Scripts for Easter
The following photocopiable scripts can be borrowed at a cost of £5 from the Publications Editor Nickie Cox at Radius, contact info@radius.org.uk

Members should note that fees for any performances are payable over and above the cost of borrowing.

First Easter by Les Ellison

Nine independent scenes, variable cast. Versatile, funny and moving, this collection of Easter scenes can be used flexibly. Well received at Radius summer school and acclaimed by experienced directors.

An Easter Carol by Les Ellison
Minimum 4m, 2f. 1 hour. A versatile collection of 5 Easter scenes in Les Ellison's popular and lively style.

Green Branches: Some Women at Easter by Brenda Jackson
Several women speakers, running time variable. Six short verse monologues, a dialogue and a lyric on Easter themes from the raising of Lazarus to the Ascension. Suitable for use in worship. Based on the experiences of women, it includes Mary Magdalen's thoughts on discovering the empty tomb and Mary's sister Theia reflecting on the sepulchre that was 'no end, but a great street into the centuries'.

No Turning Back by Christine Wass
4m, 3f, 1-act. The tax-collector Zac and the disciple Matthew try to understand the significance of the Crucifixion with the assistance of flashbacks and dream-sequences and within the framework of a fictional love-story.

Seven Before Easter by Brenda Jackson
4m, 4f, 1 either, but each 25 minute dialogue only has 2 or 3 characters. Seven dialogues in which an Enquirer interrogates witnesses to the events of Holy Week, including Caiaphas, Pilate and Mary Magdalen. Designed to replace sermons during Lent or to be performed on evenings during Holy Week. In performance they are inevitably fairly static.

NEW: Trial by Night by Mike Umbers
9m, 1f (variable if done in modern dress). About 30 minutes. A well-plotted and fast-paced Bible-based version of the trials of Jesus. Jesus does not appear, but his presence is in the background as the Sanhedrin plots his arrest and conviction.

Tzaddik by Monica Ditmas
5m, 2f. 2 hours. The family of Jesus struggles with events as they unfold during the weeks before, during and after the Crucifixion and Resurrection. Contrasting viewpoints are represented by different characters.

FOR SALE @ £5.00+£1 P&P:
Iscariot by Michael Hendy
4m, 2f. 1 hour. Judas Iscariot is brought to trial in a fast-paced and closely argued drama in which the two sides of the stage represent counsels for the defence and prosecution. The verdict is that he may have been misunderstood by history. Joint winner of the Radius Plays 2000 competition. This script is not photocopiable

THE POWER AND THE PASSION
by Christine Wass.  Running time: around 1 hour.  4m, 5w.  Available in photocopiable typescript from the Publications Editor @ £5 to cover the cost of postage.
The Power and the Passion is
a lively story of intrigue and
betrayal among aristocratic
Romans during Passion Week.
  Pilate and the centurion,
here called Marcus, are the
only historical characters. 
Jesus’s crucifixion and
resurrection are reported by
Marcus, who recognises that
Jesus is the Son of God.  In
the last scene he leaves the
Roman army and becomes a
Christian with the support of
his wife Lavinia.

TO BORROW FROM RADIUS LIBRARY @ £1.50 per single copy, £10 per set:

ONE FRIDAY IN ETERNITY
by Edmund Banyard
with songs by Edmund and Stephen Banyard and Peter Lacey

OUT OF THIS WORLD
by Edmund Banyard
with music by Philip Banyard arranged by Graham Bishop

THE BATTLE by Edmund Banyard
with songs by Philip Banyard ed. June B. Tillman
30 minutes each, with variable casts of voices and players, a singer and guitarist.  Published by Stainer and Bell and available to borrow from Radius library @ £1.50 per single copy or £10 for a set, with standard charges for renewal.
One Friday in Eternity and Out of This World are short, flexible dramas about the Crucifixion and Resurrection, designed for use in church at Easter.  They are in the tradition of Easter drama where voices comment on the action but we don’t see Jesus himself.  The Battle is not specifically for Easter.  In similar style to the other plays, it is for a variable number of readers and actors and at least one singer and guitarist and tells the story of King Ahab’s attempt to conquer Ramoth-Gilead.  Why go to war?  How can you tell when to believe a prophet?  How does the prophet himself know his words are true?