Synopsis of  Lysistrata’s Children:

After watching a 4th of July parade, a teenage girl becomes overwhelmed with the realization that the history of the United States has been a continuous series of wars.  She determines that she would like to bring an end to this awful parade.  She introduces this idea to a group of her skeptical friends and they brainstorm how they could possibly bring about an end to war.  Finally it is decided that the children will ask all adults to sign an oath renouncing war and violence.  To coerce reluctant signatories, the children will deny their parents not only their love, but also any chance to see their children acting like kids—no demonstrations of joy or emotion.  Their plan is spread throughout the country via the internet.  In the second half of the play we see how their plan pans out. Finally, things come to a head with a final confrontation between adults and kids, which is resolved by everyone on stage choosing to walk the path of peace.

A “Greek” chorus recites original student poetry as well as the words of actual children who’ve survived warfare. Though entirely performed by students, it has a powerful effect on both students and adults in attendance.

Lysistrata’s Children examines war and peace, violence and non-violence through the dynamics of child/parent relationships.  It is a unique experience to hear these themes examined through the voices of children.  It also turned out to be highly entertaining for the audience!

About the process of creating Lysistrata’s Children:

I hoped to create a peaceful response to the eternal plagues war and violence using classical references voiced through young people.  I asked actors to research the history of war in the U.S., to create collages based on the theme of war and peace, as well as compose prose poems inspired by the art and poetry of child war victims.  In rehearsal, we brainstormed methods that children use to get their parents to do what they want, and later, strategies employed by parents to control their children. In small groups, the actors created short scenes based on these ideas.  These embryonic scene-lets became the basis for individual scenes in the piece itself, which I structured and wrote out more fully.  Much of the dialogue of the Crew concerning thoughts about war was culled from a discussion in rehearsal on the topic of “Is war necessary and if so, when?”


A Note for Directors:

Lysistrata’s Children was devised and written for a cast of 21 middle school actors (6th through 8th graders).  In addition, 6 more actors performed as puppeteers for the parade, the war and the conclusion. Roles may be allocated in such a way that will permit for many more participants but probably no less than 11.  Actors playing adult characters wore half masks that conveyed age, yet allowed them to be heard and were interchangeable.

You may produce this play as is however, directors may wish to create new scenes with their cast that explore the power dynamics of parent/child relationships.  This is an exciting exploration for students and allows them to make a significant contribution to the play.  It will involve more work for the director and a strong writing hand to maintain cohesion.  Note that changing scenes will alter the dialogue connecting them.

Lysistrata’s Children is meant to remain contemporary.  References to pop culture may be changed to reflect current likes and dislikes.  Heartthrobs and crushes change over time as will celebrity gossip.  Ask your actors what they think works.  The “Diary” scene may need to be adjusted.  Also the “Baseball” scene should feature a contemporary player. U.S. presidents will also change and staging and dialogue should reflect that, regardless of political party.  The actor playing the President in the “Kidnapping” scene wore a George W. Bush mask, but had we done this play six years earlier, he/she would have worn a Bill Clinton mask.  Depending on the state of warfare in the United States, Lindsay’s opening speech should be adjusted as well at the end.

The chorus speeches and the “Victory Over Violence” oath must remain intact, but may be divided up (or not) as suits your production.

Lysistrata’s Children originally ran for 50 minutes, plus intermission.  We broke after the “Victory Over Violence” oath.  I recommend a break to facilitate a sense of time passing within the play.

Some may find the parental discussion in the “Baseball” family to be too mature and the actors may be a bit squeamish about it.  It may be toned down.  However, the romantic relationship between the parents must be evident in order for the mother to deny the father and force him to act—a tip of the hat to the original “Lysistrata,” from which this play was inspired.

Have a great time with this piece and thank you for trying it!

Philip Suraci