Costume design was late to set

The petticoats aren’t ready yet

The golden locks aren’t crimped and curled

With snaky tendrils still unfurled

Blue contacts laid for buttery eyes

The backdrop, even bluer skies

Is hoisted up and into place

And lighting cast ‘mong rental space

And counted thrice are wooden beds

With pillows for three furry heads

The prop department cooked the mush

And makeup donned their shears and brush

For caged up in the trailer lot

Thrice counted bears whose roles were sought

‘Gainst mini, little child-star fits

Clashed freely ‘gainst the writers’ wits

Whose culmination through the years

Brought many children’s eyes to tears

So set the stage again today

And thrusts the reader to the fray

ACTION

Goldilocks: (with wonderment) Oh three porridges, oh three beds, I’m choosy where I put my head. I took so long to flounce on in, through lovely forest where fairies din. And through the sunny morning time, my words so easily do rhyme. I seek out sustenance in tow, in places I do love to go. There’s nothing scary lay ahead, but fitting not within a bed.

“Hey, where’s the cue, I cannot see

Where in the script the bears all flee.

You’re telling me these things can’t speak

Whew, get away my co-stars reek!

A knife! No spoon? What script is this?”

[She grips the tool, something amiss]

“Oh that’s too close, damn bears, step back!

God! Decency you grossly lack!”

Goldie stabbed out blindly thrice

Her shoes now bloody red

A crew aghast and cold as ice

And oops is all she said

Victor chose to retell Joseph Cundell’s “Story of the Three Bears” in poetic form. One of his goals with this retelling was to have Goldilocks take on the role of antagonist. He was inspired to “use structure and dramatic shifts to give the reader a sense of familiarity only for it to change to unsettling.”  He did this through creating one cycle of calm and fear into his story wherein the bears should be fearful of the child. He then shifts to a sing-song, rhyme scheme reminiscent of traditional fairy tales. Finally, he closes his poem with an ABAB rhyme scheme to bring the reader out of the fairy tale wold and into real life. He also intentionally shifted the last lines of the poem to frantic dialogue to remind the reader of danger little Goldilocks poses to the bears and crew and ends with a child-like “oops.”