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    Pirates of Penzance Jr. LV

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    SQ, O kh © : 3 jm Lil = loom ” Pirates of Penzance Junior Theatre Basics... . Geode ge opp gece gee a pe oocecooed About The Pirates of Penzance |R. . : os 12 ‘The Show . . cone coe 5 is Pour, o pour the pirate sherry ........ When Fred’ric was a little lad. Oh, better far to live and die ..... Oh, false one, you have deceived me Climbing over rocky mountain . Stop! Ladies, pray! ..... Oh, Is there not one maiden Poor wand’ring one! .... Stay, we must not fose our senses ... Jam the very model of a modern Major-General Oh, men of dark and dismal fate... Oh, dry the glist’ning tear . 3 When the foeman bares his stel (Tarantaral) . When you had left our pirate fold (Part 1) . When you had left our pirate fold (Part 2) . Tarantara! (Reprise) .. A rollicking band of pirates we .. With cat-like tread .......++. Now what is this, and what is that . ‘The Pirates of Penzance JR. Student Book ©1981 W. |. Ford, Inc. ‘Unauthorized duplication is prohibited rt ronday Junior an Ms Broadway uo Collet om are reserved. Wook) of Music Theatre International. © Welcome to the Musical Theatre! @ You are about to begin rehearsals for a production of The Pirates of Penzance JR. Rehearsing refers to the process of learning and practicing a play or musical in order to perform it for an audience. Because a musical uses songs and dances to tell a story, you may be called upon to act, sing and dance in your production — that's a lot to rehearse! This Student Book, which is similar to the scripts professional actors use to rehearse, will be your most important resource as you prepare for your production. The main section of the book contains the dialogue, lyrics, music and stage directions for the musical. © Dialogue refers to the words the characters speak, or lines. * Lyries are the words the characters sing in the show. * Music indicates the notes and timing for the songs. © Stage directions describe the setting and important physical actions performed by the characters. The dialogue, lyrics and stage directions make up the libretto, or script, of the show. The script has acts, which are in turn divided into scenes, each scene usually taking place in a different location, or setting. ‘The Pirates of Penzance TR, = Student Book) Every profession has its own vocabulary. As you read and rehearse The Pirates of Penzance JR., learn the words on the next few pages so you can talk like a theatre pro in no time! The term tineatre (sometimes spelled theater) may refer to plays or musicals as an art form, a building where they are presented, or the community of people who create and perform them. In this Student Book, we'll refer to “theatre” as the activity and “theater” as the place. The stage is the area where actors perform for an audience. The [house is where the audience sits to watch the performance. Anything on the stage and within view of the audience is said to be onstage; anything outside the view of the audience is said to be offstage. The entire area off and behind the stage is the lsackstage area. The various onstage, offstage and backstage areas vary from theater to theater. Most theaters have wings, areas to the side of the stage just out of the audience's view. Actors who are about to come onstage are said to be “waiting in the wings.” The entire physical environment onstage is known as a sat, and may include backdrops, flats, furniture and props. Bacikcirops and flats are large pieces of painted paper or cloth that hang or stand behind acting areas to represent different locations, or settings. Props are objects used by the actors during the show. F iE (Fe Tis of ane St ToD) @ In order to see the set, special theatrical lights are hung above, in front, or to the side of the stage. Most lights are focused on a certain area of the stage, but spotlights, or follow spots, are movable and can follow actors crossing the stage. In order to hear the actors, microphones, or mics, may be used to amplify their voices. These may include foot mics, flat microphones arranged along the front edge of the stage, and bedy mics, portable microphones strapped to the actors' bodies. © Where You'll Go Onstage “Stage” also describes how the director chooses to have actors move and interact onstage. Each section of the stage has a specific name. When you stand at the center of the stage (centerstage) and face the house, upstage is the area behind you, and downstage is the area in front of you. Stage left is the area to your left, and stage right is the area to your right. These terms can be combined. For example, the area to your right and behind you is upstage right, or up right. Stage locations remain the same no matter what direction you face or where you are located onstage or in the theater. The section of the stage closest to the audience is always “downstage.” Another useful set of terms describes what happens onstage during the show. An actor enters, or makes an entrance, when he steps onstage. An actor exits, or makes an exit, when she leaves the stage. An actor crosses when he moves from one place onstage to another. An actor counters when she moves to fill the space left by an actor who has crossed. A cue is any line or action that triggers another line or action. There are many people who work together to put on a musical. The a 's performing characters in a show are collectively known as the ca The people who work backstage during a show are known as the crew. Together, the cast and crew are known as the cowinjoainy. The company is headed by the « m, the people “in charge”: © The prodiucer oversees the budget, calendar and staffing. © The eirector provides the artistic vision for the show and coordinates all of the creative elements. » The iusi¢ eliirector teaches the music and maintains its quality. © The choreogyailer creates and teaches the dances. © The clesigners create the sets, costumes, lighting and sound. > The techintea! director coordinates the construction and painting of the sets, the hanging of the lights and the set-up of the sound system. ° The stage manager keeps rehearsals and performances running smoothly and on schedule. There are a few important members of the creative team you will never see at rehearsals: the writers of the musical. The ‘composer wrote the music, the lyricisit wrote the lyrics, and the librettist, or book writer, wrote the dialogue. If the musical is an adaptation of a film, the writing team may include a music adapter and a bool aclapter, who help tell the story for the stage. Although the writers made their contribution to the show long ago, you will be working with them by bringing their words and music to life onstage. utes of Penamce JR, ~ Student Book i @ Make Your Script Your Own Your script has dialogue, music, lyrics and basic stage directions, but it leaves countless details for you and your director to fill in with your imagination. This is part of the excitement of live theatre. Words, music and staging may be interpreted in many different ways. Every production is unique, and shows change with each performance. Your director will interpret the musical for your production and help you understand your character (or role), your character's motivation (why your character does certain things), and how your character interacts with other characters. Your director will then give you notes on your blocking (where, when and how you move onstage), stage business (the action you perform onstage) and character development (how you interpret your lines and lyrics). Meanwhile, your music director and choreographer will teach you songs and choreography (the dances in a show) and give notes on how to improve your performance. You will be responsible for remembering all of these notes and carrying them out in rehearsal and in front of an audience! The best way to do this is to write notes right into your script. In marking up your Student Book, you are "completing" the script of the show as it is interpreted by you and your director, music director and choreographer. The next two pages list and illustrate suggestions for marking your script. (Die ates of Perse = Student Rook) E=2®@ Explanations of the illustrations can be found below and on the next page. Student Book Name Amy Gellenbeck Character Mabel No, 1am brave! (calling out) Come one and all, undaunted men in blue, a crisis, nowy, affairs are coming to! (The POLICE enter, marching in single fle.) Tavantaral (A, 3 secon Deron ¥ 7) Always write your name legibly, either on the cover of your script or on the inside cover of your book. Student Books have a way of getting lost or changing hands during rehearsals! Mark your lines and lyrics with a bright-colored highlighter to make your part stand out on the page. This will allow you to look up from your script during rehearsals, since it will be easier to find your place when you look back down. The Pivates of Pensa ft. — Stadler Took) 6 Underline important stage directions, lines, lyrics and individual words. For example, if your line reads "No, | am brave!" and your director wants you to stress the words "No" and "brave," underline those words in your script. Save time and space by using the following standard abbreviations : ON: onstage OFF: offstage US: upstage Ds: downstage SL: stage left SR: stage right CS: centerstage —_X: cross You may use these abbreviations to modify other instructions (e.g., you could write "R hand up" to remind yourself to raise your right hand). You may also combine them in various ways (e.g., you could write "X DSR" to remind yourself to cross downstage right). Draw diagrams to help clarify your blocking. For example, if you are instructed to walk in a circle around a table, you might draw a box to represent the table, then draw a circle around it with an arrow indicating the direction in which you're supposed to walk. Mark your music with large commas to remind yourself where to take breaths while singing. Draw stick figures to help you remember your choreography. Although you should feel free to mark up your script, be careful it doesn't become so cluttered with notes that you have a hard time finding your lines on the page! ie FoF PRETTTRTSSTEAT BD) ° What to Expect Knowing a little about the rehearsal process can help you plan ahead and make the most of your time. Although your exact rehearsal schedule will be determined by the creative team, this is a common rehearsal plan for a musical: 1, Reael-ehireugla: at the first rehearsal, the cast sits together and reads the script aloud. N The cast learns the music, choreography and blocking for the show, usually in that order. 3. Run-througlis: the cast rehearses the show from beginning to end. 4. Once the set is complete, the cast begins rehearsing in the theater. (Earlier rehearsals are often held in smaller rehearsal rooms.) 5. ‘lechmical cainearsails (or techs): the company rehearses with the lights and sound equipment. 6. Diress relneavseils: the cast rehearses in costume. 7. Finall dives: the company runs the show exactly as if there were an audience, but there’s no one in the house except the creative team. Rehearsals usually begin with a warm-up led by a member of the creative team, who takes you through exercises to prepare your muscles — including your voice — for the work ahead. Next you learn the scene, song or dance on that day's rehearsal schedule. The director, music director or choreographer gives you notes on your performance. Then you practice the scene, song or dance again, keeping those notes in mind. 1 The first few rehearsals will be on-book — you rehearse with ° the script in your hand. Later, as you memorize the lines, music, lyrics, choreography and blocking, you'll rehearse without your script, or off-book. The sooner you get off book, the better; it’s much easier to act when you don’t have to carry a script. If you forget your dialogue, simply call, “Line!” The stage manager always has a script ready to remind — or prompt — you on lines or blocking. When you rehearse, stay alert. The theater can be a dangerous place, especially when the lights, sets and props arc in place. Make sure you eat a healthy meal before rehearsal and get enough sleep so you will have the energy to perform well. hot © Tin McDonald e Resident Choreographer Steven G- Kennedy chats wit ‘cast of The Pirates of Penzance JR. NYC Workshop % (Cie Pirates of Potance T= Sta ®@ Be a Team Player! As a cast member of a show, you have an enormous responsibility to the creative team, the crew and yourself. Every member of the company is vital to the success of the show. Actors rely on their fellow cast members to speak each line and perform each stage action as rehearsed. Everyone depends on the crew members to change the set, provide the props, help with costumes, etc. Because each person’s actions affect the entire company, it is essential that you are always punctual. The time you are expected at rehearsals, or at the theater before a performance, is known as your call tine. Once you arrive, you must focus and follow instructions. Create a calendar with all your call times, what you need to prepare for each rehearsal, and any other important information. This Student Book contains a lot of information, but once rehearsals start, you'll be amazed how quickly you learn. And remember to have fun. So get out there and “break a leg!”* “this is theatre slang for “good luck.” Theatre people have a long history of superstition. Many believe if you wish for something aloud, the opposite will occur. So to avoid saying anything to jinx a performance, performers wish each other harm rather than luck to bring about the opposite result! Tihe Prats of Penzance JR. ~ Siudeni Book) PLOT Syn On Frederic's twenty-first birthday, the Pirates gather to celebrate his official membership to their pirate band (Pour, 0 pour the pirate sherry). Frederic reveals to the Pirates his intent to leave piracy behind since it was by accident that he became a pirate in the first place. Frederic’s nursery maid, Ruth, admits that she was instructed to bring the young Frederic to be an apprentice to a pilot. Ruth explains that she misheard "pilot" for "pirate" (When Fredric was a little lad), As Frederic departs, he vows to exterminate the Pirates unless they accompany him back to civilization. The Pirate King declares the virtues of piracy in comparison to respectable society (Oh, better far to live and die). After the Pirates depart, Frederic questions Ruth, the only women he has ever met, asking her how pretty she is compared to other women. Ruth avoids the question, but alludes to being a fine beauty. Afterward, Frederic and Ruth come upon a group of maidens, the Daughters, whose beauty far surpasses that of Ruth. Frederic, upset with Ruth's dishonesty, sends her away (Oh, false one, you have deceived me). As the Daughters approach, Frederic hides and watches them (Climbing over rocky mountain). Believing they are alone, the Daughters decide to take off their shoes and stockings, and splash in the water. Frederic stops them, revealing they are not alone, and that he is a Pirate (Stop! Ladies, pray!). Frederic, desperate for a wife, asks the maidens if there is one among them who has given up on winning man's affection (Oh, is there not one maiden). The young Mabel reveals herself and they fall in love at first sight (Poor wand’ring one!). Frederic senses that the Pirates of Penzance are approaching and warns the maidens, but it is too late (Stay, we must not lose our senses). As the Pirates capture the Daughters, their father, the Major-General Stanley, appears (I am the very model of a modern Major-General). The Pirate King informs the Major-General that they are intending to marry his daughters. The Major-General pleads that he used to be an orphan and will be again if they take away his daughters (Oh, men of dark and disma, fate). The Pirates have a creed that they will never bring harm to another orphan, since they themselves are orphans, so the Pirate King allows the Daughters to go free. ® After the Pirates leave, the Daughters notice their father is feeling poor (Oh, dry the glist’ning tear). Mabel encourages Frederic to speak with the Major-General. When he does, the Major-General admits to lying to the Pirates about being an orphan to save his Daughters. Frederic vows to rid any more fear of the Pirates by exterminating them with the help of the Police (When the foeman bares his steel - Tarantara!). As Frederic seeks out the Pirate's Lair, the Pirate King and Ruth confront him and reveal that Frederic's indenture to the Pirates is still effective since he was born on a leap year: February twenty-ninth. This means that by birthdays, he is only five and a quarter years old (When you had left our pirate fold - Part 1 / When you had left our pirate fold - Part 2). Frederic acknowledges his sense of duty and rejoins the Pirates. As a member of the pirate band, Frederic is compelled to reveal to the Pirate King that the Major-General had lied about being an orphan. In a fury the Pirate King vows to attack the Major-General's castle that night. Frederic, in despair, throws himself on a rock where Mabel finds him. Frederic tells Mabel everything and she rushes back to the Police to notify them of Frederic's predicament (Tarantara! - Reprise). Under the cover of night, the Pirates exercise the utmost stealth as they make their way towards the Major-General’s castle (A rollicking band of pirates we). The Police track the Pirates! movement (With cat-like tread); meanwhile at the castle the Daughters are still concerned about their father (Now what is this, and what is that). The Pirates trap the Major- General and the Daughters. Without Frederic's leadership the Police are about to be defeated when the Police make it known that they are acting in the name of Queen Victoria. The Pirates instantly back down as they, of course, are loyal to the Queen. Ruth makes it clear to the Police that these Pirates are just noble men who have gone astray. Realizing this, the Major-General releases them and allows the Pirates to marry the Daughters (Finale). Geta “HARACTERS SAMUEL PIRATE KING FREDERIC RUTH KATE EDITH ISABEL MABEL MAJOR-GENERAL SERGEANT POLICE CHORUS DAUGHTER CHORUS PIRATE CHORUS © SCENE ONE (A rocky seashore on the coast of Cornwall, During the Overture, ie of PIRATES are discovered. FREDERIC is seated with a despondent attitude at the back of the scene. RUTH kneels at his feet.) Pour, © pour the pirate sherry PIRATES ENTER 6 3 12 PIRATES a Pour © pow, the pi - rate sher - 1; fl, fill The pi - rate glass And to make us more— than mer 1y, Let the pi - rate bum - per 2 3 a a. pass A Tempo SAMUEL ci For, to-day our pl-rate'pren - tice ris - es from in-den-tures freed; strong hisarm, and PIRATES een his scent_is, he's a pi- rate now in-deed! Heres good luck__ to. his in-den - tures Fred «ries ven - tures! Fred - ‘nics out of ‘SAMUEL One andtwen - ty, now he's ris - ing and alone hes fit to fly, which wee bent on sig - nal-iz - ing with un-w - sual rev - el-ty, PIRATES ics out of his. in-den-tu Here's good luck_to Fred-'tie's ven - turest Fred. - é Pout, 0 pour the pi - rate sher - ry; fill, o fill, the pi - 1 5 = =, lass And to. make us more_than mer-ry Let the —pi- rate bum - per 3 # pas i Bie Pirates of Penzance FR. Student BOOK) © (FREDERIC rises and comes forward with the PIRATE KING, who enters.) PIRATE KING Yes, Frederic, from today you rank as a full-blown member of our band. ALL Hurrah! FREDERIC My friends, I thank you all, from my heart, for your kindly wishes. Would that I could repay them as they deserve! PIRATE KING What do you mean? FREDERIC Today I am out of my indentures, and today I leave you forever. Es PIRATE KING But this is quite unaccountable. FREDERIC - Yes, I have done my best for you. And why? It was my duty under my indentures, and I am the slave of duty. As a child I was regularly =a apprenticed to your band. It was through an error — no matter, the mistake was ours, not yours, and I was in honor bound by it. SAMUEL An error? What error? (RUTH rises and comes forward.) FREDERIC I may not tell you; it would reflect upon my well-loved Ruth. RUTH Nay, dear master, my mind has long been gnawed by the cankering tooth of mystery. Better have it out at once. When Fred’rie was a little lad Allegro Pesante a When Fred-'rie was a__ lit-tle lad, he_ proved so braveand daring his E = = fath-er thought he'd_. 'pren-tice him to. some ca-reer sea - far-ing. <- 2? was, a-las, his_ nur-s'y maid, and_ so it fell to mylot to rit-~ take and bind the prom-ts-ing boy Ap - pren-tice to a Pi - 16 Rubato <- life not bad fora hard-y Jad, though sure-ly not a high lot. Though A Tempo os Tm a nurse, you might do worse than make your son a Pi-lot! 2 E 5 5 . I was a stu-pid_ nurs.'ry maid on ‘Te Pies of Penzance JR — Student Book break-ers al - ways steer-ing, and did not catch the_ = +? a word a-right through be-inghard of hearing. Mis - ta-kingmy in - a struc - tions which wit - in my brain did gy-rate, I fs ay took and bound this_ pro-mis-ing boy Ap - pren-tice to a Rubato Pi-ratel = A sad mis-take it was to make and_ Pi- rate, youl, in - stead of to a ‘The Pirates of Penzauce JR. = Student Book, RUTH Oh, pardon! Frederic, pardon! (SHE kneels.) FREDERIC Rise, sweet one, I have long pardoned you. (RUTH rises.) RUTH The two words were so much alike! FREDERIC They were. They still are. But this aftermoon my obligation ceases. Individually, I love you all with affection unspeakable; but, collectively, I look upon you with a disgust that amounts to absolute detestation. Oh! Pity me, my beloved friends, for such is my sense of duty that, once out of my indentures, I shall feel myself bound to devote myself heart and soul to your extermination! ALL Poor lad ~ poor lad! (ALL weep.) PIRATE KING Well, Frederic, if you conscientiously feel that it is your duty to destroy us, we cannot blame you for acting on that conviction. Always act in accordance with the dictates of your conscience, my boy, and chance the consequences. SAMUEL Besides, we can offer you but little temptation to remain with us, We don't seem to make piracy pay. I'm sure I don't know why, but we don't. FREDERIC I know why, but, alas! I mustn't tell you; it wouldn't be right. PIRATE KING Why not, my boy? It's only half-past eleven, and you are one of us until the clock strikes twelve. SAMUEL True, and until then you are bound to protect our interests. ALL Hear, hear! The Pinaes of Peizance JR, = Student Book FREDERIC Well, then, it is my duty, as a pirate, to tell you that you are too tender-hearted. For instance, you make a point of never attacking a weaker party than yourselves, and when you attack a stronger party you invariably get thrashed. PIRATE KING ‘There is some truth in that. FREDERIC Then, again, you make a point of never attacking an orphan! SAMUEL Of course: we are orphans ourselves, and know what it is. FREDERIC Yes, but it has got about, and what is the consequence? Every one we capture says he's an orphan. The last three ships we took proved to be manned entirely by orphans, and so we had to let them go. RUTH And Ruth, your own Ruth, what is to become of her? PIRATE KING Oh, he will take you with him. FREDERIC Well, Ruth, I feel some difficulty about you. It is true that I admire you very much, but I have been constantly at sea since I was eight years old, and yours is the only woman's face I have seen during that time. I think it is a sweet face. RUTH It is — oh, it is! FREDERIC I say I think it is; that is my impression. But as I have never had an opportunity of comparing you with other women, it is just possible I may be mistaken. PIRATE KING True, FREDERIC What a terrible thing it would be if I were to marry this innocent person, and then find out that she is, on the whole, plain! PIRATE KING Oh, Ruth is very well, very well indeed. SAMUEL Yes, there are the remains of a fine woman about Ruth. FREDERIC Do you really think so? SAMUEL Ido. FREDERIC Then I will not be so selfish as to take her from you. In justice to her, and in consideration for you, I will leave her behind. (He hands RUTH to PIRATE KING.) PIRATE KING No, Frederic, this must not be. We are rough men, who lead a rough life, but we ate not so utterly heartless as to deprive thee of thy love. I think I am right in saying that there is not one here who would rob thee of this inestimable treasure for all the world holds deat. ALL (loudly) Not one! PIRATE KING No, I thought there wasn't. Keep thy love, Frederic, keep thy love. (He hands her back to FREDERIC.) FREDERIC You're very good, I'm sure. (RUTH exits.) PIRATE KING Well, it’s the top of the tide, and we must be off, Farewell, Frederic. When your process of extermination begins, let our deaths be as swift and painless as you can conveniently make them. FREDERIC Iwill! By the love I have for you, I swear it! Would that you could render this extermination unnecessary by accompanying me back to civilization! PIRATE KING No, Frederic, it cannot be. I don't think much of our profession, but, contrasted with respectability, it is comparatively honest. No, Frederic, I shall live and die a Pirate King. ‘Te Picates of Penzance JR. Student Book Oh, better far to live and die Brisk 9 pmrare Kine -e on, bet - ter far to live_and die under the brave black flag I fly than play a sanc-ti- 3 mo - nious part with a pi - rate headand a pi - rate heart. A+ way to the cheat - ing world go you, Rubato a_i where pi-rates all are well-to-do, but I'll be true to the ADA " song 1 sing and live—and die a _—~Pi-rate King. Fon | A Tempo is, it is a glo - rious thing to be a Pi - rate ‘The Pirates of Penzance JR. = Student Book, (PIRATE KING) am a Pi - rate| Kingl PIRATES 2 You are! Hur-rah for the Pi - rate King! is, it is a |glo - rious thing to |be a Pi - rate King! PIRATES Te is! Hur- (PIRATE KING) vit Hursah for the S' yah for our Pi - rate King! Hursah forthe Pi = rate__——King!__ ‘Photo © Tim McDonald The Pirates of Penzance JR. (ALL exit except FREDERIC. RUTH enters.) RUTH Oh, take me with you! I cannot live if I am left behind. FREDERIC Ruth, I will be quite candid with you. You are very dear to me, as you know, but I must be circumspect. You see, you are considerably older than I. A lad of twenty-one usually looks for a wife of seventeen. RUTH A wife of seventeen! You will find me a wife of a thousand! FREDERIC No, but I shall find you a wife of forty-seven, and that is quite enough. Ruth, tell me candidly and without reserve: compared with other women, how are you? RUTH I will answer you truthfully, master: I have a slight cold, but otherwise | am quite well. FREDERIC Iam sorry for your cold, but | was referring rather to your personal appearance. Compared with other women, are you beautiful? RUTH (bashfully) Ihave been told so, dear master. FREDERIC Ah, but lately? RUTH Oh, no; years and years ago. FREDERIC What do you think of yourself? RUTH It is a delicate question to answer, but I think | am a fine woman. FREDERIC That is your candid opinion? Picates of Penzance I RUTH Yes, I should be deceiving you if I told you otherwise. FREDERIC Thank you, Ruth. | believe you, for I am sure you would not practice on my inexperience. I wish to do the right thing, and if - I say if - you are really a fine woman, your age shall be no obstacle to our union! (FREDERIC shakes hands with RUTH. A chorus of DAUGHTERS ard singing a cappella in the distance, "Climbing over rocky mountain," etc.) Hark! Surely I hear voices! Who has ventured to approach our all but inaccessible lair? Can it be the Coast Guard? No, it does not sound like the Coast Guard. RUTH (aside) Confusion! It is the voices of young girls! If he should see them I am lost. FREDERIC (looking off) By all that's marvelous, a bevy of beautiful maidens! RUTH (aside) Lost! Lost! Lost! FREDERIC How lovely, how surpassingly lovely is the plainest of them! What grace - what delicacy - what refinement! And Ruth - Ruth told me she was beautiful! Ruth, you have deceived me! RUTH I have deceived you? FREDERIC Yes, deceived me! judent Book) @ Oh, false one, you have deceived me Allegro FREDERIC You | told me you were | fair as gold! RUTH now I see you're | plain and old! mas-ter am I not so? tm Up -}on my in-no | cence you play, sure Im not a jot so. tm Your | face is lined, your | hair is grey. not the one to plot so. It (FREDERIC) Faith - less wo-man |To de-ceive me, (RUTH) grad-u-al-ly got so, 3 ‘ f= ‘Mas - ter, mas - ter, do not leave me, Faith - less | wo-mant Faith - less Hear me, ere you gol Mas - ter, mas - ter! — wo-man to de -| ceive me 1 who = ~—_¥ Master, mas - ter, do not leave me, do not leavé——me. Hear me Tie RAT OF PONTE TR TOR BON wo-man to de ~—_#? you gol Mas-ter, master, do not leave me, Hear me (FREDERIC) trast (RUTH) ere, you gol (RUTH gets her bag and, as she exits, gives FREDERIC a whack on the behind with it. FREDERIC is left alone for a moment.) FREDERIC What shall I do? Before these gentle maidens I dare not show in this alarming costume! Wait, no, no, I must remain in close concealment until I can appear in decent clothing! (FREDERIC hides in the cave as the DAUGHTERS enter climbing over the rocks and through the arched rock.) ‘The Pirates of Penzance JR. Student Book Climbing over reeky mountain 18 DAUGHTERS Climb -ing ver rock - y_ moun-tain ti 3S Ta-ran-ta - ra, Ta-ran-ta ral ‘Tasran-ta~ (SERGEANT) pres-sions don't ap-pear, (POLICE) _ ral Ta-ran-ta - ra, Ta-ran-ta-ral la-ted men to cheer, who are | going to meet their fate in a (POLICE) 2 Ta-ran-ta - ral high-ly ner-vous state. e Ta-ran-ta - 1a, Ta-ran-ta-ra, Ta-ran-ta - ra! us it's ev - i-dent these in {ten - tions are well meant. <7 ta, Taran -ta-ra, Ta-ran- ta - rah! Go and—do your best en deav-or, and be - forealllineswe sev - er, we will say fare- well for - ev - ex, go to glor-y and the gravel MAJOR-GENERAL Away, away! ‘These pi-rates slay! POLICE Yes, yes, we | go! (eDITH) Go to glory and the grave! ‘Te Piles of Penzance JR. ~ Student Book ® Then donotstay! ‘Then whythis detay? (POLICE), Taranta| ral Allright, we| gol Yes, for-wardon the DAUGHTERS Yes, (MAJOR-GENERAL) 3 Yes, but you don't gol foe! Yes, for-ward on the | foe! for - ward on the foe! ‘They go, they MAJOR-GENERAL 3 Yes, but you don't go! gol Yes, for-ward on the | foe! Yes, for-ward on the (AUGHTERS) got Yes, on the foe! ‘At last they go, at last go, at last they teal-ly, teal-ly, we go, we go, we 80, we g0, %* At last they go, at last they go, at last they go, at last they real-ly, real-ly, (MAJOR-GENERAL), Yes, but you don't go! (PoLice) gol Yes, for-ward on the | foe! Yes, for-ward on the | foe! (DAUGHTERS) - yes, for-ward on the foe! We go, we | go! Yes, for-ward on the | foe! Yes, for- ward on the 1 They-go, they go! Yes, for - ward on the (Tite Pirates of Penzance ~ Sadent Book) @ MAJOR-GENERAL 3 Yes, but you don't go! At last they go, at last they We go, we | go, 13 foe! At last they go, at last they go, at last they at last real - ly, real - ly, | real - ly, real - ly, real - we go, we gol We "°° go, at last they real - ly, real - ly, real - ly real - ly real - ly, real - ly, The Picates of Penzance JR. (The POLICE exit. MABEL tears herself from FREDERIC and exits, followed by her sisters, consoling her. The MAJOR- GENERAL and others follow the POLICE off. FREDERIC remains alone.) FREDERIC Now for the pirates' lair! At last I may atone, in some slight measure, for the repeated acts of theft and pillage, which I myself, have been guilty! (PIRATE KING and RUTH appear at the window.) PIRATE KING Young Frederic! FREDERIC Who calls? PIRATE KING Your late commander! RUTH And I, your little Ruth! FREDERIC Oh, mad intruders, how dare ye face me? PIRATE KING Have mercy on us! Hear us, ere you slaughter! FREDERIC Ido not think I ought to listen to you. Yet, mercy should alloy our stern resentment, and so I will be merciful ~ say on! The Pirates of Photo © Tim MeDonald NYC Workshop. Penzance JR. @ When you hed left: our pirate fold (Part 1) [ nur 8 When you had left our hn Pi-ratefold, we tried to raise our spi-rits faint, ac - cord-ing to our cus-tom old with quips and quibbles quaint, But all. in vain the 8 quips we heard; we lay and sobbed up - on the rocks un - FREDERIC 2 til to some-bod - y oc-curred a start-ling par-a - dox. A par-a - RUTH 26 dox? A par-a - dox, a most in - ge-nious par-a - dox! We've quips and RUTH, FREDERIC & PIRATE KING quib-bles heard in. flocks, but none to. beat this par-a - dox! par-a-dox! A par-a-dox! A most in - ge-nious par - a-dox. Ha, ‘Te Pirates of Penance JR. Student Book ha, ha, ha, ha, ha, ha, ha, this par - a - dox! 8 PIRATE KING 2 We knew your taste for # —cu- rious quips, for cranks and con - tra. - dic - tions queer, and 31 with the laugh-ter on our lips, we wished you there to hear. We s said "If we could tell it him, how ‘Fred - ‘ric would the 3s joke en-joy! And so we've risked both life and limb to tell it to our FREDERIC PIRATE KING a boy! A par-a - dox? That par-a - dox! That most in - ge-nious par-a - 6 ox! We've quips and quib-bles heard in flocks, but none to eat this par-a- i Tine Pirates of Penzance JR. ~ Student Book @ RUTH, FREDERIC & PIRATE KING. dox! A par-a-dox, a par -a-dox, A (RUTH, FREDERIC & PIRATE KING) 4 most in - ge-nious par-a-dox! Ha, ha, ha, ha, ha, ha, ha, ha, that 78 Pa con PIRATE KING For some ridiculous reason, some person in authority... FREDERIC Who? PIRATE KING I don't know who, very likely the Astronomer Royal, has decided that, although for such a beastly month as February, twenty-eight days as a rule are plenty. RUTH However, every four years February will have twenty-nine days. Through some singular coincidence— you are the victim of this clumsy arrangement, having been born in leap year, on the twenty- ninth of February. PIRATE KING And so, by a simple arithmetical process, you'll easily discover, that though you've lived twenty-one years, yet, if we go by birthdays, you're only five and a little bit over! (RUTH and PIRATE KING laugh.) ‘The Pirates of Penzance JR. = Student Book, When you had left’ our pirate fold (Part 2) 5 FREDERIC : Dear me! Let's see! Yes, RUTH, FREDERIC & PIRATE KING ves, with yours my fig- ures do a - gree! Ha, ha, ha, z 4 ha, ha, ha, ha, hal FREDERIC is How quaint the ways of — par-a-dox! At com-mon sense she gal - ly mocks! Tho! count-ing in the u - sual way, years twen-ty-onel've been alive. Yet reck'ning bymy —_na-talday... Yet, » reck ‘ning by my na. tal day. 1 am a lit-tle boy of RUTH, FREDERIC RUTH & PIRATE KING & PIRATE KING. 2 five! He is a lit-tle boy of five! Ha, ha, ha, ha, ha, ha, ha, ha! A (RUTH & PIRATE KING) » par-a-dox, a par-a-dox, a most in - ge-mious par - a - dox! Ha, * ha, ha, ha, ha, ha, ha, bal A par - a - dox! Ha, ha, ha, ° hha, ha, ha, ha, hal A cu-tious par - - dox! Ha, ha, ha, (RUTH & PIRATE KING) Tie Pirates of Penance JR = Student BOOK, FREDERIC Upon my word, this is most curious ~ most absurdly whimsical. Five- and-a-quarter! No one would think it to look at me! RUTH You are glad now, I'll be bound, that you spared us. You would never have forgiven yourself when you discovered that you had killed two of your comrades. FREDERIC My comrades? PIRATE KING (rises) I'm afraid you don't appreciate the delicacy of your position: you were apprenticed to us— FREDERIC Until I reached my twenty-first year. PIRATE KING No, until you reached your twenty-first birthday— (He produces a document.) and, going by birthdays, you are as yet only five-and-a quarter. FREDERIC You don't mean to say you are going to hold me to that? PIRATE KING No, we merely remind you of the fact, and leave the rest to your sense of duty. RUTH Your sense of duty! FREDERIC (wildly) Don't put it on that footing! As I was merciful to you just now, be merciful to me! I implore you not to insist on the letter of your bond just as the cup of happiness is at my lips! RUTH We insist on nothing; we content ourselves with pointing out to you your duty. PIRATE KING Your duty! Pirates of Penzance JR. Student Hook) @ FREDERIC (after a pause) Well, you have appealed to my sense of duty, and my duty is only too clear. I abhor your infamous calling; I shudder at the thought that I have ever been mixed up with it; but duty is before all - at any price 1 will do my duty. PIRATE KING Bravely spoken! Come, you are one of us once more. FREDERIC Lead on, | follow. (suddenly) Oh, horror! PIRATE KING & RUTH What is the matter? FREDERIC Ought I to tell you? No, no, I cannot do it; and yet, as one of your band— PIRATE KING Speak out, I charge you by that sense of conscientiousness to which we have never yet appealed in vain. FREDERIC General Stanley, the father of my Mabel— PIRATE KING & RUTH Yes, yes! FREDERIC He escaped from you on the plea that he was an orphan? PIRATE KING He did. FREDERIC It breaks my heart to betray the honored father of the girl I adore, but as your apprentice I have no alternative. It is my duty to tell you that General Stanley is no orphan! PIRATE KING & RUTH What! FREDERIC More than that, he never was one! PIRATE KING Am I to understand that, to save his contemptible life, he dared to practice on our credulous simplicity? (FREDERIC nods as he weeps.) PIRATE KING Our revenge shall be swift and terrible. We will go and collect our band and attack Tremorden Castle this very night. FREDERIC But stay— PIRATE KING Not a word! He is doomed! (PIRATE KING and RUTH exit. FREDERIC throws himself on a stone in blank despair. Enter MABEL.) MABEL All is prepared, your gallant crew await you. My Frederic in tears? It cannot be that lion-heart quails at the coming conflict? FREDERIC No, Mabel, no. A terrible disclosure has just been made. I've just discovered that I was born in leap-year, and my 21st birthday will not be reached by me till 1940! MABEL Oh, horrible! EREDERIC And so, farewell! MABEL No, no! Frederic, stay. They have no legal claim to you. FREDERIC But when stern Duty calls, I must obey. In 1940 I will be of age, I'll then return, and claim you— I declare it! MABEL It seems so long! FREDERIC Swear that, till then, you will be true to me. ie Ps af Peace T= Seem ooR) @ MABEL Yes, I'll be strong! By all the Stanleys dead and gone, I swear it! (FREDERIC shakes her hand earnestly. He starts to go, takes one ‘more loving look at her, they reach out to each other, then he exits.) MABEL (almost fainting) No, | am brave! (calling out) Come one and all, undaunted men in blue, a ctisis, now, affairs are coming to! (The POLICE enter, marching in single file.) Tarantaral (Reprise) 3 SERGEANT ‘Tho’ in| bod - y and in mind POLICE ' Ta-ran - ta- we are |tim-id-ly in-clined, © a, Tacran-ta-ral Ta-ran - ta - ral The Pirates of Penzance JR |. to the | dan-ger that's be-hind. Ta-ran-ta - ra, Ta-tan-ta-ral Tacran-ta- Yet, when the dan-ger's near, (Pouce) ” ral Ta-ran-ta - ra, Ta-ran-ta-ral man -age 10 ap-pear as in| sen-si-ble to fear as Ta-ran ta - ral an-y-bod-y here, as |an - y Ta-ran-ta-ra,Ta-ran- ta- (Tie nates of Penzance FR Student Book) (SERGEANT) Taran - Taran - ta ‘ra, Taran + ta-ra, 9 Tasran - (POLICE) a? ra, Ta-ran - Ra Ra a, Ta-ran-ta-ra, Ta-ran-ta } ra, Ta-ran-ta-ra, Ta-ran - ta | ra, Ta-ran-ta-ra, Ta-ran-ta-| eG ee [oe ee Tacran - ta-ra, Tasran-ta}ra, ra, va, Taran: ta-ra, Ta-ran-ta-1a, ra, ra, Taran - ta- ral Ra Ra Ra The Plates of Renzance JR, = Staten Book MABEL Sergeant, approach! Young Frederic was to have led you to death and glory. POLICE ‘That is not a pleasant way of putting it. MABEL No matter, he will not so-lead you, for he has allied himself once more with the Pirates. POLICE He has acted shamefully! MABEL You speak falsely. You know nothing about it. He has acted nobly. POLICE He has acted nobly? MABEL Dearly as I loved him before, his heroic sacrifice to his sense of duty has endeared him to me tenfold; but if it was his duty to constitute himself my foe, it is likewise my duty to regard him in that light. He has done his duty. I will do mine. Go ye and do yours. (MABEL exits.) POLICE Right oh! SERGEANT ‘This is perplexing. But, no matter. We must do our best to capture these pirates alone. It is most distressing to us to be the agents whereby our erring fellow creatures are deprived of that liberty which is so dear to us all — but we should have thought of that before we joined the force. POLICE. We should! SERGEANT It is too late now! (A Chorus of PIRATES sing a cappella in the distance.) (Tine Pirates of Panza iudent Book) PIRATES (a cappella) ' A rol-lick-ing band of pi - rates we, who, 4 ti-red of toss - ing on the sea, are. try- ing theirhand at a SS = 7 bur = gla-ree with wea - pons grim and gor - y! Seargent:Hush, Hush! I hear the Pirates on the manor poaching (PIRATES continue, nearer.) 9 We are not com-ing for plate or gold, a 16 sto - ry Gen-er-al Stan - ley'stold, we —seek__ a pen-al - ty Stan - ley’s Gen - er - al ‘Te Phates of Penance JR. = Student Book SERGEANT They come in force, with stealthy stride, our obvious course is now— to hide. POLICE Tarantara! Tarantaral (etc.) (POLICE conceal themselves. As they do so, the PIRATES, with RUTH and FREDERIC, are seen approaching. They enter cautiously, and come down stage on tiptoe.) With eat—like tread Moderato 3, PIRATES 1 pWith cat - like tread, up- ° on our prey we steal. In si-lencedread, our cau-tious way we feel. ® No sound at all, we me-ver speak a word... A fly's foot-fall would be dis- tinct - ly heard. POLICE 2 Ta-ran-ta - ra, Ta-ran-ta - ral (pirates) 15 ly the pi-rate creeps while all the house - hold sound - ly sleeps, 2 PIRATES ff| Come: friends, who | plough the sea, 2 pouce 7 Fmwun a 1a, » truce to nav -i-ga-tion, | take an-oth-er sta-tion. | Let's oh Ra ara, ta, ta, a, (PIRATES) E =r: pi-ra-cee | with a lit-tle bur-gla | ree! Come, friends, who (POLICE) a Ta, ra, 1a, ra, Ra, 1a, ra, ra, ral Ra, ra, 1a, 1a, plough the seal Truce to nav -i-ga- tion, take an-oth-er sta-tion, The Pnates of Penzance JR - y | pi- 1a - cee | with a lit le bur - gla Ra, ra, fa, 7a, a, ra, 1a, fa, ra, Ta - ran ta-ra, ra, With | cat - like tread, up }on our prey we steal. In P (PIRATES) ar si-lence dread, our cau- tious way we feel No sound at all! We « nev - er speak aword.. A fly's foot - fall would be dis- (PIRATES) tinct - ly heard! Come, friends, who | plough the sea! pouce |S i e Tarran-ta - ra, ra, ra, 1a, ra, 1a, ra, 1a, oe ‘Truce to nav-i-ga-tion, | take an-oth-er sta-tion. | Let's var - y te fa Rey ey ra ra “6 lit tle bur- gla’ -| ree! With cat - like tread, 6 5 55 1, a, ma, ma, ra, Tasran-ta-ra, ra, ral Ta-ran- ta - 1a, PIRATES) up-on our | prey we In si-lence dread, (POLICE) Ta-ran-ta - 1a, 1a, ral Taran-ta - 4a, our cau - tious | way The Phtes of Penance JR. = Student Book, feell Half Time FREDERIC Hush, hush! Not a word; I see a light inside! The Major-Gen'ral comes, so quickly hide! PIRATES Yes, yes, the Major-General comes! (PIRATE KING, FREDERIC, SAMUEL and RUTH exit.) POLICE Yes, yes, the Major-General comes! {fie MAJOR-GENERAL enters ina dressingegown, carying a ight., MAJOR-GENERAL Yes, yes, the Major-General comes! As I lay in bed awake, I thought I heard a noise. But, all is still, it must have been the sighing of the breeze. (Enter the DAUGHTERS, led by MABEL, all in white peignoirs and night-caps, and carrying lighted candles.) ‘The Pirates of Penzance R,~ Student Book | @ Now what ts this, and what ts that DAUGHTERS Now what is this and what is that and why does fa-ther leave his rest at such a time of night as this so ver-y in-com-plete-ly dressed? Dear fath-er is, and al-ways was, the most me-thod - i - cal of men; its his in-var-1-a-ble rule to go to bed at half past ten. What strange oc-cur-rent can it be that "2 calls dear fath-er from his rest at such a time of night as this so in = com- plete - ly dressed? ver-y in-com-plete-ly dressed, at such a time of The Pirates of Penzance I= Student Ronk PIRATE KING: Forward, my men, and seize that General there! DAUGHTERS 79 night! ‘The PIRATES ENTER PIRATES 23 pisates! The pirates! Oh, de - spair! Yes, we're the pirates, so de - spair! 3 (hey seize the MAJOR-GENERAL.) MAJOR-GENERAL a Fred - er - ic, here! Oh joy! Oh rap-turel Sum-mon your men and ef - fect their cap ture! MABEL FREDERIC 8% Fred er-ic, save us! Beau-ti-ful Ma-bel, I would if could, but I 2 am not a-ble! PIRATES 2 8 He's tell-ing the truth, he— is not a-blel The Pvaies of Penzance TR. @ PIRATE KING You lied to us about being an orphan, and now you will pay! DAUGHTERS Oh, spare him! MABEL Will no one in his cause a weapon wield? a POLICE (Springing up) Yes, we are here! DAUGHTERS Oh, rapture! POLICE Pirates yield! DAUGHTERS Oh, rapture! (During "Fight Music," a struggle ensues between PIRATES and POLICE, RUTH tackling the SERGEANT. The POLICE are overcome and fall victim to the PIRATES.) Photo © Tim McDonald The Pirates of Penzance JR. NYC Workshop Finale SERGEANT Moderato To gain a brief ad -van- tage you've con - 4 trived, But your proud tri-umph will not be long lived. PIRATE KING. 7 Don't say youre or-phans, for we know that gamel SERGEANT % On your al-le-giance we've a strong-er claim. We charge you yield! (SERGEANT) Slower PIRATEKING pouict 18 Wechargeyou yield in Queen Vic-tor-ia's name! You do? We dol We change you yed om Quin ve - ais PIRATE KING — = : : We yield at once with hum - bled mien be - pouice — 2% cause with all our faults we love——our Queen! Yes, yes! With all their (ine Pires of Ponzance Th. ~ Seadent Wook) @) ‘cHORUS — Q %® faults they love their Queen! Yes, yes! Withall their faults, They love their MAJOR-GENERAL, RUTH * —— Queent A. way with them and place them at the bar! One 37 mo-ment! Let me tell you who they are They are no mem-bers *° of the com-mon throng— They are all no-ble-men who have gone DAUGHTERS 4 wrong. They are all no-ble-men who have gone Allegro MAJOR-GENERAL 47 wrong No Eng-lish-man un - moved that state-ment 82 hears be - cause, with all our faults, we love our 5 House___of_ Peers. 1 pray you par-don me, ex-Pi-rate King! (MAJOR-GENERAL) Peers will be peers and youth will have its fling! Re - sume your ranks and The Pots of Penance [R= leg-is-lativedu-ties and take mydaugh-ers, all of whom are beau-ties. % length we are pro- vid - ed with un - us-u-al fa-cil y to PIRATE KING © change pi- ra- tic crime for dig-ni - fied re-spect-a - bil ty. Com- 7 bined, I needn't say, with the un - par-al-led fel-i-ci-ty of 72 what we have been long-ing for: un - bound-ed do-mes-ti-

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