lindsay Price Hands down, our most popular one act. Hoodie is a middle school play about self image and appearance. Great for classes, and the kind of play that lets you cast every kid who auditions.

This week we spread the love for The Art of Rejection by Christian Kiley. Filmed live on location at the 2010 Texas Educational Theatre Association (TETA) conference in Dallas, Texas.

Our website lists all of our plays with social issue themes but it struck me that they’re only lumped as “issue plays” without a good guide to sorting out which title addresses which issue. So I’ve categorized them for you to hopefully give you a helping hand in your quest to find the perfect script for your school. Check them out. As usual, all of the titles have extensive free sample pages for you to read. I think you’ll find the writing honest, fresh, and believable – three qualities sadly lacking from a lot of “teen-issue” plays out there in the world. Alienation / Feeling Alone in the World• Anonymous by Allison Green • The Art of Rejection: Two One Act Plays by Christian Kiley • A Box of Puppies by Billy Houck • Constantly, Incessantly, All The Time by Billy Houck • Huge Hands by Billy Houck Body Image• Body Body by Lindsay Price • The Four Hags of the Apocalypse Eat Salad at their General Meeting by Lindsay Price • The Battle of Image vs. Girl by Johanna Skoreyko • Hoodie by Lindsay Price • Breathless by Wendy-Marie Martin Censorship• Censorbleep by Lindsay Price Human Rights• Look Me in the Eye by Lindsay Price • Sweep Under Rug by Lindsay Price Racism• Flaky Lips by Lindsay Price • With Liberty and Justice For All by Jeyna Lynn Gonzales • Not Going Anywhere by Emma Fonseca Halverson • The Burgundy Letter by Kirk Shimano • Let Me In by Sholeh Wolpe *** Rumours and Lies• Have You Heard? by Krista Boehnert • The Redemption of Gertie Greene by Taryn Temple Individuality• Hoodie by Lindsay Price • Virtual Family by Christian Kiley • The Happiness Shop by Lindsay Price • A Deep, Poetic Journey Into Something by Forrest Musselman • Carrying the Calf by Shirley Barrie • Monster Problems by Lindsay Price • Stereotype High by Jeffrey Harr • Sixteen in 10 Minutes or Less by Bradley Hayward • Nice Girl by Amanda Murray Cutalo • Pressure by Lindsay Price • They Eat Sunshine, Not Zebras by Dara Murphy • The Super Non-Heroes by Taryn Temple • Smarty Pants by Bradley Hayward Identity• Box by Lindsay Price • Labeled by Lindsay Price • We Are Masks by Lindsay Price • Stressed by Alan Haehnel • Anonymous by Allison Green • Constantly, Incessantly, All The Time by Billy Houck • The Super Non-Heroes by Taryn Temple School Violence• Huge Hands by Billy Houck • Power Play by Lindsay Price • Clowns with Guns (A Vaudeville) by Christopher Evans • The Butterfly Queen by Christian Kiley • Life and Death in an Empty Hallway by Christopher Evans • Water. Gun. Argument. by Alan Haehnel Sexual Abuse• The Waking Moment by Bradley Hayward • Breathless by Wendy-Marie Martin Substance (alcohol & drug) Abuse• Bottle Baby by Lindsay Price • Floating on a Don’t Care Cloud by Lindsay Price • One Beer Too Many by Billy Houck Suicide• The Bright Blue Mailbox Suicide Note by Lindsay Price • Chicken. Road. by Lindsay Price • The Butterfly Queen by Christian Kiley Teen Pregnancy• The Pregnancy Project by Lindsay Price • Among Friends and Clutter (one scene) by Lindsay Price Illness/Health• Chemo Girl by Christian Kiley • The Other Room by Christian Kiley • Red Rover by Christian Kiley • Waiting Room by Christian Kiley • Breathless by Wendy-Marie Martin • Shreds and Patches by Robert Wing • Inanimate by Christian Kiley • Constantly, Incessantly, All The Time by Billy Houck Depression/Anxiety• darklight by Lindsay Price • Fidget by Bradley Hayward • Among Friends and Clutter (one scene) by Lindsay Price • Constantly, Incessantly, All The Time by Billy Houck • who are we, who we are by Forrest Musselman Bullying• Finishing Sentences by Scott Giessler • Funhouse by Lindsay Price • Power Play by Lindsay Price • The Redemption of Gertie Greene by Taryn Temple • Sixteen in 10 Minutes or Less by Bradley Hayward • Carrying the Calf by Shirley Barrie Divorce• Split by Bradley Hayward Gender• Life, Off Book by Scott Giessler • Anonymous by Allison Green • Baalzebub by Rachel Atkins (Baalzebub – One-Act Version here) • Completely, Absolutely Normal: Vignettes About LGBTQ+ Teens by Bradley Walton • Finding Jo March by Laramie Dean • Thought Traps by Lindsay Price Empathy• Discovering Rogue by Christian Kiley • Boat by Lindsay Price • We Are Masks by Lindsay Price • The Butterfly Queen by Christian Kiley Dependence on Technology• Virtual Family by Christian Kiley • Inanimate by Christian Kiley