Herstories

CAST OF CHARACTERS 

Her Folks: An acting ensemble of four women and two men. 

SCENE 

Strange and familiar lands of long ago. Time Betweenx the past and present. 

SETTING: 

The setting is a playing arena. Set pieces are minimal and suggestive, leaving room for the imagination of the audience. Props should enhance the actor's play yet remain magically simple. 

AT RISE: 

WIND howls in the blackout. As LIGHTS fade up, the WIND cross fades into OPENNING MUISIC. Spotlights reveal the WOMEN standing throughout the stage, their scarves blowing. They speak The Dedication. 

WOMAN#1 

To our mothers and grandmothers, aunts the women who stood before us. 

WOMAN#2 

Telling us about where they came from. and great aunts. To all They worried about us. 

WOMAN#3 

What they saw... 

WOMAN#4 

Did... 

WOMAN#2 

And imagined. 

WOMAN#3 

They let us know they stood for us. 

ALL 

Talking. 

WOMAN#1 

They combed our hair... 

WOMAN#2 

Rocked us to sleep, 

WOMAN#4 

Sang to us, told us tales of then... 

WOMAN#3 

And now- 

ALL 

And tomorrow. 

WOMAN#2 

They hoped for us and showed us the way. 

WOMAN#3 

They cared. 

WOMAN#1 

They cared. 

WOMAN#2 

They cared. 

WOMAN#4 

They cared. 

MUSIC fades.

WOMAN#2 

Five, ten, fifteen, twenty... 

WOMAN#2 counts off the Hide-n-Seek call, WOMEN 1, 3 and 4 jump in various hiding positions. They are giddy like little girls.

WOMAN#2 

Ready or not, here I come! 

The WOMEN freeze. MUSIC UNDERSCORES MAN#1 AS HE ENTERS.

MAN#1 

Her Stories. A collection of African-American folklore where females are personified as... 

The WOMEN move in ways that represent the characters MAN#1 list.

faries, mermaids, witches and animals. Tales that are sunny and magical, and frightening ones as well. 

One of the WOMEN shakes a tamborine, signaling the start of a song. SHE starts a melody. The other WOMEN join with hand-clapping.

SONG AND DANCE - HIGH TOE STEPPIN'

WOMAN#1 

There's gonna be a meetin' amoung the cripple-legged women and the frolickin' men will all be there. 

(The cast stops the song. The WOMEN are tickled by the mentioning of "men". The song resumes.) 

They got a cake that's bigger, than the foot of Sally Singer and the fiddler player he'll be there. Get down you high toe steppin' people, get down I say! Get down you high toe steppin' people, nuttin' but a heap'a gonna pay. 

The CAST underscors MAN#2 with humming. HE CROSSES DS.

MAN#2 

During the Plantation Era, the Black woman was the keeper of the household. At supper,that's dinner to you folks, she might think of a riddle to amuse her children such as the tale of ole' Buh Rabby. Oh he's a slick fellow, yes he is. But in this light- hearted tale, a little girl gets him mighty close to the rabbit's trap! Welcome, to Her Stories. 

The song resumes as each actor EXITS the stage. Lights fade. SONG segways into MUSIC CUE #1. Lights FADE IN on BUH RABBY and LITTLE GIRL. 

STORYTELLER 

Little Girl was always home. Her mama had her go down, pick some peas in the garden. 

MAMA and LITTLE GIRL ENTERS. 

MAMA 

Now I must go to market, take my vegetables every day. 

STORYTELLER 

Mama told her. 

MAMA 

Today, you mind the house and garden. Couple days from now, you can come along. 

LITTLE GIRL 

I'll mind everything, I will. 

MAMA kisses LITTLE GIRL and EXITS. 

STORYTELLER 

Says Little Girl. But soon as Mama was gone, Buh Rabby comes by. 

(BUH RABBY ENTERS. HE slicks his ears and shimmys his tail.) 

Big, stand-up ears, white puffy tail. Says the Rabbit... 

BUH RABBY 

Little Girl, I see you are picking peas. 

LITTLE GIRL 

I sure am. 

STORYTELLER 

Says Little Girl. 

LITTLE GIRL 

Mama told me to. 

BUH RABBY 

I saw yo mama going out, she greeted me. 

STORYTELLER 

Said Buh Rabby. 

BUH RABBY 

Says to me, "Tell Little Girl to let you in for some peas." 

LITTLE GIRL 

All right, if Mama said so. 

STORYTELLER 

Little Girl said. She opened the gate and let Buh Rabby in. 

(BUH RABBY begins to eat up and down the row.) 

Buh Rabby ate a whole row of sweet, tender peas in a minute. Him, stand-up ears, tail, big ole feet. Says... 

BUH RABBY 

Let me out now. 

BUH RABBY rubs his belly. LITTLE GIRL opens gate. BUH RABBY looks around for signs of trouble. When the coast is clear, HE puts back on the charm, but in a haste.

BUH RABBY 

Bye now! 

LITTLE GIRL 

Bye Mr. Rabby. 

STORYTELLER 

We told you he was slick. Mama came home from market, asked Little Girl how she was doing. 

LITTLE GIRL 

I let Buh Rabby in like you told him to tell me to. 

STORYTELLER 

Little Girl said to her mama. 

MAMA 

Well, I never saw him to tell, and I never said anything to that pesty Buh Rabby. 

STORYTELLER 

Her mama told her. 

MAMA 

If he comes back tomorrow, you let him in the garden, but don't let him out. When your Daddy comes home, he'll help you take care of Buh Rabby. 

MAMA EXITS.

STORYTELLER 

Next day, Buh Rabby hopped on over. 

BUH RABBY 

Hey there, Little Girl. 

STORYTELLER 

He said. 

BUH RABBY 

I come for to visit the garden. 

STORYTELLER 

Little Girl stayed quiet. She opened the gate and Buh Rabby hopped inside. 

(BUH RABBY ENTERS the garden.) 

White puff tail, big feet, flippity-flop he goes. Little Girl locked the gate behind Buh Rabby. (LITTLE GIRL closes the gate. SHE picks up a bucket of snap peas, sits and starts snapping peas.) 

STORYTELLER 

Puff tail up and down the sweet-pea row, ears just waving. Buh Rabby stayed all day. 

(Takes out a hanky and wipes mouth, head and neck) 

Then, way late, he dragged his full-belly self to the gate. It was almost time for Little Girl's daddy to come home from his labor, too. But that rabbit didn't know a thing. Buh Rabby called Little Girl, hollered at her. 

BUH RABBY stretches. 

BUH RABBY 

Girl! Turn me loose now. I'm all finished here. 

STORYTELLER 

Little Girl told him... 

LITTLE GIRL 

I am busy Buh Rabby. I hasn't no time right now to turn you loose. 

STORYTELLER 

So Buh Rabby sat down to wait. He didn't like waiting, but what was he going to do? After a while, he says, real polite... 

BUH RABBY 

Little Girl, I must leave right now. Let me out. Please. 

STORYTELLER 

She tells him... 

LITTLE GIRL 

Buh Rabby, can't you see I'm fixing these sweet peas for my mama? 

I can't be bothered with you! 

DADDY ENTERS. 

STORYTELLER 

Little Girl's Daddy came home right then. He saw what was in the garden besides Little Girl. Buh Rabby, that's what. All ears, puff tail, and big feet. 

DADDY 

What are you doing in there? 

STORYTELLER 

Asked the daddy. Buh Rabby tells him... 

BUH RABBY (STUTTERS) 

Little Girl let me in here sir. 

DADDY 

Commere, I got something for you better than them pea pods. 

STORYTELLER 

Daddy told Buh Rabby. Buh Rabby hopped to the gate, flippity-flop. Little Girl and her daddy grabbed him by the ears. 

(LITTLE GIRL and DADDY grab BUH RABBY and move hin CS.) 

They stuffed him in a gunnysack and hung him in the wild honey locust. Up and down its trunk and branches, that tree had thorns as long as a man's finger. 

LITTLE GIRL 

Ole Buh Rabby is high-strung and prickled! 

DADDY and LITTLE GIRL EXITS. 

STORYTELLER 

Little Girl told her daddy. Her daddy went away in the woods to cut some switches; going to smart Buh Rabby for sure. (WOLF ENTERS.) But Wolf came along, heard Buh Rabby coughing in the gunnysack. Said... 

WOLF 

That you, Rabby? What you doing in there? 

BUH RABBY 

Oh... 

STORYTELLER 

Said Buh Rabby, thinking fast. 

BUH RABBY 

I'm on my way to Heaven for Little Girl. You want to come along? 

WOLF 

Yes indeed! 

STORYTELLER 

Said the wolf. 

BUH RABBY 

Then open my sack and come on in. 

STORYTELLER 

Buh Rabby told him. So big ole Wolf did it... 

BUH RABBY 

You first. 

WOLF 

Oh, thank you. 

BUH RABBY 

You're welcome. 

WOLF unties sack and rolls it down. BUH RABBY jumps out, holding the sack for WOLF.

STORYTELLER 

He jumped in. Buh Rabby jumped out, tied the wolf in the gunnysack. 

WOLF 

Hey1 

BUH RABBY EXITS. 

STORYTELLER 

Hollered Wolf. But Buh Rabby was gone, even before he started, fast as he could get. 

(LITTLE GIRL and DADDY ENTERS) 

Little Girl and her daddy came back. She gave the sack a once-over, said... 

LITTLE GIRL 

You're no rabbit in there. Wolf, what are doing? 

WOLF 

I'm a-go to Heaven for you , Little Girl, like Buh Rabby say I do if I go in here. 

STORYTELLER 

Little Girl giggled, and her daddy smiled. 

DADDY 

Now I'm a-going to finish this and it won't be Heaven you'll get. 

DADDY runs his hand up the switch, getting ready for the whupping.

STORYTELLER 

With that, he switched Wolf's hide about ten-sting times. 

WOLF 

Ow-ow-ow! 

STORYTELLER 

Wolf hollered. Daddy said... 

DADDY 

When you see a gunnysack again, Wolf, you better take care! 

STORYTELLER 

Little Girl told Wolf... 

LITTLE GIRL 

And you make sure Buh Rabby won't hide a trick in it too. 

STORYTELLER 

Anybody see that Little Girl at the market, tell her, I go around the bend. I see a fence to mend. On it is hung my story end.

TRANSITIONAL DANCE. MUSIC underscores STORYTELLER.

STORYTELLER 

First told by elderly women in southwestern Virginny,generations before the Civil War, Miz Hattie Gets Some Company has a gentle (MORE) wise humor that's befitting a story about a little old lonely woman who gets some unexpecting company, both good and bad. 

HATTIE ENTERS sweeping.

STORYTELLER 

Once upon time, when dogs barked rhyme, there was Miz Hattie. 

Miz Hattie lived all along in the piney woods. It was alright for her in the spring when trees bloomed and flowers covered the ground. 

(HATTIE CROSSES to HER chair and rocks.) 

Then, she'd sit on her porch, rocking in her rocking chair. Feeling at peace with herself, she'd murmur... 

MIZ HATTIE 

The whole bright world is here for me to look on. 

STORYTELLER 

Life was good to her in summer when the sunshine warmed the pines. 

It was even better in the fall when all was ripe. 

(HATTIE Slips on a shawl. SHE grabs a basket and loads it with corn and taters from the garden.

STORYTELLER 

Hattie was busy then getting her corn and taters and pumpkins in, and her wood for the cold weather. But when winter came with heavy snows, the pine trees rocked, and the wind howled so. "Woo- oho! Woo-hooo! 

HATTIE leans back as if the wind prevents HER from moving.

STORYTELLER 

Went the wind, hauling snow all around the house and down the chimney. It made Hattie feel low and very down in her mind. 

HATTIE 

Wish I had me somebody close. 

STORYTELLER 

She whispered. 

MIZ HATTIE 

Maybe a child, or a sister. I'm about as lonesome as a biscuit without some gravy. 

STORYTELLER 

Miz Hattie had other bothers too. Hawks and minks and foxes stole her chickens. 

(the SOUNDS of chicken rattling outside ) 

Rats and mice gnawed her corn and taters. 

MIZ HATTIE 

The varmints are about starving me out of my house and home. 

STORYTELLER 

She complained to the woods. She was afraid of the rats and mice. 

Especially the mice. 

Two MICE scrambble behind HER, enjoying their mischief.

MICE DANCE

STORYTELLER 

They were smart enough to know. They'd watch her from their holes in the cabin logs, and then they'd scoot out and run right across her feet. She hollered... 

HATTIE 

Mercy me! 

HATTIE runs to HER bed and shivers.

STORYTELLER 

And gathered her skirts up. Then the mice would fairly snicker at her. 

(The MICE slap claws. They run, flip and scamper in and out of corners. ) 

Oh yes! They tripped her and jumped out at her. They hid in the cornmeal bag and leaped out when she stuck her hand in. One cold night, bad went to worse with a swirl of sparks in the fireplace. A whole squeak of mice started up playing hide-and-seek in the sugar bowl and tag around the bread box. They took flying leaps and landed on the bedcovers. They did mouse springs right on top of poor Miz Hattie's head. Hattie gave a mice had heard before. Loud as the wind, MIZ HATTIE Oh mercy sakes! Lord, help me! 

STORYTELLER 

The door flew open. 

(Door flings open SOUND EFFECT) 

Right there stood the Lord himself, come all the way down to help Miz Hattie. 

(HATTIE slowly bows.) 

She found herself out of bed and sitting on her stool. She knew who it was and sat, bowed down for a moment, awed and respectful. She couldn't help staring. 

(After a moment, HATTIE sneaks a peak at GOD, marveling at HIS size.) 

Seemed he was inside and outside all at once. She could see the moon and stars through his head and shoulders. He didn't say a word to her at first. He pulled off one of his gloves and threw it on the floor. 

(A white ball rolls SC.) 

And that glove, lo! It started to squirm and wiggle, yes, it did! Hattie couldn't believe her eyes. 

MIZ HATTIE 

Lord, is your glove a-moving there? 

STORYTELLER 

Gently, he told her, "I believe it be, Miz Hattie."

MIZ HATTIE 

Whatever you say has to be. 

STORYTELLER 

She answered. Sure enough, she saw the thumb of the glove turn into a tail. And the fingers turned into four legs. The gaunlet became a head. In no time, the glove had changed into a creature that stretched itself and worked its claws. It sniffed at the mouse tracks. 

(CAT/MICE DANCE) 

By-and-by, the creature sprang at one of the bad little skeezicks that poked its head too far out of its hole. Bless it be, the creature caught the mouse. With a fatal bite, it laid the mouse at Miz Hattie's feet. Showing her what it could do for her. Miz Hattie took up the creature, that cat, what it was. 

(CAT nestles HIS head in HATTIE's lap.) 

Held it in her arms and stroked it and nuzzled it some. The cat was so pleased, it hunched down in her lap and made a warm, purring sound deep inside itself. Yes, and cats have been purring ever since. This first cat made the noise so much that Miz Hattie started calling it... 

HATTIE 

Purralee. 

(HATTIE sets a saucer of milk out for CAT.) 

STORYTELLER 

Well, Miz Hattie had forgot all about the Lord standing there, she was so happy. And when she remembered to thank him, she looked up only to find the door closed. There was nobody there. She thought she'd dreamed the whole thing. She did not! After then, every time Miz Hattie hollarded... 

MIZ HATTIE 

Purralee, Purralee! 

STORYTELLER 

The cat came running to her and rubbed itself against her legs. 

STORYTELLER 

And that's how the cat came to be. You must always watch out for them, for they're made of Jesus' glove. And it's plain unlucky to harm them. Still, cats came here well after other creatures, and so they should behave themselves. But they never do. They think cream and meat were made for them, and the softest cushion, too, like Miz Hattie's lap. But she was happy now, dear Miz Hattie was. She had some company at last. So be it, bow bended, don't you know. My story's ended. 

WOMAN#2 and #3 ENTER with MAN#1, forming a circle CS chanting. 

SONG - ENGINE, ENGINE NUMBER NINE.

One WOMAN pushes the other down. The scene freezes. Man#1 steps DS. 

MAN#1 

This classic Creole tale is said to have had original roots in India, extending all the way to Africa and into the New World. The tale of two sisters, one good and one the lesser. A spin on sibling rivalry, Good Blanche, Bad Rose and the Talking Eggs teaches the virtues of kindness and generosity and the dangers of greed. 

STORYTELLER 

There were two daughters. 

(The DAUGHTERS ENTER) 

The good Blanche and bad Rose. (MAMA ENTERS) Their mama loved bad Rose best because Rose was her spitting image. Mama made good Blanche do all the housework, 

(MAMA hands BLANCHE a broom.) 

while bad Rose did nothing but rock back and forth in her rocking chair. 

SONG - STICKS AND STONES

STORYTELLER 

One day, Mama sent Blanche out with a bucket to get her cold, fresh water. 

(MAMA hands HER a bucket ) 

Blanche did as she was told. 

(OLD WOMAN ENTERS.) 

At the well, she saw an old woman. The woman said... 

OLD WOMAN 

My little one, little one, give me some water. I am so thirsty. 

BLANCHE 

Yes, Auntie. 

STORYTELLER 

Said Blanche, kindly. 

BLANCHE 

Here is plenty of fresh water for you. 

STORYTELLER 

She filled the bucket and gave some water to the old woman. 

OLD WOMAN 

Ahhhhhh. 

STORYTELLER 

Sighed the woman, after she drank two cupfuls. 

OLD WOMAN 

Thank you my little one, little one. You are such a good girl, bless you heart. 

STORYTELLER 

Then Blanch refilled the bucket and carried the heavy load all the way home without spilling any of the fresh water. 

BLANCHE ENTERS the house. She soon runs out, scared of MAMA and ROSE who ENTERS.

STORYTELLER 

Not long after this the mother acted so mean toward her that Blanche ran away, deep into the woods. Hidden in the trees, she went here and there, crying and wringing her hands. She was all alone and afraid to go home. She didn't know what to do. 

(OLD WOMAN ENTERS) 

Suddenly, she saw the old woman walking in front of her. 

OLD WOMAN 

Little one, little one, why are you crying? 

STORYTELLER 

The old woman asked Blanche. 

OLD WOMAN 

What hurts you? 

BLANCHE 

Oh, Auntie, my mama hit me. I'm afraid to go home. 

OLD WOMAN 

Well, come with me, then. I'll give you some supper and a bed to sleep in. But you mustn't laugh at what you will see. 

STORYTELLER 

She and Blanche walked hand in hand, on through the woods. Thorney bushes opened before them and then closed behind them. Farther along, Blanche saw two axes fighting in midair. That's strange, she thought but she said nothing. As she and the old woman walked on, Blanche saw two arms without bodies, with fists, punching. 

STORYTELLER 

Next, she saw two heads bumping each other. Blanche was shocked and confused, but she kept quiet-for they had reached the woman's cabin. 

OLD WOMAN 

Make a fire, little one, little one, we'll cook our supper. 

STORYTELLER 

The old woman sat down by the fire and took off her head. She placed it on her knees and combed her hair. How very weird! thought Blanche. This must be a magic place. But she didn't say a word about it. The old woman put her head back on. She gave Blanche a large bone to put on the fire for their supper. Blanche carefully put the bone in a pot over the fire. At once, the pot was full of good meat to eat. Next, the woman gave Blanche one grain of rice to pound. Soon, the bucket was full of rice. After they ate supper, the old woman said... 

OLD WOMAN 

Little one, little one, scratch my back. 

STORYTELLER 

Blanche did as she was told and cut her hand to bleeding. The woman's back was made of broken glass. And when she saw Blanche's hand covered in blood, the old woman blew on it. The hand healed. Blanche had a good night's sleep. At daybreak, the old woman told her... 

OLD WOMAN 

Go home now, little one, little one. You are such a good girl, I will give you a present of my talking eggs. In the chicken house, take all the eggs that say, Take me. Leave the ones that say, Don't take me. And when you are on the way home, throw the eggs behind you to break them. 

STORYTELLER 

Blanche did as she was told and broke the eggs behind her as she went. Diamonds came out of the eggs. Then gold came, and a beautiful basket full of fine dresses. 

(BLANCHE scoops up the treasures and EXITS.) 

When Blanche got home, she filled the house with riches. (BLANCHE shows the gifts.) 

Her mama was very glad to see her. The next day, Mama said to Rose... 

MAMA 

Go to the woods, meet the old woman. You must have finer dresses than Blanche. 

ROSE tips out the house and EXITS, RE-ENTERING the woods. SHE meets the OLD WOMAN.

STORYTELLER 

Rose went to the woods, and all happened as had happened to Blanche. 

(OLD WOMAN leads ROSE to HER home.) 

But when Rose saw the axes, the arms, and the heads fighting, she laughed. When the old woman took her head off and set it down on her knees, Rose had to hold her sides, she laughed so hard. And she made fun of everything she saw. The following day, the old woman said to Rose... 

OLD WOMAN 

I can't send you home with nothing Rose, so good. Go to the chicken house. Take Take me. following day, the old even though you are not only the eggs that say, Take me. 

STORYTELLER 

Rose went to the chicken house. Some of the eggs began shouting: 

Take me!, Others yelled, Don't take me!, over and over. 

ROSE 

So you all say. 

STORYTELLER 

Rose said. 

ROSE 

But you don't fool me. I'm taking you who say, Don't take me. 

STORYTELLER 

As she walked away, Rose broke eggs. Out of them a huge lot of snakes, toads and frogs, which ran after her. Whips came and they whipped Rose. 

(ROSE EXITS, running home.) 

STORYTELLER 

She ran, hollering for her mama. 

ROSE 

Mama, mama, help me! 

STORYTELLER 

She cried. At home, she was too frightened and tired out to speak. Mama saw the ground beasts and the whips. She was furious. 

MAMA 

Get out of here Rose, and take those awful things with you. Go live in the woods. 

STORYTELLER 

She sent Rose away like a dog. And Rose went, taking her troubles with her. 

STORYTELLER does a small jig, proud of his story. 

SETTING: 

AT RISE: 

SCENE 1 

Same playing area. 

Lights FADE UP on MAN performing a Juba step dance in a pool of light.JUBA/WARRIOR DANCE His movements slow down as he starts to speak, using the patting of his chest/legs to underscore. 

MAN#2 

Originated in West Africa, the Juba dance was performed by slaves during gatherings when no rhythm instruments were allowed. The sounds were also used to communicate hidden messages. Sounds of freedom! 

(MAN breaks into a high toe step then resumes a steady rhythm.) 

MAN#2 

Later in the mid-19th century, music and lyrics were added. It is said to have indirectly influenced the developement of American tap. 

(MAN ATTEMPTS TO TAP DANCE.)

MAN#2 

I can't do that. 

(MAN#2 spins around.) 

MAN#1 (YELLS) 

AW shucks! They fixin' to tell somebody off in the juba circle! 

(MAN#2 calls all dancers to the circle. The ENSEMBLE run to their position in high spirits. JUBA SONG begins.) 

CALLER (SING) 

Juba dis and juba dat. 

ENSEMBLE (RESPOND) 

Jubba dis and juba dat. 

CALLER (CALLER) 

Juba gone skin the yella cat. 

ENSEMBLE (RESPOND) 

Juba gone skin the yella cat. 

CALLER (SING) 

You sift the meal and ya givmme the husk, 

ENSEMBLE (RESPOND) 

You sift the meal and ya givmme the husk, 

You bake the bread and ya gimme the crust. 

ENSEMBLE (RESPOND) 

You bake the bread and ya gimme the crust. 

CALLER (SING) 

You raise the meat and ya gimme the skin. 

ENSEMBLE (RESPOND) 

You raise the meat and ya gimme the skin. 

CALLER (SING) 

And that's the way my toubles begin. 

ENSEMBLE (RESPOND) 

And that's the way my toubles begin. 

CALLER (SING) 

Juba dis and juba dat. 

ENSEMBLE (RESPOND) 

Juba dis and juba dat. 

SING (SING) 

Juba gone skin the yellow cat. 

ENSEMBLE dispurse except for cast of Malindy.

STORYTELLER 

Once upon a time, when geese were pigs, and turkeys danced the barnyard jigs, there lived a child, Malindy. (ENTERS MALINDY) She just loved to sing and dance. Everywhere she went, she sang about it. 

MALINDY 

I'm going to get me some milk from the moo-moo-cow. 

STORYTELLER 

And she would sway this way and that, to and fro. One time, Malindy had her pail full of warm milk right from the cow, and she was going home along the fence line. 

MALINDY 

I'm going home to supper, I've got my milk pail by my side! 

STORYTELLER 

She said. Just then, she tripped on a rough place on the path. 

(MALINDY falls) 

The pail spilled milk all over the ground and all over Malindy, too. Malindy sat there weeping, staring at that rickety-crickety fence and singing... 

MALINDY 

Oh, boo-oho, poor me. Now Papa will punish me. And I get no supper too. Boo-hoo-hoo! 

ENTERS DEVIL.

STORYTELLER 

Something came along on the topmost rail of the fence. It was fuzzy-furry all over. It had a long tail. 

MALINDY 

You, baboon! 

STORYTELLER 

Malindy said sniffling. 

MALINDY 

What are you doing way out here? 

STORYTELLER 

Baboon didn't say anything because it wasn't any. 

(SHE incircles the DEVIL.) 

Malindy saw then that what she thought was an animal had a pitchfork. 

MALINDY 

I know. 

STORYTELLER 

She said. 

MALINDY 

You're a devil! 

STORYTELLER 

She started blubbering hard again, but she wasn't crying over her spilt milk, no she wasn't. 

DEVIL 

Now, now. Don't take on so. I wouldn't hurt you. 

STORYTELLER 

At that, Malindy stopped crying. 

MALINDY 

You're a tiny fellow. 

STORYTELLER 

She said. For the devil looked to be the size of a slender salamander. 

DEVIL 

They call me Little Devil. But I know how to change. 

STORYTELLER 

He grew to giant size, blotting out the trees. 

MALINDY 

Goodness! You are truely something aweful! 

DEVIL 

That I am. 

STORYTELLER 

Said Little Devil. 

DEVIL 

But listen, I'm just starting out with devilment. This is my first case with a child. And I want to help you. 

MALINDY 

I'm listening. 

DEVIL 

I'll restore your milk to its pail for a price. 

MALINDY 

Will you dry my dress off too? My mama will spank me for getting my dress all dirty. 

DEVIL 

I can do that. But first, you must promise to give me your soul when you pass beyond this earth. 

MALINDY 

But I want to stay here a long time. 

DEVIL 

How long? 

STORYTELLER 

Malindy thought about it. She wanted to be as old as her mama someday. 

MALINDY 

Twenty-nine years! 

STORYTELLER 

And she did a little dance. 

DEVIL 

I can do that for you, Malindy. I'll restore your milk and fix your dress like new. I'll give you twenty-nine years, and at the end of that time, you will give me your soul. 

MALINDY 

It's a deal! 

DEVIL 

Let's dance! 

STORYTELLER 

And they did. 

SONG - I AM WHAT I AM

STORYTELLER 

Right then, the pail stood upright. It was full of warm milk. And poof! Malindy's dresss was dry and looked brand-new. 

MALINDY 

Whoo-whee! 

STORYTELLER 

Shouted Malindy. She did a twirling dance in her sandals as Little Devil spun her just so. 

(MALINDY and DEVIL EXIT) 

Well, the time went by and by. Soon, the twenty-nine years had gone. Malindy was grown now, with children of her own. She'd forgot all about Little Devil, such a good time she'd had. 

(MALIDY ENTERS) 

One morning, there was a commotion in the air around her. 

Everything turned black and red and all bright day. A loud voice hollored... 

DEVIL 

I'm going to come after you. I'm coming after you. Right now! 

DEVIL ENTERS 

And lo and behold, there was Little Devil standing before her, looking just like himself. 

MALINDY 

I remember you, no bigger than a minute. How you doing? 

DEVIL 

Doing all right. But I come for your soul. You promised. 

MALINDY 

I remember, I did. Wait a minute, I'll get it for you. 

STORYTELLER 

She turned her back to him. Tore off the sole of her shoe. Turned around and gave her sole to him. 

DEVIL 

This it? 

MALINDY 

Sure is. 

DEVIL 

I thought it would be bigger. 

MALINDY 

That's it. 

STORYTELLER 

So the ugly little devil had to take her sole to his master. He didn't know any better, too. 

(DEVIL solemly EXITS.) 

And Malindy? Well, she went dancing along through life. So did her many children. They all lived happily ever after. 

MALINDY 

See, because the devil can get your sole but one time. After that, he has to quit. That's all. 

MALINDY EXITS.

An African drum echoes in BLACKOUT. Lights up on the shadows of CAT WOMAN and SAMUEL. She seduces him under her spell as WOMAN 1 recites the poem.

BOO HAG DANCE

WOMAN#1 

Boo hag comin to get me. Oh, no, she wont leave me alone, Cuz I done kilt my lawful lady, set her spirit out there to roam. Now she gon use her hoodoo on me, send me to the place of the bones. 

(Lights fade on WOMAN 1 and rises on STORYTELLER.) 

STORYTELLER 

How do you rid yourself of someone coming between you and your sweet-heart? Summon the power of the wickedest conjure woman, west of the Mississippi River, forty miles south of New Orleans, home to some of the scariest voodoo and conjur women around. This is the story of Lonna and Cat Woman. Pretty Polly was to marry young Samuel from way up the road. 

(SAMUEL and POLLY ENTER arm in arm. POLLY carries a bouquet of flowers.) 

STORYTELLER 

But there was a girl name of Lonna, (LONNA ENTERS) said that Samuel belonged to her. 

LONNA CROSSES to THEM. SHE knocks the flowers from POLLY. SAMUEL picks up the flowers and hands them back to POLLY as they walk away.

She said Polly had tricked him, and she was going to get him back. 

POLLY looks back at LONNA and smiles.

STORYTELLER 

She went to the conjure woman named Cat Woman. 

STORYTELLER jumps in audience's face.

STORYTELLER 

Fear her! Woman had money to burn. She had the power. Are you getting this chile? Yes mam', I'm on it. Everybody knew about her, and most stayed away from her. For her life depended on something all of us have but few of us will sell. 

SONG AND DANCE - THE CONJURE WOMAN

STORYTELLER 

Lonna had got the word that Cat Woman would help her. But first, Lonna had to give Cat Woman a suck of her blood.

(CAT WOMAN says simultaneously with Storyteller "suck of blood..." ) 

Cat Woman, she of the albino skin, was a her-vampire. And she fooled Lonna, said she needed her blood to make the charm against pretty Polly most powerful. 

CAT WOMAN ENTERS. SHE slinks to a frightened LONNA.

CAT WOMAN 

It won't be much Lonna girl. 

STORYTELLER 

She forced her sharp teeth into Lonna's neck and sucked her fill. I'm telling you true. Afterward, Lonna felt weak, dragging her legs as limp as a dishrag. And Cat Woman hadn't even taken some money. She'd told Lonna to buy some food with it and fill her belly. 

CAT WOMAN 

When they lay away that Polly girl, 

STORYTELLER 

Murmured Cat Woman. 

CAT WOMAN 

You come back for a charm. It will bring your Samuel closer to you than a sick puppy to a warm fire. 

CAT WOMAN laughs. STORYTELLER shivers. CAT WOMAN EXITS.

STORYTELLER 

They say the sound of her laughter came off a breath that had no life to it. Only death and darkness. (LONNA CROSSES to a chair and plops down. SHE lifts her feet on an ottoman.) 

When Lonna got home, she lay down at once and could hardly lift her head. But she was satisfied. 

(SAMUEL carries POLLY and lays HER on the bed.) 

Soon pretty Polly grew sick and tired, and took to bed. The rumor was that Polly wouldn't ever have old bones in her body. (SAMUEL paces. The DOCTOR ENTERS.) 

Young Samuel was frantic over Polly. The doctor came to look at her. He said there was nothing he could see. (The DOCTOR EXITS.) 

From then on, Samuel knew the worst. He knew that Lonna had put a spell on Polly. 

(SAMUEL EXITS.) 

Samuel went to the city to find the conjure woman Lonna had gone to. He would pay for a better spell than Lonna's. Word about the her vampire Cat Woman was on the street. 

(SAMUEL ENTERS. CAT WOMAN appears.) 

Samuel found out where she lived. She opened the door just as he was about to knock. She had on a white turban and a white gown. Her face was covered in rice powder, to hide its foul-smelling rot. Samuel felt his flesh creep. Said the her-vampire's arms moved like bird's wings opening and shutting on a warm day. Her nails would sheathe and unsheathe like a cat's claws. 

SAMUEL 

But it was her eyes. They bulged out at you, like wet-shiny, like marble. 

CAT WOMAN 

I know why you come here, but I want to hear you say it. 

SAMUEL shows HER a picture of POLLY.

STORYTELLER 

Then Samuel told her about pretty Polly's poor state of health. 

CAT WOMAN 

My price for saving her is a suck of your young blood. Are you willing to pay the price? 

SAMUEL 

You can get as much blood as you want from the slaughterhouse. 

STORYTELLER 

He told her. 

CAT WOMAN 

I want it strong and fresh from young veins! 

STORYTELLER 

She grinned at him. It was then Samuel saw her pointed cat's teeth. 

SAMUEL 

I was most hypnotized. 

STORYTELLER 

He was to say. She walked him, her arms around his chest. He felt her teeth break the skin on his neck, and sink in. She seemed to purr then as she sucked his blood. After she drank her fill, she told him... 

CAT WOMAN 

Your girl will be well by the time you get I can spell her whenever I want. (SAMUEL stumbles away.) You will come back here many times to give forget. home. Just remember, me more blood. Don't 

STORYTELLER 

Samuel barely made it home. But he found Polly sitting in a chair and eating everything in sight. Meantime, Lonna seemed to be drying up into an old hag. 

(LONNA ENTERS.) 

So she dragged herself to Cat Woman's door. She fussed at Cat Woman for not taking care of her. She got sassy with her-vampire! Cat Woman grabbed her and shook her like a wet rag. Lonna fainted. Cat Woman thought she'd broken her neck. She lost her head, sent for the him-vampire. 

(CAT WOMAN EXITS with LONNA.) 

Between them, they carried Lonna to the canal to dump her. A po-lice happened by, and saw them. The him-vampire took off. Other po-lice couldn't catch him. They managed to hold onto Cat Woman. She went to jail and was given no bail out. The the story ended just about the way you'd expect. Lonna got well, but she never tried any more nonsense over pretty Polly. Pretty Polly went on courting her Samuel. And the her-vampire, Cat Woman? In the end, she stayed in jail so long she had no way to get blood. She died of course. People said it was foolish to mess with a poison weed. Said just to pull it up and throw it in the sun, and let the roots die. Cat Woman, the her-vampire, was sent back to the Bad she come from. And good riddance. 

STORYTELLER breaks into SONG - ROCK-N-ROBIN

CAST joins for song and dance. This segways into the next story. 

STORYTELLER 

Woman and Man Started Even. A moral tale of equality. A fight between man and woman that still ensues to this day. Who's the better? And oh how the devil loves to upset the balance when human beings allow him to enter their lives. The Tennessee tale poses this question: Who really holds that special power? 

(MAN and WOMAN ENTERS) 

God created Woman and Man. He made their house and all its doors. When Woman and Man talked together, they said the same number of words. When they fought, they also came out even. 

(THEY arm wrestle.) 

Woman was as strong as Man, don't you know. She couldn't win over him and he couldn't beat Just level. her. That was the way it was. 

MAN 

I have to see God about this. 

STORYTELLER 

Said Man. 

MAN 

I'm getting weary with having a woman around that I can't even whip in a game of arm wrestling. 

STORYTELLER 

So Man carried himself up to Heaven. And there, he found him, great God. 

MAN 

My dear God. I come to you because you are the most, and I need help. Please, will you give me strength to win over Woman? If you make me harder and tougher, I will keep everything in place on Earth, including that woman. She thinks she's so smart and so mighty. 

STORYTELLER 

Well all right then, said God. I like a man that knows what he wants. Now here, I give you more strength than Woman. So Man is stronger. And he hurried home to tell Woman. 

MAN 

I been up in Heaven. God given me more strength, and now I'm the best, and I am over you with more strength than you will ever have. 

STORYTELLER 

Woman was upset. 

WOMAN 

I'm going to see about this. 

STORYTELLER 

She waited a whole day, getting her mind in hand. Then she went up to Heaven. 

WOMAN 

My God, I come here to get me my strength that I had one time. 

STORYTELLER 

You still got the strength you had one time, says God. Its just that Man has got some more than you.

WOMAN 

Well, why is that Lord? 

STORYTELLER 

She asked the great God. Well, because he came up here and asked for some more, and I gave it to him.

WOMAN 

But can you give me some more, too? Or take away what you given him, so we'll be even again? 

STORYTELLER 

I can't take back what I have given, said the Lord. You'll just have to get along with Man being the strongest. So Woman went on her journey home. She was steaming mad at the great God. 

(The DEVIL ENTERS.) 

Which is the way the devil finds how to get into someone's life. 

And he was standing next to Woman, smilling at her. She told the devil all that happened. He says to her, devil says... 

DEVIL 

This is how you do better than Man. You climb upstairs again. 

Ask God for the keys hanging by the left pearly gate. Bring them to me, and I'll let you know what comes next. 

The DEVIL hides.

STORYTELLER 

So Woman does it. She goes back up there. What is it you want with me this time? God says. Getting a little tired of her busting in on him. 

WOMAN 

Great God, you the big head of Heaven and Earth and all the stars. 

STORYTELLER 

What is it that's on your mind, Woman? God asks. He's getting irritated now. 

WOMAN 

Please, give me those keys hanging by the left pearly gate. 

STORYTELLER 

Well, take them, God says. And kindly leave me alone! So Woman takes them and gets on down the stairs as fast as she can. There's the devil, waiting on the bottom step. 

DEVIL 

Those are some power keys you got there. Take them home and lock the door to the kitchen. Lock the door to the bedroom. Lock the children's room, too. 

WOMAN 

Why do you want me to do these things, locking up everywhere? 

DEVIL 

Because, first lockup, Man always got his stomach on his mind. 

Always wanting to eat up everything. Second lockup, Man has to have his sleep and gets upset when he don't have it. Third lockup, Man can't stand to be seperated from his baby children. He has care about his name going on through the next generation. 

STORYTELLER 

So Woman hurries home. When Man comes in from his chores, she's waiting for him. Rocking on the porch and singing songs, one after the other. Man sees that the doors are locked up tight when they are supposed to be open wide. 

MAN 

Hey! 

STORYTELLER 

He storms up and tries to get through. It takes all his strength, but he can't open those doors. 

MAN 

Who locked up? Where'd you get some keys to lock up everything? 

STORYTELLER 

Woman says... 

WOMAN 

God gave them over to me. 

STORYTELLER 

Man goes up to God, tells God what Woman said. Yes well, she asked, and I gave, said God. And that fallen angel of mine, the devil, he showed her how to use them.

MAN 

Well, give me some keys so I can get the doors open. God, don't let her have it over me! 

STORYTELLER 

No, sorry, Man, can't do it, said the Lord. What I give over, I don't take back, you know that. Just go ask Woman to open the doors, if you have to have them open. Well, Man did that. But he couldn't sway Woman. Only way she would unlock the doors is when he did what she wanted. 

MAN 

I got a plan. 

STORYTELLER 

He said to Woman one day. 

MAN 

Let's us each take an equal part. You give me two of those keys, and I'll give you half my strength. How's that? 

WO 

Hmmmm. 

(MUSIC begins to play) 

I have to think about it. 

STORYTELLER 

Woman is thinking and thinking when the devil is there rocking with her. 

SONG - I GOT A PLAN

DEVIL 

Woman, if I were you, I'd tell Man no. Let him have his strength, and you keep all the keys. And if one time you feel you might give in, remember this: When horseflies worry the horse, the horse is happy to have its hairy tail to swish them off his hide! 

STORYTELLER 

Woman kept her keys. She wouldn't trade for Man's strength. So that's the way it is. Man is strong. But its Woman who has the power. 

WIND howels. Pools of light fade in as WOMEN begin to speak.

ALL 

I was a child... 

WOMAN#1 

Who listened closely to grown up women talking. I never forgot how they looked when they talked. 

WOMAN#2 

How they moved their hands and gestured with their arms. 

ALL 

When I was a child... 

WOMAN#4 

I heard stories told by women. They were gentle reminders about natures's power, ourselves in the world, where we came from, who we were. 

WOMAN#3 

Mothers, talkers, those tale tellers, and about whom tales are told. 

WOMAN#2 

They let us know they stood for us. 

ALL 

Talking. 

WOMAN#1 

They combed our hair... 

WOMAN#2 

Rocked, you, to sleep, 

WOMAN#4 

Sang to us, told us tales of then... 

WOMAN#3 

And now- 

ALL 

And tomorrow. 

WOMAN#1 

They worried about us. 

WOMAN#2 

They hoped for us and showed us the way. 

WOMAN#3 

I care. 

WOMAN#1 

I care. 

WOMAN#2 

I care. 

WOMAN#4 

I care. 

ALL 

These are the legacies of Herstories. 

SONG - ALL I HAVE TO DO