What are some of the considerations?

• Presentational styles. Children love 'direct address' and 'participatory' action.

• Non-verbal communication. Mime, tableaux, elaborate stage business, secret codes, symbolic speech, song.

• Repetition and build. Repeated dialogue, repeated situations that build to something interesting or exciting.

• Slapstick. Physical action, clowning,

• Childish behaviour in adults. Love to see an adult brought to a child's level. Silly, childish or naïve behaviour in adults popular with children.

• The antagonist's realisation of defeat. Like to see the villain defeated. Justice must be felt to be appreciated.

• Romanticism. Children love young lovers.

• Physical pleasures. Eating, drinking and other everyday occurrences, which affirm the physical self, are popular.

• Contemporaneity. Children relate to issues most relevant to them. They do not have a defined sense of 'history' like adults do.

• Unity of organisation. A story that makes sense and unfolds logically with elements that do not distract from the building story.

• Variety and rhythm. Holding attention, keeping it pacy. Most useful strategies - a new character's entrance, a silence, any kind of physical activity.

• Respect for the child. Does the play do this?

Non-Essentials

• The typical hero. Traditional perspective - young, male, virtuous. Present a challenge.

• The shallow conflict. Balance needed. Not too evil, not too good.

• Simplification. Challenge can be added. Children do not have to 'understand everything to enjoy.'

• Morality. Traditional idea that children's plays must be 'moral'. Again, a balance between good plain fun and learning about life.

(Reference: Goldberg, M. 1974. Prentice-Hall: New Jersey)