By Michelle R. Davis

© Copyright 2015, Pioneer Drama Service, Inc.

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L.M. Montgomery’s

ANNE OF GREEN GABLES

based on the classic novel

Adapted by MICHELLE R. DAVIS

CAST OF CHARACTERS# of lines

LUCY MAUDEMONTGOMERY ....................author and narrator of Anne’s 33

storyANNE SHIRLEY ....................lively and endearing 186

redheaded, freckled orphan (age 11-16)

RACHEL LYNDE ...................outspoken, nosy neighbor to the 47 Cuthberts; a plump, older woman

MARILLA CUTHBERT ............no-nonsense woman of about 133 60; sister to Matthew

MATTHEW CUTHBERT ..........quiet and shy older man; 61 brother to Marilla

STATIONMASTER/MR. PHILIPS/DOCTOR .........stationmaster is a brief role; 15

Mr. Philips is a teacher at the Avonlea school; doctor is a brief role

MRS. SPENCER ...................acquaintance to the Cuthberts; 6 brings Anne from the orphanage

MRS. BLEWETT ...................sharp, shrewish woman 3DIANA BARRY ......................Anne’s best friend; gentle, kind 51

and full of laughterMRS. BARRY .......................mother to Diana and neighbor to 7

the CuthbertsGILBERT BLYTHE .................bright, handsome young man; 11

likes to torment AnneCHARLIE SLOAN ..................Anne’s classmate and Gilbert’s 5

friendJOSIE PYE ...........................Anne’s school nemesis; nasty 12

and outspokenRUBY GILLIS .......................schoolmate and friend to Anne 12JANE ANDREWS ..................schoolmate and friend to Anne 14

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AUNT JOSEPHINE ................Diana Barry’s great aunt; an 8 intolerant, formidable woman who takes a shining to Anne

LUCILLA HARRIS .................clerk at Lawson’s store 9EXTRAS ..............................male and/or female students at

Queens

FLEXIBLE CASTINGANNE’S character can be played by two different actors: one can portray the younger ANNE (ages 11-13) in ACT ONE; another can play the older ANNE (ages 15-16) in ACT TWO, or any desired division of the role. This option increases the female roles to 14 and decreases the number of lines required for one person. The STATIONMASTER, MR. PHILIPS and the DOCTOR roles can all be played by one actor or can each be played separately by different actors. The role of LUCILLA HARRIS may be paired with another female role, such as MRS. BLEWETT or MRS. BARRY.

SETTINGTime: Early 1900s, the story spans five years of Anne’s life

Place: In and around Avonlea, a small town on Prince Edward Island, Canada

STAGE LEFT represents the Green Gables sitting room, which remains intact for the entire play. A couch, coffee table, chair, another chair or loveseat, side table, coat rack and window could be painted or positioned on a backdrop. Optional set pieces for the sitting room could include a small bookcase, a hanging picture and extra pillows. For ACT ONE, Scene Eleven, the sitting room could be decorated for Christmas day with a decorated tree, candles, etc.

FORESTAGE RIGHT or RIGHT APRON represents Lucy’s study for the entire play, represented by a desk, chair, journal and pen with inkbottle. Optional set pieces could be a small desk lamp and wastepaper basket.

STAGE RIGHT serves as a space for simple set changes—set pieces are moved off and on during blackouts by either stagehands or actors throughout the play. The sets on STAGE RIGHT are intentionally sparse, as the action in this play spans several years, and each scene is intended as a vignette to highlight details of Anne’s life.

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SYNOPSIS OF SCENES

ACT ONEScene One: Mrs. Lynde’s kitchen and Green Gables sitting room. Late

afternoon, early June.Scene Two: The train station at Bright River and Green Gables sitting

room. Later that evening.Scene Three: Green Gables sitting room. The next morning.Scene Four: Green Gables sitting room and Mrs. Lynde’s kitchen. Two

weeks laterScene Five: Green Gables sitting room and the Barry’s garden. Several

days later.Scene Six: Inside Avonlea School. Weeks later in the fall.Scene Seven: Unspecified areas around Avonlea. Months later.Scene Eight: Green Gables sitting room. One month later.Scene Nine: The Barry’s spare room. The next evening.Scene Ten: Green Gables sitting room and Lawson’s Store. Several

months later.Scene Eleven: Green Gables sitting room. Christmas day and evening.Scene Twelve: Anne’s bedroom. Months later in the spring.Scene Thirteen: The shoreline of Barry Pond and Green Gables sitting

room. Months later in the summer.

ACT TWOScene One: Green Gables sitting room and a lane. Two years later in

June.Scene Two: Anne’s boarding room near Queens. Months later in the

fall.Scene Three: A hallway at Queens. Several months later.Scene Four: Green Gables sitting room and Anne’s bedroom. Two

weeks later.Scene Five: Green Gables sitting room and a lane. Weeks later.

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L.M. Montgomery’sANNE OF GREEN GABLES

ACT ONEScene One

AT RISE: Mrs. Lynde’s kitchen and Green Gables sitting room. Late afternoon, early June. A chair, a sewing basket and fabric pieces are STAGE RIGHT. The Green Gables sitting room set is STAGE LEFT, including a basket with knitting needles, yarn and a knitted article.LUCY ENTERS FORESTAGE RIGHT, sits at her desk and opens her journal. She dips her pen in ink. RACHEL ENTERS RIGHT and sits on a chair. She selects a piece of fabric from her basket and mimes sewing.LUCY: (Writes and narrates aloud.) Chapter One—“Mrs. Rachel Lynde

is Surprised.” (Glances up, addressing AUDIENCE.) How shall I describe Rachel Lynde? Ah, yes. (Continues writing.) She was a very capable creature—one who could manage her own concerns and those of other folks in the bargain. (Nods, smiling.) Nothing escaped her all-seeing eye, which is why, on this sunny afternoon in early June, she noted something very unusual from her kitchen window… (Continues writing.)

RACHEL: (Drops her sewing in her lap, leans forward and stares at the AUDIENCE, as if peering out a window.) Why, is that Matthew Cuthbert I see, driving his buggy out of town—and in his best suit, too? Where is he off to, I wonder? (Distractedly sews a few stitches.) He doesn’t generally go to town this time of year, and he never visits. (Frowns.) He wasn’t driving fast enough for a doctor. (Pauses.) Yet, something must have happened to start him off. I’m clean puzzled, that’s what! (Stands, dropping her sewing into her basket.) I’ll just step over to Green Gables and find out from his sister where he’s gone and why. I won’t have a moment’s peace until I know what has taken Matthew Cuthbert out of Avonlea today! (EXITS RIGHT.)

LUCY: (Continues writing.) Rachel Lynde did not have far to go. Green Gables was barely a quarter mile up the road from Lynde’s Hollow. While all the other Avonlea houses were situated along the main road, the Cuthbert home had been built far from it. In Rachel Lynde’s esteemed opinion, this explained why Matthew and Marilla were both a bit odd— they had trees as their only company! (MARILLA ENTERS LEFT, sits on the couch and knits.) Twenty minutes later, Rachel stood huffing and puffing at the Cuthbert’s doorstep. (There is a knock at the door LEFT.)

MARILLA: (Stands, calling out.) Come in! (RACHEL ENTERS LEFT, removing her hat.) Good afternoon, Rachel.

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RACHEL: Good afternoon, Marilla.MARILLA: It’s a real fine afternoon, isn’t it? Won’t you sit down?

(RACHEL sits in a chair with her hat on her lap.) How are all your folks? (Sits on the couch.)

RACHEL: We’re all pretty well. I was kind of afraid you weren’t, though, when I saw your brother Matthew heading out today.

MARILLA: (Smiles wryly.) Oh, no, I’m quite well, although I had a bad headache yesterday. Would you like a cup of tea?

RACHEL: (Impatiently curious.) No, thank you, Marilla. But you’re all feeling fine then?

MARILLA: Yes, thank you for your concern, Rachel. (Resumes knitting.)RACHEL: So, Matthew left on some other errand?MARILLA: Matthew went to Bright River today.RACHEL: Oh?MARILLA: We’re getting a little boy from an orphanage in Nova Scotia.

He’s coming on the train tonight.RACHEL: (In disbelief.) Are… are you serious, Marilla?MARILLA: Yes, of course.RACHEL: What on earth put such a notion into your head?MARILLA: (Calm.) Well, we’ve been thinking about it for some time.

Matthew is getting up in years, you know, he’s 60, and his heart troubles him a good deal.

RACHEL: But a boy… from an orphanage? Really, Marilla!MARILLA: Rachel, you know how hard it is to get hired help. Mrs.

Spencer decided to get a little girl from the orphanage, so we asked her to pick out a boy of about ten or eleven—old enough to do chores and young enough to be trained up proper. We mean to give him a good home and schooling.

RACHEL: (Horrified.) Well, I never…MARILLA: A telegram announced his arrival on the 5:30 train. So

Matthew went to Bright River to meet him.RACHEL: (Leans forward.) Well, Marilla, I’ll tell you plain that I think

you’re doing a mighty foolish thing! Bringing a strange child into your home, and you don’t know a single thing about him. Why, only last week I read about an orphan boy who set fire to a house at night. Set it on purpose, Marilla, and nearly burnt them all to a crisp in their beds! (MARILLA calmly knits, undisturbed.) If you had asked my advice in the matter, I’d have said for mercy’s sake not to think of such a thing, that’s what!

MARILLA: (Looks up.) I’ve had qualms myself, Rachel. But, it’s so seldom Matthew sets his mind on anything. As for risks, why,

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there’s risks in having children of your own. They don’t always turn out well.

RACHEL: (Pessimistic.) Marilla, don’t say I didn’t warn you. If he burns Green Gables down or poisons the well... Why, I heard of a case where an orphan did just that. The whole family died in fearful agonies! Only, it was a girl in that instance.

MARILLA: Well, we’re not getting a girl. I’d never dream of bringing up a girl!

RACHEL: (Sighs.) I hope that it’ll turn out all right. (Standing, putting on her hat.) I must be off. Good day to you, Marilla.

MARILLA: (Stands and escorts RACHEL to the door.) Good day, Rachel. (RACHEL EXITS LEFT. MARILLA watches after her, shaking her head, perturbed. CURTAIN. EXITS LEFT.)

LUCY: (Addresses the AUDIENCE.) Rachel Lynde would have stayed to inspect the orphan, but two hours was a long wait. Instead, she went up the road to tell the neighbors. Her news would make a sensation, indeed… and Mrs. Rachel Lynde dearly loved to make a sensation. (Continues writing.)

End of Scene One

ACT ONEScene Two

CURTAIN UP: The train station at Bright River and Green Gables sitting room. Later that evening. A bench and a sign that reads “Bright River” are STAGE RIGHT.A train whistles OFFSTAGE. ANNE sits on a bench next to a sign that reads “Bright River.” The STATIONMASTER stands DOWN CENTER. He glances at ANNE, then at his pocket watch. MATTHEW ENTERS RIGHT. ANNE eyes him curiously.MATTHEW: (Shy; approaches the STATIONMASTER.) Excuse me. Will

the 5:30 train be along soon?STATIONMASTER: The 5:30 train has been and gone half an hour ago.

I was just locking up. But a passenger was dropped off for you. A little girl. (Points to ANNE.) I asked her to sit in the waiting room but she preferred to stay outside, “More scope for the imagination,” she claimed. (Lowers his voice, tapping his head with two fingers.) She’s a case, I would say.

MATTHEW: (Confused.) I’m not expecting a girl. It’s a boy I’ve come for. Mrs. Spencer was to bring him over from Nova Scotia.

STATIONMASTER: (Whistles.) Guess there’s some mistake. Mrs. Spencer got off the train with that girl and gave her into my charge. She said you’d be along presently.

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MATTHEW: (Glancing at ANNE.) I don’t understand.STATIONMASTER: Well, you’d better ask the girl. I dare say she’ll

explain. She’s got a tongue of her own, that’s for sure! (Careless.) Maybe they were out of boys of the brand you wanted. Good night. (EXITS RIGHT, walking jauntily and whistling. MATTHEW shuffles towards ANNE, removing his hat. ANNE stands, grabs her carpetbag and extends her hand towards MATTHEW, who shakes it.)

ANNE: (In a clear, sweet voice.) I suppose you are Mr. Matthew Cuthbert of Green Gables? I’m very glad to see you. I was afraid you weren’t coming for me… imagining all the things that might have happened to prevent you.

MATTHEW: (Shy.) I’m sorry I was late. Here, give me your bag.ANNE: (Cheerful.) Oh, I can carry it. I’ve got all my worldly goods in

it. (Stares earnestly.) Oh, I’m so very glad you’ve come. It seems so wonderful that I’m going to live with you and belong to you. (Pauses.) I’ve never belonged to anybody, not really. The orphanage was the worst. There’s so little scope for the imagination in an orphanage. (Points suddenly upwards, towards the AUDIENCE.) Oh, Mr. Cuthbert, isn’t that beautiful? What does it remind you of?

MATTHEW: (Stunned, he follows her gaze.) You mean that cherry tree?ANNE: (Nods.) Yes, with the blooms all white and lacy.MATTHEW: Well, now, I don’t know.ANNE: Why, a bride, of course. All in white with a lovely, misty veil.

I’ve never seen one, but I can imagine what she would look like. I don’t expect to ever be a bride, I’m too homely, but I do hope that someday I shall have a beautiful dress. That is my highest ideal of earthly bliss! I’ve never had a pretty dress in my life. (Sad, glances at her dress, smoothing it. ANNE abruptly moves DOWN CENTER, looking about as if taking in the sights.) Oh! Prince Edward Island is the bloomiest place. I just love it already! I used to imagine that I was living here, but I never really expected I would. (Turns to MATTHEW.) It’s delightful when your imaginations come true, isn’t it?

MATTHEW: Well, now, I guess so.ANNE: (Suddenly serious.) Am I talking too much? People are always

telling me I do. Would you rather I didn’t talk? I can stop if I make up my mind to it, although it’s difficult.

MATTHEW: You can talk as much as you like. I don’t mind.ANNE: Oh, I’m so glad. I know that you and I will get along together

fine. Just now I feel nearly perfectly happy. I can’t feel exactly perfectly happy because, well, what color would you call this?

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(Abruptly, she holds one end of her braided hair before MATTHEW’S eyes, pursing her lips.)

MATTHEW: It’s red, ain’t it?ANNE: (Drops the braid and sighs deeply. Forlorn.) Yes, it’s red. Now

you see why I can’t be perfectly happy. I can imagine away my freckles, green eyes and skinniness. But, I cannot imagine my red hair away. (Pauses.) It will be my lifetime sorrow. (Ponders, changing the subject.) Have you ever imagined what it must be like to be divinely beautiful?

MATTHEW: Well, now, no, I haven’t.ANNE: Which would you rather be if you had the choice—divinely

beautiful, dazzlingly clever or angelically good?MATTHEW: Well, now, I... I don’t know exactly.ANNE: Neither do I. I can never decide. One thing’s certain—I’ll never

be angelically good!MATTHEW: (Gently interrupts, guiding ANNE by the arm.) Well, now, we

ought to be going. Marilla will be waiting.ANNE: (Faces AUDIENCE.) Oh, it seems as if I’m in a dream. I’ve

pinched myself so many times today to see if this was real. But it is real, and I’m very nearly home! (She and MATTHEW EXIT RIGHT. There is a brief BLACKOUT with OPTIONAL PERIOD MUSIC. MARILLA ENTERS LEFT. She dusts the furniture. She tilts her head as if perceiving a noise and peers out the window. She steps back, confused. MATTHEW and ANNE ENTER LEFT.)

MARILLA: Matthew Cuthbert, who’s that? (Points.) Where’s the boy?MATTHEW: There wasn’t any boy. There was only her. (Nods at ANNE,

who eyes MARILLA and MATTHEW carefully.)MARILLA: No boy! But there must have been a boy. We sent word for

Mrs. Spencer to bring a boy.MATTHEW: Well, she didn’t. She brought her.MARILLA: (Exclaims.) Well, this is a pretty piece of business!ANNE: (Drops her bag, springs forward and clasps her hands in front of

her.) You don’t want me! You don’t want me because I’m not a boy! I might have expected it. Nobody ever did want me. (Flings herself onto the couch, buries her face in her arms and cries. MATTHEW and MARILLA exchange glances.)

MARILLA: (Grim, steps towards ANNE.) Well, well, there’s no need to cry so about it.

ANNE: (Looks up.) You would cry too if you came to a place you thought was going to be home, then found they didn’t want you because

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you weren’t a boy. Oh! This is the most tragical thing that ever happened to me! (Buries her face in her arms again.)

MARILLA: (Warms a bit, smiling wryly. Places a hand on ANNE’S arm.) Well, don’t cry anymore. You’ll have to stay here while we investigate this matter. What’s your name?

ANNE: (Wipes away tears.) Will you please call me Cordelia?MARILLA: Call you Cordelia? Is that your name?ANNE: Noooo, it’s not exactly my name, but I would love to be called

Cordelia. It’s such a perfectly elegant name.MARILLA: I don’t know what on earth you mean, child. If Cordelia isn’t

your name, what is?ANNE: Anne Shirley. Oh, but please do call me Cordelia! Anne is such

an unromantic name.MARILLA: Unromantic? Fiddlesticks! Anne is a good, plain, sensible

name.ANNE: I’ve always imagined that my name was Cordelia. But, if you

must call me Anne, will you please call me Anne spelled with an “e”?

MARILLA: What difference does it make how it’s spelled? (Giving MATTHEW a bemused look. MATTHEW smiles, knowingly.)

ANNE: Oh, it makes such a difference! A-n-n-e looks so much more distinguished. If you’ll only call me Anne with an “e,” I shall try to reconcile myself to not being called Cordelia.

MARILLA: Very well then, Anne-spelled-with-an-“e,” can you tell us how this mistake came to be? (MATTHEW stands beside MARILLA.) We sent word to Mrs. Spencer to bring us a boy. Were there no boys at the orphanage?

ANNE: (Stands.) Oh yes, there were plenty of boys… but Mrs. Spencer said distinctly that you wanted a girl. You don’t know how delighted I was. I couldn’t sleep all last night for joy!

MATTHEW: (Uncomfortable.) I’m going to put the horse in, Marilla.MARILLA: (Nods at MATTHEW, who EXITS LEFT.) Did Mrs. Spencer

bring anybody over besides you?ANNE: She brought Lily Jones, who is very beautiful, with nut-brown

hair. (Pensive, tugging on the end of a braid.) If I was very beautiful, with nut-brown hair, would you keep me?

MARILLA: No. We want a boy to help Matthew on the farm. A girl is no use to us. Now, put your hat and bag at the door. (ANNE places her hat on top of her bag next to the door, then slumps on the sofa, hugging her knees. MATTHEW ENTERS LEFT, placing his hat on the coat rack. He notes ANNE’S hat near the door and hangs it on the rack next to his, moving her bag near the rack as well.)

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MARILLA: I’ll prepare some tea.ANNE: Oh, I can’t eat! I’m in the depths of despair.MATTHEW: (Regards ANNE.) I guess she’s tired, Marilla. Best put her

to bed.MARILLA: (To ANNE.) I suppose you have a nightgown? (ANNE nods

mournfully.) Very well then, bring your bag upstairs. The first room to your left is where you’ll sleep tonight. (ANNE collects her bag and EXITS LEFT. MATTHEW sits on the couch. MARILLA turns to MATTHEW, angrily.) Well, this is a fine kettle of fish! That girl will have to be sent back to the orphanage.

MATTHEW: (Reluctant.) I suppose so.MARILLA: You suppose so!MATTHEW: Well, now, she’s a real nice little thing, Marilla. It’s a pity

to send her back when she’s so set on staying here.MARILLA: (Astonished.) Matthew Cuthbert, you don’t mean to say we

ought to keep her!MATTHEW: Well, now, no, I suppose not—not exactly. I suppose we

could hardly be expected to keep her.MARILLA: I should say not! What good would she be to us?MATTHEW: We might be some good to her. (Glances meaningfully at

MARILLA.)MARILLA: I can see plainly that you want to keep her.MATTHEW: Well, now, she’s a real interesting little thing. You should

have heard her talk coming from the station.MARILLA: Oh, she can talk all right! I don’t want a girl. Even if I did, she

isn’t the style I’d pick out. There’s something I don’t understand about her. (Pauses, shaking her head.) No, she’s got to go back.

MATTHEW: I could hire a boy to help me, and she’d be company for you.

MARILLA: (Resolute.) I’m not suffering for company, Matthew, and I’m not going to keep her.

MATTHEW: Well, now, as you say, of course, Marilla. (Rises.) I’m going to bed. (EXITS LEFT. MARILLA frowns and shakes her head, EXITING LEFT. CURTAIN.)

End of Scene Two

ACT ONEScene Three

Green Gables sitting room. The next morning. MATTHEW’S hat hangs on the coat rack STAGE LEFT. LUCY sits FORESTAGE RIGHT, in front of the CURTAIN.

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LUCY: (Dips her pen in ink, writing.) The next morning, Anne awoke to cheery sunshine pouring through the bedroom window. To her delight, a great cherry tree in full bloom stood right outside, close enough to touch. For a moment, she felt a sudden thrill of delight as she took in the beauty of Green Gables. Then came the horrible remembrance— the Cuthberts didn’t want her... (CURTAIN UP.)

MARILLA: (ENTERS LEFT and sets down a tea tray with scones and preserves on the coffee table. MATTHEW ENTERS LEFT.) I’ve invited Mrs. Spencer over this morning to settle this thing. I expect she’ll make arrangements to send Anne back to Nova Scotia at once.

MATTHEW: (Glances at MARILLA and looks down. He fetches his hat. At the doorway.) Jerry was here this morning. I told him I’d hire him for the summer. (EXITS LEFT. MARILLA pours herself a cup of tea and sits on the couch. ANNE ENTERS LEFT, hands clasped demurely in front of her.)

MARILLA: You’ve taken care of those breakfast dishes, have you?ANNE: (Nods.) Yes, Miss Cuthbert. (Perches on a chair.)MARILLA: (Eyes ANNE closely.) Did you say your prayers before bed

last night? (ANNE shakes her head.) No? (Concerned, frowns.) Do you know who God is, Anne?

ANNE: (Glib.) God is a spirit—infinite, eternal and unchangeable.MARILLA: (Relieved.) Well, I’m glad you know something of God.ANNE: But I don’t like Him very much.MARILLA: (Shocked.) How can you say that, Anne?ANNE: Mrs. Thomas told me that God made my hair red on purpose,

and I’ve never cared for him since.MARILLA: You do beat all, child! (Shakes her head, dismayed.) Mrs.

Spencer will be here shortly. Why don’t you go outside and amuse yourself until she arrives.

ANNE: Oh, thank you, Miss Cuthbert! (EXITS LEFT.)MARILLA: (Watches her leave, shaking her head.) Someone needs to

take that child under wing and bring her up good and proper! (Sips her tea, thoughtful. ANNE ENTERS LEFT, glumly flopping in a chair. Baffled.) What’s the matter now?

ANNE: Oh, I don’t dare go out! There’s no use in getting acquainted with Green Gables when I’m to be torn from it! It will just make the leaving harder.

MARILLA: (Sighs.) Well then, why don’t you tell me about yourself? (ANNE leans forward, bursting to speak.) And I don’t want any of your imaginings. (ANNE deflates noticeably.) Just stick to plain facts.

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ANNE: There’s not much to tell. What I imagine about myself is so much more interesting!

MARILLA: (Shakes her head.) Facts only.ANNE: (Sighs, resigned.) Well, I was eleven last March. My parents

were high school teachers in Bolingbrook, Nova Scotia. They both died of the fever when I was three months old.

MARILLA: And who raised you after that?ANNE: Mrs. Thomas, our cleaning lady. I had no living relatives and

nobody wanted me, even then. (Sighs.) It seems to be my fate.MARILLA: How long did you stay with Mrs. Thomas?ANNE: Until her husband got killed by a train. Then his mother took

them in, but she didn’t want me. That was when Mrs. Hammond took me to care for her eight children.

MARILLA: Well, how did you end up in the orphanage?ANNE: When Mr. Hammond died, they sent me there. I was there four

months before Mrs. Spencer came.MARILLA: (Thoughtful.) I see. (Offers ANNE a scone. ANNE eagerly

takes one. MARILLA pours more tea, carefully eyeing ANNE.) And were these women, Mrs. Thomas and Mrs. Hammond, good to you?

ANNE: (Faltering, uncomfortable.) Ooooh… they meant to be. They had a good deal to worry about, you see. It’s difficult to have a drunken husband. And having twins, three times in a row, is very trying. (Pauses.) But I’m sure they meant to be good to me.

MARILLA: Some preserves with your scone, Anne? (ANNE reaches for the jam, but freezes when there is a knock at the door LEFT. MARILLA rises and heads to the door.) That will be Mrs. Spencer. (Moves LEFT as if to open the door. ANNE stands reluctantly.) Good morning.

MRS. SPENCER: (ENTERS LEFT with MRS. BLEWETT.) Good morning, Miss Cuthbert. You know Mrs. Peter Blewett? (MRS. BLEWETT nods curtly at MARILLA and scrutinizes ANNE.)

MARILLA: Yes, we’ve met.MRS. SPENCER: And how are you, Anne?ANNE: (Glum.) As well as can be expected, thank you.MARILLA: Please, have a seat. (MRS. SPENCER and MRS. BLEWETT

sit on the couch. MARILLA sits in a chair while ANNE stands next to MARILLA.)

MRS. SPENCER: Well, Miss Cuthbert, I’m dreadful sorry for the mistake that was made. (Glances quickly at ANNE, who stares at the floor.) We distinctly got the message that you wanted a girl.

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MARILLA: I suppose the orphanage will take the child back?MRS. SPENCER: That won’t be necessary. Mrs. Blewett accompanied

me this morning because she has a large family and finds it hard to get help. Anne will be the very girl for her! (MARILLA frowns, glancing at MRS. BLEWETT, who closely examines ANNE.)

MRS. BLEWETT: (Harsh.) Come closer, girl, so I can get a better look at you! (ANNE sidles closer.) How old are you and what’s your full name?

ANNE: Anne Shirley. And I’m eleven years old. (Shrinks from MRS. BLEWETT, looking miserable.)

MRS. BLEWETT: Humph! There’s not much to you! But you’re wiry, and the wiry ones are the best workers. (Shakes her finger.) Well, if I take you, you’ll have to be a good girl—smart and respectful. And I’ll expect you to earn your keep, no doubt about that! (Abruptly, to MARILLA.) I’ll take her off your hands, Miss Cuthbert. The baby’s awfully fussy, and I’m worn out… what with him and all the other children.

MARILLA: Well, I don’t know. I didn’t say that we had absolutely decided not to keep her. I just wanted to find out how the mistake had occurred. (ANNE gazes hopefully at MARILLA.) Once we decide, we’ll let you know. Will that suit you, Mrs. Blewett?

MRS. BLEWETT: (Rude.) I suppose it’ll have to. (Rises, she turns to MRS. SPENCER.) Shall we go?

MRS. SPENCER: (Smiles apologetically.) I would have loved to stay and try some of your famous preserves, Miss Cuthbert. Perhaps another time? (Stands.)

MARILLA: (Stands.) Another time.MRS. SPENCER: Good day to you. Good day, Anne.ANNE: Good day, Mrs. Spencer. (MRS. SPENCER and MRS. BLEWETT

EXIT LEFT. ANNE turns excitedly to MARILLA, who clears away the scones and preserves.) Oh, Miss Cuthbert, did you really say that you might let me stay at Green Gables?

MARILLA: (Cross.) It isn’t decided yet. Mrs. Blewett certainly needs you more than I do.

ANNE: Oh, I’d rather go back to the orphanage than live with her! She looks exactly like a… like a weasel!

MARILLA: (Hides her amusement.) You shouldn’t talk that way about a lady and a stranger. Now hold your tongue and behave yourself. I want you to go upstairs and make that bed you slept in last night.

ANNE: I’ll do anything you want me to, if only you’ll keep me! (EXITS LEFT.)

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MATTHEW: (ENTERS LEFT, hanging up his hat.) Who was that leaving with Mrs. Spencer just now?

MARILLA: Mrs. Peter Blewett. She’d like to take Anne off our hands to help out with her kids.

MATTHEW: (Vehement.) I wouldn’t give a dog I liked to that Blewett woman!

MARILLA: I don’t fancy her style either, but it’s that or keeping Anne ourselves. (Pauses.) And since you want to keep her, I suppose I’m willing.

MATTHEW: (Surprised.) Well, now, Marilla…MARILLA: I’ve never brought up a child, but I’ll do my best. Heaven

knows she needs someone to raise her properly! So, far as I’m concerned, Matthew, she may stay.

MATTHEW: (Beaming.) I reckoned you’d see it in that light, Marilla. She’s such an interesting little thing.

MARILLA: Now, Matthew, you’re not to go interfering with my methods. You leave me to manage her.

MATTHEW: You can have your way, Marilla. Only be as good and kind to her as you can, without spoiling her. (Smiles and EXITS LEFT. MARILLA raises her eyes upwards, collects the tea tray and EXITS LEFT. CURTAIN..)

End of Scene Three

ACT ONEScene Four

Green Gables sitting room and Mrs. Lynde’s kitchen. Two weeks later. A chair, a sewing basket and fabric pieces are STAGE LEFT. LUCY sits at her writing desk, FORESTAGE RIGHT.LUCY: (To AUDIENCE.) Anne settled quickly into life at Green Gables.

(Writes.) Two weeks later Rachel Lynde finally arrived to inspect “the Cuthbert orphan.” An illness had kept her from visiting. But, as soon as she was able, she hurried up to Green Gables, bursting with curiosity. (Stops writing and faces the stage. CURTAIN UP. MARILLA ENTERS LEFT wearing an apron and carrying a basket of apples. Setting the apples on the side table, she removes her apron and places it next to the apples.)

RACHEL: (Calls out from OFF LEFT.) Hello? Marilla? (Pokes her head IN LEFT.)

MARILLA: Come in, Rachel. (RACHEL ENTERS, hangs her hat on the coat rack and eases herself into a chair.) We haven’t seen you about lately.

RACHEL: (Groans.) Oh, I’ve had the flu!

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MARILLA: I’m sorry to hear it. It’s not quite flu season, is it?RACHEL: Well, no, but this one put me flat in bed, aching all over. I was

just plain miserable! Missed two weeks of perfectly fine weather, too! (Pointed.) But, I hear that’s not the only thing I’ve missed!

MARILLA: (Nonchalant, sitting on the couch.) Oh?RACHEL: I’ve heard some surprising things about you!MARILLA: (Mild.) I’m just getting over my surprise now.RACHEL: Indeed? Well, couldn’t you have just sent her back?MARILLA: Matthew took a real fancy to her. And I must say, in spite of

her faults, I like her as well.RACHEL: (Disapproves.) Marilla, it’s a mighty big responsibility you’ve

taken on, especially when you’ve never had any experience with children.

MARILLA: (Ignores RACHEL’S comment.) Well, I suppose you’d like to meet Anne. (Stands.) I’ll call her in. (Calls through the EXIT LEFT.) Anne! Come in, Anne! (ANNE ENTERS LEFT wearing a straw hat wildly decorated with flowers. MARILLA’S eyes widen at the sight of the hat, while RACHEL cranes her neck to glimpse ANNE. MARILLA whispers.) Anne, remove that dreadful flower concoction immediately! Heavens, child! (ANNE removes the hat, hanging it on the coat rack. She shyly moves to greet RACHEL.)

RACHEL: (Studies ANNE.) Well, they didn’t pick you for your looks, that’s for sure! (Turns to MARILLA.) She’s terrible skinny and homely, Marilla. Come here, child (Beckons.) and let me have a look at you. (ANNE, flushing with indignation, stays still.) Did you ever see such freckles? And hair as red as carrots! Come here, child, I say!

ANNE: (Angry, bounds towards RACHEL, hands on her hips. Vehement.) I hate you! (Stamps her foot on the floor, speaking louder with each phrase.) I hate you! I hate you! I hate you! (MARILLA’S jaw drops in shock while RACHEL stiffens in horror.) How dare you call me skinny and ugly! How dare you say I’m freckled and redheaded! You are a rude, impolite, unfeeling woman!

MARILLA: (Shocked.) Anne!ANNE: (Fists clenched, eyes blazing.) How would you like to be told that

you are fat and clumsy? You have hurt me more than anyone ever has. And I’ll never forgive you for it. Never! Never! (Stamps foot again for emphasis.)

RACHEL: (Horrified.) Did anybody ever see such a temper?MARILLA: Anne, go to your room and stay there! (ANNE bursts into

tears, EXITING LEFT. A DOOR SLAMS OFFSTAGE.)

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RACHEL: (Indignant.) Well! I don’t envy you bringing that up, Marilla!MARILLA: You shouldn’t have commented on her looks, Rachel.RACHEL: Marilla Cuthbert, are you defending that terrible display of

temper?MARILLA: I’m not excusing her. But she’s never been taught what is

right. And you were too hard on her, Rachel.RACHEL: (Rises indignantly.) Well, I see I’ll have to be very careful

what I say after this, Marilla, since the feelings of orphans seem to come first! Her temper matches that hair, I guess. Good day, Marilla. And don’t expect me to visit here again in a hurry! (Hurriedly EXITS LEFT. MARILLA grips the back of the chair, frowning. RACHEL ENTERS LEFT again, grabbing her hat from the coat rack in a huff, then EXITS LEFT.)

MARILLA: (Moves LEFT, calling out the door.) Anne? (Pauses, listening.) Anne! Come down here! (ANNE ENTERS LEFT, teary-eyed with tousled hair.) What a way to behave, Anne! Aren’t you ashamed of yourself?

ANNE: (Miserable.) She hadn’t any right to call me ugly and redheaded.MARILLA: (Stern.) You hadn’t any right to speak in such a fury. I was

thoroughly ashamed of you.ANNE: (Clenches her fists.) When she said those things, something

just rose right up and choked me!MARILLA: Well, you’ve made a fine exhibition of yourself. Mrs. Lynde

will have a nice story to tell about you, and she will tell it. It was dreadful for you to lose your temper like that.

ANNE: How would you like to be called skinny and ugly?MARILLA: (Softens.) I’m not defending what she said. Rachel is

too outspoken. But you must go over and apologize for your bad temper and ask for forgiveness.

ANNE: Oh, I can never do that! (Dramatic.) You can lock me up in a dark, damp dungeon with snakes and toads and feed me only bread and water. And I’ll not complain. Only, I cannot ask Mrs. Lynde to forgive me!

MARILLA: We’re not in the habit of locking people in dungeons… especially as they’re rather scarce in Avonlea. But, apologize to Mrs. Lynde, you will. And you’ll stay in your room until you agree to it.

ANNE: (Mournful.) I shall have to stay there forever then. (EXITS LEFT. MARILLA watches her leave then EXITS LEFT.)

LUCY: (Writes.) When Anne didn’t turn up for the evening meal, Marilla had to explain her absence to Matthew, who sided with Anne in the

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matter. So, when Marilla left to bring the cows in from the pasture, Matthew decided to speak to Anne.

MATTHEW: (ENTERS LEFT, glances around furtively, then calls ANNE in a soft voice.) Anne, could you come down here for a moment? (ANNE ENTERS LEFT.) How are you doing, Anne?

ANNE: Okay, I guess. It’s pretty lonesome in my room. (Smiles bravely.)MATTHEW: (Peers cautiously at the door.) Well, now, Anne. Don’t you

think you’d better do it and have it over with? Marilla’s a very determined woman. Do it right off, I say, and have it over.

ANNE: Do you mean apologize to Mrs. Lynde?MATTHEW: (Nods encouragingly.) Yes, apologize, that’s the very word.

Just smooth it over, so to speak.ANNE: I suppose I could do it to oblige you. (Thoughtful.) I am sorry,

now, though I wasn’t a bit sorry at first… not a bit. If you really want me to, I will.

MATTHEW: There now, of course I do. It’s terribly lonesome downstairs without you.

ANNE: Very well, I’ll tell Marilla I’ve repented.MATTHEW: That’s a good girl! (Anxious.) But, don’t tell Marilla I said

anything. I promised not to interfere.ANNE: Oh no! Wild horses won’t drag the secret from me! (MATTHEW

nods at ANNE, smiling, then EXITS LEFT.) How would wild horses drag a secret from a person anyhow? (EXITS LEFT. RACHEL ENTERS RIGHT, sits on the chair and sews.)

LUCY: (Addresses AUDIENCE.) When Marilla returned, Anne announced that she was ready to apologize to Mrs. Lynde. So, after dinner, she took Anne directly to Mrs. Lynde’s. (OFF RIGHT, there is a KNOCK AT THE DOOR.)

RACHEL: Please, come in! (MARILLA and ANNE ENTER RIGHT. Peers at ANNE and MARILLA. Cool.) Well, good evening, Marilla.

MARILLA: Good evening, Rachel. We…ANNE: (Interrupts, falling to her knees at RACHEL’S feet, extending

her hands beseechingly.) Oh, Mrs. Lynde, I am so extremely sorry. I could never express all my sorrow—not even if I used up the whole dictionary! I’m a dreadfully wicked and ungrateful girl, and I deserve to be cast out by respectable people forever! Every word you said about me was true—my hair is red, and I am freckled, skinny and ugly. (Pauses.) What I said about you was true too, although I shouldn’t have said it. Oh, please say you’ll forgive me. (Clasps her hands together, bows her head and closes her eyes, waiting. MARILLA regards ANNE suspiciously, yet RACHEL smiles.)

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RACHEL: There, there, child. Get up. Of course I forgive you. (ANNE looks up.) I guess I was a little hard on you, anyway. But, I’m such an outspoken person. (Takes ANNE’S hand.) You mustn’t mind me. (Takes one of ANNE’S braids, examining it.) While your hair is terrible red, I once knew a girl whose red hair turned a beautiful auburn when she grew up. I wouldn’t be surprised if yours did, too!

ANNE: (Rises, excited.) Mrs. Lynde, you have given me such a beacon of hope. Thank you!

RACHEL: Now, why don’t you go outside and pick a bouquet of those June lilies in the garden.

ANNE: Yes, I’d like that! (EXITS RIGHT.)RACHEL: (Stares as if watching ANNE out a window.) She’s a real odd

little thing, but she may turn out all right. (Faces MARILLA.) On the whole, Marilla, I kind of like her. (CURTAIN. MARILLA and RACHEL EXIT RIGHT.)

End of Scene Four

ACT ONEScene Five

Green Gables sitting room and the Barry’s garden. Several days later. Three plain dresses are STAGE LEFT, and two planting pots with artificial flowers indicate a garden STAGE RIGHT.LUCY is at her writing desk, FORESTAGE RIGHT.LUCY: (Addresses AUDIENCE.) I think I’ll call this next chapter A

Solemn Vow and Promise, in which Anne meets her first friend, Diana Barry. Her first real friend, that is… to replace the others that existed only in Anne’s rich imagination. (Continues writing. CURTAIN UP. ANNE and MARILLA are examining three plain dresses displayed across the couch.)

MARILLA: Well, how do you like them?ANNE: (Solemn.) I’ll imagine that I like them.MARILLA: (Offended.) I don’t want you to imagine you like them!

What’s wrong with them? They’re neat and new.ANNE: (Hesitates, biting her lip.) Yes.MARILLA: Well then, why don’t you like them?ANNE: They’re… they’re not pretty.MARILLA: Pretty? Heavens, child! These dresses are sensible and

serviceable. After those worn, faded things you’ve been wearing, I should think you’d be grateful!

ANNE: Oh, I am grateful! But I’d be ever so much gratefuller if… if you’d just made one of them with puffed sleeves. It would give me such a thrill, Marilla!

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MARILLA: (Cross.) Well, you’ll have to do without your thrill. I don’t have material to waste on puffed sleeves. (Annoyed, she collects the dresses.) Now listen, I need to borrow a pattern from Mrs. Barry. You may come with me to meet her daughter, Diana.

ANNE: (Dramatic, hands over her heart.) Oh Marilla, I’m so frightened!MARILLA: What is it now, Anne?ANNE: What if… what if Diana doesn’t like me? It would be the tragical

disappointment of my life!MARILLA: I’m sure she’ll like you well enough. (Mutters.) It’s her

mother you’ll have to reckon with. Just be polite and well behaved. And don’t make any of your startling speeches. Now come along. (She and ANNE EXIT LEFT. DIANA ENTERS RIGHT, engrossed in a book, strolling near the potted flowers.)

LUCY: (Writes.) Trembling with both excitement and fear, Anne accompanied Marilla to the Barry’s home. While Marilla discussed skirt patterns with Mrs. Barry, Anne wandered into the garden.

ANNE: (ENTERS RIGHT. Shy.) Hello.DIANA: (Looks up.) Hello.ANNE: I’m Anne Shirley. I’ve come to live with the Cuthberts.DIANA: (Smiles shyly, lowering her book.) I know. I’ve heard of you. In

fact, I think everyone in Avonlea has heard of you, thanks to Mrs. Lynde. (Grins.) I’m Diana Barry.

ANNE: (Suddenly clasps DIANA by the hands, causing her book to fall.) Diana, do you think you could like me a little… enough to be my bosom friend?

DIANA: (Taken aback, then laughs.) Why, I guess so. I’m awfully glad you came to live at Green Gables. There are no girls nearby to play with, and my sisters are too young.

ANNE: (Eager.) Oh, Diana, will you swear to be my best friend forever and ever?

DIANA: (Shocked, pulls away from ANNE’S grasp.) Why, it’s dreadfully wicked to swear!

ANNE: (Shakes her head.) Oh no, not that kind of swearing! There are two kinds, you know.

DIANA: There are?ANNE: Why yes, the other kind just means to make a promise.DIANA: Well, I don’t mind doing that. How does it work?ANNE: (Grave.) We must join hands, just so. (Grasps DIANA’S hands.)

It ought to be over running water, but we’ll have to just imagine it.DIANA: All right.

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ANNE: I’ll say the oath first. (Serious.) I solemnly swear to be faithful to my bosom friend, Diana Barry, as long as the sun and moon shall endure. Now you say it and put my name in.

DIANA: (Laughs good-naturedly.) I solemnly swear to be faithful to my… (Falters, forgetting the line.)

ANNE: Bosom friend.DIANA: …bosom friend, Anne Shirley, as long as the sun and moon

shall endure. (Laughs again.) You are… different, Anne. But, I believe I’m going to like you real well. (ANNE smiles at DIANA. DIANA collects her book. ANNE and DIANA link arms, EXITING RIGHT. CURTAIN. OPTIONAL PERIOD MUSIC for the set change in between scenes.)

End of Scene Five

ACT ONEScene Six

Inside Avonlea School. Fall, weeks later. There are eight student desks either with chairs attached or chairs separate, a teacher’s desk, a hand bell, a blackboard with spelling words printed on one side of it, a pointer stick, student slates with chalk and chalk for the teacher. In this scene, the seating positions of the seven students are crucial: GILBERT should be seated behind RUBY. CHARLIE should be seated next to GILBERT. ANNE and DIANA should be “seatmates,” just as JOSIE and RUBY should sit side by side. GILBERT’S desk should be placed near enough to ANNE’S so that he can pull on her braidLUCY: (To AUDIENCE.) For the rest of the summer, Anne and Diana

were inseparable, filling their days with endless adventures. But as September approached, Marilla grew anxious about sending Anne to school. She was such an odd girl, and she wondered if Anne would get along with the other children… and how on earth she’d manage to hold her tongue during school hours! When September finally arrived, it brought with it new adventures, new friends and even a few new enemies. I’ve titled this chapter, “A Tempest in the School Teapot”! (CURTAIN UP. ANNE and DIANA ENTER RIGHT, carrying book bags.)

DIANA: I guess Gilbert Blythe will be in school today. He’s been visiting his cousins in New Brunswick, and he only came home Saturday. (Smiles shyly.) He’s awfully handsome, Anne. And he teases the girls something terrible!

ANNE: I’ll be sure to watch out for him.DIANA: You’ll have to, Anne. Gilbert’s 14, and he’s used to being head

of the class. You’ll have some competition now!

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ANNE: I’m glad. I couldn’t really feel proud, keeping ahead of nine- and ten-year-olds!

DIANA: (Looks over her shoulder.) Oh, here’s Mr. Philips now. (MR. PHILIPS ENTERS RIGHT, moves to his desk and rings a hand bell several times. GILBERT, CHARLIE, JOSIE, RUBY and JANE ENTER RIGHT, carrying book bags. They quickly sit in desks, pull out their books and chat quietly. MR. PHILIPS sits at his desk. ANNE and DIANA hover together, chatting in a conspiratorial manner at the back of the class.)

DIANA: (Nudges ANNE, pointing to GILBERT. Whispers.) That’s Gilbert Blythe, Anne. Don’t you think he’s handsome?! (GILBERT pins RUBY’S braid to the back of her seat.)

MR. PHILIPS: Ruby Gillis, please bring me your arithmetic work from yesterday. (RUBY rises, crying out as her head is yanked back by the tack. GILBERT swiftly removes the tack and soberly buries his face in a book before RUBY turns around. RUBY glares suspiciously at GILBERT before approaching MR. PHILIPS with a book. GILBERT turns around, winking at ANNE, giving her a devilish smile.)

ANNE: (To DIANA, whispers.) I think your Gilbert Blythe is handsome, but he’s very bold. Did you see what he just did to poor Ruby?

MR. PHILIPS: (Sends RUBY to her seat and notices DIANA and ANNE still standing at the back of the class. He rises from his desk.) Miss Shirley! Miss Barry! Do you plan to join us, or simply gawk at us from the back of the room? Be seated. (DIANA and ANNE sit in desks.) Class, copy out your spelling lists. (Taps the board sharply with a pointer stick, then returns to his desk. The STUDENTS write on their slates. ANNE stares dreamily.)

GILBERT: (Tries unsuccessfully to get ANNE’S attention.) Hey! Hey! (Grabs ANNE’S braid, holding it at arm’s length, whispering loudly.) Carrots! Carrots!

ANNE: (Leaps from her desk, indignant.) You mean, hateful boy! How dare you! (Grabs her slate and breaks it over GILBERT’S head.)

STUDENTS: (Gasp in horrified delight.) Oh! (DIANA covers her mouth with her hand, shocked. MR. PHILIPS stalks down the aisle, glaring at ANNE.)

MR. PHILIPS: (Angry.) Anne Shirley, what’s the meaning of this? (ANNE shakes her head slowly, pursing her lips.)

GILBERT: (Stands.) Mr. Philips, it was my fault. I teased her.MR. PHILIPS: (Ignores GILBERT.) I’m sorry to see a pupil of mine

display such a temper. Anne, go and stand in front of the board. (ANNE moves to the board. MR. PHILIPS writes in chalk above her head “Ann Shirley has a very bad temper.” He reads it aloud to the

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class as he writes.) Ann Shirley has a very bad temper. Ann Shirley must learn to control her temper. Class, resume your spelling task. (ANNE stares straight ahead, mortified. The STUDENTS glance at one another uneasily and return to their spelling. JOSIE grins maliciously at ANNE, while DIANA smiles sympathetically. GILBERT collects the pieces of the broken slate and places them on her desk.)

MRS. BARRY: (ENTERS RIGHT.) Mr. Philips, I’m sorry to disturb your class, but the school inspector is early, and he wishes to speak with you. (Notes ANNE standing at the board and frowns.)

MR. PHILIPS: (Checks his pocket watch.) Yes, thank you, Mrs. Barry. Please tell him I’ll be right out. (MRS. BARRY EXITS RIGHT.) Class, you are dismissed for recess. (Squints at the STUDENTS.) Anyone returning late will be punished! (MR. PHILIPS EXITS RIGHT. DIANA joins ANNE.)

JOSIE: (Grabs RUBY’S arm, casting a backwards glance at ANNE. Speaks mockingly.) Temper, temper, Anne! I guess it’s true what they say about redheads! Come on, Ruby! (RUBY casts ANNE an apologetic smile. JOSIE and RUBY EXIT RIGHT.)

JANE: Anne, I’m sorry Mr. Philips wrote your name up on the board. (EXITS RIGHT.)

CHARLIE: Come on, Gil!GILBERT: (Holds his hand up.) Go on ahead, Charlie. I’ll meet you

down by the brook.CHARLIE: All right, but don’t be long. (EXITS RIGHT.)GILBERT: (Approaches ANNE and DIANA.) I’m awfully sorry I made fun

of your hair, Anne. Honest I am. Please don’t be mad for keeps now. (ANNE angrily folds her arms, turning away from GILBERT. DIANA gives GILBERT an apologetic smile.) All right then, I’ll give you time to cool off. (EXITS RIGHT.)

DIANA: Oh, how could you, Anne? He tried to apologize. He feels badly!

ANNE: (Passionate.) I shall never forgive Gilbert Blythe! Not ever! And look! (Points to the board.) Mr. Philips spelled my name without an “e”! Oh, the iron has entered my soul, Diana!

DIANA: But you mustn’t mind Gilbert. He makes fun of all the girls. He laughs at my black hair and calls me crow. He’s never apologized for it either!

ANNE: It’s not the same thing, Diana. Gilbert Blythe has hurt my feelings excruciatingly!

DIANA: (Pats ANNE comfortingly on the back.) Let’s go and join the others for recess, and you can forget all about it. (She and ANNE EXIT RIGHT.)

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LUCY: (Addresses AUDIENCE.) Poor Anne, she didn’t fare any better that afternoon. In fact, things only got worse.

JOSIE: (She and RUBY ENTER RIGHT. Smug.) It’s Anne Shirley’s day for trouble. She’ll be in deeper by this afternoon!

RUBY: Why do you say that, Josie?JOSIE: She’s way out in the spruce groves, daydreaming and picking

flowers. She’ll be late for sure. And you heard what Mr. Philips said. (MR. PHILIPS ENTERS RIGHT and rings the bell.)

DIANA: (She and JANE ENTER RIGHT. Anxious.) Where’s Anne? I thought she was right behind us.

JANE: I thought she was, too.RUBY: I’m afraid she’s lost track of time, but, Gil and Charlie aren’t

back yet either. (As MR. PHILIPS hangs up his hat, CHARLIE, GILBERT and ANNE ENTER RIGHT at the same time, racing to their seats, out of breath. ANNE wears a wreath of wild flowers askew in her hair. MR. PHILIPS pulls out his pocket watch and taps it with his finger. He glares at ANNE.)

ANNE: (Unaware of MR. PHILIPS.) Oh, Diana, it was so romantic in the groves, I—

MR. PHILIPS: Miss Shirley! It seems you wish to make a spectacle of yourself today. And a tardy spectacle at that! Take those flowers out of your hair and trade places with Charlie Sloan. You may sit with Gilbert Blythe for the remainder of the day! (CHARLIE snickers while ANNE stares with her mouth open. DIANA quickly plucks the wreath from ANNE’S head.) Did you hear what I said, Anne?

ANNE: Do you really mean it, sir?MR. PHILIPS: I assure you I do. Obey me at once. (As CHARLIE rises,

MR. PHILIPS points at the empty chair next to GILBERT. ANNE rises, sits next to GILBERT and buries her face in her arms. JOSIE snickers. CHARLIE sits next to DIANA.) Class, take out your history books and read chapter six. (The STUDENTS take out their books, casting uneasy eyes at ANNE. MR. PHILIPS sits at his desk.)

JOSIE: (Whispers to RUBY.) Did you see her face? It’s all red and blotchy!

RUBY: (Nods, whispering.) But it’s not fair! Gil and Charlie were late too! (GILBERT reads his book, glancing at ANNE. He reaches for a flower from ANNE’S wreath and tries to offer it to her. Taking the flower, ANNE disdainfully drops it on the floor and grinds it with the heel of her boot. GILBERT sighs, returning resignedly to his reading.)

LUCY: (Writes.) The afternoon hours dragged on sluggishly, and by the end of the school day, Anne had made an important decision.

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MR. PHILIPS: (Rises.) Class, you are dismissed. Be sure to complete your history lesson for tomorrow. (CHARLIE rises first, grabbing his books. GILBERT frowns at the top of ANNE’S bowed head, while he packs his books. JOSIE, RUBY, JANE and DIANA pack their books.)

CHARLIE: Come on, Gil! I’ll beat you to the top of the lane!GILBERT: Beat me, Charlie? That will be the day! (With a wistful glance

at ANNE, GILBERT EXITS RIGHT with CHARLIE.)JOSIE: (Chants tauntingly.) Broken slate… enters late… trouble seems

to be Anne’s fate!RUBY: (Pulls JOSIE’S sleeve.) Leave her be, Josie. (JOSIE and RUBY

EXIT RIGHT.)JANE: Are you coming, Diana? Anne?DIANA: You go on ahead, Jane. I’ll wait with Anne. (JANE EXITS RIGHT.)MR. PHILIPS: (Passes by ANNE and DIANA.) I’ll expect much better

behavior from now on, Miss Shirley. Good day, Diana.DIANA: Good day, Mr. Philips. (MR. PHILIPS EXITS RIGHT.)ANNE: (Lifting her head.) Have they all gone?DIANA: We’re the only ones here, Anne. (ANNE puts all her books into

her bag.) What are you taking all those things home for?ANNE: (Resolute.) I’m not coming back to school anymore.DIANA: Oh, Anne, you can’t stay home! What will I do without you?ANNE: I’d do almost anything in the world for you, Diana. But I can’t do

this, so please don’t ask it. My mind is quite made up! (She and DIANA EXIT RIGHT. CURTAIN. OPTIONAL PERIOD MUSIC for the set change in between scenes.)

End of Scene Six

ACT ONEScene Seven

Unspecified areas around Avonlea. Months later.LUCY: (To AUDIENCE.) And stay at home she did. (Writes.) Anne learned

her lessons on her own, did her chores and played with Diana in the chilly evenings. But, whenever she met Gilbert Blythe, she passed him by with icy contempt. In spite of his many efforts to appease her and Diana’s efforts as peacemaker, Anne had made up her mind to—

ANNE: (Pokes her head through the curtain, interrupting LUCY.) Ooooh, I’ll hate Gilbert Blythe for the rest of my life! (Peers at LUCY, squinting.) Excuse me, are you the author of this story?

LUCY: (Startled.) Why, yes. I am.

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ANNE: (Petulant.) Oh, why did you have to give me red hair? It’s truly the root of my problems! No one could call me Carrots if I had dark hair, like Diana!

LUCY: (Firm.) Red hair gives you character, Anne. (Frowns.) And speaking of character, you belong back in your story! (Resigned, ANNE EXITS. LUCY addresses the AUDIENCE. Animated.) Alas, Anne was a natural for finding trouble. And her next set of woes had nothing to do with her red hair! After inviting Diana for tea at Green Gables, Anne accidentally got her friend drunk, mistaking Marilla’s currant wine for raspberry cordial! The result? Well, see for yourselves… (Points to the stage. CURTAIN UP. MRS. BARRY ENTERS RIGHT, walking briskly, with purpose, head held high.)

ANNE: (ENTERS RIGHT, running after MRS. BARRY.) Oh, oh, Mrs. Barry! Please… wait!

MRS. BARRY: (Coldly turning towards ANNE, hands on hips.) What do you want?

ANNE: (Extends her hands.) Oh, Mrs. Barry, please forgive me. I did not mean to… to intoxicate Diana. Imagine you were a poor orphan girl and had only one friend in the world, would you intoxicate her on purpose? Oh, please allow Diana to play with me. If you don’t, my life will be covered with a dark cloud of woe!

MRS. BARRY: Dark cloud of woe, indeed! I don’t think you are a fit little girl for my Diana to associate with. Now, go home. (Points towards the EXIT.)

ANNE: (Tearful.) Won’t you let me see Diana just once, to say farewell?MRS. BARRY: No. Diana has gone over to Carmody with her father.

(EXITS RIGHT. A DOOR SLAMS.)ANNE: (Despairing, moves DOWN CENTER.) Oh, I shall never have

another friend! My life is a perfect graveyard of buried hopes! (Covers her face with her hands, remaining on the stage while LUCY speaks.)

LUCY: (Addresses AUDIENCE.) The next day, Anne surprised Marilla by announcing that she was returning to school. It was all she had left, she said, now that her best friend had been torn from her. (Begins writing.) On the school playground the next day… (DIANA ENTERS RIGHT. She stands apart from ANNE, facing one quarter. ANNE examines a sealed envelope and opens it. ANNE stands at one quarter in the opposite direction of DIANA.)

ANNE: (Pulls out a letter, reading it aloud.) “Dear Anne, Mother says I’m not to play with you or talk to you, even in school. It isn’t my fault, so please don’t be cross with me. I miss you awfully and I don’t like sitting with that horrid Josie Pye! I made you a new bookmark out of red tissue paper. (Pulls out red bookmark and

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smiles ruefully.) They are very fashionable right now and only three girls know how to make them! When you look at it, remember your True Friend, Diana Barry.” (Clasps letter to her heart, gazing upwards.)

DIANA: (Pulls letter from envelope, reading aloud.) “My dear Diana. Of course I am not cross with you because you must obey your mother. Our spirits can commune.” (Frowns, not understanding.) Our spirits can commune? (Shakes head, reading further.) “I shall keep your lovely present forever. Ruby Gillis is a very nice girl to sit with, but she has no imagination. Yours, until death us do part. Anne—or Cordelia Shirley.” (Sad, folds the letter and EXITS RIGHT.)

LUCY: (As she narrates, GILBERT ENTERS RIGHT and passes ANNE, amiably trying to catch her eye. ANNE scowls, burying herself in her letter, casting angry, sidelong glances at GILBERT. GILBERT offers her a shiny apple. Annoyed, ANNE takes the apple by the stem, wrinkles her nose in distaste and drops it. GILBERT shrugs in defeat, shoving his hands in his pockets and EXITING RIGHT.) Anne threw herself into her studies, determined not to be outdone by Gilbert Blythe. And while Gilbert was good-natured about such academic rivalry, unfortunately, the same could not be said of Anne.

ANNE: (Narrows her eyes, watching GILBERT EXIT.) Oh, that Gilbert Blythe! He shall taste the bitter sting of defeat! (EXITS RIGHT.)

LUCY: (Writes.) In January of that year, providence intervened. Anne was given the opportunity to redeem herself in Mrs. Barry’s eyes when she saved the life of Minnie May, Diana’s youngest sister.

DOCTOR: (ENTERS with MRS. BARRY. DOCTOR places a stethoscope into his bag and closes it.) Well, Mrs. Barry, that little redheaded girl they have over at the Cuthbert’s is as smart as they make ’em! She saved your baby’s life! It would have been too late by the time I got here.

MRS. BARRY: (Dabs at her eyes with a handkerchief, nodding.) I know it, Dr. Blair.

DOCTOR: For a child her age, she has unusual skill and presence of mind. You’re very fortunate she was there.

MRS. BARRY: I am eternally grateful to Anne Shirley. If I had known Minnie May was so ill, I never would have gone to town… but I’m truly thankful Anne was there.

DOCTOR: (Shakes his head in wonder.) I never saw anything like her when she was explaining the case to me! She knew exactly what to do. Well, as there’s no need for me, good day to you, Mrs. Barry. (EXITS RIGHT.)

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MRS. BARRY: Good day, Doctor. (To herself.) I was wrong about that Anne Shirley. It seems I must set things right with her. (EXITS RIGHT. LIGHTS DOWN.)

End of Scene Seven

ACT ONEScene Eight

LIGHTS UP: Green Gables sitting room. One month later. A newspaper, a basket with knitting needles, yarn and a knitted article are STAGE LEFT.MARILLA and MATTHEW ENTER LEFT. MATTHEW sits on the couch, reading the paper. MARILLA straightens the cushions on the chairs. ANNE ENTERS LEFT, wearing a coat and boots.ANNE: (Excited.) Oh, Marilla! I’ve such news! Tomorrow is Diana’s

birthday, and she’s invited me to a concert. And then I’m to stay overnight! Oh, I feel so excited!

MARILLA: (Stern.) You can calm down then, because you’re not going. (MATTHEW peers curiously over his newspaper.)

ANNE: But, Marilla…MARILLA: You’re better off at home, in your own bed. Concerts are

nonsense, and little girls should not be allowed to go to such places.

ANNE: But it’s very respectable, Marilla. And it’s such a special occasion. Diana has only one birthday per year!

MARILLA: You heard what I said, didn’t you? Now take off your boots and coat and head up to bed. It’s past eight.

ANNE: (As she removes her coat and boots.) One more thing, Marilla… Mrs. Barry said we could sleep in the spare room bed! Just think of the honor—your little Anne being put in the spare room, the room set aside for special guests!

MARILLA: (Grins over his paper, MARILLA catches his eye, frowning. MATTHEW ducks behind his paper.) It’s an honor you’ll have to do without. Now go to bed, Anne. (ANNE hangs up her coat and EXITS LEFT, sniffing.)

MATTHEW: (Speaks from behind his newspaper.) Well, now, Marilla. I think you ought to let Anne go.

MARILLA: You’re not to interfere, Matthew!MATTHEW: (Lowers the paper.) Well, now, it ain’t interfering to have

your own opinion. And my opinion is that you ought to let her go.MARILLA: You’d let Anne go to the moon if she took the notion!

Listen, Matthew, I understand that child’s disposition better than

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you. She’ll have her head so filled up with all that nonsense and excitement, it will unsettle her for a week!

MATTHEW: (Stubborn.) I think you ought to let Anne go. (MARILLA huffs and glares at him. MATTHEW retreats behind his newspaper. MARILLA seizes her knitting and knits with a fervor, clicking her needles angrily. For a long moment they sit without speaking. MATTHEW turns the pages of his paper, occasionally peeking at MARILLA’S furious knitting.)

MARILLA: (Tosses her knitting aside. Speaks sharply.) Very well, she can go, since nothing else will please you! (MATTHEW lowers his paper, his face forming a slow smile in the direction of the AUDIENCE.)

ANNE: (ENTERS LEFT, wearing a nightgown.) Oh, Marilla! Say those blessed words again!

MARILLA: This is Matthew’s doing. I wash my hands of it. If you catch pneumonia sleeping in a strange bed, you have him to blame! (Points at MATTHEW.)

ANNE: Oh, I know I am a great trial to you, Marilla. But Matthew is a kindred spirit. He understood just how I felt about going! (Beams at MATTHEW, who shyly smiles back, retreating behind the newspaper.) It’s so nice to be understood, Marilla!

MARILLA: Yes, well I understand that you are supposed to be in bed. Now go.

ANNE: (Happy.) Good night, Matthew. Goodnight, Marilla! I shall have such pleasant dreams! (EXITS LEFT. CURTAIN.)

End of Scene Eight

ACT ONEScene Nine

The Barry’s spare room. The next evening. A small bed with blankets and pillow are STAGE RIGHT.LUCY: (To AUDIENCE.) As Marilla predicted, Anne’s excitement caused

her to perform poorly at school the next day. Gilbert Blythe overtook Anne in both spelling and math that morning. But, by evening, she soon forgot all about the day’s humiliations after a delicious tea at Diana’s, a sleigh ride to the concert hall and the entertainment of the concert itself. (CURTAIN UP. AUNT JOSEPHINE lies in the spare room bed, hidden from the AUDIENCE with blankets. DIANA and ANNE tiptoe IN RIGHT, wearing nightgowns. They move DOWN CENTER. DIANA carries a lantern.)

ANNE: (Excited.) Oh, Diana! Wasn’t the concert a delightful time? How splendid to recite in front of others! Do you think we’ll ever be asked to recite?

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DIANA: Of course! Gilbert Blythe does it often and he’s only two years older. Oh, Anne, how could you pretend not to listen to him this evening?

ANNE: (Eyes to the ceiling, haughty.) I wasn’t interested.DIANA: But you read that library book the whole time he recited! When

he came to the line: (Dramatizes with a hand gesture.) “There’s another, not a sister,” he looked straight at you! (Pokes ANNE gently.)

ANNE: (Dignified.) Diana, I cannot allow you to speak to me of that person.

DIANA: (Shakes her head in disbelief.) Oh, Anne, when are you ever going to forgive and forget?

ANNE: (Seized with sudden inspiration, gripping DIANA’S arm.) Listen, I have an idea! Let’s race for the bed to see who gets there first.

DIANA: (Nods in agreement, setting down the lantern.) All right! One… two… three go! (She and ANNE race to the bed, leaping onto it.)

AUNT JOSEPHINE: (Groans beneath them, then exclaims, beneath the covers.) Oooof! Merciful goodness! (Alarmed, ANNE and DIANA race back DOWNS CENTER, huddling in fright. AUNT JOSEPHINE sits up in bed, disgruntled and disheveled.)

ANNE: (Eyes wide, whispers loudly.) Who… was… what was that?DIANA: (Laughs.) That was my Aunt Josephine! Oh, Anne, I don’t

know how she came to be there, but I do know she’ll be furious! It’s dreadful we jumped upon her like that! (Grips her stomach in mirth.) But did you ever see anything so funny?

ANNE: (Frowns.) Who’s Aunt Josephine?DIANA: She’s father’s aunt from Charlottetown. She’s awfully old, very

prim and proper, and she’ll scold dreadfully about this, I know! We were expecting her to visit, but not this soon!

ANNE: Oh, dear. Will you be in very much trouble?DIANA: Oh, she’ll be dancing with rage! (Wildly wags her finger, imitating

her angry aunt.) She’ll tell me I’m the worst behaved girl she ever saw, and that my parents should be ashamed. Now I know she’ll refuse to pay for my piano lessons. (Smirks sheepishly.)

ANNE: You could tell her it was my fault.DIANA: (Scornful.) I’d never do that! I’m no tattletale, Anne Shirley.

Besides, it’s just as much my fault.ANNE: (Resolute.) Well, I’m going to tell her myself!DIANA: You can’t! (Fearfully grips ANNE.) She’ll eat you alive!ANNE: Don’t frighten me more than I am! But it was my fault and I’ve

got to confess. Fortunately, I’ve had practice in confessing.

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DIANA: (Frantically tugs at ANNE’S sleeve.) You’re walking into the lion’s den, Anne Shirley! Don’t do it!

ANNE: (Gently removes DIANA’S hand.) I must, Diana. (Moves cautiously towards the bed. DIANA creeps behind, keeping a distance. ANNE approaches AUNT JOSEPHINE.)

ANNE: (Timid.) Hello? Miss Barry?AUNT JOSEPHINE: (Snaps.) Who are you?ANNE: I’m Anne… of Green Gables. And I’ve come to confess.AUNT JOSEPHINE: Confess what?ANNE: It’s my fault about jumping on you in the bed. I suggested it.

(AUNT JOSEPHINE’S eyes widen in shock. ANNE steps backwards.) I mean, we didn’t know you were in the bed! So you must forgive Diana, Miss. Barry.

AUNT JOSEPHINE: Oh, I must, hey? I rather think Diana did her share of jumping.

ANNE: But it was only in fun. I think you ought to forgive us, now that we’ve apologized. And please let Diana have her music lessons.

AUNT JOSEPHINE: Do you know what it’s like to be awakened out of a sound sleep, after a long journey, by two big girls coming to bounce on you!

ANNE: Oh, I don’t know, but I can imagine! I’m sure it was very disturbing.

AUNT JOSEPHINE: (Nods, indignant.) Disturbing, indeed!ANNE: But then there’s our side of it.AUNT JOSEPHINE: (Narrows her eyes.) What do you mean?ANNE: Well, (Beckons DIANA who cowers at a distance.) do you have

any imagination, Miss Barry? Put yourself in our place. We didn’t know there was anyone in the bed, and you nearly scared us to death! (She and DIANA exchange glances, nodding.) Then, we couldn’t sleep in the spare room bed, as promised. It was to be such an honor!

AUNT JOSEPHINE: (Laughs.) Well, my imagination is a little rusty. It’s been so long since I’ve used it! And I dare say that your claim to sympathy is just as strong as mine! You’re right. It all depends on how we look at it. (Pats the bed.) Come! Sit down and tell me about yourself, Anne-girl.

ANNE: (Sits, pulling a surprised DIANA next to her.) Oh, Miss Barry, you’re a kindred spirit after all! (Peers closely at AUNT JOSEPHINE.) Although you don’t look very much like it! (CURTAIN.)

End of Scene Nine

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ACT ONEScene Ten

Green Gables sitting room and Lawson’s store. Several months later. A tall table to represent a store countertop is STAGE RIGHT, with a cash register and bolts of cloth on top.LUCY: (Writes.) The next fall, a new teacher arrived at Avonlea School.

Miss Stacey quickly won her students’ hearts with her innovative teaching style. That winter she organized a school concert, and her students were soon caught up with the excitement and preparations. As for Anne, she found herself, yet again, trying to convince Marilla of the merits of attending concerts… (CURTAIN UP. MATTHEW and MARILLA sit on the couch. MARILLA mimes sewing. MATTHEW is reading a book. ANNE stands before MARILLA, pleading.)

ANNE: Oh, but Marilla, the school Christmas concert is for a worthy cause! It will help to pay for the school flag!

MARILLA: Nonsense. It just takes time away from your lessons.ANNE: A flag will cultivate a spirit of patriotism, Marilla. (Dramatic;

places her hand over her heart.)MATTHEW: (Lowers his book.) She has a point there, Marilla.MARILLA: (Glares at MATTHEW, who hides behind his book again.)

Fudge! Having fun is more likely the motivation than patriotism.ANNE: The Christmas concert will be wonderful, you’ll see. Diana is

going to sing a solo. And I’m in two dialogues. Oh, I just tremble to think of it… but it’s a nice, thrilly kind of tremble.

MARILLA: (Shakes her head.) Thrilly trembles, good heavens! I’ll be glad when all this fuss is over and you can settle down. With your head stuffed full of such nonsense, there isn’t room for anything else.

ANNE: I have to go practice upstairs. (EXITS LEFT. MARILLA glances quickly at MATTHEW who pretends to have fallen asleep. ANNE ENTERS LEFT.) Oh, and don’t be alarmed if you hear me groaning! I have to groan heart-rendingly in one of my dialogues. It’s really hard to get up a good artistic groan, Marilla. (EXITS LEFT.)

MATTHEW: (Opens his eyes, wryly glances at MARILLA.) Well, now, I reckon it’s going to be a pretty good concert. (Smiles slyly.)

MARILLA: Stuff and nonsense! (LIGHTS DOWN. MATTHEW and MARILLA EXIT LEFT.)

LUCY: (Addresses AUDIENCE.) Days later, shy Matthew found himself avoiding the sitting room. It was full of Anne’s lively school friends who were practicing for the Christmas concert. He couldn’t help but notice how plainly Anne was dressed compared to the other girls

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who wore bright, fashionable dresses. And he wondered… why did Marilla always keep her so soberly dressed? At that moment, he decided that Anne must have one pretty dress. He summoned all his courage and set out to buy one… (LIGHTS UP.)

LUCILLA: (ENTERS RIGHT and stands behind the store counter. MATTHEW ENTERS RIGHT, clearly nervous.) What can I do for you this evening, Mr. Cuthbert? (Taps counter impatiently.)

MATTHEW: (Glances around.) Uh, hello, Miss Harris. Is Mr. Lawson in? I, uh, I usually deal with him.

LUCILLA: Not today, sir. Can I help you?MATTHEW: Uh, have you any… any… well, now, say, any garden rakes?LUCILLA: A garden rake? In the middle of December? Well, I’ll see if

we have any left in the back. (EXITS RIGHT. MATTHEW examines a bolt of cloth next to the counter. He quickly steps back when LUCILLA ENTERS RIGHT with a rake.) I found one. Here you are. (Hands MATTHEW the rake.) Will there be anything else for you, Mr. Cuthbert?

MATTHEW: Well, now, since you suggest it, I might as well take, that is, look at, uh… (Eyes the cloth.) Uh… buy some hayseed.

LUCILLA: Hayseed.MATTHEW: Well, yes… hayseed.LUCILLA: We only keep hayseed in the spring, Mr. Cuthbert. We’ve

none on hand just now, being the middle of winter.MATTHEW: Oh, certainly, certainly, just as you say. (Embarrassed, he

takes a few steps to EXIT but realizes he has not paid for the rake. He returns to the counter, hands LUCILLA some money, and she counts the change.) Well, now, if it isn’t too much trouble, I might as well, (Glances furtively at the cloth.) I’d like to look at… at some sugar.

LUCILLA: White or brown?MATTHEW: Oh. Well, now… brown, I guess.LUCILLA: How much?MATTHEW: Uh, well… how about 20 pounds.LUCILLA: (Places a package on the counter.) Here you go, 20 pounds.

That’s a lot of brown sugar! Is that everything for you?MATTHEW: (Places money on the counter.) Yes, thank you.LUCILLA: (Glances over MATTHEW, as if addressing a customer in the

back.) Ah, yes, I’ll be right with you. (EXITS RIGHT.)RACHEL: (ENTERS RIGHT.) Well, good evening, Matthew. Planning on

doing some gardening?

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MATTHEW: Uh, no. I’m… uh… just stocking up for spring. Uh, Rachel, could I ask you a special favor?

RACHEL: (Surprised.) By all means, Matthew. What is it?MATTHEW: (Relieved, setting down the package of sugar.) Would you

mind picking out a… a… pretty dress that I can give to Anne for Christmas?

RACHEL: To be sure, I will! Have you something particular in mind? (MATTHEW shakes his head.) No? Well, I’ll just go by my own judgment then. I just saw some real pretty fabric over at William Blair’s store. Perhaps you’d like me to make it up for you, too? (MATTHEW nods.) That way it will stay a surprise for Anne. I’m happy to do it. I like sewing.

MATTHEW: (Grins.) Well, now, I’m much obliged. And if you don’t mind, I’d like the sleeves made… you know… in that new way they’re wearing them.

RACHEL: Puffed sleeves? Of course! Don’t worry a speck more about it, Matthew. I’ll make it up in the very latest fashion.

MATTHEW: (Picks up his package.) Well, I thank you kindly, Rachel. (Nods politely and EXITS RIGHT.)

RACHEL: (To herself, facing AUDIENCE.) It’ll be a real satisfaction to see that poor child wearing something decent for once. Honestly, the way Marilla dresses her is positively ridiculous! I’ve ached to tell her so a dozen times! (Pauses.) I’m sure Anne must feel the difference between her clothes and the other girls’… but to think of Matthew taking note of it! That man is waking up after being asleep for over 60 years! (EXITS RIGHT. CURTAIN.)

End of Scene Ten

ACT ONEScene Eleven

Green Gables sitting room. Christmas day and evening. Stage could be decorated for Christmas day with a decorated tree, candles, etc.LUCY: Christmas morning unveiled a beautiful, white world. It had been

a mild December, and folks looked forward to a green Christmas. But just enough snow fell softly in the night to transform Avonlea. (CURTAIN UP. MATTHEW ENTERS LEFT and sits on the couch. MARILLA ENTERS LEFT carrying a tray of buns, a teapot and cups and sets it on the side table. OFF LEFT, ANNE sings a traditional Christmas carol.)

ANNE: (ENTERS LEFT.) Merry Christmas, Marilla! Merry Christmas, Matthew! (Curls up on a chair, glancing out the window.) I’m so glad it’s a white Christmas! Any other kind doesn’t seem real, does

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it? It’s so beautiful outside that… (MATTHEW pulls out a wrapped parcel he has hidden behind the couch and holds it out to ANNE. MARILLA eyes MATTHEW suspiciously as she fills teacups.) Why, Matthew, is that for me? (MATTHEW nods. ANNE opens the gift and is stunned by the dress.) Oh, Matthew!

MATTHEW: (Shy.) It’s a Christmas present for you, Anne. (ANNE stands, holding the dress in front of her. Her eyes fill with tears.) Why… why Anne, don’t you like it? Well, now… well, now. (Pulls out a handkerchief, offering it to ANNE.)

ANNE: (Dabs her eyes with the handkerchief.) Like it? Oh, Matthew! (Drapes the dress over the chair and clasps her hands.) Matthew, it’s perfectly exquisite! Oh, I can never thank you enough! (Hugs MATTHEW and steps back to examine the dress.) Look at those sleeves. To me, this is a happy dream!

MARILLA: (Moves the tray of buns and tea to the coffee table.) Let’s have tea, shall we? I don’t think you needed that dress, Anne, but since Matthew got it for you, see you take good care of it.

ANNE: Oh, how can I eat after such an exciting moment? I’d rather feast my eyes on that dress! (MARILLA glances at MATTHEW, who grins sheepishly. There is a knock at the door. ANNE moves towards the EXIT.) Oh, Merry Christmas, Diana! Come in! (Hugs DIANA as she ENTERS LEFT, wearing a winter coat and hat and carrying a parcel.) Diana, look at the dress that Matthew got me.

DIANA: Oh, it’s beautiful, Anne! Mr. Cuthbert, you have very good taste! (MATTHEW nods, embarrassed.)

MARILLA: Matthew, let’s take tea in the kitchen and let the girls visit. (Collects the tray, and she and MATTHEW EXIT LEFT.)

DIANA: (Hands ANNE the parcel.) This is for you, Anne. It’s from my Aunt Josephine. (ANNE stares, surprised.) Go on, open it!

ANNE: (Opens the card and reads aloud.) “For the Anne-girl, Merry Christmas.” (Pulls a pair of shoes from the parcel, gaping at them in amazement.) Oh, Diana. This is too much. I must be dreaming!

DIANA: (Smiles.) I call it providential. Now you won’t have to borrow Ruby’s slippers to play the part of the Fairy Queen at the concert tonight!

ANNE: Let’s go upstairs so I can try on my dress with the shoes! (She and DIANA EXIT LEFT. LIGHTS DOWN.)

LUCY: That evening, Matthew and Marilla accompanied Anne to her Christmas concert—the first one they’d attended in 20 years. Afterwards, they took some time for reflection. (LIGHTS UP. MATTHEW and MARILLA ENTER LEFT and sit together on the couch.)

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MATTHEW: (Proud.) Well, now, I guess our Anne did as well as any of them at that Christmas concert.

MARILLA: Yes, she did. She’s a bright girl, Matthew. And she looked real nice, too. (They exchange a brief glance.) I was proud of Anne tonight, although I’m not going to tell her so.

MATTHEW: Well, now, I was proud of her too, and I did tell her so, before she went upstairs. (Pauses.) I guess she’ll be needin’ something more than that Avonlea school by and by…

MARILLA: There’s plenty of time to think of that. Although tonight it struck me how she’s grown. I guess we could send her to Queen’s after a spell. But there’s lots of time yet.

MATTHEW: Well, there’s no harm in thinking it over. Things like that are all the better for lots of thinking over. (CURTAIN. MATTHEW and MARILLA EXIT LEFT.)

End of Scene Eleven

ACT ONEScene Twelve

Anne’s bedroom. Spring, months later. A small bed with blankets and pillow are STAGE RIGHT.LUCY: (Writes.) Spring brought with it a lull in Anne’s usual bouts of

trouble. So, by the time late April arrived, Marilla began thinking that things had been a little too quiet… (CURTAIN UP. ANNE is lying on her bed with the pillow over her head. From OFF RIGHT, we hear MARILLA calling ANNE.)

MARILLA: Anne? Anne! Where are you? (ENTERS RIGHT. Startled to see ANNE on the bed.) Mercy, Anne, I’ve been looking everywhere for you! Have you been asleep?

ANNE: (Muffled, beneath pillow.) No.MARILLA: Are you sick then?ANNE: (Burrows deeper.) No.MARILLA: Anne Shirley, whatever is the matter with you? Get up this

minute!ANNE: (Slides the pillow from her head and sits up miserably.) Look at

my hair, Marilla!MARILLA: (Horrified.) Anne Shirley, what have you done to your hair?

Why, it’s green!ANNE: (Woeful.) I thought nothing could be as bad as red hair. But

green hair is ten times worse! Oh, Marilla, I’m in the depths of despair!

MARILLA: Tell me how this happened.

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ANNE: I dyed it.MARILLA: Dyed it! What were you thinking, Anne? And why on earth

would you choose green?ANNE: But I didn’t mean to dye it green, Marilla! He said it would

turn my hair a beautiful raven black and it wouldn’t wash out. How could I doubt him?

MARILLA: Who are you talking about?ANNE: Why, the peddler that was here this afternoon. I bought the

dye from him.MARILLA: A pedd… (Pauses abruptly, sighs, wearing a grim expression.)

Well, I hope your eyes have been opened to where vanity has led you!

ANNE: Oh, what shall I do? People have pretty well forgotten my other mistakes, but I’ll never live this down. And Marilla, I cannot face Josie Pye. Oh, how she’ll laugh!

MARILLA: (Folds her arms.) Well, there’s nothing to do but cut it off, Anne. If it won’t wash out, there’s no other way. Come along, let’s get the scissors.

ANNE: Oh, I am the unhappiest girl in all of Prince Edward Island! (MARILLA and ANNE EXIT RIGHT. CURTAIN.)

End of Scene Twelve

ACT ONEScene Thirteen

The shoreline of Barry Pond and Green Gables sitting room. Summer, months later. ONSTAGE are a small rowboat (See PRODUCTION NOTES.), an upright, wooden post wrapped at the base with an earth-colored cloth tarp, several rocks of various sizes, optional fabric on the stage floor to indicate water and the shoreline, and some shrubs, trees, ferns or flowers.LUCY: (Writes.) The summer of Anne’s thirteenth year was filled

with fascinating sports around the Barry’s pond. One particular afternoon, Anne and her friends decided to recreate a scene from Tennyson’s poem, The Lady of Shalott. And Mr. Barry’s boat presented itself as a prop in Anne’s dramatic plan. (CURTAIN UP. ANNE, DIANA, RUBY and JANE ENTER RIGHT. OPTIONAL SOUND EFFECTS: WATER SOUNDS, BIRD SONG, etc.)

DIANA: Of course, you must be the fair-lily maid, Anne! I’d never have the courage to float down there. (Points towards the AUDIENCE.)

RUBY: Nor I! I don’t mind sitting in the boat, but to lie flat and pretend that I’m dead… I just can’t! I’d die of fright.

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JANE: Of course, it would be romantic, but I know I’d never be able to keep still. I’d ruin the effect by popping up every so often to see where I’m going.

ANNE: But a red-haired person can’t be a lily maid! Ruby ought to be Elaine.

DIANA: You know, Anne. Your hair is so much darker since you cut it. Why, I think you could call it auburn now… instead of red.

ANNE: (Amazed.) Do you really think so, Diana?DIANA: Yes, I do, Anne. It’s very pretty.ANNE: Well, all right then, I’ll be Elaine. Ruby, you’ll be King Arthur,

and Jane will be Guinevere. Diana must be Lancelot. Diana, the shawl… (DIANA hands her a black shawl. ANNE spreads it over the bottom of the boat. She sits or kneels in the boat and reclines. Her arms are crossed over her chest, eyes closed.)

RUBY: (Peers at ANNE, wincing.) Oh, she really does look dead! You know, Mrs. Lynde says that play acting is really wicked.

ANNE: (Sits up suddenly.) Ruby, you mustn’t talk about Mrs. Lynde! It spoils the effect. Jane, you arrange this. It’s silly for Elaine to talk when she’s dead. (Lies back again.)

JANE: All right. (Places a single flower in ANNE’S folded hands.) Now she’s all ready. Diana, you begin.

DIANA: (Kisses ANNE’S forehead.) Sister, farewell forever.RUBY: Farewell, sweet sister. (Kisses ANNE’S forehead.)JANE: Anne, for goodness sake, smile a little. You know Elaine “lay as

she smiled.” That’s better. Now push off. (She, RUBY and DIANA give the boat a little shove, as if pushing it away from shore. They stand silently and watch for a moment.) Let’s go on ahead. We’ll watch for her as she passes under the bridge! (She, RUBY and DIANA EXIT RIGHT. For a moment, ANNE lies still in the boat. Suddenly, she sits upright, shrieking. Grabbing her shawl, she stands in the boat.)

ANNE: Oh, oh, I’m sinking! Where are my oars? (Gently smacks her head with her hand.) Left on shore, of course! (Folds her hands.) Oh, dear God, please take my boat close to that pile, and I’ll do the rest. It isn’t a flowery prayer, but it’s the best I can do under the circumstances! (Mimes frantically rowing the boat with her hands as she moves towards the post. ANNE steps out of the boat and clings to the post.) Oh, thank you, God. This isn’t the most romantic of situations at all, is it? I’ve just narrowly escaped a watery grave! (The boat “floats off” as STAGEHANDS pull it away OFF RIGHT. RUBY, JANE and DIANA ENTER DOWN RIGHT. They peer out towards the AUDIENCE, looking down as if watching for ANNE on waters below.)

JANE: Any sign yet of our lily maid?

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RUBY: No, but she should be here by now… shouldn’t she?DIANA: Oh! Oh, no! Look! (Points downwards.)RUBY: Is that your father’s boat, Diana? (Shields her eyes with her

hand.) Why, it’s sinking to the bottom!DIANA: Oh, girls, what have we done?JANE: We’ve drowned Anne! (JANE, RUBY and DIANA EXIT RIGHT,

shrieking in fear.)ANNE: Where are those girls? (Searches.) Why haven’t they come

for me? (Looks heavenward.) I don’t think I can hang onto this pile much longer. Please send help! (GILBERT ENTERS RIGHT, rowing the boat towards ANNE. ANNE spots GILBERT, grimaces, then glances upwards.) Oh, no! Couldn’t you have sent someone else?

GILBERT: (Exclaims.) Anne Shirley! How on earth did you get there? (Extends his hand to ANNE. She frowns, takes his hand and climbs into the boat.) What happened, Anne?

ANNE: (Cool, looking away from GILBERT.) We were playing Elaine, the fair-lily maid, and I had to drift down to Camelot… only my boat began to leak. Will you kindly row me to the landing?

GILBERT: (Smiles.) Of course, Anne. (Rows the boat for a moment before ANNE jumps out on shore.)

ANNE: (Haughty.) I’m very much obliged to you.GILBERT: (As she turns away, he leaps from the boat and detains her.)

Anne, wait! I am awfully sorry I made fun of your hair that time. I only meant it as a joke. Besides, that was so long ago. I think your hair is awfully pretty now, honest I do. Can we put it behind us and be friends? Please?

ANNE: (Hesitates, then angry.) No, I shall never be friends with you, Gilbert Blythe!

GILBERT: (Hurt and angry.) All right then! (Pulls the boat on shore, throwing the oars inside it.) I’ll never ask you to be friends again, Anne Shirley! And I don’t care either! (Storms away angrily, EXITING RIGHT.)

ANNE: (Crosses her arms, glaring angrily after GILBERT.) Neither do I! (Brushes herself off. JANE and DIANA ENTER RIGHT, seizing ANNE with relief.)

DIANA: Oh, Anne… we thought… we thought you were drowned!JANE: We felt like murderers because we’d made you be Elaine. Ruby

is in hysterics! We had to leave her behind.DIANA: Anne, how did you escape?ANNE: (Weary.) I climbed up on one of the bridge piles. Gilbert Blythe

came along and brought me to land.

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JANE: (Gushes.) Why, Gilbert rescued you? That’s so romantic, Anne! Of course you’ll speak to him after this.

ANNE: (Angry.) Of course I won’t!DIANA: But Anne—ANNE: (Interrupts.) Don’t even breathe the word romantic! I’m sorry

I frightened you. It’s all my fault. Everything I do gets me, or my dearest friends, into a scrape… and now I’ve gone and lost your father’s boat, Diana. I’m so sorry.

DIANA: Don’t worry, Anne. Let’s go fetch Ruby. She’ll be so relieved to see you alive!

ANNE: (Sad, shaking her head.) I have a feeling we won’t be allowed to row on the pond anymore. (She, DIANA and JANE EXIT RIGHT.)

LUCY: (Addresses the AUDIENCE.) When that afternoon’s events became known in both the Barry and Cuthbert households, the news was met with great dismay and concern. (MARILLA, MATTHEW and ANNE ENTER LEFT. MATTHEW stands next to the couch. MARILLA and ANNE stand, facing each other, but apart.)

MARILLA: (Hands on hips.) Will you ever have any sense, Anne?ANNE: Oh, Marilla, I think my prospects of becoming sensible are

brighter than ever!MARILLA: After nearly drowning yourself, I don’t see how!ANNE: Well, with each of my mistakes, I’ve learned a valuable lesson.

And today’s mistake has cured me of being too romantic. I think you’ll see a great improvement in me from now on, Marilla.

MARILLA: Well, I certainly hope so! (Shakes her head, EXITING LEFT.)MATTHEW: (Stands next to ANNE, placing a hand on her shoulder.)

Don’t give up all your romance, Anne. A little of it is a good thing—not too much, of course. But keep a little of it, Anne, keep a little of it. (Smiling, he EXITS LEFT. ANNE ponders silently. CURTAIN.)

End of ACT ONE

ACT TWOScene One

Green Gables sitting room and a lane. Two years later, June. There are two teacups on the coffee table STAGE LEFT and a picket fence STAGE RIGHT.LUCY: (Writes.) As Anne grew older, life grew calmer around Green

Gables. When Marilla realized that Anne had become a young woman, it seemed to her to have happened overnight. Soon, Anne had finished at Avonlea School and was awaiting the results of her entrance exam to Queens. (CURTAIN UP. MARILLA and RACHEL are sitting, having tea. MARILLA wears glasses.)

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RACHEL: Well, Marilla, we missed you at the Aid meeting on Thursday. (Sips her tea.)

MARILLA: (Sets down her cup.) Matthew had a bad spell with his heart Thursday and I didn’t feel I could leave him.

RACHEL: (Concerned.) Is he all right?MARILLA: Oh, yes, he’s all right now. But I’m anxious about him. He

has these spells more often lately.RACHEL: I’m sorry to hear it, Marilla. And how are you? Are you still

getting those headaches?MARILLA: Oh, my headaches come and go. It’s my eyes that concern

me. (Pats her glasses.) The doctor said I must wear these all the time now. And he insists that I give up reading and sewing entirely! Otherwise, he says I’ll lose my eyesight.

RACHEL: You don’t say, Marilla!MARILLA: (Smiles grimly.) At least he feels the glasses will cure my

headaches!RACHEL: Age doesn’t always treat us kindly, does it?ANNE: (ENTERS LEFT.) Hello, Mrs. Lynde.RACHEL: Hello, Anne, dear. Any news of the Queen’s entrance results?ANNE: Not yet, but soon, I hope.RACHEL: I understand you want to become a teacher. A suitable

profession for you, I think.ANNE: Thank you, Mrs. Lynde. (Peers out the window, frowning.) Oh, I

think I’ll go and help Matthew with those harnesses. (EXITS LEFT.)RACHEL: I must say, Anne has turned out a real smart girl. She must

be a great help to you, Marilla.MARILLA: She is. She’s steady and reliable now. I thought she’d never

get over her feather-brained ways, but she has.RACHEL: I never would have thought she’d turn out so well. (Laughs.)

Lawful heart, I’ll never forget that tantrum of hers! That night I said to Thomas, “Marilla Cuthbert will rue the day she took that child in!” But, I was mistaken. And I’m real glad of it! (MARILLA and RACHEL continue their conversation in mime. MATTHEW and ANNE ENTER RIGHT and stand by the picket fence.)

ANNE: You’ve been working too hard today, Matthew. Why won’t you take it easy?

MATTHEW: It’s only that I’m getting old and I keep forgetting it, Anne.ANNE: (Wistful.) If I’d been that boy you sent for, I’d be able to help

you so much now!

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MATTHEW: (Smiles.) Well, now, I’d rather have you than a dozen boys, Anne. (Pats her hand.) Just mind you that—rather than a dozen boys. (ANNE smiles warmly. OFF RIGHT, DIANA calls ANNE, then briskly ENTERS RIGHT, holding a newspaper.)

ANNE: (Glances at the newspaper in DIANA’S hand.) Hello, Diana, what do you have there?

DIANA: (Grinning widely, breathless.) Oh, Anne, you’ve passed! Passed the very first—you and Gilbert both—you’re tied! (Pauses to read ANNE’S face. Adds quickly.) But your name is first! Oh, I’m so proud! (Hugs ANNE fiercely, handing her the newspaper. ANNE pores over the paper.)

MATTHEW: (Proud, removes his hat and brushes his forehead with the back of his hand.) Well, now, I always said it. (Gazes at the newspaper in ANNE’S hands.) I knew you could beat them all easy. (ANNE lowers the newspaper to look fondly at MATTHEW. DIANA excitedly grabs the paper from ANNE to further examine it. MATTHEW smiles shyly at ANNE.) You’re my girl—my girl that I’m proud of.

DIANA: (Excited.) Won’t Miss Stacey be proud! You’ve all passed. Jane and Ruby did pretty well. (Points to a spot on the paper.) They’re halfway up. So did Charlie. Josie Pye just scraped by with three marks to spare. But just wait! She’ll put on airs like she was first.

ANNE: Oh, I’m just dazzled inside! I want to say a hundred things, and I can’t find the words. Oh, excuse us, please, Matthew! I want to go inside and tell Marilla and Mrs. Lynde! (Grabs DIANA’S hand, and they EXIT RIGHT. MATTHEW leans one hand on the fence and wipes away a tear.)

MATTHEW: (Proud; to himself.) Well, now, I guess she ain’t been much spoiled. And putting in my occasional two cents did no harm after all. (Nods; thoughtful.) She’s been a blessing to us. There’s never been a luckier mistake than what Mrs. Spencer made. (Pauses.) No, not a mistake. It was providence. The Almighty saw we needed her, I reckon. (Puts on his hat, smiles and EXITS RIGHT. CURTAIN.)

End of Scene One

ACT TWOScene Two

Anne’s boarding room near Queens. Fall, months later. A chair and optional small bed with blankets and pillows are STAGE RIGHT.LUCY: (Writes.) Over the next few weeks, Green Gables bustled with

preparations for Queens. Matthew saw to it that Anne had plenty of pretty outfits, and for once, Marilla did not object. After a tearful farewell to the Cuthberts and Diana, Anne soon found herself in a boarding house near Queens, missing Green Gables. (CURTAIN UP.)

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ANNE: (ENTERS RIGHT and sits on a chair, holding a handkerchief. There is a small suitcase beside her. Dabs her eyes with a handkerchief.) I won’t cry! It’s silly… and weak. (Sniffs. There is a KNOCK and JOSIE ENTERS RIGHT.) Hi, Josie. I’m glad you came up.

JOSIE: Hi, Anne. Isn’t this town great? After pokey old Avonlea… it’s a wonder I existed there for so long! (Squints at ANNE, wrinkling her nose in distaste.) You’ve been crying.

ANNE: (Stuffs away her handkerchief.) Not really, I—JOSIE: You shouldn’t cry, Anne. It isn’t becoming. (Points.) Your nose

and eyes get red and then (Gestures to ANNE’S face and hair.) you see all red!

ANNE: (Quietly, with mild sarcasm.) Why thanks, Josie. That’s comforting.

JOSIE: Our French professor is so handsome! His moustache would give you kerwollowps of the heart! (Looks around.) Say, Anne, have you got anything to eat? I’m literally starving! That’s why I stopped by— I guessed Marilla would load you up with cake. Otherwise, I’d have gone to the park with Frank Stockley—to hear the band play.

ANNE: I’ve some of Marilla’s lemon pound cake… (Reaches into her suitcase for a wrapped bundle of cake, opening the bundle and pulling out a pre-sliced piece.)

JOSIE: (Seizes the bundle, leaving a mildly shocked ANNE with the single slice in her hand. Pulls off a slice of cake, stuffing some into her mouth.) Mmmmm! This is good. You know, Frank Stockley is a real sport! He asked about you today. I told him you were a poor orphan that the Cuthberts had taken in, and that nobody knew much about you before that. (Gives JOSIE a sidelong evil eye.) Mmmmm! This has the real Avonlea flavor! (There’s ANOTHER KNOCK. RUBY and JANE ENTER RIGHT.)

JANE: Hi, Anne! (Spots JOSIE. With less enthusiasm.) Oh, hi, Josie. (JOSIE nods, mouth full.) I really should be studying, but I just couldn’t settle down tonight.

RUBY: (Holds out a handkerchief, studying ANNE’S face.) Anne, if you’ve been crying, do own up! It will restore my self-respect. I was freely shedding tears before Jane showed up. (Spots JOSIE eating cake.) Cake? (JOSIE swiftly turns away.) Don’t be so selfish, Josie. You’ll give me a piece, won’t you? (JOSIE hands RUBY a tiny piece of cake. RUBY stares at the crumb, annoyed.)

JANE: Will you try out for the gold medal, Anne?ANNE: I’ll admit, I’ve thought of it.JOSIE: (Wipes crumbs from her face.) Oh, that reminds me! Word came

today that Queens will be offering the Avery scholarship this year.

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(ANNE looks up with interest.) Frank Stockley told me. His uncle’s on the Board of Governors, you know.

RUBY: The Avery scholarship? That’s for the highest mark in English literature, isn’t it?

JANE: Yes, and it’s worth a lot of money. College tuition for four years!JOSIE: (Wraps up the rest of the cake.) What are we all cooped up in

here for? Let’s go out and enjoy the town! (ANNE, RUBY and JANE look reluctantly at JOSIE.) Oh, come on, don’t be spoil- sports! Let’s go hear the band play!

ANNE: All right, we might as well. Let’s go, girls. (ANNE, RUBY, JANE and JOSIE EXIT RIGHT. CURTAIN.)

End of Scene Two

ACT TWOScene Three

A hallway at Queens. Several months later. At STAGE RIGHT is a bulletin board with exam results posted on it.LUCY: (Writes.) Miss Stacey had advised both Anne and Gilbert to take

up second-year work at Queens. This meant getting a First Class teacher’s license in one year instead of two, but it also meant more challenging work. Anne’s heavy workload and the occasional visit home soon helped her homesickness to wear off. At Queens, her academic rivalry with Gilbert was as intense as ever, but somehow the bitterness had worn off. (Addresses AUDIENCE.) Before anyone knew it, the term was over and exam results were posted. (CURTAIN UP. CHARLIE, any EXTRAS and GILBERT ENTER RIGHT, approaching the bulletin board. OPTIONAL SOUND EFFECT: FESTIVE BAND MUSIC.)

CHARLIE: (Points.) Hey, Gil, congratulations! You’ve won the gold medal! (Shakes GILBERT’S hand. GILBERT grins as CHARLIE and EXTRAS congratulate him.)

CHARLIE/EXTRAS: (With hands on GILBERT’S shoulder.) Hurray for Gilbert Blythe, gold medalist! (CHARLIE, GILBERT and EXTRAS EXIT RIGHT just as RUBY, JANE, JOSIE and ANNE ENTER RIGHT, observing GILBERT being congratulated.)

JOSIE: (Nods her head in GILBERT’S direction.) So much for your hopes of winning that gold medal, Anne! I’ll see you around, girls. I want to find out how Frank Stockley did on his finals. (EXITS RIGHT.)

ANNE: (Thoughtful.) Well, I’m… I’m happy for Gilbert. He deserves it. (Pulls JANE aside as RUBY approaches the bulletin board.) Oh, Jane, I haven’t the moral courage to look for myself! I’ll wait here while you check the results. (Hugs herself as JANE joins RUBY. After a moment, JANE and RUBY huddle whispering then face ANNE.)

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JANE/RUBY: Three cheers for Anne Shirley, winner of the Avery Scholarship! (ANNE gapes in amazement. JANE and RUBY embrace her.)

ANNE: (Faces AUDIENCE.) Oh, won’t Matthew and Marilla be pleased! I must write to them straight away. (EXITS RIGHT, followed by JANE and RUBY. CURTAIN.)

End of Scene Three

ACT TWOScene Four

Green Gables sitting room and Anne’s bedroom. Two weeks later. A bed with a pillow and blanket are STAGE RIGHT.LUCY: Following her commencement, Anne was happy to return to

Green Gables for the summer holidays. Matthew and Marilla were pleased to have her home again. Anne’s absence had left an empty hole in their lives. (CURTAIN UP. ANNE sits on her bed, reading a book, STAGE RIGHT. MATTHEW and MARILLA ENTER the sitting room LEFT.)

MATTHEW: (Shakes his head in wonder.) To take First Class License in only one year and win the Avery Scholarship! I reckon you’re glad we kept her, Marilla?

MARILLA: It’s not the first time I’ve been glad. (Annoyed.) You do like to rub things in, Matthew Cuthbert! (There is a KNOCK AT THE DOOR, LEFT. She moves to answer it. The AUDIENCE does not see DIANA as MARILLA speaks.) Hello, Diana, Anne’s been waiting for you. You can go right on upstairs. (Points upward. MATTHEW sits on the couch to rest. MARILLA EXITS LEFT.)

ANNE: (Sets down her book.) Come on up, Diana! I’m in my room.DIANA: (ENTERS RIGHT. Embraces ANNE, sitting beside her.) Oh, Anne,

it’s so good to have you home. You don’t know how I’ve missed you!

ANNE: It’s good to be home, Diana.DIANA: I suppose you won’t be teaching now that you’ve won the

Avery?ANNE: No, I’m going to Redmond in September. Jane and Ruby are

going to teach, though.DIANA: And so will Gilbert Blythe. He has to earn his way through

college— his father can’t afford to send him. I heard that Gil has applied for the teaching position at Avonlea School. Can you imagine that? (ANNE looks at DIANA, surprised.)

MARILLA: (ENTERS RIGHT, wearing a hat.) Anne, I came to tell you that I’m going over to Mrs. Lynde’s. I’ve just heard some worrisome news about the Abbey bank, and I wanted to talk with her about it.

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ANNE: I heard it was shaky.MARILLA: I’ve heard that, too. Matthew has been real worried about

it. Every penny of our savings is in that bank. (Pauses.) But you girls have a lovely visit and help yourselves to tea and scones downstairs.

DIANA: (Smiles.) Thank you, Miss Cuthbert. (MARILLA EXITS RIGHT.) Is Matthew not well, Anne? I’ve noticed he works just as hard, even though he has a hired man to help him.

ANNE: (Sad; takes DIANA’S hand and shakes her head.) No, he’s not, Diana. Marilla says he’s had some bad spells with his heart, and he pushes himself too hard. (Sighs. Standing, she gently pulls DIANA to her feet.) Come on, we can chat over tea in the kitchen. (She and DIANA EXIT RIGHT. CURTAIN.)

End of Scene Four

ACT TWOScene Five

Green Gables sitting room and the lane beside Green Gables. Weeks later.LUCY: (Addresses AUDIENCE.) But that summer, sorrow’s shadow

fell upon Green Gables. Matthew Cuthbert never recovered from the news that the Abbey bank had failed. He died instantly of a heart attack. The news of Matthew’s passing spread quickly through Avonlea. Soon, friends and neighbors young and old came calling on errands of kindness. Afterwards, Anne and Marilla found themselves very alone at Green Gables. (CURTAIN UP. MARILLA sits on the couch, facing the AUDIENCE. ANNE sits at her feet, head resting against MARILLA’S knee, facing forward.)

ANNE: (Sad, eyes downcast.) Oh, Marilla, what will we do without him?MARILLA: (Rests her hand on ANNE’S head.) We’ve got each other,

Anne. (Shakes her head.) I don’t know what I’d do if you weren’t here—if you’d never come. Oh, Anne, I know I’ve been strict, even harsh with you sometimes, but you mustn’t think I didn’t love you as well as Matthew did. (ANNE looks up at MARILLA.) It’s never been easy for me to speak from the heart… (Takes ANNE’S hand in hers.) I love you as dear as if you were my own flesh and blood. You’ve been my joy and comfort ever since you came to Green Gables.

ANNE: I’ve always known you loved me, Marilla. It just wasn’t your way to say it.

MARILLA: (Stares into the distance.) And now I’ll have to think of selling Green Gables.

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ANNE: (Shocked.) Sell Green Gables? (Kneels before MARILLA in profile.) Marilla, you can’t sell Green Gables!

MARILLA: (Sighs, shaking her head.) There’s nothing else to be done, Anne. If my eyes were stronger, I might manage with hired help. But now I may lose my sight altogether. As for savings… every cent of it went with that bank.

ANNE: But, Marilla…MARILLA: You’ll be provided for with that scholarship, Anne— I’m

truly thankful for that. And Mrs. Lynde will let me board with her, so I won’t be lonely.

ANNE: (Standing, resolute.) Well, you won’t have to be lonely, Marilla. I’ll be with you. I’m not going to Redmond.

MARILLA: (Shocked.) Not going to Redmond! What do you mean?ANNE: I’m not going to take the scholarship. I decided days ago.

Surely you don’t think I’d leave you alone in your trouble after all you’ve done for me, Marilla?

MARILLA: Oh, Anne, I can’t have you sacrifice for me!ANNE: Marilla, nothing would hurt me more than losing Green Gables!

So you see, there is no sacrifice! Mr. Barry wants to rent the farm, so it’s not a worry for you. And I’m going to teach at Carmody School. (Shrugs.) Of course, it won’t be as close or convenient as Avonlea School, but the trustees have already promised it to Gilbert Blythe.

MARILLA: (Shakes her head.) I can’t let you give up your ambitions, Anne.

ANNE: I’m just as ambitious as ever, Marilla. Only I’ve changed the object of my ambitions. I’m going to be a good teacher, and I’ll study for college at home. (Smiles, facing the AUDIENCE.) After I left Queens, my future stretched out before me like a straight road, only now there’s a bend in it. (Glances at MARILLA.) I don’t know what lies around the bend, Marilla, but I’m going to believe that the best does!

MARILLA: Oh, you blessed girl! I feel as if you’ve given me a new life. Come, sit with me. (ANNE sits.) So, Gilbert Blythe is going to teach, too?

ANNE: Yes.MARILLA: (Absently.) What a nice-looking fellow he is. I saw him in

church last Sunday, he looks a lot like his father did at the same age. John Blythe was a good friend of mine. People called him my beau.

ANNE: (Glances at MARILLA with interest.) Oh, Marilla, and what happened? Why didn’t you—?

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MARILLA: We had a quarrel. I wouldn’t forgive him when he asked me to. I meant to, after awhile, but I was sulky and angry… wanting to punish him first. (Shakes her head.) He never came back. (Stares at her hands, folded in her lap, then gazes straight ahead.) But I always felt rather sorry. I wished I’d forgiven him when I had the chance.

ANNE: (Tender.) So, you’ve had a bit of romance in your life, Marilla?MARILLA: Yes, I suppose you could call it that. (Smiles.) You wouldn’t

think so to look at me, would you? But you never can tell about people from their outsides. (There’s a knock at the door. MARILLA cranes her neck towards the door.) It’s Mrs. Lynde. Come in, Rachel!

RACHEL: (ENTERS LEFT, plopping wearily into a chair. Sighs.) It’s good to sit down. I’ve been on my feet all day, and I’m plum tuckered! (Turns to ANNE, smiling.) Well, I came over to give you the news, Anne.

ANNE: (Confused.) What news?RACHEL: The trustees at Avonlea have decided to give you the school.ANNE: (Springs to her feet in surprise.) Mrs. Lynde! Why, I thought

they’d promised it to Gilbert Blythe!RACHEL: So they did. But as soon as Gilbert heard that you’d applied

for it, he withdrew his application and suggested they accept yours. Of course, he gave up the school because he knew how much you wanted to stay with Marilla. I must say I think it was real kind and thoughtful of him, that’s what. Self-sacrificing, too. He’s now taken a position at White Sands, where he’ll have to pay his room and board.

ANNE: (Stunned.) I don’t feel that I ought to take it. I mean, Gilbert shouldn’t have made such a sacrifice for… for me.

RACHEL: Of course you will! You won’t do him any good to refuse it. He’s already signed the papers with the White Sands’ trustees.

ANNE: (Brow furrowed.) Excuse me, Mrs. Lynde, Marilla. I think I’ll go out for a bit of a walk. I need time to think. (EXITS LEFT.)

RACHEL: (Exchanges glances with MARILLA.) Well, Marilla, I ought to be going. I just came over to give Anne that news.

MARILLA: I’ll walk you part of the way, Rachel. I could use some fresh air. (She and RACHEL EXIT LEFT. ANNE ENTERS RIGHT, standing behind the picket fence, deep in thought. OFF RIGHT, GILBERT is whistling. ANNE looks up as GILBERT ENTERS RIGHT. As soon as he spots ANNE, GILBERT stops whistling. He nods courteously, but moves to pass without speaking.)

ANNE: (Holds out her hand to him.) Wait! Gilbert, I want to thank you for giving up the school for me. (GILBERT eagerly takes ANNE’S

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hand, smiling.) It was very good of you, and I want you to know that I appreciate it.

GILBERT: It wasn’t particularly good of me at all, Anne. I was happy to help you in some way. Are we going to be friends after this? Have you really forgiven me my old fault?

ANNE: (Laughs.) Gilbert, I forgave you that day by the pond, although I didn’t know it then. I’ve been… well, I confess. I’ve been sorry ever since.

GILBERT: (Sighs jubilantly.) Well, I’m glad you’ve finally come around. We were meant to be the best of friends, Anne! Come, I’ll walk you home. (Taking ANNE’S hand, GILBERT gently guides her OFF RIGHT. MARILLA ENTERS LEFT and glances out the window as if something has suddenly caught her attention. She turns away as ANNE ENTERS LEFT.)

MARILLA: Who was that who came up the lane with you, Anne?ANNE: (Smiles absently.) Gilbert Blythe.MARILLA: I didn’t think that you and Gilbert were such good friends

that you’d stand for half an hour talking at the gate.ANNE: We haven’t been… we’ve been good enemies. But, we’ve

decided it’s more sensible to be good friends in the future. (Pauses.) Were we really half an hour? It seemed just a few minutes. But you see, we have five years of lost conversations to catch up with, Marilla! (MARILLA hugs ANNE, kissing her cheek. She EXITS LEFT. ANNE moves DOWN CENTER.)

LUCY: (Addresses AUDIENCE.) And that evening, as the stillness and comfort of twilight surrounded Green Gables, Anne Shirley happily considered that bend in the road… and all of its many possibilities.

ANNE: (Smiles heavenward.) God’s in his heaven, and all’s right with the world. (CURTAIN.)

LUCY: (Writes.) The end. (Smiling with satisfaction, she closes her book, sets down her quill and EXITS RIGHT.)

END OF PLAY

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PRODUCTION NOTES

PROPERTIES ONSTAGE

ACT ONEScene One:

Mrs. Lynde’s kitchen: Chair, sewing basket, fabric pieces.Green Gables sitting room: A couch, coffee table, chair, another

chair or loveseat, side table, coat rack and window could be painted or positioned on a backdrop. There is a basket with knitting needles, yarn and a knitted article. Optional set pieces are a small bookcase, hanging picture, extra pillows.

Scene Two:Train station: Bench, a sign that reads “Bright River.”Green Gables: Same as Scene One.

Scene Three:Green Gables: Matthew’s hat on coat rack.

Scene Four:Green Gables: Same as Scene One.Mrs. Lynde’s kitchen: Chair, a sewing basket and fabric pieces.

Scene Five:Green Gables: Three plain dresses.The Barry’s garden: Two planting pots with artificial flowers.

Scene Six:Avonlea School: Eight student desks either with chairs attached

or chairs separate, teacher’s desk, hand bell, blackboard with spelling words printed on one side of it, pointer stick, student slates, chalk.

Scene Eight:Green Gables: Newspaper, basket with knitting needles, yarn and

a knitted article.Scene Nine:

The Barry’s spare room: Small bed with blankets and pillow.Scene Ten:

Green Gables: Some fabric pieces for Marilla to “sew,” book like Farmer’s Almanac for Matthew.

Lawson’s store: Tall table to represent a store countertop, cash register, bolts of cloth.

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Scene Eleven:Green Gables: Could be decorated for Christmas with a decorated

tree, candles, etc., wrapped parcel with a new dress inside (hidden behind couch).

Scene Twelve:Ann’s bedroom: Small bed with blankets and pillow.

Scene Thirteen:Shoreline of Barry Pond: Small rowboat, an upright, wooden post

wrapped at the base with an earth-colored cloth tarp, several rocks of various sizes, optional fabric on the stage floor to indicate water and the shoreline, along with some shrubs, trees, ferns, or flowers.

ACT TWOScene One:

Green Gables: Two tea cupsLane: Small picket fence.

Scene Two:Ann’s boarding room: Chair, suitcase containing folded clothes

and a pre-sliced loaf cake wrapped in a napkin, optional small bed with blankets and pillows.

Scene Three:Hallway: Bulletin board with exam results posted on it.

Scene Four:Green Gables: Same as Scene One.Ann’s bedroom: Bed, book.

Scene Five:Green Gables: Same as Scene One.Lane: Same as Scene One.

PROPERTIES BROUGHT ON

ACT ONEScene One:

Wide-brimmed hat (RACHEL)Scene Two:

Carpet bag and a straw hat (ANNE)Pocket watch (STATIONMASTER)Dusting cloth (MARILLA)

Scene Three:Tray with a teapot, cups, scones and jam (MARILLA)

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Scene Four:Basket of apples and an apron (MARILLA)Straw hat wildly decorated with plenty of flowers (ANNE)Wide-brimmed hat (RACHEL)

Scene Five:Book (DIANA)

Scene Six:Book bags filled with books (ANNE, DIANA, JANE, RUBY, JOSIE,

GILBERT, CHARLIE)Pocket watch (MR. PHILIPS)Wreath of flowers (ANNE)Thumbtack (GILBERT)

Scene Seven:Letter in an envelope and a red bookmark (ANNE)Letter in an envelope (DIANA)Apple with a stem (GILBERT)Doctor’s bag and a stethoscope (DOCTOR)Handkerchief (MRS. BARRY)

Scene Eight:Winter coat and boots (ANNE)

Scene Nine:Lantern (DIANA)

Scene Ten:Rake, large sack of sugar (LUCILLA)Coins (MATTHEW)

Scene Eleven:Tray with a teapot, cups and buns (MARILLA)Handkerchief (MATTHEW)Card, a wrapped parcel with a pair of girl’s dress shoes inside it, a

winter coat and hat (DIANA)Scene Thirteen:

Black shawl (DIANA)Flower (JANE)Boat and two oars (GILBERT)

ACT TWOScene One:

Eyeglasses (MARILLA)

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Scene Two:Handkerchief, suitcase with folded clothes inside, a pre-sliced loaf

cake wrapped in a napkin (ANNE)Handkerchief (RUBY)

Scene Four:Hat (MARILLA)

ABOUT THE BOAT SCENE ON BARRY PONDIn ACT ONE, Scene Thirteen, the intent is to use the same boat for both ANNE and GILBERT. Some options for the boat prop are as follows: a small rowboat on casters with ropes attached, enabling stagehands to move the boat across the stage; a wagon with a painted front to resemble a boat with ropes attached; a boat that simply rests on the stage while an actor or actors sit in it, with a rope attached to pull it OFFSTAGE as it “floats away” from ANNE. The wooden post surrounded by a tarp and rocks represents a bridge pile that ANNE clings to, as she abandons her sinking boat.

MUSIC AND SOUND EFFECTSPeriod music can be played in the background to help smooth transitions between scenes and during blackouts within a scene. For example, in ACT ONE, Scene Two, music could be played once ANNE and MATTHEW exit from the train station and while MARILLA dusts the sitting room.Knocking at a door (ACT ONE, Scenes One, Three, Four and Eleven; and ACT TWO, Scenes Two, Four and Five); a train whistle (ACT ONE, Scene Two), a slamming door (ACT ONE, Scenes Four and Seven).Optional sound effects: water sounds, bird song, etc. (ACT ONE, Scene Thirteen); festive band music (ACT TWO, Scene Three).

COSTUMESLUCY, MRS. SPENCER, MRS. BARRY, MRS. BLEWETT: Ankle-length

dresses fitted at the bodice and waistline with long, full skirts. Frilly or lace collars and brooches at the neckline. Lace-up boots or heeled shoes. Hair would be worn in a bun or some kind of “up do.” Wide-brimmed hats would be worn for going out— straw in the summer, felt in the winter. MRS. BLEWETT could be given a harsher look with dark colors and a severe hairstyle.

MARILLA: Greying hair, pulled tightly back from her face into a bun to create an austere look. Plain, ankle-length dress of a dark or drab color. Dark lace-up boots or heeled shoes. A straw hat. She could wear an apron over her dress to indicate she is consistently hardworking. She wears an apron in ACT ONE, Scene Four. She wears a straw hat in ACT TWO, Scene Four.

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RACHEL: Greying hair, worn in a bun. Similar dress to MARILLA, yet is a little more fashionable and very plump.

MATTHEW: Greying or white hair. In ACT ONE, Scene Two, he wears his “best” suit, a felt hat and dress shoes. The rest of the play, he is informally dressed in trousers, a button shirt (could be plain or a checked pattern), work boots or shoes and perhaps suspenders. He could even wear work overalls.

STATIONMASTER: A dark suit with a long-tailed coat with a dark vest and white buttoned shirt underneath, a dark “uniform” cap and dark shoes.

MR. PHILIPS: Slicked-back hair and a moustache, a dark suit with vest underneath, dark shoes and a hat. He should have an austere and polished look.

DOCTOR: Dark suit with a long-tailed coat and a white buttoned shirt. As it is winter in ACT ONE, Scene Seven, he could wear a long overcoat and hat.

ANNE: Young ANNE in ACT ONE wears her long, red hair in two braids. She wears a drab frock with a simple collar and no waistline. The hemline would rest inches below the knee. She could wear a plain pinafore over the dress, dark stockings, dark, lace-up boots and a straw hat. In ACT ONE, Scenes Eight and Nine, she wears a flannel nightgown. In ACT ONE, Scene Eight, she wears a winter coat and boots. In ACT ONE, Scene Twelve, her hair needs to be green. In ACT ONE, Scene Thirteen, her hair should be shorter and darker than before. Older ANNE in ACT TWO could wear her long, darker hair in a more sophisticated style. She could wear a white blouse with puffy sleeves with a brooch at the neckline, a belt or sash at the waist of her ankle-length, full skirt and lace-up boots.

DIANA, RUBY, JANE and JOSIE: As younger girls in ACT ONE, they wear loose-fitting, knee-length frocks with a fitted, but not tight waistline, stockings and lace-up boots or shoes. They could wear pinafores or aprons over their frocks. They dress in a more fashionable manner than ANNE—bright colors or patterns with puffy sleeves, which could be stuffed to create more puffiness. Hair can be swept back at the sides and held in place with bows to match their dresses. As older girls in ACT TWO, they dress in a similar fashion to ANNE (see above), with more sophisticated hairstyles. DIANA wears a flannel nightgown in ACT ONE, Scene Nine and a winter coat and hat in ACT ONE, Scene Eleven.

GILBERT and CHARLIE: Younger GILBERT and CHARLIE in ACT ONE could wear trousers, a button-up shirt, suspenders and dark shoes. Older GILBERT and CHARLIE might style their hair in a more neatly groomed or polished manner. They could each wear

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trousers, button-up shirts with a tie and vest or sweater vest over the top.

AUNT JOSEPHINE: A long nightgown and either wears her long, silver or white hair loose or tucked inside a nightcap.

LUCILLA: Stylishly dressed in the fashion of the day. Ankle-length dress with fitted bodice or blouse and full skirt, lace-up boots or heeled shoes, hair worn stylishly in a soft “up-do.”

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