Cassie tells the kids at school that she ran into a door—that's why she's bruised. "You must run into a lot of doors," one of her friends retorts. "No—one door. I just run into it a lot of times," Cassie explains. The "door" is her stepfather, and his rages have about reached the point where Cassie fears for her life...and her mother won't interfere. Where does Cassie turn? Rag Dolls was written for family audiences. It shows that abuse at home is not the normal way, and that help is available. For community theatre, children's theatre, educational theatre, and touring.

Rag Dolls was written for both parents and children. For parents, in the hope that it might prompt an abusive mother or father to seek counsel, or in the hope that it might lead the "good" parent to find help for the abuser. For children, in the hope that it will show them that abuse is not the normal way of family life and that help is available.

Dr. R. Eugene Jackson is a noted author of children's plays. His other scripts were designed to entertain children and to subtly influence them to improve their characters and personalities. Rag Dolls, while more serious in concept, contains humor, action, and suspense as well as characters which the audience can identify with—in other words, the play has all the ingredients for entertainment. The causes and results of child abuse as Dr. Jackson pictures them are real. He had the help of mental health and child abuse authorities in designing the play. Most of all, his heart was in it because he loves little children. If your production of Rag Dolls can help one abused child, all the effort will be eminently worthwhile.

Some suggestions for staging the play: The role of Lamar, the rag doll, may be played by a girl who is a bit smaller than the actress playing Cassie. For all the performers except Cassie, Lamar is just a doll which can walk when pushed or pulled, and say a few words like "ma-ma" and "I love you" when a string on her back is pulled. No one but Cassie can hear Lamar's saucy conversation and see her actions. Consequently, the other performers will simply ignore Lamar's antics. The author has wisely avoided slang in the dialog of the children, since slang goes out of fashion so quickly. The director and the performers playing Cassie, Lamar, and Barbara may insert some current slang terms if they wish.

Two acts; One interior set; Modern clothes. A suspenseful, effective, significant play.

See also: Awareness Plays for Young Adults and The Secret in the Toy Room

Other plays by Jackson: Amazing Grace & Her Jellybean Tree, Babes in Toyland, The Beauty and the Beast, Bumper Snickers, Christmas with the Three Bears, Coffey Pott Meets the Wolfman, Ghoul School, Hippie, The Hunting of the Snark, Little Red Riding Wolf, Pinocchio, Rag Dolls, Rock 'N' Roll Santa, Rumpelstiltskin Is My Name, The Secret Garden, Wheels, Who Can Fix the Dragon's Wagon?, The Wind in the Willows, The Wizard of Oz, You're a Grand Old Flag