© Dramatic Publishing Company

Drama. Adapted by Eric Coble from the Newbery Award-winning book by Lois
Lowry. Cast: 4m., 4w., extras as desired or 4m., 2w. with doubling, extras as
desired. Jonas’ world is perfect. Everything is under control and safe. There is no
war or fear or pain. There are also no choices. Every person is assigned a role in
the community. But when Jonas turns 12, he is chosen for special training from
The Giver—to receive and keep the memories of the community. The Giver is
the only person who holds the memories of real pain and real joy. Now Jonas
will learn the truth about life—and the hypocrisy of his utopian world. Through
this astonishing and moving adaptation, discover what it means to grow up, to
grow wise, and to take control of your own destiny. The Giver was commissioned
by Oregon Children’s Theatre and has played to sold-out audiences at such
theatres as Oregon Children’s Theatre, First Stage Milwaukee, The Coterie
Theatre, People’s Light and Theatre Company, Dallas Children’s Theater, Stages
Repertory, Nashville Children’s Theatre, Lexington Children’s Theatre, Asolo
Repertory Theatre, Florida Repertory Theatre and Indiana Repertory Theatre.
Unit set. Approximate running time: 90 minutes. Code: GC9.

Cover design: Molly Germanotta.

ISBN: 978-1-61959-053-3

Dramatic Publishing
Your Source for Plays and Musicals Since 1885

311 Washington Street

Woodstock, IL 60098
www.dramaticpublishing.com 800-448-7469
© Dramatic Publishing Company
 The Giver
(Two-Act Version)

A play by
ERIC COBLE

Based on the book by

LOIS LOWRY

Dramatic Publishing Company

Woodstock, Illinois ● Australia ● New Zealand ● South Africa

© Dramatic Publishing Company

 *** NOTICE ***
The amateur and stock acting rights to this work are controlled exclusively by
THE DRAMATIC PUBLISHING COMPANY, INC., without whose permission
in writing no performance of it may be given. Royalty must be paid every time
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at: THE DRAMATIC PUBLISHING COMPANY, INC., 311 Washington St.,
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EXCLUSIVE RIGHT TO MAKE COPIES. This law provides authors with a fair
return for their creative efforts. Authors earn their living from the royalties they
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For performance of any songs, music and recordings mentioned in this play which are
in copyright, the permission of the copyright owners must be obtained or other songs and
recordings in the public domain substituted.

©MMXVI by ERIC COBLE

Based on the book by LOIS LOWRY

Printed in the United States of Amer ica

All Rights Re served
(THE GIVER [TWO-ACT VERSION])

For inquiries concerning all other rights, contact:

Harold Ober Associates, Inc., 425 Madison Ave., Suite 1001,
New York, NY 10017 • Phone: (212) 759-8600

ISBN: 978-1-61959-053-3

© Dramatic Publishing Company

 IMPORTANT BILLING AND CREDIT REQUIREMENTS
All producers of the play must give credit to Lois Lowry as the author of the
book and Eric Coble as the dramatizer of the play in all programs distributed
in connection with performances of the play and in all instances in which the
title of the play appears for purposes of advertising, publicizing or otherwise
exploiting the play and/or a production. The names of Lois Lowry and Eric
Coble must also appear on a separate line, on which no other name appears,
immediately following the title, and must appear in size of type not less than
fifty percent (50%) the size of the title type. Biographical information on Lois
Lowry and Eric Coble, if included in the playbook, may be used in all programs.
In all programs this notice must appear:

“Produced by special arrangement with

THE DRAMATIC PUBLISHING COMPANY, INC., of Woodstock, Illinois.”

© Dramatic Publishing Company

 The Giver
(Two-Act Version)

CHARACTERS
FATHER: Jonas’ good-natured father.
MOTHER: Jonas’ good-natured mother.
LILY: Jonas’ 7-year-old sister. May double as ROSEMARY.
JONAS: an 11-year-old about to grow older.
ASHER: Jonas’ best friend, 11 years old.
FIONA: another friend of Jonas’, also 11. May double as
ROSEMARY.
LARISSA: an old woman in need of care.
The CHIEF ELDER: the master of the ceremony.
The GIVER (OLD MAN): an old man about to change.
ROSEMARY: a young girl from the past.
VARIOUS VOICES: as many extras as desired as members
of the community.

5
© Dramatic Publishing Company
PLACE: In and around the community.

TIME: Soon.

PRODUCTION NOTES: The play can be performed by as few as

six actors: 4 men (Father, Jonas, Asher, the Giver) and 2 women
(Mother / Chief Elder, Lily / Fiona / Rosemary / Larissa).

The play must move quickly, using light shifts and sound as
Jonas is pulled from place to place, as opposed to elaborate sets
that take time to bring on and off. There should be NO blackouts.
All residents of this world, including the adults, should speak
in natural contemporary ways, NOT as emotionless robots. The
strangeness of this society appears in word choices and what is
not said, rather than in “science fiction” behavior.

6
© Dramatic Publishing Company
 The Giver
(Two-Act Version)

AT RISE: In the darkness, the sound of a jet plane ROARS

overhead. Pause. Then a CALM VOICE echoes around us.

VOICE (V.O.). Attention. There is no cause for alarm. The

low-flying airplane seen over the Community today
was not a threat. A pilot-in-training merely misread his
navigational instructions and made a wrong turn. Realizing
he was breaking the rules, he was trying to find his way
back before his error was noticed. He apologizes for any
alarm he may have raised. (Beat) Needless to say, he will
be released.

(Silence. Then lights come up on a family eating at a simple

table: FATHER, MOTHER, 7-year-old LILY and 11-year-
old JONAS. They all wear comfortable grey clothes and eat
cheerfully in a harsh white light.)

FATHER. Who wants to be the first tonight for feelings?

LILY. I felt very angry this afternoon. My Childcare group was
at the play area and we had a visiting group of Sevens, and
they didn’t obey the rules at all. I was so angry at one male,
I made my hand into a fist, like this. (She demonstrates.)
FATHER. Where were the visitors from?
LILY. Some other Community. I don’t remember.
MOTHER. How did you feel when your group of Sixes visited
another Community last year?

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8 The Giver (Two-Act Version) ACT I

LILY. Strange. They were learning usages my group hadn’t

learned yet, so we felt stupid.
FATHER. Do you think that the boy today felt strange and
stupid, being in a new place with rules he didn’t know
about?
LILY. … Yes.
MOTHER. I feel a little sorry for him.
LILY. Me too. And sorry I made a fist. Thank you.

(They continue eating.)

FATHER. Well, I’m feeling a little worried.

MOTHER. What about?
FATHER. One of the newchildren isn’t doing well.
LILY. What gender is it?
FATHER. Male. He’s a sweet little male, but he’s not growing
as fast as he should and he doesn’t sleep soundly. The other
Nurturers and I have him in the extra care section, but the
Committee’s beginning to talk about releasing him.
MOTHER. Oh no. I know how sad that must make you feel.
FATHER. I may ask the Committee for permission to bring
him here at night, if you don’t mind. I don’t want to trust
him to the night crew. I think he needs something extra.
MOTHER. Of course.
LILY. Maybe we could even keep him!
MOTHER. Lily—
LILY. I know. Two children to each family. Very clear.
FATHER. Thank you.
MOTHER. Jonas?

(JONAS has been staring at his food.)

© Dramatic Publishing Company

ACT I The Giver (Two-Act Version) 9

FATHER. Jonas.
JONAS. What?
FATHER. We’re sharing feelings. Anything you want to share?

(Beat. He looks at them)

JONAS. I’m feeling … apprehensive.

FATHER. Why is that, son?
JONAS. I know there’s really nothing to worry about, every
adult’s been through it, you and Mother and everybody. But
… it’s almost December.

(They look at each other.)

LILY (almost whispered). The Ceremony of Twelve.

FATHER. … I’m glad you told us your feelings.
MOTHER. Lily, go get on your nightclothes. Father and I are
going to talk to Jonas for a while.
LILY. But—
FATHER. Lily.
LILY. Privately?
MOTHER. Yes. This talk will be a private one with Jonas.

(LILY gives her brother a final look and walks out. FATHER
takes a sip of coffee. Silence. They wait.)

FATHER. When I was an Eleven as you are, Jonas, I was very

impatient waiting for the Ceremony of Twelve. I enjoyed
the Naming of the Ones as I always do, but I didn’t much
pay attention to the other ceremonies, except my sister—she
became a Nine that year, and we watched and cheered when
she removed her hair ribbons and got her bicycle. I’d been
training her on mine, even though I wasn’t supposed to.

© Dramatic Publishing Company

10 The Giver (Two-Act Version) ACT I

(MOTHER and JONAS laugh.)

JONAS. Everybody breaks that rule.

MOTHER. I think the Committee is looking into lowering the
age of bicycle-riding—
JONAS. Which means the children will be Elders by the time
any change is made.
FATHER. So I cheered Katy and her bike and I didn’t pay
much attention to the Tens and Elevens and finally at the
end of the second day, it was my turn—
JONAS. The Ceremony of Twelve.
FATHER (nods). My parents looked so proud. Even my
sister—though she wanted to be out riding that bicycle
publicly—but to be honest, there wasn’t the suspense there
is for your Ceremony. I was already fairly certain what my
assignment was going to be.
JONAS. How? It’s a secret. The Committee of Elders don’t
tell anyone what their assignment’s going to be—
MOTHER. Yes, how’d you know?
FATHER. I knew what my gift was. When my friends in my
age group were holding bike races or building vehicles or
bridges with their construction sets—
JONAS. Like I do with my friends—
FATHER. I was always drawn to newchildren. I spent all my
volunteer hours at the Nurturing Center. The Elders knew
that.
JONAS. They’ve been watching me a lot at school. They
watch all the Elevens and take notes.
FATHER. They don’t make mistakes. So when my assignment
was announced as Nurturer, it wasn’t a big surprise. It was
what I most wanted.

© Dramatic Publishing Company

ACT I The Giver (Two-Act Version) 11

JONAS. But I don’t know what I most want. I don’t know what
my gift is. What if I’m disappointed with my assignment?
MOTHER. They’ll find exactly the right assignment for
you. Don’t worry. (She rumples his hair.) And after your
Ceremony you’ll be training with your Assignment Group—
FATHER. No more volunteer hours. No more recreation
hours. Your old friends won’t be as close—
JONAS (shaking his head). But Asher and I will always be
friends, right? And we’ll still be in school—
FATHER. Absolutely. There’ll just be changes.
MOTHER. Good changes, though. After my Ceremony, when
I entered my training for Law and Justice, I found myself
with people who shared my interests. I made friends on a
new level, friends of all ages—
JONAS. Did you still play after Twelve?
MOTHER. Occasionally. But it didn’t seem as important to
me.
FATHER. I still do! Every day in the Nurturing Center. Bounce
on the Knee, Peek-A-Boo, Hug the Teddy. Fun doesn’t end
when you become Twelve.

(LILY walks in wearing a grey nightgown, with a stuffed

elephant.)

LILY. This is certainly a very long private conversation.

(MOTHER and FATHER laugh and begin clearing the table.)

FATHER. I’ll come help you remove your hair-ribbons, Lily-

Billy.
LILY (looking at her stuffed animal). Are all comfort objects
imaginary creatures?

© Dramatic Publishing Company

12 The Giver (Two-Act Version) ACT I

FATHER. I think so. Yours is an “elephant,” right?

LILY. Right.
JONAS. Mine was a “bear.”

(FATHER, MOTHER, LILY are gone as 11-year-old ASHER

charges on-stage in a grey tunic, awkwardly. Lights shift.)

ASHER. Mine was a “dolphin.”

ANNOUNCER (V.O.). Twelve Days Until the Ceremony.
DIFFERENT ANNOUNCER (V.O.). Attention. This is a
reminder to Females under Nine, that hair ribbons are to be
neatly tied at all times.
ASHER. That has to be about your sister.
JONAS. Of course it is. Her ribbons are always a mess.

(They pass a basket of grey apples.)

ASHER. Throw me an apple.

JONAS. Asher—
ASHER. What? I need to improve my hand-eye coordination,
don’t I?
JONAS. No doubt.

(JONAS scoops up an apple and tosses it to ASHER as they

spread out, playing catch.)

ASHER. You know what I don’t want to be assigned? I could

never be an Instructor of Threes.

(JONAS laughs.)

ASHER (cont’d). Can you imagine me teaching them precise

language?

© Dramatic Publishing Company

ACT I The Giver (Two-Act Version) 13

JONAS. Every one of them would be asking for a smack

when they want a snack!
ASHER (drops the apple, scoops it up and tosses it to JONAS).
You’d think after the fourth round of the discipline wand,
I’d have learned not to say, “I want my smack” at meal
time—
JONAS. Remember the lashes on your legs?
ASHER. Remember when I stopped talking altogether?
JONAS. Silent Asher! How we long for those days!
ASHER (throws the apple hard at JONAS). The Threes I’d
be teaching would long for those days—it’d be a total
disappointment—
JONAS. I think you mean “disaster.”
ASHER. “Disaster.” Exactly.

(And as ASHER throws the apple, for a moment—only

a moment—it changes. It flashes RED … then it lands in
JONAS’ hand. He pauses … looks at it. It’s grey again.)

JONAS. Did …
ASHER. What?
JONAS. Nothing.

(He throws the apple—again, only for a second, it flashes

red in the air. Asher fumbles and drops it.)

JONAS (cont’d). Ash? Does anything seem strange to you?

About the apple?
ASHER. Yes! It keeps jumping out of my hand onto the ground.

(He throws it back as a chime sounds.)

ASHER (cont’d). Back to learning.

© Dramatic Publishing Company

14 The Giver (Two-Act Version) ACT I

(ASHER slumps off. JONAS looks at the grey apple in his

hand a moment longer and then puts it in his tunic pocket
as—
A baby cries. JONAS turns to see LILY, MOTHER and
FATHER walking to the dining table carrying a crying
bundle. Fluorescent light glares.)

LILY. Isn’t he cute?? Look how tiny he is! And he has funny
eyes like yours, Jonas!

(JONAS walks over and looks at the baby.)

MOTHER. Lily, it’s rude to point out differences.

LILY. I apologize, Jonas.
JONAS. Apology accepted.
LILY. But they’re light! Like yours! Maybe he has the same
Birthmother as you!

(JONAS stares at the baby.)

LILY (cont’d). What’s his comfort object called?

FATHER (looks at a tag on the animal). “Hippo” it says.
LILY (giggles). Hippo!

(JONAS walks away, getting his homework out on the table.)

LILY (cont’d). I think newchildren are so cute. I hope I get

assigned to be a Birthmother.
MOTHER. Lily! (LILY recoils.) Don’t say that. There’s very
little honor in that assignment.
LILY. But I was talking to Natasha, she does her volunteer
hours at the Birthing Center, and she told me that the
Birthmothers get wonderful food and most of the time they
just play games while they’re waiting—

© Dramatic Publishing Company

ACT I The Giver (Two-Act Version) 15

MOTHER. For three years, Lily. Three births and then they’re
Laborers for the rest of their lives until they enter the House
of the Old. Is that what you want?
LILY. Well, no. I guess not.

(JONAS finds the apple in his pocket. He takes it out and

looks at it. The baby cries.)

LILY (cont’d). I wish we knew his name.

FATHER. As a matter of fact—I feel a little guilty about this,
but I saw this year’s naming list in the office today. Number
36—this little fellow—if he makes it to the Naming without
being released—he’s to be Gabriel. I whisper it to him if no
one is around to hear me.

(JONAS looks at them.)

LILY. Hello, Gabriel.

FATHER. I call him Gabe, actually.
JONAS. Gabe. (They all look at him.) It’s a good name.
ANNOUNCER (V.O.). Attention. This is a reminder to
male Elevens that objects are not to be removed from the
recreation area and that snacks are to be eaten, not hoarded.
Thank you.

(JONAS looks at the apple, still grey in his hand. His family
looks at him.)

JONAS. I just wanted to look at it …

(They watch him uncomfortably. He throws it in the trash.)

LILY. I think Gabriel’s asleep.

FATHER. Here. I’ll show you how to feed him.

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16 The Giver (Two-Act Version) ACT I

(They walk out.)

JONAS. Father …

(An 11-year-old girl runs on behind JONAS as lights shift.

This is FIONA. She’s in a grey tunic, carrying towels.
Several bathtubs appear around the stage.)

ANNOUNCER (V.O.). Ten Days Until the Ceremony.

FIONA. Hello, Jonas.
JONAS. Hello, Fiona.
FIONA. You’re doing your volunteer hours in the House of
the Old today?
JONAS. I thought so. Yes. I wanted to see you. I mean I
haven’t seen you in a while. You know.
FIONA. I’m glad you’re here. We celebrated a release this
morning, so that always throws the schedule off a little.
Asher and I are going to help with the bathing. You want
to help?
JONAS. Sure.

(ASHER enters, escorting an OLD MAN to a tub offstage.)

ASHER. Hi, Jonas!

JONAS. Hi, Asher.

(FIONA starts after ASHER with her towels.)

JONAS (cont’d, to FIONA). Maybe we can talk after you’re

done?
FIONA. Maybe. We’ll see.

(And she’s gone as JONAS steps to an old lady [LARISSA]

entering in her grey bathrobe. He reads her nametag.)

© Dramatic Publishing Company

ACT I The Giver (Two-Act Version) 17

JONAS. Your turn, Larissa. I’ll start the water and help you in.

(He pushes a button on the tub. Sound of running water as

he helps her in and removes her robe. She leans back.)

JONAS (cont’d). Comfortable?

(She nods. He starts gently, steadily, scrubbing her back.)

LARISSA (eyes closed). This morning we celebrated the

release of Roberto. It was wonderful.
JONAS. I knew Roberto! I helped with his feeding last time I
was here, just a few weeks ago—
LARISSA (opening her eyes). They told his whole life before
they released him. They always do, but to be honest—
(Whispers.) Some of the tellings are a little boring. I’ve
even seen some of the Old fall asleep during tellings. Like
when they released Edna—did you know Edna?
JONAS. No.
LARISSA. Well, they tried to make her life sound meaning-
ful—and of course all lives are meaningful—but Edna. My
goodness. She was a Birthmother and then worked in food
preparation for years, she never even had a family unit—
(Confidentially.) I don’t think Edna was very smart.

(JONAS laughs and begins washing her feet)

LARISSA (cont’d). But Robert’s life was wonderful. He had

been an Instructor of Elevens, he’d been on the Planning
Committee, raised two very successful children and did the
landscaping design for the Central Plaza. Not the labor, of
course, but the design!
JONAS. Now your shoulders. (She leans forward and he scrubs
her shoulders and neck.) Tell me about the celebration.

© Dramatic Publishing Company