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MAN & BOY: DADA (2004, revised 2005)

An opera in two acts by Michael Nyman and Michael Hastings Music by Michael Nyman Libretto by Michael Hastings

Commissioned by Badisches Staatstheater, Karlsruhe, Germany

Vocal Score: 07/11/05

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This opera was first performed by Karlsruhe Opera on 13 March 2004 at the Badisches Staatstheater Karlsruhe, with John Pickering (tenor), Beverly O’ReganThielo (mezzosoprano), Janja Vuletic (soprano), designed by Peter Werner, directed by Robert Tannenbaum and conducted by Wolfgang Heinze. CHARACTERS Kurt Schwitters (1887-1948) aged 58. Michael aged 12. Michael’s Mother aged 40, who also plays woman on bus, bus conductress, museum attendant and BBC interviewer

In 1945, after the war, Kurt Schwitters spent some time in London. He was considerably impoverished and little known in Britain. He later went to Westmoreland where a farmer loaned him a barn. Schwitters died in Kendal, near Ambleside, Westmoreland, 1948.

THE SCHWITTERS POEM One day You finish to be a boy But you play Still with your old toy You like all the angels As you did before And think they are girls, Beautiful girls You think they are like you When you were young But you are old, And die and get cold.

(Kurt Schwitters. 02.04.1947)

INSTRUMENTATION Oboe Clarinet in B flat (doubling C Clarinet and Bass Clarinet) Alto Saxophone (doubling Soprano) Bassoon Percussion: Marimba; Vibraphone; Side Drum; Bass Drum; Temple Blocks; Tom-Toms; Drum Kit

Electronic Keyboard 2 Violins Cello Double Bass

Duration: c.1 hour 45 minutes

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M&B libretto (07 11 05).doc

MAN AND BOY: DADA Libretto by Michael Hastings Music by Michael Nyman (2004, revised 2005) The librettist would like to acknowledge the input of Victoria Hardie, who not only made several suggestions concerning the libretto, but also devised the idea of contrasting a boy wanting to bring order to the chaos of postwar London with the artist Schwitters, who openly acknowledged his pleasure in the beauty of random chaos.

ACT ONE Scene 1

On the bus. A woman in a headscarf sits up front. Michael stands and sways with the movement of the bus. Smart school uniform. He watches her. The old man, Kurt Schwitters, sits apart. He is poorly dressed.

MICHAEL

I can’t see what’s in her hand.

KURT

But I know it’s there.

WOMAN

One more stop.

MICHAEL

She’s definitely got a ticket.

WOMAN

It’s a request stop.

MICHAEL

Could be an orange one.

WOMAN

Ding the bell. But don’t get up too soon. Mustn’t fall off a bus when it’s moving.

MICHAEL

I don’t want an orange one. Need a blue. Really hard to find. I can see what’s in her hand.

KURT

So can I.

MICHAEL

What’s that geezer looking at?

WOMAN

Oh, to be home.

KURT

It’s a blue ticket.

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MICHAEL

Give it to me!

WOMAN

Open the stove and heat the room.

MICHAEL

Doesn’t really matter. Doesn’t collect bus tickets. He’s just a pathetic old man.

CHORUS/ALL

A ticket to go here. A ticket to go there. You need a ticket to breathe the air.

KURT

I’d prefer to buy a ticket for a day trip which promises not to get there and may not even come back.

MICHAEL

All she has to do is to forget it’s in her hand. The woman anticipates her stop. She dings the request bell. She makes her way to the open deck.

MICHAEL

Hold the rail tight, missus, so you don’t fall. (aside) And drop the ticket while you’re at it.

WOMAN

What a nice boy ...

MICHAEL

You don’t want to fall on the pavement. (aside) The ticket the ticket the ticket the ticket

WOMAN

Such a thoughtful boy ...

WOMAN

Don’t need this old ticket now.

KURT MICHAEL

I do! ...

The woman drops her ticket on the floor. It floats in the air. It is in no hurry to hit the deck. The bus comes to a halt with a mechanical sigh of brakes. The woman steps off the bus. The ticket hangs in the air in a tantalising manner. Michael makes a grab and misses it. The ticket slips to the floor. Kurt goes to it. He stumbles badly.

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Grabs his chest. He has collapsed. Michael dives for the ticket. MICHAEL

It is mine!

KURT

On the contrary, it’s mine. I saw it first.

MICHAEL

You don’t collect bus tickets!

KURT

I want to use it ... for something personal.

MICHAEL

I was the quickest. I was the nippiest. No one is faster than me.

KURT

But the planet does twenty-eight thousand miles per hour so you cannot compete. In my race I don’t give the prize to the winner who runs past. But I give it to the man at the back who, heroically and against all the odds, has triumphed and come last.

MICHAEL

What’s that geezer on about? Michael grabs a seat in the bus. He stares at the old man. We hear a ding. Kurt struggles to his feet. He gasps for breath. The boy turns to look at Kurt. The boy begins to think he hates the old man.

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Scene 2

Another day. Another bus stop. Kurt stands behind the woman at the bus stop. He holds a battered suitcase. There is a tin waste basket attached to the pole. The boy runs up. Pushes past them both and fishes in the basket for tickets. WOMAN

Excuse me! ...

MICHAEL

What for?

WOMAN

There’s a blooming queue.

MICHAEL

Not for me there isn’t.

WOMAN

There’s a queue unless you’re blind. When I’m in front I never look behind.

MICHAEL

Don’t believe in queues.

WOMAN

And I’m never lonely in a good queue when the bus comes by and there’s “standing room only”!

KURT

The longest queue I can recall is one when there was nobody there at all. So when the bus came at last the driver took one look and drove straight on past.

MICHAEL

What are you saying? The boy stares at the old man. The boy scratches his head. The old man Kurt begins to forage in the tin basket for tickets.

MICHAEL

I’ve already looked.

KURT

We may not be looking for the same thing. The old man, Kurt, suddenly collapses on the ground. His suitcase falls open and carrots and potatoes tumble out.

MICHAEL

You’re just doing that to gain attention!

KURT

Help me! ... Michael helps Kurt to his feet. The woman doesn’t look round. The old man has difficulty in standing upright. Michael picks up the carrots and potatoes. The bus arrives. Michael sees the woman climb aboard.

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Michael doesn’t hurry. Ding ding. The bus goes. Michael packs the vegetables back in the suitcase. MICHAEL

What’s all this then?

KURT

Just a few things I collect besides bus tickets. Sometimes I collect hunger and cold. And I'm partial to a bit of old age, and poverty too. And I try to put them in perspective Oh God, I try When I'm hungry I feed the pigeons. When I'm cold I throw open the British window and tear off my coat. When I feel particularly poor I write out extravagant cheques, And if I'm feeling ill I run up and down stairs like a mountain goat. Just a few things I collect beside bus tickets. Michael gives the suitcase back.

MICHAEL

Why ... didn’t you tell me you were ill?

KURT

Why ... did you miss your bus?

MICHAEL

I don't rightly know ...

KURT

Anyway, it’s only my body that lets me down from time to time.

MICHAEL

But you are ill aren’t you?

KURT

Yes I am.

MICHAEL

And you can’t stand up very well.

KURT

I can still recognise a rare bus ticket.

MICHAEL

So can I ...

KURT

I know. Michael studies the old man.

MICHAEL

Why don’t you stand at the front of the queue here, so you can get a seat on the next bus.

KURT

I thought you never believed in queues.

MICHAEL

Today’s an exception.

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Scene 3

Another day. The old man and the boy on a bus. Ding ding. The boy finds a ticket. Waves it at the old man. MICHAEL

Look at this! Somebody dropped it. You can go to the end of the route with this ticket.

KURT

But do you really need it?

MICHAEL

What are you saying?

KURT

There’s nothing very special about it.

MICHAEL

Maybe.

KURT

I bet you’ve got dozens in your collection.

MICHAEL

So what if I have? The old man tries to snatch it from the boy. The boy is quicker.

KURT

Give it over to me!

MICHAEL

No I won’t.

KURT

Please give it me!

MICHAEL

No I won’t.

KURT

Please! ...

MICHAEL

If you want it so badly I can give you one of mine, I’ve got hundreds at home.

KURT

Please. …

MICHAEL

Why? ...

KURT

Because you have so much of so many things. You have all these futures without misgivings. You see I’m inclined to think a baby’s sneeze has about as much to say as all of Socrates. You can take your future to the banks. All I want is just this ticket and you can afford to swap it for an old man’s thanks. The bus conductress comes along. Her cap and her ledge

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of tickets pinned to her belt. CONDUCTRESS

Any more fares please. Any more fares! The old man looks round. Alarmed.

KURT

I don’t have any money. I can be arrested for this! They will take me to a camp. I can be deported for this. Please! ... Kurt holds out his hand. The boy slowly gives him the ticket.

CONDUCTRESS

See your ticket, sir! Kurt shows her the ticket.

CONDUCTRESS

Going all the way to the end of the route, sir?

KURT

Eh? Yes! ... She clips it again with her steel puncher. Gives it back to him. Walks away.

KURT

(to Michael) Thanks ... The bus snorts into a gear change. There’s a ding ding.

KURT

Any more fares, please?

MICHAEL

No more fares. How far are you going? To the end of the line. What will you do when you get there? Be afraid to come back? Any more fares please? No more fares. Shall I come with you? If you want. How will we get home? We’ll find some tickets ... What an adventure! ... Any more fares please? No more fares ...

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Scene 4

Outside a front door in Hampstead. Kurt and Michael slump very tired. KURT

Your mother will be mad you’re not home.

MICHAEL

I don’t care ...

KURT

You’ll be late for tea.

MICHAEL

I know ...

KURT

Well, this is my home. Do you want to come in?

MICHAEL

No thank you.

KURT

Don’t you want to see what I do with the bus tickets I collect?

MICHAEL

Not really. (Looks at Kurt) What do you do with them then? Kurt goes inside. Comes out immediately with a collage. There is a bus ticket pasted in the collage.

KURT

Here you are!

MICHAEL

What is it?

KURT

It’s called Merz Art.

MICHAEL

I like the bus ticket. I’ve got one of those, from a number ninety-seven. It’s in much better condition than yours. But I’ll swap it if you want to.

KURT

But what do you think of the picture?

MICHAEL

Dunno.

KURT

All the other bits and pieces?

MICHAEL

It’s… interesting, isn’t it?

KURT

That’s not what you think. Tell the truth. You think that all the rest is rubbish.

MICHAEL

No I never said that.

KURT

But that’s what you think.

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MICHAEL

I’ve got to go home now. Kurt shows Michael the collage

KURT

Here is what I found today. Took a bus. Drank a coffee. Chewing gum stuck on my shoe. I ate a toffee. And a pretty girl read a letter written by her lover and tore it up. So I picked it up then and there. I thought she’d burst into tears, but she just shrugged and brushed her hair. Here is everything I found today. Here is everything I found today. So ... do you still think it’s rubbish?

MICHAEL

I must go home.

KURT

Tell me the truth - what do you think?

MICHAEL

Dunno. Mum will be looking for me. It’s kind of ... interesting rubbish.

KURT

But it’s still all rubbish?

MICHAEL

Something like that.

KURT

I wanted to hear you tell me the truth.

MICHAEL

I can help you if you want you know. I can swap you my green one, if it makes you feel any better. They look at each other.

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Scene 5

The lion sculpture outside the British Museum. Kurt is working on the lion. He has some tools. He places cardboard ears on the lion. He paints in feline eyes. Michael walks up. KURT

You followed me here.

MICHAEL

Only because I think you’re mad.

KURT

No, no, no. You like what I do.

MICHAEL

I think if someone catches you, you’ve got to scarper.

KURT

I don’t know the word ‘scarper’.

MICHAEL

Could be useful. Kurt steps back. Surveys the art work.

KURT

What do you think this is?

MICHAEL

I think it’s a lion.

KURT

It’s a cat!

MICHAEL

It was meant to be a lion.

KURT

No, no. It’s for stuffed shirts and town hall nabobs. It’s a self-satisfied ornament created by the Maharajahs of cement. They think it’s here for ever. It’s just possible they aren’t that clever. Kurt splashes cat-like huge white whiskers. The lion is transformed. Kurt offers his brush to Michael. Michael finishes off the cat’s whiskers. Kurt gives it a big red nose of paint. The Museum attendant runs up. She is in a formal blue suit. She blows on a whistle.

ATTENDANT

Vandalism of public property Vandalism means a hefty fine, and if you can’t pay up you go to jail for a trying time. The lion,

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the lion, look at the lion. KURT

It’s not a lion, It’s a cat.

ATTENDANT

It’s a concrete lion.

KURT MICHAEL

No. It’s a fat cat.

ATTENDANT

I don’t give a candle what it is. You are a vandal! The attendant blows on her whistle. Rushes away to find more attendants. Michael sneezes.

MICHAEL

I think I’m coming down with flu. What shall I do?

KURT

Scarper! ... Kurt packs away his brush and paints. They both leg it.

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Scene 6

BBC Third Programme Studio. Broadcasting House, London. The interviewer is a brisk young woman. She sits opposite Kurt Schwitters. They both wear large headphones. There is a glass wall between us. INTERVIEWER

This is the BBC Third Programme. We have in the studio today, the leading German exponent of the art of DADA Kurt Schwitters. Herr Doktor Schwitters for your first show in Hanover, instead of critics, you began your career by inviting forty sheep and twenty reindeer?

KURT

Well, I -

INTERVIEWER

Continuing with your life, you invented the term MERZ. MERZ Art can be anything from bus tickets to fox furs. You created a room which was not a room. You built a tower which broke through the roof and when rain began to pour your landlord decided to show you the door.

KURT

I don’t think it was exactly like that -

INTERVIEWER

‘Picasso is a 19th century artist’, you claim ‘He makes works to fit the inside of a pretty gilt frame’. And yet when asked what art means to you, you announce –‘art is the most useless thing in the world to do’.

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KURT

Well, you know, I get asked some pretty silly questions -

INTERVIEWER

In due course the DADA movement and you had to part DADA persisted in calling itself Anti-Art. Everything, you insisted, could be a work of art because everything is of equal value. What is it like to be a rebel in the Post War world and what does it mean to you?

KURT

Ah, yes, well I -

INTERVIEWER

And although you once described DADA as laughter in the dark which suited the times, is it true you became afraid DADA laughter could be mis-used for Nazi crimes?

KURT

Let me see if I can give you a detailed answer to that -

INTERVIEWER

I’m so sorry. We’ve run out of studio time. Thank you very much.

KURT

But -

INTERVIEWER

This is the BBC Third programme. You have been listening to Kurt Schwitters, the artist, on what it is like to be a leading figure of the movement known as DADA-ism.

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Scene 7

In Michael’s house. It is a small neat terrace. His mother stares at Kurt. KURT

How is Michael?

MOTHER

He’s in bed.

KURT

I’m the old man.

MOTHER

Michael has told me about you.

KURT

I’m his new friend.

MOTHER

That may be. But he cannot see you today.

KURT

He has this flu. I know he has this flu. So I quickly thought of something to do.

MOTHER

I can’t ask you to stay.

KURT

Not even for the famous British cup of tea?

MOTHER

I don’t wish to appear rude, but these days I never invite people in for tea.

KURT

‘Coughs and sneezes spread diseases. Trap them in your handkercheiveses’ A good old British saying. But it is just not true. Anyway, I’ve written him a poem.

MOTHER

My son didn’t say you were a poet, sir.

KURT

More than a poet, Madame: painter, singer and actor. More even than that, Madame: assemblage maker, sound poet, performance artist, musician and composer, magician, dancer, inventor, and even more, Madame. And even more.

MOTHER

Very nice, I’m sure. If you give me your poem, Michael will read it.

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KURT

No. It’s a Sneeze Poem. You have to see me do it. Michael enters. Pyjamas and red nose. Sniffles.

MOTHER

Michael, go back to bed. Kurt makes a grand gestures. He takes out a handkerchief and theatrically blows his nose.

MICHAEL

(to Kurt) What is this poem?

KURT

(resistance) Ah ha ha na ah wan na ha Ah oh ah ha na na na wu Ah ya ya harsna wanna hars nu Ah ha! (losing control) Stra stra stra oosh na stra stra ooshna stra stra no stra no ah na! (delivery) Ah tarsha da da arch starta stoo aarch ah starna no tish ar ar ar ah ah ha da ha shoo aha ah na anaha ahach a tash shooo! Kurt explodes. Mother takes a step back. Michael grins.

MOTHER

Would you like to stay for tea?

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Scene 8

Kurt’s room in north London. Cardboard boxes and crates hang from the ceiling. A bed is pinned to the ceiling. Michael holds a filled paper carrier bag. He knocks. No answer. He walks in. Suddenly, Kurt appears. MICHAEL

You don’t really sleep In that bed?

KURT

No.

MICHAEL

Then … what’s it for?

KURT

It’s a bed that nobody Sleeps in. Michael looks round the room. Explores.

MICHAEL

Everything else is on the ceiling.

KURT

Quite so. Using the floor Has no point Anymore. I once built a Room like this In Hanover. I called it my White Palace Room. I once built a Room like this Where you do Everything up there Except take a piss.

MICHAEL

Is it still there? Where is Hanover?

KURT

Hanover is a great German city. My house was blown to bits, people were bombed without pity. Much of my family lost their lives Everything of mine was Destroyed – my designs, My books, all my archives.

MICHAEL

Destroyed by whom?

KURT

By the British.

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MICHAEL

Who are they?

KURT

Your people. Michael looks around the room with curiosity.

MICHAEL

There’s nowhere to Sit. And what is more the only place to eat a meal is on the floor.

KURT

I’ve always thought eating takes up too much time. You have to go hungry to make thoughts sublime.

MICHAEL

Then you won’t be wanting any of these? Michael empties his carrier bag. Carrots and potatoes roll across the floor. Kurt scrambles suddenly and grabs all the vegetables from the floor. Stuffs the vegetables into as many pockets as he find.

KURT

Ah yes … Where was I? What was I thinking? I was talking about my White Palace Room in Hanover. It was an assemblage of despair In domestic ev’ryday feeling. So where was I?

MICHAEL

Something about taking a piss On the ceiling?

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Scene 9

On the way to school in the morning. His mother walks Michael to school. Michael is in school uniform.

MICHAEL

Did you know the Allies bombed Hanover to bits?

MOTHER

That’s what they were trying to do to us too. They cross the road at a busy junction.

MICHAEL

How did Daddy die?

MOTHER

He was a night watch man on a factory building. A German doodlebug bomb made a direct hit. They never found his body afterwards. I hate all Germans. All Germans are bastards.

MICHAEL

The old man is German.

MOTHER

Ah, well, … he’s diff’rent.

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ACT TWO Scene 10 Tea in the front room of the boy’s house. Michael lays out three places at the table. Cake and jam sandwiches etc. Michael goes upstairs. The doorbell rings. The mother moves to the door to let the old man in. KURT

I arrive to have traditional British tea in tea cups, on saucers with tiny spoons.

MOTHER

You’ll be lucky, make no mistake. There’s no sugar for a start. Sugar’s rationed. I’ve used all my ration to bake this cake for you. She shows him the cake. He reaches for it. Well, he almost manages to take a bite out of it. Playfully she smacks his hand down.

MOTHER

It isn’t tea-time yet. Haven’t put the kettle on.

KURT

Of course! There must be a special time to have tea. They sit at the table laid with cake and sandwiches. Kurt studies the sandwiches. The mother folds her arms.

MOTHER

I suppose you are a refugee?

KURT

I am worse than that here. I am almost a criminal. I escaped from Germany. Then I took a boat from Norway. But the British only see my German passport and assume I must be a Nazi. I’m a total Artist, I tell them as best as I can. So they put me in a camp on the Isle of Man. I can stay here in Britain,

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the immigration man wrote, on the strict understanding I leave by the first boat. MOTHER

Don’t you have a family?

KURT

Not long ago the Nazis killed my wife. I was not told for three months that she had died. I have a son called Ernst, who I love, but it is dangerous for him, too.

MOTHER

What can you do in such a situation?

KURT

Perhaps, I can marry an attractive British woman, who can cook for me and will give me a bed?

MOTHER

I hope you are not looking at me?

KURT

What? ... Is it time now, do you think, for famous cup of British tea?

MOTHER

(blushing) Not yet! Because ... because the kettle hasn’t boiled.

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Scene 11

In Michael’s neat bedroom upstairs. Nothing is out of place. Michael has laid out his collection of bus tickets. Kurt knocks and enters. Michael shows him the tickets. MICHAEL

This was a good one Ponders End to Waterloo. Mill Hill to Crystal Palace, that was my first. This one will cost you Blackwall Tunnel to Kew. My best buses are… My best buses are the 38, 21, 24, and I also love the 102.

KURT

It can’t be possible to collect ev’ry bus ticket in London?

MICHAEL

Maybe ...

KURT

Even if you could, what is the point?

MICHAEL

Dunno ...

KURT

Is it because you look around and ev’rything is such a mess?

MICHAEL

I don’t understand ...

KURT

You look at the bomb sites the farms are empty, no one’s down the coal pits the factories are closed. Is that it?

MICHAEL

Can’t say.

KURT

You want ev’rything back in its place. The King’s on his throne, fish and chips at the dog race. How diff’rent we are me and you. I like my chaos and rubbish, and all you think about is bus number 102.

MICHAEL

That’s the one I really want, it’s one I’ve never seen; It’s the Bull & Crown, Chingford, to Golders Green.

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KURT

How do we find this ticket?

MICHAEL

You break into the garage at night when the buses are asleep, and before the cleaners have arrived. And you hunt about on the floor.

KURT

And if you found this ticket, and if this whole collection was complete, what would you be?

MICHAEL

Somehow ... sort of – don’t know.

KURT

I’ve never been to the Bull & Crown, Chingford, but I live near the bus station depot where the red buses sleep. I’ve never been to Golders Green, but I live near the bus station depot where the red London buses sleep. Kurt stands by the door.

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Scene 12

Moments later. Downstairs in the front room. The mother puts the cosy over the tea pot. Kurt enters. She looks up. MOTHER

This is the cosy we put over the tea pot To keep the tea hot.

KURT

So, famous kettle is boiled?

MOTHER

Now, I come to think of it, I suppose you’d prefer your tea cold.

KURT

I forget to respectfully inform you that I dance and I’m highly adept at the tango.

MOTHER

Is there no end to what you can do?

KURT

Would you consider a tango for two?

MOTHER

Certainly not ... (reconsiders) ...not before tea.

KURT

I will take you to the Hammersmith Palais, or rather - you will take me because I don’t have money to pay.

MOTHER

At my expense.

KURT

I love women. I’ve loved women all my life. Women I love I call ‘arrs’. In Hanover I had a four seater car; when I drove along I never allowed more than two friends inside. I always kept one seat empty just in case I drove past a beautiful ‘arr’. (Looks at the mother) And you are definitely a real ‘arr’.

MOTHER

That’s not the sort of talk I want to hear, and you’ve made me blush like a silly cow. They sit at the table. She pours tea. Kurt stuffs himself with thin white sandwiches. The mother watches him.

MOTHER

What happened to you in the war?

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KURT

I lost everything. My work ... My woman ...

MOTHER

I’m sorry. Shouldn’t have asked.

KURT

(stops eating) What happened to you?

MOTHER

I lost almost everything, too. My husband ... The doodlebugs ... I still listen to the night sky. I still expect the stars to go out. Then a noise like no other noise -

KURT

What is a doodlebug?

MOTHER

The V1 rocket over London.

KURT

The doodlebug! She pushes the cake his way. She pours him more tea. He cannot stop eating. She watches him.

MOTHER

Terrible things happened in your country. I’ve seen pictures of Nazis forcing people to scrub the pavement with toothbrushes.

KURT

Oh that was perhaps more of a joke. You don’t want to believe everything you hear. Anyway, terrible things were done on both sides. Michael enters from his room upstairs. The mother stands and hugs Michael by the shoulders.

MOTHER

I said I lost everything ... That’s not quite true ... I’ve still got my son ...

MICHAEL

(looks at the devoured table) Oi! ... Who’s stuffed himself silly and left nothing for me?

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Scene 13

There is a discarded ticket box attached to the iron pole of a bus stop. Michael and Kurt pull out a number of old tickets and sift through them on the ground. A bus goes by. The conductress stands on the open deck. Ting ting! She isn’t stopping. They both ignore the bus. MICHAEL

It’s my birthday next week.

KURT

What is the one thing you want in the whole world for your birthday?

MICHAEL

Just ... forget it ... you can’t afford it anyway.

KURT

Do you want that ticket from the Crooked Billet to St Albans?

MICHAEL

Well, yes ... I do want that.

KURT

It won’t cost me money to get that. All we need to do is break into the bus garage.

MICHAEL

To be honest, that’s not the most important thing in the world. But, it’s close.

KURT

All right then, what is it What is it I can’t afford?

MICHAEL

I want a bike.

KURT

I’ll get you a bike.

MICHAEL

Nobody makes them any more.

KURT

I’ll get you a bike.

MICHAEL

There’s no petrol for cars. So no one’s going to sell a bike.

KURT

But if I find you a bike like no bike is like such a bike – in fact, a bike so important you won’t want to ride it. A bike you stare at amazed, But you don’t dare touch it.

MICHAEL

Show me a bike I want to ride! Show me a bike I dare not touch! Just show me! They let the bus tickets run through their fingers. There is nothing they want. They toss them up in the air. Clouds of bus tickets.

xxvii

Scene 14

The mother is alone in the house. Kurt knocks. She lets him in. KURT

It’s a lovely day today!

MOTHER

I don't think so. It hasn’t stopping raining.

KURT

I’ve brought something for you.

MOTHER

I’m very suspicious.

KURT

You can’t see it ... It isn’t food ... You can’t touch it ... It doesn’t want a bone ... It won’t crease ... And it’s just for you ...

MOTHER

I’m even more suspicious.

KURT

You were interested, you said, in the German V1 rocket. What did you call them, please?

MOTHER

Doodlebugs ...

KURT

And when the doodlebug rocket cuts out over London, how long do you count before it lands?

MOTHER

You ... you count to twenty.

KURT

I have written you a Doodlebug Song.

MOTHER

That’s very thoughtful of you but ... I’ll put the kettle on ... I think I need to sit down. Kurt doesn’t hesitate. He lies on the table and shapes himself like a medium sized rocket. The mother seems paralysed.

KURT

(preliminary ignition). Chuk chuk chuk chuk chukchukchukchuk perrsh perra perrsh perra whoorwhoosh sta szing! Szing teeeening vroooooooom! Wha! (Booster engine gains height) Weeeeeeeeeeeeeeeeeeeeeeeeeeeen .... Yhiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiine ... (initial rocket thrust fades) Chuka chuc ssssssssssssssssssssssss nn ... (through the night sky)

xxviii

Woorshshshshshshshshshshshshsshsssssss ... keeeeeeeeeniiiiiiiiiiing ... Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn ... Kurt changes his position on the table. Swivels to a different angle. Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng ... Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng chuka Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng chuk Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng churh Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng chu Nnnnnnnnnningchk! (rocket engine cuts out) (silence)

Eins, zwei, drei, vier, fünf, MOTHER

I think that’s enough -

KURT

sechs, sieben, acht, neun, zehn -

MOTHER

Stop it! Kurt rolls off the table onto the floor with a hint of a dive. The mother sits at the table crying. She shakes with tears.

KURT

What is it?

MOTHER

You won't understand! ...

KURT

What have I done?

MOTHER

You’ve done nothing! ...

KURT

You don't like the song?

MOTHER

(crying) My husband was killed by a V1 rocket.

KURT

I’m so sorry. I’ve been a silly fool.

MOTHER

You weren’t to know.

KURT

I am ashamed of myself.

MOTHER

(wiping her eyes) No, no. I’m positive it’s good song. I might need to hear it a couple of times before I can -

xxix

KURT

(He hugs her) I don’t want you to think I am exulting the war. I want you to believe it’s everything that I abhor. I believe the whole point of a proper war is to make absolutely sure no one is killed at all. The greatest wars are fought when nobody dies at all. The mother leans against his shoulder. She wipes her face.

xxx

Scene 15

Another day. In the front room. On the table are a few presents. The mother watches Michael unwrap the birthday presents. A few balloons. Cards on the mantelpiece. Kurt arrives with an object wrapped in brown paper. It is almost too large and awkward a shape to carry. It is difficult to guess what is under the brown paper. MOTHER

Happy birthday! Happy birthday! Happy birthday, Michael!

MOTHER KURT

Happy birthday, dear Michael! Happy birthday to you! Michael takes the large object in brown paper and unwraps it.

MICHAEL

It’s a bike It’s a bike It’s what I’ve always wanted! It’s a bike! It is a violently twisted boy’s bike. It looks like a piece of metal that has had a head-on crash with a vehicle. The bike frame and the wheels contorted. Michael looks at it. Michael looks up.

MICHAEL

(quietly, confused) It’s a bike ...

KURT

It’s a special kind of bike it’s a DADA bike.

MICHAEL

(lowers his head) Thank you ...

KURT

It’s a special kind of bike. Most children have bikes that they ride around all day. This is a bike which you hang on the wall.

MOTHER

Michael? ... Michael! ... The boy runs out of the room. The mother looks at the old man.

xxxi

MOTHER

He only wanted a bike ...

KURT

Perhaps I made a mistake ...

MOTHER

How could you do this? ...

KURT

You see I made a mistake ...

MOTHER

How could you do this to a boy? ...

KURT

I thought he’d see the joke in a bicycle which he can’t ride. I thought he’d laugh and think, here is a bike no one could ride.

MOTHER

You tell me you’re a a great artist and it may be true, but underneath this stuff, what kind of man are you?

KURT

I’m not sure ...

xxxii

Scene 16

Outside the old man’s room in north London. The mother approaches the door. Kurt opens the door before she can knock. They study each other. Moment. She follows him inside the room - his ‘White Palace Room’. The square cardboard stalactite shapes hang from the ceiling. When you enter, it is immediately an upturned space and the eye and the mind try to accommodate it. MOTHER

I don't understand this art you do. I still want to know what kind of man are you?

KURT

I just want to find a new way to look at each and every day. So much depends on opening our eyes with a sense of continuous surprise. What you see is not really there, what is real and true is too hard to bear.

MOTHER

What a rum old dog you are. But I’m prepared to take the chance. We’ll both go and tango at the Hammersmith Palais de Danse.

KURT

I’m very flattered.

MOTHER

I suppose I’m the one who pays for the tickets?

KURT

How well you understand me.

MOTHER

On the contrary. Such a great artist. I’m very flattered. But there are strict rules attached.

xxxiii

KURT

The tango has many strict rules. It’s a slow dance of passion and ultimate death.

MOTHER

And rule one is - there is no malarkey.

KURT

I don’t understand the word, ‘malarkey’.

MOTHER

I’ll put it in ordinary words: there’ll be no shenanigans.

KURT

‘Shenanigans’?

MOTHER

Hanky-panky. Kurt studies her.

KURT

I am having trouble with ‘hanky panky’ ... Studies her again.

KURT

But you are my London ‘arr’.

MOTHER

Ah, there you are wrong. I’m not your London ‘arr’.

KURT

And I keep in my car a seat empty for you, that is – I say if I had a car. You’d be my ‘wantee’.

MOTHER

Translate for me.

KURT

My ‘wantee’ is someone special who I want all the time.

MOTHER

Nor am I your ‘wantee’!

KURT

May I call you ‘Mutti’ -?

MOTHER

Call me what you like, But keep it in German, and there will be no, no über doings!

xxxiv

KURT

Über doings? I am unacquainted with über doings. And ‘malarkey’ ... And ‘shenanigans’ ... And this ‘hanky panky’. You mean nichts anruchiges dabei -

MOTHER

Whatever I mean, we’ll keep strictly to the art of DADA.

KURT

Oh really: will we?

xxxv

Scene 17 Lights change. It’s a cavernous dance hall. The slow Argentine tango has been called ‘a cake-walk played adagio’. Kurt and the mother dance. At the close of the tango he holds the mother in an intimate clutch. It is a tableau. He is about to kiss her. She abruptly turns her face to the side.Very stylish and poised. The mother leans back in his arms. Very Latin a la Hammersmith Broadway. MOTHER

After all According to DADA the whole purpose of making love is not to make love at all. Am I right?

KURT

I ... reserve my answer. To black.

xxxvi

Scene 18

The bus depot at night. Giant metallic cave. Michael and Kurt flash their torches. Thin corridors of beaming light. Shadows of red sleeping buses. Shadows of high towers. Shadows of barbed wire. Shadows of look-out towers. The boy encourages the old man to follow. Kurt steps back. Looks up at the dark shadows. He retreats. MICHAEL

Come on! ...

KURT

No ...

MICHAEL

What’s the matter?

KURT

It looks like a prison camp ... It looks like a ... (backing away) NO! ... Go on ahead ... The boy runs away into the darkness. Kurt is alone in the darkness.

KURT

Things the artist must not do today: Be trapped behind barbed wire walls ... Be judged by the shape and design of your nose ... Be banned from showing your work ... Be asked to scrub floors with a toothbrush ... Be afraid when they come for you ... Be told to pack one bag and leave your home... Be thrown into cattle trucks ... Being made to wear striped pyjamas ... Be ordered to shave for head lice ... Be told you must take a shower ... Things the artist must not do today Things the artist must not do today: Be forced to take a journey to a place you do not know ... Things the artist must not do today: Take a night train which passes a hundred stops, but they have no name ... Things the artist must not do today Things the artist must not do today‌ Michael runs back. He waves a bus ticket in his hand. He lights Kurt up with his torch.

xxxvii

MICHAEL

Look! Not a mark on it. It’s perfectly clean; Walthamstow Dog Track to Golders Green!

KURT

Where does it stop?

MICHAEL

Stops at Edmonton, the Angel, on the North Circular Road. Stops at Larkswood Swimming Pool, and at the Bull & Crown, Chingford. And then there’s the Bald Faced Stag at East Finchley Station. There’s Muswell Hill Broadway to Palmers Green Lane, then Golders Green Station and all the way back again.

KURT

Heaven ...

MICHAEL

Which stop would you like to get out at?

KURT

I like Larkswood Swimming Pool. It sounds like musical streams, Where trees float in dreams ... Moment. They study each other.

KURT

Is your collection complete?

MICHAEL

I think it is.

KURT

You don’t need me any more ... I don’t think we should see each other again. There isn’t a bus ticket you haven’t got. Everything’s back in it’s place and you got the lot. Kurt gives the ticket back to Michael. Kurt walks away into the dark.

MICHAEL

Where are you going? ... Michael is alone.

xxxviii

Scene 19 Outside Kurt’s room. The door is open. Michael approaches. Kurt is on his knees on the floor. He has a toothbrush in his fingers. Another day. MICHAEL

Why don't you want to see me?

KURT

I’m not good for you.

MICHAEL

But, why?

KURT

I don’t think we should meet again.

MICHAEL

But why?

KURT

I should never have given you that bike. I was trying to explain something about DADA. But that’s not the sort of thing that you’d like. I apologise ...

MICHAEL

I know why you were afraid to go into the bus depot. You thought it looked like a prison camp.

KURT

Yes that’s true...

MICHAEL

What are you doing on the floor?

KURT

People have been forced to clean pavements with a toothbrush. This is what they can do with DADA when they want to pervert it with Evil. You wouldn’t understand ...

MICHAEL

I’ll tell you what. I kind of like the shape of the bike. All twisted up. I can tell my friends I was out for a ride, and I hit a car head-on doing seventy-five.

KURT

You don’t have to pretend ...

xxxix

MICHAEL

Or ... if you like ... You can have the ticket I found. You can have it for one of those pictures if you want to stick it.

KURT

Michael ... I only want to be your friend. Kurt hesitates.

KURT

You look around and hate the chaos and want to put everything back in order. And you are so young. How strange ... I look around and see chaos, and I love it, it has a random beauty. And I am old.

MICHAEL

How strange ... Kurt starts to scrub the floor again with the toothbrush. He stops. Looks up at Michael.

KURT

Even DADA art can be applied for terrible uses. Even artists’ laughter in the dark is open to abuses. What do I need to make a toothbrush something less than Evil?

MICHAEL

(instinctively) Mmm‌ (spoken) toothpaste?

End

xl

MAN AND BOY: DADA Michael Hastings

Michael Nyman 2004, revised 2005

ACT ONE Scene 1

Michael

Woman

Kurt

Rehearsal Piano

 q = 68  

On the bus. A woman in a headscarf sits up front. Michael stands and sways with the movement of the bus. Smart school uniform. He watches her. The old man, Kurt Schwitters; sits apart. He is poorly dressed.

     q = 68      

 

p

       cantabile

      

  

  

   

   

  

   

  

   

  

   

8

Reh. Pno.

   

   

      

      

  

   

      

      p

  

  

15

Reh. Pno.

                                                                   

20

Reh. Pno.

                                                                 © Copyright 2004, 2005, Michael Nyman Limited/Chester Music Limited.

 

Act 1 file corrected 07/11/05

Act 1

A

2

q = 148   mf    

25 Mi

W

K

Reh. Pno.

 

I

can’t

  

see what’s in her

   

W

Reh. Pno.

W

Reh. Pno.





    

 

  



I

know it’s



   

mf

ossia*



One

more



there.

q = 148                                                              

 

mf

  

   

                 







  

 

                         

* for characterisation the lower pitches are preferable



  



           

tick - et.



It’s





a re - quest

                               





got a

She’s def -’nite - ly

   





 

   



    

stop.

K



mf

But

34

Mi

hand.

stop.

K

30

Mi

 



Could

 

be

    

an





  

o - range one.

  





 

    

Ding

   

the

                               



Act 1 3

  38

Mi

W

K

Reh. Pno.

  

 

 

bell,

   

   

 

but

don’t get

up

 

too

  

soon.

W

K

Reh. Pno.

Must -n’t fall off a

                                        

 

         

 

bus when it’s

mov

-

 

       

  

Need



   

I

don’t

want

an

o - range

a

       



blue.

         

mf

  

Real - ly

hard

 to

    

K

 

             f

            

            mf

find.

one.

W

Reh. Pno.

       

f



  

ing.

           

48

Mi

         

43

Mi

            

Act 1 4

B  

52 Mi

W

K

Reh. Pno.

  







(mf)

 





I

can

K

Reh. Pno.

 (mf)

 



So



    mf

      

 



   



                 

    I.

                      



(cheeky)

can



What’s that

W

see what’s in her hand.

58

Mi

     

 

  

 

gee - zer



look - ing

at?

                                                         

 

 

   

   

   

   



63

Mi

W

K

Reh. Pno.

    

Oh,

  

  

 

to

be

 

home.

 



 a

blue





                                                              

It’s

   

   

   

ti - cket.

Act 1 5

   69

Mi

f

Give W

K

Reh. Pno.







it

to

me!

    Op

 

 

mf

  

-

-

  

  

 

en

                                                            f

       

  

74

Mi

W

K

Reh. Pno.

  

  

 

the

stove

 

   

 

and

heat

   

 

the

 

 

       

Does - n’t real -ly mat -ter.

      

   

Does -n’t col - lect

ti - ckets.

bus

room.

                              

79

Mi

 

   

   

      He’s just

      

 

 

a pa - the - tic



old

man.

W

K

 

Reh. Pno.

                         

                   

Act 1 6

  84

Mi

C

A W

A K

Reh. Pno.

  

A



   

   

          ti - cket

go here.

     ti - cket

to

ti - cket

go here.

to

go here.

      



  

  

to



 

 

 

A

 

ti - cket to go

A

 

ti - cket to go

A

 

ti - cket to go

      



there.

You

need



there.

You

need



there.

You

need





  a

ti - cket

  a

ti - cket

  a

ti - cket

       

88

Mi



to

W

 



Reh. Pno.

  

  

breathe the

    to



breathe the

to

K

  



breathe the

 

air.

air.

air.

                                         

      

  

  

      

    

 

93

Mi

W

    I’d pre sub. mp

K

Reh. Pno.

-

  fer

to

    

buy

a ti

- cket

  for

a

  

day trip

         which

pro

                                sub. mp

  















- mi - ses



  

not

to get

 there

           



Act 1 7

 













98

Mi

W

K

Reh. Pno.

        and may not e               

 - ven

come

back.



All

to

101

Mi

W

K

Reh. Pno.

she

has

 

            

   

do

to

     

   

   

for - get it’s in

her





  



hand.







    





The woman anticipates her stop. She dings the request bell. She makes her way to the open deck

     

is

             mf

   



     

          

           



   

        

 





W





K

 





104

Mi

Reh. Pno.

                                                                  

       

   

      

   

   

   

 

Act 1 8

     108

Mi

Hold the rail

tight,

   

    

mis - sus, so you don't

fall.

    

 

(aside)

And drop the ti - cket

while you’re at

it.

W

K

 

Reh. Pno.

        

             

 

 

            

 

 

113

Mi

W

K

Reh. Pno.

 

 

 

    

      



   

    

 

      

    

 

What

            

a

    

 

nice

boy.

            

   

  

118

Mi



 

You



don’t

want to

W





K

 





Reh. Pno.

                              

   

   

   

          

    

   



      

      

Act 1 9

       122

Mi

fall on the

pave

    

    

(aside) mp

- ment.

The ti - cket,

W

K

 

Reh. Pno.

                           

      127

Mi

the W

K

          

 

    





   

   

      

   

 mf



    

  



mp



the ti - cket,

 

   

     

ti - cket,

  

      

Reh. Pno.

the ti - cket,

Such

a

thought

 

-

 

-

ful

             

                         



mf

131

Mi

W

K

Reh. Pno.

    

 

boy.

 

  I

                                

  

   don’t

need

                                 

 

 

  

this

old

ti -

  

            

  

Act 1 10

 

135

Mi

W

K

Reh. Pno.

    

- cket

 

now.

            

   

       





I

do!





       I

  



do!







         

   

  

 



The woman drops her ticket on the floor. It floats in the air. It is in no hurry to hit the deck. The bus comes to a halt with a mechanical sigh of brakes. The woman steps off the bus. The ticket hangs in the air in a tantalising manner. Michael makes a grab and misses it. The ticket slips to the floor. Kurt goes to it. He stumbles badly. Grabs his chest. He has collapsed. Michael dives for the ticket.

D q = 128                                                       mf                              

139

Reh. Pno.

 

144

Reh. Pno.

                                                                                                

148

Reh. Pno.

                                                            

152

Reh. Pno.

                                                                   

               

157

Reh. Pno.

  

                                                                       

Act 1 11

   161

Mi

W

K

Reh. Pno.

  

      

mf



is

mine!

It

  

    

                                                                

   165

Mi

W

K

Reh. Pno.

  

 mf          On the con - tra - ry         

 



 .    s   glis 

 

it’s mine,

I

  

saw

 it



    

first.

                                                                 170

Mi

W

K

Reh. Pno.

  

        

     

 

  

 You





 

don’t

col - lect

 





  

                                                                               

Act 1 12

      173

Mi

W

K

  

 

 

bus



ti - ckets!

  

Reh. Pno.



 

  





I

want

to

use

   

 it

      

                                                                                  176

Mi

W

K

  

    

   

Reh. Pno.





for

some

 - thing

  

W

K

  

        son

-

al.

 

f

   

   

Reh. Pno.

-





  

                                                                                179

Mi

per







I

was

the

quick

- est,

   





I

was

the

                                   

               





Act 1 13

    181

Mi

W

K

  

nip

 -

pi

-

   

  

 





  

  





       

Reh. Pno.

 

than

 

  

 

No - one is fast - er

K

    



 

                                                                  

184

W



E

Mi

est.

   

Reh. Pno.





me.

  

(mf)

       







 









                But

 

 

the

          



pla



-



 

net



187

Mi

W

K

Reh. Pno.

  

  does

  twen - ty

     

  



 - eight

 thou

 - sand

        





 

miles per



hour

 

so

              

    



 you



 

can - not



com - pete.

              

    



Act 1 14

 

W

K

 

190

Mi

Reh. Pno.

In

my

  race

I

             

  

 

    

  

don’t give the prize

to the

                 

 



  

win - ner

who

runs

        

  

   







 

W

K

 

193

Mi

Reh. Pno.



past.

  But

I

             

      



 

give

it

to

the

man

                       

at

  

 

   the back

who, he

-

ro - ic - 'lly

                         

 

  

and

a-

                   

 

197

Mi

W

K

   - gainst 

Reh. Pno.

 

all

the odds,

has

            

  

     

 tri

-



umphed

       

mf

    

 and

 



come

in

           

 last.

       

 

  

   



Act 1 15

    201

Mi

W

K

Reh. Pno.

What’s that

  

gee - zer

on a

- bout?

 

          

   p

 

   

210

 

      

F q = 106    

Reh. Pno.

 

205

Reh. Pno.

  

 

      

   





Michael grabs a seat in the bus. He stares at the old man. We hear a ding. Kurt struggles to his feet. He gasps for breath. The boy turns to look at Kurt. The boy begins to think he hates the old man.

    

  



p

 



 

     

   

    







   

 

                                    



  

 



 

 

      

                                               

       

Act 1 16

Scene 2    213

Mi

W

K

Another day. Another bus stop. Kurt stands behind the woman at the bus stop. He holds a battered suitcase. There is a tin waste basket attached to the pole. The boy runs up. Pushes past them both and fishes in the basket for tickets.

q = 78

 

   

q = 78                                                              

Reh. Pno.

 

mp legato

  

  

  

  

                                                  

217

Reh. Pno.

  

  

  

  

                                                  

221

Reh. Pno.

  

  

  

  

G  

225

Mi

W

q = 162 

 

mf



Ex K

Reh. Pno.

 

 



-

cuse

 q = 162

  

mf



mf

What

 for?

 

me!

                 

       

                          

                  

Act 1 17

 

 

230

Mi

W

 



There’s a K

Reh. Pno.

 

  

bloom -ing



    

Not

for

  

me there

queue.

                  

                                            

        

  

235

Mi

W

is - n’t.

  

There’s K

Reh. Pno.

 

                 

W

K

Reh. Pno.

  

 

ne - ver

look be

 

       

-

 



    

blind.

When I’m in front

I

                             

240

Mi

 

queue un - less you're

                  

 

a

 

  Don’t

be - lieve

 in

  

queues.

 

hind.

       

                    

      

       

           

Act 1 18

 

245

Mi

W

K

Reh. Pno.

   And

 

I’m

 

 

ne - ver

lone

-

            

 

    ly

       



in a good

queue,

when the bus comes by

                  

and there’s

           

250

Mi

W

K

Reh. Pno.

   

“stand - ing

 

room

on

 

 -

-



 

ly!”

       

       

 

                         f

                           

 



W



K

 

255

Mi

Reh. Pno.

      

         

f

 

 

The long - est queue

 I

  can

 

re - call

 is

 

one where

 

there was



no - bo -

                      

      

  

    

 

    



Act 1 19

  



 

 

260

Mi

W

K

Reh. Pno.

     - dy

 there



at

all.





So

when

the

   bus



came

at

                                             

  

     

    

  

  

    

   



  

 

264

Mi

W

K

Reh. Pno.

    last 



the

dri - ver

took

one

look



 



and drove straight on

past.

                        

   

  

         

      

          



 

W

K

 





268

Mi

Reh. Pno.

       

 

            

            

Act 1 20

   271

Mi



What

are

you

say



 -

ing?

W



K

 



Reh. Pno.

 

 

 



H













 

 













 

The boy stares at the old man. The boy scratches his head. The old man Kurt begins to forage in the tin basket for tickets.

                                                                        

273

Reh. Pno.

sub. p



  

  

  

 

                        

                                                  

278

Reh. Pno.

                                  

276

Reh. Pno.

       

 

Act 1 21

   281

Mi

W

K

Reh. Pno.

mp

I’ve

al

 

 -

rea - dy

mp

looked.

       

 

      

      



     



 

  

285

Mi

W

K

          We may not be look-ing for the   

  Reh. Pno.

 

  





   

     

     



 



sub. p





thing.

                           

292

Reh. Pno.

same

The old man, Kurt, suddenly collapses on the ground. His suitcase falls open and carrots and potatoes tumble out.

289

Reh. Pno.



  



 

  

  

                               

  

 

                                                

   

  

            

  

     

Act 1 22

   295

Mi

W

K

Reh. Pno.

  

 

mf   





  

W

K

Reh. Pno.

  

mf

Help

do - ing that

 

gain at - ten - tion!

Michael helps Kurt to his feet. The woman doesn’t look round. The old man has difficulty in standing upright. Michael picks up the carrots and potatoes. The bus arrives. Michael sees the woman climb aboard. Michael doesn’t hurry. Ding ding. The bus goes. Michael packs the vegetables back in the suitcase.

me!

     

     

                 

                

sub. p

to

                              mf                    

 

 

   

 

299

Mi

You’re just



         

 



 





 





305

Reh. Pno.

                                                             



 











 

309

Reh. Pno.

                                                                 

mp

 

 

      

 

 

      

 

 

     

Act 1 23

312

  Reh. Pno.

sub. p







I q = 140 mf       What’s

all











 

this





       







 

  

316 Mi







then?

W



K

 



Reh. Pno.

q = 140             

mf

   

    

   

              

       

f





  

 

 

 





320

Mi

W

K

mf        Just a few

    Reh. Pno.

things

 

      mf

     I



col - lect



     

    

be - sides

bus

tic - kets.

         

   





 



 

   



   f



 

Act 1 24

  





 





   

 



 

323

Mi

W

K

p

Some

        

    

Reh. Pno.

q = 132

     

 

-



times

I



col - lect

q = 132

                                             sub. p

  

    

  



 



W



K

 

326

Mi





hun

-



ger



and

                          

Reh. Pno.

cold.



And

I’m

                               

  

  

 

 





par

-

tial

                



 





W





K

 

  

  

 

330

Mi

Reh. Pno.



                 to

a

 bit

 of

  old



  

age



and

po - ver - ty

 

                                                                   

Act 1 25

  



 

 

334

Mi

W

K

Reh. Pno.

     

  

 too.



 And

I

try

to

put

 them

in

per

 -

spec

-



tive.

                          

                

   

 

 

 

 

  



W

 



K

   

338

Mi

Reh. Pno.



Oh



 

God,

I



try.

When

I'm



hun

-

-

gry

                                        







 

 





 







W

 

 

 

K

 

342

Mi

Reh. Pno.

  I









feed

the

pi

                   

 



 -

-

 

 When

geons.



I’m

                     



 

 



Act 1 26

  





 





346

Mi

W

K

Reh. Pno.

      cold



  I

throw



o - pen

the

 



Bri - tish



win - dow





and

tear

off

 

my



coat.

                   





 

      

 







 

  







 







   

  

350

Mi

W

K

Reh. Pno.

When

I

 

feel

par

 

 -

ti - cu - lar - ly

 

   mf

poor

I

write

 out

 ex -

                    

  



  

mf

 



 

 





W





K

 

355

Mi

Reh. Pno.

 - tra

 -

va - gant

 

cheques,

 And

 if

 I’m



feel - ing



ill

I

run



                                        



  



 



Act 1 27

    

358

Mi

W

K

Reh. Pno.

   







up

and down

 



W

K

Reh. Pno.



a

 

moun - tain



goat.

rit.

                                 

 

  

mf

Just



a few

things

q = 88             

 

I

 

 

col - lect

be - sides

 

  

mf

  

  



 

bus

tick - ets.

        

 

 

 

 

 

 

q = 140

Michael gives the suitcase back.

mf

         

W

K

 

Reh. Pno.

q = 88 

368

Mi

like

rit.

J

362

Mi

stairs

                 

 



Why did - n’t you

 

tell me

you were ill?

 

q = 140                                              p

 

 



 

 

 

 

Act 1 28

 

373

Mi

W

K

 

 

  

did you

I

mf

Why

 

  

miss your

don’t

 

  

right - ly

know.

 

bus?

                                               

Reh. Pno.

mf

    

 

marc.

 

 

   

     

 

  

  

 

378

Mi

W

K

           A - ny - way it’s on - ly my bo   

Reh. Pno.

 

 

        

  



dy

  





  

aren’t

K

 

         Reh. Pno.

  

q = 82   

      p              

  

time.



ill,

to

    



time



W

from



    

q = 82 p    But you are

 



that lets me down

     

382

Mi

-

    

   

          

 

  

you?

  

   

p

Yes I

am.

 

            

    



Act 1 29

      388

Mi

W

K

 

Reh. Pno.

And you can’t stand

up

ve - ry well.

            

      

q = 150

    

  





f

I

can



f

f

So can

W

K

 

ti

  still

  

re - cog - nise





a

rare

 bus

  

cket.

I



Michael studies the old man.

 





I.

 -

 



q = 150                            

393

Mi

know.

                                        Reh. Pno.



      

 

 



 



 

K  

q = 102

398

Mi

mf

 

  

Why don’t you stand at the front

 

of the queue here,

W

K

 

                  

Reh. Pno.

  

 

 

 



 

 

q = 102

              

mf

 

 

 

Act 1 30

 

403

Mi

so W

K

Reh. Pno.

you can get

a

seat

 

 

  on

the

next

bus.

  mf

I

     

       

       

 

       

 

407

Mi

W

K

Reh. Pno.

    thought you

 

ne - ver

be -

lieved

           

  

  in

 

 



To- day’s



 



       

 

- cep - tion. W

K

 

     

 

Reh. Pno.

   

 

  

                                  

 

 

an

ex -

queues.

412

Mi

 

                                         

 

 

 

   

 

   

   

 

                

 



Act 1 31

Scene 3       417

Mi

Co

K

Reh. Pno.

q = 150

Another day. The old man and the boy on a bus. Ding ding. The boy finds a ticket. Waves it at the old man.

   

       q = 150      









      

       f                                                

 

Co

K

 

Reh. Pno.

  

 

     You can

Co

K

Reh. Pno.



     

Look at

this!



Some - bo - dy dropped



   



   

 





it.

 



  









mf                                      

424

Mi

     



f      

421

Mi

 

 

       



go

to

the

end

   of the route

with

this

tick

  



 



  

                      

 



-

et.





f

 

But

do you



real - ly



                

Act 1 32

 

428

Mi

What Co

K

   

 

     

  

Co

K



Co

K



  

Reh. Pno.

 

    

-

  



 

 

 



spec - ial



  





 a -



 











 

be.



   

        

 



  



         

ve - ry

       

ion.





 



I

               

     - lect



it.

436

Mi

    - bout

 



                            

May -

  

Reh. Pno.

  



   

 

 



There’s no - thing

432

Mi

 

 

it?



say - ing?

 

need

Reh. Pno.

are you

  

So what if

I

have?



 

bet you’ve got



 

  do

  



 -

zens

in



your col -



              

 

    

The old man tries to snatch it from the boy. The boy is quicker.

                                                

Act 1 33

 

Co

K

 

439

Mi

Reh. Pno.

Give

Co

K

Reh. Pno.

  

     



      to

-

ver

No

I













 

won’t.

me!

 



Please

give





it

to

  me!

                                                                                              

        No

I won’t.

Co

K

 

Reh. Pno.

o



447

Mi

it

  



                                                                                             

442

Mi

  



    

      Please!

   

If you want it so

 bad

 -

ly,

   





 

I can give you one

                                                                    



of

mine.

 





       

  

     



Act 1 34

     453

Mi

Co

 

K

   

Reh. Pno.

I’ve got

 

hun - dreds at

home.











         

 

                             

459

Mi

Please.

        



                               

L 







Why? Co

K

 

Reh. Pno.

   

       Be - cause you have

                                                            



so

                               



  







 





 



 







You

have

all

464

Mi

Co

K

Reh. Pno.

      much





of

so



 ma

-

ny

things.



these

                                       









  



  







Act 1 35

  







 











467

Mi

Co

K

    



fu - tures

Reh. Pno.

 

  

with - out mis

          

       

 

 -



   



giv - ings.

                                            

 









471

Mi

Co

K

Reh. Pno.

   You

   

   see

I’m in - clined

            

 

 



 to

 

  

think

 

  

 

a

 

 

 

 

 

 

3

ba

-

    



by's sneeze

has

as

much

          

  to

  



  





 





474

Mi

Co

K

Reh. Pno.

   

 say



as

 

all

of



 

  

3

So - cra - tes.

                             



  

 

  

 

  

 

 

               

 

 





 

Act 1 36

 







Co

 

 

 

K

 

479

Mi

You

           

Reh. Pno.

   

 

 

  

   



 

 

can

     

take



  

your

                 

                      

  



 



  

484

Mi

Co

K

Reh. Pno.

     fu  

-

   ture

       



to

the

  

  banks.

           

                               

                         





 









Co









K

 

488

Mi

Reh. Pno.

         All I want is just this

                             

ti

 -

cket

     

and

              

you can af - ford

   to

swap

 

 

it

for

an

                    

Act 1 37

 

Co

K

 

493

Mi

Reh. Pno.



  

old

man’s

 



thanks.

                 

 

The bus conductress comes along. Her cap and her ledge of tickets pinned to her belt.

                    

    

       



       

497

Mi

Co

K

Reh. Pno.

   

 

A - ny

fares

more

Co

K



       



         

             

    



A - ny more

fares!



 

                      

The old man looks round. Alarmed.

  

 

   





     p

I don’t have

                 



                

M

      



    

q = 74 

 



please.

          

Reh. Pno.

  

 

501

Mi



a

-

     

ny

mo - ney.

q = 74           

     

   

  

sub. p

   

Act 1 38

 















506

Mi

Co

K

                I can be ar - res - ted for this!  

Reh. Pno.

They will







take

me

 



to

a



camp.

                             

  

 

 

  

  

 



  







 







510

Mi

Co

K

Reh. Pno.

     I

 can

be

de

   

   514

Co

K

Reh. Pno.

-

port - ed

  

for

this.

  



Please!

                                 

 

       

   

 

Kurt holds out his hand. The boy slowly gives him the ticket.

Mi

   

 

       

      

 

     

N q = 100





 

q = 100          



f

     

       

  

     

              

       

          

Act 1 39

 

517

Mi

Co

K

Reh. Pno.

Kurt shows her the ticket.

 f

See

your

 

 ti

 -

cket,

 



 

sir!

Go - ing

   all the

  

way

to the

 

 

of the

route,

sir?

                

end



  

   

    

                     

  

 

  

    

 

  

519

Mi

Co

K

Reh. Pno.

    

Co

K

Reh. Pno.

 

 

     

    

 

f

        

     

521

Mi

    

       



Eh?

 

         

   

              



 

 

  Yes!

She clips it again with her steel puncher. Gives it back to him. Walks away.

gliss.



   

   

  

(to Michael)

Thanks!

                 

        



 



 

 

 

  

 

 

Act 1 40

 

The bus snorts into a gear change. There's a ding ding.

523

Mi

Co

K

 

Reh. Pno.

   A - ny

         

          

          

 

  

more

fares

please?

       

  

          

   

  

    

  

          

 

Co

K

 

526

Mi

Reh. Pno.

            



   

          



          

   

  

 

          

  

 

O

q = 162      528 mf

Mi

No

more

fares.

How

far

are

you



go - ing?

 

To the

end

     of the



line.

Co





K

 





Reh. Pno.

q = 162                                                      mf

 

 

 

 

 

 

 

  

Act 1 41

    533

Mi

What

Co

 

K

   

Reh. Pno.

  

will you



do

 

  

when you







 

   

get

   

    

there?

Be

a - fraid

to come







back?





                                                           

     538

Mi

A - ny



 more

  

  

fares

 

please?

 

 

No

more

 

 

   

fares.

 

   



Shall I come

Co

 







K

   







Reh. Pno.

                                                                                          

    542

Mi

with Co

K

Reh. Pno.

 

 you?

If

 you

want.



How

will

we

get

      

 

 



   



       

 

   

 

   

 

      

 

   

      

 

   

 

    

 

   

 

 

 

Act 1 42

   545

Mi



home?

We’ll

buy

some

Co

K

 

Reh. Pno.

   

  

 

 

                

   

  

- ven

Co

K

Reh. Pno.

-

 

ture!

A

 



                                     

   

ets....

What an ad





 

 -



   

-

 



-



                                                     



tick

   



  

 

549

Mi

 



ny

more

 

fares

please?











                                                                

,

552

Mi

No



more



fares.

Co

 



K

   



    

Reh. Pno.

 

  

 

  

 

                         

   

  

  

  

  

  

  

  

  

  

  

,      

                                             

 

f



Act 1 43

Scene 4 Outside a front door in Hampstead. Kurt and Michael slump very tired.

 q = 92  555

Mi

K



    q =92     



  

mp



 



 

 





  

   





                                                  

Reh. Pno.

    

mf

 

 

 

 

  

 

 

 

 

 

  

 

 

 

 

 

 

 



557

Mi

K

   

   

Reh. Pno.

       



 

  

   

   



 

    



                                                                      

  

 

 

                   

 

559

Mi

K

         

Reh. Pno.



mp

Your

mo

 

   



 

   



- ther

will

be

  mad

 



you’re

  



   not



                                                                                                                                

Act 1 44

   562

Mi

K

    

Reh. Pno.

I

 don’t







home.

  

   

 





mp

  

  



 

 

  



                                                      

   

                     

   

 

                 



564

Mi

K

   

care

Reh. Pno.

You’ll

    



               

                  

  





be

late

for

tea.

  

   

  

 

                                   

             

 

           

567

Mi

K

 

  

    

I



know.

   

   

    

 



 

             



                                                     Reh. Pno.

 

             

   

           



Act 1 45

   570

Mi

K



     Well,   



this

is

  

home.

my

   

   



 

Do

you

  

want

  



 



to

come

  



                                                             Reh. Pno.

                                                            

   573

Mi

K

     in?   

Reh. Pno.

   

   

 



  

No

thank

you.

  

  

    



  

                                                                                      

 

   

            

             

576

Mi

K

   Don’t   

Reh. Pno.



you

want



see





to

what

 

I



do

with

the

  





                                               

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Act 1 46

 

579

Mi

K

  

Reh. Pno.



 

bus

ti

 

 -

ckets

  

 

I

col

-

K



  

 

-

ly.

    

  

 

   

 



   

(looks at Kurt)

  

What

  







do

you



  



                                                         

                

   

                    

           

585

K

real

                                       

Mi

Not

                                                       

   

Reh. Pno.

 

  

lect?

582

Mi

 

   

do

  



     

with

   

  

them

 

then?

    

      



   

  

   

                                                Reh. Pno.

   

         

           

         

              

  

Act 1 47

   588

Mi

K

Kurt goes inside. Comes out immediately with a collage. There is a bus ticket pasted in the collage.

   









 

   

    

Reh. Pno.





  

 





                                                        

 

 

 

 

  

 

 

 

 

 

 

 

   

 

 

 

 

 

 

 



590

Mi

K



   

   

     

 





   

 

  

  

 

                                                       Reh. Pno.

   

 

               

  

 

 

 

                     

592

Mi

K

   

   

 

Here



  

you

  

 

  

What is





it?

are!

  

                                                   Reh. Pno.

    

   

         

 

   

         

 

 

           

Act 1 48

P

 

595

Mi

K

Reh. Pno.

q = 86

f    It’s

q = 86       

  f

  



 

called

Merz

  

 



  

 



K

Reh. Pno.

   

     mf

        

 

K

Reh. Pno.

   

got

I

  

 

  



  

one

of those,

            

    

      

K

Reh. Pno.

yours.

        

   

  

 



f

 

But

    

f

  

 

tick - et.

the

  

bus



   

 

  swap

   

se - ven.

 

it

if

  

 



 

 

 

 





I've

  

  

 

                       

It’s in much bet - ter con - di - tion than



            

 

  



like

      

I’ll





  

 

 

  

     

from a num - ber nine - ty

   

   





          

602

Mi



  



Art.

                  

599

Mi

mf

 

 

  



597

Mi





 you

want

 

 

    

    

 

 

      

  





to.

 

   

 



Act 1 49

q = 90     604

Mi

K

Reh. Pno.

 

mp                 pic But what do you think of the

q =90       

 

     



sub. mp

  

Dun

  

 

 

  

 

  

    

mf

Reh. Pno.

       bits and  

  

   

    

 

pie -

 

 

ces?

  



 

  

 



    

It’s

K

        

And all the o - ther

  

     

mf



 

 

      

 

is - n’t

  

  



  

in - te - rest - ing,

      



no.



608

Mi

-



ture?

 

   

 

      

   

-

mp

 

 it?

          

 



 

    



Q

 

611 Mi

K

Reh. Pno.

 

q = 98

mf

That’s

not

what

you

 think.

q = 98                       leggiero

 



 

                





Act 1 50

 

613

Mi

K

   Tell



  

the

truth.



 

 

You

think

that

all

the



                                                                        Reh. Pno.

  

  



 





 



615

Mi

K

 

     rest



  is

-

-

               Reh. Pno.

  



  

 

K

 

ne

-

ver

-

 

said

that.

mp

No,

I

bish.

                          

 

 

617

Mi

 

 

rub

sub. mp



 

mf

But

 that’s



what

 you

                                       

Reh. Pno.

 



mf

    

 

   

Act 1 51

   619

Mi

K

Reh. Pno.

   think.

mf

 

I’ve

got

to

go



 

home

now.



                                                                                    

                                      

622

Reh. Pno.

Kurt shows Michael the collage

  

 

 

 

 

  

 

R

624

Mi

K

Reh. Pno.

 

 

,

 

q = 76

(mf)

This

  

  

 

 

 

what

I



found

to

 

 

  is

 

 

 day.

Took

  a

bus.

 , q = 76                                                                  (mf) leggiero                                         

 

628

Mi

K

Reh. Pno.

    Drank a

 

cof - fee.

 

Chew - ing gum

                     

 

 

  

stuck on my shoe.

 

 

I

a

ate

 

tof - fee.

   And a

                                                                                              

Act 1 52

 

633

Mi

K

Reh. Pno.

 

pret - ty

girl

 

read

 

a

let - ter

 



writ

-

ten

by

her

lov - er,

and

                                                                                                     

 

638

Mi

K

Reh. Pno.

     tore it

 

  

  

up.

So I picked



it up

 

     



then and

there.

I

  thought she’d

 burst

                                                                                                         

643

Mi

K

Reh. Pno.

 



    

 

but

she

in - to tears,

  just



shrugged



and

 



brushed

her



hair.

                                                                                                                         

647

Mi

K

Reh. Pno.

   Here 





 

 is

 e

 -

v’ry

-

thing

 I

   found

 to

 -

  

day.

                                   

                                                   

Act 1 53

   649

Mi

K

Reh. Pno.

     Here  



is

e

K

 -

v’ry -

 

thing

I

 

found

to

-

day.

                         

   

q = 102



 

mp



 



So

do

you

still

think

it’s

q = 102                       

Reh. Pno.



                                                       

652

Mi



mp

 

             



 



rub -

bish?

       

   

    

 

                                                                                                    

S  

657

Mi

q = 108   mf     I

K

  

Reh. Pno.



  

must go home. mf

       

Tell me the truth

 

  

           

 q = 108      mf

   mf espress.



what do you

                       

                                                            

       

Act 1 54

    662

Mi

K

 

     Dun -

 

no.

 Mum

think?

   

Reh. Pno.



will

be

look - ing

   

  



K

  

                                                                            

    



It’s

kind

of

  

Reh. Pno.

for me.

665

Mi

   

 

 

in

 -

     

te - rest - ing rub - bish.

 

    

  

                                      

  

    

    

      

668

Mi

K

Reh. Pno.

       

 

    



But it’s still



  

all

rub

-

  -

bish?

  

 

   

                                                                   

Act 1 55

    671

Mi

K

   

Some

-

thing

like

that.

   

Reh. Pno.

 

 

p

  



  I

   

want

-

ed

to



                                                                  

sub. p

      

    

      

K

Reh. Pno.

 

    hear

you

 

q = 144 f   I

K



 



tell

me

the

truth.



                                                                    

677

Mi



 

can

help

you

if

you

want

 

to

I

know.

 can

 swap

  you my

q = 144 sim. R R                                    L R

Reh. Pno.

 

      

674

Mi



f molto marc.

L

Act 1 56

   683

Mi

K

Reh. Pno.

 

green

 one,

if

Reh. Pno.

 

They look at each other.

      

 makes

   

you

 

 

  

feel



a - ny

bet

 

          

   - ter.

K

it

                  

688

Mi

 

-

        

-

          

            

-

                

   

 



Act 1 57

Scene 5  q = 188   693

Mi

Att

K

Reh. Pno.

      q = 188         f     marcato

 

The lion sculpture outside the British Museum. Kurt is working on the lion. He has some tools. He places cardboard ears on the lion. He paints in feline eyes. Michael walks up.

                                                                        

 

 

698

Reh. Pno.

               

                   

                                       

                   

                   

704

Reh. Pno.

                                                                         

                            

                   

710

Reh. Pno.

                       

                   

                     

                   

                    

                   

716

Reh. Pno.

                                                                                                                                             

Act 1 58

 

721

Mi

Att

K

 

Reh. Pno.

  f

You

 

fol - lowed me

                                

f

On - ly

  

be - cause

I



think you’re mad.

here

                                             

 

Att

K

 

726

Mi

Reh. Pno.

  

K

Reh. Pno.

     

   -

es you,

 

   

you’ve got

                                      

to

  

I

think if

some - one

 

do



 

 

Don’t know

       

  

                                   

 

scar - per.

     

   

You like what I

                                             

catch

Att

  

   

No, no, no.

730

Mi

                  

 the

 word

                    

Act 1 59

   733

Mi

Att

K

Reh. Pno.

      

T 

Could be use - ful.

   ‘scar

Kurt steps back. Surveys the art work.





- per’.

                                            

                                                                          

 

Att

K

 

738

Mi

Reh. Pno.

       Whatdo you think

this

     

I think

it’s a

is?

                                                                                                   

   743

Mi

Att

K

 

Reh. Pno.

li - on.

           It’s

 

It was meant

to

a cat!

                                                                                                  

 

       

 

        

Act 1 60

  



be

a

li - on.

748

Mi

Att

K

 

Reh. Pno.

     

No,









 

 

 

 

 

no!

   

 

It’s for stuffed shirts and



 

town hall

na -

   

   

bobs.

                                                                                                        

It’s a

         



  









 









753

Mi

Att

K

Reh. Pno.

      self

sa - tis - fied

 

or - na

-

ment

   cre

  -

a - ted

 by

 

the



Ma - ha - ra

-

jahs



                                                                                                                            

  









 









757

Mi

Att

K

Reh. Pno.

    of

 ce

   -

ment.

  



   

They think it’s here for

   

 

e - ver.

                                                                                               

Act 1 61

  





 







761

Mi

Att

K

Reh. Pno.

    

 

It’s just pos - si - ble

764

they aren’t

                          

U

Reh. Pno.

    

  

that

  cle -

ver.

                                                  

Kurt splashes cat-like huge white whiskers. The lion is transformed. Kurt offers his brush to Michael. Michael finishes off the cat’s whiskers. Kurt gives it a big red nose of paint. The Museum attendant runs up. She is in a formal blue suit. She blows on a whistle.

                                         

       

                                                

769

   Reh. Pno.

  

                                                               

775

Reh. Pno.

                      

                                                                  

779

Reh. Pno.

                                                  

         

      

          

   

  

Act 1 62

  





 



 

   





784

Mi

Att

K

Reh. Pno.

 f



 

Van - da - li - sm

 of

pub - lic

pro

                                                                                

  

 

  





-

per -





ty.



        

           

789

Mi

Att

K

Reh. Pno.

  

     

 

Van - da - li - sm

means a

                         

  



hef - ty

fine,

 

         

 





  and

 if

 you

                                     



 

can’t



pay

                    



up



             

794

Mi

Att

  

   you

K

Reh. Pno.

go

             

 to

 

jail

for

a

try

  -

ing

  

time.



The

li

 -

                                                       

on,

        

       

                                                

Act 1 63

 

798

Mi

Att

K

Reh. Pno.

   

the

li



-

 

on,





  

look

                                                     

       





at

the

li

  

-



on.



                                                 

802

Mi

Att

K

Reh. Pno.

 

Att

K

Reh. Pno.

           It’s not a li           

   807

Mi

  

a

fat

a

      

 fat

It’s

      

- on,

it’s

  

 

cat.

a

con - crete

li - on.

a cat.

 No





I

don’t give

a

it’s

                 



 

                     

 

 

 it’s

No

 

  

                                                     

 

can - dle what

���  

it

is.





  

 

cat.

                    

                            

                                           

                      

Act 1 64

  

The attendant blows on her whistle. Rushes away to find more attendants.

812

Mi

Att



  

You

K

Reh. Pno.





are

a

 van

-

   

dal!

                                     







                 più f                       

                     

 



Att



K

 



816

Mi

Reh. Pno.

                     

        

                                                                    

    

V

  q = 122   822

Mi

Att

K

Reh. Pno.

    

Michael sneezes.

 

mp

 I

    think I’m

co - ming down with

 flu.

 

 

What

         q = 122                             mp

         

 

   

       

Act 1 65

    825

Mi

  

  

shall

Att

K

Reh. Pno.

I

  

do?

 

 

gliss.

Scar

-

mf

   per!

                        

   

       

Kurt packs away his brush and paints. They both leg it.

828

Reh. Pno.

                  

      

831

Reh. Pno.

 

     

                                   

    

      

                             

                    

, 

  

 

Act 1 66

Scene 6   

BBC Third Programme Studio. Broadcasting House, London. The interviewer is a brisk young woman. She sits opposite Kurt Schwitters. They both wear large headphones. There is a glass wall between us.

q = 150

W

K

Reh. Pno.

       q = 150                        

mf

 

                   

841

W

K

Reh. Pno.

  

K

Reh. Pno.

                  

  

 

 

 

                  



 

 

 

  

Interviewer (spoken): This is the BBC Third Programme. We have in the studio today, the leading German exponent of the art of DADA Kurt Schwitters. Herr Doktor Schwitters for your first show in Hanover, instead of critics, you began your career by inviting forty sheep and twenty reindeer?

 

 

847

W

 

 

 

 

  

848

W

K

 

  

Reh. Pno.

mf

 

  

 

     

   

 

  

       

  

   

    

     

 

    

Act 1 67

 

853

W

K

  

Reh. Pno.

     

    

K

Reh. Pno.

Well,

      

   



  



I

      

 

 



Interviewer: Continuing with your life, you invented the term MERZ. MERZ Art can be anything from bus tickets to fox furs.You created a room which was not a room. You built a tower which broke through the roof and when rain began to pour your landlord decided to show you the door.

 

 

857

W

      

 

 

 

 

W  q = 170   858

W

K

Reh. Pno.

 

q = 170                           mf

    

 

 

 

863

W

K

Reh. Pno.

 

              

  



     

         

 q = 124

I

don’t

think

it

was

q = 124        





  

mp

mp

      





ex - act -



ly...

         







Act 1 68

  q = 92  868

W

K

Reh. Pno.

 

 

Interviewer: ‘Picasso is a 19th century artist’, you claim - ‘He makes works to fit the inside of a pretty gilt frame’. And yet when asked what art means to you, you announce - ‘art is the most useless thing in the world to do’

like

that.

 q = 92         mf

 

 

  

 

       

     



  





  

 



 



  

873

W

K

Reh. Pno.

      

W

K

Reh. Pno.

K

Reh. Pno.



 

q = 140 

 

q = 140         

    

    



  



 

mf

     

 

  

   

Well, you

882

W

     

   

877

know

  I

 

 

     

  

get

asked

      some pret - ty

sil - ly





 

 

ques - tions.

                                      

Interviewer: In due course the DADA movement and you had to part - DADA persisted in calling itself Anti-Art. Everything, you insisted, could be a work of art because everything is of equal value. What is it like to be a rebel in the Post War world and what does it mean to you?

       

Act 1 69

q = 126    883

W

K

    

mp

Ah,

yes,

mp

 



well

 q = 126              

Reh. Pno.



I....

       











        







X   q = 92   886

W

K

      

Reh. Pno.

Interviewer: And although you once described DADA as laughter in the dark which suited the times, is it true you became afraid DADA laughter could be mis-used for Nazi crimes?

q = 92            

mf

 

  

 

 

 

             

893

W

K

Reh. Pno.

   

 q = 98

 mp   

          

 

 

 

 



  

         

 3

mp



 

 

 3     

q = 98                

 

 

Let me see



 

if

I can

give you a

 



 

de - tailed



    3

an - swer to that.

 

 

3                 3  3            3

3

3

3

3

3

3

Act 1 70

 q = 164  899

W

K

Reh. Pno.

 

K

Reh. Pno.

mf

    

 



 

But..........

              

Interviewer: This is the BBC Third Programme.You have been listening to Kurt Schwitters, the artist, on what it is like to be a leading figure of the movement known as DADA-ism.

   

 

 

q = 164                        

905

W

Interviewer: I’m so sorry. We’ve run out of studio time. Thank you very much.

       

       

     



 

    

 

Y  

910

W

K

 



 

 



    

Reh. Pno.

q = 86

 q = 86       

    

f

 

  

 

     



      

  

  





 





915

  

Reh. Pno.



     

    920

       

Reh. Pno.

    

    

         



 

             

   

 

 

      

q = 156            



     

    

               

 

Act 1 71

Scene 7    925

Mi

Mo

K

Reh. Pno.

q = 178

 

In Michael’s house. It is a small neat terrace. His mother stares at Kurt.

 

     q = 178            f

    

                

                 

    ���             

                                          

 

Mo

K

 

929

Mi

Reh. Pno.

              

                                                      

         

 

         

 

 

932

Mi

Mo

K

Reh. Pno.

             

mf

How

 

             

is

Mi

             

mf

 

 -

chael?

            

 

                         

Act 1 72

 

935

Mi

Mo

K

Reh. Pno.

 

 

mf

He’s

 

in

bed.

mp    I'm

               

                 mp

the



old

man.

     

 

                

 

    

939

Mi

 

mf

Mo

K

 

Mi

 

has

told

me

 -

chael

            

Reh. Pno.

mf

  

  a

-



 

bout

you.

   

 

              

 

mp  

  

           

  

I’m

 



his new

friend.

   mp         

 

  

 

  

 

943

Mi

Mo

K

Reh. Pno.

 

mf

That

 

               mf

 

may be.

            

But

  

  he

  

         

can - not

see

you

 

to - day.

  

            

 

            

Act 1 73

 

947

Mi

Mo

K

Reh. Pno.

   

            

  

mf

He

has

this



flu.

            

I



know

he

has

       

 

this

flu,

                                         

 

 

  

 











951

Mi

Mo

K

Reh. Pno.

  

So

I

quick - ly

                



thought of

 

some - thing

to

do.

                                           

  

 

                                        

955

Mi

Mo

  

  I

K

Reh. Pno.

   

can’t

ask

you

to

stay.

               

  

            

         



 

  



Not

 

e - ven

         

 

                                               

Act 1 74

 



 

959

Mi

Mo

K

Reh. Pno.

      for the fa - mous

Bri - tish

         

       

cup

of

tea?

 

I

don’t



         

    



  wish



to

ap -

pear

  

            

           

    

  



 



              

964

Mi

Mo

   rude,

K

Reh. Pno.

   



days

I

Mo

K

 

Z

 ‘Coughs



    ne - ver



                                         

 

Reh. Pno.

these



 

but

969

Mi



in

  -

vite

peo - ple





 

  

in

for

tea.



    

                                        



  

          

     

and

                              

sneez

-

es

spread

dis

 -

                                                              

eas

 -

es.

               

    Trap them in

your

               

                

Act 1 75

 

975

Mi

Mo

K

Reh. Pno.

      hand - ker - chieve - ses.          

 

Trap them

 in

your

hand - ker - chieve - ses’.

A

good

old



Bri - tish

say - ing.

                                               

                       

          

                                

 









980

Mi

Mo

K

Reh. Pno.

  

 But

 



 

it

is

just

not

true.

 

mf

 

A - ny - way, I’ve

                                                      

mf

                                              

 

984

Mi

Mo

 



 

 mf

My K

Reh. Pno.

    writ - ten

  him

a





 



son

did - n’t

                                       

 say

you were

 

              



a

 

po - em.

mf



 



                                                

Act 1 76

   988

Mi

Mo

   po

K

Reh. Pno.

-

   



  

et,

sir.

            

Mo

K

Reh. Pno.

       

 

       

      

 













                          

   

  

 

    

             

    

       

A1

  



 



   

 

993

Mi

q = 132

(mf)

More

                    



than

a

po

q = 132     

  -

et,

 

 

  



Ma - dame:

paint

-



 

er,

sing

 -

er



  

                                  (mf)

 

998

Mi

Mo

K

Reh. Pno.

 

 

and

    

act - or.



 More



  

 

e - ven

  

 

than

that,



   Ma - dame:



  



                                        

Act 1 77

 

Mo

K

 

1003

Mi

Reh. Pno.

 

   

as - sem - blage

ma - ker,



sound

 

   

  

po - et,

per - for

   

 

-

mance art

-



  

       

 



  





ist,

  

                               

1008

Mi

Mo

K

   

Reh. Pno.





mu - si - cian

and



  

 

 

  

com - pos - er,

ma - gi

-

    

  

 

cian,

                    

 

danc





er,



-

  

 in -



  

              

 

1013

Mi

Mo

K

Reh. Pno.

   - vent

- or,

      

  

 



and

e

  

 -

ven





more,





Ma - dame.



  



And

e

 

 -

ven

 

                     ���     

Act 1 78

 

1017

Mi

Mo

K

Reh. Pno.

   more.



  

  





  

  





                                

B1  q = 178  

1021 Mi

Mo

   

Ve - ry nice, K

 

I'm

 sure



     



If you give



q = 178               

Reh. Pno.



 

me your

po - em,





 

Mi

-



chael will







                                                                           

                                                         1026

Mi

Mo

K

Reh. Pno.

 

   

 



read

it.

                 

    No,

       

       

       

it’s

               

                                   

a

 Sneeze

  Po - em.

            

 

You

            

Act 1 79

 

1032

Mi

Mo

K

Reh. Pno.

    have to

  

see

me

          

 

Michael enters. Pyjamas and red nose. Sniffles.

    

do

it.

         

                                             

1038

Mi

Mo

K

Reh. Pno.

 

 

   

Mi - chael,

Kurt makes a grand gestures. He takes out a handkerchief and theatrically blows his nose.



go

back

to



bed!

                    

    

 

 



 



                                   

 

1043

Mi

(to Kurt)

What

is

Mo

K

 

Reh. Pno.

 

    

 



 

 

 

    

 

                        

this

                       

Act 1 80

   1047

Mi

po

 -

em?

Mo

K

 

                

       

       

       

Reh. Pno.

       

       

       

       

       

       

       

SNEEZE SONG

C1

(q = c.88) Approximate pitches and rhythm, free within suggested outlines,

1051 (resistance)

                                              Ah ha ha na ah wan na ha Ah oh ah ha na na na wu Ah ya ya har - sna wan - na hars nu Ah ha! f

K

1052 K

using all possibilities from speech to singing

 

      

 

(losing control)

Stra stra stra oosh

        Ah tar - sha da

1055

,

(delivery)

K

1056 K

   

ha

1057 K

 

   da

ha

     

na stra stra oosh - na

     

,

da arch star - ta

shoo

,     a - ha

         

 ,      

more sung

stoo

   ah

stra stra no

aarch

 

na

 

ah

 

,   

   

no

ah na!

(gutteral)

star - na no tish

an - a - ha

 

stra

 

    

ar

 

ar

ar

   

ah

ah

Kurt explodes. Mother takes a step back. Michael grins.

a - hach

 a

 tash

shooo!



Act 1 81

1058

Mi

Mo

 q = 170  mf   

Would

K

Reh. Pno.

    q = 170      

    you

  like

  



to

stay

        

mf

  

for



         

       

tea?

    

       

       

       

       

       

   

   

    

 

1062

Mi

Mo

K

Reh. Pno.

 

       

        

                                

                                  

                

             

  

Act 1 82

Scene 8

Kurt’s room in north London. Cardboard boxes and crates hang from the ceiling. A bed is pinned to the ceiling. Michael holds a filled paper carrierbag. He knocks. No answer. He walks in. Suddenly, Kurt appears.

  q = 224   1066

Mi

K

Reh. Pno.

 

  

 

 q = 224         f          

                    

                              

1071

Reh. Pno.

                       

    1076

Mi

K

Reh. Pno.

 

 f

You don’t



real - ly

sleep in

 



   

that

 

   

for?

K

Reh. Pno.

 

    

bed?

                        

 

  

1080

Mi

Then what’s it

f

No.

    

                                 

                                        

            

     It’s a bed

   

 

 

that

     

no - bo - dy

             

            

      

Michael looks round the room. Explores.

 

sleeps

 

       

E - v’ry - thing

  

 else

in.

              

                   

 

        

Act 1 83

        1084

Mi

K

   

is on the cei -

             

    

ling.

  

Reh. Pno.

 

 

 

Quite

so.

U - sing

lyrical

                   

             

 

the

floor

has

                     

             

1089

Mi

K

Reh. Pno.

     no



point