I B R E T T O
V
O C A L
B
O O K
© 2014 Billy London Ltd.
L
NOTICE: DO NOT DEFACE!
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Billy Elliott The Musical: Music © 2005 and 2008 HST Billy Elliott Limited, Book and Lyrics © 2005 and 2008 Universal City Studios, LLC.
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C H A R AC T E R S
(The doublings indicated were used for the original Broadway production)
BILLY
WOMAN 1 / DEAD MUM
DEBBIE WILKINSON
WOMAN 3 (Lesley)
MICHAEL CAFFREY
DAD
TONY
GEORGE
MRS. WILKINSON GRANDMA
MINER 1 / PIT SUPERVISOR
WOMAN 2 / CLIPBOARD WOMAN
SMALL BOY
TALL BOY / POSH BOY (Kevin) BALLET GIRLS:
ALISON SUMMERS KEELEY GIBSON
ANGELA ROBSON
MINER 2 / MR. WILKINSON
JULIE HOPE
MINER 4
SHARON PERCY
MINER 3
MINER 5
MINER 6
MINER 7 / SCAB / POSH DAD MINER 8
MINER 9 / BIG DAVEY
KAREN DAVIDSON MARGARET GORMLEY TINA HARMER
TRACY ATKINSON SUSAN PARKS
MINER 10
MINER 11 / MR. BRAITHWAITE MINER 12
MINER 13 / OLDER BILLY / DANCER
— iii —
0.
ACT 1
MUSICAL NUMBERS
Overture .......................................................................................................1
1.
1a.
1b.
The Stars Look Down....................................................................................2
All Out For Breakfast ....................................................................................7 The Letter Underscore ................................................................................13
2.
Shine ............................................................................................................21
3.
Grandma’s Song ..........................................................................................30
2a. 4.
4a.
4b.
5.
Shadow Dance .............................................................................................28
Solidarity .....................................................................................................33
Underscore to Toilets ..................................................................................45 Electricity Underscore.................................................................................47
Expressing Yourself .....................................................................................51
5a.
Expressing Yourself (Playout) ....................................................................55
6.
The Letter ....................................................................................................60
7a.
After Boogie.................................................................................................66
5b.
7.
7b.
7c. 8.
Hammer Scene Underscore.........................................................................56
We Were Born to Boogie .............................................................................62 Sleepless Night ............................................................................................69
Intro to Angry Dance ..................................................................................75
Angry Dance................................................................................................76
ACT 2
8a.
Christmas Fanfare .......................................................................................77
10.
Deep Into the Ground .................................................................................80
9.
Merry Christmas, Maggie Thatcher ...........................................................77
10a. Out of Christmas Underscore .....................................................................84 11a. Dad’s Song Underscore...............................................................................87
11b. At the Pit Gates ...........................................................................................90 12.
He Could Be a Star ......................................................................................92
12a. No Mines in London ...................................................................................99
12b. Posh Boy’s Audition..................................................................................104
13.
Electricity ...................................................................................................106
13a. Soup Kitchen .............................................................................................108
13b. The Ballet School Letter ............................................................................113
13c. Grandma’s Song Scene Change ................................................................115
15.
Once We Were Kings .................................................................................117
17.
Finale..........................................................................................................121
16. 18.
The Letter (Reprise) ..................................................................................120 Playout .......................................................................................................122
— iv —
S O N G S B Y C H A R AC T E R BILLY
1.
The Stars Look Down . . . . . . .2
6.
The Letter . . . . . . . . . . . . . . .60
5.
7.
MINERS
1.
Expressing Yourself . . . . . . .51
4.
15. Once We Were Kings . . . . .117
10. Deep Into the Ground . . . . .80
BALLET GIRLS
13. Electricity . . . . . . . . . . . . . .106
2.
16. The Letter (Reprise) . . . . . .120
4.
9.
MRS. WILKINSON
Shine . . . . . . . . . . . . . . . . . . .21
6.
The Letter . . . . . . . . . . . . . . .60
4.
7.
Solidarity . . . . . . . . . . . . . . .33
4.
We Were Born to Boogie . . .62
7.
Grandma’s Song . . . . . . . . . .30 Expressing Yourself . . . . . . .51
Maggie Thatcher . . . . . . . . . .77
Solidarity . . . . . . . . . . . . . . .33 We Were Born to Boogie . . .62
1.
The Stars Look Down . . . . . . .2
4.
Solidarity . . . . . . . . . . . . . . .33
9.
Merry Christmas,
2.
The Letter . . . . . . . . . . . . . . .60
5.
16. The Letter (Reprise) . . . . . .120
DAD
Shine . . . . . . . . . . . . . . . . . . .21
Expressing Yourself . . . . . . .51 Maggie Thatcher . . . . . . . . . .77
10. Deep Into the Ground . . . . .80
10. Deep Into the Ground . . . . .80
15. Once We Were Kings . . . . .117
12. He Could Be a Star . . . . . . . .92
COMPANY
TONY
17. Finale . . . . . . . . . . . . . . . . . .121
12. He Could Be a Star . . . . . . . .92
BIG DAVEY
1.
Merry Christmas,
ENSEMBLE
DEAD MUM
6.
Solidarity . . . . . . . . . . . . . . .33
MR. BRAITHWAITE
MICHAEL
5.
Shine . . . . . . . . . . . . . . . . . . .21
POLICE
GRANDMA
3.
Solidarity . . . . . . . . . . . . . . .33
12. He Could Be a Star . . . . . . . .92
We Were Born to Boogie . . .62
2.
The Stars Look Down . . . . . . .2
The Stars Look Down . . . . . . .2
12. He Could Be a Star . . . . . . . .92
— v —
— vi —
B
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L L I O T
T H E
M U S I C A L
ACT I
SCENE 1: THE STARS LOOK DOWN
Bare Stage.
In the original Broadway production, narrated newsreel footage from the time was shown in order to provide context for the play. Included below is the transcript of the footage. While we feel providing context is useful to help understand the play, a film introduction is only one way to do this.
(Churchill:)
“At one minute after midnight tonight, the German war is at an end.”
(Narrator:)
After our victory over the Nazis in Europe, the government is set out to rebuild a Britain fit for heroes. The coalfields of northern England have long been the heartbeat of the British economy, but were notorious for the dangerous conditions and poor wages. But will soon be changed forever as the nationalization of the mines means, for the very first time, the great British coal industry is owned by the great British people.
(Herbert Morrison:)
“This great scheme of nationalization is for all our people and all our children, and it depends on you.”
#0—Overture (SFX: Bell)
(Narrator:)
Today, Margaret Thatcher hardened her position against her party’s old enemy, the National Union of Mineworkers.
(SFX: Bell)
(Thatcher:)
“The decision was taken as part of our expenditure policy.”
(Narrator:)
Drawing up her battle plans against the unions in meetings with Michael Heseltine and the rest of the cabinet, it’s clear a struggle is to come.
(Arthur Scargill:)
“Are you going to accept it down on your knees, or are you going to stand and fight and oppose the closure and the butchery of your industry…?”
MINER 1 starts singing behind the scrim. Gradually, more MINERS join in.
— 1 —
— 2 —
B
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L L I O T
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M U S I C A L
#1—The Stars Look Down MINER 1
THROUGH THE DARK AND THROUGH THE HUNGER, THROUGH THE NIGHT AND THROUGH THE FEAR THROUGH THE
MINERS 1, 2
FIGHT AND YEARS OF HARDSHIP.
THROUGH THE STORMS AND THROUGH THE TEARS
MINERS 1-6
AND ALTHOUGH YOUR FEET ARE WEARY,
AND ALTHOUGH YOUR SOUL IS WORN
AND ALTHOUGH THEY’LL TRY TO BREAK YOU
AND
MINERS 1-6 and 8 and TONY
ALTHOUGH YOU’LL FEEL ALONE
TONY
Oi!
MINERS 1-6, 8-11 and TONY
WE WILL ALWAYS STAND TOGETHER
IN THE DARK,
MINERS 1-6, 8-13 and TONY
RIGHT THROUGH THE STORM.
WE WILL STAND, SHOULDER TO SHOULDER
TO KEEP US WARM
WOMAN enters and the song stops.
WOMAN 1
Any news? Still waiting.
MINER 5
The screen goes up.
ENSEMBLE
AND THE STARS LOOK DOWN ON THE MEAN AND HUNGRY
AND THE STARS LOOK DOWN AND SHOW THE WAY
B
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L L I O T
T H E
— 3 —
M U S I C A L
(ENSEMBLE)
AND THE STARS LOOK DOWN AND WE’LL STAND TOGETHER TO SEE A DAY
WHEN THE STARS LOOK DOWN AND KNOW OUR HISTORY
WHEN THE STARS LOOK DOWN UPON OUR PAST
(LESLEY: Sit Down!)
AND THE STARS LOOK DOWN AND SEE A FUTURE BRIGHT AT LAST
WHEN WE’LL STAND AS ONE, BENEATH THE SUN
BIG DAVEY prompts the singing.
BIG DAVEY
AND THOUGH OUR HANDS ARE BRUISED AND BLEEDIN’.
And wer lungs…
ENSEMBLE (WOMAN 2 & LESLEY)
AND WER LUNGS
Are full with dust…
BIG DAVEY ENSEMBLE
ARE FULL WITH DUST
And wer hearts… AND WER HEARTS
Are near to breakin’…
BIG DAVEY ENSEMBLE BIG DAVEY ENSEMBLE
ARE NEAR TO BREAKIN’
We will never… WE WILL NEVER
Forgo the trust… FORGO THE TRUST
Thank you.
BIG DAVEY ENSEMBLE BIG DAVEY ENSEMBLE BIG DAVEY
— 4 —
B
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L L I O T
T H E
M U S I C A L
MINER 1
Daily Worker!
BIG DAVEY
(To the girls running in)
Get over there by your mam.
(DAD enters with BILLY near the end of the following:)
ENSEMBLE
MINER 3
WE WILL ALWAYS STAND
(to Two Girls)
TOGETHER THROUGH
Sit down!
THE FROST, THE
HAIL, THE SNOW
THE STARS ARE OUR
REDEMPTION
Oi, Davey!
AND SO WE KNOW
DAD
The doors fly open. TALL BOY comes in.
TALL BOY
He’s heard!
GEORGE arrives, out of breath.
We’re out — We’re on strike.
GEORGE
The Hall erupts. They get up, congratulate each other. The MINERS start the song again. As the singing continues, SCAB enters the hall. This scene happens over the verse below:
Kevin. Scab, get out!
SCAB
GEORGE and BIG DAVEY SCAB
Kevin! I’ve told you not to come here. Go home, now.
SCAB grabs TALL BOY and drags him toward the door as MINERS taunt him.
Scab! Bastard scab! (Etc.)
MINERS
B
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ALL OUT TOGETHER
L L I O T
T H E
M U S I C A L
(MINERS)
ALL OUT AS ONE
ALL OUT FOR VICTORY ‘TIL WE’VE WON.
ALL OUT TOGETHER
ALL OUT AS ONE
ALL OUT FOR VICTORY ‘TIL WE’VE WON
ALL OUT TOGETHER
ALL OUT AS ONE
ALL OUT FOR VICTORY
ALL OUT ‘TIL WE’VE WON
MINERS and community exit, leaving MICHAEL, BILLY, and SMALL BOY.
MICHAEL
Billy, do you know why everyone’s going on strike, like?
BILLY
It’s to do with Maggie Thatcher, isn’t it? Why? What’s she done? Fooked if I know. See ya at boxing then? Yeah, see ya, Michael.
MICHAEL BILLY MICHAEL BILLY
MICHAEL leaves. BILLY stays seated.
TAKE ME UP AND HOLD ME GENTLY
RAISE ME UP AND HOLD ME HIGH
THROUGH THE NIGHTS UNDER DARKNESS
WILL COME A DAY WHEN WE WILL FLY
BILLY gets up to do his little stepping dance.
AND ALTHOUGH WE’VE BEEN REJECTED
AND ALTHOUGH WE’VE BEEN OUTCAST
WE WILL FIND A NEW TOMORROW
WHEN WE COME TO REST AT LAST
— 5 —
— 6 —
B
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L L I O T
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M U S I C A L
(BILLY)
AND WE WILL STAND THERE PROUDLY AND WE WILL NEVER WALK ALONE AND WE WILL BE RETURNED
BACK TO OUR HOME.
SMALL BOY
Cush!
BILLY
Shut up!
MINERS and community re-enter and walk down.
ENSEMBLE
AND THE STARS LOOK DOWN AT THEIR REFLECTION
AND THE STARS LOOK DOWN AND THERE’S A LIGHT
WHEN THE STARS LOOK DOWN THEY’LL SEE THE JUSTICE
AND THE RIGHT
AND THE STARS LOOK DOWN AND SEE THE STRUGGLE
AND THE STARS LOOK DOWN AND KNOW THE PAIN
AND THE STARS WILL LEAD TO WHERE LIGHT SHINES AGAIN
WHEN WE’LL STAND AS ONE BENEATH THE SUN ONE BENEATH THE SUN
MINER 1
WHEN WE’LL STAND AS ONE
ENSEMBLE
ALL OUT TOGETHER,
WHEN WE’LL STAND AS ONE ALL OUT AS ONE,
WHEN WE’LL STAND AS ONE
ALL OUT FOR VICTORY,
WHEN WE’LL STAND AS ONE ‘TIL WE’VE WON.
WHEN WE’LL STAND AS ONE ALL OUT TOGETHER,
WHEN WE’LL STAND AS ONE ALL OUT AS ONE,
WHEN WE’LL STAND AS ONE
ALL OUT FOR VICTORY,
WHEN WE’LL STAND AS ONE ‘TIL WE’VE WON.
WOMEN
BENEATH THE SUN.
B
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L L I O T
T H E
M U S I C A L
(ENSEMBLE)
WHEN WE’LL STAND AS ONE ALL OUT TOGETHER,
WHEN WE’LL STAND AS ONE ALL OUT AS ONE,
WHEN WE’LL STAND AS ONE
ALL OUT FOR VICTORY,
ALL OUT ‘TIL WE’VE WON.
Yeah!
SMALL BOY
(End of number. All exit as Big Davey, Lesley, and George all give overlapping orders:)
#1a—All Out For Breakfast GEORGE
There’s a meeting tonight of all conveners and stewards at the regional office. We’ll meet back here tomorrow at 8 o’clock. Davey, can you give me a lift?
BIG DAVEY
We meet tomorrow morning on the corner. Ten o’clock. And don’t be late!
LESLEY
If you have any questions, come and see me. We’re going to have to work together to make this change happen. This is what we’ve been waiting for, lads!
— 7 —
— 8 —
B
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L L I O T
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M U S I C A L
SCENE 2: BREAKFAST
DAD
(Coming up the stairs as the house rises)
Billy! Billy! Billy, get downstairs now! Your breakfast’s ready!
(HE sees Tony below)
Comin’!
BILLY DAD
Tony. Tony, what the hell are you doing? Nothing. Reading.
(Going downstairs)
TONY DAD
We’re supposed be on the bloody picket line in five minutes!
TONY
We’re gonna win anyway. Get off me back. As soon as you get off your fat arse.
DAD
(setting the table)
BILLY!! You’re gonna be late, son. I said I’m comin’! Leave the bairn alone, will ya? Billy, I’m warning ya!
BILLY TONY DAD
(notices Grandma by the stove)
Grandma—what you doin’? I’m looking for me pasty.
GRANDMA DAD
Forget about yer bloody pasty. Sit down. I’m making you a nice cooked breakfast.
B
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(To Tony)
E
L L I O T
T H E
M U S I C A L
(DAD)
Boots off the table.
DAD takes TONY’S boots off the table. (To Tony)
Have you seen me pasty?
GRANDMA
DAD
Billy! Get down here now or I’ll tan yer hide for ya. Comin’! What he lacks is a mother’s touch.
BILLY
GRANDMA DAD
What he lacks is a kick up the arse. Sit down!
(HE takes her to the table)
I’ve got yer bloody breakfast. I don’t want a cooked breakfast. Billy! Not your cooked breakfast. I’m comin’!
GRANDMA DAD GRANDMA BILLY DAD
(Takes a burning frying pan off the stove.)
Oh no, look at the state of this.
(To Tony)
GRANDMA
The food in this house has been inedible since yer mam died. Grandma.
TONY
— 9 —
— 10 —
B
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L L I O T
T H E
M U S I C A L
DAD
Leave us alone, will ya? I’m the only one who does any bloody work in this house. Two burnt slices of fried bread. It’s an egg, actually.
Enter BIG DAVEY.
Morning, Jackie. Ah, breakfast. Oh no. Oh no, no you don’t.
BIG DAVEY heads for the kitchen.
Oi lads, breakfast!
(At separate times, as they enter)
Good morning, Edna. (etc.)
GRANDMA DAD
BIG DAVEY GRANDMA DAD
MINER 3 MINERS
DAD
(To Big Davey, as he takes a loaf of bread)
Oi. I paid for that.
All property is theft, Comrade. Good morning, Edna!
BIG DAVEY MINER 1 GRANDMA
What’s good about it? They’ve purloined me bloody pasty. Awww.
DAD grabs back the pan.
MINERS
B
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L L I O T
T H E
M U S I C A L
DAD
(To the miners)
Bugger off, the lot of yous — You’re eating us out of house and home.
LESLEY enters.
LESLEY
Oi! The police are bussing the scabs in early. Come on!
Beat. Then MINERS shout and run out.
DAD
Billy, yer fifty pee for boxing is on the side there.
(to Tony)
You. Picket line. Now.
BILLY takes off PJ shirt, leaves it on bed, gets gloves from under bed, and puts them around neck, and then gets the pasty.
MINERS
(offstage)
Maggie, Maggie, Maggie! Out, out, out! Maggie, Maggie, Maggie! Out, out, out! Maggie, Maggie, Maggie! Out, out, out!
Everyone has exited but BIG DAVEY. During the following song, HE takes the burnt egg, pours a massive amount of salt on it. A piece of toast pops out of the toaster; HE prepares to eat it.
(MINERS)
[Typically sung to the melody of the Welsh hymn, “Cwm Rhondda” (“Bread of Heaven”)] ARTHUR SCARGILL, ARTHUR SCARGILL
WE’LL SUPPORT YOU EVERMORE (EVERMORE)
WE’LL SUPPORT YOU EVERMORE
GRANDMA
If I were you, Big Davey, I wouldn’t eat that. Waste not, want not.
BIG DAVEY
BIG DAVEY shoves it in his mouth as GRANDMA watches. HE exits.
— 11 —
— 12 —
B
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BILLY comes downstairs. Hello, Grandma. Hello, Son.
(Putting a pasty in front of her)
E
L L I O T
T H E
M U S I C A L
BILLY GRANDMA BILLY
Grandma, I found this in the laundry basket. What the hell is that? It’s yer pasty.
GRANDMA BILLY GRANDMA
Oh, thank the Lord, I thought they’d eaten it.
BILLY
Nobody’d eat that, Grandma — It’s mank.
(As SHE seasons the pasty)
GRANDMA
You lot have it too bloody easy. I can remember the General Strike. Grandma! What? You’ll make yourself ill.
BILLY
GRANDMA BILLY
(HE takes it away from her)
Look, it’s got mold on it.
(HE puts the pasty down, crosses to kitchen)
Uff! You’re driving me mental. Anyway, how come you can remember the General Strike, but you can’t remember where you put (alt: hid) yer pasty?
(having tasted the pasty)
Ugh!
GRANDMA
B
I L L Y
Grandma! Oh, that is absolutely disgusting.
E
L L I O T
M U S I C A L
BILLY GRANDMA
GRANDMA sets off for the back door.
Where you going now?
T H E
BILLY
GRANDMA
I’ve got a nice sausage roll on the landing.
GRANDMA leaves.
BILLY clears the table and picks up the milk. DEAD MUM enters.
DEAD MUM
Oi, little un. What have I told you about drinking out of the bottle? Hello, Mam.
BILLY
[MUSIC STARTS]
#1b—The Letter Underscore DEAD MUM
Will you look at the state of this kitchen. I know. You’re gonna be late. Mam… Have you got yer fifty pee? Dad gave us it. Have you got yer trainers?
BILLY
DEAD MUM BILLY DEAD MUM BILLY DEAD MUM
— 13 —
— 14 —
B
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L L I O T
They’ll be in your bedroom. No, they’re not… Billy.
M U S I C A L
BILLY
Yeah. No!
(HE runs upstairs)
T H E
DEAD MUM BILLY DEAD MUM BILLY
I’m absolutely positive they’re not. Found ‘em!
DEAD MUM
You’d forget your head if it was loose.
DEAD MUM exits. BILLY returns with trainers.
BILLY
I think Grandma must have moved ‘em. They’ve got muck all over ‘em.
(HE calls for her)
Mam?
(She is gone)
Mam.
B
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L L I O T
T H E
M U S I C A L
— 15 —
SCENE 3: BOXING
Blast of a whistle. Oi, Bollocks! Get off us, man.
MICHAEL TALL BOY
Three boys fly past BILLY as GEORGE enters.
GEORGE
Come on, you lazy little buggers. It’s boxing, for Christ’s sake. Right, drop down there and give me twenty. Oh no.
(To Billy)
MICHAEL GEORGE
What bloody time do you call this? Come on, get changed, now. Do I have to?
BILLY
GEORGE
‘Course you bloody well have to. You haven’t done any boxing yet. But it’s nearly finished.
BILLY
GEORGE
Get changed or I’ll knock yer block off.
(As GEORGE whacks him)
Ow!
Jesus! Jesus! Jesus!
BILLY
SMALL BOY
(HE collapses)
Oof!
GEORGE
D’ya call them press-ups, you lazy little git? I’ve seen more life in Maggie Thatcher’s knickers. Right yous, piss off!
— 16 —
B
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L L I O T
T H E
M U S I C A L
(GEORGE clotheslines MICHAEL.)
(GEORGE)
Oi, where do you think you’re going? I’m pissing off.
MICHAEL GEORGE
You’re pissing me off. You can stay where you are and fight Sugar Ray Leonard over there. I think you knocked a tooth out. Serves you right. Over here now!
BILLY
GEORGE
(Notices MICHAEL leaving)
Oi, Michael.
But I need the toilet, Sir.
GEORGE chases MICHAEL.
MICHAEL
BILLY
It’s not my fault I was late. I had to see to me nana.
(arriving in place, to BILLY)
GEORGE
I’ll see to yer bleeding nana in a minute. Do you think I do these classes for the good of me health? Anybody would think you don’t like boxing. I don’t.
BILLY
GEORGE
Fifty pee. You, bonny lad, are gonna get yer fifty pees worth whether you like it or not.
BILLY
But look — Everybody else is goin’ home.
GEORGE
Aye — That’s ‘cause they’ve done their boxing.
B
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E
See ya, George. See ya, Sunshine. Wanker! (alt: Fat bastard.)
L L I O T
T H E
M U S I C A L
SMALL BOY GEORGE SMALL BOY
Exit SMALL BOY.
BILLY laughs. GEORGE hits BILLY. MICHAEL tries to leave again.
Where do you think you’re going? To get changed.
GEORGE MICHAEL GEORGE
Oh for Christ’s sake. Get back here now. Right. Ding, ding. Round one.
(To Billy)
You — stand there.
(To Michael)
You — stand there. Now. Hit him. Do I have to?
MICHAEL GEORGE
Of course you have to hit him. It’s boxing. Go on — Whack him one, else I’ll tell your dad on you.
(To Tall Boy, who has been tugging on his shirt)
What, man?
Please, Sir, can I have a word?
TALL BOY
— 17 —
— 18 —
B
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E
You can have two—
L L I O T
T H E
M U S I C A L
GEORGE
(hits Tall Boy)
Bugger and off. Oi! Ow!
TALL BOY
His dad doesn’t even like him coming.
BILLY
GEORGE
You can shut your cake hole as well. Alright, smart Alec. Go on, you hit him. Ding ding ding! Come on; let’s do a little bit of boxing, that’s what we’re here to do. That’s it. Come on, put a little beef into it.
(As BILLY starts his boxing dance)
Whoa, whoa, whoa! What the hell you doing, John Travolta? I’m just trying to put him off.
BILLY
GEORGE
It’s not a bloody tea dance, man. Hit him in the head. Are you sure?
BILLY
GEORGE
Of course I’m sure. Go on, whack the little bastard!
MICHAEL punches BILLY in the head. BILLY falls to the ground.
Ow! Nice one! Well, get up. Sorry, Billy.
BILLY GEORGE MICHAEL GEORGE
“Sorry?” “Sorry?” What the hell do you mean, “Sorry?” He’s supposed to hit you, you’re supposed to hit him — It’s boxing.
GEORGE hits MICHAEL in the head; HE falls.
B
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Ow! Oh, for Christ’s sake. Are you alright?
E
L L I O T
T H E
M U S I C A L
MICHAEL GEORGE MICHAEL GEORGE
Of course he’s alright, you great fat fanny.
(to BILLY)
Right, hit him back. I don’t really want to. God, give me strength.
BILLY GEORGE
(Holds up gloves to Michael)
Howay, Michael — Come on; let’s show ‘im how it’s done. Give us a left, and a right, and a left. Now that’s a good lad—
MICHAEL punches GEORGE in the groin.
You little bastard. Sorry, George. Go on, piss off.
MICHAEL GEORGE
GEORGE throws MICHAEL’S glove at him as he leaves, then notices BILLY trying to sneak off.
You can stop where you are. But…
BILLY GEORGE
No buts about it. You’re a disgrace to your father, to them gloves, and to the fine traditions of this boxing hall.
GEORGE raises his hand as if to strike BILLY. BILLY recoils (Ow!); GEORGE starts off.
— 19 —
— 20 —
B
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L L I O T
T H E
M U S I C A L
(GEORGE)
I’m off to the picket line. You can stop here and practice with that bag by yerself.
GEORGE exits, tosses keys. (offstage)
Oh, aye, and make sure Mrs. Wilkinson gets these keys before you leave. Who?
BILLY
BILLY tries to pick up the keys with his gloves, but can’t. Instead, HE picks them up with his feet and catches them in his gloves.
B
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L L I O T
T H E
M U S I C A L
SCENE 4: SHINE
Suddenly, the upstage doors open and BALLET GIRLS enter, screaming. They run past BILLY. Stop it, stop it! She’s coming! DEBBIE—!
ANGELA ROBSON
TRACEY ATKINSON
(BALLET GIRLS scream; ALISON SUMMERS screams loudest.) MRS. WILKINSON appears in the doorway.
MRS. WILKINSON
Chairs!
MUSIC starts. SHE walks down and lights a fag.
#2—Shine (To Billy)
Oi, Rocky, bugger off.
(To girls)
Arms!
ARMS 2 3 4
GIRLS MRS. WILKINSON
Alison Summers, get that coat off. Full plié. FULL PLIÉ 2 3 4
GIRLS
MRS. WILKINSON
Get rid of the pie, Tracey Atkinson. Up. UP 2 3 4
GIRLS
MRS. WILKINSON
Christ, we’ll need a bloody winch to get you out of here. Second. SECOND 2 3 4
GIRLS
— 21 —
— 22 —
B
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L L I O T
T H E
M U S I C A L
MRS. WILKINSON
I’m telling ya, Tracey, you’ll end up like yer mother. Miss, the keys. Who the bloody hell are you? Billy. Billy Elliot.
BILLY
MRS. WILKINSON BILLY MRS. WILKINSON
Oh, pleased to meet you, I’m Margot. Margot flippin’ Fonteyn; it was a rhetorical question, now piss off over there.
(BILLY moves upstage)
Keeley Gibson, how many times have I got to tell ya? But Miss, me mam…
KEELEY
MRS. WILKINSON
I don’t care if your mother has got cerebral palsy, Keeley. You have to bring yer shoes. TRY TO KEEP YOUR ARM IN LINE
COME ON, AT LEAST PRETEND YOU’RE DOING FINE
Don’t forget the golden rule, girls — Never hide your light under a bushel — No matter how big the bushel, Tracey Atkinson. YOU CAN WOW THEM EVERY TIME
Even you, Susan Parks!
ALL YOU HAFTA DO IS SHINE
Jetés! That’s it, girls, so our tawdry little lives are transformed by the power of art. FORGET ABOUT CONTENT
(calls Billy over)
Oi, you!
(to girls)
FOCUS ON STYLE
STEAL AN INCH ON THEM
AND THEY’LL GIVE YOU A MILE
B
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L L I O T
T H E
M U S I C A L
— 23 —
(MRS. WILKINSON)
(to Billy)
Chair!
(to girls)
Everybody ready for the big number.
AND SMILE, SMILE, SMILE, SMI—ILE!!!
Right. We’ve only got seven and a half months to rehearse this, so for Christ’s sakes, concentrate. IT DOESN’T MATTER IF YOU’RE LARGE OR SMALL
TRAPEZIOID, OR SHORT OR TALL
EVEN IF YOU CAN’T DANCE AT ALL
ALL YOU REALLY HAFTA DO IS SHINE.
BALLET GIRLS
TWEET! TWEET! TWEET! TWEET! TWEET! TWEET!
MRS. WILKINSON
IT DOESN’T MATTER IF YOUR LIFE’S A MESS
THE WHOLE PROCESS WILL COALESCE
GIRLS, JUST TRY TO EFFERVESCE
ALL YOU REALLY HAFTA DO IS SHINE.
GIVE ‘EM THE OLD RAZZLE DAZZLE
TURN ON THE OLD PIZZAZ
Miss, the keys!
BILLY
MRS. WILKINSON
THERE WON’T BE TIME TO SHILLY SHALLY
GIVE IT BACKBONE, GIVE IT WELLY
BOWL ‘EM OVER, KNOCK ‘EM OUT
SHOW ‘EM WHAT LIFE IS ALL ABOUT
MRS. WILKINSON
GIVE ‘EM THE
OLD RAZZLE—
DAZZLE
AND SHINE
BALLET GIRLS
AHHHH!
AHHHH!
AHHHH!
— 24 —
B
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L L I O T
T H E
M U S I C A L
MRS. WILKINSON
(to Billy)
Oi, you, join in or bugger off.
(to girls)
IT DOESN’T MATTER IF YOU’RE UNEMPLOYED
ONLY PARTIALLY HUMANOID
AN OCTOPOID WHOSE MIND’S A VOID ALL YOU REALLY HAFTA DO IS SHINE
C’mon Debbie, it’s your big moment!
IT DOESN’T MATTER IF YOU’RE SPECIAL NEEDS
MAIMED OR LAME, OR BORN IN LEEDS
MRS. WILKINSON
THEY LOVE TO
Mam!
THAT BLEEDS
Mam!
SEE A HEART
ALL YOU REALLY
DEBBIE
GOTTA DO IS
SHINE
Smile, Debbie!
Ahhh!
GIVE ‘EM THE OLD RAZZLE DAZZLE
TURN ON THE OLD PIZZAZ
THERE WON’T BE TIME TO SHILLY SHALLY GIVE IT BACKBONE, GIVE IT WELLY
Ahhh!
Ahhh!
BOWL ‘EM OVER, KNOCK ‘EM OUT
Ahhh!
SHOW ‘EM WHAT LIFE IS ALL ABOUT
GIVE ‘EM THE OLD RAZZLE DAZZLE
AND SHINE
BALLET GIRLS exit. SHE notices BILLY at door.
MRS. WILKINSON
Oi, you! Where are you going? I’m going home.
BILLY
BALLET GIRLS
B
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L L I O T
T H E
— 25 —
M U S I C A L
MRS. WILKINSON
Oh no, you’re not. You haven’t done any dancin’ yet. What do you mean, dancin’?
BILLY
MRS. WILKINSON
Oh come on, you gotta do the show. Oh no, it’ll be rubbish.
BILLY
MRS. WILKINSON
I COULDN’T GIVE A MONKEY’S CUSS I COULDN’T GIVE A FIG.
COME ON, SON, GET OVER IT, IT’S ALL PART OF THE GIG.
BALLET GIRLS re-enter.
MRS. WILKINSON
Smoke, Mr. Braithwaite. Come on, girls, get behind those fans. What do I do?
BILLY
MRS. WILKINSON
Get behind the fat lass and keep smiling.
MRS. WILKINSON
GIVE ‘EM THE OLD RINKLE TINKLE
Out, in
GIVE ‘EM THE OLD
BACK-UP WOMEN RINKLE TINKLE
KERBAMM!
OLD KERBAMM
KNOCK ‘EM SIDEWAYS, BLOW THEIR MINDS OUT
OOH…
THERE’S NO TIME FOR HALF-ARSED FROLICS
GRAB THE BUGGERS BY THE BOLLOCKS
SHOW ‘EM WHAT CLASS IS ALL ABOUT
ALL ABOUT
AND SHINE
AND SHINE
GIVE ‘EM THE OLD RAZZLE DAZZLE
Lights!
— 26 —
B
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L L I O T
T H E
M U S I C A L
(MRS. WILKINSON)
BALLET GIRLS
IT DOESN’T
OOOH!
YOU’RE SHORT OR
AHHHH!
MATTER IF SQUAT
BACK-UP WOMEN
SHORT OR SQUAT.
MRS. WILKINSON
BALLET GIRLS
CEREBRALLY
AHHHH!
COMPLETELY SHOT
AHHHH!
CHALLENGED,
‘PLETELY SHOT.
BACK-UP WOMEN
MRS. WILKINSON
YOU MIGHT HAVE IT OR MIGHT NOT
BALLET GIRLS
Out, in, out in, out, in out, in, Sha-boom!
BACK UP WOMEN
OOHH…
ALL YOU REALLY
HAVE TO DO IS
BALLET GIRLS
Sha-boom!
BACK UP WOMEN
OOHH…
ALL YOU REALLY
IS SHINE
HAVE TO DO IS
SHINE
MRS. WILKINSON and WOMEN
GIVE ‘EM THE OLD RAZZLE DAZZLE AND SHINE
GIVE ‘EM THE OLD RAZZLE DAZZLE AND SHINE
AND SHINE
AND SHINE.
MRS. WILKINSON
(To the girls, who put coins in her glass)
Fifty pees.
B
I L L Y
(To Billy)
E
L L I O T
Oh, yes, you do. What for?
M U S I C A L
(MRS. WILKINSON)
Oi. You owe me fifty pee. No, I don’t.
T H E
BILLY MRS. WILKINSON BILLY MRS. WILKINSON
Yer lesson. You don’t think I do this for the good of me health, do ya?
BILLY
What you on about? That wasn’t a lesson.
MRS. WILKINSON
Of course it was a bloody lesson, it nearly killed me.
(re: GIRL who has not put in her 50p coin)
Oi, Margaret Gormley!
(Back to Billy)
Admittedly your fan work wasn’t so hot, but you’ve got quite a nice turn-out. A what? Fifty pee, stop pissing about.
BILLY
MRS. WILKINSON BILLY
I haven’t got fifty pee. I spent it on boxing.
MRS. WILKINSON
Well, you can bring it next week. What do you mean, next week?
BILLY
MRS. WILKINSON
Well, you’re coming again, aren’t you? You’ve got to be joking. To this crap?
BILLY
— 27 —
— 28 —
B
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M U S I C A L
MRS. WILKINSON
Please yer Bessie. Oi, Debbie, bring me stuff.
MRS. WILKINSON exits, DEBBIE follows. BILLY stops her.
So what do you reckon? You look like a dickhead to me.
BILLY
DEBBIE
DEBBIE shuts off the lights, exits.
[MUSIC STARTS]
#2a—Shadow Dance BILLY does his SHADOW DANCE.
Near the end of the dance, HE notices GRANDMA looking through his shoebox of belongings.
B
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L L I O T
T H E
M U S I C A L
SCENE 5: SECOND GRANDMA SCENE
GRANDMA comes up on the lift, looking through BILLY’S shoebox. Grandma! What are you doing?
BILLY
GRANDMA
(Looks back to Billy, then rifles through the box)
I know it’s in here somewhere. You’ve hidden it. Grandma! That’s me private stuff.
(notices a letter in his hand)
What is that?
BILLY
GRANDMA
BILLY
Nothing. It’s private. Mam left it for me. Where has she gone?
GRANDMA BILLY
She’s dead, Grandma. You were at the funeral. Was I?
GRANDMA BILLY
Of course you were. She was buried next to Granddad.
GRANDMA
Oh, not him an’ all. Aw, Christ, Billy, they’re dropping like flies. For Heaven’s sake.
BILLY
(Goes to his bag, gets pasty)
I got you a pasty… Really?
GRANDMA BILLY
From the Co-op. Just don’t tell Dad I was late or anything.
— 29 —
— 30 —
B
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L L I O T
T H E
M U S I C A L
BILLY gives her the pasty and puts boxing helmet in his bag. GRANDMA quickly hides the pasty.
BILLY looks back at GRANDMA.
(BILLY)
Come off it. Do you really not remember about Granddad? ‘Course I do.
GRANDMA
[MUSIC STARTS]
#3—Grandma’s Song How could I forget yer granddad, Billy? We were married thirty-three year. So what was he like, like?
BILLY
GRANDMA pulls out a stool and pats it for BILLY.
BILLY crosses in front of GRANDMA to sit.
B
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L L I O T
T H E
M U S I C A L
SCENE 6: GRANDMA’S SONG He was a complete bastard.
GRANDMA
I HATED THE SOD — FOR THIRTY-THREE YEAR
WE SHOULD NEVER HAVE MARRIED — OF THAT I’M QUITE CLEAR
HE SPENT THE HOUSEKEEPING MONEY ON WHISKEY AND BEER AND NEVER LIFTED A FINGER
TIMES WERE HARD, BUT THE SWINE ROLLED BACK PISSED
SO WE’D FIGHT AND HE’D SWING AND HE RARELY MISSED
SO I’D CLOBBER THE SOD WHEN HE COULDN’T RESIST:
ASLEEP, YOU CAN’T LIFT A FINGER.
BUT WE’D GO DANCING…AND HE’D HOLD ME TIGHT
HE WAS AIR, HE WAS WATER, HE WAS BREATH, HE WAS LIGHT
AND HE WOULD HOLD ME THERE, WITH ALL HIS MIGHT. AND IT WAS BLISS FOR AN HOUR OR SO
BUT THEN THEY CALLED TIME TO GO
AND IN THE MORNIN’ WE WERE SOBER. O HE’D DRINK AND HE’D TALK JUST LIKE A FOOL
LIE LIKE A BAIRN AND SNORE LIKE A MULE
RARELY WAS SOBER, PRETTY MUCH WAS THE RULE
AND HE NEVER LIFTED A FINGER
I SUPPOSE TIMES WERE HARD, THINGS WERE DIFFERENT THEN WOMEN WERE WOMEN AND MEN THEY WERE MEN
SEVENTEEN, THAT WAS IT, YOUR LIFE ENDED WHEN YOU HAD A RING AROUND YOUR FINGER.
BUT WE’D GO DANCING, HE WAS MY OWN BRANDO
AND FOR A MOMENT THERE I WAS MARILYN MONROE
WE HAD DUST IN OUR HAIR AND NOWHERE TO GO
BUT WE WERE FREE FOR AN HOUR OR THREE
FROM THE PEOPLE WE HAD TO BE
BUT IN THE MORNIN’ WE WERE SOBER BUT IF I WENT THROUGH MY TIME AGAIN,
OH I’D DO IT WITHOUT THE HELP OF MEN
OR AT LEAST YOUR GRANDDAD
— 31 —
— 32 —
B
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M U S I C A L
(GRANDMA)
BUT THEN AGAIN, YOU KNOW BEST NOT TO LINGER
WHAT IS THE USE OF DREAMING NOW? I HAD MY CHANCE, WELL, ANYHOW,
IF I’D ONLY KNOWN THEN WHAT I KNOW NOW I’D’VE GIVEN THEM ALL THE FINGER
AND GONE DANCING, AND NOT GIVE A SHIT
SPIN AROUND AND REEL AND LOVE EVERY BIT AND I’D DANCE ALONE AND ENJOY IT AND I’D BE ME FOR AN ENTIRE LIFE INSTEAD OF SOMEBODY’S WIFE
AND I NEVER WOULD BE SOBER. NO I NEVER WOULD BE SOBER.
GRANDMA goes off with BILLY.
POLICE come on.
B
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L L I O T
T H E
M U S I C A L
— 33 —
SCENE 7: SOLIDARITY
#4—Solidarity POLICEMEN enter and line up across the stage. BALLET GIRLS and MR. BRAITHWAITE pass in front of them. BILLY enters, stops in front of POLICEMAN. What are yous doing here? Keepin’ the peace.
BILLY
POLICEMAN
What for like? There’s nowt going on.
BILLY
POLICEMAN
Well, we’re doin’ a good job then, aren’t we? Now sod off.
BALLET GIRLS run past. DEBBIE stops.
So, are you gonna go back then? What? To ballet? Plenty of lads do ballet. Aye, poufs. Not necessarily. Who like? What about that Rudolph Nureyev? Who? He’s not a pouf.
DEBBIE BILLY DEBBIE BILLY DEBBIE BILLY DEBBIE BILLY DEBBIE
— 34 —
B
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M U S I C A L
POLICEMEN all laugh.
DEBBIE and BILLY turn; the laughter stops.
BILLY
Anyway, I don’t know why you bother going. You’re crap at it.
DEBBIE
No, I’m not. Anyway, I don’t have much choice, do I?
(From inside the classroom)
MRS. WILKINSON
Debbie! Get a move on!
BILLY
How do you put up with her?
DEBBIE
Hey, how would you like it if I slagged off your mam?
BILLY
My mam’s dead.
DEBBIE
Oh. See ya then.
DEBBIE runs into the class. The police line goes off.
MRS. WILKINSON
Everybody, positions, please. Girls to the front, and 5 6 7 8 turn! Rocking the baby, stretch… Get rid of the pie, Tracey Atkinson. Debbie, you’re late, girl. Washing the windows and 5 6 7 8
(SHE approaches Billy)
Hello. Hello.
Shoes. I haven’t got any.
BILLY MRS. WILKINSON BILLY
B
I L L Y
(Hands him ballet slippers)
E
L L I O T
T H E
M U S I C A L
MRS. WILKINSON
Well, you have now. Put them on. As two groups, girls.
BILLY
I can’t wear them; I’ll look like a right sissy.
MRS. WILKINSON
Well you should’ve thought of that before you came in.
(Putting her hand out)
Oi, fifty pee. What?
Fifty pee. And again 6, 7, 8
BILLY MRS. WILKINSON BILLY
(Giving her a coin)
Rip off.
Arms, Susan Parks.
MRS. WILKINSON
(To Billy)
What about last week?
(Billy gives her another coin) (To girls)
Crossing!
(To Billy)
Well, are you joining in or what?
(To the girls)
Debbie, count girl, for Christ’s sakes. Oi, Billy Elliot! All right, girls, here we go, airing the sheets, and hang them on the other washing line.
(on a chair)
What am I supposed to do?
BILLY
— 35 —
— 36 —
B
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L L I O T
T H E
M U S I C A L
MRS. WILKINSON
Get down.
BILLY
I just gave you fifty pee.
MRS. WILKINSON
(To girls)
Travel back. That’s lovely. What do I do? Follow the others.
BILLY MRS. WILKINSON
(To girls)
Marching forward to Socialism. And… I don’t know what I’m doing. Arms, Sharon Percy. Miss, I don’t know what to do! Floor barre.
BILLY
MRS. WILKINSON BILLY MRS. WILKINSON BILLY
What barre? Plié, tendu second Plié, tendu close Developé devant Left leg
POLICE and MINERS enter. OI, GEORDIE
MRS. WILKINSON
POLICE
WANNA SEE SOMETHING
YOU’VE NEVER SEEN BEFORE?
B
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L L I O T
T H E
M U S I C A L
— 37 —
MRS. WILKINSON
Right leg.
POLICE
AND THAT’S JUST OFF THE OVERTIME
WANNA SEE SOME MORE?
MRS. WILKINSON
Left leg.
MINERS’ CHORUS
YOU THINK YER SMART, YA COCKNEY SHITE
YOU WANNA BE SUSPICIOUS
MRS. WILKINSON
Two lines.
MINERS’ CHORUS
WHEN YOU WERE ON THE PICKET LINE
WE WENT AND FUCKED (alt: TUPPED) YER MISSUS
All of us at once!
SOLIDARITY, SOLIDARITY
ALL
SOLIDARITY FOREVER
ALL FOR ONE AND ONE FOR ALL SOLIDARITY FOREVER
SOLIDARITY, SOLIDARITY
SOLIDARITY FOREVER
ALL FOR ONE AND ONE FOR ALL SOLIDARITY FOREVER
MRS. WILKINSON
Girls to the center. And now, my lovely ladies, the lesson you’ve all been waiting for, pirouettes! God help us. Right, now, I want you all to look at the wall, and that’ll be this wall, Susan Parks, and focus on a spot. Do not take your eyes off that spot. Right, then you turn your bodies ‘round, but you keep looking at the spot, so your head is the last thing to leave and the first thing to come back. Is that understood? Yes, Miss.
GIRLS
MRS. WILKINSON
Why the hell do I bother? OK, into the middle, yes thank you, Mr. Braithwaite, Here we go and 1 2 3 Billy 5 6 7 8 9…Spin ‘em! Spin ‘em, Mr. Braithwaite!
— 38 —
B
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L L I O T
T H E
M U S I C A L
MR. BRAITHWAITE
I’m spinnin’ ‘em, Mrs. Wilkinson, I’m spinnin’ ‘em!
MRS. WILKINSON
Absolutely bloody hopeless, the whole bloody lot of yous.
(to Billy)
And you’re the worst of the bleeding lot, Billy Elliot
(to girls)
OK, forget it, into the corner. Let’s try some chainés, and 5 6 7 8…go, go… That’s much better Susan Parks, well done — you can have a gold star this week. Try not to kill yourself, Tracey Atkinson. Oi, Baryshnikov, over here…
(BILLY does chainés, landing in front of her)
OK, class dismissed.
Class ends as MINERS and POLICE enter.
MINER
Come on.
POLICE
KEEP IT UP ‘TIL CHRISTMAS, LADS,
IT MEANS A LOT TO US
WE SEND OUR KIDS TO PRIVATE SCHOOL ON A PRIVATE BUS
WE’VE GOT A LOT TO THANK YOU FOR, GEORDIE, YOU’RE A CORKER A NICE EXTENSION ON THE HOUSE AND A FORTNIGHT IN MAJORCA SOLIDARITY, SOLIDARITY
ALL
SOLIDARITY FOREVER
DON’T WORRY, LADS, WE’RE ON YOUR SIDE
SOLIDARITY FOREVER.
SOLIDARITY, SOLIDARITY
SOLIDARITY FOREVER
WE’RE PROUD TO BE WORKING-CLASS, SOLIDARITY FOREVER.
(To Billy)
You’re late.
MRS. WILKINSON
B
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L L I O T
T H E
M U S I C A L
BALLET GIRLS
(Continues throughout Dad / George’s conversation)
1 2 3 4 5 6 7 8…
GEORGE
Look, Jackie, there’s something very strange going on here.
DAD
What you on about?
GEORGE
I mean your Billy — He hasn’t been going to boxing for at least four weeks now.
DAD
Hasn’t been going to boxing?
GEORGE
I mean if things are a bit tight, you know, with the fifty pees…
DAD
What do you mean, he hasn’t been goin’ to boxing? If he hasn’t been goin’ to boxing, where the bloody hell has he been going?
BALLET GIRLS
SOLIDARITY, SOLIDARITY
SOLIDARITY FOREVER
WE’RE PROUD TO BE WORKING-CLASS
SOLIDARITY FOREVER.
BALLET GIRLS scream as MINERS and POLICE enter. Scab, scab, scab, scab! Quiet in my lesson.
MINERS’ CHORUS MRS. WILKINSON
The line of MINERS and POLICE breaks up.
TONY is in a scuffle with POLICE.
TONY
He just hit me! That (fuckin’) policeman just hit me!
DAD
I told you to stay out of trouble. Come on, Tony, let’s get out of here. Did you see that?
TONY
— 39 —
— 40 —
B
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L L I O T
T H E
M U S I C A L
DAD and TONY exit.
Lights up on the class.
MRS. WILKINSON
Right, let’s try to be calm in here. Try to concentrate. We’ll do some subra sous. And 5 6 7 8, shoulders down, point those feet. Lovely arms, Sharon. That’ll be both arms, Keeley Gibson. And feet in fifth, tendu second, Thank you, Debbie, plié fifth, retiré. And 5, 6, 7, 8.
GIRLS
12345678
DEBBIE
You’re crap at that. No, I’m not.
BILLY MRS. WILKINSON
Lovely legs, Tina. Arms, Debbie. Arms! Ton levé! Susan Parks, you look like a spastic starfish, girl.
BILLY
You’re crap at that. Piss off, will ya?
DEBBIE MRS. WILKINSON
Right. Attitude promenade. Prepare and…
(to Billy)
What’s the time? No, look at the wall. Pick up the biscuit.
(to Girls)
That’s lovely, Sharon, that’s much better. Well done. Arms up, Billy. Oi, Debbie, get your bum in for Christ’s sake. Other way ‘round, Susan Parks. Come on girls, let’s see those lovely little fairies twirling around on top of your music boxes. Go on. Come on, girls — You can do it.
(to Billy)
Elbow — Wrist — Tummy— Chin. Please, Mam, can we have a go?
BILLY DEBBIE
B
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L L I O T
T H E
— 41 —
M U S I C A L
MRS. WILKINSON
Baskets of pansies, ladies. Yes, thank you, Mr. Braithwaite. And 5 6 7 8
POLICE
YOU FUCKING (alt: LITTLE) WORMS
YOU FUCKING (alt: LITTLE) MOLES
YOU FUCKING (alt: LITTLE) GEORDIE SHITS
WE’RE HERE TO KICK YOUR GEORDIE ARSE, YOU LITTLE GEORDIE GITS
MINERS
WE’RE TERRIFIED,
WE’RE PETRIFIED,
THOSE WORDS ARE SO OBSCENE
WE’LL BOOT YOUR FUCKIN’ (alt: LITTLE) COCKNEY SKULLS RIGHT BACK TO BETHNAL GREEN. HA!
MINERS / POLICE
(OOOOHHH)
GIRLS
(TWO THREE)
AND ONE
(TWO THREE)
AND TWO
(TWO THREE)
AND THREE
(TWO THREE)
AND FOUR
(TWO THREE)
AND FIVE
(TWO THREE)
AND SIX
BALLET GIRLS
AND SMILE. SMILE. SMILE. SMILE.
MINERS / POLICE
1234
SOLIDARITY, SOLIDARITY,
SOLIDARITY FOREVER
WE’RE PROUD TO BE WORKING-CLASS
5 6 7 8, Etc.
SOLIDARITY FOREVER.
SOLIDARITY, SOLIDARITY,
SOLIDARITY FOREVER
WE’RE PROUD TO BE WORKING-CLASS
SOLIDARITY FOREVER.
Come on, Billy!
MRS. WILKINSON
GIRLS
— 42 —
B
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L L I O T
T H E
M U S I C A L
MINERS / POLICE
(without Ballet Girls counting)
COME ON, LADS, GET AT ‘EM REALLY GET STUCK IN
IT’S NOT A BLEEDING TEA DANCE.
DO THE FUCKERS IN.
MINERS / POLICE SOLIDARITY,
MRS. WILKINSON SHINE, JUST
SOLIDARITY,
SOLIDARITY,
SHINE
WE’RE PROUD TO
SHINE, JUST
SOLIDARITY,
SHINE
SOLIDARITY,
ALL YOU HAVE TO
FOREVER
BE WORKING-CLASS FOREVER
1234
5 6 7 8, etc.
DO IS
SOLIDARITY,
SHINE
SOLIDARITY,
FOREVER
ALL YOU HAVE TO
WE’RE PROUD TO
DO IS
BE WORKING-CLASS
SHINE
SOLIDARITY,
FOREVER
Prepare, fourth, pirouette. Finish!
BALLET GIRLS
MRS. WILKINSON
ALL
SOLIDARITY, SOLIDARITY,
SOLIDARITY FOREVER
WE’RE PROUD TO BE WORKING-CLASS
SOLIDARITY FOREVER…
EVER EVER EVER EVER,
FOREVER FOREVER FOREVER FOREVER
FOREVER FOREVER, etc.
EVER AND EVER AND EVER AND EVER, etc.
FOREVER AND EVER AND EVER!
DAD appears at the class door.
Finish!
GIRLS
1 AND 2 AND 3 AND 4
AND 5 AND 6 AND 7
AND 8, etc.
B
I L L Y
E
L L I O T
T H E
M U S I C A L
— 43 —
SCENE 8: DAD DISCOVERS BILLY What the bloody hell’s going on here? Can I help you?
DAD
MRS. WILKINSON DAD
What the hell do you think you’re doing, Son? Nowt.
BILLY DAD
Nowt? I thought you were at boxing, and you’re here messing around with lasses in tights!
MRS. WILKINSON
Excuse me, I am trying to teach a class here. Shut up, you.
DAD
BILLY
It’s healthy man, Dad. It’s just like sport. Ballet!?
DAD
BILLY
It’s not just poufs that do ballet. Look at that Rudolph Nureyev.
DAD
Rudolph Nureyev? He’s bent as a nine bob note, Son. I’m busting me bollocks off, trying to find you them fifty pee and you’re here, running around here like a…like a fruit!
MRS. WILKINSON
Mr. Elliot, I’ve never heard anything so bigoted and ridiculous in my life.
DAD
Don’t you call me bigoted — You ignorant cow. But I like it, Dad.
BILLY DAD
That’s it. You’re banned. No more bloody boxing, no more bloody ballet. From now on, you stay at home to look after your nana.
— 44 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
MR. BRAITHWAITE runs out.
MRS. WILKINSON
Listen, if anybody does the ordering about in here, it’s gonna be me.
DAD
You listen to me, this is my son. Don’t you dare tell me what to do.
BILLY
This is ridiculous. You’re supposed to be encouraging me to do things. I don’t see why he shouldn’t do ballet. Fred Walmsley used to do it. Yeah, but he was crap.
DEBBIE
TRACEY KAREN DAD
I don’t give a shit about Fred Walmsley or any of yous.
(to Billy)
You’re banned. Full stop.
BILLY
I hate you. You’re a bastard!
(Starts off)
Oh, shit!
BILLY runs out.
MRS. WILKINSON
Well, that was a very mature and intelligent way to handle the situation, wasn’t it? Don’t you ever go near our Billy again.
DAD
DAD exits in a rage.
MR. BRAITHWAITE comes out of hiding.
OK, class dismissed.
[MUSIC STARTS]
MRS. WILKINSON
B
I L L Y
E
L L I O T
T H E
M U S I C A L
#4a—Underscore to Toilets MR. BRAITHWAITE brings MRS. WILKINSON her coat as BALLET GIRLS exit.
SFX: Toilet flush.
MRS. WILKINSON goes to the toilets and pulls them onstage.
— 45 —
— 46 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
SCENE 9: FIRST TOILETS
BILLY hides in the loo.
MRS. WILKINSON lights up outside.
BILLY
What did you have to do that for? Now I’m banned. I don’t want to come to yer stupid ballet anyway. I’m not even any good at it. Bullshit, Billy Elliot. No, it’s not.
MRS. WILKINSON BILLY MRS. WILKINSON
That is absolute bullshit and you know it. Billy, this might sound a bit weird, but I’ve been thinking about the Royal Ballet School. The Royal what? The Royal Ballet School. Aren’t you a bit old, Miss?
BILLY
MRS. WILKINSON BILLY MRS. WILKINSON
Not for me, you stupid idiot. For you. Look, they have regional auditions soon in Newcastle. But what about me dad?
BILLY
MRS. WILKINSON
Look, it’d take a lot of work, but I thought well, if you had some proper lessons with me on yer own, you might have a chance of getting in. But I’ve only just learned to pirouette.
BILLY
MRS. WILKINSON
They’re not looking for something fully formed that’s leapt from the brow of Zeus, they’re looking for potential, Billy. They teach you the ballet. But I’m banned, Miss.
BILLY
B
I L L Y
E
L L I O T
T H E
M U S I C A L
MRS. WILKINSON
(Going into the stall, pulls him out)
Oh, for Christ’s sakes.
Shit, you can’t come in here!
BILLY MRS. WILKINSON
Look, just come after school. Nobody else need know. You don’t fancy me, do you, Miss? No, funnily enough I don’t.
BILLY
MRS. WILKINSON BILLY
I don’t think I’ve got time. I mean, when would I play out and stuff?
MRS. WILKINSON
Look, Billy, if you want to stick ‘round here and piss about with your little mates, that’s fine with me. Listen, I’ll be here on Monday night. Go on! Bring some things with you and we’ll make up a special dance for the audition. What sort of things?
BILLY
MRS. WILKINSON
Things that are important to you. Things that tell me something about who you are. See you Monday then?
(BILLY turns away)
Ah well, sod you then. See if I care.
MRS. WILKINSON exits. [MUSIC STARTS]
#4b—Electricity Underscore BILLY calls to MICHAEL.
— 47 —
— 48 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
SCENE 10: EXPRESSING YOURSELF
(calls to window)
BILLY
Michael!
(runs to window)
Michael!
(Pulls out Michael’s room, sees him in a dress)
Fooking Hell! (alt: Bloody hell!) What? You’re wearing a dress. I know. Is it yours?
MICHAEL BILLY MICHAEL BILLY MICHAEL
Of course it’s not mine, you stupid idiot. It’s me sister’s. Do you want a go? No. Look, I need to talk to ya.
(approaching him with dresses)
BILLY
MICHAEL
Are you sure? You could borrow one of me mam’s. What are you doing? I’m just trying it on ya.
BILLY
MICHAEL
(Reveals an ugly dress)
Sod me! That’s disgusting. Won’t we get in trouble?
BILLY
B
I L L Y
E
L L I O T
T H E
M U S I C A L
MICHAEL
Will we bollocks—Me dad does it all the time.
(hands him skirt)
Hold it.
Michael! What?
BILLY MICHAEL BILLY
You know that week I had to stay behind at boxing…
(instructing him to adjust the skirt)
Oi!
MICHAEL
BILLY
When I had to give that woman the keys? Come here. I did some ballet. You did ballet? Just a few steps and that.
MICHAEL BILLY MICHAEL BILLY MICHAEL
It’s fooking (alt: bloody) weird if you ask me.
(sees the perfect top)
Bingo!
(holds it up to Billy)
Separates! Cush! Trackys off.
BILLY
The woman says I’m good at it. She’s asked us (note: ‘us’ means ‘me’) to do an audition for the Royal Ballet School.
— 49 —
— 50 —
B
I L L Y
The Royal what? The Royal Ballet School. Do you get to wear a tutu? Don’t be daft. I wear me shorts. Cush! Have you done this before? Have I bollocks.
(taking a picture)
E
L L I O T
One for the album.
M U S I C A L
MICHAEL BILLY MICHAEL BILLY MICHAEL BILLY MICHAEL
Smile!
Oi, what you doing?
T H E
BILLY MICHAEL
(arrives with shirt)
Here, put this on.
(BILLY resists)
Arms!
Michael!
(Putting the shirt on him)
BILLY MICHAEL
Careful!
BILLY
So, do you think I should go back and do the audition?
MICHAEL
I wouldn’t if I were you. People will think you’re mental. But you dress up in women’s clothing.
BILLY
B
That’s different. Is it?
I L L Y
E
L L I O T
T H E
M U S I C A L
MICHAEL BILLY MICHAEL
‘Course it is. Time for a look in the mirror?
BILLY
Go on then. Yes! Hang on a minute.
MICHAEL
(gets sweater)
The finishing touch! For crying out loud!
BILLY MICHAEL
See, man, there’s nowt wrong with dressing up in women’s clothing.
(Musical intro)
#5—Expressing Yourself IS IT SINFUL IF YOU’RE BLUE
TO CHEER UP THE PLACE?
WHAT IS WRONG WITH DRESSING UP IN SATIN AND LACE?
BILLY
Oh no.
MICHAEL
GET SOME EARRINGS, SOME MASCARA, HEELS, AND A FAN.
PRETTY SOON YOU WILL START TO FEEL A DIFFERENT MAN.
Olé baby! Ta-da!
WHAT THE HELL’S WRONG WITH EXPRESSING YOURSELF?
Ah, go on.
BEING WHO YOU WANT TO BE?
WILL ANYBODY DIE IF YOU PUT ON A DRESS?
WHO THE HELL CARES IF YOUR BLUSHER’S A MESS?
START A NEW FASHION,
— 51 —
— 52 —
B
I L L Y
E
L L I O T
BUCK ALL THE TRENDS, EMPHASIZE INTEGRITY
Shake them shoulders, Billy. Shut up, you pouf! Woo!
T H E
M U S I C A L
BILLY BOTH
MICHAEL BILLY BOTH
COS WHAT THE HELL IS WRONG WITH EXPRESSING YOURSELF, FOR WANTING TO BE ME? Oom cha!
WHAT THE HELL’S WRONG WITH WEARING A DRESS, Woo! BEING WHO YOU WANT TO BE?
MICHAEL
WHO THE HELL IS IT YOU TRY TO IMPRESS?
BOTH
ALL YOU HAVE TO DO IS LEARN TO CARE LESS.
START A NEW FASHION, BUCK ALL THE TRENDS.
MICHAEL
BILLY, SING SOMETHING TO ME
BOTH
COS WHAT THE HELL IS WRONG WITH EXPRESSING YOURSELF?
FOR TRYING TO BE FREE.
MICHAEL
Sing it, sister!
BOTH
IF YOU WANNA BE A DANCER, DANCE
IF YOU WANNA BE A MINER, MINE
IF YOU WANT TO DRESS LIKE SOMEBODY ELSE,
FINE.
(BILLY: FINE, FINE.)
MICHAEL
Come on, let’s get these dresses dancin’!
B
I L L Y
E
L L I O T
T H E
M U S I C A L
BOTH
IT’S NOT A BIG STATEMENT, IT’S NOT A WEIRD ACT JUST A GOOD IDEA AT THE TIME
WE’LL NOT COMPLAIN ABOUT YOUR BORING LIFE IF YOU’LL JUST LEAVE ME TO MINE.
MICHAEL
IF YOU WANNA BE A DANCER, DANCE.
Shiggedy, shiggedy.
BOTH
IF YOU WANNA BE A MINER, MINE
MICHAEL
Shoes!
I’m gonna beat ya.
BILLY
No, you’re not. I always win.
MICHAEL MICHAEL / BILLY
(Michael/Billy) has his first shoe on.
(winner says:)
And (Michael/Billy) wins.
(loser says:)
You cheated!
(winner says:)
I always win.
Push!!! Follow me. Arms. And drag… Keep up you lazy little bugger! I’m trying.
MICHAEL
BILLY
— 53 —
— 54 —
B
I L L Y
E
L L I O T
T H E
MICHAEL
C-mon Billy, Shimmy shake! You’ve gotta have something better than that. Like what? Like this! 5 6 7 8. It’s showtime! Smile. Come on. So what do you think, dancin’ boy? Not bad. You ain’t seen nothin’ yet. 1234 Here they come!
BILLY
MICHAEL
BILLY MICHAEL BILLY MICHAEL BOTH MICHAEL
DANCING DRESSES enter.
What’s that? Me dresses! Shit! But that’s a pair of pants!
BILLY MICHAEL BILLY MICHAEL
Women’s clothing only. Scene change.
(blows whistle)
From the top 5678
BOTH
M U S I C A L
B
I L L Y
E
L L I O T
EVERYONE IS DIFFERENT
T H E
M U S I C A L
ALL
IT’S THE NATURAL STATE
IT’S A FACT, IT’S PLAIN TO SEE,
MICHAEL
Shoo!
ALL
THE WORLD’S GREY ENOUGH
WITHOUT MAKING IT WORSE
WHAT WE NEED IS INDIVIDUALITY.
(To the pair of pants)
Get off! Finish!
MICHAEL
MICHAEL and BILLY
PLAYOFF. All exit, as MICHAEL works the crowd.
#5a—Expressing Yourself (Playout)
— 55 —
— 56 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
SCENE 11: HAMMER SCENE
#5b—Hammer Scene Underscore The stage clears and the house comes on.
TONY comes downstairs with a crowbar.
HE finds DAD waiting for him. What are you doing with that? Nowt. Put it back where it belongs.
This has got nothing to do with you.
DAD TONY DAD TONY DAD
Hasn’t it? You’re going nowhere with that. Don’t you tell me what to do. Just put it back, Son.
TONY DAD TONY
Look, this isn’t bloody Disneyland, Dad man. If you want to go down there and get the shit kicked out of you, that’s your pigeon. Don’t be so bloody stupid, Son.
DAD
TONY
There are two thousand police on the doorstep. Did you see what they did to Harry Robson? They broke both his bloody legs, man.
DAD
You’re not going out there. The last thing we need’s you in the hospital. Just put it back, Son.
B
I L L Y
Make us.
E
L L I O T
M U S I C A L
TONY
BILLY enters, unseen.
I said, put it back.
T H E
DAD TONY
What you gonna do, like, hit us? Come on then. Come on! No? You’ve been a complete waste of space since Mam died.
TONY tries to walk past DAD.
DAD punches him to the floor. Stop it! Stop it, please!
BILLY
TONY gets up and walks out. (To Billy)
DAD
What the bloody hell are you lookin’ at?
DAD exits.
BILLY screams in rage and runs to his bedroom.
— 57 —
— 58 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
SCENE 12: 1ST LESSON / LETTER
The house disappears and BILLY finds himself in the hall. MRS. WILKINSON is waiting for him.
MRS. WILKINSON
Hello. I thought you weren’t gonna show. I had to wait until me dad went out.
BILLY
MRS. WILKINSON
Well, better late than never. Come on, best get started. Have you brought your special things for the dance?
BILLY
I’ve brought a few bits of stuff and that, but I didn’t really know what you meant. Well, let’s see then.
MRS. WILKINSON
(BILLY takes out the items)
Rubik’s cube. Star Trek Annual. Yeah. Baked beans.
BILLY MRS. WILKINSON
(BILLY takes out soup packet)
What’s that?
It’s a packet of soup, Miss.
BILLY MRS. WILKINSON
What the bloody hell’s that for? I dunno.
BILLY
MRS. WILKINSON
Billy, I asked you to bring things that mean something to you. I know.
BILLY
B
I L L Y
E
L L I O T
T H E
M U S I C A L
MRS. WILKINSON
How are we gonna make a dance about baked beans and a packet of soup? I don’t know.
BILLY
MRS. WILKINSON
At the risk of being totally boring, dancing is as much about you discovering things about yourself as it is discovering about dancing. Do you understand? What?
BILLY
MRS. WILKINSON
Look, it’s not just about the steps. It’s about you. Why does it have to be about me for? Jesus Christ, because I say so.
BILLY
MRS. WILKINSON
(takes letter from him)
What’s this? It’s a letter.
I can see it’s a letter.
BILLY MRS. WILKINSON
HE reaches for it, SHE keeps it.
You can open it if you want.
BILLY
MRS. WILKINSON
Thank God for that; the suspense was killing me. It’s from me mam. From your mam?
BILLY
MRS. WILKINSON BILLY
She wrote it for us (me) for when I was 18, but I opened it a few years early. I see.
MRS. WILKINSON
— 59 —
— 60 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
BILLY
You can read it if you want.
MRS. WILKINSON opens the letter and sits down.
Read it out.
[MUSIC STARTS]
#6—The Letter MRS. WILKINSON
Dear Billy, I must seem a distant memory…
BILLY
Which is…
MRS. WILKINSON
Which is probably a good thing. And it will have been a long… Long time.
BILLY
AND I WILL HAVE MISSED YOU GROWING,
AND I’LL HAVE MISSED YOU CRYING… AND I’LL HAVE MISSED YOU LAUGH.
MISSED YOUR STOMPING AND YOUR SHOUTING,
I’LL HAVE MISSED TELLING YOU OFF, BUT, PLEASE, BILLY,
KNOW THAT I WAS ALWAYS THERE.
I WAS WITH YOU THROUGH EVERYTHING. AND PLEASE, BILLY…
MRS. WILKINSON
KNOW THAT I WILL ALWAYS BE
PROUD TO HAVE KNOWN YOU.
PROUD THAT YOU WERE MINE,
PROUD IN EVERYTHING,
AND YOU MUST PROMISE ME THIS, BILLY
DEAD MUM enters.
MRS. WILKINSON and DEAD MUM
IN EVERYTHING YOU DO
B
I L L Y
E
L L I O T
T H E
M U S I C A L
DEAD MUM
ALWAYS BE YOURSELF, BILLY
AND YOU ALWAYS WILL BE TRUE
AND I’LL HAVE MISSED YOU GROWING, I’LL HAVE MISSED YOU CRYING…
AND I’LL HAVE MISSED YOU LAUGH.
DEAD MUM and MRS. WILKINSON
MISSED YOUR STOMPING AND YOUR SHOUTING,
I’LL HAVE MISSED TELLING YOU OFF, BUT PLEASE, BILLY,
KNOW THAT I WAS ALWAYS THERE.
I WAS WITH YOU THROUGH EVERYTHING. AND PLEASE, BILLY,
KNOW THAT I WILL ALWAYS BE PROUD TO HAVE KNOWN YOU. LOVE YOU FOREVER LOVE YOU FOREVER
DEAD MUM BILLY
MRS. WILKINSON
Mam.
(SHE walks over to Billy)
She must have been a very special woman.
BILLY
No. She was just me mam.
BILLY takes the letter.
Right.
MRS. WILKINSON
MR. BRAITHWAITE enters.
Mr. Braithwaite. I thought you’d abandoned us.
MR. BRAITHWAITE
I just got a little detained at the Rose and Crown.
— 61 —
— 62 —
B
What’s he doing here?
I L L Y
E
L L I O T
T H E
M U S I C A L
BILLY MR. BRAITHWAITE
Well yer gonna need something to dance to, aren’t ya? You little wanker.
MRS. WILKINSON
You see, there are two basic theories about dance. One is, it’s a technical exercise— Something you learn from the outside and just repeat. Or it’s a very personal expression that you realize from within. What’s she on about?
BILLY
MR. BRAITHWAITE
Well, basically, it was all down to Diaghilev who ran the Ballet Russe. He wanted to revolutionize what had become a purely decorative medium and reconnect it to dance’s Chthonic roots as a primordial means of expression.
MRS. WILKINSON
He did an evening class at Sunderland College. You see, What Mr. Braithwaite means is you have to release your “inner caveman,” and everything will just flow naturally.
BILLY
Eh? Hit it, Mr. Braithwaite!
MRS. WILKINSON
[MUSIC STARTS]
#7—We Were Born to Boogie WE WEREN’T BORN TO STAND STILL
What ya doin?
BILLY
MRS. WILKINSON
AIN’T A QUESTION OF WILL
BILLY
Miss! GOTTA MOVE IT’S A FACT
MRS. WILKINSON
YOU WERE BORN TO REACT
B
I L L Y
E
L L I O T
T H E
M U S I C A L
(MRS. WILKINSON)
YOU WEREN’T MADE TO BEHAVE
Join in!
LIKE YOU WILL IN THE GRAVE
WHEN THE MU—SIC IS PLAYED
OH THE SOUL—WILL BE SWAYED
AND YOUR FEET—THEY WILL MOVE AS IF ON—LY TO PROVE
THAT IT WAS—N’T BY CHANCE
Whoa!
WE WERE DES—TINED TO DANCE.
WE WERE BORN TO BOOGIE,
WE WERE BORN TO BOOGIE
IT AIN’T A PUZZLE,
COS WE’RE BLOOD AND MUSCLE
FROM THE DAY OF CREATION
WE WERE THE DANCE SENSATION.
MR. BRAITHWAITE
Let’s have some proper dancing!
MRS. WILKINSON
OH YOUR FEET AND YOUR HANDS
OH YOUR TOES AND YOUR GLANDS
OH YOUR EYES AND YOUR CHIN
WELL YOUR FACE AND YOUR SKIN
OH YOUR BRAWN AND YOUR BRAINS OH YOUR BALLS AND YOUR CHAINS
WE WERE BORN TO BOOGIE,
WE WERE BORN TO BOOGIE
IT AIN’T A PUZZLE,
COS WE’RE BLOOD AND MUSCLE
FROM THE DAY OF CREATION
WE WERE THE DANCE SENSATION.
MR. BRAITHWAITE / MRS. WILKINSON
WE WERE BOON TO BOOGIE
WE’RE ALL BORN TO
— 63 —
— 64 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
As MRS. WILKINSON goes through the ballet instructions with BILLY, MR. BRAITHWAITE counts in the background throughout. Let’s start at elementary level. Long leg Stretch Point Flex In front Behind Again, and in and in And over Face the barre — Oi, shift! Retiré Turn out, shoulders down Chin up, rise Balance That’s it, Billy! Chasé turn Intermediate level Use the floor Strong arm, Billy Around Again, and in and in And chair
MRS. WILKINSON
B
I L L Y
E
L L I O T
T H E
M U S I C A L
BILLY
No, Miss. I can’t do it.
MRS. WILKINSON
You can do it. Push down.
BILLY
Miss, I can’t.
MRS. WILKINSON
Yes, you can, Billy! Come on! Balance Next level
Head up, Billy! That’s it, Son! Beautiful!, etc. He’s got it!
MR. BRAITHWAITE
You’re flying now, Son!
MRS. WILKINSON
(handing Billy a jump rope)
Try this!
(placing Billy’s tap shoes on the piano)
Shoes! Sweat, Mr. Braithwaite! Easy.
MR. BRAITHWAITE
(to Billy)
What are you waiting for?
(joining in)
Faster!
Bloody Hell! Too old? Too fat!
BILLY
MR. BRAITHWAITE MRS. WILKINSON MR. BRAITHWAITE
— 65 —
— 66 —
B
Come on Miss!
I L L Y
E
L L I O T
T H E
M U S I C A L
BILLY ALL THREE
WE WERE BORN TO BOOGIE
WE WERE BORN TO BOOGIE
WE WERE BORN TO BOOGIE
WE’RE ALL BORN TO… BOOGIE!
MRS. WILKINSON
#7a—After Boogie MR. BRAITHWAITE AND MRS. WILKINSON exit in blackout as BILLY goes to toilets.
B
I L L Y
E
L L I O T
T H E
M U S I C A L
— 67 —
SCENE 13: SECOND TOILETS
Toilets come out and DEBBIE’S legs hang down.
BILLY changes clothes in the toilet.
DEBBIE comes outside and peeks under the stall, then stands beside them, eating crisps.
Are you nervous for yer audition? Not really. Ya should be — Yer crap. I thought your mam said I was cush.
DEBBIE BILLY DEBBIE BILLY DEBBIE
I wouldn’t listen to her. She’s sexually frustrated. Really?
BILLY
DEBBIE
Me dad was caught shagging this woman at work but now he’s an alcoholic. Bugger off, will ya? Billy! What, man? Do you not fancy me?
BILLY
DEBBIE BILLY DEBBIE
BILLY comes out of the stall.
I’ve never really thought about it.
BILLY DEBBIE
If you want, I’ll show you me hoo-hoo.
BILLY takes a long pause before answering.
— 68 —
B
I L L Y
E
Debbie! Outside!
T H E
M U S I C A L
BILLY
Nah, it’s OK.
MRS. WILKINSON enters.
L L I O T
MRS. WILKINSON
(DEBBIE exits; to Billy)
Here’s the tape. And remember, once the audition starts, just concentrate. Do exactly what you do in here and you’ll be fine. I knaa; you’ve telt us before, man!
BILLY
MRS. WILKINSON
And another thing, Billy: try and keep your mouth shut. I’ll pick you up outside here tomorrow morning at eight o’clock. Alright?
BILLY turns to her.
MRS. WILKINSON goes to him and kneels down. SHE starts to button BILLY’S coat.
Now, listen, you can do this, Billy. You’ve worked so hard, and I know you can do it. You just—well, you just have to forget about everything else. Do it for you.
MRS. WILKINSON stands to leave. BILLY hugs her. (offstage)
Mam. Mam!
DEBBIE
MRS. WILKINSON
OK. Right, Billy. I’ll see you tomorrow. And for God’s sakes, don’t be late— We’ve gotta be in Newcastle at nine on the dot. Don’t worry, Miss. Yeah, and… …put my alarm on.
BILLY
MRS. WILKINSON BILLY
B
I L L Y
E
L L I O T
T H E
M U S I C A L
[MUSIC STARTS]
#7b—Sleepless Night MRS. WILKINSON exits. BILLY sits on bed and fixes his alarm clock. HE tries to sleep.
— 69 —
— 70 —
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SCENE 14: MRS. WILKINSON’S VISIT
BILLY tosses and turns and can’t get to sleep.
He finally does get to sleep, but the alarm goes off. He wakes up, grabs the clock, and looks at the time. Shit!
BILLY
HE runs downstairs.
GEORGE, BIG DAVEY, DAD, TONY and A MINER are in the kitchen. TONY is bleeding badly; DAD tends to the wound.
We should get you to hospital.
GEORGE
BIG DAVEY
How the hell are we gonna get him to hospital?
MINER 5
They’ve got the whole place surrounded, man. Ow!
TONY
GEORGE
He can’t stay here — They’re after him.
BILLY appears at the bottom of the stairs.
What’s going on?
BILLY DAD
It’s all kicked off — There’s about a hundred police coming through the village.
(grabbing Dad’s towel)
Get off me, will ya!
What happened to him? What does it bloody look like?
TONY
BILLY TONY
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DAD
Where do you think you’re going, dressed like that?
BILLY
Nowhere. Out.
DAD
Yer not going anywhere today. Get back upstairs.
BILLY
But I said I’d see Michael.
Yer not setting a foot outside this house.
DAD
BILLY
But, Dad…
TONY
Back upstairs! Now!
BILLY
I’ll be right back. Jesus Christ! Do something, man!
BILLY opens the door.
TONY
BILLY
Shit!
HE closes the door and runs to the other side of the room.
What’s the bloody matter with ya?
DAD
MRS. WILKINSON opens the door.
Hello. Hello.
(Enters and goes to Billy)
Can I come in?
MRS. WILKINSON GEORGE MRS. WILKINSON
— 71 —
— 72 —
B
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What the hell are you doing?
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M U S I C A L
DAD MRS. WILKINSON
What the hell’s going on, Billy? Go away, Miss.
T H E
BILLY
MRS. WILKINSON
I’ve stood outside the welfare for half an hour. C’mon. What the bloody hell’s going on here? Please leave me alone, Miss.
DAD
BILLY
MRS. WILKINSON
No, we have to go, Billy. There’s police cars blocking the street and everything.
DAD
Hang on a minute. Go where?
BILLY
Oh no.
TONY
Will somebody tell me what’s going on here? Just go away.
BILLY
MRS. WILKINSON
No, Billy. We’re going to have to sort this one out once and for all.
(Turns to the men)
Now, I realize this will be a little bit difficult for yous to understand, but I think I have to tell you. No, Miss!
BILLY
MRS. WILKINSON
Billy has an audition this morning for the Royal Ballet School.
BILLY walks away, throws bag down, and sits. Stunned silence.
TONY is trying to take this all in.
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— 73 —
DAD
I beg your pardon? The Royal Ballet!?
L L I O T
GEORGE MRS. WILKINSON
School. Where they teach the ballet. Oh.
GEORGE
GEORGE, BIG DAVEY and MINER laugh.
You’ve got to be joking though.
TONY
MRS. WILKINSON
Billy has been coming to class, and I have been giving him private lessons for the last two months. What!?
DAD
MRS. WILKINSON
Look, I know I was stupid. I should have come…
(Interrupting)
TONY
Hang on a minute! Who gave you permission to teach him ballet?
(to Dad)
MRS. WILKINSON
I’m sorry, Mr. Elliot, but we are missing the audition as we speak.
TONY
Have you any idea what we’re going through in this village? Ballet!? What you trying to do, make him a scab for the rest of his life? Look at him. He’s only eleven, for Christ’s sake.
BILLY
You’ve got to start training from when you’re young.
TONY
Shut it, you. I’m not having any brother of mine poncin’ around for your gratification.
MRS. WILKINSON
Excuse me, this is not for my gratification. Billy is exceptionally talented.
— 74 —
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TONY
You’re not taking him anywhere. He’s only a bairn, for God’s sake. What’s wrong with giving him a childhood?
BILLY
I don’t want a childhood; I want to be a ballet dancer.
DAD
I’ll give you a bloody childhood in a minute.
TONY
And anyway, what do you know about it? Teaching ten-year-olds in a school gym. What kind of qualifications have you got?
MRS. WILKINSON
Look, I haven’t come here to defend myself in front of you. You could be a nutter for all I know.
TONY
MRS. WILKINSON
I think you should calm yourself down, Son.
TONY
Well, you say he can dance. Well, let’s see this dancing then.
TONY suddenly grabs BILLY and sticks him on the table.
No, Billy. This is ridiculous.
MRS. WILKINSON TONY
Go on then. If you’re a bloody ballet dancer, then let’s be having you. Don’t you dare!
BILLY does not move.
MRS. WILKINSON
TONY
What sort of ballet teacher are ya? This is his big chance. Dance, you little bastard!!! No.
BILLY TONY
No? He says he doesn’t want to dance. So we won’t be having any more ballet. Now get out. And if I see you come anywhere near him, I’ll smack you one, you middle-class cow.
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MRS. WILKINSON
Now hang on a minute. You don’t know anything about me, you sanctimonious little shit. What are you scared of? What, that he won’t grow up to raise whippets, or grow leeks, or piss his wages up the wall? Listen, I’ve been with this boy every night for weeks now, and you and you haven’t even noticed. So don’t lecture me about the British (fucking) class system, Comrade.
LESLEY runs in through the back door.
LESLEY
Tony! Tony! The police are coming down the street. Everyone out the back. Now! Tony, come on! Tony, now! Let’s go! Move! Move, man, move!
MINER 5 LESLEY
BIG DAVEY GEORGE LESLEY
Everyone exits except BILLY, DAD, and MRS. WILKINSON.
MRS. WILKINSON
Sorry, Darling — You haven’t got a hope in hell.
MRS. WILKINSON exits. DAD starts off after TONY.
Me mam would’ve let us. Your mam’s dead.
BILLY DAD
DAD exits.
#7c—Intro to Angry Dance BILLY screams, jumps off the table, and runs upstairs.
— 75 —
— 76 —
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SCENE 15: ANGRY DANCE/RIOT
[MUSIC STARTS]
#8—Angry Dance BILLY is now upstairs.
HE screams and starts the Angry Dance.
Dance, you little bastard!
BILLY
BILLY’S dance continues as it becomes a part of the riot outside.
C’mon, ya bastards!
As BILLY finishes the dance, having tried to attack the policemen, HE collapses on the ground. HE stands, brushes himself off, and exits. END OF ACT ONE
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ACT TWO
SCENE 1: CHRISTMAS
House lights dim.
BILLY, MICHAEL, TALL BOY, and SMALL BOY enter down the aisles of the house with buckets, collecting money from the audience.
BOYS (BILLY, MICHAEL, TALL BOY, SMALL BOY)
Dig deep for the miners! Dig deep for the miners! (Etc.)
GEORGE enters in front of curtain with a mic, dressed as Santa.
GEORGE
Is this on? Ho, ho, ho. Merry bloody Christmas. We might have been out on strike for nearly a year now, but are we downhearted? Are we downhearted?
(To Small Boy)
Are we downhearted? Yes.
SMALL BOY
(GEORGE raises microphone as if to hit SMALL BOY. SMALL BOY puts bucket on his head. GEORGE hits bucket with microphone.)
Ow!
GEORGE
Welcome back to the second half. The second half of…
(The curtain rises on the hall)
The Easington Miners’ Annual Christmas Show!
#8a—Christmas Fanfare (To the boys)
Can you hear it—in the distance?
[MUSIC STARTS]
#9—Merry Christmas, Maggie Thatcher Wssh… (the sound of wind blowing)
BOYS
— 77 —
— 78 —
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Can you sense it far away?
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Is it Santa on his sleigh? Ahhhh…
M U S I C A L
TALL BOY BOYS
Oooh… Is it old Rudolph the Reindeer?
T H E
BILLY MICHAEL BOYS MICHAEL
And 1, 2, 3…
GEORGE
IT’S HEADIN’ UP TO EASINGTON. IT’S COMIN’ DOWN THE TYNE.
OH, IT’S BLOODY MAGGIE THATCHER
The curtain opens to reveal the BALLET GIRLS in their school uniforms and Maggie Thatcher masks.
BALLET GIRLS
AND MICHAEL HESELTINE!
SO MERRY CHRISTMAS, MAGGIE THATCHER
MAY GOD’S LOVE BE WITH YOU (MINER 7: SING OUT, TRACEY!)
WE ALL SING TOGETHER IN ONE BREATH Roarrrrr…
MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE TODAY
COS IT’S ONE DAY CLOSER TO YOUR DEATH.
2, 3, 4, LOOK! 2, 3, 4. ATTACK!
ALL
THEY’VE COME TO RAID YOUR STOCKINGS
AND TO STEAL YOUR CHRISTMAS PUD
BUT DON’T BE TOO DOWNHEARTED
IT’S ALL FOR YOUR OWN GOOD
THE ECONOMIC INFRASTRUCTURE
MUST BE SWEPT AWAY
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— 79 —
M U S I C A L
(ALL)
TO MAKE WAY FOR BUSINESS PARKS
AND LOWER RATES OF PAY, SO…
MERRY CHRISTMAS, MAGGIE THATCHER MAY GOD’S LOVE BE WITH YOU
WE ALL SING TOGETHER IN ONE BREATH
MOO! (Pantomine horse)
BALLET GIRLS: Oi! BALLET GIRLS: Oi!
MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE TODAY
COS IT’S ONE DAY CLOSER TO YOUR DEATH
(Into the mic, amidst the noise)
BIG DAVEY
Puppets, puppets!
(To us)
Ladies and Gentlemen, let’s have a big hand now for Val and Doreen’s political puppet workshop! Let’s be havin’ ‘em.
ALL
AND THEY’VE BROUGHT THEIR FASCIST BOOTBOYS
AND THEY’VE BROUGHT THE BOYS IN BLUE
AND THE WHOLE TRADE UNION CONGRESS
WILL BE AT THE PARTY TOO
AND THEY’LL ALL HOLD HANDS TOGETHER ALL STANDING IN A LINE
COS THEY’RE PRIVATIZING SANTA
THIS MERRY CHRISTMAS TIME, SO… MERRY CHRISTMAS, MAGGIE THATCHER MAY GOD’S LOVE BE WITH YOU
WE ALL SING TOGETHER IN ONE BREATH (Whoa)
MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE TODAY
COS IT’S ONE DAY CLOSER TO YOUR DEATH. MERRY CHRISTMAS, MAGGIE THATCHER MAY GOD’S LOVE BE WITH YOU
WE ALL SING TOGETHER IN ONE BREATH (Whoa! All together now)
— 80 —
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(ALL)
MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE TODAY
COS IT’S ONE DAY CLOSER TO YOUR DEATH.
OI!
At the end of the song, everybody erupts in cheers. GEORGE takes the mic. Who’s gonnna give us a song? I’ll have a go.
GEORGE
BAD SINGER (MINER 5)
There is a collective groan.
GEORGE
You must be joking — not after last year.
GEORGE turns his focus to DAD as TONY encourages him.
Jackie! Jackie, give us a song.
GRANDMA
Yeah! Come on, love! Come on, give us “Big Spender!”
The crowd erupts with cheers and chants, encouraging DAD to sing. DAD gets up and walks to Center Stage.
DAD
I’m not gonna sing Big Spender. I’m gonna sing an old folk song. One of our Sarah’s favorites.
TONY tries to stop DAD
TONY
Dad, you don’t have to do this. (Dad, don’t.)
But DAD waves him off.
I’m fine, I’m fine.
DAD
DAD closes his eyes and starts to sing.
#10—Deep Into the Ground The melancholy folk song punctures the upbeat mood. HE is deeply serious.
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— 81 —
M U S I C A L
(DAD)
OH ONCE I WAS A YOUNG MAN
LOOKED OVER VALES AND HILLS… SAW MYSELF A FUTURE
OF RICHES AND OF THRILLS
BUT ON ME FIFTEENTH BIRTHDAY I PAID MY UNION DUES
AND THEY SENT ME DEEP INTO THE GROUND OH THE WINTER WIND CAN BLOW ME COLDER OH THE SUMMER’S HEAT CAN PARCH ME DRY BUT I’D NOT LEAVE HERE FOR A FORTUNE
I SHALL NEVER LEAVE HERE ‘TIL I DIE OH ONCE I HAD A FAM’LY
SONS TO MAKE YOU PROUD
BUT THEY HAVE GONE AND LEFT ME NOW, AND I COUNT THE TIME OUT LOUD FOR NOW I AM AN OLD MAN JUST WAITING FOR MY TURN
‘TIL THEY TAKE ME BACK INTO THE GROUND
DAD
OH THE WINTER WIND CAN BLOW ME COLDER
OOH
BUT I’D NOT LEAVE HERE FOR A FORTUNE
OOH
OH THE SUMMER’S HEAT CAN PARCH ME DRY
I SHALL NEVER LEAVE HERE ‘TIL I DIE
OH THE WINTER WIND CAN BLOW ME COLDER
OH THE SUMMER’S HEAT CAN PARCH ME DRY
BUT I’LL LOVE THESE DARK, DARK HILLS
FOREVER
AND I WON’T LEAVE THEM UNTIL I DIE
DAD
ENSEMBLE
OOH NEVER LEAVE HERE ‘TIL I DIE
OH THE WINTER WIND CAN BLOW ME COLDER
OH THE SUMMER’S HEAT CAN PARCH ME DRY OOH
WON’T LEAVE THEM UNTIL I DIE
OH ONCE I LOVED A WOMAN
SHE MEANT ALL THE WORLD TO ME
I SAW OURSELVES A FUTURE
AS FAR AS I COULD SEE
BUT I WAS ONLY THIRTY-SEVEN
WHEN THEY TOOK HER DOWN FROM ME
AND THEY BURIED HER (DEEP INTO THE GROUND)
— 82 —
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ALL exit, except BILLY and DAD, with sitting MICHAEL in the distance.
BILLY
OH THE WINTER WIND CAN BLOW ME COLDER OH THE SUMMER’S HEAT CAN PARCH ME DRY
BUT I’LL LOVE THESE DARK, DARK HILLS FOREVER AND I WON’T LEAVE THEM UNTIL I DIE
Merry Christmas, Dad.
DAD
Merry Christmas, Son. Get yer stuff. Let’s go home.
DAD gives the mic to BILLY and exits.
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SCENE 2: KISSING
BILLY drinks beer, then offers it to MICHAEL.
MICHAEL
A (fucking) great Christmas this has been.
MICHAEL takes beer from BILLY and drinks it.
BILLY
I know — it’s been a right load of shite. All I got was an atlas from the university support group.
(notices MICHAEL drinking beer)
Oi! Give me some!
BILLY takes beer from MICHAEL.
MICHAEL
Count yerself lucky. They sent me a sodding rugby shirt. But I swapped it for a brand new (Cindy) Barbie the Nurse.
(HE gives Billy the doll)
Did you ever go back and see that woman? What woman? Debbie’s mam. The ballet woman.
BILLY
MICHAEL
(Notices BILLY manhandling the doll, grabs it back)
Oi!
No. I’ve packed it in.
BILLY MICHAEL
Really? Well, maybe it’s for the best. At least you won’t be running away to that ballet school, will ya. What’s good about that, like? Well, I’d miss ya.
BILLY
MICHAEL
— 83 —
— 84 —
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BILLY
Look, we’d better go. It’s freezing in here. Wait!
MICHAEL BILLY
What?
[MUSIC STARTS]
#11—Out of Christmas Underscore Come here.
MICHAEL
MICHAEL takes BILLY’S hands under his jumper.
What are you doing? I’m just warming your hands. Yer not a pouf or anything? What gave you that impression? Aren’t me hands cold? I quite like it.
MICHAEL kisses BILLY.
BILLY
MICHAEL BILLY MICHAEL BILLY MICHAEL
BILLY
Just ‘cause I like ballet doesn’t mean I’m a pouf, you know. You won’t tell anyone, will ya?
MICHAEL
BILLY starts to back away from MICHAEL.
Here. Put this on.
BILLY
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BILLY tosses MICHAEL a tutu. Can I? Cush!
L L I O T
T H E
M U S I C A L
MICHAEL
(Takes off trackys)
It’s (fuckin’) freezing in here!
(putting on tutu)
It’s a bit small. Aw, I’m not sure this burgundy will go with me tutu. Shut up, man.
BILLY
MICHAEL
Come on — Show us some ballet then. No. I told ya I’ve packed it in. Howay — just a little bit.
BILLY
MICHAEL
(Turns this into a little dance)
JUST A LITTLE BIT. HUH. JUST A LITTLE BIT. HUH. JUST A LITTLE BIT.
(Attempts a split, but it ends painfully)
OW! No wonder they call it the Nutcracker!
BILLY
Come on, man.
MICHAEL runs to get the tape player.
Well, you do some dancing then.
MICHAEL BILLY
We’d best be going; me dad’ll be after us. Yer dad’s as drunk as a skunk, man. You should go.
MICHAEL BILLY MICHAEL
Well, a right barrel of laughs you are.
— 85 —
— 86 —
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If you like, you can keep the tutu. Can I? Cush! Yer not gonna go home in it, are ya? ‘Course I am. No one will notice.
L L I O T
T H E
M U S I C A L
BILLY MICHAEL BILLY MICHAEL
MICHAEL bends over to pick up his stuff.
See you then.
Yeah, see ya, Michael. Merry Christmas…
BILLY MICHAEL
No response from BILLY; MICHAEL exits upstage.
BILLY takes tape player, turns on the music, and sets it on the windowsill. The set disappears and OLDER BILLY appears.
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SCENE 3: DREAM BALLET
[Dream Ballet Sequence.]
DAD comes in, and BILLY ends the dance in front of him.
Go home, Billy. Go home!
[MUSIC STARTS]
#11a—Dad’s Song Underscore
DAD
— 87 —
— 88 —
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SCENE 4: DAD’S DEBATE
DAD goes to MRS. WILKINSON’S house, rings doorbell. No response. He begins to exit as the door opens. What do you want?
MR. WILKINSON
I was hoping to talk to Mrs. Wilkinson. Sandra. A friend of yours.
DAD
MR. WILKINSON
HE exits and MRS. WILKINSON appears in doorway.
[If no MR. WILKINSON, MRS. WILKINSON says: Can I help you?]
Oh. Hello.
MRS. WILKINSON
So how much is this gonna cost then?
DAD
MRS. WILKINSON
And a very Merry Christmas to you, too. I’ve just been doing a lot of thinking.
DAD
MRS. WILKINSON
It must have come as a shock to the system.
(offstage)
Mam!
Bugger off, Debbie, will ya? I know I shouldn’t have come.
DEBBIE
MRS. WILKINSON DAD MRS. WILKINSON
Not at all. It’s Christmastime. Good will to all men and all that. Would you like to come in?
DAD
No. I just need to know — is he good enough?
B
For what?
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— 89 —
MRS. WILKINSON DAD
I don’t know. For the school. For the audition.
MRS. WILKINSON
Well, we’ll never know, will we? Maybe he’d’ve gotten in. Maybe he’d’ve joined the Ballet Rambert, or maybe he’d end up on the scrapheap, like everybody else. How the hell should I know? So there’s nowt we can do then.
DAD
MRS. WILKINSON
Wait. Actually, if we move fast, I could probably still get him an audition in London. So it’s not too late then? No…
DAD
MRS. WILKINSON DAD
So how much is it gonna cost, this ballet school lark?
MRS. WILKINSON
Oh, maybe five grand a year. Plus living expenses. Sometimes the local authority pay the tuition costs.
DAD
Five grand! I was talking about the audition.
MRS. WILKINSON
Oh, that’s nothing. It’s twenty quid or something.
DAD
Five grand! We haven’t even got enough money for the bus fare to London.
MRS. WILKINSON
Look, if it’s just a question of the bus fare, then… Mam! Piss off, Debbie, I’m busy.
DEBBIE
MRS. WILKINSON DAD
I don’t want your money. I didn’t come here for charity. He’s my son, isn’t he?
— 90 —
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MRS. WILKINSON
Oh, for Christ’s sakes! When are you going to get over your pig-ignorant working-class pride? Look, your son is gifted, he’s got a chance. What have you got to offer him? What, mining? This town has had it now; we’re finished. You know, you’re fighting a battle that was lost years ago, and I’m not the enemy, Mr. Elliot. We are all in this together. So for God’s sakes, just talk to me. Let me help.
DAD
I wanna thank you for everything you’ve done for Billy. I really appreciate it. Is that it? Yup.
MRS. WILKINSON DAD MRS. WILKINSON
Oh, this is ridiculous. Why don’t you come inside? We’ll talk this over. No, yer right — He’s my responsibility.
(offstage)
Mam!
Sod ya then. See if I care.
DAD
DEBBIE
MRS. WILKINSON
MRS. WILKINSON exits back into the house.
Merry bloody Christmas.
DAD
DAD lights a cigarette and remains Center.
#11b—At the Pit Gates
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SCENE 5: DAD RETURNS TO WORK
PIT SUPERVISOR appears.
As HE takes roll call, SCABS slowly emerge from the darkness.
OK then. Let’s be havin’ ya.
PIT SUPERVISOR
(consulting his clipboard)
Gormley. Here.
Atkinson. Here. Summers. Summers!
SCAB 2 PIT SUPERVISOR SCAB 3 PIT SUPERVISOR
(notices Dad)
I haven’t seen you here before. Jackie.
SCAB
(to PIT SUPERVISOR)
Jackie Elliot.
(approaches Dad)
I didn’t expect to see you here. Aye, well things change, don’t they? Yeah, well, who’s the big man now? Piss off, will ya?
DAD is humiliated.
DAD SCAB DAD
— 91 —
— 92 —
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PIT SUPERVISOR
Right then, all aboard the skylark!
DAD and SCABS gather upstage as STRIKERS enter with the pit gates.
They’re comin’! They’re comin’!
TONY
STRIKERS begin shouting and clamoring against the gates.
The pit gates swing around SCABS to form a bus, and then around again to reform as the pit gates upstage. One by one, SCABS fight through the crowd and enter through the gates. Finally, DAD comes through.
BIG DAVEY / GEORGE / MINERS
Jackie! Jackie! Jackie, what are you doing? Jackie! Dad!!! Dad, what ya doin’? Dad!
TONY
DAD exits. Everyone is stunned. TONY climbs off the gate. After a moment, the group begins to exit.
TONY backs up to the table and sits, dejected, as the house forms around him and the other MINERS enter the scene. Finally, DAD comes into the house. He has come from a day’s work underground.
The music drops out and there is absolute silence. DAD starts to sing.
#12—He Could Be a Star DAD
I CAN’T TAKE IT ANYMORE, SON
THIS IS TEARING ME APART
WE’RE LOST — WE’RE FINISHED, MAN,
WE’RE THROUGH.
WE NEED TO GIVE THE KID A FUTURE
I NEED TO LOOK HIM IN THE EYE
BELIEVE ME, SON, I’D DO THE SAME FOR YOU
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M U S I C A L
DAD’S verse is beaten, fragile, a thing of vulnerable self pity, but TONY leaps in with huge violent emotion.
TONY
YOU CAN’T GIVE IN NOW, DAD
WE’VE ALL BEEN OUT A YEAR
I’LL NEVER BE ABLE TO TALK TO YOU AGAIN
YOU CAN’T DO THIS TO ME, DAD YOU CAN’T DO IT TO YOURSELF
HE’S JUST A KID, HE’S ONLY JUST A BAIRN
DAD
BUT HE COULD GO AND HE COULD SHINE, FOR ALL WE KNOW
WE DON’T KNOW HOW FAR HE COULD GO,
AND NO ONE ELSE CAN GIVE WHAT I CAN GIVE
NO ONE ELSE CAN GIVE WHAT I CAN GIVE HE COULD GO AND HE COULD SHINE, NOT JUST STAY HERE COUNTING TIME
WE HAVE GOT THE CHANCE TO LET HIM LIVE
YES, WE’VE GOT THE CHANCE TO LET HIM LIVE
TONY butts in before DAD finishes his last line.
TONY
THIS ISN’T ABOUT US, DAD
IT’S NOT ABOUT THE KID
IT’S ALL OF US, THIS IS EVERYBODY’S CHANCE IT’S EVERYBODY’S FUTURE
IT’S EVERYBODY’S PAST
IT’S NOT ABOUT A BAIRN WHO WANTS TO DANCE
IT’S ABOUT OUR HISTORY
IT’S ABOUT OUR RIGHTS
THINK ABOUT THE SACRIFICE WE’VE MADE
IT’S WHAT YOU ALWAYS TAUGHT US
SINCE I WAS A LAD
OH, PLEASE, DAD, DON’T LET THAT PASSION FADE
For God’s sake, Jackie.
WOMAN 2
TONY goes to take DAD’S hat, but HE pulls it back.
— 93 —
— 94 —
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T H E
M U S I C A L
DAD
BUT HE COULD GO AND HE COULD SHINE
TONY
NOT JUST STAY HERE COUNTING TIME
(George! I can’t…)
CHANCE TO LET
IT’S ABOUT OUR
WE HAVE GOT THE
HIM LIVE
HISTORY
THE CHANCE TO
RIGHTS
IT’S ABOUT OUR
SON, WE’VE GOT LET HIM (LIVE)
TONY pushes DAD. Hit him! Hit him!
MINERS (MAN 2 and MAN 12) TONY
IT’S WHAT YOU ALWAYS TAUGHT US…
The fight grows more intense as the crowd becomes vocal. Adlibs similar to the following: Leave it, Tony! Oh shit. Jackie. Jackie! Let him be, Tony.
BIG DAVEY GEORGE BIG DAVEY
Hit him! Shut up!
MINER 2 GEORGE WOMAN 2
For Christ’s sake, somebody do something.
BILLY breaks away from the group.
Billy! Billy!
GEORGE
BILLY puts himself in the middle of the fight and is accidentally struck.
The MEN grab TONY and DAD, breaking up the fight.
B
I L L Y
E
L L I O T
T H E
M U S I C A L
BILLY is on the floor, crying.
BIG DAVEY goes to comfort him.
Get off.
BILLY BIG DAVEY
What the hell are you thinking of? Tearing each other apart. What do you think they want us to be doing? We should be looking after the kid.
BILLY
I’m alright.
MINER 2
What the hell are we supposed to do, then?
WOMAN goes into her pocket and takes some coins. SHE hands them to DAD. TAKE THIS AND THIS.
WOMAN 2
Everyone looks stunned.
Then, finally, MINER 4 joins in. AND THIS AND THIS. TAKE THIS AND THIS. AND THIS AND THIS. TAKE THIS AND THIS AND THIS AND THIS AND THIS AND THIS.
MINER 4 MINER 5 MINER 12 MINER 6 MINER 8 MINER 2
BIG DAVEY
DON’T WORRY, LAD, WE’LL NEVER LET YOU FALL.
ENSEMBLE enters with chairs as the scene shifts to the Hall. Members of the community give money to BILLY.
— 95 —
— 96 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
ENSEMBLE
WE WILL GO AND WE WILL SHINE
WE WILL GO AND SEIZE THE TIME
WE WILL ALL HAVE PRIDE IN HOW WE LIVE,
WE WILL ALL HAVE PRIDE IN HOW WE LIVE,
WE WILL ALL HAVE PRIDE IN HOW WE LIVE,
YES, WE’LL ALL HAVE PRIDE IN HOW WE LIVE.
BIG DAVEY
WE WILL ALWAYS STAND TOGETHER
IN THE DARK, RIGHT THROUGH THE STORM.
WE WILL STAND SHOULDER TO SHOULER TO KEEP US WARM.
SMALL BOY puts small coins in BILLY’S hat.
LESLEY takes him away.
B
I L L Y
E
L L I O T
T H E
M U S I C A L
SCENE 6: SCAB SCENE
DAD
I’m sorry. I’m so sorry!
DAD breaks down; others help him to sit down. BILLY turns to BIG DAVEY.
BILLY
That makes nineteen pound, seventeen and a half pence, and twelve pesos.
TONY
It’s not even enough for the bloody bus fare.
GEORGE
Don’t forget about the money from the fifty pees.
BIG DAVEY
You can’t do that, man. I thought that was for the new punch bag.
GEORGE
We’ll be supporting the arts. Just because we’re a boxing club doesn’t mean we’re a bunch of Palestines.
TONY
Philistines! And anyway, you’re wasting your time, man, scrabbling ‘round for fifty pees. I’ve worked hard for them fifty pees.
GEORGE
BIG DAVEY
You’ve never done a hard day’s work in yer life.
BIG DAVEY gives BILLY a bill.
BILLY
Anyway, we’re not just scrabbling ‘round. We’ve nearly got enough.
TONY
You haven’t nearly got enough, Billy. You haven’t even got enough for the bloody hotel. It’s bloody hopeless, man.
SCAB enters.
What the hell do you want?
DAD
TONY
— 97 —
— 98 —
B
I L L Y
E
I don’t want any trouble.
L L I O T
T H E
M U S I C A L
SCAB TONY
Yeah, well, get out then. We don’t have scabs in here.
SCAB crosses around to BILLY and hands him a stack of bills.
Here, Son. What’s that? It’s for the bairn.
SCAB
TONY SCAB TONY
Yeah? I don’t bloody well think so. We’re not taking anything off you. Hang on a minute!
BILLY TONY
Billy, we don’t have dirty money in here. But it would pay for everything.
BILLY SCAB
For Christ’s sake, give the bairn a chance. We’re not taking it…Scab!
TONY
TONY throws the money at SCAB. SCAB leaves.
(Picking up the money)
BILLY
There must be hundreds here. Can we use it, Dad?
DAD sits. Another MINER sits.
TONY
Go on then. Do your audition. Take the bloody money. Go to London. What’s left here, eh? We’re screwed; they’ve already started going back. What’s the point? What’s the point in trying to keep your pit open? What’s the point in trying to keep
B
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E
L L I O T
T H E
M U S I C A L
(TONY)
your community together? What’s the point in trying to keep your family together, anyway?
TONY leaves.
So can we use it, Dad?
BILLY
#12a—No Mines in London Long pause.
DAD doesn’t answer.
Then HE takes his coat off and everyone gathers around him and BILLY, sending them off to London.
— 99 —
— 100 —
B
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L L I O T
T H E
M U S I C A L
SCENE 7: LONDON
The iron “Safety Curtain” comes in and we’re now down in London with BILLY and DAD.
DAD
So this is it, then.
BILLY
They said to wait onstage.
DAD
(seeing the massive mirrored wall behind him)
Bloody hell, look at that.
BILLY begins his ballet exercises.
A woman with a clipboard enters.
Shortly behind her are POSH BOY and POSH DAD. Name? Name? Elliot. Billy Elliot.
CLIPBOARD WOMAN DAD CLIPBOARD WOMAN
And your son’s name, Mr. Elliot? I beg yer pardon?
CLIPBOARD WOMAN
You are here for the auditions? No. He’s Billy Elliot. Occupation? Well, he’s still at school, like. No. Your occupation.
DAD
DAD
CLIPBOARD WOMAN DAD CLIPBOARD WOMAN
I’m a miner. I work in a mine.
DAD
B
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L L I O T
T H E
M U S I C A L
CLIPBOARD WOMAN
You mean you actually go underground? Right. This way, please.
(POSH BOY exits; SHE notices BILLY’S canister)
William, what is that you’re holding? It’s me money. Your money?
BILLY
CLIPBOARD WOMAN BILLY
For the audition. Most of it’s in fifty pees, but the rest is from a scab.
(takes canister)
Thank you. Oh…here.
BILLY holds out his tape.
What is that? A tape. A tape? A tape. What for? It’s for me dance. Dance?
CLIPBOARD WOMAN
BILLY
CLIPBOARD WOMAN BILLY CLIPBOARD WOMAN BILLY CLIPBOARD WOMAN BILLY CLIPBOARD WOMAN BILLY
The dance I’m gonna do for my audition. There is no dance.
CLIPBOARD WOMAN
— 101 —
— 102 —
B
I L L Y
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T H E
M U S I C A L
BILLY
(To Dad)
No dance?
L L I O T
CLIPBOARD WOMAN
Come now, we don’t want to be late.
(DAD attempts to follow)
Just the children. We’re holding the auditions on the stage today. Thank you.
Exit CLIPBOARD WOMAN and BILLY.
DAD turns and sees POSH DAD.
Frightfully nerve-wracking, isn’t it? I beg your pardon?
POSH DAD DAD POSH DAD
Frightfully nerve-wracking. D’ya know, sometimes I get more nervous about these things than my Thomas! Ha-ha-ha! Well it’s wer first time like, ye knaa. I beg your pardon?
DAD
POSH DAD DAD
It’s wer first time like, ye knaa. It’s our first audition.
POSH DAD
Oh, I see.
BILLY comes out.
Dad! Dad, I’ve changed me mind!
(Whispers to Posh Dad)
BILLY
CLIPBOARD WOMAN
Mr. Fish!
What?! Get back in there, you little sod.
DAD
DAD pushes BILLY back through the door.
B
I L L Y
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L L I O T
T H E
M U S I C A L
While this happens, POSH DAD switches out with DANCER. DAD is looking through the cracks in the door.
DANCER
Y’alright, pal?
DAD turns, expecting to see POSH DAD. Instead, a ballet dancer is standing there.
Would you like a smoke?
DAD mutters “Nope” and attempts to exit Stage Left.
After he sees there is nowhere to run, he buffs up and goes to get the cigarette.
DAD
Thanks. Thanks very much. Where the bloody hell are you from?
DANCER
Glasgow. Where’d ya think? I came down when I was thirteen. A wee bit nerve-wracking, isn’t it?
DAD
Well, it’s not exactly what I thought he’d be doing. Aye. My dad was the same at first. I suppose he’s used to it by now.
DANCER DAD DANCER
No, he’s a complete arsehole. You get right behind your boy, understand?
DANCER leaves.
CLIPBOARD WOMAN reenters.
CLIPBOARD WOMAN
Mr. Elliot, we’re ready for you now…Mr. Elliot, there is no smoking in here. Oh.
DAD
DAD is caught off-guard, trying to figure out what to do with the cigarette.
Finally, HE hands the cigarette to CLIPBOARD WOMAN.
Here.
DAD exits.
— 103 —
— 104 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
CLIPBOARD WOMAN looks at the cigarette for a moment, takes a long drag, and exits as well. The “Safety Curtain” flies out, revealing BILLY in the audition.
#12b—Posh Boy’s Audition
(Optional) PANELIST (V.O.)
Tendu second…and hold. Prepare 4th, pirouette, close 5th…and hold. Thank you. Can I ask a question? Yes.
BILLY
PANELIST (V.O.) BILLY
Are you sure you don’t want to see me dance? We’ve absolutely seen enough. But— That’s all we need. Thank you.
PANELIST (V.O.) BILLY PANELIST (V.O.)
BILLY runs through the door into the hallway, visibly upset. Line of BALLET GIRLS walks past BILLY.
POSH BOY stops and notices BILLY. Are you alright?
POSH BOY BILLY
It was a complete waste of bloody time. They didn’t even see me dance.
POSH BOY
For goodness sake, they get all they need to know from the exercises. But I’ve been practicing for ages.
(approaches Billy)
Look, it was only a stupid audition.
BILLY
POSH BOY
B
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L L I O T
T H E
M U S I C A L
BILLY
(pushes him)
Get off!
POSH BOY
Hey!
(approaches Billy again)
Look, it’s alright.
BILLY
Piss off, you bent bastard.
BILLY punches POSH BOY.
POSH BOY
Ow!
CLIPBOARD WOMAN comes in as POSH BOY runs off.
CLIPBOARD WOMAN
What on earth is going on here? Shit.
BILLY
Everything flies out, leaving a bare stage, save two chairs. A moment with DAD and BILLY as they sit.
Please take a seat, Mr. Elliot.
PANELIST 1 (V.O.)
HEAD OF PANEL (V.O.)
I’m afraid, Mr. Elliot, that mutual respect and self-discipline are absolute pre-requisites of any pupil at this school. Such displays of violence cannot be tolerated under any circumstances. Do you understand?
DAD
Billy’s very sorry. He’s been under a lot of pressure lately.
PANELIST 1 (V.O.)
Just a few questions to finish with. Could you tell us why you first became interested in the ballet? I dunno. I just was.
BILLY
HEAD OF PANEL (V.O)
Well, was there any specific aspect of the ballet that caught your imagination?
— 105 —
— 106 —
B
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E
L L I O T
T H E
M U S I C A L
BILLY
The dancing.
DAD
He dances all the time like. Every night after school.
PANELIST 2 (V.O.)
Yes, we have a very enthusiastic letter from a Mrs. Wilkinson. She has also explained your personal circumstances.
PANELIST 3 (V.O.)
Are you a balletomane, Mr. Elliot? I beg your pardon?
DAD
PANELIST 3 (V.O)
Are you a fan of the ballet?
DAD
Well, I wouldn’t exactly say I was an expert or anything.
HEAD OF PANEL
You do realize that pupils are expected to attain the highest standards not only in ballet but also in their ordinary academic work. A child can only succeed with 100% support of his family. You are completely behind Billy, are you not?
DAD
Yes…yes.
PANELIST 1 (V.O)
Would you like to ask us any questions? No.
DAD
HEAD OF PANEL (V.O)
Are you sure there’s nothing else you’d like to say? Well, in that case, we will let you know in due course.
BILLY and DAD go to leave.
PANELIST 4 (V.O.)
Just one more thing. Can I just ask you, Billy, what does it feel like when you’re dancing?
BILLY stands still, thinking about the question.
#13—Electricity
B
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L L I O T
T H E
M U S I C A L
BILLY
I CAN’T REALLY EXPLAIN IT, I HAVEN’T GOT THE WORDS
IT’S A FEELING THAT YOU CAN’T CONTROL
I SUPPOSE IT’S LIKE FORGETTING, LOSING WHO YOU ARE
AND AT THE SAME TIME SOMETHING MAKES YOU WHOLE IT’S LIKE THAT THERE’S A MUSIC PLAYING IN YOUR EAR
AND I’M LIST’NING, AND I’M LIST’NING AND THEN I DISAPPEAR
AND THEN I FEEL A CHANGE LIKE A FIRE DEEP INSIDE
SOMETHING BURSTING ME WIDE OPEN, IMPOSSIBLE TO HIDE AND SUDDENLY I’M FLYING, FLYING LIKE A BIRD LIKE ELECTRICITY, ELECTRICITY SPARKS INSIDE OF ME
AND I’M FREE, I’M FREE
BILLY makes as if to leave.
HE then turns back around and sings again.
IT’S A BIT LIKE BEING ANGRY
IT’S A BIT LIKE BEING SCARED
CONFUSED AND ALL MIXED UP AND MAD AS HELL
IT’S LIKE WHEN YOU’VE BEEN CRYING
AND YOU’RE EMPTY AND YOU’RE FULL
I DON’T KNOW WHAT IT IS; IT’S HARD TO TELL
IT’S LIKE THAT THERE’S SOME MUSIC PLAYING IN YOUR EAR
BUT THE MUSIC IS IMPOSSIBLE, IMPOSSIBLE TO HEAR
BUT THEN I FEEL IT MOVE ME
LIKE A BURNING DEEP INSIDE
SOMETHING BURSTING ME WIDE OPEN
IMPOSSIBLE TO HIDE
AND SUDDENLY I’M FLYING, FLYING LIKE A BIRD
LIKE ELECTRICITY, ELECTRICITY
SPARKS INSIDE OF ME
AND I’M FREE, I’M FREE
BILLY breaks into his “Electricity” dance.
Toward the end of the dance, BILLY sings again:
— 107 —
— 108 —
B
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L L I O T
T H E
M U S I C A L
(BILLY)
ELECTRICITY SPARKS INSIDE OF ME AND I’M FREE, I’M FREE FREE…I’M FREE.
DAD approaches BILLY, who grabs his coat and bag and runs off. Have a safe journey home.
(DAD starts to leave)
PANELIST 4 (V.O)
And Mr. Elliot, good luck with the strike.
[MUSIC STARTS]
#13a—Soup Kitchen
B
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L L I O T
T H E
M U S I C A L
SCENE 8: SOUP KITCHEN
DAD is left on stage.
The hall comes on and is quickly populated by the striking MINERS eating soup. LESLEY is dishing out the last of the soup to the remaining MINERS. GEORGE comes over to DAD and gives him a plate. DAD hands the plate to SMALL BOY.
BILLY and MICHAEL enter, pushing through the line.
MINER 4
Hey, have you heard anything yet? No. Why’s it so cold in here?
BILLY MICHAEL
They haven’t got the money for the heating. How was your audition? Shite.
BILLY
MICHAEL
Did you really hit one of the dancers?
BILLY
I didn’t actually hit him; I just pushed him over.
GEORGE
Come on, we best be getting down there. What’s the word, Billy? Nothing. Maggie, Maggie, Maggie!
(unenthusiastically)
Out, out, out.
BIG DAVEY BILLY GEORGE MINERS
LESLEY
Ya alright, Billy? How’d you do at your audition?
— 109 —
— 110 —
B
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L L I O T
T H E
M U S I C A L
BILLY
Fine.
LESLEY
Fingers crossed, eh?
BILLY
Yeah. Thanks, Lesley.
MICHAEL
Howay, let’s get out of here.
MINERS start to leave for the picket line and the soup kitchen is packed away.
GEORGE
Oi! Have you heard anything yet?
BILLY
No, not yet. Don’t worry, you’ll get in no bother.
GEORGE claps BILLY on the ear.
Ow!
BILLY and MICHAEL exit.
D’ya reckon? ‘Course not, he’s got no chance. I thought you said he was a genius.
GEORGE
BILLY
BIG DAVEY GEORGE BIG DAVEY GEORGE
Genius, is he bollocks. If I was his father, I’d break his legs for him.
GEORGE exits.
BIG DAVEY lifts SMALL BOY around his shoulders and exits.
B
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L L I O T
T H E
M U S I C A L
— 111 —
SCENE 9: POST SCENE
GRANDMA comes up on the lift with the table. Post! Post! Post!
GRANDMA
DAD and TONY run in, stopping when they see the letter.
DAD
Christ.
TONY
This is it!
DAD
Well, let’s open it then.
TONY
What do you mean? We can’t open it; it’s for the bairn.
DAD
It doesn’t matter.
TONY
Of course it matters. How would you like it if someone opened your post? When was the last time I got a letter? We could steam it open. Give it here. Look, it isn’t fair. It’s for the bairn.
DAD
GRANDMA DAD TONY GRANDMA
We could take a knife and slice it along the bottom.
TONY
Look, nobody’s gonna slice anybody along the bottom. Grandma, I’m warning you. Give it here. Gimme…
GRANDMA passes the letter off to DAD. DAD hides the letter between his legs. TONY takes the letter and walks to the table.
For Christ’s sake.
— 112 —
B
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L L I O T
T H E
M U S I C A L
DAD and GRANDMA play red light, green light with TONY and the letter.
(TONY)
Right, we’re gonna leave it…We’re gonna leave it…We’re gonna leave it here for Billy ‘til he gets home.
TONY makes a move to shoo DAD. DAD makes a move to shoo GRANDMA. GRANDMA flips DAD off.
I can’t bear it, man.
DAD
DAD crosses to TONY.
GRANDMA runs to get the knife from the counter.
TONY and DAD’s lines overlap until GRANDMA runs at them:
Ya can, man. He’ll never know. Of course he’ll bloody know.
TONY DAD TONY
GRANDMA runs at them with the knife in the air.
Give it here! Woah!!
(offstage)
See ya, Billy.
(offstage)
GRANDMA
DAD & TONY MICHAEL
BILLY
Yeah, see ya, Michael.
DAD, GRANDMA, & TONY run to sit by the door.
BILLY comes in the door and walks across.
BILLY gets a cookie from the jar and eats it.
B
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L L I O T
T H E
M U S I C A L
— 113 —
HE turns around to see the three staring at him, then sees the letter. Shit. Well, open it, Son.
(BILLY) DAD
BILLY walks to the table and stops before he gets there to bend over and read it.
William Elliot es-queer. Esquire! Open it, Son.
BILLY DAD
BILLY picks up the letter. He plays with the letter instead of opening it.
Open it, for Christ’s sake!
TONY
[MUSIC STARTS]
#13b—The Ballet School Letter BILLY crosses to sit on his bed.
As the bed rises, DAD, TONY and GRANDMA try to look over BILLY’S shoulder at the letter. BILLY reads the letter and falls over.
DAD, TONY, & GRANDMA race up the stairs. BILLY gets up and starts to come down.
Down, down, down!
DAD
(to Billy at the bottom of the stairs)
Well?
I didn’t get in.
BILLY
BILLY crumples the letter and throws it out.
Aw, Billy. I’m so sorry, Son.
DAD
— 114 —
B
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L L I O T
T H E
M U S I C A L
DAD touches BILLY’S shoulder. BILLY shrugs off DAD’S hand. Oh, Billy. Nevermind, kidda.
GRANDMA TONY
TONY gets letter and reads it, then walks over to BILLY.
You little bastard! He got in, man! He got in! What?!
DAD
GRANDMA and TONY laugh as DAD dances around the room. GEORGE and BIG DAVEY enter. BIG DAVEY sits.
You little bugger.
(to GEORGE)
He got into school, man. Did you hear us? He got into school! Have ya not heard? Heard what?
GEORGE DAD GEORGE
We’re going back. Strike’s over, Jackie. I’ve just had a call from the regional office. They’ve caved in.
BIG DAVEY
We’ve lost the strike, Jackie. We’ve lost everything. That’s it then — a whole year. It’ll be alright, Dad.
TONY
BILLY TONY
Alright? Billy, when you come back, everybody, everybody you know will be out of work. Here, and in the next village, and the village after that, and the village after that—by the time you’re my age, there won’t be a pit left in the whole country. We’re finished. We’re dinosaurs. Two hundred thousand men. We can’t all be fucking (alt: bloody) dancers.
TONY storms off.
B
I L L Y
E
Come on — Let’s get down the hall.
DAD and BIG DAVEY exit.
L L I O T
T H E
M U S I C A L
DAD
GEORGE
Anyway, congratulations, bonny lad. I always said you’d get in.
GEORGE goes to hit BILLY. BILLY flinches.
GEORGE pretends to do ballet.
I’d better get down the hall.
GEORGE exits.
#14—Grandma’s Song Scene Change Are ya alright, Son? I’m scared, Grandma. Scared? What are you scared of?
GRANDMA BILLY GRANDMA BILLY
I’m not sure I want to go. Can’t I stay here?
GRANDMA
No. No. You can’t stay here. We’ve rented your room out.
GRANDMA exits.
Not funny, Grandma.
BILLY
— 115 —
— 116 —
B
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L L I O T
T H E
M U S I C A L
SCENE 10: THE LAST CLASS
BILLY is left alone. BALLET GIRLS come in.
JULIE HOPE
DID you really get in?
BILLY
Uh huh.
KEELEY GIBSON
Will you sign this for us?
BILLY
If you want.
BILLY is inundated.
MRS. WILKINSON comes in.
Hello. Hello. Can I help you?
MRS. WILKINSON BILLY MRS. WILKINSON
I just came to tell ya — I got in. Oh.
BILLY
MRS. WILKINSON BILLY
Well, me dad thought you should know.
MRS. WILKINSON
It’s alright. They sent us a letter when it happened.
BILLY
Miss, I know I should have come before, but…you know…
MRS. WILKINSON
I can imagine. OK, toilet break, girls!
BALLET GIRLS exit. DEBBIE approaches BILLY.
Debbie, go on.
DEBBIE exits.
B
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L L I O T
T H E
M U S I C A L
— 117 —
BILLY
Well, good-bye, Miss. And Miss, I just wanted to say thanks, Miss. For everything what you did. I could never have done it without you, Miss. Well, good luck, Billy. Thanks. Well, goodbye? Goodbye then.
MRS. WILKINSON BILLY MRS. WILKINSON
BILLY goes to exit and makes a 360º turn to look at her. When HE reaches the door, HE turns and crosses to her.
I’ll miss you, Miss!
BILLY
MRS. WILKINSON
No you won’t, Billy. You’ll get down there and you’ll realize just what a crap little dance school this was. What a complete second-rate training I gave you. And you’ll spend five years unlearning everything I taught you. It’s alright; that’s the way it is.
BILLY
No, you don’t understand — I’ll come and see you every time I come back, Miss.
MRS. WILKINSON
Here’s a piece of advice, Billy. Piss off out of here. Start everything afresh, and don’t look back — There is sod all left for you here. You are very fucking special. (alt: You are very very special.) Now piss off before I start to cry. OK. And good luck, Billy. And good luck as well, Miss. Yeah, thanks. Thanks, Billy.
BILLY
MRS. WILKINSON BILLY MRS. WILKINSON
MRS. WILKINSON exits. BILLY watches her go off.
[MUSIC STARTS]
#15—Once We Were Kings DAD enters with chair, suitcase, and new coat for BILLY.
— 118 —
B
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L L I O T
T H E
M U S I C A L
SCENE 11: ONCE WE WERE KINGS
BILLY joins DAD to pack his case as MINERS gather to go back to work.
MINERS’ CHORUS
ONCE WE BUILT VISIONS ON GROUND WE HEWED
WE DREAMT OF JUSTICE AND OF MEN RENEWED ALL PEOPLE EQUAL, IN ALL THINGS
WE ONCE WERE HEROES, ONCE WERE KINGS
BUT ALL GREAT THINGS MUST COME TO PASS
WE KNOW THE FIRST WILL SOON BE LAST AND IN THE GROUND WE MAY BE LAIN BUT A SEED IS SOWN TO RISE AGAIN
SO WE WALK PROUDLY
AND WE WALK STRONG
ALL TOGETHER
WE WILL GO AS ONE
THE GROUND IS EMPTY AND COLD AS HELL
BUT WE ALL GO TOGETHER WHEN WE GO
TONY walks over with a miner’s lamp for BILLY. Knock ‘em dead, kidda. Thanks, Tony. See ya, sunshine.
TONY
BILLY TONY
MINERS’ CHORUS (+ WOMEN)
WE SAW A LAND WHERE WEALTH WAS SHARED
EACH PAIN RELIEVED, EACH HUNGER FED
EACH MAN REVERED, EACH TYRANT KILLED
EACH SOUL REDEEMED, EACH LIFE FULFILLED
DAD puts a new coat on BILLY.
FROM EACH MAN’S MEANS TO EACH HIS NEED
WE SAW A TIME MAN WOULD BE FREED
B
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E
L L I O T
T H E
M U S I C A L
(MINERS’ CHORUS + WOMEN)
WE FOUGHT FOR ALL THE THINGS WE SAW
THE BATTLE’S LOST, BUT NOT THE WAR
BILLY runs to jump into DAD’S arms.
MINERS all walk forward.
SO WE WALK PROUDLY
AND WE WALK STRONG
ALL TOGETHER
WE WILL GO AS ONE
THE GROUND IS EMPTY AND COLD AS HELL
BILLY goes up on DAD’S shoulders.
BUT WE ALL GO TOGETHER WHEN WE GO
WE WILL GO DOWN, BUT OUR HEADS ARE PROUD
WE WILL GO DOWN WITH OUR VOICES LOUD
WE WILL GO DOWN BUT COME AGAIN,
AND WE ALL GO TOGETHER WHEN WE GO
MINERS start to move toward the back. AH…AH…AH…
AND WE ALL GO TOGETHER WHEN WE GO.
WE WALK PROUDLY, AND WE WALK STRONG
ALL TOGETHER WE WILL GO AS ONE
THE GROUND IS EMPTY AND COLD AS HELL
BUT WE ALL GO TOGETHER WHEN WE GO.
MINERS go down into the shaft singing.
WE WALK PROUDLY AND WE WALK STRONG
ALL TOGETHER WE WILL GO AS ONE
THE GROUND IS EMPTY AND COLD AS HELL
BUT WE ALL GO TOGETHER WHEN WE GO.
WE WALK PROUDLY AND WE WALK STRONG
ALL TOGETHER WE WILL GO AS ONE
THE GROUND IS EMPTY AND COLD AS HELL
BUT WE ALL GO TOGETHER WHEN WE GO.
— 119 —
— 120 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
SCENE 12: DEAD MAM FAREWELL
Everybody is gone.
DEAD MUM appears.
DEAD MUM
You’d forget yer head if it was loose.
[MUSIC STARTS]
#16—The Letter (Reprise) SHE tosses him his hat, which HE puts on.
BILLY
Bye, Mam.
DEAD MUM
Bye, Billy.
BILLY
See you soon. No. I don’t think so — do you?
DEAD MUM
No. Not really. I wrote you a letter.
BILLY
DEAD MUM
A letter?
BILLY
Me reply. It’s a bit scrumpled. Dear Mam,
AND PLEASE, MAMMY…
KNOW THAT I WILL ALWAYS BE
PROUD TO HAVE KNOWN YOU
PROUD THAT YOU WERE MINE
PROUD IN EVERYTHING
AND I PROMISE YOU THIS, MAMMY
DEAD MUM
IN EVERYTHING YOU DO
ALWAYS BE YOURSELF
B
I L L Y
MAMMY
E
L L I O T
T H E
M U S I C A L
BILLY
AND I ALWAYS WILL BE TRUE
LOVE YOU FOREVER LOVE YOU FOREVER
Billy.
LOVE YOU FOREVER
Mam.
DEAD MUM BILLY DEAD MUM
BILLY
DEAD MUM leaves.
Bye, Mam.
BILLY starts to leave through the auditorium. MICHAEL rides in on his bike.
Oi! Dancing boy.
MICHAEL
BILLY returns to the stage and kisses MICHAEL. BILLY starts to exit.
See ya, Michael. See ya, Billy.
BILLY exits up the aisle.
BILLY MICHAEL
As the curtain descends, MICHAEL watches him go. Then, at the last moment, HE rides off. CURTAIN.
#17—Finale. Final bows.
— 121 —
— 122 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
ALL
IT DOESN’T MATTER IF YOU’RE LARGE OR SMALL
TRAPEZIOID, OR SHORT OR TALL
EVEN IF YOU CAN’T DANCE AT ALL
ALL YOU REALLY GOTTA DO IS SHINE. EVERYONE IS DIFFERENT, IT’S THE NATURAL STATE,
IT’S A FACT, IT’S PLAIN TO SEE—
THE WORLD’S GREY ENOUGH WITHOUT MAKING IT WORSE,
WE NEED INDIVIDUALITY!
‘COZ WHAT THE HELL IS WRONG WITH EXPRESSING YOURSELF?
WHAT WE NEED IS INDIVIDUALITY!
THE END.
#18—Playout
B
I L L Y
E
L L I O T
T H E
M U S I C A L
— 123 —
0.
ACT 1
M U S I C A L N U M B E R S ( VO C A L B O O K )
Overture ....................................................................................................125
1.
1a.
1b. 2.
2a. 3.
4.
4a.
4b.
5.
The Stars Look Down ................................................................................126
All Out For Breakfast ................................................................................137
The Letter Underscore...............................................................................137
Shine...........................................................................................................138
Shadow Dance ...........................................................................................147
Grandma’s Song ........................................................................................148
Solidarity ...................................................................................................155
Underscore to Toilets ................................................................................169 Electricity Underscore ...............................................................................169
Expressing Yourself ...................................................................................170
5a.
Expressing Yourself (Playout) ..................................................................177
6.
The Letter...................................................................................................178
7a.
After Boogie ...............................................................................................189
5b.
7.
7b. 7c. 8.
Hammer Scene Underscore.......................................................................177
We Were Born to Boogie............................................................................183
Sleepless Night ..........................................................................................189
Intro to Angry Dance ................................................................................189
Angry Dance ..............................................................................................190
ACT 2
8a.
Christmas Fanfare .....................................................................................192
10.
Deep Into the Ground ...............................................................................198
9.
Merry Christmas, Maggie Thatcher .........................................................193
10a. Out of Christmas Underscore ...................................................................203 11a. Dad’s Song Underscore .............................................................................203
11b. At the Pit Gates .........................................................................................203 12.
He Could Be a Star ....................................................................................204
12a. No Mines in London .................................................................................210
12b. Posh Boy’s Audition..................................................................................210
13.
Electricity ...................................................................................................211
13a. Soup Kitchen .............................................................................................215
13b. The Ballet School Letter ............................................................................215
13c. Grandma’s Song Scene Change ................................................................215
15.
Once We Were Kings .................................................................................216
17.
Finale..........................................................................................................227
16. 18.
The Letter (Reprise) ..................................................................................225 Playout ....................................................................................................... 231
— 124 —
B
I L L Y
E
L L I O T
T H E
— 125 —
M U S I C A L
0
Overture
Miners
b & b b 44
1
!
2
7
9
Ó
Œ
MINERS (or solo):
œ.
œ
Through the Segue as one
#0—Overture
— 126 —
B
»
q 86
b & b b 44 ˙
‰ j œ. œ
MINERS (or solo):
dark
œ œ
b &b b œ Œ ‰ j œ œ œ œ fight
b &b b ˙
‰
though
b &b b ˙
‰
though
˙
stand
T H E
M U S I C A L
j œ ‰ Œ
œ
to break
œ . œ œ bœ
1
œ œ œ ! œ bœ shoul - der
bœ
˙
œ œ
˙
your soul
‰
œ. œ ˙
the dark,
‰
‰ œj b œ .
right through
a - lone
œ ˙
64 j ˙. œ bœ œ
warm.
#1—The Stars Look Down
And al -
Œ
Œ" Œ
œ œ
And al -
Œ
F
Œ
the storm.
WOMAN 1: Any news? MINER 5: Still waiting.
to keep us
Through the
is worn,
j œ œ. œ ˙
you'll feel
œ
j‰ Œ Œ œ œ œ œ
j ‰ œ œ. œ ˙
And al - though
in
to shoul - der
œ œ
œ.
and through the tears.
And al - though
you,
stand to - geth - er
‰ j œ œ.
through the storms
Œ
j œ œ ‰Œ Œ
and through the fear.
œ. œ ˙
j œ ‰ Œ
Œ
‰ œj œ .
œ ˙
Through the night,
are wear - y,
j œ œ œ œ.
they'll try
al - ways
b &b b ˙
j œ ! œ œ œ
your feet
13
21
œ
œ.
and years of hard - ship,
9
b &b b œ
Œ
and through the hun - ger,
5
17
L L I O T
The Stars Look Down
Miners (Ensemble), Big Davey, Billy
1
E
I L L Y
œ œ
We will
œ œ
We will
# ‰ # œ œ # # # # 44 f And the add WOMEN:
B
E
I L L Y
+ WOMEN:) # # # # (MINERS 4 œ œ œ œ œ œ & #4
24
stars look down
# ## & # # œ
26
œ
œ
stars
look
down
#### œ . & #
œ
28
down
30
&
####
# œ. down
32
&
####
œ œ
œ
and we'll stand
T H E
œ œ œ a
his
-
fu
-
,
œ
ture
bright
&b œ hands
Œ
‰ j œ. œ
œ œ
œ
are bruised and bleed - in',
Œ
œ.
look
down
˙
at
last,
the
ALL:
see
‰ œ œ
œ œ œ œ
a day
up - on our
past
‰
œ
j nœ
"Are full with dust…"
œ Œ ‰ œ œ. œ J
#1—The Stars Look Down
œ
When the stars
look
œ
And the stars look
œ
BIG DAVEY:
And
And wer lungs
œ œ œ
œ
œ
When we'll stand
sun.
œ œ
And the
œ œ œ œ œ œ œ œ
‰
˙
œ
Œ
œ
œ
"And wer lungs…" 34
to
to - geth - er
be - neath
one,
œ
j ‰ œ œ œ œ ‰
j œ œ œ ‰
r œ œ.
‰.
œ
hun - gry And the stars look down and show the way.
t'ry When the stars
œ œ œ.
— 127 —
M U S I C A L
œ œ œ œ œ
œ œ œ œ œ œ
and know our
# ˙
œ
on the mean and
œ œ
and see
L L I O T
nœ
though
as
nœ our
"And wer hearts…"
œ Œ Œ œ œ
are full with dust,
And wer
b
— 128 —
&b œ
38
B
I L L Y
hearts
&b œ
50
‰ j œ. œ œ œ are near
˙
al - ways
stand
&b ˙ stars
Œ
are our
œ œ œœœ ? b ‰ J J‰ Œ bb (ALL:)
58
All out to- ge-ther
T H E
œ œ
in',
bœ
œ bœ
œ
œ
nev - er
œ. œ œ
Œ
‰ j œ. œ œ œ
‰
bœ
œ œ œ œ J‰Œ J ‰ All out as one
And
so
"Thankyou"
Œ
Œ
the trust.
‰ œj b œ
Œ
j œ bœ .
41
for - go
through the frost,
re - demp - tion,
SCAB: Kevin!
M U S I C A L
"Forgo the trust."
We will
to - geth - er
œ œ œ.
54
œ
to break
œ. œ œ
L L I O T
"We will never…"
"Are near to breakin'…"
Œ
E
the hail,
œ œ
We will
œ œ. J
‰ j œ
œ
the snow.
The
TALL BOY: He's heard! GEORGE (entering): We're out We’re on strike!
U "
œ w
bbb
we know…
œ œ œ œ œœ œ ‰J Œ All out for vic - to - ry
SCAB: Kevin, I told you not to come here.
Œ
œ œ
œ
Œ
till we've won
SCAB: Go home now!
b b ‰WOMEN: j j b & œ œ œ œ œ ‰ Œ
‰ j j‰ Œ œ œ œ œ
‰
b b ‰TENORS: œœ œœ œœ œœ œœ ‰ Œ b V J J
‰ œœ œœ œœ œœ ‰ Œ J J
‰ œœ œœ œœ œœ œœ œœ œœ Œ J
? bb ‰ œ œ œ œ œ ‰ Œ J J b
‰ Jœ œ œ œJ ‰ Œ
‰ Jœ œ œ œ œ œ œ Œ
68
All
All
out
out
to - geth - er,
to - geth - er,
BARIS:
All
out
to - geth - er,
All out as
All out as
All out as
one,
one,
one,
#1—The Stars Look Down
V
Œ j œ œ œ œ œ œ œ
All
All
All
out
out
out
for vic
for vic
for vic
- tor - y
- tor - y
- tor - y
B
b &b b Œ
71
œ
œ
œœ œœ
œœ
œ
I L L Y
Œ
'till we've won.
b Vb b Œ
b &b b ‰
74
b Vb b ‰ ? b ‰ bb
œ
œ
œ
Œ
œ
&
‰ œœ œœ œœ œœ ‰ Œ J J
œ œ œ œ ‰ Œ J
‰ œJ œ œ œJ ‰ Œ
œ œ œ œ œ
All
out
for vic
œœ J
œœ
œœ œœ œœ œœ œœ
All
out
for vic
œ J
œ
All
out
-
-
out
œ
All
All
œ.
œ
out
'till
œœ ..
out
'till
œ œ œ
Œ
to - ry,
All
one,
All out as
œœ œ œœ
Œ
one,
All out as
to - geth - er,
Œ
j j ‰ Œ œ œ œ œ
All out as
to - geth - er,
to - ry,
œ œ œ œ œ for vic
out
to - geth - er,
to - ry,
out
j œ
we've
j œœ J
œ.
we've
'till
we've
œ J
one,
w
won.
w won.
w
won.
3
b &b b
bbb
œœ œœ œœ œœ ‰ Œ J
All
77-79
80-88
‰ œœ J
out
‰ œJ
-
— 129 —
M U S I C A L
‰
All
Œ
T H E
‰ œj œ œ œ œj ‰ Œ
'till we've won.
j œ
L L I O T
All
'till we've won.
? bb Πb
E
poco meno mosso
9
Ó
Œ
BILLY:
œ
œ
Take me
#1—The Stars Look Down
nnn
— 130 —
90
B
(BILLY:)
& œ
‰ j œ. œ œ œ
Œ
up
œ
though
102
& ˙
find
106
& ˙ we
up
Raise me
and hold
Œ
we've been
‰ j œ œ œ œ. a new
Will come a day
re - jec - ted,
Œ
to - mor - row
‰ œj œ n œ
will stand there
œ
Œ
œ œ
When we
bœ
proud - ly
‰
œ
and we will
‰ j #œ œ œ
œ
Through the
œ Œ Œ nœ œ fly.
And al -
‰ œj Œ Œ œ œ œ œ œ œ we've been out - cast.
Œ
come
j œ œ œ
œ.
me high.
when we will
And al - though
œ
‰ œj . œ œ ˙.
Œ
œ
œ œ
j Œ Œ œ œ. œ œ œ œ œ œ
œ
un - der dark - ness
Œ ‰
M U S I C A L
œ
& œ Œ Œ œ. œ œ
& œ
T H E
‰ œj œ œ œ
94
98
L L I O T
Œ
me gent - ly.
and hold
nights
E
I L L Y
‰ j#œ œ œ
to rest at
˙
nev
-
#1—The Stars Look Down
œ
Œ
‰ œj
Œ
last.
œ œ œ. œ œ er walk
We will
a - lone.
And
Œ
Œ
‰ œj
And
B
110
(BILLY:)
& œ
I L L Y
E
‰ œj œ . œ b˙
Œ
we
will be
L L I O T
‰
re - turned
T H E
j œ bœ œ
back to
our
— 131 —
M U S I C A L
SMALL BOY: Cush! BILLY: Oi or Shut up!
Œ
˙.
&
"
"
Ó
Œ
V
"
"
"
Ó
Œ
"
"
114
&b œ
stars
œ Vb œ stars
? œ b stars
œ
œ œ œ œ œ
œ
‰
œœ
œœ œœ œœ œœ œœ
œœ
‰
look down at their re - flec - tion,
look down at their re - flec - tion,
œ
œ œ œ œ œ
œ
look down at their re - flec - tion,
‰
"
œ œ
œ
b
home.
"
?
"
œ
And the
stars
look
œœ œœ
œœ
œœ
And the
stars
look
œ œ
œ
œ
And the
stars
look
Ó
Œ
œ
œ
œ œ œ
œœ
œœ
œœ œœ œœ
down and there's a
down and there's a
œ
œ
#1—The Stars Look Down
‰ œ œ b TENORS:
f f
And the
‰
b
And the
œ
œ
‰ œœ
œ
When the
light,
light,
œ œ
BARIS:
‰
light,
œ œ œ
down and there's a
WOMEN:
b ‰ œ œ f And the
When the
‰
œ
œ
When the
— 132 —
B
I L L Y
E
œ
L L I O T
T H E
116
&b œ
œ
stars
look
œ V b nœ
look
?b œ
look
Vb
œ
stars
look
œœ
œœ
stars
look
?b œ stars
œ
the
jus
œœ
œœ
œœ
œœ
œœ
the
jus
œ
œ
the
jus
œ
œ
œ
down they'll see
118
&b œ
œ
down they'll see
œ
stars
œ
down they'll see
œœ
stars
œ
-
-
Œ
stars
œ V b bœ stars
?b œ stars
Œ
Œ
Œ
tice
œ
œ œ œ œ œ ‰ ‰ œ œ
œ
œœ
œœ œœ œœ œœ œœ œ œ ‰ ‰ œ œ
œœ
And the stars
œ
And the stars
œ œ œ œ œ ‰ ‰ œ œ
down and see the strug - gle,
the right.
œœ
œœ œœ Œ
‰ œœ œœ
And
the right.
œ
œ œ Œ
And
the right.
œ œ
And the
And the
œ œ
‰
And the
œ
œ
œ
j œ œ œ ‰ ‰ œ œ
œœ
œœ
œœ
œœ œœ œœ ‰ ‰ œœ œ J
look down and know the pain,
And the
look down and know the pain,
œ
And the stars
‰
And
œ œ Œ
œ
tice
120
&b œ
Œ
tice
œ
down and see the strug - gle,
look
Œ
œ œœ
down and see the strug - gle,
œ
-
M U S I C A L
œ
œ
œ
And the
œ œ œ ‰ ‰ œ œ J
look down and know the pain,
œ
lead
œ
to
œ
where
œ
light
œ
shines
œ œ
˙
will
œ
œœ
œœ
œœ
œœ
œœ
œœ
œœ œœ
˙ ˙
will
lead
to
where
light
shines
œ
œ
œ
œ
œ
œ
will
lead
to
where
light
shines
a - gain
‰ ‰
a - gain
œ œ
And the
œ
œ
œ
When we'll stand
as
œœ
œœ
œœ
œœ
When we'll stand
˙
a - gain
#1—The Stars Look Down
‰
œ
œ
œ
When we'll stand
œ
as
œ as
B
122
"
&b
I L L Y
E
L L I O T
"
V b ˙˙
‰ œ œœ .. œ ˙ . J
P. Œ œœ ‰ Œ J
˙. ‰ Jœ œ . œ
Œ
be - neath the sun.
? ˙ b
&b œ
126
Œ
œ
one,
&b ‰ F Vb ‰ F ?b ‰
P. œ ‰ Œ J
œ
OTHERS join:
j œ
œ
j œ œ œ
‰
All
out
to - geth - er,
œœ J
œœ
œœ œœ œœ J
‰ ‰
TENORS:
All
out
to - geth - er,
œ J
œ
œ œ œ J
All
out
to - geth - er,
BARIS:
œ
œ
œ
Ó
. ‰ œ œœ .. œ œJ ‰ Œ J
Ó
œ. ‰ œJ œ . œ J ‰ Œ
Ó
be - neath the sun.
œ.
when we’ll stand WOMEN:
œ
SOLO:
be - neath the sun.
One,
‰
‰
be - neath the sun.
One,
be - neath the sun.
one,
Ó
‰ j . j‰ Œ œ œ œ œ.
One,
be - neath the sun.
F
When we’ll stand as
P Œ j‰ Œ œ.
‰ j . œ œ œ ˙.
one,
— 133 —
M U S I C A L
"
&b ˙
one,
T H E
Œ
œ
œ
as
one.
Œ
‰ œj œ ‰ œœ J
All
Œ
œ
œ
œ
When we’ll stand
All
Œ
‰
‰ Jœ All
#1—The Stars Look Down
as
j œ ‰
Œ
out
œ
œœ
œœ
‰
Œ
out
as
œœ J
one,
œ
œ
œ J
‰
Œ
out
as
one,
one,
œ as
— 134 —
128
&b
B
œ
Œ
œ
‰
one,
&b ‰ Vb ‰ ? ‰ b
j œ œ
All
out
œœ J
œœ
All
out
œ J
œ
All
out
&b œ
Œ
L L I O T
œ.
for vic
-
WOMEN:
-
œ
œ
as
one.
Œ
Œ Œ
Œ
œ
œ
‰
cresc. poco a poco
œ
œ.
œ
as
one.
œ
œ
won.
œœ
œœ
œœ
till
we've
won.
œ
œ
œ
till
we've
won.
Œ
‰
Œ
œ
œ
œ
When we’ll stand
˙.
œ
-
neath
the
j œ œ œ
‰
All
out
to - geth - er,
œœ J
œœ
œœ œœ œœ J
‰ ‰
All
out
to - geth - er,
œ J
œ
œ œ œ J
All
out
to - geth - er,
Œ
‰
j œ œ
All
Œ
‰ œœ J
All
cresc. poco a poco
Œ
œ ‰ J All
#1—The Stars Look Down
as
Œ
cresc. poco a poco
cresc. poco a poco
œ
Œ
œ
we've
Œ
œ
œ
till
to - ry
-
œ
‰
When we’ll stand
to - ry
Be
j œ
œ
Œ
œ œ œ œ œ for vic
M U S I C A L
to - ry
œœ œœ œœ œœ œœ for vic
T H E
Œ
when we’ll stand
&b w
?b ‰
œ
œ œ œ œ œ
one,
Vb ‰
E
when we’ll stand
130
&b ‰
I L L Y
as
j ‰ œ
Œ
out
œ
œœ
œœ
‰
Œ
out
as
œœ J
one,
œ
œ
œ J
‰
Œ
out
as
one,
one,
œ as
B
132
&b
œ
Œ
‰
one,
I L L Y
E
œ
œ
L L I O T
œ.
when we’ll stand
T H E
œ
œ
as
one.
&b w
Œ œ
Œ
Vb ‰ ? ‰ b
134
&b
j œ œ
All
out
œœ J
œœ
All
out
œ J
œ
All
out
œ
Œ
for vic
-
œœ œœ œœ œœ œœ for vic
Œ Œ
œ
‰
œ
œ.
when we’ll stand
neath
œ
œ
œ
won.
œœ
œœ
œœ
till
we've
won.
œ
œ
œ
till
we've
won.
Œ
œ
œ
as
one.
the
-
we've
to - ry
-
œ œ
till
to - ry
-
œ œ œ œ œ for vic
Œ
œ
œ
Be
Œ
to - ry
one,
&b
Œ
œ œ œ œ œ
œ
‰
When we’ll stand
sun,
&b ‰
— 135 —
M U S I C A L
Œ
‰
Œ Œ
œ
œ
œ
When we’ll stand
sun
&b ‰ Vb ‰ ? ‰ b
j œ
œ
j œ œ œ
‰
All
out
to - geth - er,
œœ J
œœ
œœ œœ œœ J
‰ ‰
All
out
to - geth - er,
œ J
œ
œ œ œ J
All
out
to - geth - er,
Œ
‰
j œ œ
All
Œ
‰ Jœœ
All
Œ
œ ‰ J All
#1—The Stars Look Down
as
Œ
w
w
œ
as
j ‰ œ
Œ
out
œ
œœ
œœ
‰
Œ
out
as
œœ J
one,
œ
œ
œ J
‰
Œ
out
as
one,
one,
œ as
— 136 —
136
&b
B
œ
Œ
I L L Y
Ó
˙.
Œ
& b ‰ œj œ All
out
œ œ œ œ œ
for vic
-
Œ
?b ‰ œ J
All
out
œ out
for vic
-
to - ry
œ œ œ œ œ Œ for vic
-
ƒ ƒ
to - ry
œ œ œ œ œ œ œ V b ‰ œJ œ œ œ œ œ œ Œ All
L L I O T
T H E
Rall.
one.
&b
E
to - ry
œœ œ œœ
"
" œœ ..
œœ œ
out
till
we've won.
œ
œ
œ.
j œ w
out
œœ œ œœ All
out
œ œ œ
All
out
till
œœ . .
till
"
j œœ ww J
All
All
ƒ
M U S I C A L
we've won.
j œœ w J
œ.
we've won.
till
we've won.
œ J
#1—The Stars Look Down
w
Œ
Ó
Œ
Ó
œ
Œ
Ó
œ
Œ
Ó
B
I L L Y
E
L L I O T
T H E
M U S I C A L
All Out For Breakfast
— 137 —
1a
TACET
The Letter Underscore TACET
#1a / #1b—tacets
1b
— 138 —
B
I L L Y
E
L L I O T
Allegro q = 116 [Swing 8ths]
# & 44
5
#
Arms,
# & bœ 9
Up,
13
&
Œ
œ
Œ
two,
Œ bœ
œ
Œ
three,
Œ
nœ
two,
2
œ #œ
œ four,
Œ
three,
Œ
Full pli - é,
Œ
œ
œ
Sec - ond,
Œ
two,
nœ œ Œ
four,
œ
œ
œ
Œ
three,
Œ
two,
œ
three,
œ
New Tempo q = 137
‰ j œ œ Ó œ œ œ œ œ
MRS. W:
b &b b
your arm in line.
‰
Œ
four,
Œ
œ
Œ
four…
10
Try to keep
27
2
44
!
#
b &b b Π23
64
!
BALLET GIRLS:
& œ
M U S I C A L
Shine
Mrs. Wilkinson, Ballet Girls, Back-up Voices
1
T H E
bbb
j œ bœ œ œ bœ œ
Come on,
4
#2—Shine
œ
at least pre - tend you're
j j œ bœ Ó œ
do - ing fine.
B
b &b b Π31
‰
œ œ bœ
You can wow
b & b b n˙ . 35
I L L Y
j bœ
E
L L I O T
T H E
Even you, Susan Parks.
!
Ó
œ œ bœ
— 139 —
M U S I C A L
bœ œ œ œ œ
ev - 'ry time.
them
All you haf - ta
nœ
do
is
3
Œ
shine.
j b &b b ‰ j œ œ ‰ Œ œ œ 39
For - get
b &b b Π43
œ nœ
œ
Steal
b & b b ˙. 46
an
inch
œ
œ
a - bout
Oi! You!
Œ
Ó
con - tent.
œ
on
Œ
bœ œ œ
Fo - cus on
!
œ
Œ
œ
œ
and they'll give
2
Œ
œ
Ó
a
Œ
¿
and
b &b b ¿ Œ Ó
¿ Œ Ó
50
Smile!
¿ Œ Ó
Smile!
j œ œ
It
œ
does - n't
œ
œ
mat - ter
œ
if
2
|
Smile!
Pochissimo Più Mosso q = 138
b &b b ‰
œ
you
mile…
56
Ó
style.
œ
them
Œ
bœ
SMILE!
œ
you're
œ
large
œ œ œ or
#2—Shine
small.
Œ
‰
j œ bœ bœ œ
Tra - pe - zi - oid,
‰
j œ
or
— 140 —
B
b &b b œ 59
Œ
œ bœ œ
short
or
Ev - en
b b (MRS. W:) j b & œ œ œ œ œ œ b &b b
haf - ta
L L I O T
œ œ œ
tall.
62
real - ly
E
I L L Y
do
œ
if
you
shine.
‰ J¿
BALLET GIRLS:
¿
Tw - tweet!
b &b b 65
œ
life's
b & b b ‰ J¿
œ œ œ
Œ
¿
¿
a
mess,
‰ ¿J
Tw - tweet!
b &b b œ 68
‰ œj œ
(MRS. W:)
Girls,
just try
œ
œ
‰ J¿
‰
64
at
¿
‰
œ
œ
œ
œ
all,
j œ œ
It
Tw - tweet!
The whole
œ
dance
can't
‰ b œj œ
does - n't
¿
¿ J
‰
Tw - tweet!
j œ œ
j œ
pro - cess
will
œ
œ
All
œ
mat - ter
¿ J
you
œ
œ
if
your
¿
Tw - tweet!
j bœ œ
j œ œ
Œ
co - a - lesce.
!
!
Tw - tweet!
œ
to
‰ œ
j œ œ
œ œ
ef - fer - vesce,
b &b b œ œ œ œ œ œ œ œ
j œ
72
Give ’em the old
M U S I C A L
Œ
j œ ˙.
is
!
T H E
raz - zle - daz
-
œ.
zle,
All you
Ó
j œ œ œ œ œ œ
real - ly
haf - ta
j œ œ
j œ œ
Turn on
the old
#2—Shine
do
is
j œ ˙
Ó
shine.
BILLY: Miss, the keys!
œ œ
pizz - az.
j œ Œ ‰ œ œ œ
There won't be
B
b &b b œ
‰ œj œj œ
76
time
b &b b œ
œ
œ
82
bb
(MRS. W:)
& b œ
œ
Give ’em
b &b b ¿
œ
œ
the
old
Œ
BALLET GIRLS:
œ
œ
œ
raz - zle - daz
b &b b ‰
Ó
zle,
¿
(MRS. W:)
j œ œ œ œ œ œ œ
b & b b ‰ œj œ œ œ 90
œ
An oc - to - poid whose
b &b b ‰
Œ
œ
Ó
if you're
nœ mind's
j œ œ œ œ œ œ œ
It does - n't mat - ter
if you're
j jœ œ œ Œ œ
un - em - ployed,
œ œ œ a
void,
œ œ
All you
j j œ œ œ Œ œ
spe - cial
needs,
#2—Shine
œ
œ
wel - ly,
all
œ
Bowl
'em
j œ œ
j nœ œ
is
and
Œ
it
œ
Œ
a - bout.
Poco Più Mosso q = 142 [Straight 8ths]
œ
Œ
Ó
Œ
Ó
!
Oi, you, join in or bugger off!
shine.
¿
Ahhh!
It does - n't mat - ter
94
-
back - bone, Give
what life
j œ œ .
œ bœ
œ
œ
j œ œ
Show ’em
Ahhh!
86
it
j œ œ
— 141 —
M U S I C A L
j œ œ
Give
Œ
out.
œ
T H E
j œ œ
ly,
-
œ nœ
ov - er, Knock 'em
L L I O T
j j œ œ œ.
to shil - ly - shal
79
E
I L L Y
!
Ahhh!
j j œ bœ œ Œ œ
‰ b œ œj œ œ œ
On - ly par - tial - ly
hu - man - oid.
j œ œ œ œ` œ œ
real - ly haf - ta
‰ bœ
do
is
C'mon, Debbie, it's your big moment.
j Œ Ó œ œ
shine.
j œ ‰ j j b œj œ Œ œ œ œ œ
maimed, or lame,
or
born in
Leeds,
— 142 —
B
DEBBIE: Mam!
b j &b b ‰ œ œ œ œ œ 98
102
a
nœ
œ œ œ
heart
(MRS. W:)
b &b b
T H E
M U S I C A L
œ œ
that bleeds,
b &b b œ œ œ œ œ œ œ œ Give ’em the old
L L I O T
Poco Meno q = 138
DEBBIE: Mam!!!!
(MRS. W:)
They love to see
E
I L L Y
j œ
raz - zle - daz
Ó
œ.
zle,
-
!
All you
Ó
MRS W: Smile, Debbie!
j œ œ Œ Ó
j œ œ œ œ œ œ
real - ly got - ta do
j œ œ
j œ œ
Turn on
the old
¿ Œ
is
œ œ
shine.
œ
pizz - az.
Œ ‰ j œ œ œ
There won't be
!
BALLET GIRLS:
!
Ahhh!
b &b b œ 106
time
&
‰ œj œj œ
j j œ œ œ.
to shil - ly - shal
bbb
[DEBBIE screams early]
-
œ œ œ œ
ly,
œ
Give it back
!
!
-
œ
œ bœ
œ
bone, Give
¿
it
wel - ly,
Œ
œ
Bowl 'em
Ó
BALLET GIRLS:
(scream!)
œ
œ
Ahhh!
b &b b œ 109
œ
œ
ov - er, Knock 'em
b &b b ¿
Œ
j œ œ
Œ
œ nœ
out.
Show ’em
Ó
¿
Ahhh!
b &b b œ 112
j œ œ
what life
Œ
œ
is
j œ œ
j nœ œ all
Œ
a - bout.
Ó
!
Ahhh!
(MRS. W:)
œ
Give ’em
œ
œ
the
old
œ
œ
œ
œ
raz - zle - daz
-
j œ œ
Poco Rall
.
zle,
#2—Shine
Œ
œ and
˙
shine.
˙
Straight 8ths]
œ
Œ
Ó
B
116
bb
& b
E
I L L Y
L L I O T
T H E
— 143 —
M U S I C A L
7
Slower, Colla Voce
Ó
‰ œj
(MRS. W:)
Œ
I
b & b b n œj œ 124
could - n't
b j &b b œ œ 128
Come on,
j œ œ.
give
j œ œ
son,
j j œ œ œ a
mon - key's
œ œ
œ
get ov
-
j j œ œ œ.
j nœ œ .
cuss,
I
j œ œ œ œ nœ
œ œ œ.
er it,
It's
bb
j & b œ œ œ œ œ œ œ œ œ œ. MRS. W:
Give ’em the old
b &b b
all part
of
the
give a
fig.
New Tempo Disco q=138
nœ Œ Ó
!
gig.
4
b &b b 133
137
could - n't
œ œ œ Œ Ó
œ
!
rin - kle - tin
-
kle,
¿
¿
Out!
In!
‰ œj œ œ œ
j j œ œ œ œ œ
Give ’em the old ker - bamm.
BACK-UP VOICES:
Rin - kle tin
-
œ
œ œ
kle.
#2—Shine
!
œ ‰ œj
Œ
Œ œ
œ
Knock 'em
œ œ œ
Old ker - bamm.
Œ
— 144 —
B
b &b b œ 141
œ
side - ways,
b &b b
j œ œ
Blow their
I L L Y
j œ
minds
E
L L I O T
j œ œ.
œ
out.
!
T H E
M U S I C A L
œ
œ
There's no
!
œ
œ
time
for
œ bœ
œ
b &b b œ
œ
bug - gers
œ
j œ œ.
by
œ
the
b & b b ˙˙˙
b &b b œ 147
n ˙˙ ˙
˙˙ ˙
bol - locks,
œ
œ
œ
Show 'em what
class
n ˙˙ ˙
œ
œ
œ
the
old
œ
is
j nœ œ all
œ
œ
œ -
j œ œ.
j œ œ.
Ó
˙˙ ˙
zle
and
And
#2—Shine
a
j œ œ -
Œ
bout,
œ œ ‰ n œœœ œœœ n œœ n œœ All
raz - zle - daz
!
œ
!
BILLY: OW!
Give ’em
b &b b
œ
œ
half - arsed fro - lics, Grab the
Ooh
144
œ
œ
˙
˙
˙˙ ˙
˙˙ ˙
shine.
shine.
a
-
Œ
bout.
œ
Π˙˙ ˙
Ó
Lights!
Œ
B
b &b b ‰ 151
E
I L L Y
(MRS. W:)
b &b b
(BACK-UP VOICES:)
if you're short or
!
T H E
— 145 —
M U S I C A L
j œ œ
j œ œ
j œ œ œ œ œ œ œ
It does - n't mat - ter
L L I O T
‰ j ‰ j œ œ œ bœ œ œ
Œ
Cer - e - br'lly chal - lenged,com -
squat,
Ó
‰ œj œ œ
˙.
Ó
¿
Short or squat.
&
BALLET GIRLS: b Πbb Ó
¿
Ooh!
Ahhh!
b &b b j œ œ
j bœ œ
154
plete - ly
Œ
shot,
b &b b Ó
‰
j œ œ
'plete - ly
b &b b ¿
Œ
œ
shot.
Ó
Ahhh!
b j &b b œ œ œ œ œ œ 157
All you real - ly have to
b & b b ˙˙ ˙
Ooh
b &b b ¿
boom!
Œ
Œ
j œ œ. do
Œ Œ
Ó
Ahhh!
œ
œ
You
might
œ œ Œ
have it,
œ or
might not,
Œ
˙.
Ó
œ œ
!
¿
¿
¿
¿
¿
¿
¿
Out,
in,
out,
in,
Out,
in,
out,
j œ œ Œ
j œ œ œ œ œ œ
is,
All you real - ly have to
n ˙˙ ˙
˙˙ ˙
n œœ Œ œ
Ó
Ó
Œ ‰ ¿j ¿
n ˙˙ ˙
˙˙ ˙
Ooh
Sha - boom!
#2—Shine
Œ
Ó
¿ ¿ in, Sha -
j j œ œ. œ ˙ do
is
˙˙ ˙
n ˙˙ ˙
is
!
— 146 —
B
b &b b w 161
(MRS. W:)
I L L Y
ww œ.
(BACK-UP VOICES:)
shine.
b &b b ˙
˙
b & b b ˙˙˙
˙˙ ˙
shine.
M U S I C A L
œ
œ
œ
the
old
œ
œ
raz - zle - daz
-
j œ œ.
j œ œ.
Ó
˙˙ ˙
zle
and
And
Ó
˙˙ ˙
Ó
œ
œ
œ
œ
Give
’em
the
old
œœ œ
œœ œ
œœ œ
œœ œ
Give
b &b b w
œ
Œ
b bw & b b ww
œœ œ
Œ
Shine!
œ
!
˙
169
b &b b w
T H E
nœ ˙ J
165
173
œ
Give ’em
b & b b www
shine,
L L I O T
œ
w
shine.
shine
E
’em
the
old
˙ and
and
œ
œ
œ
raz - zle - daz
œœ œ
œœ œ
œœ œ
raz - zle
œœ œ
daz
-
-
j œ œ . zle
j œœ œ . œ œœ ..
˙
Œ
ww w
˙˙ ˙
Œ
Shine!
˙ and
Ó
zle
w
shine,
b ˙˙ ˙
œ
œ and
œœ œ
and
w
w
˙.
Œ
ww w
ww w
˙˙ .. ˙.
Œ
shine!
b w & b b ww Shine!
#2—Shine
B
I L L Y
E
L L I O T
T H E
M U S I C A L
Shadow Dance TACET
#2a—Shadow Dance
— 147 —
2a
— 148 —
B
L L I O T
T H E
M U S I C A L
3
Grandma’s Song
Grandma
3
# # & # 44
Very Slow
1
E
I L L Y
»144
In Tempo q
34
7
Œ Œ ‰ j œ
GRANDMA:
I
12
&
###
Colla Voce
œ
hat
# # & #
-
j œ œ
œ.
ed
the
Œ
16
œ œ
‰
nev - er
# # & #
Œ
sod
for
j œ
œ œ
have
house - keep - ing
24
&
###
˙
nev
# # & # 28
œ
hard,
œ
-
er
Œ
Œ
Œ
‰
‰
œ
lif
Œ
-
on
j œ
œ.
ted
Œ
a
œ.
but
whis
-
œ
quite
œ
œ
and
œ œ
rolled
#3—Grandma’s Song
œ
‰
œ
Œ
œ
Œ
back
‰ j œ
beer,
And
Œ
œ
Times
œ
œ
He spent the
ger.
œ
should
j œ œ
clear.
œ
œ
We
œ
-
œ
Œ
œ
year.
I'm
key
fin
the swine
j œ
œ
˙
œ œ
œ
three
that
j œ œ
mon - ey
-
j œ œ
of
Œ
œ œ
œ
œ
j œ
thir - ty
mar - ried,
20
œ
j œ œ.
œ
pissed.
Œ
œ
So
œ
were
œ
we'd
B
# # & #
Œ
32
œ
œ œ
fight
# # & #
Œ
œ œ
# # & #
40
œ
the
Œ
œ
sleep,
44
&
###
œ
œ
‰
sod
you
can't
Œ
Œ
Œ
when he
j œ
œ.
lift
48
&
52
&
###
###
œ
Œ
œ œ
air,
he was
˙
œ
hold
56
&
###
œ
bliss
me
Œ
œ
for
Œ
œ œ
wat - er,
œ
there,
œ
an
œ
œ œ
œ
‰
j œ
ho
-
œ.
ur
j œ
or
he was
œ
so,
#3—Grandma’s Song
Œ
we'd
go
He
light.
‰
was
œ
j œ œ
was
And
Œ
œ
j œ œ
And
Œ
œ
œ
‰
might,
‰ j œ
œ
Œ
œ
his
Œ
j œ
But
œ
I'd
A -
tight.
œ œ
all
‰
œ
me
˙
œ œ
Œ
œ
ger.
œ
Œ
œ
œ
œ
œ
hold
Œ
So
re - sist.
˙
breath,
with
œ
Œ
œ
Œ
œ
ly missed,
-
he'd
Œ
-
œ œ
and
he was
œ
œ
œ
could - n't
fin
œ
dan - cing
rare
˙
a
Œ
œ
he
œ œ
— 149 —
M U S I C A L
œ
and
œ
œ
T H E
j œ
swing
œ œ
clob - ber
L L I O T
Œ
œ
and he'd
36
E
I L L Y
he would
it
‰
œ
j œ
But
— 150 —
# # & #
B
I L L Y
E
L L I O T
T H E
M U S I C A L
60
œ
œ
then
œ
they
time
called
# # & # œ œ œ
œ
œ
œ
œ
œ
to
go,
Œ
Œ
‰
j œ œ œ
And
2
Œ
64
œ
Œ
Œ
in
Œ
œ œ
morn - ing,
# # & # 68
œ
we were
6
Œ
œ
Œ
œ
so - ber.
76
&
###
œ
drink,
80
&
###
and
˙
œ
Lie
84
&
###
œ
Rare
88
&
###
˙
nev
ly
œ
er
Œ
Œ
just
Œ
œ
And
‰
so - ber,
lif
pret - ty
œ.
ted
j œ a
like
œ
much
˙
fin
#3—Grandma’s Song
a
œ
Snore
œ œ
j œ
œ.
˙
œ
bairn,
œ
œ
talk,
j œ œ.
a
was
œ
he'd
j œ œ
œ.
-
œ
œ
like
-
œ
O
Œ
œ
the
like
a
was
Œ
Œ
Œ
fool.
mule.
the
œ
Œ
œ
œ
j œ
œ.
œ
œ
he'd
œ
ger.
Œ
œ
œ œ
rule,
An'
Œ
œ I
he
œ
sup -
B
# # & # 92
œ.
œ
pose
# # & #
j œ
times
œ œ
œ
Wom - en
# # & #
100
Œ
œ
104
&
###
Œ
œ
œ
&
###
a
œ
&
###
˙
mo
Œ
œ
116
&
###
œ
dust
ment
Œ
Œ
j œ œ
in
our
was
I
œ
hair
Œ
was
‰
œ
j œ œ
œ.
end
j œ
and
-
œ œ
œ
Mar
œ
own
-
‰
œ
ilyn
œ.
no - where
#3—Grandma’s Song
-
j œ œ
j œ
‰
œ
we'd
do.
And
‰
œ
to
œ
go,
go
œ
for
a
j œ œ
We
‰
a
j œ œ
Mon - roe.
j œ
œ
œ
œ
But
œ
œ
Sev - en -
you had
ger.
Bran
œ œ
men.
when
œ
˙
Œ
œ
‰
œ
-
my
ed
Œ
then.
œ œ
they were
Œ
œ
rent
men,
life
œ
-
Œ
œ
fin
œ œ
there,
œ œ
were diff'
˙
your
‰
œ
j œ
Your
He
œ
-
‰
it,
dan - cin'.
112
j œ
and
Œ
œ
round
Œ
œ
‰
œ
˙
œ
œ.
‰ Œ
— 151 —
M U S I C A L
Things
j œ œ.
-
T H E
wom - en,
That was
ring
108
œ
œ
œ
teen,
L L I O T
Œ
œ œ
were
E
hard,
were
‰ Œ
96
I L L Y
j œ œ
but
had
we
œ
were
— 152 —
# # & #
B
Œ
120
œ
‰
free
# # & #
Œ
œ œ
Œ
we
# # & # œ œ œ
T H E
Œ
œ
j œ
œ.
had
Œ
Œ
Œ
Œ
œ
œ
j œ œ
œ
three
or
From the
Œ
Œ
˙
‰
be.
to
But
2
Œ
128
M U S I C A L
œ
ho - ur
œ
peo - ple
L L I O T
œ œ
œ œ
for an
124
E
I L L Y
Œ
Œ
&
###
œ
we were
6
Œ
œ
the
œ œ
morn - ing,
132
in
Rall.
Œ
Œ
‰
so - ber.
140
&
###
œ
if
144
&
###
&
###
œ
least
œ
I
œ œ
do
148
But
A Tempo Meno Mosso
œ
j œ
went
Œ
˙.
œ
through
Œ
Œ
my
‰
it
j œ œ
with - out
Œ
œ
œ
your Gran
-
œ œ
dad,
Œ
œ
œ
œ
time
œ
the
Œ
œ
a - gain,
œ
˙
help
‰
but,
#3—Grandma’s Song
j œ œ
œ
Œ
a - gain,
œ
I'd
œ œ
men,
œ
œ
Oh,
œ
of
then
Œ
œ
Or
Œ
‰
at
j œ
You
B
# # & #
Œ
152
œ
Œ
I L L Y
best
# # & # œ
What
œ
is
# # & # œ
the
use
I
164
&
###
had
˙
on
168
&
###
Œ
&
###
&
###
œ
ly
œ
known
dream
-
Œ
œ
Œ
œ
then
Œ
Œ
Œ
Œ
œ
ger.
œ
ing
now?
œ œ
well,
œ
œ
œ
˙
Œ
chance,
-
œ
Œ
œ
œ œ
an - y - how.
œ
what
I
Œ
œ
œ
˙
If
know
I'd
œ œ
now,
I'd - 've
Poco Rall
˙
œ
-
œ
en
them
Faster (in one) q =172
Œ
Raucously
œ
dan
176
œ
my
-
giv
172
œ
lin
of
160
œ
˙
œ
— 153 —
M U S I C A L
to
Œ
œ
T H E
œ
not
156
œ
L L I O T
œ
œ
know
E
œ
Spin
-
œ
œ
œ
all
Œ
the
Œ
‰
cing
œ
˙
fin
j œ
and
œ
a - round
œ
and
œ
reel
Œ
œ œ
-
œ
not
‰ œj and
give
œ
love
#3—Grandma’s Song
ger,
œ
œ
a
œ
ev
œ -
'ry
œ
œ
œ
And
œ
gone
Œ
œ
shit.
œ
bit,
Œ
Œ
œ œ
And I'd
— 154 —
B
# # & # œ
Œ
180
œ œ
dance
# # & #
I L L Y
L L I O T
Œ
œ
a - lone
E
‰
T H E
j œ
M U S I C A L
˙
and
en
-
˙
œ
me
# # & #
for
œ
œ
en
an
œ
-
tire
œ
˙
stead
192
&
###
of
&
###
some
-
œ
bod
-
œ
˙.
y's
Œ
Œ
Œ
&
###
&
###
˙.
Œ
Œ
œ
œ
I
œ
œ
would
2
Œ
-
˙.
Œ
˙.
er
sob
-
˙
er.
˙.
˙. #3—Grandma’s Song
œ
would
Rall.
œ
j œ
be
Œ
œ œ
No
nev
204
be
‰
sob - er.
200
œ
I'd
And
er
Œ
œ
j œ œ
And
Œ
Œ
!
A Tempo Poco Meno Mosso
œ
it,
wife,
˙.
-
œ
In -
œ
Rall.
nev
196
œ
‰
life
188
œ
joy
Œ
184
œ
œ œ
˙.
œ
be
!
I
B
»120
Moderato q
b & b 44 ..
11
&
25
&
(Double Speed)
bb C
38
&
b &b 44
4
!
8
.. ..
5
Tempo Primo
4 4
.. C
8
U !
7
»116
Tempo Primo q
bb
— 155 —
M U S I C A L
3
(Double Speed)
b4 &b 4
T H E
2
bb C
33
L L I O T
Solidarity
Mrs. Wilkinson, Ballet Girls, Ensemble
1
E
I L L Y
U !
3
34
»109
Solidarity Tempo q
C
6
¿
¿
¿
¿
5,
6,
7,
8
MRS. W:
5
¿
¿
¿
¿
5,
6,
7,
8
MRS. W:
Ó
Œ
‰ ¿ J
(MRS. W:)
¿
A - gain,
#4—Solidarity
4 4
¿
¿
¿
6,
7,
8…
— 156 —
52
&b
E
I L L Y
L L I O T
b
»154
Molto Più Mosso q
60
&
»109
Solidarity Tempo q
b &b ¿ 78
B
¿
MRS. W:
Pli
b &b ¿ 80
-
¿
b & b œJ
¿
POLICE:
Oi,
b &b
¿
é!
ten
¿
Œ
Pli - é!
82
Œ
‰
¿
¿
¿
ten - du,
œ œ ‰ Geor - die,
wan - na see
M U S I C A L
8
nn
18
bb
¿ ¿.
¿ -
du
Œ
Ó
sec - ond!
¿
close,
œ œ œ
T H E
¿
¿
dev - lop - pé
œ œ " œ R
œ
¿
de - vant,
œ œ œ œ œ
some - thing you've nev - er seen
!
Ó
¿
¿
¿
left
leg…
‰.
Œ
be - fore?
And
‰
¿ J
¿
MRS. W:
Right leg!
#4—Solidarity
r œ
B
b &b œ 84
œ
œ
just
off
(POLICE:)
that's
the ov
œ œ ‰
(MINERS:)
think
yer smart,
b
œ
er - time,
œ J
ya
œ
— 157 —
M U S I C A L
œ œ " œ
wan - na
see
some
Cock - ney shite,
œ R
you
You
" ¿. J
Left
leg!
œ œ œ.
Œ
MRS. W:
œ
œ œ œ œ
wan - na
be
sus - pi
-
Ó
œ œ œ œ œ œ œ œ " œ œ
(MINERS:)
the pick - et
line,
b œœ œ œœ œœ œ œœ Œ & b 44 MINERS & POLICE:
Sol - i - dar - i - ty, sol - i - dar - i - ty,
b & b 44 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ Sol - i - dar - i - ty, sol - i - dar - i - ty,
œ
¿ J
(MRS. W:)
We went and fucked yer mis - sus.
Sol - i - dar - i - ty for - ev - er.
œœ œœ œœ œœ œœ œœ œœ œœ œœ .. Œ
Sol - i - dar - i - ty for - ev - er.
#4—Solidarity
¿
lines!
WOMEN: Oi! or Hey!
œ œ œ œ. Œ
œ œ œ œ œ œ œ œ œ. Œ
¿
cious?
‰
œ
r œ
MINERS:
more?
Ó
œ œ ‰.
‰.
œ Œ
Two
When you were on
91
Œ
!
b &b œ 88
-
T H E
!
b &b œ &b
L L I O T
œ œ œ œ œ
b &b
86
E
I L L Y
24 ¿ ¿ ¿ ¿ ¿ ‰ 44 J All of us at once!
œ œ œ ‰. œ œ œ œ Œ R
All for one,
and one for all
œœ œœ œœ ‰ . œœr œœ œœ œœ Œ
All for one,
and one for all
— 158 —
94
&b
B
I L L Y
Sol - i - dar - i - ty for - ev - er.
Sol - i - dar - i - ty,
b & b œœ œœ œœ œœ œœ œœ œœ œœ œœ .. Œ
All
b & b œœ
All
œ œœ . œ ‰ for one,
œ œœ œ R
œœ œœ ‰ .
for one,
Sol - i - dar - i - ty,
œ œœ œ Œ
and one
Sol - i - dar - i - ty for - ev - er.
for all
œœ œœ œœ œœ œœ œœ œœ œœ œœ .. Œ
Sol - i - dar - i - ty for - ev - er.
sol - i - dar - i - ty,
œœ œœ œœ œ . œ. for - ev
œœ œœ œœ œœ œœ
for - ev
-
b &b ¿
1,
¿
¿
2,
3,
4 4
Œ
2 4
!
4 4
..
Vamp vocal (last x):
.. ¿
(MRS. W:)
Here
111
!
4
2
b &b
2 4
er.
..
108
Œ
er.
-
œœ œœ œœ œœ ..
Sol - i - dar - i - ty
4
b & b 44 100
œœ œœ œœ œœ œœ œ œœ œœ œœ .. Œ œ
sol - i - dar - i - ty,
Sol - i - dar - i - ty
œœ œœ Œ
and one
M U S I C A L
œœ œœ œœ œœ œœ
for all
r œœ œœ
T H E
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
Sol - i - dar - i - ty for - ev - er.
b œœ b &
L L I O T
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
b œ œ œ œ œ œ œ œ œ. Œ
97
E
¿
¿
¿
we
go,
and…
¿.
¿
¿
¿
¿
Bil - ly!
5,
6,
7,
8,
¿
#4—Solidarity
..
B
E
I L L Y
L L I O T
T H E
— 159 —
M U S I C A L
accel. poco a poco
b &b ¿ 113
Œ
(approximate rhythm)
9,
¿ ¿ ‰ Œ
¿ ¿ ¿ ¿ ¿
Spin 'em!
»109
»128
Più mosso q
119
Œ
& ¿
Go!
2
Vamp
!
4 4
.. n n
.. ¿
¿
¿
¿
5,
6,
7,
8
11
Œ
bb
Go!
Solidarity Tempo q
b & b .. 131
¿
2 4
Ó
spin 'em Mis - ter Braith - waite!
Solidarity Tempo q
b & b 44 116
¿
b &b œ
!
œ
œ
our
kids
up
'til
Christ - mas,
œ œ œ œ to
pri
-
school
b &b œ œ " œ " œ " œ " œ " œ Œ
b &b œ 138
nice
œ
lot
to
œ
œ
ex - ten - sion
thank
you
for,
œ
œ œ ‰
œ œ
on
the house,
and a
It
on
œ
Geor - die,
œ
œ
fort - night
#4—Solidarity
pri
œ
œ
œ in
lot
you're
œ
-
We
œ Œ
vate
bus.
We've
œ
œ
cork - er,
˙
Ma - jor
r œ
‰.
œ œ œ œ. a
œ R
to us.
œ œ œ
a
‰.
œ œ " œ œ Œ
means a
œ œ
136
got a
lads,
œ œ
vate
r œ œ
œ œ " œ ‰.
POLICE:
Keep it
134
send
»109
.. œ œ " œ " œ . J
PLAY 4x's
œ -
ca.
A
Œ
Ó
— 160 —
B
b œ œ œ œœ œ œ œ œœ Œ &b 141
I L L Y
Sol - i - dar - i - ty, sol - i - dar - i - ty,
Sol - i - dar - i - ty for - ev - er.
Sol - i - dar - i - ty,
b & b œœ œœ œœ œœ œœ œœ œœ œœ œœ .. Œ
We're proud
b &b 149
b &b
One,
œ
One,
œ œ œ œ
to
be
work - ing
œœ
œœ
œœ œœ
be
œ
œ
œ
two, three, four,
153
œ
œ œ
œ
BALLET GIRLS:
œ
œ œ
to
œ
two, three, four,
work - ing
œ five,
œ five,
œœ
œœ œœ œœ
œ
six,
œ
six,
Sol - i - dar - i - ty
,
œ
sev - en, eight,
œ œ œ
Sol - i - dar - i - ty for - ev - er.
œœ œœ œœ œœ œœ
class,
œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ .. Œ
Sol - i - dar - i - ty
œœ Œ
sev - en, eight,
One,
,
œ
One,
#4—Solidarity
œ
œ
œ
œ
œ
two, three, four,
œ
your side
Sol - i - dar - i - ty for - ev - er.
œœ œœ œœ œœ œœ
class,
œœ Œ
œœ œœ œœ œœ œœ œ œœ œœ œœ .. Œ œ
sol - i - dar - i - ty,
œ œ Œ
œ Œ
your side
œœ œœ œœ œœ
Don't wor-ry lads we're on
sol - i - dar - i - ty,
Sol - i - dar - i - ty,
œ œ œ œ
Don't wor-ry lads we're on
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
Sol - i - dar - i - ty for - ev - er.
œœ
œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
b œ œ œ œ œ œ œ œ œ. Œ &b
b & b œœ
œ
Sol - i - dar - i - ty for - ev - er.
144
We're proud
M U S I C A L
œœ œœ œœ œœ œœ œœ œœ œœ œœ .. Œ
Sol - i - dar - i - ty, sol - i - dar - i - ty,
œ œ
T H E
Sol - i - dar - i - ty for - ev - er.
b & b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
b œ &b œ
L L I O T
œ œ œ œ œ œ œ œ œ. Œ
MINERS & POLICE:
147
E
two, three, four,
œœ œœ œœ œ . œ. for - ev
-
er.
œœ œœ œœ œœ ..
for - ev
œ five,
œ five,
-
œ
Œ Œ
er.
,
œ œ œ
six,
sev - en, eight,
œ
œ œ œ
six,
,
sev - en, eight,
B
b œ œ œ œ œ &b 157
(BALLET GIRLS:)
Sol - i - dar - i - ty,
E
I L L Y
L L I O T
œ œ œ œ œ
T H E
— 161 —
M U S I C A L
œ œ œ œ.
œ œ œ œ œ
Œ
sol - i - dar - i - ty,
sol - i - dar - i - ty
for - ev
-
Œ
er,
(sweetly)
b &b œ
œ
159
We're proud
œ
œ
œ œ
to
be
work-ing
œ œ J
class,
b & b ..
&
(approximate rhythm) b ¿ ¿ b ¿
¿
Shoul - ders down…
b &b ¿ 169
Œ
¿
W:) b (MRS. ¿ ¿ Œ Œ ¿ b & 172
ti - ré…
b &b 176
and
-
¿
Ó
¿ ¿
.. .. ¿
¿
¿
¿
5,
6,
7,
8
¿ ¿ ¿ Love - ly arms,
¿
¿ ¿ ¿
Feet in fifth…
¿
¿
¿
¿
5,
6,
7,
8…
œ
BALLET GIRLS:
One,
œ
two,
œ
three,
4
#4—Solidarity
¿
œ
four,
¿
Œ
¿
..
¿ ¿ ¿
Sha - ron,
¿ ‰ ¿
ten - du sec - ond…
Œ
er.
(MRS. W:)
point those feet…
both arms, Kee - ley Gib - son.
for - ev
Vamp
¿
¿ ¿ ¿ ¿ Œ
œ œ œ œ.
Sol - i - dar - i - ty
4
161
166
œ œ œ œ œ
‰
That' - ll
be
¿ ¿‰ ¿ ¿ ¿ ¿
Thank you, Deb - bie. Pli - é fifth, re -
œ
œ
five,
six,
2 4
œ œ
œ
sev - en, eight…
!
n n 44
— 162 —
4 &4 181
&
&
I L L Y
E
L L I O T
bb
25
»109
Solidarity Tempo q
bb
3
Ó
Œ
‰ œ J
POLICE:
You
b &b œ œ " œ œ fuck - ing
worms,
œ œ " œ œ
œ you
fuck - ing
b & b œ œ œ " Jœ . œ œ œ ‰ Jœ (POLICE:)
here to kick your Geor - die arse,
b &b ¿ 221
M U S I C A L
6
216
218
T H E
Piu mosso
A Little Broader
187
212
B
¿ ¿ ¿ ¿Œ
words are so ob - scene.
‰ œ J
You
moles,
œ you
œ œ. œ œ œ lit - tle
Geor - die gits.
œ œ œ œ.
We'll boot yer fuck -in'
œ œ " œ œ œ fuck - ing
‰ ¿ J
Geor - die
‰
shits.
œ J
We're
¿ ¿ ¿‰ ¿ ¿ ¿ ¿‰ ¿ J J
MINERS:
We're
ter - ri-fied,
œ œ œ ‰ œ J
Cock - ney skulls right
#4—Solidarity
œ Œ
we're pet - ri - fied, Those
œ œœ œœ œ
Œ
back to Beth - nal Green!
¿ ‰ J Ha!
B
b &b 224
&
!
E
I L L Y
Ó
L L I O T
Œ
T H E
‰
¿ J
¿
!
one!
¿ ~~~ ¿~~~~ j ‰ ¿
BALLET GIRLS:
Ó
b &b ¿
‰ ¿ ¿ J
three!
‰ ¿ J
And four!
¿
‰ ¿ ¿ J
And five!
‰
œ œ œ œ œ œ œ œ œ.
2,
3,
MINERS & POLICE:
Sol - i - dar - i - ty, sol - i - dar - i - ty,
b & b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ Sol - i - dar - i - ty, sol - i - dar - i - ty,
b &b
BALLET GIRLS:
œ
One,
œ
two,
œ
three,
¿
‰
two!
‰
‰
And
¿ J
3,
¿ J
¿ J
2,
‰
3,
!
!
And six!
b &b œ œ œ œ œ œ œ œ œ œ Œ
3,
¿ J
Œ
‰ ¿ ¿ ‰ ‰ ¿ ¿ ¿ J J J
231
¿ J
2,
b & b ‰ ¿J J¿ ‰ ‰ ¿J ¿J ‰ 2,
¿ J
And
Ooh!
227
‰
MINERS & POLICE:
And
bb
— 163 —
M U S I C A L
2,
3,
2,
¿
3, And smile!
Œ
Sol - i - dar - i - ty for - ev - er.
œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œ
four,
five,
œ
six,
Œ
œ œ œ
sev - en, eight,
#4—Solidarity
Œ
¿
Smile!
œ
ΠSmile!
Œ
Smile!
œ œ œ œ œ œŒ
We're proud to be work - ing class,
Sol - i - dar - i - ty for - ev - er.
œ
Πœœ
œœ œœ œœ œœ œœ œœ Œ
We're proud to be work - ing class,
œ
One,
œ
two,
œ
three,
œ four,
— 164 —
234
&b
B
b œ œ œ œ œ œ œ œ œ.
Sol - i - dar - i - ty,
b & b œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
Œ
Sol - i - dar - i - ty for - ev - er.
five,
b œ &b œ
œ œ
b & b œœ
œœ
237
We're proud
We're proud
&b
239
&b
b
œ
One
œ
and
œ
œ œ
œ œ œ œ
to
be
work-ing
œœ
to
œœ
be
œœ œœ
œ
œ
and
œ
One
œ œ
two
three
œœ œœ œœ œœ œœ œ œœ œœ œœ .. œ
sol - i - dar - i - ty,
œ
œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
œ œ œ
and
five
œœ œœ œœ œœ œœ
Sol - i - dar - i - ty
class,
œ
œ
Sol - i - dar - i - ty
œœ Œ œ
œ
œ
œ
four
and
five
and
œ
six
œ œ œ
and
œ œ œ
six and
sev - en eight,
œœ œœ œœ œ . œ. for - ev
-
Œ
er.
œœ œœ œœ œœ ..
for - ev
œ
and
-
œ
Œ
er.
œ
sev - en
œ
eight!
4
MINERS & POLICE:
C' - mon,
œ œ œ‰ Œ
lads, get
at 'em!
œ œ œ œ œ ‰ ‰ œ J J
Real - ly
get stuck in.
#4—Solidarity
Œ
Sol - i - dar - i - ty for - ev - er.
œœ œœ œœ œœ œœ
class,
Œ
Sol - i - dar - i - ty for - ev - er.
sol - i - dar - i - ty,
œ œ Œ
work-ing
œ
M U S I C A L
and two and three and four and
b
b &b œ œ ‰ œ 243
sev - en, eight,
six,
T H E
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
Sol - i - dar - i - ty,
œ œ œ
œ
L L I O T
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
Œ
Sol - i - dar - i - ty for - ev - er.
b &b œ
E
I L L Y
It's
œ œ œ œ œ œ Œ not
a bleed - in'
tea dance.
B
#œ bb œ
246
&
(MINERS & POLICE:)
Do
œœ
œœ
the
fuck
»108
A Lot Slower q MINERS & POLICE:
Sol - i - dar - i - ty, sol - i - dar - i - ty,
b & b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ Sol - i - dar - i - ty, sol - i - dar - i - ty,
&b
b BALLET GIRLS: œ œ One,
two,
b &b ˙
œ
three,
Œ
MRS. W:
Shine,
b & b œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
Œ
Sol - i - dar - i - ty for - ev - er.
five,
b &b ˙
shine.
œ
six,
œ
œ œ œ
Œ
We're proud to be work - ing class,
sev - en, eight,
One,
two,
œ
œ
three,
four,
Œ
œ
Shine,
sol - i - dar - i - ty,
Sol - i - dar - i - ty,
œ
sol - i - dar - i - ty,
œ œ
just
œœ œœ œœ œœ œœ œ œœ œœ œœ .. œ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
œ œ œ œ œ
you have
œ œ
to do
#4—Solidarity
œ
is
Œ
Sol - i - dar - i - ty for - ev - er.
two and three and four and five
œ œ.
Œ
Sol - i - dar - i - ty for - ev - er.
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
All
œ
œ ˙
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
œ.
œœ œœ œœ œœ œœ œœ Œ
œœ
shine.
œ
œ œ œ œ œ œŒ
We're proud to be work - ing class,
Ó
sev - en, eight, One and
˙
œ
Œ
œ œ œ
six,
Sol - i - dar - i - ty,
Sol - i - dar - i - ty for - ev - er.
Whoa!
Sol - i - dar - i - ty for - ev - er.
˙
|
in!
œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
œ
Rall.
!
Sol - i - dar - i - ty for - ev - er.
five,
— 165 —
M U S I C A L
œ œ œ œ œ œ œ œ œ.
four,
Œ
T H E
œœ
ers
œ
b œ œ œ œ œ œ œ œ œ. &b
b &b œ
-
œ
just
252
L L I O T
œœ ..
b &b œ œ œ œ œ œ œ œ œ œ Œ 249
E
I L L Y
˙
shine.
œ œ œ
and
six and
œ œ œ
sev - en eight,
Ó
— 166 —
B
b œ &b œ
œ œ
b & b œœ
œœ
255
We're proud
We're proud
&b
b
œ
œ
One
and
b & b œ.
œ œ
œ œ
œ œ œ œ
to
be
work-ing
œœ
to
œœ
be
œœ œœ
œ
œ
two
All
b & b 24
to
44 Œ
MINERS & POLICE:
Sol - i - dar - i - ty,
# # & # # # œœ œœ œœ œœ œœ
Sol - i - dar - i - ty,
&
#
BALLET GIRLS:
œ
One
Sol - i - dar - i - ty
œœ œœ œœ œœ œœ
Sol - i - dar - i - ty
class,
and
œ
œ
œ
œ
four
and
five
and
do
is
œ
and
œ
two
¿ J
¿
fourth,
¿ ¿ ¿
œœ œœ œœ œœ œœ
Œ
œ
œ
œ
œ
œ
four
and
five
and
and
three
and
2 4
œ
24
sev - en eight!
2 4
####
ALL: (inc. BGs)
¿ ¿.
Œ
Fin - ish!
œœ œœ œœ œœ œœ
Sol - i - dar - i - ty
#4—Solidarity
œ
pi - rou - ette,
Sol - i - dar - i - ty
sol - i - dar - i - ty,
Œ
er.
-
œ
and
Œ
œœ œœ œœ œœ œœ
Œ
sol - i - dar - i - ty,
œ
œœ œœ œœ œœ .. œ
2 4
er.
-
for - ev
Œ
˙
»109
¿
Pre - pare,
œ
six
for - ev
shine.
MRS. W:
œœ œœ œœ œœ œœ
œ
œœ œœ œœ œ . œ.
˙
œ
‰
258
# # # # œœ œœ œœ œœ œœ & #
####
œœ œœ œœ œœ œœ
Solidarity Tempo (Più Mosso) q
!
260
M U S I C A L
œœ Œ
œ
three
T H E
class,
œ œ
you have
257
œ
L L I O T
œ œ Œ
work-ing
and
œ œ.
E
I L L Y
œ
six
œœ œœ œœ œœ .. for - ev
-
Œ
er.
œœ œœ œœ œœ ..
for - ev
œ
and
-
œ
Œ
er.
œ
sev - en
œ
eight,
#
B
# ## œ & # # œ
œ œ
# ## & # # œœ
œœ
262
We're proud
We're proud
# # & # ##
264
&
####
œ
œ
One
and
œ œ
œ œ
œ œ œ œ
to
be
work-ing
œœ
to
œœ
be
œœ œœ
œ
œ
two
œ
and
œœ œœ œœ œœ œœ
class,
Ev - er,
œ
œ
œ
œ
four
and
five
and
BARIS: 3
####
ev - er,
!
#
œ
six
ev -
!
er,
-
œ
sev - en
and
œ
eight!
3
3
œ œ œ œ œ œ
for - ev - er,
ev
Œ
er.
-
œ
œ
œ œ œ œ œ œ
ev - er,
er.
-
for - ev
3
œ ‰ œ J
Œ
œœ œœ œœ œœ ..
Sol - i - dar - i - ty
class,
j œ ‰ œ œ ‰ œ œ ‰ œ J J
ev - er,
for - ev
œœ œœ œœ œœ œœ
For - ev - er,
j œ ‰ œ
œœ œœ œœ œ . œ.
Sol - i - dar - i - ty
œœ Œ
and
— 167 —
M U S I C A L
œ œ Œ
œ
three
T H E
!
BASSES:
&
L L I O T
work-ing
!
#
? #### œ #
268
E
I L L Y
for - ev - er,
œ ‰ ‹œ J
er,
ev
MRS W & WOMEN: 3
-
for - ev - er,
œ ‰ œ J
er,
3
ev
-
3
œ J ‰
er,
3
œ œ œ œ œ œ œ œ œ œ œ œ
Ev - er & ev - er & ev - er & ev - er &
# # # # TENORS: # œ œ œ œ œ œ œ œ &
Ev - er, ev - er, ev - er, ev - er,
# # # # œ 3œ œ œ 3œ œ # & (BARIS:)
for - ev - er,
? #### œ # (BASSES:)
ev
-
for - ev - er,
œ ‰ œ J
er,
ev
-
œ J ‰
er,
œ œ œ œ œ œ œ œ
œ
Ev - er, ev - er, ev - er, ev - er,
Ev - er,
œ œ œ œ œ œ 3
3
for - ev - er,
for - ev - er,
œ
œ œ J ‰
ev
-
er,
ev
-
œ
for - ev
œ
er,
ev
-
œ
ev - er,
3
œ
œ J ‰
#4—Solidarity
œ œ œ -
er,
œ
ev - er,
œ
for - ev
ev
-
œ
ev - er,
3
œ
œ ‰ œ J
er,
œ œ œ -
er,
œ J ‰
er,
— 168 —
271
&
####
B
3
3
I L L Y
3
E
L L I O T
3
3
T H E
M U S I C A L
3
3
3
3
3
3
3
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ‰ œ Ev - er & ev - er & ev - er & ev - er &
# ## œ œ œ œ œ œ œ œ & # # Ev - er,
# # & # ## œ
ev - er,
œ
œ
3
for - ev - er,
? #### œ #
ev
-
ev - er,
3
œ
œ
œ
for - ev - er,
œ œ J ‰
er,
ev - er,
ev
-
œ J ‰
er,
W & WOMEN:) # # # # (MRS. ˙ œ ‰ ‰. œ ˙ # & R J
# # ˙ & # ## ˙
-
er!
and
ev
ev
-
er!
and
ev
(BASSES:) ? #### ˙ œ ‰ ‰. œ ˙ J R # ev
-
er!
and
ev
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ ‰3 œ
Ev - er,
Ev - er,
ev - er,
3
œ
œ
œ
ev
-
ev - er,
3
œ
for - ev - er,
œ
ev - er,
œ
œ
for - ev - er,
œ ‰ œ J
er,
ev
-
œ J ‰
er,
ev - er, 3
œ
œ
œ ev
-
er,
-
er!
-
er!
ww
ww
-
œœ ‰ ‰ . œœ ww J R
-
er!
œ ‰ ‰. œ w J R
w
w
-
er!
-
er!
er!
and
and
ev
ev
ev
#4—Solidarity
ev - er,
œ
ev - For
œ ‰œ J 3
for - ev - For -
œ œ J ‰
ww
and
œ
for - ev - er,
ww
TENORS & BARITONES:
œœ ‰ ‰ . œœ ˙˙ J R
Ev - er & ev - er & ev - er & ev - For -
œ ‰ ‰ . œ ww R J
274
ev
Ev - er & ev - er & ev - er & ev - er &
ev
-
œ3œ J
er,
! ! !
For -
B
I L L Y
E
L L I O T
T H E
M U S I C A L
Underscore to Toilets
— 169 —
4a
TACET
Electricity Underscore TACET
#4a / #4b—tacets
4b
— 170 —
B
# # & # # # 44 Ó
Œ
2
MICHAEL:
it
wrong
with dress - ing
# ## & # # œ
"
œ œ œ
heels
and
a
fan.
‰ . ¿r ¿
MICHAEL:
& nœ
œ
œ
Be - ing
16
&
#
on
in
sat
œ #œ œ
-
in
œ
to
"
cheer
MICHAEL:
œ œ
and lace?
Get some
Œ
who
œ
you
»¡£•
a
dress?
"
œ
up
œ
the place?
œ œ
soon
you will start
œ
œ
the
j œ œ
hell's
j œ
want
Who
œ
wrong
Œ
be?
œ
the
œ
hell
ex - press - ing
œ
cares
if
#5—Expressing Yourself
œ
your
#
"‰
"Ch!"
Œ
your - self?
‰ œj b œ œ œ œ œ
œ
MICHAEL: Olé, baby!
diff - 'rent man.
œ #œ œ œ #œ
Will
is
ear - rings, some mas - ca - ra,
a
œ
with
Œ
œ
feel
œ
Ah, go on!
to
nœ
œ
œ
to
œ
œ
What
œ œ ‹œ Œ
œ
‰ œj œ # œ œ .
œ œ œ œ œ
œ
(swing 8ths)
Œ
œ
Poco Rall
What
œ œ #œ œ œ
put
if you're blue
œ
Pret - ty
Ta - da!
#
up
j œ
‰
œ œ œ
BILLY: Oh no!
œ œ
Moderate Swing q
# & Œ
13
5
Hah!
Yeah!
7
10
M U S I C A L
3
sin - ful
j œ œ œ œ œ
# œ.
‰
œ œ
œ œ
Is
&
T H E
Colla Voce
1
####
L L I O T
Expressing Yourself
Michael, Billy, Ensemble
4
E
I L L Y
an - y - bod - y
die
œ œ #œ œ œ
blush - er's
a
mess?
œ œ
if
you
Œ
B
19
#
MICHAEL:
& œ œ œ Start
a
new
Stot - ta
# & œ
22
nyu
L L I O T
œ œ œ Œ
BILLY:
fash
buck all
-
Ó
Ó
the
‰ œj
Œ
#
& œ
'Coz
œ
press - ing
28
#
œ
œ
Œ
your - self?
BOTH:
What the hell's
#
Œ
& œ
œ with
Ó
MICHAEL:
34
#
Who
BOTH:
& nœ œ œ œ œ All
37
you have
to
#
& œ #œ œ œ #œ buck all
the
trends,
œ
do
is
Œ
œ
the
in - te
œ
œ
what
the
hell
is
want - ing
to
be
me?
a
dress?
œ
is
œ it
œ œ #œ œ œ to
MICHAEL:
¿
Bil - ly,
care
‰
¿
nœ
Woo!
‰
you
Œ
less.
j j œ œ œ sing some - thing
#5—Expressing Yourself
¿
Oom,
cha!
-
gri -
œ
ex
j œ œ
who you
to
j œ
j œ
want
œ
im - press?
-
Œ
¿
œ
œ #œ
try
with
BOTH:
œ œ
œ
œ
wrong
Œ
Be - ing
j œ
œ
œ
œ
hell
n¿
em - pha - size
œ
œ
learn
j œ œ
œ
wear - ing
bœ
be?
œ
œ #œ œ œ #œ
wrong
nœ œ œ
BOTH:
Œ
œ.
bœ J
For
& œ œ œ œ œ
31
j œ
‰
— 171 —
M U S I C A L
trends,
BILLY: Shut up, you pouf! BOTH: Woo! BOTH:
ty.
25
T H E
œ #œ œ œ #œ
ion,
MICHAEL: Shake those shoulders, Billy!
Œ
E
I L L Y
to
Œ
œ
36
œ œ œ œ œ Œ œ
Start
a
new
Stot - ta
nyu
j œ to
œ me.
fash
Œ
-
Œ
ion,
‰ œj
BOTH:
'Coz
— 172 —
40
B
#
& œ œ œ œ œ what the hell
is wrong
# & œ œ œ œ œ
I L L Y
48
be
a
L L I O T
T H E
with ex - press - ing your - self?
œ œ
dan - cer, dance!
œ
M U S I C A L
‰ œj b œ œ . J
œ œ œ œ œ
œ œ
44
wan - na
E
try - ing
For
Œ Œ œ œ œ œ œ œ œ If you wan - na
be
a
MICHAEL: Sing it, sister!
œ
œ œ
Ó
to
be free.
#
want
If you
œ Œ Œ œ œ
œ œ
min - er, mine!
If you
œ œ œ
to
dress
œ
like
œ œ œ œ œ
some - bod - y
Œ
œ
else,
# j & œ œ œ œ œ ‰ œ œ #œ œ œ œ œ
Œ
BILLY:
œ
Fine,
fine,
‰ j œ œ
not a big state - ment,
#
& œ not
it's
not
œ œ œ œ œ œ
com - plain
q = 142
a - bout your
b & b bb œ œ œ œ œ
a weird act,
œ œ
Just
a
‰ œj œ œ œ œ œ œ
bor - ing life
If
you'll
œ
good
œ
œ œ œ œ
i - dea(r) at
‰ œj
Œ
BOTH:
the time.
It's
œ Œ Œ œ
Poco Accel.
œ just
Œ
fine!
52
60
Œ œ œ
MICHAEL: Come on, let's get these dresses dancin'!
& œ
56
BOTH:
œ œ œ œ
leave me
to mine.
˙
We'll
‰ œ j bbbb œ MICHAEL:
If
you
Poco Accel.
œ œ >
wan - na be a dan - cer, dance!
Œ
3
3
BOTH:
¿ ¿ ¿ ¿ ¿ ¿ œ œ
Shi - ge - dy, shig - ge - dy! If you
#5—Expressing Yourself
œ œ œ œ œ œ œ >
wan - na be a min - er, mine!
MICHAEL: Shoes!
!
B
I L L Y
q = 148 Straight 8ths
Poco Più Mosso
bb &b b ¿ 72
Œ
Ó
Ó
bb &b b ¿
(MICHAEL:)
Keep
78
&
81
&
¿
¿
¿
up,
ya
la - zy
3
!
Più mosso
# & # Π85
— 173 —
M U S I C A L
Ó
MICHAEL:
¿ ¿.
¿
Fol - low
me!
2
¿
And drag…
bbbb
#
T H E
Swing 8th’s
‰ ¿ J
Arms!
76
L L I O T
7
b b4 &b b 4 64
E
‰
¿
¿
It's
¿
¿
lit - tle
MICHAEL:
¿ ¿.
¿
C' - mon,
Bily
¿
¿ J
bug - ger!
¿ -
I'm
¿
ly,
¿
BILLY:
¿
3
shim - my
¿
try
-
¿
Œ
¿
Œ
!
in'!
#
!
shake!
3
q = 156
¿ J
¿
(MICHAEL:)
!
show time!
!
¿
¿
¿
¿
5,
6,
7,
8…
¿ Smile!
#5—Expressing Yourself
Œ
Ó
##
— 174 —
B
I L L Y
E
L L I O T
T H E
7
# & #
89
# # BOTH: Π& 96
One!
100
&
103
&
¿
Œ
Ó
¿
Two!
Œ
Ó
Three!
¿
Œ
Four!
5
6
nn
Ó
MICHAEL:
¿.
From
#
Ó
3
##
&
&
Ó
##
108
115
M U S I C A L
8
#5—Expressing Yourself
¿ ¿
the top!
#
B
123
&
127
&
#
I L L Y
E
L L I O T
bbbb
Molto Rall
9
bbbb
¿
¿
¿
¿
5,
6,
7,
8…
BOTH:
Grandly q = 108
BILLY, MICHAEL, WOMEN:
Ev' - ry - one
b & b bb
is
diff' - rent,
It's
œ œ #œ œ œ
the
œ œ œ œ œ œ œ œ
Ev' - ry - one
is
diff' - rent,
It's
the
b & b b b œœ œœ œœ œœ œœ œœ œœ œœ Ev' - ry - one
is
diff' - rent,
It's
A Tempo Brightly q = 150
bb &b b œ
Œ
Œ
‰ œj
MICHAEL: Shoo!
The
bb œ &b b
Œ
bb & b b œœ
Œ
Œ
‰ œJ The
Œ
œ
world's
grey
œ
œ
world's
grey
‰ œj b œœ The
world's
It's
œ œ #œ œ œ
œ œ
bœ
œ
œ
na - tu - ral
It's
fact,
It's
plain
to see.
œœ œœ
b œœ
œœ
œœ
œœ n œœ
It's
fact,
It's
plain
to see.
state.
na - tu - ral state.
œ
œœ grey
œ œ
fact,
It's
n œœ n œœ # # œœ n œœ œœ
the
œ
bœ
state.
œ
œ
œ
œ
œ
œ
œ
œ
e - nough with - out
e - nough with - out
œœ
œœ
œœ
œœ
e - nough with - out
#5—Expressing Yourself
a
a
a
œ
Accel.
œ œ
na - tu - ral
TENORS:
BARIS:
140
— 175 —
M U S I C A L
4
q = 166 Straight 8th’s
bb &b b œ œ œ œ œ œ œ œ
137
T H E
plain
to see.
œ œ
œ œ œ œ œ
Œ
œ œ œ œ œ
Œ
ma - king
ma - king
it
it
worse.
worse.
œœ œœ b n œœ œœ œœ ma - king it
worse.
Œ
— 176 —
B
bb & b b nœ
#œ
we
b b nœ &b b
143
What
What
b & b b b # n œœ What
bb &b b
147
œ
I L L Y
E
L L I O T
is
#œ #œ
œ
need
œ
œ
œ
œ
#œ
œ
we
need
is
œœ
œœ
œœ
we
need
is
T H E
œ
in - di - vi - du
œ œœ
œœ
#˙ -
œ
in - di - vi - du
# # œœ
M U S I C A L
-
#˙ -
œœ
in - di - vi - du
al
al
al
4
#˙ i
-
i
, Aw
-
ty!
˙˙ -
i
-
Ó
Aw
-
˙
# # ˙˙ -
,
ty!
,
N A ww ty!
Œ
¿
BOTH:
¿
Fin - ish!
#5—Expressing Yourself
B
I L L Y
E
L L I O T
T H E
M U S I C A L
— 177 —
Expressing Yourself (Playout)
5a
TACET
Hammer Scene Underscore TACET
#5a / #5b—tacets
5b
— 178 —
B
Colla Voce
&C Ó
Œ
&C
!
5
MRS. W:
¿
Dear
M U S I C A L
6
¿ ¿
U Œ
Œ
¿ ¿
Bil - ly,
j ¿ ¿
¿.
I must seem
¿
a dis - tant
¿ ¿ ¿
me - mo - ry
!
Ó
"Œ
"
"
Which is
¿ ¿
BILLY:
¿ ¿
"Œ
Which is
¿ ¿ Œ
prob - ab - ly
‰ j ¿ ¿ a
good
¿
U Œ
Gently moving approx
j ¿ ¿ ¿ ¿
¿.
¿ ¿
thing
!
&
And it
will
have been
!
a
h = 69
!
long,
!
Ó
BILLY:
¿
¿
long
!
9
&
!
Ó
Œ
time
BILLY:
œ
œ
Œ
Ó
And
j œ œ
12
& œ.
will
& Œ
16
T H E
!
(MRS. W:)
& ¿
L L I O T
The Letter
Billy, Mrs. Wilkinson, Dead Mum
1
E
I L L Y
have missed
‰
j œ œ
And I'll
œ
you
œ have
œ œ
Œ
Œ
‰
grow - ing,
œ missed
j œ œ
And
Œ
œ
you
I'll
œ
laugh.
#6—The Letter
œ œ œ
have missed
œ
Œ
œ
you
Ó
œ œ
I
cry - ing,
!
B
20
& Ó
& Ó
24
28
& œ œ
œ
œ
#œ
Missed
your
I'll
œ
Œ
Ó
with
U & ˙ 36
"
please,
40
that
proud
œ
you
through
ev
to
œ
Œ
have
known
œ
you
'ry
-
˙
you.
your
that
œ
Ó
!
shout - ing.
!
œ
Œ
‰
j œ ˙
But please,
off.
Ó
˙
œ
#œ
al - ways
Œ
œ
Ó
,
there,
Ó
œ
œ
I
was
Œ
‰
thing.
-
œ
Œ
œ œ
œ I
!
!
œ œ œ œ œ
will
Œ Ó
#6—The Letter
j œ
And
A Tempo
MRS. W:
œ œ
œ
was
˙
— 179 —
M U S I C A L
œ
! U Œ
˙
œ
I
know
& ˙
œ
œ œ œ
˙
!
(MRS. W:)
3
tell - ing
œ
Bil - ly…
&
#œ
œ
œ œ
T H E
and
Œ
know
& ˙
#œ
œ
Bil - ly,
32
Œ
missed
have
L L I O T
stomp - ing
œ
#œ
E
I L L Y
al
!
-
œ
ways
œ
Proud
Œ
Ó
be
œ œ œ
that
you
œ
œ
were mine,
— 180 —
B
& œ Œ Ó
45
(MRS. W:)
& Ó
50
œ
Œ
œ
in
& œ œ œ
55
œ œ œ œ œ
Proud in ev
MRS. W: DEAD MUM:
(DEAD MUM:)
Ó
-
'ry - thing,
#œ
ev - 'ry - thing
Ó
Œ
j œ œ
& œ. I'll
œ
have missed
& Œ
you
65
œ
And
& Ó
MRS. W:
& Ó
œ
œ
I'll
have
œ
Missed
DEAD MUM:
#œ
Missed
#œ
œ œ
œ œ
Œ ‰
œ
œ
œ
-
j œ œ. œ œ
œ œ œ
Ó
˙
œ #œ
œ
Al - ways
˙
˙
al - ways
will
œ
in'
#œ
stomp - in'
œ
you
œ
laugh.
œ
œ
œ
œ
and
your
œ
œ
and
your
#6—The Letter
this
œ
Bil - ly,
˙.
Œ
your - self,
U !
U Ó
Œ
be true.
‰ œj œ œ œ
Ó
be
œ œ
˙
œ Œ œ œ œ
me
DEAD MUM:
I'll have missed
missed
stomp
your
Œ
Œ
œ
your
M U S I C A L
And you must pro - mise
grow - ing,
#œ
T H E
you do
And you
61
L L I O T
œ œ œ œ œ
Bil - ly.
69
E
I L L Y
And
œ
you
œ œ
Œ
Ó
cry - ing.
Œ
Ó
!
œ
Ó
!
Ó
!
shout - in'.
œ
œ
shout - in'.
œ
B
& Ó
73
& Ó
œ
I'll
have
missed
œ
œ
#œ I'll
#œ
#œ
œ
#œ œ
œ
tell - in'
& œ œ Œ
Ó
Œ & œ œ
Ó
& ˙
œ
œ
˙
you
through
ev
œ
œ
˙
you
through
ev
77
œ
Bil - ly,
81
with
& ˙
with
85
& ˙
please,
& ˙
please,
know
œ œ Œ
Œ
Œ
Œ
Bil - ly,
œ œ
Bil - ly,
œ
œ
you
off.
œ
œ
I
was
œ œ œ
œ
Ó
I
'ry
-
˙
'ry
Œ
œ
But
#œ
-
thing.
-
˙
know
that
I
œ
œ. I
#6—The Letter
please,
˙
please,
ways
there,
#œ I
was
œ
˙
œ
œ
ways
there,
I
was
Ó
Ó
Œ
œ
œ
And
Ó
Ó
Œ
thing.
œ.
˙
#˙
#œ
œ
˙
œ
that
œ
Œ
Ó
al
˙
know
Œ
But
was
-
Ó
al
˙
˙
Œ
off.
Ó
that
— 181 —
M U S I C A L
œ
that
œ
T H E
you
œ œ œ
know
Bil - ly,
L L I O T
œ œ
tell - in'
missed
have
E
I L L Y
œ
And
œ œ J
will
al
j œ œ
will
al
œ
˙.
-
ways
be
-
œ
˙.
ways
be
Œ Œ
— 182 —
89
B
(MRS. W:)
& ˙
Proud
œ
to
(DEAD MUM:)
& ˙
œ
Proud
to
&
!
&
!
93
97
&
œ have
œ
have
E
I L L Y
˙
œ
known
˙
œ
T H E
œ
! Ó
3
œ
œ
Love
you
for
A tempo ~ poco meno mosso
-
˙
ev
-
9
#6—The Letter
!
Ó
œ
3
œ
œ
Love
you
for
!
œ
BILLY:
Colla Voce
U Œ
œ
you.
M U S I C A L
U Œ
œ
you.
œ
known
L L I O T
U œ œ œ
er.
˙ -
ev
MRS. W:
¿
˙
Mam.
-
er.
U Ó
ΠU !
B
L L I O T
T H E
— 183 —
M U S I C A L
»176 ~ swing 8ths
Fast Boogie q
& 44
!
Ó
‰
MRS. W:
j œ
œ
We
3
&
Œ
œ
j œ œ
born
7
& œ
to stand
Œ
move,
11
& œ
& œ
to
Œ
19
& bœ
feet,
sic
Œ
Ó
is
œ
‰ j œ œ
they
like you
Ó
played,
œ
will move,
Oh, the soul
œ œ
Œ
Œ
‰ j œ œ
As if
œ
on
BILLY: Miss?!
will.
Ó
‰ j œ œ
Got - ta
‰
re - act.
j œ œ
You weren't
MRS. W: Join in!
bœ
in
œ
weren't
j Ó bœ
œ bœ
to
will
‰ j œ œ œ
tion of
œ
born
œ
j œ œ
-
Œ
œ
We were
j bœ
œ
ques
‰ j œ œ
Ó
Œ
œ
Ain't a
be - have
j œ œ
-
‰ j œ œ
still.
œ œ
Rock Shuffle
15
Ó
a fact
œ
made
BILLY: What ya doin'?
j bœ
œ bœ
œ
it's
Œ
7
We Were Born to Boogie
Mrs. Wilkinson, Mr. Braithwaite, Billy
1
E
I L L Y
Œ
œ œ
-
‰ j œ œ œ
the grave.
be swayed.
œ
œ bœ
ly
#7—We Were Born to Boogie
When the mu -
Ó
œ bœ
œ
will
Œ
Ó
to prove
‰ j œ œ
And your
Ó
‰ j œ œ œ
That it was -
— 184 —
B
23
& ˙
œ
-
We
œ
31
& ˙ It
born
to
boo
œ
œ
œ
ain't
a
puz
j & œ œ. 34
-
œ œ
œ
were
Œ
œ
cle.
From
37
& œ
œ
œ
the
40
& œ
feet
Œ
œ
dance
œ
L L I O T
‰
and
œ bœ
your hands,
T H E
j œ œ
‰ œj Œ -
Ó
the
œ
zle.
˙
œ
day
of
œ
sen - sa
Ó
-
j œ œ.
œ
tined
born
to dance.
‰ œj Œ
to
boo
-
Oh, your
Ó
gie.
œ
œ
œ
œ
œ
'Cos
we're
blood
and
mus
œ
j œ œ.
œ
Cre - a
-
Œ
tion,
MR. B: Let’s have some proper dancing!
Ó
Ó
‰
tion.
‰ j œ œ
!
œ
œ œ
œ
were
˙
bœ
-
œ
We
j œ œ.
œ
des
œ
gie.
-
M U S I C A L
˙
You were
by chance
27
& œ
Ó
œ œ
n't
E
I L L Y
œ
œ
We
were
j œ œ
Oh, your
œ
toes
Œ
œ
and
#7—We Were Born to Boogie
œ bœ
your glands,
Ó
‰ j bœ œ
Oh, your
-
B
44
Œ
& bœ
œ
eyes
and
I L L Y
œ
œ
j œ œ.
œ
œ
˙
your chin,
œ
brawn
and
your brains,
52
& œ We
56
& œ It
60
& ˙ day
œ
were
born
Œ
œ ain't
to
‰ œj Œ
boo
-
œ œ
j œ œ.
a puz
-
œ
œ œ
of
Cre - a
‰ œj œ
‰ j œ œ
tion,
Ó
gie.
˙
zle.
j œ œ. -
T H E
Œ
˙
œ
face
and
bœ
balls
and
œ
œ
œ
We
were
born
œ
œ
œ
'Cos
we're
blood
œ œ We were
— 185 —
M U S I C A L
˙
Oh, your
œ œ
œ
L L I O T
Well, your
48
& ˙
E
œ
œ
œ œ
your skin,
œ
the dance
#7—We Were Born to Boogie
Oh, your
Œ
Ó
‰ œj Œ
Ó
œ
œ
your chains.
œ œ to
boo
-
gie.
j œ œ.
œ
and mus
œ œ œ
‰ j œ œ
˙
-
œ œ
sen - sa
Œ
cle.
-
œ œ
From the
j œ œ.
tion.
Ó
— 186 —
64
&
B
MR. BRAITHWAITE:
œ
œ
œ
œ
œ
We
were
born
to
boo
œ
œ
œ
œ
were
born
to
boo
MRS. W:
& œ
We
I L L Y
E
L L I O T
œ œ Œ -
œ
gie.
Ó
œ
gie.
œ
Œ
œ
Œ Œ
œ
œ
Œ
born
all
We’re
to…
Œ
œ
all
born
Ó
¿
Œ Œ
œ to…
5
&
&
Œ
We’re
œ œ Œ -
M U S I C A L
Ó
68
73
T H E
straight 8ths q
» 118
MRS. W: Let's start at elementary level.
!
¿ ¿ Œ
!
MRS. W:
Long leg.
&
¿
¿
Five,
six,
MR. BRAITHWAITE:
!
¿ ¿ ‰
sev - en,
¿
¿
eight!
One,
Œ
‰ ¿J ¿ ¿ ¿ ¿
& ¿ Œ Ó
Œ
79
Point,
three,
flex,
in front,
¿ Œ four,
be - hind.
Ó
A - gain,
¿
Ó
Œ
Ó
Stretch.
& ¿ Œ ¿ ‰ J¿ ¿ ‰ ¿J ¿ ‰ ¿J ¿
77
Œ
and in and in and
Ó
nine,
#7—We Were Born to Boogie
¿
Ó
two,
¿ ¿ ‰ ¿ ¿ ¿ ov - er.
¿ ten,
Œ
Face the barre.
Œ
Œ
‰ ¿J
e -
B
81
& Œ
¿
¿
Oi,
Shift,
& ¿ ¿‰ Œ
I L L Y
re - ti - ré.
¿
Ó
Bal - ance.
That's it
& ¿ ¿ Œ
Bil - ly.
¿ ¿ Œ
!
91
lev - el.
&
Turn
out,
¿
¿
¿
¿ ¿‰ Œ Chin up,
Shoul - ders down,
¿
Ó
¿
Œ
Rise.
¿ Œ
Ó
four - teen,
!
¿ ¿ ¿ ¿ ¿
Ó
In - ter - me - di - ate
Ó
!
!
six - teen.
& ¿ ¿‰ Œ Ó
103
¿
Chas - sée turn.
Ó
poco Accel.
gain,
¿
¿ ¿ ¿
Ó
fif - teen,
& ¿
— 187 —
M U S I C A L
thir - teen,
¿ ¿ ¿ ¿‰
& ¿ ¿ Œ
T H E
¿ ¿ Œ
Œ Ó
twelve,
85
94
L L I O T
‰ ¿ ¿ ¿ Œ Ó J
lev - en,
89
E
»¡™§ poco più mosso
q
¿ ¿ ¿
¿
Ó
MRS. W:
Use the floor.
‰ J¿ ¿ ¿ ¿ ¿
Strong arm, Bil - ly.
¿ Œ Ó
Ó
Πaccel poco a poco ~ swing 8ths
‰ ¿ ¿ Œ Œ ‰ ¿ J J A - round.
BILLY: No, Miss. I can’t do it. ! ! MRS W: You can do it… MRS. W:
and in and in and chair.
6
¿ ¿ ¿‰ Œ
A-
6
¿
Push down.
109
Very driven (Rock Shuffle) q = 176
#7—We Were Born to Boogie
8
bbbb
— 188 —
117
&
B
&
ALL 3: (MR. B. 8va)
œ
œ
œ
We
were
born
b œ &b œ
to
We
œ
œ were
bœ
œ
3
2 4
boo
-
œ
œ
to
boo
œ œ Œ
Ó
gie.
-
œ œ œ œ Œ gie,
Ó
œ
œ
œ
We
were
born
Œ
œ We're
&
w b b
to
œ
boo
Œ
all
œ œ. J
3
#7—We Were Born to Boogie
-
œ œ
œ
Œ
Ó
gie.
Œ
born
˙
MRS. W:
w
bb
œ œ
boo - gie!
154
nn 4 4
!
13
129
2
b &b 150
M U S I C A L
121
œ œ
born
T H E
##
œ œ
[Optional MR. B. harmony]
146
L L I O T
4
4 &4
bb
E
4
bbbb
125
142
I L L Y
œ to
w
Œ
B
I L L Y
E
L L I O T
T H E
M U S I C A L
After Boogie
— 189 —
7a
TACET
Sleepless Night
7b
TACET
Intro to Angry Dance TACET
#7a / #7b / #7c—tacets
7c
— 190 —
B
b & b 44
q = 195
nœ œ œ œ œ œ œ œ œ œ & œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Ó treated RIOT VOICES (on tape):
Sol - i - dar - i - ty,
M U S I C A L
8 15
poco meno mosso q = 190
œ œ œ œ œ œ œ œ & œœ œœ œœ œœ œœ œœ œœ ‰ œœ Œ Ó for - ev
-
8
œœ œœ œœ œœ œœ œœ œœœ ‰ œœ Œ Ó œ œ œ œ œ œ œ J
Sol - i - dar - i - ty
67
Sol - i - dar - i - ty
T H E
17
b &b
Sol - i - dar - i - ty,
L L I O T
20
36
61
E
Angry Dance
Riot Voices (on tape)
1
I L L Y
J
-
er,
œœ œœ œœ œœ œœ œœ œœ ‰ œœ Œ Ó œ œ œ œ œ œ œ œ J
Sol - i - dar - i - ty
er.
for - ev
for - ev
-
er.
œœ œœ œœ œœ .. œ œ œ œ. All
for one,
Sol - i - dar - i - ty
8
12
b &b
4
6
93
#8—Angry Dance
j œœ œœ œœ œœ œœ Œ œ œ œ œ œ and
one
for all,
œœ œœ œœ œœ œœ œœ œœ ‰ œœ Œ Ó œ œ œ œ œ œ œ œ J
b &b
73
nn
for - ev
-
er.
bb
B
A tempo q = 195
b &b
14
##
8
105
128
&
b &b
151
I L L Y
E
L L I O T
T H E
— 191 —
M U S I C A L
#
12
9
##
15
bb
22
#8—Angry Dance
— 192 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
Christmas Fanfare TACET
#8a—Christmas Fanfare
8a
B
I L L Y
E
L L I O T
T H E
GEORGE: Can you hear it in the distance?
# & 44
1
Colla Voce
2
!
&
!
BOYS:
|
(blowing wind)
up
j j œ œ œ
&
#
œ
œ
Mer - ry
21
&
#
to
Ea
-
j œ œ
œ
bloo - dy
17
MICHAEL: And 1, 2, 3…
BOYS: Ahhhh…
Ó
Œ
GEORGE:
œ
It's
head - in'
œ
q=170
!
|
8ths # swing j j j & œ œ œ œ œ
&
Ó
Ooh…
(AD LIB: clip-clops, neigh)
#
Œ
~ · ~~~~~~~~~ ¿ · ~(haunted ~~~~~house)
MICHAEL: Is it Santa on his sleigh?
9
13
BILLY: Is it old Rudolph the Reindeer?
TALL BOY: Can you sense it far away?
Shhhh…
#
9
Merry Christmas, Maggie Thatcher
George, Ensemble
6
— 193 —
M U S I C A L
œ
œ
sing - ton,
j œ
Mag - gie
That
Christ - mas,
j œ œ
-
j œ œ.
cher
œ
œ
œ #œ
We
all
sing
to - ge
j œ œ
It's
com - in'
BALLET GIRLS:
œ
and
œ œ œ œ œ
œ
Mag - gie
œ
Œ
-
j œ œ
œ
That - cher, May
j œ œ.
œ
œ
ther
in
one
œ
œ œ
down
the Tyne.
j œ œ
œ
Mi - chael
œ J
Oh, it's
œ
Œ
Hes - el - tine.
œ
œ
œ
œ œ
God's
love
be
with you.
œ ‰ Œ J breath.
‰ œj œ
Ó
· · ~~~~~~~~ ~~~~~~~ ¿
(Roar!)
#9—Merry Christmas, Maggie Thatcher
(sweetly)
˙
So,
!
Œ
— 194 —
25
&
B
# œ
œ
œ
Mer - ry
29
&
33
œ
I L L Y
L L I O T
T H E
M U S I C A L
œ œ œ œ Œ
œ
Mag - gie
Christ - mas,
E
That - cher,
œ
œ
We
all
œ
œ
œ
cel - e - brate
œ œ œ œ œ
to - day
'cos it's
subito Rock Band
#
(Yelled)
bœ
Ó
œ
œ
one
day
œ œ œ
clo - ser to
f
œ
œ
¿
¿
¿
¿
¿
¿
¿ ¿
your
death.
2,
3,
4,
Look!
2,
3,
4,
6
Swing 8th’s
& ·
Ó
Œ
tack!
At -
œ
They've come
& œ
41
& œ
45
49
& œ e
œ
ALL:
n
-
œ
œ
to
raid
œ
œ
be
too
œ
œ
your stock - ings,
œ
-
mic
œ J
in
-
-
j ‰ œ œ œ
œ
œ
And to steal
œ œ Œ
œ
down - heart
œ œ œ œ J
co - no
Œ
œ
ed,
œ œ J
Œ
œ œ
your
œ
It's all
œ œ œ Œ J
fra - struc - ture
œ
œ œ
œ œ
Œ
Christ - mas pud.
your
œ
œ
œ
must
be
swept
But don't
œ J
Ó
œ œ
Ó
œ œ œ œ J
for
Ó
own
good.
a - way
#9—Merry Christmas, Maggie Thatcher
Œ
‰ œj The
Œ
‰ œ J
To
B
53
&
œ make
œ & œ
57
‰ Jœ œ way
œœ
œ & œ
68
brate
71
&
œœ
œ œ
Christ - mas,
all
sing
to - ge
-
œœ
œœ
ry
Christ
-
œ
parks
and
'cos
œ œ. J
ther
œœ
mas,
Mag
7
œ œ J
in
one
œœ -
œ
œ
one
day
œœ
gie
That
œ
of
œœ
œœ
œœ
œœ œœ
God's
love
be
with you.
breath.
-
!
Œ
Moo!
œœ
Œ
cher,
bœ
Ó
pay,
~~ · ~~~~~~ ~¿ · ~~~~~~~
Œ
œœ
˙
Œ
So,
rates
œ
œ
œ J
œ œ œ J J
low - er
œ
— 195 —
M U S I C A L
That - cher, May
œœ
it's
T H E
œ œ œ œ œœ œ œ œ œ
-
œœ œœ œœ œœ œ to - day
L L I O T
œ
Mag - gie
œ #œ
b œœ Mer
bus' - ness
œ
& œ
&
œ
œ
61
65
œ
for
œœ
Mer - ry
We
œ
E
I L L Y
clo
-
œœ
œœ
œœ
We
all
cel
œ
œ
ser
to
Ó
‰
œ
œ
-
e
-
œ
your death.
j œ
ALL:
And
#9—Merry Christmas, Maggie Thatcher
œœ
œ
œ
they've brought
— 196 —
B
& œ œ
79
œ œ J
& œ
œ
œ
Trade
87
& œ
& œ
91
œ & œ
hold
hands
-
œœ
œ
œ J
sing
Œ
œœ
All
-
Mer - ry
œœ
99
& œ We
Christ - mas,
œ
œ #œ
all
sing
to - ge
-
œ œ œJ œ
œ œ. J
ther
-
stand - ing in
this
That - cher, May
œ
in
one
Ó
œ J
Ó
‰ œ J
too.
‰ œ J
œ J
œ
œœ
œœ œœ
God's
love
be
with you.
breath.
Œ
time.
œœ
Œ
· ~~~~~~~ ¿ ~ ~ ~ ~ · ~~~~~
Whoa!
#9—Merry Christmas, Maggie Thatcher
œ
'Cos they're
œœ
œ
œ œ
And they'll all
line.
Christ - mas
œ
And the Whole
œ J
œ œ œ J J
mer - ry
œ
ty
a
œ œ J
œœ œœ œœ œœ œœ
Mag - gie
œ
the Boys in Blue.
œ œ œ œ J
œ
j œ Œ ‰ œ œ
œ œ œ
the par
œ
Œ
ta
[+ ENSEMBLE handclaps on 2 & 4 thru bar 106]
œ
Œ œ
œ œ œ
San
M U S I C A L
œ œ
will be at
to - ge - ther.
œ œ œ œ J
œ
œ
j ‰ œ œ œ
gress
œ œ
œ
œœ
-
T H E
And they've brought
œ œ Œ
Un - ion Con
pri - va - ti
95
boys,
-
œ œ
œ
L L I O T
j j œ œ œ Œ ‰ œ
their Fas - cist boot
83
E
I L L Y
˙ So,
!
Œ
B
103
&
b œœ Mer
-
œ & œ brate
œ & œ
& œ We
117
&
œ & œ
120
brate
Christ
œœ
-
œœ
'cos
œœ
œœ
œœ
mas,
Mag
œœ
Christ - mas,
œ
œ #œ
all
sing
to - ge
-
œœ
œœ
ry
Christ
œœ œœ œœ œ œ œ to - day
it's
œœ
œ
b œœ Mer
ry
to - day
Mer - ry
113
œœ
L L I O T
œ œœ œœ œ œ œ œ
106
109
œœ
E
I L L Y
œ
one
day
-
ther
That
œœ
-
bœ clo
œ
in
one
œœ
mas,
Mag
one day
œ
œ
bœ
all
cel
œ
ser
to
œ
God's
love
be
with you.
· ~~~~~~~ ¿
œœ
Œ
cher,
œ œ œ
œ
œ
your death.
#9—Merry Christmas, Maggie Thatcher
œœ -
e
œ
-
œ
your death.
œœ œœ
œœ
to
We
œœ
-
clo - ser
œœ
œ
Whoa!
That
œœ
œœ
Œ
œœ
gie
-
œœ
œœ
breath.
œœ -
Œ
cher,
Ó
That - cher, May
œœ
œ œ Ó
'cos it's
œœ
œœ œœ œœ œœ œœ
œ œ. J
— 197 —
M U S I C A L
œœ
gie
œ
Mag - gie
-
-
T H E
¿
!
¿ ¿
(All
¿
to - ge - ther, now)
œœ
œœ
œœ
We
all
cel
!
¿
Ó
œœ -
e
>¿ Œ Oi!
-
— 198 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
10
Deep Into the Ground
Dad, Billy, Ensemble
q = 88
# # 3 DAD: & 4 œ
1
Oh,
œ œ œ J
œ.
once
I was a
œ
œ
j œ
‰
œ
young man,
œ.
Looked
ov
j œ œ œ
-
er vales and
œ
hills.
Œ
œ
# & # œ œ œ ‰ œj œ œ œ ‰ j œ œ œ . œj œ Œ ‰ j œ . œJ œ œ œ œ
œ œ œ ‰ œj
# & # œ.
Œ Œ
5
Saw my - self
fu - ture
j œ œ œ
11
paid
a
my un - ion
of
‰
œ œ
dues,
rich - es and
œ œ
And they
of thrills.
But
œ œ Œ Œ sent me
œ. deep
on
me fif - teenth birth - day
j œ œ œ
˙.
in - to the ground.
I
œ œ
Oh the
Molto Legato
17
&
##
(DAD:)
œ
œ
œ
œ
œ
œ
win - ter wind can blow me
œ œ Œ cold - er,
# # WOMEN: & ˙
œ
˙
# # MEN: ˙
œ
˙
Hmm
&
Hmm
œ œ
Oh, the
Œ
œ
œ.
sum - mer's
œ heat
œ
œ
can parch
œ me
œ Œ œ œ
dry,
˙.
˙
˙.
˙
But I'd
Œ
Hmm
Œ
Hmm
#10—Deep Into the Ground
Œ
B
# œ & #
21
œ
œ
not leave here
# & #
œ.
œ
for
a
I L L Y
E
L L I O T
œ œ œ ˙
# & # ˙.
˙
I
nev - er
shall
Œ
œ
œ
œ
œ
Nev - er
Œ
Hmm
&
œ
œ
Hmm
25
— 199 —
M U S I C A L
œ œ
for - tune,
˙.
T H E
Nev - er
œ
œ
leave here
œ
œ
œ
œ
leave here
leave here
3
##
œ
œ
'til
Œ
˙
die.
I
Œ
'til
œ
œ I
die.
œ
œ
˙
'til
I
die.
˙
Rall.
Ó
Œ
‰
(DAD:)
j œ
Oh,
# & # œ. 29
once
œ œ œ J I
# & # œ œ œ
had
33
they have
# & # œ.
37
now
a
‰
gone
am an
Œ
j œ
Sons
‰
œ œ œ œ left
j œ œ
œ.
fam - 'ly,
and
œ œ œ J I
œ œ Œ
me now,
œ
œ œ œ
old
man
to
œ œ
and I
‰
j œ
Just
œ.
wait
make
œ
œ
you
proud.
œ œ œ
œ
count the time
out
-
j œ œ œ
ing for my
#10—Deep Into the Ground
œ
turn
‰
œ
œ
But
Œ
loud.
œ
j œ
‰ j œ For
‰
œ œ
'Til they
— 200 —
# & # œ
B
41
take
45
&
##
œ
me
œ
Œ
I L L Y
j œ œ
back
in - to
œ œ œ œ œ œ
œ œ Œ
win - ter wind can blow me
œ œ
# & # ˙˙
œœ œœ
Ooh
MEN:
Ooh
# & # œ
49
œ
œ
not leave here
# & #
˙.
Ooh
# & # ˙˙ ..
Ooh
œ.
œ
for
a
L L I O T
œ.
(DAD:)
# # WOMEN: & ˙
E
cold - er,
T H E
œ œ
Oh, the
œ œ ˙
Ooh
˙
œ œ I shall
Œ
Ooh
Œ
Œ
œ
ground.
the
œ
Oh
sum - mer's
œ
œ
œ.
œ
dry,
˙
œ
˙
˙˙
# œœ
heat
œ
œ
nev - er
œœ
œœ
œœ
œœ
Nev - er
œ
œ
leave here
œœ
œœ
leave here
œœ
œœ
leave here
#10—Deep Into the Ground
œ 'til
œœ 'til
œ
the
œ Œ œ œ
œ
can parch me
Nev - er
Ooh
˙˙
Œ
˙.
Ooh
Ooh
for - tune,
œ
Ooh
œœ œœ ˙˙
œ œ œ
M U S I C A L
But I'd
Œ
Ooh
˙˙
Œ
Ooh
œ
˙
I
die.
œœ
˙˙
œ œ
Oh the
œ œ
I
die.
Oh the
œœ
œœ
'til
I
˙˙
œ œ œ œ
die.
Oh the
B
# & # œ œ œ œ œ œ 53
# & # œœ œœ œœ œœ œœ œœ
win - ter wind can blow me
# & # œœ œœ œœ œœ œœ œœ
win - ter wind can blow me
# & # œ love
œ
œ
œ
these dark, dark
E
L L I O T
œ œ Œ
win - ter wind can blow me
57
I L L Y
cold - er,
cold - er,
œ œ œ œ œ œ
cold - er,
œ
hills
œ œ œ œ
Oh, the
œ œ œ
Ooh
# & # ˙˙ ..
˙˙ . .
Ooh
— 201 —
M U S I C A L
œ
œ
œ.
sum - mer's
heat
œœ
œœ
œœ
œ œ
œ œ
œœ
œ œ
œ
œ
sum - mer's heat
sum - mer's heat
And I
œ
œœ
œ œ
Ooh
œ œ
œœ
dry,
œœ # œœ
œœ
œœ œ œ
won't leave them
œ œ œ
un - til
I
œœ œœ œœ
un - til
I
œœ œœ œœ un - til
˙˙
Œ
˙
Œ
dry,
can parch me
œ
But I'll
dry,
can parch me
3
##
œ Œ œ œ
œ
œœ
won't leave them
œ œ
œ
can parch me
won't leave them
œœ
˙˙ ..
Ooh
&
œ œ
Oh, the
for - ev - er,
# & # ˙˙ ..
61
œ œ
Oh, the
œœ œœ œœ
œ.
T H E
I
Œ
˙
die.
˙˙
Œ
˙˙
Œ
die.
die.
Ó
(DAD:)
œ
Oh,
A Tempo ~ Meno Mosso
# & # œ. 65
once
œ J I
œ œ loved a
œ wom
œ œ Œ -
an,
œ
œ
She meant
œ.
all
#10—Deep Into the Ground
j œ œ œ
the world to
œ
me.
œ
‰ j œ I
— 202 —
B
# & # œ œ œ
69
saw our - selves
‰ œj
&
##
œ
œ
bur - ied
81
&
##
œ
Slower, Quasi Freely
# & # œ
85
love
&
##
M U S I C A L
j œ
œ œ œ far
As
œ
j œ œ
(deep
in - to
I
œ œ œ
took her
When they
œ.
as
down
œ
œ
could
see.
œ œ
œ
œ
can blow me
œ œ Œ cold - er,
œ œ
Oh, the
œ
me,
Œ
˙.
the
œ
from
[He breaks down mid line]
her
œ œ œ œ œ
T H E
‰
œ
sev - en
Œ
win - ter wind
89
œ œ œ
was on - ly thir - ty
(DAD:)
L L I O T
fu - ture
a
# & # œ œ œ œ œ œ
77
E
œ œ œ
73
I
I L L Y
Œ
‰
But
‰
œ
Œ
BILLY:
œ
Oh
œ œ œ œ
œ
œ œ
And they
ground.)
3
sum - mer's heat
œ
j œ
œ
the
œ Œ œ œ
œ
can parch me
dry,
But I'll
A Tempo
œ
œ
these dark,
œ
œ.
dark
hills
6
œ
œ œ œ
for - ev - er,
œ œ And I
œ
œ
œ
won't leave them
Rall.
#10—Deep Into the Ground
+DAD:
œ œ œ
un - til
2
I
˙
die.
Œ
B
I L L Y
E
L L I O T
T H E
M U S I C A L
— 203 —
Out of Christmas Underscore
11
TACET
Dad's Song Underscore
11a
TACET
At the Pit Gates TACET
#11 / #11a / #11b—tacets
11b
— 204 —
B
I L L Y
Œ !œ œ P
1
DAD:
####
(active, not reflective: with strength, but searching)
####
take
####
it
an - y - more, son,
we're fin - ished, man, we're through.
(DAD:)
# ‰ nœ œ œ nœ œ Œ look him in the eye.
&
12
This is
tear - ing me
‰ œj
a - part.
We're
Œ !œ œ œ Œ Œ ! # n œ ‰ œj œ œ œ ‰ œj n >œ œ œ œ œ . œ œ nœ nœ œ > > lost,
&
M U S I C A L
# # # # œ œ ‰ œ3 œ nœ œ ‰ œ œ ‰ nœ œ œ œ œ Œ #
I can't
6
T H E
Quasi freely, but with a pulse
# U & # 44 Ó
&
L L I O T
He Could Be a Star
Dad, Tony, Miners
3
E
‰.
œ bœ R
Be - lieve
"
#
We need to give the kid a fu - ture,
I need to
œ œ ‰.
nœ œ
me, son,
œ R nœ
œ œ œ
I'd do
Ó
the
same
for you. TONY:
‰.
Œ
(contained)
P r nœ
You
(dangerously at the limits, but not exploding: a "volcano beneath")
# # # # TONY: r & # œ œ œ n œ œ œ ‰ . œ n œ œ œ œ œ œ Œ ‰ œj n œ œ œ œ œ . œ œ . œ œ œ n œ 8
can't give in now,
# # # # control) Œ & # Ó 11
Dad. We've
(trying to maintain
‰ j œ nœ
You can't
all been out
a year.
cresc. poco a poco
œ
do
œ nœ nœ œ Œ
this to me, Dad,
I'll
nev - er be a - ble
! œ œ You can't
#12—He Could Be a Star
to talk
to you a - gain.
nœ œ ‰ œ nœ œ Œ do it
to your - self.
‰ œ J
He's
B
14
&
####
# bœ
œ œ ‰
(TONY:)
just
a
(small, gentle, light)
16
&
bbb Aœ
œ
(DAD:)
œ J
He could
,
he could
b >œ œ œ œ œ &b b
b &b b œ 25
Not
‰
go.
22
No
one else
on
œ
can
œ
œ
œ
just
stay
here
b & b b 44 Ó 28
j œ
And
œ
no
DAD:
give what
œ œ
! œR œ all
for
œ œ œ
one else
I
‰ nœ J
TONY:
œ . œ œ nœ .
Yes, we've got the chance
nœ œ
œ œ œ
to let him
œ
œ We
œ
can
œ.
give
DAD:
œ
œ
œ
œ
œ œ Ó
œ
don't know how far
what I
! œ œ have got
œ
œ œ
He could
We
‰ n œj b b b
Œ
But
Œ
we know.
œ Œ Ó
œ
Œ
a bairn.
can give.
count ing time.
— 205 —
M U S I C A L
just
œ œ œ Œ
Œ œ
ly
œ œ œ œ
This
b œ & b b 44
-
shine
œ
T H E
œ œ œ
œ J
and he could
j Œ œ
19
L L I O T
nœ
he's
! Rœ œ
go,
b j &b b œ œ
œ J
kid,
E
I L L Y
œ
œ
can
give.
Œ
œ ! œ œ œ J R go
œ
the chance to
Ó
œ Œ
and he could shine,
œ let
2 ˙ 4
œ him
4 4
live.
More Urgently
#### œ œ . œ œ nœ œ œ . œ nœ œ œ œ ‰ J œ œŒ ‰ œ J
29
(keep winning --- stay cool --- realization of Dad's right-wing ideology re: special individual)
is n't a bout us,
####
n˙ live.
#12—He Could Be a Star
Dad, It's
Ó
not a - bout the kid.
"
It's
— 206 —
31
&
####
B
I L L Y
bœ œ œ ‰ œ œ œ œ œ nœ .
# # œ œ œ & # # nœ œ œ nœ J ‰ ‰ J ev - 'ry - bod - y's past.
&
# ‰
&
####
œ
œ œ œ
# Œ
a - bout
our
M U S I C A L
Œ
Œ
chance.
bœ œ œ ‰ œ nœ J not a - bout
œ
a
œ œ œ J
bairn who wants
‰
Think a - bout the sac - ri - fice
n˙
we've
made.
ev - 'ry - bod - y's
œ œ œ nœ œ
his - tor - y.
nœ œ œ œ œ œ œ œ nœ
‰ œj œ œ œ b œ n œ œ œ . ‰ Jœ It's
(private moment for TONY as little boy: well-sung)
It's
39
It's
T H E
nœ
this is ev - 'ry - bod - y's
34
####
L L I O T
(TONY:)
all of us;
37
E
œ
œ œ œ
It's
a - bout
&
bbb Aœ
(DAD:)
œ
He could
b &b b
œ J go,
! œR œ and he
"
œ
œ J
It's
could shine
don't let that pas-sion
‰
It's
####
œ Œ Ó
#
œ nœ œ J
our
‰
Œ
rights.
Œ ‰ n œJ n œ œ œ œ n œ œ œ œ Œ
(crying & begging) #### nœ œ œ œ œ Œ ‰ œ nœ œ ‰ œ nœ œ œ nœ . & # J J
46
ture,
(Don't pull back -- keep pushing forward)
42
Oh, please, Dad,
-
to dance.
what you al
- ways taught us
WOMAN: For God's sake, Jackie
Rit
since I was a lad.
fu
n˙
Ó
U Ó
But
œ
œ
œ
œ œ œ
Not
just
stay
here
count ing time.
‰
Œ
œ œ œ
TONY:
It's
#12—He Could Be a Star
Œ ‰ n œj b b b (bullishly)
fade.
œ Ó
DAD:
a - bout
œ our
B
48
bb
œ œ
We have
51
&
##
œ
œ
œ
his - to - ry,
T H E
It's
live.
let him
œ
our
rights.
œ œ
Son, we've got
œ
what you
It's
to let him…
œ œ.
œ œ
##
œ œ nœ .
the chance
##
Œ
al - ways taught us…
14
Driving
œ.
(not heroic: a simple lack of choice)
œ œ œ œ 2 nœ ‰ œ 4 œ 4 J 4 a - bout
— 207 —
M U S I C A L
4 œ 4
2 ˙ œ œ 4
got the chance to
b œ œ œ œ &b b
L L I O T
poco Accel.
building in intensity
& b œ œ
E
I L L Y
Ó
Œ
WOMAN: (freely)
b
nœ
Take
66
&b
(WOMAN:)
œ œ
U Ó
Ó
œ
Œ
this, and this…
&b œ œ œ Œ
Œ
(M3:)
this and
this.
&b
œ
U Ó
Ó
‰ œJ
œ œ œŒ
MINOR 4:
And
this and
"
œ œ Œ &b œ (M1:)
thisand
this,
MINOR 3:
Œ
this,
‰ œJ
MINOR 5:
Take
"
Take
œ œ œ Œ this and
‰
j œ œ œ
BIG DAVEY:
Don't wor - ry,
œ
lad,
‰
we'll nev-er
let you
#12—He Could Be a Star
MINOR 1:
this,
And
‰ œJ
Œ
j œ œ œ . nœ œ
‰ Jœ
Œ œ œ
œ Œ
MINOR 6:
And
73
‰ œ J
Œ
And this, and this…
Gentle, Flowing
70
‰ j œ œ œ
MINOR 2:
œ
fall.
Œ Ó
this and
this,
poco rall.
"
bbb
— 208 —
B
E
I L L Y
L L I O T
T H E
M U S I C A L
A Tempo, meno mosso 77
bb
WOMEN:
& b œ œ œ œ œ œ P MEN: b œ œ œ œ œ œ & b b œœ œœ œœ œœ œœ œœ
œ
We will go and we will shine,
b & b b ˙.
Œ
live.
b ˙. & b b n ˙˙ ..
Œ
F F
live.
b &b b
"
b &b b œ œ œ œ 83
œœ œ
ge - ther,
œœ œ œ œœ
œ
œ
œ
We
will
œ œ We
œ.
œ œ
œ
˙.
all
have
pride
in how
we
live.
œœ
œœ
œ œ
œ. œ.
œ œœ œ
n œœ
˙˙ ..
will
all
have
pride
in how
we
live.
Ó
Œ
œ œ œ œ œœœ œœœ œœœ œœœ Œ
We will all have pride in how we
œ
We will all have pride in how we
b &b b œ œ Œ
j œœ œœ œœ œœ œœ œœ œœ œœ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
We will all have pride in how we
We will go and seize the time.
We will all have pride in how we
b œ œ œ œ & b b œœ œœ œœ œœ
œ œ œ œ
We will go and seize the time.
We will go and we will shine,
80
j œ œ œ œ œ œ œ œ ‰ œ œ œ œ
ww
F
œ
œ
We
will
Œ
œ œ Œ al - ways
ww
b ww
www
b b www
Œ
œ !œ stand
to -
live.
ww w live.
œ. œ ˙ in
BIG DAVEY:
Œ
the dark,
‰ œj
œ. œ œ Œ Œ
right through the storm.
#12—He Could Be a Star
œ œ
We will
œ Œ ‰ œ œ !œ J
stand
shoul - der to
B
F b & b b œœ 87
œœ œœ œœ
I L L Y
E
œœ œœ œœ œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ
Yes, we'll all have pride in how we
b & b b œ bœ Œ shoul - der
bb & b b bb 93
Meno Mosso
‰
T H E
œ œ œ
to keep us
— 209 —
M U S I C A L
A Tempo
Rall.
Yes, we'll all have pride in how we
F œ b & b b b œœ
L L I O T
ww
live.
n www live.
œ Œ Ó warm.
16
#12—He Could Be a Star
4
bbbbbb
4
bbbbbb
4
bbbbbb
— 210 —
B
I L L Y
E
L L I O T
T H E
M U S I C A L
No Mines in London
12a
TACET
Posh Boy's Audition TACET
#12a / #12b—tacets
12b
B
I L L Y
U Œ
# & # 44 Ó
1
&
œ
œ
œ
feel - ing
that
# & # œ œ œ
you
can't
œ œ
‰.
œ œ. Œ
r nœ œ œ œ
and at
the same
play - ing in
F r & b œ œ œ œ œ ‰. œ œ œ.
13
&b œ
œ
œ
And then I
œ œ
Some - thing burst - ing
q
‰
time,
œ
»c. 82
œ
œ
œ
Œ ‰. r b œ
˙
Œ
‰ œ œ ‰. r œ œ. œ œ œ œ œ.
‰
your ear,
And I'm
a change
It's
list' - ning,
and I'm list - 'ning,
Like a
fire
deep in - side.
3
o - pen,
Im - pos - si - ble
to hide.
#13—Electricity
and
‰ œ œ œ œ œ œ j ‰ Œ œ œ
œ œ œ œ œ œ œ ‰ . œr œ œ œ œ œ œ œ œ œ œ œ
me wide
œ œ
It's a
some - thing makes you whole.
j œ œœ œ ‰ Œ feel
the words.
‰ Œ œ œ œ œ œ œ œ œ
œ œ Œ nœ
œ œ œ œ œ œ
like that there's a mu - sic
dis - ap - pear.
Œ
have - n't got
‰
I sup - pose it's like for - get-ting,
Gently Moving
I
I
con - trol.
& b nœ œ œ œ œ œ œ Œ
16
13
U r œ œ œ ! œ œ Œ œ
can't real - ly ex - plain it,
j œ œ ‰ ‰ œ œ
los - ing who you are,
then
— 211 —
M U S I C A L
U ‰.
‰. r œ œ œ œ œ œ œ. œ
7
10
T H E
2
BILLY:
I
##
L L I O T
Electricity
Billy, Back-up Singers
4
E
And sud - den - ly
3
I'm fly - ing,
Œ
— 212 —
B
E
I L L Y
L L I O T
j &b œ œ œ œ œ ‰ œ œ œ
19
Fly - ing
like a
bird,
Like
j &b œ œ œ œ ‰ Œ
22
sde
T H E
œœœ Œ
M U S I C A L
Œ
e - lec - tri - ci - ty.
œ œ
of me,
Œ ˙
œ
And I'm free,
Œ
œ
I'm
29
&
##
œ œ . Œ Œ ‰ . œr œ
hell.
# & # nœ
It's like
œ œ œ
don't know what it is,
35
your ear.
œ.
when you've been
it's
Œ &b œ œ œ œ œ œ play - ing in
œ
œ œ.
‰
hard
to
Œ
tell.
‰
Œ
‰
##
œ œ
œ œ ! œ œ ‰ . œr œ . œ mixed up,
œ œ ‰ œ
3
œ
œ
And you're emp - ty
and mad
as
j ‰ ‰. r œ œ œ
and you're full.
I
Œ ‰ . r b nœ œ œ œ œ œ œ œ It's
like that there's some mu - sic
r œ œ. ! œ œ œ œ œ ‰. œ œ œ œ œ œ œ œ. œ œ œ. œ œ >
But the
mu - sic
is im - pos - si - ble,
38
& b œ œ œ œ Œ ‰ œ œ œ œ œ œ œ œj ‰ Œ feel it move me
sparks in -
It's a
Con - fused and all
cry - ing,
‰ œj ! œ œ ˙
32
œ
bit like be - ing scared,
œ
œ œ
free.
# & # #œ œ œ œ œ œ œ . ‰ œ œ œ œ œ Œ ‰. r œ œ œ œ It's a
Ó
Ó
26
bit like be - ing an - gry,
Œ
E - lec - tri - ci - ty
pochissimo rit.
‰
œ œ œ Œ
œ œ
Like a burn - ing deep in - side.
#13—Electricity
im - pos - si - ble
œ
œ
œ
to hear.
œ œ
Some - thing burst - ing
me
But then I
œ œ œ
wide
o - pen,
œ
Im -
B
41
&b œ œ œ œ œ œ œ pos - si - ble
to hide.
I L L Y
»¡™º
&b ¿
Œ
Œ
œ œ œ œ œ ‰ œj œ œ
Œ
I'm fly - ing,
Fly - ing like a bird,
j œ œ œ œ œ œ ‰ Œ sparks in - sde
— 213 —
M U S I C A L
3
And sud - den - ly
E - lec - tri - ci - ty
Faster q
T H E
3
&b œ œ œ Œ Œ œ œ œ œ œ Œ
48
L L I O T
‰ . œr œ œ œ œ œ œ œ
44
tri - ci - ty.
E
of me,
‰
Like e - lec -
Rall.
œ œ
œ Œ œ Œ
And I'm free,
I'm
7
Ó
free!
8
56
&b
64
&b
76
&
84
###
&b
12
###
8
12
#13—Electricity
b
— 214 —
96
B
»•™
Largamente q
&b Ó
Œ
BILLY:
œ œ
I L L Y
œœœ Œ
Œ
E - lec - tri - ci - ty
"
&b
100
Ooh
Œ
& b # ˙˙ .. n ˙.
Œ
nœ .
j œ œ œ œ ‰ Œ
‰
œ œ
of me,
And I'm
Free,
œ œ œ
nœ . œ.
Free…
A Tempo q
Œ
œ œ œ #œ nœ œ
»¡™º
rall.
Ó
Œ Œ
Ó
Œ Œ
7
Ó
7
2
I'm
œ
molto rall.
#13—Electricity
œ I'm
free.
Grandioso
I'm
I'm
& b ww
&b
free,
œ Œ œœ Œ n œœ œ
free!
111
œ Œ œ Œ
Free
free.
&b ¿
M U S I C A L
Ah
free.
103
œ œ
T H E
ww w
b www
& b #˙ .
L L I O T
sparks in - sde
BACK-UP VOCALS:
ƒ
E
2
B
I L L Y
E
L L I O T
T H E
M U S I C A L
— 215 —
Soup Kitchen
13a
TACET
The Ballet School Letter
13b
TACET
Grandma's Song Scene Change TACET
#13a / #13b / #14—tacets
14
— 216 —
B
I L L Y
E
L L I O T
T H E
Moderato q = 98
8
b & b 44
b &b 9
MEN:
œ
Once,
b & b #œ
13
All
b &b œ
‰ j œ œ œ œ. œ œ
we built vi - sions
all
peo - ple e - qual
œ
œ
great
b & b #œ
21
And
&b
b œ we
on
œ œ œ œ Œ
17
25
15
Once We Were Kings
Men, Women, Girls
1
M U S I C A L
things
œ œ in
œ
œ
œ œ
in
all things.
œ
Œ
must come
to
pass.
œ
œ
œ
œ
we
may
be
lain,
œ
the ground
œ œ ‰ œ J
and
œ we
œ
dreamt of jus - tice and of
œ œ œ
œ
walk strong.
Œ
know the first
œ œ
œ
œ
But a
seed
is
œ All
œ
œ
œ
will
soon
œ œ ‰ œ œ J
sown
œ
œ
Once were
to
œ œ œ œ
to - geth - er we will
#15—Once We Were Kings
men re - newed.
œ
once were he - roes,
We
œ
œ œ œ Œ
œ
We
œ
œ
We
Œ
Œ œ œ œ
œ œ œ œ œ œ
œ
ground we hewed.
‰ j œ œ
walk proud - ly
Œ
œ
œ
rise
œ
be
œ
kings.
œ
œ
a - gain.
as
But
Œ
last.
œ œ œ go
‰ j œ
one.
‰ œj So
‰ œj The
B
29
&b
b œ
œ
ground is
œ œ ‰ œ J
emp - ty
and
I L L Y
E
L L I O T
œ
œ
œ œ
œ
œ. œ œ œ. œ #œ
cold
as
hell,
But we
all
go
to-geth-er
nn
Ó
˙ go.
when we
4
&
MINERS, WOMEN, some GIRLS:
& œ
We
œ œ œ
saw a
41
Each
land
each
œ
œ
each man's
means
œœ
each man's
means
? œœ
BARIS:
œœ œœ
each man's
œœ means
Œ
œ
œ
œ
where wealth was shared.
man re - vered,
TENORS:
V œœ
j œ œ
œ
WOMEN and GIRLS:
& œ
‰
œ œ œ
& #œ
45
— 217 —
M U S I C A L
œ
33
37
T H E
œ œ
each
j ‰ œœ œœ to
‰ œœ J
to
œ Œ
ty - rant killed,
‰ j œ œ to
Each
each
œ
his
need,
œœ
œœ
his
need,
œœ œœ each
œ
his
œœ need,
œ Each
Œ
œ
We
Œ
œœ We
Œ
œœ We
œ œ œ
œ
pain re - lieved,
œ œ
œ
soul re - deemed,
œ œ œ
saw
a time
œœ œœ œœ saw
a time
œ œœ œœ œ saw
a time
#15—Once We Were Kings
each
œ Œ
œ
œ
hun - ger
œ
fed.
œ
œ
œ
each
life
ful - filled.
œ
œ
œ
œ
man
would
be
freed.
œœ
œœ
œœ
œœ
man
would
be
freed.
œœ
œœ
œœ
œ œ
man
would
be
freed.
‰ j œ
From
Œ Œ Œ
— 218 —
B
49
& #œ
œ
We
fought for
œ œ
V
œ œ
œœ
œœ # œœ
We fought for
We
fought for
œ & œ
œ œ
all
œ œ œ œ J
WOMEN and GIRLS:
we
V
all
œ œœ œœ
? #œ
53
all
œ
walk
œ
TENORS:
we
V œ
walk
BARIS:
we
? œ
œ
walk
œ
BASSES:
we
walk
proud- ly
œ œ J
proud- ly
œ œ J
proud- ly
œ œ J
proud- ly
E
I L L Y
L L I O T
T H E
œ
œ
œ
œ.
j œ
the
things
we
saw.
The
œœ
n œœ
œœ
œœ
the
things
we
saw.
œ
œ
œœ
the
things
we
, j œ œ and
,œ J
œ œ
we
œ
and
we
œ J
œ
,
and
,œ J
and
we
œ we
œœ œœ
œœ ..
The
saw.
The
œ J
œ œ
œ œ
Œ
œ
œ
Œ
walk strong.
All
walk strong.
œ
œ œ
walk strong.
œ All
Œ
walk strong.
œ
œ œ
œ All
Œ
œ All
M U S I C A L
œ
œ
bat - tle's
œ œ
œœ
bat - tle's
# œœ
œœ
bat - tle's
œ, œ lost
œœ
but
, œ œ
œ, œ œ œ
lost
lost
but
but
œ
œ
not
the
œœ œœ not
war.
œœ
not
the
war.
œ œ
œ œ
œœ
œ œ
œ œ œ œ œ œ œ œ
to - geth - er we will
go
as
œ
œ œ œ œ
œ
œ
œ
to - geth - er we will
go
as
one.
œ
œ
œ
œ
to - geth - er we will
go
as
one.
œ
œ
œ
œ
go
as
one.
œ œ œ œ œ œ œ œ
to - geth - er we will
#15—Once We Were Kings
So
œ ‰ œj war.
œœ
the
œ ‰ j œ
œ œ
one.
So
‰ Jœ So
j ‰ œ œ The
j ‰ œ The
‰ œj The
‰ Jœ
The
B
œ & œ
œ œ
57
ground is
V
œ
œ
ground is
V œ
œ
ground is
? œ
œ
ground is
61
œ œ ‰ œj œ œ œ œ œ
emp - ty
and
œ œ ‰ Jœ
emp - ty
and
œ œ ‰ œ J
emp - ty
and
œ œ ‰ œ J
emp - ty
and
WOMEN and GIRLS:
Ooh
œ œ œ
œ œ
will go down
but our
œ œ œ
œ œ
will go down
but our
V œ
BARIS:
We
? œ
BASSES:
We
L L I O T
,
œ œ
as
hell,
œ
œ
cold
as
hell,
œ
œ
œ
cold
as
hell,
œ
œ
cold
as
œ
œ
œ œ œ
œ œ
will go down
but our
œ
œ œ
œ. œ.
œ œ œ. œ œ œ.
when we
˙. ˙.
Œ
to-geth-er
go.
œ œ œ.
œ #œ œ #œ œ œ
˙.
Œ
,
all
œ œ
œ
œ.
,
But we
all
go
to-geth-er
when we
go.
œ œ
œ
œ.
œ œ #œ .
œ œ
˙. go.
But we
, œ œ
hell,
But we
Œ
all
go
œ
go
œ.
to-geth-er
œ œ œ.
when we
all
go
to-geth-er
when we
œ #œ
ww
œ
œ
Œ
œ
œ
œ
œ
heads are proud.
#œ We
Œ
#œ We
Œ
#œ We
˙.
Œ Œ
go.
˙˙ . .
ooh
heads are proud.
œ
— 219 —
M U S I C A L
But we
heads are proud.
œ
T H E
œ œ œ œ
ooh
TENORS:
V œ
cold
œ œ
E
˙˙ ..
& ww
We
I L L Y
Œ
ooh
œ œ œ
œ œ
will go down
with our
œ œ œ
œ œ
will go down
with our
œ œ œ
œ œ
will go down
with our
#15—Once We Were Kings
œ œ œ Œ
voi - ces loud.
œ œ œ Œ
voi - ces loud.
œ œ œ Œ voi - ces loud.
— 220 —
B
& # ww V #œ We
V
#œ We
? #œ We
œ œ #œ will go down
œ œ #œ
will go down
œ œ #œ will go down
‰ œJ ‰ œ J
69
Ah
V œ. Ah
V œ. Ah
? œ. Ah
œ œ J
œ œ
œ œ J
œ œ
j œ œ
œ œ
œ
œ œ #œ . #œ œ œ œ #œ . #œ œ
˙. ˙.
Œ
go.
˙.
Œ
to-geth-er
œ œ
œ
œ.
œ œ #œ . #œ œ
a - gain,
And we
all
go
to-geth-er
when we
go.
œ
œ.
œ œ œ.
œ œ
˙.
all
go
to-geth-er
when we
go.
œ œ
˙.
when we
go.
œ œ
,
œ œ ,
And we
a - gain,
And we
a - gain,
œ
œ œ
Œ
˙˙ ..
& ww
œ. œ.
go
œ #œ
but come
œ œ
M U S I C A L
all
œ #œ
but come
œ œ œ œ
T H E
And we
œ #œ
but come
L L I O T
,
ooh.
‰ œJ
E
,
˙ .. ˙
65
ooh
I L L Y
œ
all
œ.
go
œ #œ œ .
to-geth-er
œ
Œ
#œ .
œ
œ
Œ
#œ .
Œ
Œ
œ œ J
œ œ
œ
œ
œ
œ œ J
œ œ
œ
œ
œ
Œ
œ œ J
œ œ
œ
œ
œ
Œ
Ah
œ
Œ
˙˙ . .
ww
Ah
œ
when we
Œ
Ah
œ
œ
œ
Œ
#œ . Ah
#15—Once We Were Kings
B
,
˙ .. ˙
73
& # ww Ah
œ #œ J
. V #œ Ah
V
I L L Y
œ #œ J
#œ .
œ œ
œ #œ J
Ah
œ & œ V
œ œ
walk
œ
TENORS:
we
walk
V œ
BARIS:
we
? œ
walk
BASSES:
we
œ œ
walk
proud- ly
œ œ J
proud- ly
œ œ J
proud- ly
œ œ J
proud- ly
œ œ #œ . #œ œ œ œ #œ . #œ œ
˙ ˙
nœ nœ
Œ
˙
nœ
Œ
œ #œ
all
go
to-geth-er
œ œ
œ
œ.
œ œ #œ . #œ œ
œ #œ
œ,
And we
all
go
to-geth-er
when we
go.
œ
œ.
œ œ œ.
œ œ
˙.
all
go
to-geth-er
when we
go.
œ œ
˙.
when we
go.
, j œ œ and
,œ J
œ œ
we
œ
and
we
œ J
œ
,
— 221 —
M U S I C A L
œ. œ.
œ œ
œ œ
œ, œ œ
and
,œ J
and
we
œ we
all
œ œ
œ œ
Œ
œ
œ
Œ
walk strong.
œ
walk strong.
œ
œ
walk strong.
œ œ œ
All
Œ
œ All
Œ
œ #œ œ .
go
All
walk strong.
œ
œ.
œ
And we
œ œ œ œ J
T H E
And we
œ #œ
œ
WOMEN and GIRLS:
œ
œ œ œ œ
And we
? #œ .
we
L L I O T
œ,
Ah
77
E
œ All
to-geth-er
go.
when we
œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ
Œ
to - geth - er we will
œ œ
go
as
œ
œ
œ
œ
to - geth - er we will
go
as
one.
œ
œ
œ
œ
to - geth - er we will
go
as
one.
œ
œ
œ
œ
go
as
one.
œ œ œ œ œ œ œ œ
to - geth - er we will
#15—Once We Were Kings
œ œ
Œ
œ œ
one.
j ‰ œ œ The
j ‰ œ The
‰ œj The
œ ‰ J
The
— 222 —
B
œ & œ
œ œ
81
ground is
V
œ
œ
ground is
V œ
œ
ground is
? œ
œ
ground is
A Tempo
b œœœ b & b 85
œ œ ‰ œj œ œ œ œ œ
emp - ty
and
œ œ ‰ œJ
emp - ty
and
œ œ ‰ œ J
emp - ty
and
œ œ ‰ œ J
emp - ty
œœ œ
and
cold
œ
œ
cold
as
hell,
œ
œ
œ
cold
as
hell,
œ
œ
cold
as
hell,
œœ œ
œœ œ
œ
œœ œœ , œœ œ œ œ J J , œ J œ Jœ
and
walk proud-ly
and
We
b œ Vb b
BARIS:
œ œ
œ œ , œ J J œ œ , œ J J
We walk proud-ly BASSES:
and
walk proud-ly
and
? bb œ b
We
œ
œ œ
hell,
We walk proud-ly TENORS:
œ
œ œ
as
WOMEN and GIRLS: (optional)
b Vb b
E
I L L Y
we
œ
we
œ we
œ
we
œ
L L I O T
,
T H E
,
But we
all
œ œ
œ
,
But we
all
go
œ œ
œ
œ . œ œ #œ . œ œ
But we
,œ œ
But we
œœ œ œ œ
Œ Œ
œ
walk strong.
œ
go
all
go
œœ œ œ œ All
Œ
when we
to-geth-er
to-geth-er
when we
when we
œ . œ œ œ . œ #œ
All
Œ
to-geth-er
œ. œ œ œ. œ œ
All
walk strong.
œ
go
all
walk strong.
œ
œ. œ œ œ. œ œ . œ œ œ . œ ## œœ
œ œ
œ œ œ œ
walk strong.
œ
M U S I C A L
œ
All
to-geth-er
œœ œ
when we
œœ œœ œœ œ œ œ œ œ
to - geth - er we will
œ
œ œ œ œ
Molto Rall
˙ go.
˙ go.
˙
œ œ
bbb
œ œ
bbb
œ œ
bbb
go.
w
bbb
go.
œœ œœ œœ ‰ œœ œ œ œ œ J
go
as
one.
The
œ œ œ ‰ œ J
to - geth - er we will
go
œ
œ œ œ ‰ œ J
œ œ œ œ
to - geth - er we will
œ
œ œ œ œ
to - geth - er we will
#15—Once We Were Kings
go
as
as
one.
one.
The
The
œ œ œ ‰ œ J go
as
one.
The
B
b b œœœ b &
89
œœ œ œ
emp - ty
ground is
emp - ty
ground is
b Vb b
œ
b œ Vb b
and
cold
as
and
cold
as
œœ œœ , œœ œ œ œ J J
œœ œ
œ œ
, œ J œ Jœ
We
walk proud-ly
We
? bb œ b
We
œ
and
and
œ œ , œ J J œ œ , œ J J
walk proud-ly
œ
œ ‰ J
walk proud-ly
and
and
œ
we
œ
we
œ we
œ
we
But we
œ , œ œ
œ
œ
œ
b œ Vb b
œ
hell,
œ
walk proud-ly
œ
as
œ
œ œ ‰ œ J
emp - ty
We
and
cold
T H E
œœ , œœ œœ œ œ œ
hell,
ground is
œœ œ
œ ‰ J
œœœ
as
œ
To Fade
and
œœ œ
L L I O T
cold
emp - ty
b œœœ b & b b Vb b
œ
œ œ
ground is
? b œ bb
93
œœ œœ œœ œ œ ‰ œ J
E
I L L Y
œœ œ
go
œ
to-geth-er
go.
when we
œ. œ œ œ. œ nœ
œ
œ . œ œ nœ . œ œ
hell,
But we
all
go
to-geth-er
when we
go.
hell,
But we
all
go
to-geth-er
when we
go.
œœ œ
œœ œ
œœ œ
Œ
œ œ œ
walk strong.
œ
All
Œ
œ
All
Œ
œ All
Œ
œ
All
to-geth-er
˙
œ œ
,
walk strong.
œ
all
˙
go
walk strong.
œ
œ . œ œ n œœ .. œ œ œ. œ œ
all
walk strong.
œ
œ œ
But we
œ , œ œ
œ
— 223 —
M U S I C A L
when we
go.
˙
œ . œ œ nœ . œ œ
œœ œœ œœ œ œ œ œ œ
to - geth - er we will
œ
œ œ œ œ
˙
œ ‰Œ J œ ‰Œ J œ ‰Œ J œ J‰Œ
œœ œœ œœ ‰ œœ œ œ œ œ J
go
as
one.
The
œ œ œ ‰ œ J
to - geth - er we will
go
œ
œ œ œ ‰ œ J
œ œ œ œ
to - geth - er we will
œ
œ œ œ œ
to - geth - er we will
#15—Once We Were Kings
go
as
as
one.
one.
The
The
œ œ œ ‰ œ J go
as
one.
The
— 224 —
B
b b œœœ b &
97
œœ œ œ
emp - ty
ground is
emp - ty
ground is
b Vb b
œœ œœ œœ œ œ ‰ œ J
œ
b œ Vb b
œ
œ œ
œ ‰ J
and
œ
emp - ty
ground is
emp - ty
œ œ
œœ œ
œœœ
cold
as
œ
œ
E
L L I O T
hell,
hell,
œ
œ
œ
and
cold
as
and
cold
as
œ
œ
But we
œ , œ œ
as
œ ‰ J
T H E
œœ , œœ œœ œ œ œ
cold
œ œ ‰ œ J
ground is
? b œ bb
and
I L L Y
M U S I C A L
œ œ
œ . œ œ n œœ .. œ œ œ. œ œ
all
go
œ
to-geth-er
when we
œ. œ œ œ. œ nœ
˙
all
go
œ œ
œ
œ . œ œ nœ . œ œ
hell,
But we
all
go
to-geth-er
when we
go.
hell,
But we
all
go
to-geth-er
when we
go.
œ , œ œ
œ
when we
go.
But we
,
to-geth-er
˙
œ . œ œ nœ . œ œ
go.
˙ ˙
œ ‰Œ J œ ‰Œ J œ ‰Œ J œ J‰Œ Near Segue
#15—Once We Were Kings
B
& 44
E
L L I O T
T H E
— 225 —
M U S I C A L
16
The Letter (Reprise)
Billy, Dead Mum
1
I L L Y
15
q = 170
Ó
Œ
‰
j œ
BILLY:
And
17
& ˙
please,
21
& ˙
proud
Œ
œ œ
œ
to
œ
know
˙
have
& œ Œ Ó
& Ó
˙
Mam - my,
Proud
DEAD MUM:
In
you.
œ œ œ
œ
Œ œ
œ œ
known
26
31
Œ
in ev
#œ
ev
-
œ
œ œ
'ry - thing,
œ œ œ œ œ
'ry
thing
you do
œ
œ
œ
that
I
will
Œ Ó
œ
Œ Œ
al
!
Ó
j œ œ
-
pro
œ
œ œ œ
that
œ
œ œ
be
œ
you
you this,
œ #œ
Al - ways
#16—The Letter (Reprise)
be
Proud
mise
!
j œ
ways
œ
œ œ ˙
And I
˙
œ
œ
œ
œ
were mine,
Œ
j œ œ.
Mam - my,
˙.
your - self,
Œ
— 226 —
B
& œJ œ .
36
Ó
BILLY:
Ó
Œ
41
&
And I
!
(BILLY:)
-
!
Ó
3
œ
˙
˙
ways
will
œ
be
!
œ
true.
!
œ
you
œ
for
-
˙
ev
!
˙
Ó
DEAD MUM:
œ œ œ 3
-
er.
!
& & ˙
j œ œ.
Œ
2
¿
Mam.
ev
-
Ó
er.
3
œ
Love
Ó ¿ ¿ Œ
2
Ó
Bil - ly.
30
12
for -
!
œ œ œ
er.
!
45
&
M U S I C A L
!
Love
ev
89
-
T H E
Love you
& ˙
&
al
!
(DEAD MUM:)
49
L L I O T
œ œ ˙
Mam - my.
&
E
I L L Y
79
101
#16—The Letter (Reprise)
10
9
œ
you
œ
for -
B
I L L Y
Slowly grad accel.
& b 128
T H E
7
— 227 —
M U S I C A L
accel.
»3
q 166
(swing 8ths)
4 &b 4 12
L L I O T
17
Finale
Full Company
1
E
Boogie Shuffle (strong backbeat)
&b
68
16
7
poco più mosso
9
38
3
¿
Œ
¿
BILLY:
6
&
Subito Faster
b & b bb 62
(straight 8ths)
»¡¶§
q
»¡§!
Swung Tempo Slower (Gutbucket swing)
bbbb
4
#
Slower ("Tea for Two")
(swing 8ths)
Faster ("Rock 'n' Roll" --- swing 8ths) 70
&
q
9
»¡£™
q
##
#17—Finale
q
Ú
44
174
¿
n
Sev - en, Eight!
Six,
48
¿
!
8
»¡™º 4
15
n
— 228 —
B
4
# & # 94
110
&
I L L Y
E
L L I O T
M U S I C A L
4
bbbb
12
###
T H E
####
8
###
4
#
##
(straight 8ths) 126
&
##
‰
# & # ‰ # & # ‰
WOMEN and KIDS:
j œ
It
j œ
# & # ‰
does
TENORS:
It
j œ
BARIS:
It
128
œ
-
œ
does
-
œ does
-
j nœ œ œ œ
Tra - pe - zi - oid,
œ
œ
n't
mat
œ
œ
n't
mat
œ
n't
‰
œ
mat
-
j œ
or
‰ Jœ
# œ nœ & # ‰ œJ œ
‰ Jœ
Tra - pe - zi - oid,
or
or
œ
ter
if
œ -
# nœ & # ‰ œJ œ œ
Tra - pe - zi - oid,
-
œ
you're
large
œ
œ J
œ
ter
if
œ
you're
large
œ
œ J
œ
ter
if
j œ œ
short
œ
or
you're
large
j nœ œ
Œ
tall,
œ œ J
nœ œ J
œ œ J
nœ œ J
short or
short or
j œ
Œ
tall,
tall,
#17—Finale
Œ
œ
or
j œ small,
œ
Œ Œ
œ
œ J
œ
or
small,
œ
œ
or
œ J
Œ
small,
œ œ œ
œ
œ
Ev - en
if
you
can't
Ev - en
if
you
can't
Ev - en
if
you
can't
œ œ œ œ œ œ
œ œ
œ œ
B
131
&
#œ
œ
dance
at
# #œ & #
œ
dance
at
# #œ & #
œ
dance
Slower
# & œ &
at
»ª™
q
(swing 8ths)
œ
œ
œ
œ J
‰
œ J
‰
all,
all,
œ all,
œ
œ
œ
œ
œ
œ
All
real - ly
you
œ
œ
All
you
œ
œ
All
you
œ
œ
œ
œ
œ
rall.
j œ
j œ œ
œœ
got - ta
œœ
do
œœ J
is
œœ
shine!
real - ly
got - ta
do
is
shine!
œœ
œœ
œœ # œœ
œœ
real - ly
œœ
got - ta
œ œ nœ #œ œ
œœ
œœ J
do
is
œ œ
œœ J œœ J
˙
Ó
˙˙
Ó
˙˙
Ó
# # #
shine!
j nœ ‰ œ
œ
œ œ
œ
diff' - rent,
it's
œ
the
œ
nat - u - ral state,
It's
a
fact,
it's
plain
œ
to see.
Ev' - ry - one
is
diff' - rent,
it's
the
nat - u - ral state,
It's
a
fact,
it's
plain
to see.
œœ
œœ
œœ
œœ œ #œ
it's
the
plain
to see.
œ œ œ
œ œ œ
Ev' - ry - one
accel.
& ˙
Œ
# ˙
Œ
&
œ
j ‰ œ
(swing 8ths)
— 229 —
M U S I C A L
is
# œ
#
T H E
Ev' - ry - one
# & œœ
137
L L I O T
subito half - tempo Swung!
##
134
E
I L L Y
# & ˙˙
œ œ
is
œ œœ
œœ
diff' - rent,
‰ œj The
‰ œJ
»¡™º
q
œ
world's
œ
j œ œ ‰ œ nœ The
Œ
œ
world's
The world's
œ grey
œ
grey
œœ grey
œ œ nœ #œ œ
# œœ # œœ ‹ # œœ # œœ œœ nat - u - ral state,
œ
œ
œ
œ
œ
œ
œ
œ
e - nough with - out
e - nough with - out
œœ
œœ
œœ
œœ
e - nough with - out
#17—Finale
œ œ
œœ œœ It's
a
nœ œ J ‰ n œœ ‰ œœ J
fact,
it's
œ œ
‰ œj œ œ œ œ œ
mak - ing
it
worse,
We need
œ œ œ œ ‰ œ œ J
mak - ing
it
mak - ing
it
worse,
We need
j œœ œœ n # œœ œ ‰ œ œ œ œ œ worse,
We need
— 230 —
# & b œ œ œ œ œJ œ
B
# bœ œ œ œ nœ œ J & in - di - vi - du - al - i
# & b œœ œœ œœ œœ œœ œœ J in - di - vi - du - al - i
j œ
-
-
-
#
j & œ œ œ œ œ ‰ Œ 143
press - ing your - self?
&
# œ œ œ œ œ J ‰ Œ press - ing your - self?
j # œ œ œ œ # œ & œ œnœ œ œ ‰ Œ press - ing your - self?
E
L L I O T
accel.
140
in - di - vi - du - al - i
I L L Y
ty!
œ J
Œ
˙ ˙ ˙˙
accel.
bœ
œ
What
bœ What
b œœ What
»¡££
q
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#17—Finale
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B
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M U S I C A L
Playout TACET
#18—Playout
— 231 —
18