Contents

List of Committees................................................................................................................................... 1
List of Characters ..................................................................................................................................... 3
Script of West Asia (2330 BCE – 1600 CE) (Total 23.5 minutes) ................................................................ 9
INTRODUCTION: (Video/Trailer) GLIMPSE OF ICONIC SCENES (2 minutes) ............................................... 9
CHAPTER 1: SCENES of ASSYRIAN PERIOD (2330 – 1755 BCE) ............................................................... 9
Scene 1: (Duration: 3 minutes) ......................................................................................................... 9

Scr
Scene 2: (Duration: 30 seconds) ..................................................................................................... 11
11/27/2022
Scene 3: (Duration: 30 seconds) ..................................................................................................... 13
Scene 4: (Duration: 1.5 minutes) .................................................................................................... 14
Scene 5: (Duration: 30 seconds) ..................................................................................................... 16
Aralin
CHAPTER 2: SCENES of OLD BABYLONIAN PERIOD (1755 – 1600 BCE) AND THE DARK AGES; KASSITE;
HINDU INTERLUDE (1600-1300 BCE) .................................................................................................. 17
Scene 6: (Duration: 1 minute) ........................................................................................................ 17
Scene 7: (Duration: 30 seconds) ..................................................................................................... 18
Scene 8: (Duration: 2 minutes) ....................................................................................................... 19
CHAPTER 3: SCENES of ASSYRIAN PERIOD (1300 – 609 BCE) ............................................................... 21
Scene 9: (Duration: 1 minute) ........................................................................................................ 21
Scene 10: (Duration: 1 minute) ...................................................................................................... 22
Scene 11: (Duration: 30 seconds) ................................................................................................... 23
CHAPTER 4: SCENES of NEO-BABYLONIAN/CHALDEAN PERIOD (609 – 539 BCE) ................................. 24
Scene 12: (Duration: 30 seconds) ................................................................................................... 24
CHAPTER 5: SCENES of THE PERSIAN / ACHAEMENID EMPIRE (539 – 300 BCE) ................................... 25
Scene 13: (Duration: 30 seconds) ................................................................................................... 25
Scene 14: (Duration: 30 seconds) ................................................................................................... 27
Scene 15: (Duration: 30 seconds) ................................................................................................... 28
CHAPTER 6: SCENES of THE SASSANID DYNASTY (224 BCE– 628 CE) ................................................... 29
Scene 16: (Duration: 1.5 minutes) .................................................................................................. 29
CHAPTER 7: SCENES of THE REIGN OF THE CALIPHATES ..................................................................... 31
Scene 17: (Duration: 1 minute) ...................................................................................................... 31
CHAPTER 8: SCENES of THE SELJUK TURKS ......................................................................................... 33
Scene 18: (Duration: 2 minutes) ..................................................................................................... 33
CHAPTER 9: THE MONGOLS AND SAFAVIDS ....................................................................................... 35

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Scene 19: (Duration: 2 minutes) ..................................................................................................... 35

CHAPTER 10: THE OTTOMAN EMPIRE ................................................................................................ 37
Scene 20: (Duration: 1 minute) ...................................................................................................... 37

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List of Committees

1. Costumes and Props Committee – designs character costume and discuss with character-actor
about it. Character will produce his/her own costume based on decided with Costume
Committee.

Prepares/organizes all props, sorts, and labels those per scene. Puts name of character on the
prop to avoid confusion (e.g., weapon of Sargon – Scene 2). Props also include sashes that
contain names of characters e.g., Sargon, warrior, councilor, en (male or female), lugal (male
only), etc. However, all characters should help with their needed props and setup, as well.
Name Position Signature
1. Alexa Delfin Director of Committee
2. Clarissa Alonsabe Assistant
3. Elisha Cabanda Assistant

2. Script and Choreography Committee – ensures the sequences are followed accordingly including
scripts of characters, fight (dance moves) scenes and blocking. Makes sure that all characters are
ready before the scene starts. Also ensures that Narrator delivers narration properly at end of
each scene, where applicable.
Name Position Signature
1. Ethan Hugh Espera Director of Committee
2. Howard Somcio Assistant
3. Sean Doctora Assistant

3. Sound Effects and Musical Arrangement Committee – chooses the accompaniment or sounds
that will be used for each scene; prepares necessary equipment including mp3s, sound effects,
musical instruments e.g., drum, etc. Mixes sounds to achieve best results and coordinate with
Script and Choreography Director and the Lights and Visual Effects Director.
Name Position Signature
1. Miacah Lacson Director of Committee
2. Issha Loquiso Assistant

4. Make-up and Hair Style Committee – makes sure to put make up on characters per scene e.g.,
tattoos, distinguishing marks, mustache, goatee, hair style, make up of queen/nobles, battle
scene-make up, etc. Coordinates with Costume and Props Committee.
Name Position Signature
1. Samantha Zerrudo Director of Committee
2. Annie Nicolasaura Assistant

5. Research and Audit Committee – will research on weapons, items/equipment (e.g., vase except
costumes), Islam and cultures of the characters including the pronunciations of the names of
kings/leaders, words/dialects e.g., Allah, Cambyses, etc. List down all borrowed items and
owners. Create credits (committee members, Presentation Directors, Characters, Sponsors,
Subject teacher, etc.) to be presented at the last part of the show
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must also be prepared by this committee. Reviews props, costumes, background/visual effects,
music and, speaking lines are accurate based on Period or Dynasty as portrayed by characters.
During actual presentation, reviews completeness of props and costumes.

Name Position Signature

1. Princess Senina Director of Committee
2. AJ Pisuena Assistant
3. Venice Legaste Assistant

6. Lights and Visuals Effects (including Background) Setup Committee – sets up the lighting effect/s;
ensures smooth transition of each scene by organizing cut-scene activities/presentations e.g.,
flash dance, present the Period of the scene or settings, choir presentation. Makes sure that the
background is appropriate to each scene; prepares all necessary background and lighting effects.
Will also prepare the 2-minute video on Introduction that will contain – trailer (recorded
impactful scenes rehearsal). Coordinate most with Sound Effects Committee Director.
Name Position Signature
1. Patrick Albania Director of Committee
2. Danz Fernandez Assistant
3. Jasmine Flores Assistant
4. Jimlord Maranon Assistant

Each committee’s leader will be assigned as the Director of that committee. Only the members listed
per Committee that have signed, agreed/committed to help as such.

List of Characters

Character Name Short Description Person Assigned To Scene With Speaking Lines
(Yes/None)
Sargon Male / King of Scene 1 Yes
Akkadia Empire
Male En Male / Consort of Scene 1 None
Female goddess
Female goddess Female Scene 1 None
Male god Male Scene 1 None
Female En Female / Consort Scene 1 None
of Male god
Semitic leader Male Scene 1 None
Councilor 1 Male Scene 1 Yes
Councilor 2 Male Scene 1 Yes
Councilor 3 Male Scene 1 Yes
Akkadian Villager 1 Male / Female Scene 2 None (Acting only:
dressed as Male Consoling another
villager)

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Akkadian Villager 2 Female Scene 2 None (Acting only:

Wailing)
Akkadian Villager 3 Female Scene 2 None (Acting only:
Wailing)
Akkadian Warrior 1 Male / Female Scene 2 None (Fight scene)
dressed as Male
Akkadian Warrior 2 Male / Female Scene 2 None (Fight scene)
dressed as Male
Akkadian Warrior 3 Male / Female Scene 2 None (Fight scene)
dressed as Male
Akkadian Warrior 4 Male / Female Scene 2 None (Fight scene)
dressed as Male
Gutian Warrior 1 Male / Female Scene 2 None (Fight scene)
dressed as Male
Gutian Warrior 2 Male / Female Scene 2 None (Fight scene)
dressed as Male
Gutian Warrior 3 Male / Female Scene 2 None (Fight scene)
dressed as Male
Gutian Warrior 4 Male / Female Scene 2 None (Fight scene)
dressed as Male
Gutian Warrior 5 Male / Female Scene 2 None (Fight scene)
dressed as Male
Gutian Leader Male Scene 2 Yes
King of Uruk Male Scene 3 Yes
Gutian Leader Male Scene 3 None (Acting only:
Walks away)

Gutian Warrior 1 Male / Female Scene 3 None (Acting only:

dressed as Male Walks away)
Gutian Warrior 2 Male / Female Scene 3 None (Acting only:
dressed as Male Walks away)
Gutian Warrior 3 Male / Female Scene 3 None (Acting only:
dressed as Male Walks away)
Gutian Warrior 4 Male / Female Scene 3 None (Acting only:
dressed as Male Walks away)
Gutian Warrior 5 Male / Female Scene 3 None (Acting only:
dressed as Male Walks away)
Sumerian Warrior 1 Male / Female Scene 3 None (Acting only:
dressed as Male Chanting
indistinctly to scare
the Gutians)
Sumerian Warrior 2 Male / Female Scene 3 None (Acting only:
dressed as Male Chanting
indistinctly to scare
the Gutians)

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Sumerian Warrior 3 Male / Female Scene 3 None (Acting only:

dressed as Male Chanting
indistinctly to scare
the Gutians)
Sumerian Warrior 4 Male / Female Scene 3 None (Acting only:
dressed as Male Chanting
indistinctly to scare
the Gutians)
King of Uruk Male Scene 4 Yes
Sumerian Warrior 1 Male / Female Scene 4 None (Acting only:
dressed as Male Chanting
indistinctly to scare
the King of Uruk)
Sumerian Warrior 2 Male / Female Scene 4 None (Acting only:
dressed as Male Chanting
indistinctly to scare
the King of Uruk)
Sumerian Warrior 3 Male / Female Scene 4 None (Acting only:
dressed as Male Chanting
indistinctly to scare
the King of Uruk)
Sumerian Warrior 4 Male / Female Scene 4 None (Acting only:
dressed as Male Chanting
indistinctly to scare
the King of Uruk)
Ur Nammu Male / Governor Scene 4 Yes
(not yet the King)
Ur Nammu Male / King Scene 5 Yes

Shulgi Male / son of Ur Scene 5 Yes

Nammu/ Prince
Hammurabi Male / King Scene 6 Yes
Scribe 1 Male / Female Scene 7 None (Acting only:
dressed as Male Discussing
indistinctly with
other scribes)
Scribe 2 Male / Female Scene 7 None (Acting only:
dressed as Male Discussing
indistinctly with
other scribes)
Scribe 3 Male / Female Scene 7 None (Acting only:
dressed as Male Discussing
indistinctly with
other scribes)
Scribe 4 Male / Female Scene 7 None (Acting only:
dressed as Male Discussing
indistinctly with
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other scribes)
Scribe 5 Male / Female Scene 7 None (Acting only:
dressed as Male Discussing
indistinctly with
other scribes)
Scribe 6 Male / Female Scene 7 None (Acting only:
dressed as Male Discussing
indistinctly with
other scribes)
Amorites Male / Female Scene 8 None (Acting only:
dressed as Male slight action and
movements – see
script)
Kissites Male / Female Scene 8 None (Acting only:
dressed as Male slight action and
movements – see
script)
Hittites Male / Female Scene 8 None (Acting only:
dressed as Male slight action and
movements – see
script)
Kassites Male / Female Scene 8 None (Acting only:
dressed as Male slight action and
movements – see
script)
Sennacherib Male Scene 9 Yes
Villager 1 Male/Female Scene 9 None (Acting only:
Wailing in despair)

Villager 2 Male/Female Scene 9 None (Acting only:

Wailing in despair)
Villager 3 Male/Female Scene 9 None (Acting only:
Wailing in despair)
Villager 4 Male/Female Scene 9 None (Acting only:
Wailing in despair)
Villager 5 Male/Female Scene 9 None (Acting only:
Wailing in despair)
Villager 6 Male/Female Scene 9 None (Acting only:
Wailing in despair)
Sennacherib Male / King Scene 10 Yes
Asurbanipal Male / Prince/ Scene 10 Yes
Son of
Sennacherib
Median King Male / King Scene 11 Yes
Nebuchadnezzar Male / King Scene 12 Yes
Cyrus the Great Male / King Scene 13 Yes
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Warrior 1 Male / Female Scene 13 None (Fight scene)

dressed as Greek
Male
Warrior 2 Male / Female Scene 13 None (Fight scene)
dressed as
Egyptian Male
Warrior 3 Male / Female Scene 13 None (Fight scene)
dressed as
Egyptian Male
Achaemenid Male / Female Scene 13 None (Fight scene)
Warrior 1 dressed as Male
Achaemenid Male / Female Scene 13 None (Fight scene)
Warrior 2 dressed as Male
Achaemenid Male / Female Scene 13 None (Fight scene)
Warrior 3 dressed as Male
Achaemenid Male / Female Scene 13 None (Fight scene)
Warrior 4 dressed as Male
Cambyses, son of Male / King Scene 13 None (Acting only:
Cyrus the Great stands beside
Cyrus)
Darius the Great Male / grandson Scene 14 Yes
of Cyrus the
Great and son of
Cambyses
Alexander the Male / King og Scene 15 Yes
Great Seleucid Empire
Khosro I, king og Male / King Scene 16 Yes
Sassanid Dynasty
Khosro II, son of Male / Son of Scene 16 Yes
Khosro I King / Prince

Muhammad Male Scene 17 Yes

Muslim Male/Female Scene 17 Yes
Man/Woman 1
Muslim Male/Female Scene 17 None (Acting only:
Man/Woman 2 listens to
Muhammad as he
preaches)
Muslim Male/Female Scene 17 None (Acting only:
Man/Woman 3 listens to
Muhammad as he
preaches)
Muslim Male/Female Scene 17 None (Acting only:
Man/Woman 4 listens to
Muhammad as he

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preaches)
Ordinary Villager 1 Male/Female Scene 17 None (Acting only:
ignores
Muhammad)
Ordinary Villager 2 Male/Female Scene 17 None (Acting only:
ignores
Muhammad)
Ordinary Villager 3 Male/Female Scene 17 None (Acting only:
ignores
Muhammad)
Toghurl-Berg Male / Sultan of Scene 18 Yes
Seljuk Turks
Seljuk Turkish Male / Female Scene 18 Yes + Acting (see
soldier 1 dressed as Male script)
Seljuk Turkish Male / Female Scene 18 Yes + Acting (see
soldier 2 dressed as Male script)
Seljuk Turkish Male / Female Scene 18 Yes + Acting (see
soldier 3 dressed as Male script)
Seljuk Turkish Male / Female Scene 18 None (Acting only:
soldier 4 dressed as Male Walks away from
Abbasid Caliphate
to Toghurl-Berg
and crowned him
then waits for
Sultan Malik Shah)
Abbasid Caliphate, Male Scene 18 Yes
one of the
successors of
Muhammad
Sultan Malik Shah Male Scene 18 None (Acting only:
Walks in to meet
the Seljuk Turkish)
Genghis Khan Male / Scene 19 Yes
Mongolian
King/Sultan
Timurlane Male / Scene 19 Yes
Mongolian
King/Sultan
Shah Ismail Male / Shah / Scene 19 Yes
Government &
Religious leader
Suleyman, the Male / Ottoman Scene 20 Yes
Magnificent King

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Script of West Asia (2330 BCE – 1600 CE) (Total 23.5 minutes)

INTRODUCTION: (1 minute)
This will show all notable scenes (recorded during the rehearsal) with sound effect. (1 minute)

CHAPTER 1: SCENES of ASSYRIAN PERIOD (2330 – 1755 BCE)

Scene 1: (Duration: 3 minutes)

Music Cue: Coconut song

Settings: Interior: Akkadian Empire palace settings where Sargon is meeting with other kings, ens,
councilors to discuss the problems during Akkadian Empire rule such as (raised by Councilors with
scrolls):

Councilor 1: “What is the official language of the domain? “

Sargon: “Akkadian language.”
Councilor 1: “Our historians need to document our story, but Akkadian language does not have a
system of writing. What do we use?”
Sargon: “Sumerian cuneiform.”
Councilor 2: “We have no succession plan yet – should you my lord (referring to Sargon) choose
to abdicate your throne, one of your sons must be trained to succeed you, if ever.”
Sargon: “Do you wish me to relinquish my throne already? (Everybody laughs at this) I am very
healthy and capable; I don’t need a successor as early as now.”
Councilor 3: “My lord, our people from the South needs our help as they are being constantly
attacked by Gutians. They need more warriors to defend them.”
Sargon: “Send troops but do not send that many as we need to secure our domain here as well.”

Choir (Unison) for Narration: Sargon governed the city with a bureaucracy and financed the
government by taxing the people. With military skills, an efficient bureaucracy and money, he
conquered Sumer in 2334 BCE. Sumer and Akkad were unified. Then, in 2279 BCE, he conquered the
kingdom of Elam in the southeast and Assyria in the north. An Akkadian empire was established in
Mesopotamia for the first time.

Costumes:
Characters Gender Assigned Person/s Costumes
Sargon – King of Akkadia Male
Empire

Male En - Consort of Male Dressed as king of

Female goddess lesser rank
Female goddess Female Woman’s dress
Male god Male Dressed as king of
lesser rank

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Female En - Consort of Female Woman’s dress

Male god
Semitic leader Male Dressed as king of
lesser rank
Councilors (3) Male (3) Dressed as male
councilors

Props:

Particular Prop/s To Dos Assigned to Bring Sample Prop/s

Scrolls (4) Improvise on design Props Committee

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Scene 2: (Duration: 30 seconds)

Music Cue: “Lovely” by Billie Eillish

Settings: Exterior: Battle in the South. Gutians versus Akkadians. Akkadian villagers shouting, crying,
and running here and there to avoid the Gutian warriors. Gutians won the battle. The Gutian Leader
stands in the middle and shouts:

Gutian Leader:

Now that we have won the battle

against the Akkadians, we will rule this

empire! We don’t have to worry about

them. We can continue with herding

our domesticated animals.”

Choir (Unison) for Narration: The Akkadian lasted only for a hundred years. The lack of a succession
policy, the difficulty in ruling the south, and the coming of the Gutians ended Akkadian rule.
Characters Gender Assigned Person/s Costumes
Akkadian Villagers Male, Female (2) Dressed in male and female
(3)

costumes as villagers.

Akkadian Warriors Male / Female (4) Dressed in male costumes as

(4) warriors.
Gutian Warriors (5) Male / Female (5) Dressed in male costumes as
warriors.
Gutian Leader (1) Male (1)

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Weapon of Akkadians Research Committee to Props Committee Made of cardboard only
identify - swords
Weapon of Gutians Research Committee to Props Committee Made of cardboard
including Gutian Leader identify only-swords

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Tools of Villagers Find small pails Props Committee

Horses for Gutian Improvise on this to

Warriors show that Gutians
were animal herders so
their warriors were
cavalries
(on horses)

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Scene 3: (Duration: 30 seconds)

Music Cue: You Belong with Me by Taylor Swift

Settings: Exterior: Approach the Gutian Leader and put a sword on his throat.

King of Uruk: “I am the King of Uruk, a Sumerian by blood! You have no right to be here, Gutians! Leave
as you are better off as herders of animals than military leaders!” Gutian Leader and Warriors walk away
to show that they have surrendered.

Choir (Unison) for Narration: The Gutians were animal herders from Zagros. However, the Gutians did
not stay long to leave significant traces of their rule. They were driven out by a King of Uruk, also a
Sumerian.

Characters Gender Assigned Person/s Costumes

King of Uruk Male Sumerian costume for a
king
Gutian Leader Male Same as assigned in Same as scene 2
Scene 2
Gutian Warriors (5) Male / Female (5) Same as assigned in Same as scene 2
Scene 2 for Gutian
Warriors
Sumerian Warriors (4) Male /Female (4) Same as assigned in Dressed in male
Scene 2 for Akkadian costumes as warriors.
Warriors

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Weapons of Sumerian Research Committee to Props Committee Made of cardboard
identify only-archers
Weapons of Gutians Research Committee to Props Committee Made of cardboard only
including Gutian Leader identify - swords
Weapon of King Uruk Research Committee to Props Committee Made of cardboard only
identify – long sword
Horses for Gutian Improvise on this to Props Committee
Warriors show that Gutians
were animal herders so
their warriors were
cavalries
(on horses)
(Same as Scene 2)

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Scene 4: 1.5 minutes)

Music Cue:

Settings: Exterior: King of Uruk is on horse, on his way back to his castle.

King of Uruk: “Now that I have won over Gutians, I will finally have peace in this empire. No outside
forces can threaten my downfall.”

Ur Nammu while riding his horse together with Sumerian warriors marching behind him, stops the King
of Uruk before he is able to enter the palace.

Ur Nammu: “We do not recognize you as our king. I, Ur Nammu, I may only be a governor to you but the
military troop has rallied behind me so I am asking you to abdicate your throne to me or else, you will
meet a very sad fate.”

Warriors make a threatening roar to frighten King of Uruk. King of Uruk gets off his horse and surrenders.
He takes off his crown and long sword and gives them to Ur Nammu, then walks away without a fight.

Choir (Unison) for Narration: The King of Uruk was deposed by one of his governors, Ur Nammu. Ur
Nammu of the Third Dynasty of Ur turned out to be an able administrator and energetic builder. The
kingdom became a center of commerce and worship. He was responsible for ordering the writing of
the first law code in Mesopotamia, antedating the more famous Code of Hammurabi by 3 centuries.
Characters Gender Assigned Person/s Costumes
King of Uruk Male Sumerian costume for a
king

Sumerian Warriors (4) Male /Female (4) Same as assigned in Dressed in male
Scene 2 for Akkadian costumes as warriors.
Warriors
Ur Nammu Male Dressed as a politician
since he is still a
governor in this scene.

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s

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Weapons of Sumerian Research Committee to Props Committee Made of cardboard

identify only-swords and shields
Weapon of Ur Nammu Research Committee to Props Committee Made of cardboard only
identify – long sword
Weapon of King Uruk Research Committee to Props Committee Same as scene 3
identify
Horses for King Uruk Improvise on this to Props Committee
and Ur Nammu (2) show that Gutians
were animal herders so
their warriors were
cavalries
(on horses)
(Same as Scene 2)

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Scene 5: 30 seconds)

Music Cue:

Settings: Interior: Ur Nammu is lying on his bed – he is very sick. Shulgi, his son approaches Ur Nammu.

Ur Nammu (sick/weak voice): “Son, I, Ur Nammu, is relinquishing my throne to you as I am not able to
rule our empire anymore.” Shulgi sits on the bed of Ur Nammu, holds his father’s hand and bows down.

Shulgi: “Yes father. I am honored to be the new king.”

Choir (Unison) for Narration: Shulgi as the new king of the empire, implemented a standard of weights
and measures throughout Mesopotamia that lasted until the rise of the Persian Empire. He was
described as a sage, warrior, builder, diplomat, and patron of the arts.”
Characters Gender Assigned Person/s Costumes
Ur Nammu, king Male

Dressed as king

Shulgi, son of Ur Male Dressed like a

Nammu

prince/n
oble

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Bed of Ur Nammu Improvise only Props Committee

END OF CHAPTER 1: SCENES of ASSYRIAN PERIOD (2330 – 1755 BCE)

CHAPTER 2: SCENES of OLD BABYLONIAN PERIOD (1755 – 1600 BCE) AND THE DARK
AGES; KASSITE; HINDU INTERLUDE (1600-1300 BCE)

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Scene 6: (Duration: 1 minute)

Music Cue:

Settings: Interior: Hammurabi is sitting on his throne inside his palace.

Hammurabi: “I, the King of Babylon has conquered all of Sumer and I have overtaken the Mesopotamian
Valley up to the borders of Syria to the shores of Mediterranean. I am therefore ordering that laws
promulgated in my kingdom should be codified and copies be distributed to all of my subjects so that
they may follow them, know their rights and obligations.”

Choir (Unison) for Narration: The Old Babylonian kingdom is also known as the kingdom of the
Hammurabi dynasty. Hammurabi was the sixth king of an Amorite group who based themselves in a
site near the wall that the Third Dynasty of Ur built – the city of Babylon. Hammurabi is better known
in history as the “King of Justice.” The Code of Hammurabi contains 282 articles. It contains some
noble laws that cover economic provisions, family, crime and civil matters. The criminal law is based
on the principle of “an eye for an eye”.
Characters Gender Assigned Person/s Costumes
Hammurabi Male

Dresse
d as king

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Background of Drawing only on manila Props Committee
Hammurabi shows the paper
black diorite stone
about 2.2 meters high,
containing laws handed
over by Shamash, the
god of Justice.

Scene 7: 30 seconds)

Music Cue:

Settings: Interior: Inside the temple, scribes are sitting on a table discussing mathematics. They are
pointing out the mathematical formulas on the background – indistinct conversation only.

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Choir (Unison) for Narration: One remarkable development during this period was in the field of
mathematics. By 1800 BCE, temple scribes were already using multiplication and division tables and
calculating square roots, reciprocals, and exponential functions. Derived from these mathematical
formulations are the duodecimal system and so many others including division of day to hours,
minutes, and seconds, division of year to months and had a lunar calendar.”

Characters Gender Assigned Person/s Costumes

Scribes Male/Female (6) Dressed in male
costumes as scribes.

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Background showing Drawing only on manila Props Committee
mathematical formula: paper
square root,
exponents, cube root,
multiplication, division,
days, hours, minutes,
seconds, year and
months.

Scene 8: (Duration: 2 minutes)

Music Cue:

Settings: Exterior: Standing side by side are 4 people – labelled as follow: Amorites (1600 BCE), Kissites
(1601 BCE), Hittites (1595 BCE), Kassites (Dark Ages).

On the floor, place a manila paper with writing “IN” and another one, “OUT”. Amorites enters first (step
on “IN”) then when Kissites enters and points a weapon to Amorites, Amorites then drops his weapon
and moves to “OUT” so Kissites can stand on “IN” while cheering for winning over Amorites.

Choir (Unison) for Narration: By 1600 BCE, Hammurabi’s empire was gone. The Kissites were already
settled and living peacefully at the fringes of Akkad during the time of Hammurabi.

Amorites walks away. Hittites enters, points a weapon to Kissites. Kissites drops his weapon and moves
to “OUT”. Hittites stands on “IN” while cheering for winning over Kissites.

Choir (Unison) for Narration: Then in 1595 BCE, the Hittites from the northeast swooped down upon
the valley and destroyed the city of Babylon. They controlled the vast kingdom from northeastern
Anatolia.

Kissites walks away. Kassites enters, points a weapon to Hittites. Hittites drops his weapon and moves to
“OUT”. Kassites stands on “IN” while cheering for winning over Hittites. Hittites walks away.

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Choir (Unison) for Narration: Then the Hittites decided to leave the city. Mesopotamia was left in the
hands of the Kassites. During this time, in the absence of any political unity, international trade and
communication throughout Mesopotamia, the civilization entered the so-called “dark ages”.
Characters Gender Assigned Person/s Costumes
Amorites with a Male/Female (1) Babylonian with sash
weapon (“Amorites -1600 BCE”)
Kissites with a weapon Male/Female (1) Babylonian with sash
(“Kissites -1601 BCE”)
Hittites with a weapon Male/Female (1) Babylonian with sash
(“Hittites -1595 BCE”)
Kassites with a weapon Male/Female (1) Babylonian with sash
(“Kassites -1300 BCE,
Dark Ages”)

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Sash (“Amorites -1600 Written only on wide Props Committee
BCE”) ribbon as sash.
Sash (“Kissites -1601 Written only on wide Props Committee
BCE”) ribbon as sash.
Sash (“Hittites -1595 Written only on wide Props Committee
BCE”) ribbon as sash.

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Sash (“Kassites -1300 Written only on wide Props Committee

BCE, Dark Ages”) ribbon as sash.

END OF CHAPTER 2: SCENES of OLD BABYLONIAN PERIOD (1755 – 1600 BCE) AND THE DARK AGES;
KASSITE; HINDU INTERLUDE (1600-1300 BCE)

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CHAPTER 3: SCENES of ASSYRIAN PERIOD (1300 – 609 BCE)

Scene 9: (Duration: 1 minute)

Music Cue:

Settings: Exterior: Sennacherib stands in the middle of the stage. Around him were village people crying
on their knees. Background picture – city is on fire.

Sennacherib: “Hahaha! After so many invasions, I have now annexed all of Babylonia, Essarhaddon
Egypt, and Assyrbanipal Elam. I will make this Nineveh city, spectacular by decorating relief sculptures
showing hunting, fighting, and sporting scenes of both animals and humans! I will create magnificent
temples and my royal palace should have at least 71 chambers. Zoos and orchards that will house my
collections from my conquered places, will be built outside the palace.”

Choir (Unison) for Narration: Sennacherib was able to build the Assyrian Empire through instilling
fright and utmost brutality to people and places that they conquered. This is exemplified by the
destruction of the city of Babylon in 689 BCE after the people rebelled against his rule. Aside from
building magnificent palaces, zoos and orchards, he also ordered the building of channels, aqueducts,
and canals for fresh water to flow from mountain springs fifty miles away into the city.
Characters Gender Assigned Person/s Costumes
Sennacherib Male

Villagers Male/Female (6) Dressed as villagers

who are in despair
because their homes
have been destroyed
by Sennacherib.

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Background showing Drawing only on manila Props Committee
ruined and burning city paper

Scene 10: (Duration: 1 minute)

Music Cue:

Settings: Exterior: Sennacherib stands in the middle of the stage. Background is a huge library.

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Sennacherib: “This is my most spectacular achievement – my palace library that stores clay tablets from
all over the empire. This collection consists of all laws we have issued containing both practical
knowledge and religious teachings of Mesopotamia.”

Asurbanipal: “Father, I will continue to maintain this collection as this represents the core of Sumerian
Old Babylonian tradition.”

Choir (Unison) for Narration: The discovery of this library in the nineteenth century allowed modern
society to discover and learn about Mesopotamian civilization. In 1614 BCE, Asurabanipal fought his
brother in a civil war for sole control of the empire. The move destabilized and weakened the empire
in the face of other revolts from Interior and Exterior forces.
Characters Gender Assigned Person/s Costumes
Sennacherib Male See Scene 9
Asurbanipal Male

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Background showing Drawing only on manila Props Committee
library with scrolls and paper
clay tablets

Scene 11: (Duration: 30 seconds)

Music Cue:

Settings: Exterior: Divide the stage into two. Label the upper side as Mesopotamia: Medians Kingdom
and the lower side as Mesopotamia: Chaldeans Kingdom.

Median King: “We have occupied the north side of Mesopotamia where minerals are abundant. Let’s
leave the south to the Chaldeans since they are our allies in fighting to take down the city of Nineveh.”

Choir (Unison) for Narration: The Assyrian empire led by Asurbanipal collapsed on 609 BCE when in
614 BCE, the Medians allied with the Chaldeans to attack and destroy the city of Nineveh.”
Characters Gender Assigned Person/s Costumes
Median King Male Dressed in male

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costume
as king

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Background showing Drawing only on manila Props Committee
NORTH (Mesopotamia: paper
Medians Kingdom) and
SOUTH (Mesopotamia:
Chaldeans Kingdom)

END OF CHAPTER 3: SCENES of ASSYRIAN PERIOD (1300 – 609 BCE)

CHAPTER 4: SCENES of NEO-BABYLONIAN/CHALDEAN PERIOD (609 – 539 BCE)

Scene 12: (Duration: 30 seconds)

Music Cue:

Settings: Exterior: Divide the stage into two. Label the upper side as Mesopotamia: Medians Kingdom
and the lower side as Mesopotamia: Chaldeans Kingdom.

Nebuchadnezzar: “I choose to use the old capital of the Amorites, Babylonia as my base city. I will
construct the most splendid city ever built – the city of Babylon.”

Choir (Unison) for Narration: King Nebuchadnezzar built around the city of Babylonia a brick wall after
another. The main gate to the city, the Ishtar Gate was the first colored gate in history with its
bluecolored glazed bricks with lion, bull, and dragon designs in white and yellow. Streets were paved.
Fiftythree (53) temples were built inside the city including the Hanging Gardens for his wife.
Astronomy was also very popular during his time when heavenly bodies and their movements were
studied and recorded. This was a very important achievement during this time which eventually led to
the horoscope.
Characters Gender Assigned Person/s Costumes

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Nebuchadnezzar Male

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Background showing Drawing only on manila Props Committee
Hanging Gardens paper
around a palace and
the phases of the
moon (was studied as
part of astronomy
during this time)

END OF CHAPTER 4: SCENES of NEO-BABYLONIAN/CHALDEAN PERIOD (609 – 539 BCE)

CHAPTER 5: SCENES of THE PERSIAN / ACHAEMENID EMPIRE (539 – 300 BCE)

Scene 13: (Duration: 30 seconds)

Music Cue:

Settings: Exterior: Cyrus, the Great is riding his magnificent chariot while leading his army to conquer
territories. He is carrying a long spear. Besides Cyrus is Cambyses, his son. They are surrounded by
Egyptian paintings on the walls of the structures and Greek mythological statues.

Cyrus the Great: “My loyal and brave warriors, with the help of the Medians, we will conquer all
neighboring places far and near and we will build our empire! To the glory of the Achaemenid Empire!”
In front of Cyrus and Cambyses are their men fighting against Egyptian and Greek warriors.

Choir (Unison) for Narration: Cyrus the Great engaged in extensive conquests and was able to extend
the kingdom from the southern portion of Egypt to parts of Greece and the eastern parts of India. He
allowed Jews and other Babylonians to return to their homeland. Upon his death in 530 BCE,
Cambyses is son continued his conquests in Egypt.
Characters Gender Assigned Person/s Costumes

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Cyrus the Great Male

Dressed as king

Warriors (3) Male/Female (3) Costumes: Egyptian and

Greek
Achaemenid Warriors Male/Female (4)
(4)
Cambyses, son of Cyrus Male
the Great

Dressed
as royalty
Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Chariot with horses Cardboard with side of Props committee
chariot with 2 horses
mounted. Attach this
cardboard on the
platform side.
Spear, weapon of Cyrus

Swords Greek and Egyptian

sword-type weapons
Background shows
Egypt and Greek
landscapes

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Scene 14: (Duration: 30 seconds)

Music Cue:

Settings: Interior: Darius, the Great is riding a chariot but holding a scroll. He was examining their
Persian territories. Behind him is the Canal from Nile River to Red Sea.

Darius the Great: “I impose only a standard currency, a system of weights and measures for trading, and
uniform laws and policies. My people are free to practice their own culture and religion. Officially, I
recognize Zoroastrianism as a religion, too.”

Choir (Unison) for Narration: Darius the Great is the grandson of Cyrus the Great. He was not only a
skillful warrior but a brilliant organizer, as well. On the cultural aspect, Darius the Great gave official
recognition to great religions. The Persians imposed the use of the Aramaic language as official lingua
franca in the empire. The art and sciences flourished. The people during this time likewise sought to
learn from the customs and sciences of others.

Characters Gender Assigned Person/s Costumes

Darius the Great, Male
grandson of Cyrus the
Great and son of
Cambyses

Dressed
as royalty

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Chariot with horses Cardboard with side of Props committee
chariot with 2 horses
mounted. Attach this
cardboard on the
platform side.
Cane of Darius
Scroll
Background shows
the Canal from Nile
River to Red Sea
(done during
Darius’ reign.

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Scene 15: (Duration: 30 seconds)

Music Cue:

Settings: Exterior: At the Battle of Salamis in Greece, Xerxes I is kneeling before Alexander the Great.

Alexander the Great: “Your surrender Xerxes I is proof that I have crushed the last strong army of the
Achaemenids!”

Choir (Unison) for Narration: The Achaemenids Empire collapsed in 465 BCE. Alexander the Great died
not long after the conquest of the Achaemenid Empire without an heir. The Sassanid king killed him.

During Alexander the Great’s time Greek or Hellenic culture was introduced and merged with the
indigenous cultures. He transformed all conquered cities as his provincial capitals and converted them
as much as possible into Greek city-states. This was the Seleucid Empire when Greeks came to live in
the occupied territories and spread Greek culture, used Greek as the language of government.
Characters Gender Assigned Person/s Costumes
Alexander the Great, Male
king of Seleucid
Empire

Dressed as royalty

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Sword and Shield of Props committee
Alexander

END OF CHAPTER 5: SCENES of THE PERSIAN / ACHAEMENID EMPIRE (539 – 300 BCE)

CHAPTER 6: SCENES of THE SASSANID DYNASTY (224 BCE– 628 CE)

Scene 16: (Duration: 1.5 minutes)

Music Cue:

Settings: Interior: Khosro, the king of Sassanid is talking with his son Khosro II. They were inside the
palace.

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Shahanshah Khosro I: “Son, you need to stop being wasteful and cease throwing lavish parties in court.
You are my going to be my successor, so you need to learn how to manage the court affairs.”

Khosro II: “Father, I can learn them when I become king. For now, let me live as I want.”

Choir (Unison) for Narration: The Sassanid dynasty started with Andashir, a warrior leader from the
family of Sasan, a hereditary priest in the temple of the goddess Anahita in the Ishtar, near Persepolis.
They established an empire with its capital at Ctesiphon. The Sassanids consciously tried to bring back
Iranian traditions and remove the Greek influences brought by the Seleucids. Society was divided into
four: the priests, warriors, secretaries, and commoners. The royalty, shardards (petty rulers),
landlords, and priests make up the upper stratum of society.

Khosro I rule was integrated, he was the “king of kings” so he was referred to as Shahanshah Khosro I.
Zoroastrianism became the official religion of the empire yet Khosro I tolerated other religios as well.
He fortified his city walls to protect from invaders. He supported a full-fledged academy of learning
where Literature became popular.

His son, Khosro II was not able to sustain the good works of his predecessor. The Byzantine forces led
by Heraclius overran the empire and it ended in 628 CE.
Characters Gender Assigned Person/s Costumes
Khosro I, king og Sassanid Male
Dynasty

Dressed as king

Khosro II, son of Khosro I Male

Dressed
as royalty
Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s

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Long sword of Khosro I Props committee

Long sword of Khosro II

END OF CHAPTER 6: SCENES of THE SASSANID DYNASTY (224 BCE– 628 CE)

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CHAPTER

Scene

7: SCENES of THE REIGN OF THE CALIPHATES

17: (Duration: 1 minute)

Music Cue:

Settings: Exterior: Muhammad is standing in Mecca preaching Islam. People just passed by him and
ignored him. He walks away with his things and went to Medina. In Medina, people gathered around
Muhammad and listened to him. Many of them were converted to Islam.

Muhammad: “I am the Messenger of God. Allah does not hold anyone responsible unless He has shown
him the right way. Allah has always sent messengers and revelations before inflicting His punishment on
people.”

Choir (Unison) for Narration: In 630 CE, Muhammad attacked the city of Mecca and entered it
triumphant. He became its new political and religious leader. He died of an illness in 632 CE but since
he did not a have a successor, his fathers-in-laws and close relatives were appointed over the years as
the caliph (khalifa) meaning “successor of Muhammad”. Many of these caliphs were instrumental in
the proliferation of Islam. In 762 CE, the seat of government was transferred to Baghdad (Iraq).

To facilitate communication in the caliphate, a postal service including the use of carrier pigeons was
maintained. These postal authorities also compiled maps, made surveys, and operated the
government’s spy system.

Studies in astronomy, maritime exploration, road constructions, chemistry, medicine, science of

optics, alchemy, trigonometry, algebra, architecture on Islamic designs, poetry, and translations of
philosophy materials from Greek and Roman to Arabic language. Well-inspired and specialized
hospitals were built throughout the caliphate.

Over time, the caliphate degraded since succeeding caliphs could not sustain the management and
control of the empire so the Turkish mamluks or slave soldiers took over.
Characters Gender Assigned Person/s Costumes
Muhammad Male Dressed as preacher

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CHAPTER

Scene

Muslim Women and Female and Male (4) Costume of Muslim women
Men (4) and men

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Book Props committee A book with no cover.

END OF CHAPTER 7: SCENES of THE REIGN OF THE CALIPHATES

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CHAPTER

Scene

8: SCENES of THE SELJUK TURKS

18: (Duration: 2 minutes)

Music Cue:

Settings: Exterior: Abbasid Caliphate is seen driving away the Seljuk Turks who agreed to recognize the
spiritual authority of the caliph. Toghurl-Berg met the Turkish slave soldiers and convinced them to fight
against the caliphate. The Turkish tribe, agreed with him.

Abbasid Caliphate: “No! You cannot be one of us!” (Talking to the Seljuk Turks wanting to stay inside
Baghdad, where the seat of the caliphate government was transferred in 762 CE.)

Turkish slave soldiers walk away, feeling despaired.

Toghurl-Berg met the soldiers who were on foot and about to leave Baghdad (Iraq).

Toghurl-Berg: “I, Toghurl-Berg, a Seljuk Turk urges you to stay determined as we will rise up against this
caliphate! They cannot drive us away!”

Turkish slave soldiers (in unison): “Hail to our new Sultan – Toghurl-Berg!” One of them crowned
ToghurlBerg.

Choir (Unison) for Narration: By 1157 CE, the Seljuk Turks were able to extend the empire over much
of West Asia up to the Mediterranean and the deserts of Sinkjiang in China. This period saw the
imposition of Sunni orthodoxy to propagate Sunni Islamic beliefs and purge Shiitsm colleges called
madrasas. Nizamiyya Madrasa in Baghdad was the most famous, one of the first universities and
largest during the medieval times.

(Next, everyone leaves the stage except the Turkish soldiers. Then Sultan Malik Shah walks in)

Choir (Unison) for Narration: During the reign of Sultan Malik Shah, Seljuk power reached its zenith.
He was a great builder and was responsible for the construction of roads, schools, canals, royal
residences, and mosques. He was also the patron of the arts and culture. He encouraged the
production of works of art of silver. He patronized the Persian language and literature. The Persian
calendar was revised during his time.
Characters Gender Assigned Person/s Costumes

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CHAPTER

Scene

Toghurl-Berg, Sultan of Male Dressed as warrior-sultan

Seljuk Turks

Seljuk Turkish soldiers Female and Male

(4) (4)

Turkish male warriors dress

Abbasid Caliphate, one Male Dressed as

of the successors of head of Islam
Muhammad

Sultan Malik Shah Male

Dressed as
Sultan

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s

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CHAPTER

Scene

Sword of Toghurl-Berg Props committee

Long spears and shields Props committee

of Seljuk Turkish
soldiers (4)

Sword of Sultan Malik Props committee

Shah

END OF CHAPTER 8: SCENES of THE SELJUK TURKS

9: THE MONGOLS AND SAFAVIDS

19: (Duration: 2 minutes)

Music Cue: “We Will Rock You” by Instrumental Champions (originally by Queen)

Settings: Chingis (Genghis) Khan waves his sword while his soldiers were raiding, plundering, destroying
(setting fire) the villages they have conquered.

Chingis (Genghis) Khan: “Take all the treasures you can collect and bring them to me!”

Choir (Unison) for Narration: From 1220 to 1258 CE, the Mongols invaded West Asia starting from Iran
and, Iraq. Inward they conquered Syria and Anatolia.

Genghis Khan then leaves the scene. Timurlane enters.

Timurlane: “Kill all thousands of people and loot all you can find!”

Choir (Unison) for Narration: At the end of the fourteenth century, Timurlane, a tribal leader claiming
to be a descendant of Genghis Khan created the Mongol Khanate or the Khanate of Timurlane which
included Afghanistan, Anatolia, Persia (Iran), Mesopotamia (Iraq) and the Punjab in India. He
established the capital in Samarkand (Turkey) and it became the center of trade between China and
India on the one hand and Mediterranean world and West Asia on the other.

Timurlane exits and Shah Ismail enters.

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CHAPTER

Scene

Shah Ismail: “I want a theocratic form of government.”

Choir (Unison) for Narration: In 1502, Shah Ismail, the leader of the Safavid Dynasty, was regarded as
leader of government and religious practices. Shiite Islam became their state religion and this type of
government exists in Iran even today.
Characters Gender Assigned Person/s Costumes
Genghis Khan, Male Dressed as Mongolian
Mongolian King leader

Timurlane Male Dressed as Mongolian

leader

Shah Ismail Male Dressed as Shah,

government and religious

leader

Props:

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CHAPTER

Scene

Particular Prop/s To Dos Assigned to Bring Sample Prop/s

Sword of Genghis Khan Props committee

Sword of Timurlane Props Committee

Sword of Shah Ismail Props Committee

Hawk, pet of Genghis Props Committee

Khan

END OF CHAPTER 9: THE MONGOLS AND SAFAVIDS

10: THE OTTOMAN EMPIRE

20: (Duration: 1 minute)

Music Cue: “Another One Bites the Dust” by Queen

Settings: Suleyman the Magnificent (background domed mosque) walking about to examine his empire.

Suleyman: “I am Suleyman the Magnificent! I will pave the way for the Golden Age in the history of the
Ottoman Empire. Geographic expansion, trade and economic growth will be encouraged. All kinds of arts
will be nurtured including architecture. Scientists are free to invent as well as mathematicians,
astronomers. All phenomena in my time will be recorded for references. Maritime geography is
welcome.”

Choir (Unison) for Narration: The Ottoman Turks belonged to a tribe that originated from the western
Anatolian Plateau. The name of the Ottoman came from the name of their leader, Uthman or Osman.
It was a Sunni Muslim Empire that followed the Shariah law. The Ottoman Empire lasted from 1299 CE
with Uthman at the until surrender of Turkey to the allied forces at the end of the First World War in

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CHAPTER

Scene

1923 CE. The Ottoman sultan was a ghazi warlord, a leader of the militant group fighting in the name
of their religion and an ecumenical leader.

The reign of Suleman the Magnificent was considered a golden Age in the history of the Ottoman
Empire. Developments occurred in every field of arts especially in calligraphy, painting, textiles and
ceramics. In architecture, the most outstanding achievements were the public buildings that include
mosques, hospitals, schools, hospices, soup kitchens, and others. More or less 300 public buildings
were constructed. Mosque complexes were built including its signature architectural structure – the
domed mosque. In addition to religious instruction, medical sciences and mathematics, and
astronomy were given emphasis in the scientific institutions such as schools, hospitals, offices of
timekeeper, chief medical officer and astronomer.
Characters Gender Assigned Person/s Costumes
Suleyman, the Male Dressed as
Magnificent Ottoman
king

Props:
Particular Prop/s To Dos Assigned to Bring Sample Prop/s
Background of domed Props committee
mosque

END OF CHAPTER 10: THE OTTOMAN EMPIRE

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