| Aladdin |
Genre: panto-style
play with 8 suggested songs. Ages:
9 to adult. Duration:
80 minutes approx. Info:
an old favourite tale re-told in a new way. Scope for a large
cast and chorus. Please note, this is a script with suggestions
for songs. Plot: the traditional panto but with extra characters.
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| Ali Baba |
Genre:
panto-style play with 8 suggested songs. Ages:
9 to adult. Duration:
80 minutes approx. Info: Lots of speaking roles and chorus work. Please note,
this is a script with suggestions for songs. Plot: the well-known story of Ali Baba and the Forty Thieves.
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| An Evening With Lord Bramley |
| Genre: A musical whodunit. Ages: Adults. Duration: Approx. 2 hours. Info: 8m, 5f and chorus of servants. Plot: Lord Bramley is having a dinner party. In addition to his wife there will be four guests, none of whom have ever met him, although Gerard and Constance are known to Lady Bramley. Bramley is a practical joker and, unbeknown to his guests, he decides to invite a group of actors, The Poirot Players, to run a murder-mystery evening. To make this even more bizarre, one of the actors actually plays Lord Bramley and Bramley masquerades as the butler, whom he has given the night off. Two of the actors play fictitious guests. What seems a good idea to the eccentric Bramley soon turns into a disaster when the actor playing Lord Bramley is murdered.
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|
| Beauty and the Beast |
| Please note: this is NOT the Disney version and does NOT contain the Disney songs. Genre:
A musical play for junior and secondary schools (two versions)
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|
| Cinderella |
Genre:
panto-style play with 8 suggested songs. Ages:
9 to adult. Duration:
1 hour 20 mins approx. Info: this is a script without songs but we do suggest songs
that can be easily learned and slipped in to the show. Scope
for a large chorus with plenty of speaking roles. Plot: the traditional panto but with a twist at the end.
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| Coppelia |
| Genre:
musical play with chorus songs and dances. Ages:
9 to adult. Duration:
1 hour 20 minutes. Info:
large cast with plenty of speaking roles. 6 songs several dances.
Plot: based on the story of the doll, Coppelia, who comes to life. There are six scenes and plenty of chorus songs and dances. This is a play for a large cast with lots of speaking roles.
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|
| Dick Whittington |
Genre:
panto-style play with 8 suggested songs. Ages:
13 to adult. Duration:
1 hr 45 minutes. Info:
Lots of speaking roles and chorus work. Please note, this is
a script with suggestions for songs. Some of the dialogue is
quite demanding and probably too difficult for Juniors. Please
view the sample scene below, which gives an idea of the more
difficult passages of dialogue. Plot: A destitute boy seeking his fortune in London, a talking cat, a plague of rats, a bizarre voyage on board a ship, a visit to a sultan's palace, a nasty villain (King Rat), an eccentric police inspector; what more could you want in a pantomime.
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| Down Stepney Way |
| Genre:
a musical play set in London in the blitz. Contains both humour
and pathos. Ages:
Teenage to adult. Not suitable for juniors. You will be
sent the full version of the play and a slightly shorter schools
version. Duration:
Over two hours. Plot: set in Stepney in the blitz, a chance meeting throws together a group of characters from the East End and a group of well-heeled West End characters. Friction, friendship and romance result.
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|
| Escape From Ragnarok Mountain |
Genre:
an adventure story for children. Ages:
9 to 16 Duration:
80 to 90 minutes. Info:
lots of speaking roles and crowd scenes. Although the first
of the trilogy, this play stands on its own and can be self-contained.
Plot: time travel to the past, elves, wizards and a fight for
good against evil in magical and mystical settings.
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| Hansel and Gretel |
| Genre:
A music play for junior and lower secondary schools Ages:
9 - 14 Duration:
Just over one hour. Info:
11 speaking parts plus a chorus. Plot: Hansel and Gretel are left in the forest by their parents, who are too poor to feed them. Lost, they stumble on an old cottage, unaware that it is inhabited by a witch. Hansel is captured to be fattened for the cooking pot. Happily, a band of forest elves come to the aid of Gretel and defeat the witch. (She does not die in this version)
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|
| Just Another Friday |
Genre: a farce in the comedy theatre tradition. Ages: 16 to adult. Duration: under 2 hours. Info: 4m, 2f, 2 m or f. Plot: A couple in their forties are bored with one-another and each joins an evening class, where they each meet a new 'friend'. One Friday, both evening classes are cancelled and unwittingly, both of the couple bring their 'friends' home to their flat. Add to this a barmy, drunken granny, a nosey policeman and a daughter and boyfriend and the mix is explosive.
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| King Arthur, The True Tale |
Available soon |
| Peter Pan |
| Peter Pan Copyright 1937 Great Ormond Street Hospital for Children, London. Genre: A musical for schools and youth theatre or adult theatre companies. Based on the original stage play by JM Barrie. All
performing royalties go to Great Ormond Street Hospital Children's
Charity.
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|
| Puss in Boots |
Genre: panto-style
play with 7 suggested songs. Ages:
9 to adult. Duration:
Just over 60 minutes. Info: Lots of speaking roles and chorus work. Please
note, this is a script with suggestions for songs. Plot: the well-known story of Puss in Boots. A miller's youngest son is left only a cat in his father's will. However, this is no ordinary cat. With Puss's help, the boy Thomas gains a title, castle and lands.
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| Robin Hood |
Genre: panto-style
play with 8 suggested songs. Ages:
9 to adult. Duration:
80 - 90 minutes. Info:
plenty of speaking roles and opportunities for a large cast.
Please note, this is a script with suggestions for songs. Plot: the familiar story of Robin Hood, Maid Marion and the evil Sheriff of Nottingham.
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| Rumpelstiltskin |
| Genre:
musical play with chorus songs and dances. Ages:
9 to adult. Duration:
1 hour 30 minutes. Info:
possibilities for a very large cast, lots of speaking roles.
6 songs, 7 dances. Plot: an energetic and exciting musical play with backing tracks to perform to and lively dance music.
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|
| Slick |
| Genre: upbeat musical
play for large cast of males and females. Ages:
11 to adult. Please note, this is a full-length play. See sample
below. Duration:
over 2 hours. Info:
scope for large chorus, 30 speaking roles, 9 songs. Plot: set in an American high school in the sixties. This exciting and humorous play contains up-beat songs and dances ,which appeal to children. There is plenty of dance work, scope for a large chorus and 30 speaking roles.
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|
| St Trinian's, The Musical |
Genre:
musical comedy with chorus songs Ages:
11 to adult. Duration:
2 hours Info:
16 speaking parts plus scope for large chorus. Plot: This is not based on any of the films but captures the spirit of St Trinian's and follows the adventures of a group of girls as they deal with a bully and solve a mystery. There are also male roles in this version. Available summer 2008.
|
| Tagula Suva |
| Genre:
a humorous musical play set on the high seas. Ages:
9 to 18 Duration:
1 hour 45 minutes. Info:
lots of speaking parts, scope for a large chorus, 9 catchy songs.
Plot: a chase involving the royal navy and a band of pirates, ending up on the tropical island of Tagula Suva. There are lots of catchy songs and a witty script.
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|
| The Alternative Snow White |
| Genre:
A comedy play with songs for students and adults. This play
is too difficult for younger children. The songs use well-known
folk-song melodies so your cast will learn them very easily.
Of course, we have changed the words. Ages:
16 and over Duration:
Approx. 2 hours. Info:
24 speaking parts (some are very minor roles) plus a chorus.
Plot: This is a hilariously funny adaptation of the well-known story of Snow White and the Seven Dwarves. Your audience will be rolling in the aisles. The script is full of misunderstandings and plays on words. There are only a few patches of mildly risque humour.
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|
| The Blue Lamp |
Genre: a comedy Ages: for adults or older students. Duration: under two hours Plot: Set in a police station in London. A new inspector is due to take over. A thief takes refuge in a police station. A man dressed as a lady gets into difficulties when his car is stolen (along with his male clothes). He goes to file a report at the police station where his wife reports him missing. Meanwhile, the jewel thief is mistaken for the new inspector. Mayhem ensues.
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| The Nun's Trail |
Genre: Comedy Ages: Adults or older students Duration: under two hours Plot: a prison breakout story with a twist. A prisoner escapes from a high-security jail and disappears without trace. Later, two prisoners occupying the same cell discover a tunnel and break out. The tunnel actually leads to the convent over the road. The plot contains elements of disguise, mistaken identity and a hunt for a priceless diamond. Adult comedy.
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| The Alternative Treasue Island |
| Genre: Not strictly a panto but a hilariously funny spoof on the well-known story of Treasure Island. The songs are all based on well-known songs of the sea, with our own lyrics. The script is quite challenging and risque in places. Ages: 16 to adult. Duration: Approx. 2 hours. Info: 17 speaking parts plus chorus. Plot: Loosely based on RL Stevenson's novel. Billy Bones, a retired pirate, is drinking in the tavern run by Mrs Hawkins and her son, Jim. He receives a letter with the 'black spot', a pirates curse. This causes him to have heart failure and he dies. Mrs Hawkins and Jim discover a treasure map in Bones' sea chest, just as the pirates arrive to claim the map. Jim escapes to the Squire's house with the map and the adventure begins.
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|
| Tom Thumb |
Genre:
panto-style play with 9 suggested songs. Ages:
9 to adult Duration:
1 hr approx. Info:
Lots of speaking roles and chorus work. Please note, this is
a script with suggestions for songs. Plot: Tom is one of seven brothers. Their parents cannot afford to feed them and leave them to fend for themselves in the forest. They knock on the door of a mysterious cottage hoping for shelter from a storm. Unbeknown to them the cottage belongs to an ogre who eats children.
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|
(Sequel to the Wind in the Willows) |
| Genre:
a musical play, the sequel to the Wind in the Willows, a fun
show for all the family. Ages:
9 and over. Duration:
1 hour 30 minutes. Info:
a large cast and easy songs for children to learn. 9 songs.
Plot: the adventures of Toad and friends after the weasels have been thrown out of Toad Hall. This is suitable for schools and youth theatre and will provide a great evening's entertainment for your audience.
Purchase Script, Score or Backing Tracks
|
What is a Musical? The three main components of a musical are the music, the lyrics, and the book. The book of a musical refers to the "play" or story of the show - in effect its spoken (not sung) lines; however, "book" can also refer to the dialogue and lyrics together, which are sometimes referred to (as in opera) as the libretto (Italian for “little book”). The music and lyrics together form the score of the musical. The interpretation of the musical by the creative team heavily influences the way that the musical is presented. The creative team includes a director, a musical director and usually a choreographer. A musical's production is also creatively characterized by technical aspects, such as set, costumes, stage properties, lighting, etc. that generally change from production to production (although some famous production aspects tend to be retained from the original production, for example, Bob Fosse's choregraphy in Chicago). There is no fixed length for a musical, and it can range from a short one-act entertainment to several acts and several hours in length (or even a multi-evening presentation); however, most musicals range from one and a half hours to three hours. Musicals today are typically presented in two acts, with one intermission ten to 20 minutes in length. The first act is almost always somewhat longer than the second act, and generally introduces most of the music. A musical may be built around 4-6 main theme tunes that are reprised throughout the show, or consist of a series of songs not directly musically related. Spoken dialogue is generally interspersed between musical numbers, although the use of "sung dialogue" or recitative is not unknown, especially in so-called "sung-through" musicals. Musical theatre is closely related to another theatrical performance art, opera. These forms are usually distinguished by weighing a number of factors. Musicals generally have a greater focus on spoken dialogue (though some musicals are entirely accompanied and sung through, such as Jesus Christ Superstar and Les Misérables; and on the other hand some operas, such as Die Zauberflöte, and most operettas, have some unaccompanied dialogue), on dancing (particularly by the principal performers as well as the chorus), on the use of various genres of popular music (or at least popular singing styles), and on the avoidance of certain operatic conventions. In particular, a musical is almost never performed in any but the language of its audience. Musicals produced in London or New York, for instance, are invariably sung in English, even if they were originally written in another language (again, Les Misérables, originally written in French, is a good example). While an opera singer is primarily a singer and only secondarily an actor, a musical theatre singer is usually an actor first, who can at least hold a tune and "put over" a song, but is often not a professional singer as such. Composers of music for musicals often have to take the limitations of such performers into account, and theatres staging musicals generally use amplification of the actors' singing voices in a way that would normally be disapproved of in an operatic context. In isolation, at least, none of these features is truly "defining", and in practice it is often difficult to distinguish among the various kinds of light musical theatre, including "operetta", "comic opera", "light opera", "musical play", "musical comedy", "burlesque", "travesty", and even "revue". Some works (e.g. by Leonard Bernstein and Stephen Sondheim) have received both "musical theatre" and "operatic" treatment. Similarly, some older operettas or light operas have had modern productions or adaptations that treated them very much as musicals. Sondheim said, "I really think that when something plays Broadway it's a musical, and when it plays in an opera house it's opera. That's it. It's the terrain, the countryside, the expectations of the audience that make it one thing or another." [1] This article primarily concerns musical theatre works that are distinctively "non-operatic", but there inescapably remains some overlap between lighter operatic forms and the more musically complex or ambitious musicals: a grey area, in which production values are almost as important as actual musical or dramatic content in defining into which artform the piece falls. As with a well-crafted operetta or opera, a "book" musical's moments of greatest dramatic intensity are often performed in song. Proverbially, "when the emotion becomes too strong for speech (or recitative) you sing; when it becomes too strong for song, you dance." A song is (ideally at any rate) crafted to suit the character (or characters) and their situation within the story; although there have been times in the history of the musical (e.g. the 1920s) when this integration between music and story has been very tenuous. A show very often opens with a song that sets the tone of the musical, introduces some or all of the major characters, and shows the setting of the play. Within the compressed nature of the musical, the writers must develop the characters and the plot. Music provides a means to express emotion. However, typically, many fewer words are sung in a five-minute song than are spoken in a five-minute block of dialogue. Therefore there is less time to develop drama than in a straight play of equivalent length, since a musical usually devotes more time to music than to dialogue. Many familiar musical theatre works have been the basis for popular musical films, such as The Sound of Music, West Side Story, and My Fair Lady (although some movie musicals have been disappointing, as compared to the stage works) or were adapted or even written for television presentations (for example Rodgers and Hammerstein's Cinderella). Recently, some popular television programs have set an episode in the style of a musical. There has also been a recent revival of the movie musical, such as Chicago. Similarly, India produces numerous musical films, referred to as "Bollywood" musicals, and Japan produces a considerable number of Anime stage musicals. Conversely, there has been a trend in recent decades to adapt musicals from the screen to the stage, both from popular animated film musicals, such as Beauty and the Beast) and live-action films, such as The Producers and The Color Purple.
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