Oliver! Perusal

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OLIVER TWIST

FAGIN

C H A R A C T E R S

A workhouse boy about 11 years of age

An elderly receiver runs training academy for young pickpockets

THE ARTFUL DODGER Fagin's brightest pupil an undersized 16

BILL SIKES

NANCY

BET

MR. BUMBLE

MRS. CORNEY

MR. BROWNLOW

MR. SOWERBERRY

A villain in his prime.

23 years old a graduate of Fagin's academy, and Bill's doxy.

A 15 year old lass in Fagin's establishment idolises Nancy.

A large and pompous Beadle of the workhouse.

A sharp-tongued, domineering widow the Workhouse Mistress.

An old gentleman of wealth and breeding.

The Undertaker.

MRS. SOWERBERRY His overseer.

CHARLOTTE

NOAH CLAYPOLE

Their sluttish young daughter

The Undertaker's pimply apprentice

MR GRIMWIG A Doctor

MRS BEDWIN

The Brownlow's Housekeeper

OLD SALLY A Pauper

CHARLEY BATES, and other boys in Fagin's establishment

ENSEMBLE:

Workhouse Boys, Workhouse Assistants, Bow Street Runners, Street Vendors and Crowd, etc

1

1 P r o l o g u e ...............................................................................................................1

2 . F o o d , G l o r i o u s F o o d ....................................................... O L I V E R a n d B O Y S ......1

3 . I n c i d e n t a l M u s i c i n t o “ O l i v e r ! ” ..............................................

4

5 S c u r r y M u s i c .........................................................................................................7

6 . I S h

7

1 4 C o n s i d e r Yo u r s e l f ( P a r t O n e ) D O D G E R , O L I V E R a n d C O M PA N Y 2 8

1 5 . C o n s i d e r Yo u r s e l f ( P a r t Tw o ) ..................................................... C O M PA N Y .... 3 2

1 6 . C o n s i d e r Yo u r s e l f ( P a r t T h r e e ) ................................................... C O M PA N Y .... 3 2

1 7 C o n s i d e r Yo u r s e l f ( R e p r i s e ) C O M PA N Y 3 2

1 8 Yo u ’ v e G o t To P i c k A P o c k e t O r Tw o FA G I N a n d B O Y S 3 5

1 9 . R u m - Tu m - Tu m .................................................................................... FA G I N .... 4 0

2 0 . I n t e r m e z z o P a r t 1 ............................................................................. FA G I N .... 4 1

2 1 I n t e r m e z z o P a r t 2 4 2

2 2 I t ’ s A F i n e L i f e N A N C Y, B E T, B O Y S 4 5

2 3 I ’ d D o A n y t h i n g N A N C Y, D O D G E R , O L I V E R ................................................................................... B E T, FA G I N a n d B O Y S .... 5 0

2 4 . B e B a c k S o o n ..................................................................... FA G I N a n d B O Y S .... 5 4

2 5 T h e R o b b e r y 5 8

2 6 C h a o s 5 8

2 7 . C h a s e ( F i n a l e A c t 1 ) ............................................................................................ 5 8

2 8 . O o m - P a h - P a h ........................................................ N A N C Y a n d C O M PA N Y .... 5 9

2 9 . M y N a m e ..................................................................................... B I L L S I K E S .... 6 2

3 0 . U n d e r s c o r e A f t e r “ M y N a m e ” ........................................................................... 6 3

3

3 2 Tr a n s i t i o n t o “ W h e r e I s L o v e ? ( R e p r i s e ) ” 6 7

3 3 . W h e r e I s L o v e ? ( R e p r i s e ) ...................................................... M R S . B E D W I N .... 6 8

3 4 . W h o Wi l l B u y ? ( P a r t O n e ) ....................................

3 5 P o r t r a i t M u s i c 7 4

3 6 W h o Wi l l B u y ? ( P a r t Tw o ) C O M PA N Y 7 5

3 7 . W h o Wi l l B u y ? ( P a r t T h r e e ) .................................. O L I V E R a n d C O M PA N Y .... 7 6

3 8 . R e c a p t u r e ............................................................................................................. 7 7

3 9 . I t ’ s A F i n e L i f e ( R e p r i s e ) ....................... N A N C Y, FA G I N , S I K E S , D O D G E R .... 8 2

4 0 R e

4 1 B a c k To T h e Wo r k h o u s e 8 8

4 2 . O l d S a l l y .............................................................................................................. 8 9

4 3 . O l i v e r ! ( R e p r i s e ) ..................................... M R . B U M B L E , W I D O W C O R N E Y .... 9 1

4 4 T h e L o c k e t 9 5

4 5 A s L o n g A s H e N e e d s M e ( R e p r i s e ) N A N C Y 9 7

4 6 . L o n d o n B r i d g e / R e v i e w i n g T h e S i t u a t i o n ( R e p r i s e ) ....................... FA G I N .... 9 9

4 7 . B o w s ( P a r t 1 ) ............................................................................... C O M PA N Y .. 1 0 5

4 9 . B o w s ( P a r t 3 ) * .............................................................................. C O M PA N Y .. 1 0 5

5 0 P l a y o u t 1 0 5

* # 4 8 ” B o w s ( P a r t 2 ) ” h a s b e e n c u t

T i m e : A b o u t 1 8 5 0

A C T O N E

S c e n e 1 T H E W O R K H O U S E

S c e n e 2 T H E W O R K H O U S E PA R L O U R

S c e n e 3 T H E U N D E R TA K E R ' S

S c e n e 4 T H E U N D E R TA K E R ' S

S c e n e 5 PA D D I N G T O N G R E E N

S c e n e 6 T H E T H I E V E S ' K I T C H E N

S c e n e 7 T H E S T R E E T

A C T T W O

S c e n e 1 T H E " T H R E E C R I P P L E S "

E a r l y E v e n i n g

L a t e r ( i n t o s t r e e t )

N e x t m o r n i n g

M o r n i n g , w e e k l a t e r

L a t e r, ( i n t o s t r e e t )

A p u b l i c h o u s e i n C l e r k e n w e l l

( t h e f o l l o w i n g e v e n i n g )

S c e n e 2 T H E B R O W N L O W S ' Tw o w e e k s l a t e r ( i n t o s t r e e t )

S c e n e 3 T H E T H I E V E S ' K I T C H E N

L a t e r

S c e n e 4 T H E W O R K H O U S E A f e w d a y s l a t e r ( i n t o s t r e e t )

S c e n e 5 T H E B R O W N L O W S ' L a t e r ( i n t o s t r e e t )

S c e n e 6 L O N D O N B R I D G E

F I N A L E

L o n d o n B r i d g e

A t m i d n i g h t

# 1 P r o l o g u e

S c e n e O n e T h e D i n i n

# 2 F o o d , G l o r i o u s F o o d

Outside it is still raining… The boys file in down the stairs and out of the basement and take their places at the table. They look gaunt and starved. B O Y S I

E N W E A L L C L O S E O U R E Y E S A N D I M A G … I N E

The boys begin wistfully, and build excitement as the image they describe becomes more vivid.

F O O D , G L O R I O U S F O O D !

H O T S A U S A G E A N D M U S TA R D ! W H I L E W E ’ R E I N T H E M O O D

C O L D J E L LY A N D C U S TA R D !

P E A S E P U D D I N G A N D S AV E L O Y S ! W H AT N E X T I S T H E Q U E S T I O N ?

R I C H G E N T L E M E N H AV E I T, B O Y S

I N - D Y E - G E S T I O N !

F O O D , G L O R I O U S F O O D !

W E ’ R E A N X I O U S TO T RY I T

T H R E E B A N Q U E T S A D AY

O U R FAV O U R I T E D I E T !

( B O Y S )

J U S T P I C T U R E A G R E AT B I G S T E A K

F R I E D , R O A S T E D O R S T E W E D

O H , F O O D ,

W O N D E R F U L

F O O D , M A RV E L L O U S

F O O D ,

G L O R I O U S F O O D

The workhouse GOVERNORS process past, following an enormous steaming meal, held by servants. Boys gape and sniff the fabulous smells.

F O O D , G L O R I O U S F O O D !

W H AT I S T H E R E M O R E H A N D S O M E ?

G U L P E D , S WA L L O W E D O R C H E W E D

S T I L L W O RT H A K I N G ’ S R A N S O M .

W H AT I S I T W E D R E A M A B O U T ?

W H AT B R I N G S O N A S I G H ?

P I L E D P E A C H E S A N D C R E A M , A B O U T

S I X F E E T H I G H !

F O O D , G L O R I O U S F O O D !

E AT R I G H T T H R O U G H T H E M E N U

J U S T L O O S E N Y O U R B E LT

T W O I N C H E S , A N D T H E N Y O U W O R K U P A N E W A P P E T I T E

I N T H I S I N T E R L U D E

T H E N F O O D ,

O N C E A G A I N , F O O D ,

FA B U L O U S F O O D ,

G L O R I O U S F O O D

The boys move off into their own individual dream worlds.

F O O D , G L O R I O U S F O O D !

D O N ’ T C A R E W H AT I T L O O K S L I K E

B U R N E D !

U N D E R D O N E !

C R U D E !

D O N ’ T C A R E W H AT T H E C O O K ’ S L I K E .

( B O Y S )

J

O U R S E N S E S G O R E E L I N G

O

D O N O T H I N G B U T B R O O D

O N F O O D ,

M A G I C A L

F O O D ,

W O N D E R F U L

F O O D ,

M A RV E L L O U S

F O O D ,

FA B U L O U S

F O O D ,

G L O R I O U S F O O D .

The boys walk dejectedly back to their seats as the gruel is pushed on by the Paupers Assistant. # 3 I n c i d e n t

Then when they’ve sat down, the “OLIVER” theme music begins as MR BUMBLE enters first, walking solemnly with his brass-topped mace He is resplendent in a gold braid lace-trimmed coat, cocked hat and white knee-breeches with buckled shoes. The boys look up

The music livens a bit as WIDOW CORNEY, the Workhouse Mistress, takes her place beside him MR BUMBLE then strikes the floor twice with his mace as the BOYS rise and file past the cauldron. They are served with one ladleful each, and they return to their benches. The music stops.

(slowly takes off his cocked hat, bangs his mace and intones)

MR BUMBLE then raises his mace and holds it tantalisingly aloft for several seconds All the BOYS eyes are fixed upon it, then he brings it smartly down, and at this point the BOYS fall to eating like clockwork figures

A fast variation on the “OLIVER” theme is played during the eating. The BOYS soon polish off their gruel and sit awaiting the forthcoming unprecedented event The BOY on OLIVER’s right bangs his empty bowl on that of the boy on his right, who in turn picks the two bowls up and bangs them on that of the boy on his right, and so on round the table until the pile of bowls reaches Oliver who snatches his away just in time.

OLIVER stands up. He advances towards MR BUMBLE, basin and spoon in hand, and stops in front of him whilst a violin note is suspended and sustained.

Please, sir, I want some more.

(faintly)

What?

Please sir, I want some more.

(roars)

More!

OLIVER runs away pursued by the PAUPER ASSISTANTS and the BOYS.

(sings)

H O L D H I M !

S C O L D H I M !

P O U N C E H I M !

T R O U N C E H I M !

M R B U M B L E

W I D O W C O R N E Y

P I C K H I M U P A N D B O U N C E H I M !

Riot. They’ve caught Oliver and are about to throw him into his cell. M R B U M B L E

WA I T !

B E F O R E W E P U T T H E L A D TO TA S K

M AY I B E S O C U R I O U S A S TO A S K

H I S N A M E ? A L L T H E B O Y S (scornfully) O - L I - V E R

! M R B U M B L E & W I D O W C O R N E Y O L I

( M R B U M B L E )

H E W I L L C U R S E T H E D AY

S O M E B O D Y N A M E D H I M

L L

O - L I - V E R ! M R B U M B L E & W I

O L I V E R ! O L I V E R ! M R B U M B L E N E V E R B E F O R E H A S A B O Y WA

T

R E ! M R B U M B L E & W I D O W C O R N E Y O L I V E R ! O L I V E R ! W I D O W C O R N E Y W O N ’ T A S K F O R M O R E W H E N H E K N O W S W H AT ’ S I N S TO R E . M R B U M B L E

T H E R E ’ S A S O O T Y C H I M N E Y, L O N G O V E R D U E F O R A S W E E P I N G O U T W H I C H W E ’ L L P U S H H I M U P,

Suddenly the GOVERNORS appear, disturbed from their meal… G O V E R N O R S

O L I V E R !

L I V

(spoken, flustered, in time with music)

(Questioningly)

(singing with decision)

(to Assistants)

Collect his belongings and bring him back to me when you ’ ve done. (to the rest of the BOYS)

To bed, all of you. # 5 S c u r r y M u s i c

Scurry music. BOYS ushered off by PAUPER ASSISTANTS. BUMBLE and WIDOW CORNEY remain

A C T O N E

S c e n e T w o T h e W i d o w s P a r l o u r

M R B U M B L E

Mark my words Mrs Corney That boy was born to be hung, I’ve never been so shocked in all my days.

W I D O W C O R N E Y

Hush, Mr B, you ’ ve had quite a turn and I fancy you might enjoy a little drop of something special

M R B U M B L E

What is it?

W I D O W C O R N E Y

Why it’s what I’m obliged to keep a little of in the house to put into the blessed infant’s medicine when they ain’t well and I’ll not deceive you Mr B,

CORNEY fumbles in pocket to reveal a bottle of gin.

It’s gin.

M R B U M B L E

Well, you are a humane woman Mrs Corney. It’s nice to be appreciated, Mrs Corney. These paupers in this parish they don’t appreciate me Anti-parochial they are, ma ’ am, anti-parochial. We have given away, Mrs Corney, a matter of twenty loaves and cheese-and-a-half this very afternoon, and still them paupers is not contented.

BUMBLE drinks gin and offers to Corney.

W I D O W C O R N E Y

Of course they’re not When would they be? Sweet, Mr Bumble?

M R B U M B L E

Very sweet, indeed, ma ’ am (Bumble Sneezes)

Bless you

W I D O W C O R N E Y

CORNEY drops two lumps of sugar in the gin, and stirs. BUMBLE spreads his pocket handkerchief over his fat knees, heaves a deep sign and looks at the cat basket)

M R B U M B L E

Do you still keep a cat, ma ’ am.

W I D O W C O R N E Y

Yes, and kittens too, I’m so fond of them you can’t imagine Mr Bumble They are so happy, so cheerful, so frolicsome that they are quite companions for me.

M R B U M B L E

(loudly)

Very nice animals indeed, ma ’ am, and so very domestic

W I D O W C O R N E Y

So very fond of their home too, that it’s really quite a pleasure, I’m sure

M R B U M B L E

Mrs Corney, Ma’am

(marking time with a teaspoon)

I mean to say this,… that any cat… or kitten… that could live with you ma ’ am… and not be fond of it’s home must be an hidiot, ma ’ am, and don’t deserve to live in it

W I D O W C O R N E Y

Oh, Mr Bumble!

M R B U M B L E

It’s no use disguising facts ma ’ am An h’idiot! I would drown it myself with pleasure!

W I D O W C O R N E Y

Then you ’ re a cruel man. And a very hard hearted man besides.

M R B U M B L E

Hard hearted, Mrs Corney? Hard? Are you hard hearted Mrs Corney?

W I D O W C O R N E Y

Dear me, what a very curious question coming from a single man. What can you want to know for Mr B ?

BUMBLE drinks his gin, wipes his lips and kisses CORNEY.

Mr Bumble, I shall scream!

# 6 I S h a l l S c r e a m !

MATRON enters with OLIVER.

I’ve brought the boy and his belongings ma ’ am M R B U M B L E

Well I best be off and see what I can get for this young scoundrel

BUMBLE retrieves the boy from the MATRON.

W I D O W C O R N E Y

Make sure you get a good price for him Mr.Bumble.

BUMBLE leaves her and leads the boy through the streets towards the undertakers.

# 7 B o y F o r S a l e

O N E B O Y,

B O Y F O R S A L E

H E ’ S G O I N G C H E A P.

M R B U M B L E

O N LY S E V E N G U I N E A S

T H AT O R T H E R E A B O U T S

(To passing man)

S M A L L B O Y

R AT H E R PA L E . . .

F R O M L A C K O F S L E E P

F E E D H I M G R U E L D I N N E R S

S TO P H I M G E T T I N G S TO U T.

I F I S H O U L D S AY H E WA S N ’ T V E RY G R E E D Y

I C O U L D N O T, I ’ D B E T E L L I N G Y O U A TA L E .

O N E B O Y

B O Y F O R S A L E .

C O M E TA K E A P E E P

H AV E Y O U E V E R S E E N A S

N I C E

A B O Y

They enter the undertakers shop.

F O R S A L E .

MR SOWERBERRY a gaunt man, attired in a suit of black, with darned cotton stockings to match and shoes to answer. His features are not naturally intended to wear a smiling aspect, but he is in general rather given to professional jocosity. His step is elastic and his face inward pleasantry.

Enter MR BUMBLE with OLIVER.

M R B U M B L E

Liberal terms, Mr Sowerberry… Liberal terms? Three pounds!

O W E R B E R R Y

Well, as a matter of fact, I was needing a boy...

M R B U M B L E

Good! Then it’s settled. One parochial ‘prentis. Three pounds please!

S O W E R B E R R Y

If you don’t mind! Cash upon liking, Mr Bumble! Cash upon liking!

He calls out to MRS SOWERBERRY

Mrs Sowerberry!

(off)

What is it!

(To Oliver)

Oliver! Pull that cap off your eyes and hold up your head, sir!

MRS SOWERBERRY enters a thin squeezed up woman with a vixenish countenance.

M R S S O W E R B E R R Y

Well! What do you want? What is it? Oh, Mr Bumble!

S O W E R B E R R Y

My dear, I have told Mr Bumble that we may consider taking in this boy to help in the shop.

Dear me! He’s very small.

OLIVER goes onto tip-toe.

M R B U M B L E

Yes, he is rather small there’s no denying it But he’ll grow, Mrs Sowerberry he’ll grow.

MRS SOWERBERRY examines OLIVER doubtfully.

M R S S O W E R B E R R Y

Ah, I dare say he will, on our vittles and our drink. They’re a waste of time, these workhouse boys They always cost more to keep than what they’re worth Still, you men always think you know best.

(SHE gives a short hysterical laugh)

S O W E R B E R R Y

But there’s an expression of melancholy on his face, which is very interesting. He would make a delightful coffin-follower

MRS SOWERBERRY stops.

I don’t mean a regular coffin-follower to attend the grown-ups, but only for the children’s practice. It would be very novel to have a follower in proportion my sweet

They all eye OLIVER speculatively

M R S S O W E R B E R R Y

Yes it’s a possibility. Very well, then, boy what’s your name?

O L I V E R

Oliver Oliver Twist, ma ’ am.

M R S S O W E R B E R R Y

A singular name.

M R B U M B L E

Aye, ma ’ am, and one of my own choosing.

M R S S O W E R B E R R Y

Yours, Mr Bumble?

M R B U M B L E

Mine, Mrs Sowerberry. We name our fondlings in alphabetical order. The last was an S-Swubble I named him This was a T-Twist I named him

M R S S O W E R B E R R Y

An orphan then, Mr Bumble?

M R B U M B L E

Indeed Mrs Sowerberry The child’s mother came to us destitute brings the child into the world… takes one look at him, and promptly dies without leaving so much as a forwarding name and address

(to OLIVER)

Well then, Oliver Twist, do you think you could look like that gentleman up there?

(points to sign near door) O L I V E R

Maybe. Perhaps if I had a tall hat…

(lost in imagining great things)

Never mind about tall hats…

(interrupting)

The boy is quite right. These things must be done proper and correct. Get the boy a tall hat. Stand underneath the picture, boy.

OLIVER moves over to the picture. SOWERBERRY puts the top hat on OLIVER ‘ s head.

Delightful

(enthusiastically)

Very becoming.

Yes… yes. For once Henry, you might have had a decent idea. Can you keep that expression for a long time, boy, with a crowd watching you? O L I V E R

Yes, ma ’ am, I think so

As the SOWERBERRYS sing this song, a ghostly funeral processes past the outside of the shop and off into the distance It is what SOWERBERRY is describing, and it is in OLIVER’S imagination. So, of the people on stage, only he sees it.

T H AT ’ S Y O U R F U N E R A L

T H AT ’ S Y O U R F U N E R A L . M R S S O W E R B E R R Y

T H AT ’ S Y O U R F U N E R A L

S O W E R B E R R Y W E ’ R E J U S T H E R E TO G L A M O R I S

H E N Y O

T H AT ’ S Y O U R F U N E R A L .

R S S O W E R B E R R Y T H AT ’ S Y O U R F U N E R A L .

T H AT ’ S Y O U R F U N E R A L

MR BUMBLE turns to go but is stopped by MR and MRS SOWERBERRY.

MR BUMBLE exits

(End of song)

Very well then, that’s your job. Junior coffin-follower… have you eaten yet?

No, ma ’ am, not since…

(shouting)

Charlotte! Charlotte!

(off)

What?

Bring in some of them cold bits we put out for the dog. It hasn’t been in all day, so it can go without ‘ em. I daresay the boy ain’t too dainty to eat ‘ em are you boy? Charlotte, this is the new boy give them to him

CHARLOTTE enters with a plate of scraps. OLIVER devours the meagre meat on the bones as the SOWERBERRY family looks on in silent horror

Charlotte, don’t just stand there! Pull down the blinds Henry, get to bed

A superb effect the more I think about it A follower in proportion

Have you done?

Yes, ma ’ am

Good, the dogs got to ‘ ave it next Now then, Oliver Twist, your bed’s under the counter. You don’t mind sleeping among coffins I suppose? But it doesn’t much matter whether you do or don’t, you can’t sleep nowhere else!

She takes the lamp and shuts him in the shop.

OLIVER peers apprehensively at his sinister surroundings.

(End of song)

A C T O N E

# 1 1 N e x t M o r n i n g

There is loud kicking on the outside of the shop door. OLIVER steps from behind the counter and begins to undo the door chain. The kicking desists and a voice begins…

N O A H (off)

Charlotte, open the door, will yer? Charlotte open the door

O L I V E R

(undoing the chain and turning the key)

I will directly sir.

(through the keyhole)

Are you the new boy?

Yes sir.

(still outside)

How old are yer?

Eleven sir.

N O A H

O L I V E R

N O A H

O L I V E R

N O A H

Then I’ll whop you one when I get in, you just see if I don’t you little work’us brat!

NOAH begins whistling. OLIVER draws back the bolts and opens the door. NOAH CLAYPOLE is framed in the doorway.

O L I V E R

Did you knock sir?

N O A H

I kicked O L I V E R

Did you want a coffin sir?

N O A H

No! But you’ll be wanting one before very long if you start cheeking your superiors

(He enters majestically)

Yer don’t know who I am, I suppose, work’us?

O L I V E R

No sir, I can’t say as I do

(punctuating)

N O A H

I’m Mis-ter No-ah Clay-pole and you ’ re under me! So open up the blind, you idle young scallywag.

NOAH kicks OLIVER’s backside. OLIVER taking down the shutter, and CHARLOTTE enters with a tray of food. All the time she is ogling NOAH lasciviously.

C H A R L O T T E

Noah, I saved a nice little bit of bacon for you from master ’ s breakfast. Oliver, pull up a chair for Mr Noah and then take them bits and go over in the corner and eat ‘ em And make haste, ‘ cos they’ll want you to mind the shop D’you hear?

NOAH and CHARLOTTE are groping each other surreptitiously whilst OLIVER is turned away THEY all begin eating

N O A H

D’you hear? Work’us?

Here’s your bacon Noah.

Nice and greasy, just how I like it.

CHARLOTTE feeds him.

What are you staring at work’us?

Lor Noah let the boy alone.

C H A R L O T T E

N O A H

C H A R L O T T E

N O A H

Let him alone? I’m giving the boy a change, you silly thing!! Ev’ryone’s left him alone. His father left him alone—his mother left him alone—they all left him alone except dear old, kind old Noah.

NOAH gropes CHARLOTTE.

C H A R L O T T E

I better go downstairs Something’s burning

CHARLOTTE exits.

(addressing OLIVER conversationally)

Work’us… How’s yer mother?

N O A H

O L I V E R

You leave my mother out of it She’s dead.

N O A H

What did she die of, work’us? Shortage of breath?

O L I V E R

(tearfully)

She’s just dead! She died of a broken heart.

N O A H

Well tol-de-rol-lol-lol-right-fol-lairy, Work’us. What’s set you a snivelling now?

O L I V E R

You’d better not say anything more see!

N O A H

Better not say anything more see! The cheek of it the workhouse cheek of it!

(NOAH curls up his nose in disgust)

Yer know, Work’us, it can’t be helped now, and of course, yer couldn’t help it then, and I’m very sorry for it, and I’m sure we all are, and pity yer very much But yer must know work’us, your mother was a regular right down bad ‘ un.

O L I V E R

What did you say?

N O A H

And it’s a good thing she died when she did or she’d have been transported to Australaylia, or hung from a gibbet as like as not! # 1 2 T h

A fight ensues during which, over the music (12 The Fight) the following lines are shouted.

Help, Charlotte, Missis this here new boy’s a murderin’ of me! Char LOTTE !!

CHARLOTTE enters followed by MRS SOWERBERRY.

C H A R L O T T E

Oh, you ungrateful, murderous little villain

M R S S O W E R B E R R Y

Quick, put him in ‘ ere Get the lid quick Noah, run and get help Charlotte, water quick!

C H A R L O T T E

Oh my god, she’s going off!

M R S S O W E R B E R R Y

Oh, Charlotte! We could ‘ ave all been murdered in our beds! …water!

(it’s thrown in her face)

Oh, I wanted a drink, you stupid girl. Oh Charlotte, what’s to become of us? N O A H

(enters breathless)

I found the beadle!

Oh! Mister Bumble!

Oh! Mister Bumble!

(imperious)

C H A R L O T T E

M R S S O W E R B E R R Y

M R B U M B L E

Where is this owdacious young savage?! A L L

‘E’s in there!

They all point to the coffin. MR BUMBLE goes over and bangs his mace twice on the coffin lid He raises the mace to bang a third time, and OLIVER bangs the coffin lid in reply.

M R B U M B L E

(shocked)

Oliver?

You let me out!

O L I V E R

M R B U M B L E

Do you know this here voice, Oliver?

Yes I do!

O L I V E R

M R B U M B L E

And ain’t you afraid of it, Oliver? Ain’t you a-tremblin’ while I speak, Oliver?

O L I V E R

No I’m not!

MR BUMBLE staggers back and looks at the three by-standers in astonishment.

M R S S O W E R B E R R Y

(hysterically)

The boy must be mad. No one in half his senses could venture to speak to you like that.

M R B U M B L E

It’s not madness, ma ’ am.

(he pauses)

It’s meat!

What?

M R S S O W E R B E R R Y

M R B U M B L E

Meat, ma ’ am, meat. You’ve overfed him ma ’ am. You’ve raised an artificial soul and spirit in the boy unbecoming of his station in life.

M R S S O W E R B E R R Y

Dear me! This is what comes of being over generous.

M R B U M B L E

If you’d kept the boy on gruel ma ’ am this would never of happened.

MR SOWERBERRY enters from the street, singing. He is still dressed in full mourning clothes. He surveys the scene with solemn dignity. He has been drinking. MRS SOWERBERRY points at the coffin.

M R S S O W E R B E R R Y

Oh Henry. That boy! Oliver! You’ve no idea what he’s been up to. We had to lock him up!

O L I V E R

(banging the lid)

Help!

Who’s in there? That coffin should not have been occupied till tomorrow It’s reserved for a very important client.

M R S S O W E R B E R R Y

You’ve been drinking

MR BUMBLE opens the coffin and pulls OLIVER out by the scruff of the neck.

M R B U M B L E

(prodding OLIVER)

Now, you young scallywag, what’s your explanation? O L I V E R

(pointing at NOAH)

He called my mother names. M R S S O W E R B E R R Y

Well, and what if he did, you little ungrateful wretch? She probably deserved what was said, and worse O L I V E R

She didn’t!

She did!

Its a lie!

# 1 3 O l i v e r ’ s E s c a p e

M R S S O W E R B E R R Y

O L I V E R

OLIVER pushes MRS SOWERBERRY and escapes. During the music(13. Oliver’s escape) the following lines are shouted in quick succession lasting but a few bars.

O A H

He’s gone!

(drowsily)

Who’s gone? C H A R L O T T E

Oliver - he’s run off!

S O W E R B E R R Y

Three pounds of mine? Run off? After him!

(singing unaccompanied to keep his spirits up)

OLIVER sits down on a monument. It is early morning, the city is waking up.

A CHARACTER appears from behind the monument He is very dirty but very worldly, is wearing a top hat and a voluminous overcoat which has the cuffs turned back halfway up the arms, so that he can keep his hands in his trouser pockets He whistles the tune of “YOU’VE GOT TO PICK A POCKET OR TWO”

The CHARACTER is now becoming conscious of being stared at, and walks over to him - it is the ARTFUL DODGER. Dodger hums “PICK A POCKET OR TWO”.

D O D G E R

What yer starin’ at? Ain’t yer never seen a toff?

O L I V E R

No – never – I

D O D G E R

That’s all right – don’t worry about it Hungry?

O L I V E R

Starving

‘Ere catch (He throws him an apple.)

Tired?

Yes I’ve been walking seven days

D O D G E R

O L I V E R

D O D G E R

Seven days! Runnin’ away from the Beak, yer must be?

O L I V E R

The what?

D O D G E R

Now don’t say yer don’t know what a beak is, me flash mate?

O L I V E R

A beaks a birds mouth

D O D G E R

My eyes – how green! A beak – is a madg-strate, for your h’information Who are you runnin’ away from then – your old man?

O L I V E R

No, I’m an orphan. I’ve come to London to make my fortune.

D O D G E R

(suddenly very interested)

Oh you ‘ ave, ‘ ave ya

Yes.

Got any lodgings?

No.

Money?

Not a farthing.

O L I V E R

D O D G E R

O L I V E R !

D O D G E R

O L I V E R

The ARTFUL DODGER whistles a snatch of “PICK A POCKET OR TWO”, and puts his arms into his overcoat pockets as far as they go.

Do you live in London?

D O D G E R

When I’m at home. I suppose you want some place to sleep tonight, don’t you? Are you h’accommodated?

O L I V E R

No – I don’t think so…

D O D G E R

Then h’accomodated you shall be me young mate.

(He eyes Oliver speculatively)

There’s a certain place and I know a ‘spectable old gentleman as lives there, wot’ll give you lodgin’s for nothink, and never ask for the change – that is – if any other gentleman he knows interduces yer And does he know me? I should say he does, not arf he don’t, and some!

O L I V E R

Who is the respectable old gentleman, then? Is he a charity gentleman?

D O D G E R

Well, I wouldn’t eggzackly say that – not eggzackly But if I interduces someone it’s all right, on account of I happen ter be a pertickler favourite of Mister Fagin. That’s his name - Mister Fagin. By the way… if I’m interducing you to Fagin, I better know who you are, me old china.

O L I V E R

My name ’ s Oliver. Oliver Twist.

D O D G E R (with a flourish)

And my name ’ s Jack Dawkins – better known among me more h’intimate friends as the Artful Dodger.

O L I V E R

Pleased to meet you, Mister Dawkins.

D O D G E R (pausing for second thoughts)

Come to think of it – I ain’t got no h’intimate friends. Still, what’s the difference, you ’ re coming with me.

O L I V E R

Are you sure Mr Fagin won’t mind?

O D G E R Mind?

D

# 1 4 C o n s i d e r Y o u r s e l f ( P a r t 1

S O M E H A R D E R D AY S

( D O D G E R )

E M P T Y- L A R D E R D AY S

W H Y G R O U S E ?

A LWAY S A C H A N C E W E ’ L L M E E T

S O M E B O D Y

TO F O O T T H E B I L L

T H E N T H E D R I N K S A R E O N T H E H O U S E !

C O N S I D E R Y O U R S E L F O U R M AT E . W E D O N ’ T WA N T TO H AV E N O F U S S ,

F O R A F T E R S O M E C O N S I D E R AT I O N , W E C A N S TAT E

C O N S I D E R Y O U R S E L F

O N E O F U S !

C O N S I D E R Y O U R S E L F … O L I V E R

(trying to copy all of DODGER’S actions)

AT H O M E ?

D O D G E R

C O N S I D E R Y O U R S E L F O L I V E R

O N E O F T H E FA M I LY ?

OLIVER and DODGER are joined by other members of the gang.

G A N G B O Y W E ’ V E TA K E N TO Y O U O L I V E R

S O S T R O N G ?

G A N G B O Y

I T ’ S C L E A R W E ’ R E A L L

G O I N G TO G E T A L O N G

C O N S I D E R Y O U R S E L F

G A N G B O Y

W E L L I N ?

DODGER leads OLIVER towards the town.

C O N S I D E R Y O U R S E L F … O U R M AT E . W E D O N ’ T WA N T TO

The action develops into a bustling market scene They all sing

( C O M P A N Y )

S O M E H A R D E R D AY S

E M P T Y- L A R D E R - D AY S

W H Y G R O U S E ?

A LWAY S A C H A N C E W E ’ L L M E E T

S O M E B O D Y

TO F O O T T H E B I L L

T H E N T H E D R I N K S A R E O N T H E H O U S E !

C O N S I D E R Y O U R S E L F O U R M AT E . W E D O N ’ T WA N T TO H AV E N O F U S S

F O R A F T E R S O M E C O N S I D E R AT I O N , W E C A N S TAT E

C O N S I D E R Y O U R S E L F …

O N E

F U S !

H O M E .

O D G E R W E ’ V E TA K E N TO Y O U

S O S T R O N G D O D G

#

( A L L )

W E ’ V E TA K E N TO Y O U S O S T R O N G

I T ’ S C L E A R W E ’ R E G O I N G TO G E T A L O N G

C O N S I D E R Y O U R S E L F W E L L I N

C O N S I D E R Y O U R S E L F PA RT O

T H E R E I S N ’ T A L O T TO S PA R E . W H O C A R E S ? W H AT E V E R W E ’ V E G O T W E S H A R E W H AT E V E R W E ’ V E G O T W E S H A R E .

As the crowd disperses Fagin’s Lair appears, apparemtly deserted but for Nipper who is sweeping the floor.

G A N G & L A D I E S ( O f f S t a g e )

C O N S I D E R Y O U R S E L F AT H O M E

C O N S I D E R Y O U R S E L F O N E O F T H E FA M I LY

T H E R E I S N ’ T A L O T TO S PA

A C T O N E

S c e n e S i x T h e T h i e v e s ’ K i t c h e n .

DODGER and the Gang enter from above looking for Fagin

D O D G E R

Fagin. Fagin.

Fagin appears

F A G I N What!

D O D G E R

I’ve brought a new friend to see you. Oliver Twist.

O L I V E R

Sir.

(offering his hand to shake)

F A G I N

(smiling, bowing low and shaking OLIVER’s hand)

I hope I shall have the honour of your intimate acquaintance We’re very glad to see you, Oliver, very.

(to boys)

Aren’t we my dears?

DODGER whispers in FAGIN’S ear, FAGIN nods approvingly

D O D G E R

Mr Twist has come to London to seek his fortune.

F A G I N

You’ve come to London to seek your fortune. We must see what we can do to help you. Are you hungry?

O L I V E R

Starving

F A G I N

Would you like a sausage? Charley, take off the sausages Dodger, draw up a chair near the fire for Oliver.

C H A R L E Y

‘Ere Fagin! These sausages are mouldy!

F A G I N

Shut up and drink yer Gin!

OLIVER is looking at the handkerchiefs.

F A G I N

Ah! You’re a-staring at the pocket handkerchiefs! There are quite a few of ‘ em ain’t there? We’ve just hung ‘ em out, ready for the wash, the wash, that’s all, Oliver, that’s all

O L I V E R

Is this a laundry then, sir?

The boys roar with laughter.

F A G I N

Well, not exactly, my dear I suppose a laundry would be a very nice thing indeed, but our line of business pays a little better – don’t it boys? B O Y S

Not arf! I’ll say it does!

You see, Oliver…

Let’s show Oliver how to do it, my dears.

(sings)

W H Y S H O U L D W E

B R E A K O U R B A C K S

S T U P I D LY

PAY I N G TA X ?

B E T T E R G E T S O M E

U N - TA X E D I N C O M E …

Who said crime doesn’t pay?

R O B I N H O O D

W H AT A C R O O K !

G AV E AWAY

W H AT H E TO O K

C H A R I T Y ’ S F I N E

S U B S C R I B E TO M I N

My merry men!

H E C A N W H I P

W H AT H E L I K E S

I R E C A L L

H E S TA RT E D S M A L L …

( F A G I N )

H E H A D TO P I C K A P O C K E T O R T W O ,

Y O U ’ V E G O T TO P I C K A P O C K E T O R T W O , B O Y S !

Y O U ’ V E G O T TO P I C K A P O C K E T O R T W O . B O Y S

A

I F W E P I C K A P O C K E T O R T W O . F A G I N

D E A R O L D G E N T

PA S S I N G B Y.

S O M E T H I N G N I C E

TA K E S H I S E Y E .

E V ’ RY T H I N G ’ S C L E A R !

AT TA C K T H E R E A R !

G E T I N A N D P I C K A P O C K E T O R T W O .

Y O U ’ V E G O T TO P I C K A P O C K E T O R T W O , B O Y S

Y O U ’ V E G O T TO P I C K A P O C K E T O R T W O ! B O Y S

H AV E N O F E A R

AT TA C K T H E R E A R .

G E T I N A N D P I C K A P O C K E T O R T W O F A G I N

W H E N I S E E

S O M E O N E R I C H

B O T H M Y T H U M B S

S TA RT TO I T C H …

O N LY TO F I N D

S O M E P E A C E O F M I N D

I H AV E TO P I C K A P O C K E T O R T W O !

Y O U ’ V E G O T TO P I C K A P O C K E T O R T W O , B O Y S

Y O U ’ V E G O T TO P I C K A P O C K E T O R T W O ! B O Y S

J U S T TO F I N D S O M E P I E C E O F M I N D

F A G I N & B O Y S

W E H AV E TO P I C K A P O C K E T O R T W O !

The BOYS surround FAGIN to display their ill-gotten gains. OLIVER is amazed.

Put ‘ em all back in the box!

The BOYS return the articles they have stolen to the box with the exception of one BOY, whom FAGIN sees out of the corner of his eye.

I said all of ‘em!

The smallest BOY stops in his tracks Nipper!

(with violence)

Come ‘ere!

The boy shamefully walks back with the handkerchief and tricks him. FAGIN pats the BOY on the head.

What a crook! I hope you ’ ve all been hard at work today, my dears.

Hard?

As nails!

What ‘ ave you got for me, Dodger

(off handedly)

Couple o ’ wallets

Well lined, I hope

Only the best

(weighing the wallets and checking inside quickly for the contents)

Not as heavy as they might be. But very nicely made! Ingenious workman, ain’t he, Oliver.

O L I V E R

(examining the wallets)

Did he make these himself?

(roars with laughter)

Yeah, with his own lily white hands!

C H A R L E Y

F A G I N

(hits Charley)

You be quiet, Charley.

(To Charley)

And what have you got, my dear?

Nose Rags.

C H A R L E Y

CHARLEY produces two large silk handkerchiefs – very elaborately patterned.

F A G I N

Well, they’re very good ones, very! – yellow and green! You haven’t embroidered the initials too well tho’, Charley, – so they’ll have to be picked out with a needle, won’t they? You’ll need to learn to do that too, Oliver my dear. Won’t he boys?

BOYS giggle and nudge each other.

And you’ll have to learn how to make wallets like the Dodger and Charley here. You’d like that, wouldn’t you, my dear?

O L I V E R

Yes, Mister Fagin, if you’ll teach me

More giggling and nudging from the boys.

F A G I N

Certainly my boy, no fee! Just do everything you see Dodger and Charley do Make ‘ em your models, my dear – especially Dodger – He’s going to be a right little… Bill Sikes!

O L I V E R

Who’s Bill Sikes Mr Fagin?

F A G I N

All in good time Oliver, all in good time

Now then, tell me, can you see my silk handkerchief what is protruding from my pocket?

O L I V E R

Yes sir

# 1 9 R u m - T u m - T u m

F A G I N

See if you can take it from me without my noticing it – like you saw the others do.

During the next verse and chorus, OLIVER tries unsuccessfully to steal the handkerchief.

R U M - T U M T U M

T U M - T U M - T U M

P O M - P O M - P O M

P O M - P O M - P O M

S K I D D L E - E Y E - T Y E

T E E - RY E - T Y E - T Y E

T E E - R U P PA - T U P PA - R U P PA - T U M - T U M

Y O U G O T TO P I C K A P O C K E T O R T W O , B O Y S Y O U G O T TO P I C K A P O C K E T O R T W O !

(Incredulous) Is it gone?

(Showing it in his hand)

Yes sir, it’s in my hand. F A G I N

(Patting OLIVER’s head)

I don’t believe it! You’re a clever boy, my dear. I never saw a sharper lad. Here’s a shilling for you.

The boys mob FAGIN for their shilling. Fagin puts his hand in his pocket and withdraws it empty.

I have to go to the bank.

The boys protest again in a noisy fashion and Fagin quietens them all suddenly as a policeman walks above.

Now, bedtime, all of you I’ll start singing again

The BOYS protest.

Where shall I sleep, Sir?

O L I V E R

F A G I N

Here, my dear By the warm I’ll get you a night-cap

OLIVER climbs onto the sofa.

Yes please

We’re out of Cocoa Ave a drop of gin

O L I V E R

F A G I N

OLIVER drinks the gin and spits it out… the BOYS all laugh at him.

Alright, alright Settle down! Dodger! Take yer hat off in bed! Where’s ya manners?

He comes over to OLIVER speaking sotto voce…

Yes, Oliver, you ’ re quite the gentleman now. You’ve gotta home, a profession, a shilling – on credit. If you go on this way, you’ll be the greatest man of all time.

FAGIN tucks OLIVER’s arms under the blanket. And tidies up prior to bed.

SIKES Underscore begins.

SIKES enters above and knocks on the Manhole cover

Bill?

Looks at Fob watch.

At this time? A bit late isn’t it? I mean, people are trying to sleep around ‘ ere. Where’s the common decency. I’ll have to give him a piece of my mind I will.

FAGIN collects his sack and opens man hole.

Bill! What a pleasure to see you!

Looks furtively around

Can I ‘elp you? Bill? Bill, how did you get on?

SIKES produces a candlestick from inside his coat

A silver candlestick. Very nice. Shame we haven’t got a pair.

SIKES produces a 2nd candlestick from inside his coat.

( F A G I N )

We have got a pair. They’re very fine Bill.

SIKES produces a spoon from his coat.

A spoon, solid silver. Shame we haven’t got

SIKES produces a 2nd silver spoon from his coat.

A knife and fork.

SIKES produces a large tray from inside his coat FAGIN bites it

That’s beautiful Bill.

FAGIN turns the tray over and looks at his reflection in the back of it

That’s not so beautiful.

SIKES takes off his hat and produces a ring which he gives to FAGIN. FAGIN puts the ring on.

Bill, a ring. Why this is all so sudden. I’ll see what I can get for it.

SIKES produces a string of pearls from in his mouth.

FAGIN takes them tentatively.

Pearls Bill And you ’ ve washed them too

SIKES gestures for money.

Come on Fagin, hand over

S I K E S

F A G I N

Cash Bill? What me! Keep cash around ‘ ere, with all these young thieves about?

I wouldn’t dare!

Fagin.

S I K E S

F A G I N

I got to price the stuff first – proper and correct. Tomorrow, Bill, usual place, Three Cripples That’s a promise It’s a promise Bill

S I K E S

It better be

SIKES exits behind the oven. FAGIN picks up the pearls then opens the trap and takes out his jewel box

F A G I N

You my dear, you make it all worthwhile.

FAGIN opens the jewel box.

Pearl my pretty, I have a special place for you with all my other special lady friends. Pearl you’ll like it here.

FAGIN takes out a Ruby Brooch.

Pearl you must meet Ruby. Ruby this is Pearl, Pearl this is Ruby.

FAGIN takes out a Crystal necklace.

Pearl you must meet Crystal. Crystal this is Pearl, Pearl this is Crystal.

FAGIN takes out a tiara

Pearl you must meet my extra special lady friend Tiara. One day Tiara and I will go out together and I will wear my special choker

FAGIN takes out a choker and puts it on.

Very nice

FAGIN puts the choker back in the box and takes out the Opera Glasses.

We shall go to the opera. I can use my beautiful opera glasses. I can look at all the rich people. And all the poor people.

FAGIN still looking through the opera glasses turns and see Oliver looking at him.

AAGH!!! What are you awake? What ‘ ave you seen? Quick, quick, speak, I want to hear every detail you saw.

O L I V E R

I’m sorry sir. I couldn’t sleep.

F A G I N

Were you awake a quarter of an hour ago?

O L I V E R

No.

Ten minutes ago?

Not that I know of.

F A G I N

O L I V E R

Be sure – be sure!!

I’m sure!

(resuming his old manner)

F A G I N

O L I V E R

F A G I N

All right then… If you ’ re sure, I’m sure. You’re a brave boy Oliver, a very brave boy

(he plays with the toasting fork)

Of course, I knew all along, my dear. I only tried to frighten you. Did you see any of those pretty things my dear?

(Looking at the box)

Yes, sir.

(starts)

O L I V E R

F A G I N

They’re mine, Oliver, my private property It’s all I’ve got to live on in me old age It’s a terrible thing Oliver… old age.

He looks from the floortrap to the box

O L I V E R

Do you think I could get up now, sir?

F A G I N

Certainly, my dear, certainly. There’s a basin of water over there – you can have a wash

O L I V E R

But I had a wash yesterday

(pointing to the corner)

Well, today’s yer birthday – wash!

F A G I N

OLIVER moves over to the corner. When his back is turned – with lightning speed FAGIN returns the box to its hiding place.

NANCY enters into the street above with BET.

N A N C Y

Plummy and slam

F A G I N

Nancy!

# 2 2 I t ’ s A F i n e L i f e

A N C Y

(Lifts the manhole cover and shouts down.)

Come on Bet. F A G I N

It’s Nancy! Wake up boys. The ladies are here. D O D G E R

Ladies! Cor! ‘Ark at him!

We’ll have less of that if you don’t mind!

A N C Y

Coming down the stairs into the room

Where’s the gin, Fagin? F A G I N

All in moderation, my dear. All in moderation. Too much gin can be a dangerous thing for a pure young girl

And what’s wrong with a bit of danger, then, Mis-ter Fagin? After all, that’s the only bit of excitement we have. And who would deny us that small pleasure.

(sings)

( N A N C Y )

I F Y O U D O N ’ T M I N D H AV I N G TO G O W I T H O U T T H I N G S

I T ’ S A F I N E L I F E !

L L

I T ’ S A F I N E L I F E ! N A N C Y T H

I T ’ S A F I N E L I F E !

I T ’ S A F I N E L I F E ! N A N C Y

W H E N Y O U ’ V E G O T S O M E O N E TO L O V E

Y O U F O R G E T Y O U R C A R E A N D S T R I F E

L E T T H E P R U D E S L O O K D O W N O N U S ,

L E T T H E W I D E W O R L D F R O W N O N U S .

I T ’ S A F I N E , A L L

F I N E L I F E !

Ain’t that right Bet?

Yeah, that’s right Nancy.

N A N

N A N C Y

I F Y O U D O N ’ T M I N D TA K I N G I T A S I T T U R N S O U T

I T ’ S A F I N E L I F E ! A L L

I T ’ S A F I N E L I F E ! N A N C Y

I T ’ S A F I N E L I F E !

L L

I T ’ S A F I N E L I F E ! N A N C Y

T H O ’ Y O U S O M E T I M E S D O C O M E B Y

T H E O C C A S I O N A L B L A C K E Y E ,

Y O U C A N A LWAY S C O V E R O N E

‘ T I L H E B L A C K S T H E O T H E R O N E

B U T Y O U D O N ’ T D A R E C RY B E T

N O F L O U N C E S , N O F E AT H E R S ,

N O F R I L L S A N D F U R B E L O W S

A L L W I N D S A N D A L L W E AT H E R S

A I N ’ T G O O D F O R FA N C Y C L O ’ E S . N A N C Y

T H E S E T R A P P I N G S . B E T

T H E S E TAT T E R S B O T H

T H E S E W E C A N J U S T A F F O R D N A N C Y

W H AT F U T U R E ?

B E T

W H AT M AT T E R S ? A L L W E ’ V E G O T O U R B E D A N D B O A R D .

N A N C Y

I F Y O U D O N ’ T M I N D H AV I N G TO D E A L W I T H FA G I N

I T ’ S A F I N E L I F E !

I T ’ S A F I N E L I F E !

A L L

N A N C Y

T H O ’ D I S E A S E D R AT S T H R E AT E N TO B R I N G T H E P L A G U E I N

I T ’ S A F I N E L I F E ! A L L

I T ’ S A F I N E L I F E !

(to FAGIN)

N A N C Y

B U T T H E G R A S S I S G R E E N A N D D E N S E

O N T H E R I G H T S I D E O F T H E ‘ F E N C E ’

B O T H

A N D W E TA K E G O O D C A R E O F I T

T H AT W E G E T O U R S H A R E O F I T, A L L

A N D W E D O N ’ T M E A N P E N C E !

N A N C

I T ’ S A F I N E L I F E !

H A P P Y H U S B A N D , H A P P Y W I F E

T H O ’ I T S O M E T I M E S TO U C H E S M E … F O R T H E L I K E S O F S U C H A S M

F I N E L I F E !

(End of song.)

(looking at OLIVER)

‘Ere, who’s this then Fagin?

N A N C Y

F A G I N

Oh ladies, I forgot, you must meet our new lodger – Master Oliver Twist Esquire

NANCY and BET both curtsey. Oliver bows solemnly.

N A N C Y

Charmed!

Pleased to meet you, I’m sure

B E T

OLIVER bows. The BOYS laugh and cat call.

F A G I N

Oh yes, we ’ re all ladies and gentlemen ‘ ere. We’re all quality…

B O Y S

Ho yuss!

OLIVER looks at them hurt and angry. NANCY seeing this immediately takes his part.

N A N C Y

Don’t you take no notice of ‘ em Oliver. Just cos you ’ ve got manners and they ain’t. (to BOYS)

You wouldn’t know quality if you saw it – none of yer! Dodger!

D O D G E R

Yeah?

N A N C Y

Have you seen the way them quality gentlemen treats their ladies?

D O D G E R

Of course I have

Shall we show them how it’s done?

N A N C Y

Definitely!

# 2 3 I ’ d D o A n y t h i n g

Go on Nancy, give us a free show.

D O D G E R

F A G I N

N A N C Y

So, how’s it go then Dodger? It’s all bowing and ’ats off… and…

D O D G E R

“Don’t let your petticoats dangle in the mud my darling.”

N A N C Y

And “I’ll go last.”

No, I’ll go last.

D O D G E R

DODGER sings this send-up on the “gentry”.

I ’ D D O A N Y T H I N G

F O R Y O U , D E A R , A N Y T H I N G

F O R Y O U M E A N E V ’ RY T H I N G TO M E

I K N O W T H AT

I ’ D G O A N Y W H E R E

F O R Y O U R S M I L E , A N Y W H E R E

F O R Y O U R S M I L E , E V ’ RY W H E R E

I ’ D S E E N A N C Y W O U L D Y O U C L I M B A H I L L ? D O D G E R A N Y T H I N G ! N A N C Y W E A R A D A F F O D I L ? D O D G E R

A N Y T H I N G !

E V E N F I G H T M Y B I L L ?

D O D G E R

N A N C Y

D O D G E R

W H AT ? F I S T I C U F F S !

I ’ D R I S K E V ’ RY T H I N G

F O R O N E K I S S E V ’ RY T H I N G

Y E S I ’ D D O A N Y T H I N G …

N A N C Y

A N Y T H I N G ?

A N Y T H I N G F O R Y O U ! !

D O D G E R

F A G I N

(spoken)

Come on Nancy, give Oliver a go!

N A N C Y

Now you do everything you saw Dodger do and I’ll help you with the words.

O L I V E R

(NANCY prompts him – speaking the first two or three words of every phrase.)

I ’ D D O A N Y T H I N G

F O R Y O U D E A R , A N Y T H I N G

F O R Y O U M E A N E V ’ RY T H I N G

TO M E

I K N O W T H AT

I ’ D G O A N Y W H E R E

F O R Y O U R S M I L E , A N Y W H E R E

F O R Y O U R S M I L E , E V ’ RY W H E R E

I ’ D S E E

B E T

W O U L D Y O U L A C E M Y S H O E ?

O L I V E R

A N Y T H I N G !

B E T

PA I N T Y O U R FA C E B R I G H T B L U E ?

O L I V E R

A N Y T H I N G !

C AT C H A K A N G A R O O ?

A N Y T H I N G !

G O TO T I M B U K T U ?

(sings – after a moment’s hesitation)

A N D B A C K A G A I N !

I ’ D R I S K E V ’ RY T H I N G

B E T

O L I V E R

B E T

O L I V E R

F O R O N E K I S S E V ’ RY T H I N G

Y E S I ’ D D O A N Y T H I N G

A N Y T H I N G ?

B E T

O L I V E R A N Y T H I N G F O R Y O U ! !

L L A N Y T H I N G !

A G I N

W O U L D Y O U R I S K T H E “ D R O P ” ?

L L A N Y T H I N G ! F A G I N

T H O ’ Y O U R E Y E S G O ‘ P O P ’ A L L A N Y T H I N G !

A G I N

(sing sarcastically to FAGIN)

End of song.

(pretending to be overwhelmed -over music playout)

All right then lads The first thing you can do for me is get to work! Can’t have you laying about here all day. There’s rich pickings on them streets.

There are groans of protest from the BOYS

C A P T A I N

Oh Fagin, we was all going to see the ‘angin! F A G I N

You’ll be hanged yourself in time – don’t worry! Nancy, hadn’t you better get back before Bill wakes up?

Nancy ascends the staircase with Bet. N A N C Y

Yeah, you ’ re right Now listen Oliver, you be careful Ta ta you lot [ad lib] B O Y S

Tat ta Nancy Bye Bet [ad lib]

Don’t get hung! F A G I N

Oliver you can go with Dodger You have to begin sometime and believe me you couldn’t make a finer start. Good luck on you first job my dear. Don’t worry, I’ll be waiting for you when you get back

# 2 4 B e B a c k S o o n

L I N E U P

L I N E U P

S I N G L E F I L E

S I N G L E F I L E

P R E S E N T A R M S , L E F T

D O D G E R

B O Y S

D O D G E R

B O Y S

D O D G E R

B O Y S

P I C K ,

R I G H T

P I C K … O I O I

Y O U C A N G O ,

B U T B E B A C K S O O N .

Y O U C A N G O ,

F A G I N

B O Y S

F A G I N

B U T W H I L E Y O U ’ R E W O R K I N G

T H I S P L A C E ,

I ’ M PA C I N G R O U N D

U N T I L Y O U ’ R E H O M E

… S A F E A N D S O U N D

FA R E T H E E W E L L ,

B U T B E B A C K S O O N .

W H O C A N T E L L

W H E R E D A N G E R ’ S L U R K I N G

D O N O T F O R G E T T H I S T U N E …

B E B A C K S O O N

B O Y S

H O W C O U L D W E F O R G E T ?

H O W C O U L D W E L E T

O U R D E A R O L D FA G I N W O R RY ?

W E L O V E H I M S O

W E ’ L L C O M E B A C K H O M E

I N , O H , S U C H A G R E AT B I G H U R RY D O D G E R

I T ’ S H I M T H AT PAY S T H E P I P E R B O Y S

I T ’ S U S T H AT P I P E S H I S T U N E

S O L O N G , FA R E - T H E E - W E L L .

P I P ! , P I P ! , C H E E R I O ! .

W E ’ L L B E B A C K S O O N F A G I N

Y O U C A N G O ,

B U T B E B A C K S O O N

Y O U C A N G O ,

B U T B R I N G B A C K P L E N T Y

O F P O C K E T H A N D K E R C H I E F S

N D Y O U S H O U L D B E C L E V E R T H I E V E S . W H I P I T Q U I C K , A N D B E B A C K S O O N T H E R E ’ S A S I X P E N C E H E R E F O R T W E N T Y A I N ’ T T H AT A L O V E LY T U N E ?

B E B A C K S O O N D O D G E R O U R P O C K E T S ’ L L H O L D A WAT C H O F G O L D T H AT C H I M E S U P O N T H E H O U R B O Y S A WA L L E T FAT B O Y S A N O L D M A N ’ S H AT.

B O Y S B E B A C K S O O N

D O D G E R

T H E C R O W N J E W E L S

F R O M T H E TO W E R

W E K N O W

T H E B O W S T R E E T R U N N E R S , A L L

B U T T H E Y D O N ’ T K N O W

T H I S T U N E

S O L O N G , FA R E - T H E E - W E L L

P I P ! , P I P ! , C H E E R I O ! . W E ’ L L B E B A C K S O O N

F A G I N

C H E E R I O . B U T B E B A C K S O O N .

I D U N N O , S O M E H O W I ’ L L M I S S Y O U

I L O V E Y O U , T H AT ’ S W H Y I

S AY, “ C H E E R I O ” …

N O T G O O D B Y E

D O N ’ T B E G O N E L O N G .

B E B A C K S O O N

G I V E M E O N E L O N G ,

L A S T L O O K …

B L E S S Y O U

R E M E M B E R O U R O L D T U N E …

B E B A C K S O O N

C H A R L I E , D O D G E R & O L I V E R

W E M U S T D I S A P P E A R , W E ’ L L B E B A C K H E R E , TO D AY

… P E R H A P S TO M O R R O W. W E ’ L L M I S S Y O U TO O

F A G I N

I T ’ S S A D B U T T R U E

T H AT PA RT I N G I S

S U C H S W E E T S O R R O W, A L L

A N D W H E N W E ’ R E I N T H E D I S TA N C E

Y O U ’ L L H E A R T H I S W H I S P E R E D T U N E …

( A L L )

S O L O N G , FA R E - T H E E - W E L L

P I P ! , P I P ! , C H E E R I O !

W E ’ L L B E B A C K S O O N

FAGIN sings last chorus over BOYS last verse BOYS continue singing

F A G I N

C H E E R I O B U T B E B A C K S O O N

I D U N N O ,

S O M E H O W I ’ L L M I S S Y O U

I L O V E Y O U ,

T H AT ’ S W H Y I

S AY, “ C H E E R I O ”

N O T G O O D B Y E .

D O N ’ T B E G O N E L O N G

B E B A C K S O O N .

G I V E M E O N E L O N G ,

L A S T L O O K

B L E S S Y O U .

R E M E M B E R O U R O L D T U N E …

B E B A C K S O O N

B O Y S

W E M U S T D I S A P P E A R ,

W E ’ L L B E B A C K H E R E ,

TO D AY …

P E R H A P S TO M O R R O W

W E ’ L L M I S S Y O U TO O

I T ’ S S A D B U T T R U E

T H AT PA RT I N G I S

S U C H S W E E T S O R R O W,

A N D W H E N W E ’ R E I N T H E

D I S TA N C E

Y O U ’ L L H E A R T H I S

W H I S P E R E D T U N E

S O L O N G , FA R E T H E E W E L L

P I P, P I P C H E E R I O

W E ’ L L

B E B A C K S O O N

B O Y S

A N D W H E N W E ’ R E I N T H E D I S TA N C E

Y O U ’ L L H E A R T H I S W H I S P E R E D T U N E

S O L O N G FA R E T H E E W E L L

P I P, P I P C H E E R I O

W E ’ L L B E B A C K S O O N O L I V E R

S O L O N G FA R E T H E E W E L L

P I P, P I P C H E E R I O

W E ’ L L B E B A C K S O O N

B O Y S

S O L O N G FA R E T H E E W E L L

P I P, P I P C H E E R I O

W E ’ L L B E B A C K S O O N

A C T O N E

S c e n e S e v e n

T h e S t r e e t .

The BOYS march whistling into street DODGER, CHARLEY BATES and OLIVER are together in the street which fills with vendors and gentry including MR BROWNLOW.

Variation MUSIC of “Be Back Soon” extends over action.

# 2 5 T h e R o b b e r y

MR BROWNLOW’s pocket is picked. DODGER and CHARLEY run, and BROWNLOW turns to be confronted by OLIVER. OLIVER freezes.

M R B R O W N L O W

Give that back Come on give it back

OLIVER panics and runs.

Stop that boy! My pocket’s been picked!

OLIVER makes a run for it pursued by the crowd.

2 7 T h e C h a s e ( F i n a l e A c t 1 )

A frantic chase through the streets of London ensues until, eventually OLIVER is struck down. He falls down unconscious.

MR BROWNLOW identifies him with a nod.

(MUSIC ends)

That’s the boy!

Fast Curtain in silence.

# 2 6 C h a o s

#

# 2 8 O o m - P a h - P a h

Curtain slowly rises to disclose the smoky saloon of the public house There is a boxing match in progress. The raffish looking CUSTOMERS are drinking and flirting. They sing over the general hubbub

At one end of the room is the CHAIRMAN with a hammer. He bangs his hammer. C H A I R M A N

Ladies and Gentlemen, Brethren, sinners all! I call upon our Goddess of the Virtues to give us her well known rendition of the old school song.

C U S T O M E R S

Good old Nancy! Come on Nancy!

All right! All right!

Oom-pah-pah!

A N C Y

( N A N C Y )

M I S T E R P E R C Y S N O D G R A S S

W O U L D O F T E N H AV E T H E O D D G L A S S

B U T N E V E R W H E N H E T H O U G H T A N Y B O D Y C O U L D S E E .

S E C R E T LY H E ’ D B U Y I T,

A N D D R I N K I T O N T H E Q U I E T,

A N D D R E A M H E WA S A N E A R L

W I V A G I R L O N E A C H K N E E !

C U S T O M E R S & N A N C Y

O O M - PA H - PA H ! O O M - PA H - PA H !

T H AT ’ S H O W I T G O E S

O O M - PA H - PA H ! O O M - PA H - PA H !

E V ’ RY O N E K N O W S …

W H AT I S T H E C A U S E O F H I S R E D S H I N Y N O S E ?

C A N I T B E O O M - PA H - PA H ? N A N C Y

P R E T T Y L I T T L E S A L LY

G O E S WA L K I N G D O W N T H E A L L E Y,

D I S P L AY S H E R P R E T T Y A N K L E S TO A L L O F T H E M E N .

T H E Y C O U L D S E E H E R G A RT E R S ,

B U T N O T F O R F R E E - A N D - G R AT I S A N I N C H O R T W O , A N D T H E N S H E K N O W S

W H E N TO S AY W H E N ! A L L

O O M - PA H - PA H ! O O M - PA H - PA H !

T H AT ’ S H O W I T G O E S

O O M - PA H - PA H ! O O M - PA H - PA H !

E V ’ RY O N E K N O W S N A N C Y

W H E T H E R I T ’ S H I D D E N , O R W H E T H E R I T S H O W S I T ’ S T H E S A M E O O M - PA H - PA H ! !

Hilarious laughter.

S H E WA S F R O M T H E C O U N T RY,

B U T N O W S H E ’ S U P A G U M - T R E E

S H E L E T A F E L L E R F E E D ‘ E R , T H E N L E A D ‘ E R A L O N G , W H AT ’ S T H E G O O D O ’ C RY I N ’ ?

S H E ’ S M A D E A B E D TO L I E I N

( N A N C Y )

S H E ’ S G L A D TO B R I N G T H E C O I N I N , A N D J O I N I N T H I S S O N G ! A L L

O O M - PA H - PA H ! O O M - PA H - PA H !

T H AT ’ S H O W I T G O E S ,

O O M - PA H - PA H ! O O M - PA H - PA H !

E V ’ RY O N E K N O W S N A N C Y

S H E I S N O L O N G E R T H E S A M E B L U S H I N G R O S E

E V E R S I N C E O O M - PA H - PA H !

Lewd laughter. (shouts)

Altogether now!

N A N C Y

T H E R E ’ S A L I T T L E D I T T Y

T H E Y ’ R E S I N G I N G I N T H E

C I T Y

E S P E S H LY W H E N T H E Y ’ V E B I N

O N T H E G I N O R T H E B E E R .

I F Y O U ’ V E G O T T H E

PAT I E N C E ,

Y O U R O W N I M A G I N AT I O N S

W I L L T E L L Y O U J U S T

E X A C T LY

W H AT Y O U WA N T

TO H E A R

C O M P A N Y

O O M - PA H - PA H ! O O M PA H - PA H !

T H AT ’ S H O W I T G O E S , O O M - PA H - PA H ! O O M - PA H - PA H !

E V ’ RY O N E K N O W S

T H E Y A L L S U P P O S E W H AT

T H E Y WA N T TO S U P P O S E

W H E N T H E Y H E A R

O O M - PA H - PA H ! !

L L

O O M - PA H - PA H ! O O M PA H - PA H !

T H AT ’ S H O W I T G O E S ,

O O M - PA H - PA H ! O O M - PA H - PA H !

E V ’ RY O N E K N O W S .

T H E Y A L L S U P P O S E W H AT T H E Y WA

P O S E W H E N T H E Y H E A R

O O M - PA H - PA H ! !

End of song wild applause. THREE LOUD BANGS.

Enter SIKES.

(In a loud whisper)

Bill Sikes!

# 2 9 M y N a m e

MUSIC begins and he sings. S I K E S

M Y N A M E ! W I V M E

(Spoken)

Bill Sikes.

(End of song )

NANCY kisses BILL. DODGER enters breathless and in a panic. Dialogue during underscore

Fagin! Fagin! Fagin! (He pounds the wall)

(Entering)

Dodger! Where’s Oliver? Where’s the boy?

FAGIN takes hold of DODGER’s ear

(to DODGER)

What has-become-of Oliver?

(in between being shaken)

Got took away in a coach!

(pulling Dodger up by his coat)

D O D G E R

F A G I N

Who coach? What coach? Where coach?

DODGER slithers out of coat and shirt and he is naked from the waist up.

D O D G E R

(breathlessly)

He got nabbed on the job! They took him to court We waited outside The old man we dipped, come out of the court with Oliver and took him off in a coach!

F A G I N

Where to? Quick? Speak!

D O D G E R

19, Chepstowe Gardens… Bloomsbury… I run all the way.

F A G I N

(Fretfully)

We were supposed to look after him. We were supposed to bring him back with us. We were supposed to never let him out of OUR SIGHT!

S I K E S

(aloud)

Who?

(to nobody in particular)

F A G I N

One of us, Bill A new boy went out on his first job today with Dodger I’m afraid… that he may say something which will get us into trouble.

S I K E S

(grinning)

That’s very likely… You’re blowed upon Fagin.

F A G I N

(still to nobody in particular)

And I’m afraid..you see… that if the game was up with us…

(he now addresses SIKES specifically)

it might be up with a good many more and it would come out rather worse for you than it would for me, my dear.

SIKES starts towards FAGIN, who merely stares vacantly ahead.

S I K E S

Why you old!… Somebody must find out what’s been done, or said. If he hasn’t talked yet, there’s still a chance we might get him back without suspicion. We’ll nab him the very moment he dares to step out of that house Now who’s gonna go?

They all look around at each other.

I suppose it’ll have to be me.

D O D G E R

F A G I N

You shut your trap, Dodger. You’ve caused enough trouble.

(He looks at Nancy)

It’s got to be done quiet. We don’t want any fuss.

(Smirking at Nancy)

The very thing! Nancy my dear you ’ re so good with the boy.

N A N C Y

It’s no good trying it on with me.

SIKES goes across to her menacingly

B I L L

And just what do you mean by that remark?

NANCY gets up and faces SIKES

N A N C Y

What I say Bill. I’m not going… Why can’t you leave the boy alone? He won’t do you no harm Why can’t you leave him where he is where he’ll get the chance of a decent life?

B I L L

You’ll get him back ‘ ere my girl unless you want to feel my hands on your throat!

SIKES throws Nancy onto a stool FAGIN hurries across and speaks pleadingly at NANCY, trying to prevent more violence, which he hates.

F A G I N

Nancy, my dear - if he talked, think what would happen to us Think what would happen to Bill. It’d be the gallows for him, Nancy - the gallows! You wouldn’t let that happen would you, my dear? Not to Bill? Not to your Bill?

S I K E S

She’ll go Fagin

SIKES turns away. With sudden spirit, NANCY looks up at Fagin.

N A N C Y

No she won’t Fagin!

Yes, she will Fagin!

S I K E S

SIKES hits NANCY viciously across the face, knocking her off the chair onto the floor. He turns and strides towards the door.

Bullseye!

SIKES & BULLSEYE exit.

There’s silence. FAGIN goes to help NANCY. She looks at him with scorn and disgust. FAGIN and the BOYS turn and leave.

N A N C Y

Alright Bet Go home There’s a good girl

Visual cue: as Bet gets halfway upstage

The TAVERN KEEPER is in the background putting chairs on tables and clearing up tankards.

( N A N C Y )

H E D O E S N ’ T S AY T H E T H I N G S H E S H O U L D

H E A C T S T H E WAY H E T H I N K S H E S H O U L D

B U T A L L T H E S A M E ,

I ’ L L P L AY

T H I S G A M E

H I S WAY.

A S L O N G A S H E N E E D S M E

I K N O W W H E R E I M U S T B E .

I ’ L L C L I N G O N S T E A D FA S T LY

A S L O N G A S H E N E E D S M E

A S L O N G A S L I F E I S L O N G

I ’ L L L O V E H I M R I G H T O R W R O N G

A N D S O M E H O W, I ’ L L B E S T R O N G …

A S L O N G A S H E N E E D S M E

I F Y O U A R E L O N E LY

T H E N Y O U W I L L K N O W

W H E N S O M E O N E N E E D S Y O U ,

Y O U L O V E T H E M S O .

I W O N ’ T B E T R AY H I S T R U S T

T H O U G H P E O P L E S AY I M U S T.

I ’ V E G O T TO S TAY T R U E , J U S T

A S L O N G A S H E N E E D S M E

# 3 2 T r a n s i t i o n t o “ W h e r e I s L o v e ? ( R e p r i s e ) ”

A C T T W O

S c e n e T w o

B r o w n l o w ’ s h o u s e – b e d r o o m , s t a i r s , m o r n i n g r o o m a n d

s t r e e t o u t s i d e .

# 3 3 W h e r e I s L o v e ? ( R e p r i s e )

In the bedroom, MRS BEDWIN sits by Oliver’s bed singing a lullaby

W H E R E I S S H E …

OLIVER embraces Mrs Bedwin

They look out of window as street criers appear. # 3 4 W h o W i l l B u y ? ( P a r t 1 )

R O S E S E L L E R

T W O B L O O M S F O R A P E N N Y

M I L K M A I D

A N Y M I L K TO D AY ?

M I S T R E S S ?

R O S E S E L L E R

W H O W I L L B U Y M Y S W E E T R E D R O S E S ?

M I L K M A I D

A N Y M I L K TO D AY ?

M I S T R E S S ?

S T R A W B E R R Y S E L L E R

R I P E S T R AW B E R R I E S , R I P E !

R I P E S T R AW B E R R I E S , R I P E !

R I P E S T R AW B E R R I E S , R I P E !

R I P E S T R AW B E R R I E S R I P E

K N I F E - G R I N D E R

K N I V E S , K N I V E S TO G R I N D !

A N Y K N I V E S TO G R I N D ?

K N I V E S , K N I V E S TO G R I N D !

A N Y K N I V E S TO G R I N D ?

W H O W I L L B U Y ?

S T R A W B E R R Y S E L L E R

W H O W I L L B U Y ?

W H O W I L L B U Y ?

W H O W I L L B U Y ?

W H O W I L L B U Y

M I L K M A I D

R O S E S E L L E R

O L I V E R

T H I S W O N D E R F U L M O R N I N G ?

S U C H A S K Y

Y O U N E V E R D I D S E E !

R O S E S E L L E R

W H O W I L L B U Y M Y S W E E T R E D R O S E S ? O L I V E R

W H O W I L L T I E

I T U P W I T H A R I B B O N , A N D P U T I T I N A B O X F O R M E ?

S T R A W B E R R Y S E L L E R

R I P E S T R AW B E R R I E S , R I P E !

O L I V E R

S O I C O U L D S E E I T AT M Y L E I S U R E

W H E N E V E R T H I N G S G O W R O N G ,

A N D I W O U L D K E E P I T A S A T R E A S U R E

TO L A S T M Y W H O L E L I F E L O N G !

M I L K S E L L E R

A N Y M I L K TO D AY ?

W H O W I L L B U Y

O L I V E R

T H I S W O N D E R F U L F E E L I N G ?

I ’ M S O H I G H

I S W E A R I C O U L D F LY.

K N I F E G R I N D E R

K N I V E S ! K N I V E S TO G R I N D !

S T R A W B E R R Y S E L L E R

R I P E S T R AW B E R R I E S , R I P E ! O L I V E R M E , O H M Y !

I D O N ’ T WA N T TO L O S E I T

S O W H AT A M I TO D O .

TO K E E P T H E S K Y S O B L U E ?

T H E R E M U S T B E S O M E O N E W H O W I L L B U Y ?

K N I F E G R I N D E R

W H O W I L L B U Y ?

S T R A W B E R R Y S E L L E R

W H O W I L L B U Y ?

W H O W I L L B U Y ?

W H O W I L L B U Y ?

M I L K M A I D

R O S E S E L L E R

B R O W N L O W

Come along Dr Grimwig, I think you’ll find a great improvement in the boy.

D R G R I M W I G

That sir, is for me to decide.

Thank you, Mrs Bedwin

Mr Brownlow

How do you feel today, my boy?

B R O W N L O W

M R S B E D W I N

M R B R O W N L O W

O L I V E R

Very happy, sir May I stay here always, sir?

B R O W N L O W

If you wish, dear boy, if you wish Here’s the doctor come to see you

G R I M W I G

Well, he’s certainly looking better But you ’ re still not sleeping well, are you?

O L I V E R

Oh yes, I sleep very well sir

G R I M W I G

Ah Bad dreams, though, I’ve no doubt Nightmares eh?

O L I V E R

No sir, I don’t have dreams

G R I M W I G

Thought so! But you ’ re hungry aren’t you?

O L I V E R

No, doctor

G R I M W I G

No You’re not hungry Not thirsty are you? If that boy is thirsty, I’ll eat my head! Are you?

O L I V E R

Yes sir. I am rather thirsty.

G R I M W I G

Just as I expected. It’s very natural he should be thirsty. You may give him a little tea.

M R S B E D W I N

Thank you, Doctor.

May I get up sir?

O L I V E R

Say aahhh

(Inserting a spatula into his mouth.)

G R I M W I G

O L I V E R

Aahhh

D R G R I M W I G

I think you may And take a little fresh air Don’t keep him too warm Mrs Bedwin, but be careful that you don’t let him be too cold.

(rises and makes to leave the bedroom)

Will you have the goodness?

Certainly, Doctor.

M R S B E D W I N

B R O W N L O W

You’ll be glad to be up again, Oliver.

O L I V E R

(To Mrs Bedwin seeing his new clothes)

Do I wear these?

M R S B E D W I N

Well, you can’t wear your old ones, they’ve gone into the furnace. Hurry now.

BROWNLOW and GRIMWIG leave the room and go downstairs speaking as they go. OLIVER jumps up and gets dressed with the help of MRS BEDWIN.

B R O W N L O W

He’s a fine looking boy, don’t you think Grimwig?

G R I M W I G

Couldn’t tell you I only know two sorts of boys Mealy boys and beef-faced boys

B R O W N L O W

And which is Oliver?

Mealy! Where does he come from?

G R I M W I G

B R O W N L O W

You know I haven’t the faintest idea He was arrested for stealing my pocket handkerchief. And when the shopkeeper told us what really happened and he was released by the magistrate, I brought him here to make what amends I could But I must confess I find myself strangely attached to the child.

G

R

I M W I G

He’s deceiving you my good friend He has had a fever What of that? Fevers are not peculiar to good people are they? Bad people have fevers sometimes don’t they? He stole your pocket handkerchief didn’t he? Then he’ll steal more sir. What do you know of him? Nothing.

B R O W N L O W

Only that he’s an orphan (suddenly thoughtful)

And yet... (He ponders, puzzled).

…It’s strange. There’s something in that boy’s face…I can’t explain it, but… somewhere I seem to have seen him before somewhere a long time ago

G R I M W I G

Stuff and nonsense You’re imagining things

A bell rings and a MAID appears.

B R O W N L O W

Yes, what is it?

There’s someone to see you sir

A boy enters running.

What does he want?

M A I D

B R O W N L O W

B O Y

Books you ordered from the bookseller, sir BOY exits.

B R O W N L O W

Ah yes, thank you…

(he turns away)

Now, I’ve got to give you some…

(the BOY has fled)

Hey! Wait a moment…

OLIVER and MRS BEDWIN have appeared at the top of the stairs. BROWNLOW shouts after the MESSENGER BOY.

( B R O W N L O W )

Hey! Come back! Oh really, really, really and I particularly wished some books to be returned today.

G R I M W I G (cannily)

Why not send Oliver with them

O L I V E R

Yes! Do let me take them for you please, sir

B R O W N L O W

Oh! Em oh very well my boy very well if you wish, you shall Now I’ll tell you what I want you to do. You will give Mr Jessop these books, it’s just down the road, and say you ’ ve come to pay the four pounds ten that I owe him - here’s five pounds No need to rush but I shall expect you back in ten minutes.

# 3 5 P o r t r a i t M u s i c

OLIVER is about to go but BROWNLOW holds his hand, then his eyes move to a portrait on the wall. OLIVER looks.

L I V E R

She’s a very pretty lady, isn’t she, Sir?

B R O W N L O W

(Watching Oliver)

Yes it’s a portrait of my daughter Agnes

O L I V E R

I’ll take the books then sir

(absently)

Yes… you take the books

OLIVER exits.

B R O W N L O W

G R I M W I G

Ha! You don’t really expect him to come back, do you? With a new suit of clothes on his back and a five pound note in his pocket? My dear Mr Brownlow, if he does I’ll eat my head.

(who has been staring at the portrait)

Dr Grimwig Look at that portrait Don’t you see an extraordinary resemblance between Oliver and my daughter Agnes?

G R I W M W I G

Can’t say I do.

B R O W N L O W

Well in ten minutes Dr Grimwig, when the boy returns, I think you will see.

G R I M W I G

Yes Mr Brownlow, ten minutes.

starts

( C O M P A N Y )

W H O W I L L B U Y

T H I S W O N D E R F U L F E E L I N G ?

I ’ M S O H I G H

I S W E A R I C O U L D F LY

M E , O H M Y !

I D O N ’ T WA N T TO L O S E I T

S O W H AT A M I TO D O

TO K E E P T H E S K Y S O B L U E ?

T

The side-show enters

I ’ M S

S O W H AT A M I TO D O

TO K E E P T H

# 3 7 W h o W i l l B u y ? ( P a r t 3 )

Instrumental as the side-show perform.

(Muisc Ends)

NANCY & BET enter they have been lying in wait

Oh! my dear brother!

(She throws her arms about his neck.)

Leggo! Leggo! Nancy! A CROWD gathers round.

N A N C Y

I’ve found him! Oliver, oh Oliver! My dear little brother! Where have you been? We’ve been worried out of our heads

F I R S T W O M A N

What’s the matter love?

N A N C Y

Oh, he ran away two weeks ago from his parents who are hard-working respectable people, and went and joined a set of thieves and bad characters almost broke his mother ’ s heart. O L I V E R

It’s not true!

The young wretch!

Go home, you little brute.

F I R S T W O M A N

O L I V E R

I’m not! I haven’t any mother—or father! I’m an orphan!

N A N C Y

Oh heavens. Just listen to him.

OLIVER notices BET nearby.

Bet! Tell them to let me go!

O L I V E R

N A N C Y

See he knows his little sister. He can’t hide that! Make him come home or he’ll kill us.

SIKES appears in the group.

What the devil’s all this?

Oh, ‘ e ’ s only playing up

FIRST MAN exits.

S I K E S

F I R S T M A N

S I K E S

Young Oliver? Come home to your poor mother you young dog! Come on home!

He grabs OLIVER’s shoulders.

( S I K E S )

(sees books)

What, books, too? You’ve been stealing again have you? He’s nothing but a thief and a vagabond SIKES hits OLIVER.

S E C O N D M A N

That’s right, that’s what he needs.

SECOND MAN exits. O L I V E R

Let go. I don’t belong to them. Help! Help! S I K E S

(Putting his hand over OLIVER’S mouth)

Now you little bleeder, you ’ re coming with us.

A N C Y

All right Bill. Leave him alone.

Say goodbye to your fancy living.

Leave him Bill, we ’ re here now.

I K E S

A C T T W O

S c e n e T h r e e

T h i e v e s K i t c h e n .

Enter SIKES twisting OLIVER’s arm, followed by NANCY and BET

NANCY hangs respectable shawls, hats etc around the fireplace.

F A G I N

Aaah! So you ’ ve come home again, have you Oliver my dear?

D O D G E R

Look at his togs, Fagin!

All the boys laugh and sneer.

C H A R L E Y

E’s got books too. Quite the little gent, ain’t he?

He grabs the parcel of books from OLIVER. The other boys are pulling OLIVER about. One pulls his cap off, puts it on himself at a rakish angle and struts around the room. The other boys roar with laughter. Meanwhile, DODGER is systematically going through OLIVER’S pockets

F A G I N

(with an ironical bow)

Delighted to see you looking so well, my dear. The Artful Dodger shall give you another suit, for fear you should spoil that Sunday one Why didn’t you write, my dear, and say you were coming? We’d have got something warm for supper.

D O D G E R

Cor! Look at this!

DODGER draws forth the five-pound note from one of OLIVER’s pockets. BILL SIKES steps forward, but before he can get there, FAGIN grabs the note.

S I K E S

Hullo, what’s that? That’s mine, Fagin

F A G I N

No, no my dear Mine, Bill, mine You can have the books BOYS laugh but SIKES glares at them and they stop as one.

OLIVER gives SIKES the books but he throws them to the ground in disgust DODGER picks them up.

S I K E S

If that ain’t mine mine and Nancy’s, that is, I’ll take the boy back again!

FAGIN stops in his tracks.

Come on, ‘and over

(imploringly)

S I K E S

F A G I N

This is hardly fair, Bill hardly fair, is it, Nancy?

S I K E S

Fair or not fair, ‘and it over you avaricious old skeleton, Give it ‘ere!

At which he plucks the note from between FAGIN’s finger and thumb.

That’s for our share of the trouble and not half enough neither SIKES takes the books from Dodger and gives then to Fagin.

Here You can ‘ ave the books Start a library SIKES laughs and makes to exit.

O L I V E R

You can’t keep the books or the money! They belong to Mr Brownlow and if he finds out you ’ ve got them he’ll be down here after you.

There is a silence as OLIVER’s words sink in

S I K E S

(Advancing towards OLIVER menacingly.)

So ‘ e’ll be down here, will ‘e?

Leave ‘im alone, Bill!

N A N C Y

S I K E S

(glares at NANCY, then turns to OLIVER)

What did you tell him about us?

Nothing.

O L I V E R

THE BOYS, sensing impending violence, hide themselves in corners.

S I K E S

That remains to be seen but if we found out you said anything anything out of place Fagin, I’ll wager that young scoundrel’s told him everything

O L I V E R

(as he tries to escape)

Help! Help!

SIKES grabs him, OLIVER hits SIKES across the face.

S I K E S

Hit me would you?

He pushes off OLIVER and makes for his cudgel. NANCY rushes forward and grabs SIKES’ arm.

N A N C Y

No leave him alone Bill!

Stand off me, or I’ll split yer head open!

S I K E S

N A N C Y

Go on, then kill me! You’ll have to before I’ll let you lay a hand on that boy!

S I K E S

Keep out o’this I’m warnin’ you.

SIKES flings NANCY across the room.

F A G I N

All right, all right! We’ve got him back! What’s the matter with you?

NANCY rises to her feet

The girl’s gone mad, I think, Fagin.

No she hasn’t Fagin, don’t think it.

S I K E S

N A N C Y

F A G I N

Then keep quiet, will yer. All this violence.

S I K E S

Tell ‘ em all about us would you? # 3 9 I t ’ s A F i n e L i f e ( R e p r i s e )

I won’t stand by and see it done, Bill.

N A N C Y

F A G I N

Why Nancy, you ’ re wonderful tonight Such talent! What an actress!

N A N C Y

Am I? Take care I don’t overdo it ‘Cos if I do, I’m goin’ to put my mark on some of you, and I don’t care if I hang for it!

S I K E S

You? Do you know who you are, and what you are?

N A N C Y

(hysterically)

Ah, yes, I know all about it You don’t have to tell me!

S I K E S

A fine one for the boy to make a friend of, you are!

N A N C Y

Lord help me, I am, and I wish I’d of been struck down dead before I lent a hand in bringing him back here. After, tonight, ‘ e ’ s a liar and a thief and all that’s bad. Ain’t that enough for you, without beating him to death!

F A G I N

Come, come Nancy, we must have civil words Civil words, Bill

N A N C Y

Civil words! Yes! You deserve them from me! I was out on the streets for you when I was a child half his age, and I’ve been in the same trade, the same service for fifteen years since and don’t you forget it!

S I K E S

Well, what if you have? It’s your living ain’t it?

N A N C Y

L O R D H E L P M E !

N A N C Y

F A G I N

N O V I O L E N C E … P L E A S E N O V I O L E N C E … P L E A S E N O S C E N E S

S I K E S WAT C H I T, N A N C Y ! M A K E N O E R R O R !

T H E R E A I N ’ T N O I N - B E T W E E N …

N A N C Y

L O R D H E L P M E !

N O V I O L E N C E

I N L I F E !

F A G I N

S I K E S

N A N C Y

I F Y O U D O N ’ T M I N D M A K I N G A M AT E O F S ATA N

I T ’ S A F I N E L I F E !

F I N E L I F E !

M Y L I F E ! S ATA N !

S I K E S

F A G I N

S I K E S N O , W E D O N ’ T M I N D K E E P I N G T H E A N G E L S WA I T I N G . I T ’ S A F I N E L I F E !

D O D G E R

F I N E L I F E !

F I N E L I F E !

C O M E

N A N C Y

F A G I N

… B E T T E R D O A S Y O U A R E TO L D .

S I K E S

WAT C H O U T !

F A G I N

B I L L H A S G O T A H E A RT O F G O L D !

S I K E S

G E T O U T F A G I N

B E T T E R N O T TO M E S S W I T H I T … S I K E S

O N T H E J O B !

F A G I N

E S

S H U T Y O U R G O B ! F A G I N

I T ’ S A F I N E … S I K E S F I N E … D O D G E R F I N E

A N C Y

F I N E A L L

L I F E !

NANCY exits, followed by SIKES. F A G I N

Take care of her, Bill. Take care of him, Dodger.

DODGER takes OLIVER off.

…and I’ll take care of myself!

( F A G I N )

M

W I F E Y O U C A N

E E P, A N Y WAY, I ’ D R AT H E R S L E E P, A N Y WAY.

( F A G I N )

I ’ M R E V I E W I N G T H E S I T U AT I O N

I F Y O U WA N T TO E AT Y O U ’ V E G O T TO E A R N A B O B !

I S I T S U C H A H U M I L I AT I O N

F O R A R O B B E R TO P E R F O R M A N H O N E S T J O B ?

S O A J O B I ’ M G E T T I N G , P O S S I B LY,

I W O N D E R W H O T H E B O S S ’ L L B E ?

I W O N D E R I F H E ’ L L TA K E TO M E ?

W H AT B O N U S E S H E ’ L L M A K E TO M E ?

I ’ L L S TA RT AT E I G H T, A N D F I N I S H L AT E , AT N O R M A L R AT E , A N D A L

B U T WA I T ! … I T H I N K I ’ D B E T T E R T H I N K I T O U T A G A I N . W H AT H A P P E N S W H E N I ’ M S E V E N T Y ?

M U S T C O M E A T I M E . . . S E V E N T Y. W H E N Y O U ’ R E O L D , A N D I T ’ S C O L D , A N D W H O C A R E S I F Y O U L I V E O R Y O U D I E , Y O U R O N E C O N S O L AT I O N ’ S T H E M O N E Y Y O U M AY H AV E P U T B Y

I ’ M R E V I E W I N G T H E S I T U AT I O N . I ’ M A B A D ‘ U N , A N D A B A D ‘ U N I S H A L L S TAY !

Y O U ’ L L B E S E E I N G N O T R A N S F O R M AT I O N , B U T I T ’ S W R O N G TO B E A R O G U E I N E V ’ RY WAY.

I D O N ’ T WA N T N O B O D Y H U RT F O R M E , O R M A D E TO D

# 4 1 B a c k T o T h e W o r k h o u s e

MR BUMBLE sits, looking out into thin air with a most melancholy expression on his face. He has a tankard and takes a swig. He thinks he is alone and so he thinks aloud.

M R B U M B L E

Married! And two weeks ago tomorrow it was done It seems an age!

(he heaves a sigh)

WIDOW CORNEY enters

I sold myself for six teaspoons, a pair of sugar-tongs and a milk-pot with a small quantity of second hand furniture and twenty pounds cash I went very reasonable! Cheap! Dirt cheap!

WIDOW CORNEY, (Mrs Bumble) has been locking doors in the background

W I D O W C O R N E Y (shrieking)

Cheap! You would have been dear at any price; and dear enough I paid for you, Lord above knows that!

MR BUMBLE belches.

Are you going to sit there snoring, all day?

M R B U M B L E

I am going to sit here as long as I think proper, madam and, although I was not snoring, I shall snore, gape, sneeze, laugh or cry, as the humour strikes me such being my prerogative.

W I D O W C O R N E Y (contemptuously)

Your prerogative!

M R B U M B L E

I said the word ma ’ am. The prerogative of a man… is to command.

W I D O W C O R N E Y

And what’s the prerogative of a woman, in the name of Goodness?

M R B U M B L E

To obey, madam! To obey Your late unfortunate husband should have taught you that, and then, perhaps, he might have been alive today, and I wish he was poor man!

W I D O W C O R N E Y

Oooooh! You hard-hearted brute!

M R B U M B L E

Oh ‘ ere we go. Cry away, madam! It opens the lungs, exercises the eyes, softens the temper, and washes the face—so cry away!

WIDOW CORNEY rushes up behind MR BUMBLE and hits him on the back with his hat several times. He jumps up screaming and shouting.

W I D O W C O R N E Y

Now talk about your prerogative, if you dare!

MR BUMBLE attempts to argue.

Shut up! And take yourself away from here, unless you want me to do something desperate. Well, are you going?

M R B U M B L E

(backing away)

Certainly my dear, certainly I had no intention of staying It’s just that you are so very violent.

MR BUMBLE exits

Eerie MUSIC pulse continues under scene.

There is a knock on the Workhouse door. WIDOW CORNEY rises and opens it. THE MATRON is standing there with OLD SALLY.

# 4 2 O l d S a l l y

What’s the matter?

W I D O W C O R N E Y

M A T R O N

It’s old Sally, ma ’ am. She says she’s got something to tell you that must be heard. She’s not got long and she’ll never die quiet till you listen, ma ’ am

W I D O W C O R N E Y

You better come in They enter.

Well what is it?

(indicating MATRON)

Turn her away.

But Sal… it’s your old friend.

( W I D O W C O R N E Y )

S A L L Y

M A T R O N

W I D O W C O R N E Y

(to MATRON)

Go on, get out of it!

MATRON tries to protest but WIDOW CORNEY pushes her off into the shadows

S A L L Y

Now listen to me. In this very workhouse… I once nursed a pretty young creature that I brought in from the cold with her feet cut and bruised with walking she gave birth to a boy… and died. Let me think what was the year again!

W I D O W C O R N E Y

Never mind the year, what about her?

S A L L Y

(sitting up fiercely with wild eyes)

I robbed her! I robbed her so I did! The only thing she had of any worth, it was round her neck and it was gold.

W I D O W C O R N E Y

(drawing closer)

Gold? Go on, go on yes. What of it?

S A L L Y

This is it! The locket! She charged me to keep it safe, and trusted me. It’s my belief she came from a rich family

WIDOW CORNEY bends over to inspect the locket taking it in her hand.

W I D O W C O R N E Y

The boy’s name?

They called him

(shaking OLD SALLY)

Yes?

S A L L Y

W I D O W C O R N E Y

Oliver The gold I stole was

Yes, yes what?

SALLY dies. WIDOW CORNEY drops her back onto the floor, tugs off the locket and steps over her body.

We must retrieve that boy, Mr Bumble.

We must indeed, ma ’ am. We must indeed.

C O M I N G TO S AV E U S B O T H

C A S H R E WA R D S M R B U M B L E

(MUSIC ends )

A C T T W O S

M R B R O W N L O W

I understand you bring information regarding the boy Oliver Twist

M R B U M B L E (pre-prepared)

We decided to come in answer to your advertisement?

W I D O W C O R N E Y

I decided.

M R B U M B L E (deflated)

Yes. Thats right. My dear wife decided. Bumble is my name, sir. Beadle of the workhouse where this boy was cared for from where he was apprenticed to an undertaker where he ran away from…

He stops to catch his breath

M R B R O W N L O W

Yes, yes it’s very good of you to come. Now what have you got to tell me?

M R B U M B L E

(producing the locket with great moment)

This locket was given by the lad’s dying mother to my dear wife just before she passed away… The lad’s dying mother that is, not my wife.

WIDOW CORNEY scornfully laughs. BUMBLE hands MR BROWNLOW the locket.

M R B R O W N L O W

You say when he left your work house he went to an undertaker ’s?

M R B U M B L E

Yes, Mr Sowerberry, the undertaker took Oliver from us for three pounds

M R B R O W N L O W

You mean to say that you sold him like an animal?

M R B U M B L E

Well, sir, it was Mrs Bumble who actually authorised the sale

M R B R O W N L O W

Really! Then I will see that neither of you is employed in a position of trust again And your behaviour madam was shameful! Leave my house!

W I D O W C O R N E Y

(outraged)

Oh! How dare you speak so to me, sir! I came here to help you…

M R B R O W N L O W

You came here in the hope of profiting from your own greed and dishonesty!

M R B U M B L E

(trying to save the situation)

As to that, sir if you consider the trinket don’t properly belong to my dear wife…

W I D O W C O R N E Y

Shut up, you old fool!

BUMBLE subsides, BROWNLOW takes out his wallet Nancy appears in the background.

M R B R O W N L O W

(taking out some notes)

Here ten pounds

He thrusts the money into WIDOW CORNEY’s hands.

Take it, and consider yourself fortunate that you don’t find yourselves in the hands of the law. Mrs Bedwin - show these ghastly people out.

M R S B E D W I N

Yes, sir.

W I D O W C O R N E Y

We know the way out thank you very much.

She sweeps past MRS BEDWIN out of the room.

M R B U M B L E

I hope Sir that this unfortunate little circumstance will not deprive me of my porochial office?

M R B R O W N L O W

Indeed it will And you may think yourself well off besides

M R B U M B L E

Well it was all Mrs Bumble She would do it

M R B R O W N L O W

That is no excuse You were present on the occasion when the boy was sold, and indeed, are the more guilty of the two in the eye of the Law. For the Law supposes that your wife acts under your direction.

M R B U M B L E

(heatedly)

If the Law supposes that, then the Law is a ass! If that’s the eye of the Law, then the Law is a bachelor! And the worst I wish the Law is that His eye may be opened by experience…

# 4 4 T h e L o c k e t

By experience!

BUMBLE exits.

BROWNLOW is left alone looking at the locket in his hand

MRS BEDWIN enters, looking flustered.

M R S B E D W I N

There is a young woman enquiring for you, sir

M R B R O W N L O W

Mrs Bedwin take a look at this miniature Can you see who it is?

(he hands her the locket.)

(amazed)

Why it’s, Miss Agnes, sir!

M R S B E D W I N

M R B R O W N L O W

Yes My daughter Agnes She must have found her way to the workhouse and had the child there.

M R S B E D W I N

If only she had told us.

NANCY appears in the doorway

M R B R O W N L O W

(Seeing her)

Mrs Bedwin, who is this?

(Turning to MR BROWNLOW)

It’s about the boy sir.

Have you news of Oliver?

M R S B E D W I N

M R B R O W N L O W

N A N C Y

He’s in danger in bad company He was dragged off the day you sent him out with them books.

M R B R O W N L O W

Who took him?

Me and… (she stops)

…and someone else.

N A N C Y

M R B R O W N L O W

Where can I find him? Who is this other person you speak of? Take me to him.

N A N C Y

No! No, I can’t! I shouldn’t have said that! M R B R O W N L O W

Now come, sit down. You want to help the boy, don’t you? Why else are you here? N A N C Y

I do want to help but…

M R B R O W N L O W

Then at least tell me where I can find him.

N A N C Y

I can’t. But I’ll bring him to you. Not here. It’s too far.

M R B R O W L O W

Where then?

N A N C Y

The Bridge, London Bridge Tonight At midnight

MRS BEDWIN looks at MR BROWNLOW, alarmed for his safety.

And you ’ ve got to come alone Promise me you’ll come on your own—I’ll find a way of getting him to you.

MR BROWNLOW stares at her, doubtful and suspicious

You don’t believe me, do you? But if you want Oliver back, then you ’ ve got to believe me

M R B R O W N L O W

(making up his mind)

Very well I’ll be there

Thank God!

She turns to go.

Wait Has the boy been hurt! Ill-treated? If so, I shall N A N C Y

I can’t say no more Please He’ll kill me as it is if he finds out where I’ve been

(insistently)

Who is this man? Perhaps we can…

No! We can’t! Whatever else I do, I won‘t turn on him.

I understand, my dear.

But a man who might kill you?

Yes, but he’s mine, and I’m his. I’ve got to go back. I want to go back. (Nancy exits.)

Do you think we can trust her Mr Brownlow?

I’m afraid we have no choice Mrs Bedwin

In the street outside Brownlows house NANCY appears.

( N A N C Y )

B U T, W I L L H E N E V E R S E E

T H AT S O M E O N E E L S E N E E D S M E ?

A S L O N G A S L I F E I S L O N G

I ’ L L L O V E H I M R I G H T O R W R O N G

B U T, S O M E T H I N G J U S T A S S T R O N G , S AY S

S O M E O N E E L S E N E E D S M E A C H I L D W I T H N O - O N E TO TA K E H I S PA RT

I ’ L L TA K E H I S PA RT, B I L L …

U T, C R

S

E A

!

End of song NANCY walks towards the bridge SIKES appears and follows her

# 4 6 L o n d o n B r i d g e

MUSIC begins and continues under all ensuing action.

Out of the mists, London Bridge rises up, and with the distant striking of the clock, figures become discernible. A NIGHTWATCHMAN, and a HUSSAR with his GIRL.

Goodnight Sir.

Goodnight.

Goodnight.

NANCY and OLIVER appear nervous of being spotted They pace back and forth across the bridge waiting for Brownlow to appear. Suddenly a huge shadow falls across the scene – they turn to see Sikes looming out of the darkness, crazed with drink and jealousy. He moves closer.

N A N C Y

Alright Oliver, now you stay here and, I’ll look for Mr Brownlow There’s a good boy.

Sikes jumps down.

Bill! Don’t take him back there Bill. Let him go for pity’s sake, let him go.

SIKES hits OLIVER

Why do you look at me like that Bill?

N A N C Y

S I K E S

Give me away would yer?

No, not you Bill, never you.

Get away from me woman.

N A N C Y

S I K E S

N A N C Y

No, I won’t let go Bill, look at me, look at me! I’ve been true to you upon my soul I have.

S I K E S

Get away from me!

He strangles her and pushes her to the ground

He raises his cudgel.

God! God help me

N A N C Y

SIKES hits her with the cudgel She screams

S I K E S

Stop staring at me woman. Close your damn eyes.

SIKES hits her

Damn you! Your eyes

He hits her again. She dies. A clock strikes twelve. SIKES runs off with OLIVER. Brownlow appears in time to see Sikes running away. He sees Nancy’s body.

M R B R O W N L O W

I say you there! Oh my God! Help! Help! Help!

BOW STREET RUNNERS arrive

F I R S T R U N N E R

What happened ‘ere?

There’s been a murder

Did you know this woman.

M R B R O W N L O W

F I R S T R U N N E R

M R B R O W N L O W

I came here to meet this poor creature, and as I crossed the bridge I saw someone running in the other direction

F I R S T W O M A N

It’s Nancy, somebody’s murdered Nancy!

F I R S T R U N N E R

What did he look like?

M R B R O W N L O W

He was a broad shouldered heavily built man F I R S T R U N N E R

Anything else?

M R B R O W N L O W

He wore a black coat and he carried a heavy cudgel

L A M P - L I G H T E R

Bill Sikes!

Upper bridge descends.

(On bridge)

F I R S T M A N

What’s going on? F I R S T W O M A N

It’s Nancy! Bill Sikes has killed Nancy. S E C O N D R U N N E R

Where will he be? F I R S T M A N

He’ll be at Fagin’s C R O W D

(ad lib)

Let’s follow him (etc )

They exit.

SIKES with OLIVER bangs on FAGIN’s trapdoor with his cudgel.

S I K E S Fagin, Fagin

FAGIN appears in the trapdoor.

What is it Bill? What have you done?

F A G I N

S I K E S

The game ’ s up Fagin F A G I N

Oh no Bill you haven’t Not Nancy, it can’t be

F A G I N

(Fagin shouts down into the trap)

OUT, Boys, OUT!!!

Suddenly, like rats from out of the sewers pour the BOYS. FAGIN has his money.

D O D G E R

(To FAGIN)

Fagin, Fagin! What do I do?

F A G I N

Live up to your name Dodge about FAGIN runs away. DODGER is about to leave and then remembers something.

D O D G E R

Me hat!

As he runs to the trap, BOW STREET RUNNERS enters and grab him. S E C O N D

Where’s Fagin?

I don’t know.

D O D G E R

DODGER is grabbed by BOW STREET RUNNERS

Who do you think you are a-laying your hands on? Assault and battery, that’s what it is! Wakin’ a respeckable man up in the early hours of the morning! Shame on you!

He is carried off bodily

Simultaneous with DODGER’S lines, the boys are making a run for it, noisily, over an upper bridge They exit at the same time as Dodger, there is a pause Then, out of the darkness, across the upper bridge runs Fagin, lagging behind the boys and breathless, and carrying his strongbox.

C H A R L E Y B A T E S (off) Fagin!

As FAGIN reaches half way he trips, the box flies open, and the money and jewels are scattered into the darkness He stands transfixed, and frozen with horror, the open box in his hands. Then, in the distance comes the noise of the crowd, and he runs. The upper bridge flies out

Down on stage, led by BULLSEYE, the crowd enter,. It has swelled and become more menacing Some of the men hold torches

R O W D

(chanting low)

Sikes, Sikes, Sikes (etc )

(over this)

A N

He’s on the roof ! S I K E S

Stand back or I’ll kill the boy

And as the crowd turns we find ourselves suddenly on the rooftops. The CROWD watches from downstage as SIKES, with OLIVER and a rope, climbs a chimney

Give me the rope boy. The rope.

SIKES reaches the uppermost rooftop, and stands silhouetted against the moon. He imagines he sees NANCY’s face.

Nancy! Your eyes! Your eyes!

Down on the ground a Hussar lifts a gun to his shoulder, takes aim and fires. The storm reaches a climax. There is a flash of lightening. SIKES topples backwards off the roof to his death. The crowd lets out a huge cheer.

OLIVER appears at ground level. They raise him to their shoulder as Mr Brownlow and Mrs Bedwin appear. Oliver sees them and runs to Mrs Bedwin throwing his arms around her

There he is, there’s the boy!

Come Oliver! we’ll take you home now.

The crowd begins to disperse leaving Oliver with Mr Brownlow and Mrs Bedwin. They exit. FAGIN who has been hiding in a dark corner appears.

(he sings)

# 4 7 B o w s ( P a r t 1 )

# 4 9 B o w s ( P a r t 3 ) I

a y o u t

6

1 6 . C o n s i d e r Yo u r s e l f ( P a r t T h r e e ) .................................................. C O M PA N Y ... 1 3 0

1 7 . C o n s i d e r Yo u r s e l f ( R e p r i s e ) ....................................................... C O M PA N Y ... 1 3 4

1 8 . Yo u ’ v e G o t To P i c k A P o c k e t O r Tw o ( F m i n o r ) ............. FA G I N a n d B O Y S ... 1 3 7

1 8 . Yo u ’ v e G o t To P i c k A P o c k e t O r Tw o ( G m i n o r ) ............. FA G I N a n d B O Y S ... 1 4 1

1 9 . R u m - Tu m - Tu m ( F m i n o r ) ................................................................... FA G I N ... 1 4 5

1 9 . R u m - Tu m - Tu m ( G m i n o r ) ................................................................... FA G I N ... 1 4 6

2 0 . I n t e r m e z z o P a r t 1 ............................................................................ FA G I N ... 1 4 7

2 1 . I n t e r m e z z o P a r t 2 ........................................................................................... 1 4 7

2 2 . I t ’ s A F i n e L i f e .............................................................. N A N C Y, B E T, B O Y S ... 1 4 7

2 3 . I ’ d D o A n y t h i n g ............................................. N A N C Y, D O D G E R , O L I V E R .................................................................................. B E T, FA G I N a n d B O Y S ... 1 5 1

2 4 . B e B a c k S o o n .................................................................... FA G I N a n d B O Y S ... 1 5 4

2 5 . T h e R o b b e r y ...................................................................................................... 1 5 8

2 6 . C h a o s ................................................................................................................. 1 5 8

2 7 . C h a s e ( F i n a l e A c t 1 ) .......................................................................................... 1 5 8

2 8 O o m - P a h - P a h N A N C Y a n d C O M PA N Y 1 5 9

2 9 M y N a m e B I L L S I K E S 1 6 5

3 0 U n d e r s c o r e A f t e r “ M y N a m e ” 1 6 6

3 1 A s L o n g A s H e N e e d s M e ( F m a j o r ) N A N C Y 1 6 7

3 1 A s L o n g A s H e N e e d s M e ( F # m a j o r ) N A N C Y 1 7 0

3 1 A s L o n g A s H e N e e d s M e ( G m a j o r ) N A N C Y 1 7 3

3 2 Tr a n s i t i o n t o “ W h e r e I s L o v e ? ( R e p r i s e ) ” 1 7 6

3 3 W h e r e I s L o v e ? ( R e p r i s e )

3 4 W h o Wi l l B u y ? ( P a r t O n e )

M R S B E D W I N 1 7 7

O L I V E R a n d C O M PA N Y 1 7 7

3 5 P o r t r a i t M u s i c 1 8 2

3 6 W h o Wi l l B u y ? ( P a r t Tw o ) C O M PA N Y 1 8 3

3 7 W h o Wi l l B u y ? ( P a r t T h r e e )

O L I V E R a n d C O M PA N Y 1 8 7

3 8 R e c a p t u r e 1 9 3

3 9 I t ’ s A F i n e L i f e ( R e p r i s e ) N A N C Y, FA G I N , S I K E S , D O D G E R 1 9 4

4 0 R e v i e w i n g T h e S i t u a t i o n FA G I N 1 9 7

4 1 B a c k To T h e Wo r k h o u s e 2 0 2

4 2 O l d S a l l y 2 0 2

4 3 O l i v e r ! ( R e p r i s e )

M R B U M B L E , W I D O W C O R N E Y 2 0 3

4 4 T h e L o c k e t 2 0 4

4 5 A s L o n g A s H e N e e d s M e ( R e p r i s e ) ( F m a j o r ) N A N C Y 2 0 4

4 5 A s L o n g A s H e N e e d s M e ( R e p r i s e ) ( F # m a j o r ) N A N C Y 2 0 6

4 5 A s L o n g A s H e N e e d s M e ( R e p r i s e ) ( G m a j o r ) N A N C Y 2 0 8

4 6 L o n d o n B r i d g e / R e v i e w i n g T h e S i t u a t i o n ( R e p r i s e ) FA G I N 2 1 0

4 7 B o w s ( P a r t 1 ) C O M PA N Y 2 1 5

4 9 B o w s ( P a r t 3 ) * C O M PA N Y 2 1 7

5 0 P l a y o u t 2 1 8

* # 4 8 ” B o w s ( P a r t 2 ) ” h a s b e e n c u t

There'snotacrustnotacrumbcanwefind,canwebeg,canweborrow-or

3. Incidental Music into "Oliver"

For what you are about to receive, may the Lord make you

OLIVER:

knows what'sinstore.

ere'sadark thinwinding - stairway - without - any& bani - ster - Whichwe'llthrow himdownandfeedhimoncock roach - es& servedinacan i - ster. - O ALL li - ver! - Oli - ver! - What MR BUMBLE willhedo whenhe's & turnedblackandblue? Hewillcurse thedaysomebo - dy - named him & O ALL liver. -

O WIDOW C. & MR B. li - ver! - Oli - ver!& bbbbb

Ne MR BUMBLE ver - before - hasaboy wanted - more! O WIDOW C. & MR B. li - ver! - Oli - ver!& bbbbb

Won't WIDOW C. askformore whenhe knows what'sinstore. ere's MR BUMBLE asoo ty& bbbbb chimney - longover - due - fora sweep ing- out whichwe'llpush him & bbbbb upandonedaynextyear withthe rats he'llbecreep ing - out

& bbbbb

O ALL li - ver! - Oli - ver! - What MR BUMBLE willhedo inthis terr i - ble - stew? Hewill

& bbbbb

ruethedaysomebo - dy - named himO ALL + WIDOW C. li(Suddenly the GOVERNORS appear, disturbed from their meal) ver.& bbbbb

O ALL GOVERNORS li - ver! - Oli - ver! - Never - before - hasa boy askedformore!

& bbbbb

Oli - ver! - Oli - ver!GOVERNOR 1 (spoken, ustered)

Praysomedecor - um - re store - Iimplore - Let GOV 2 us

& bbbbb facethis caseit'sunpre - ce - den - ted - quite ut ter - ly - He's GOV 3 dis& bbbbb gracedthis placeen GOV 4 cour - ag - ing - oth ers - to wal low - inglut ton - y& bbbbb

O ALL li - ver! - Oli - ver! - Lock GOV 5 himingaol andthenput himonsale ALL GOVERNORS forthe & bbbbb high

est - bid ALL GOVERNORS + BUMBLE, WIDOW C gladtoberid ofO + ENSEMBLE li

WIDOW CORNEY: (to assistants) Lock him up! Collect his belongings and bring him back to me when you've done . . . (To the rest of the BOYS.) To bed – all of you!

CUE: WIDOW CORNEY: What can you want to know for, Mr B.?

WIDOW CORNEY: Mr Bumble, I shall scream. ∑ U You're WIDOWC. anaughty-badmanIfyouthinkIcan'tbe & proper-primandhaughty-Icanandyou'llpardon-ifImention" Youmust & stateyourtrueinten-tion" Is MRB. therenotanoth-er-room WIDOW C:No! here? " Iftherewereabrideand & groomhere " Wouldtherebe? WIDOWC. WelltheremightWe MRB. shallsee ∑ U & I WIDOWC. shallscreamIshallscreamAtthethoughtofwhatyou're & thinking-IshallscreamYou MRB. willwonder-wherethescreamwent " Whenwe & cometoanagree-ment" Asmylovey-doveischubby-couldsheloveachubby

stout.IfIshouldsayhewasn't-very-greedy-Icouldnot,I'dbe

OLIVER: (faintly): Yes ma'am, I think so. MR SOWERBERRY

He'saborn under - ta - ker's - mute.Ican

seehimin hisblack silksuit.Follow - ing - behind - the

funer - al - proces - sionWith hisfea tures - fixedina suit a - ble - expres - sion." There'll be

horses - withtall blackplumesToescort - usto thefam 'ly - tombs,With

mourners - inallcorners - who'vebeentaughttoweepintune. ,

Thenthecoffin - linedwithsatin - That'syourfuner - al - That's MRS SOWERBERRY yourfuner - al& bbbb

Large MR S enough - towearyourhatinThat'syourfuner - al - That's MRS S yourfuner - al& bbbb

We're MR S justheretoglamour - ise - youforthatendless - sleep.

You BOTH mightjustaswelllookfetching - whenyou'resixfeetdeep.

I MR BUMBLE don'tthinkthissongisfunny! - That's MR S yourfuner - al - That's MRS S yourfuner - al -

Here's MR BUMBLE theboy,nowwhere'sthemoney?MR S That'syourfuner-al,-That's MR BUMBLE yourfuner-al.& bbbb

We MRS S don'tharbour-thoughtsmaca-bre,-there'snoneedtofrown. & bbbb

rall.

In MR & MRS SOWERBERRY theendwe'lleither-burnyouupornailyoudown. & bbbb

Welovecoughsandwheezes-anddisea-ses-calledincu-ra-ble.& bbbb

That's MR S yourfuner-al-No MRS S -oneelse's-funer-alMR S That's ∑ your & bbbb

That's MRS S your fu BOTH -neral!(Co n slam) & MRS SOWERBERRY: . . . you can't sleep nowhere else! OLIVER peers apprehensively at his sinister surroundings.

9. Co n Music - TACET

Where

10. Where Is Love?

islove?Doesitfallfromskies above?

Isitunder - neath - thewillow - treethatI'vebeendreaming - of?

Where issheWhoIclosemyeyes tosee?

WillIever - know thesweet"hello" - that'smeantforonly - me?

Whocansaywhereshe mayhide?MustItravel - far andwide?

'TilIambeside - thesomeone - whoIcanmeansomething - to

Where, Where islove?

Whocansaywhere shemayhide? MustItravel - farandwide?

'TilIam beside - thesomeone - who Icanmean something - to

Where, where islove?

SEGUE from previous number after applause.

e Fight – TACET

CUE:

NOAH: And it's a good thing she died when she did or she'd have been transported to Australaylia, or hung from a gibbet as like as not!

13. Oliver's Escape – TACET

CUE:

MRS SOWERBERRY: She did!

OLIVER: It's

14. Consider Yourself (Part One)

CUE:

OLIVER: Are you sure Mr. Fagin won't mind?

DODGER: Mind?

sider-yourself-wellin,Consi-der-yourself -

partofthefurni-ture.-Thereisn't-alotto

-we'vegotwe

chancewe'llmeetsomebo-dy-tofootthebillThenthedrinksare

onthehouseConsi-der-yourself-our

Forafter-someconsid-er-a-tion-wecan

stateConsi-der-yourself-oneofus!Con-

sider-yourselfOLIVER Athome? DODGER Consi-der-yourself& # OLIVER Oneofthefami-ly?CAPTAIN We'vetaken-toyou & # OLIVER sostrong, HANDWALKER It'sclearwe're DOD / CAP / HAN going-togeta& # long.Consi-der-yourselfCHARLIE BATES Wellin? DODGER Con& # sider-yourself-part DIPPER ofthefurni-ture.OLIVER There & # isn't-alottospare, DOD / CAP / HAN / CHAR / DIP Whocares? & # Whatever-we'vegotweshare.No DODGER -body-triestobe & # lahdi-dah-anduppi-ty-There'sacupo'teafor &

chance

tobeweshouldseesomeharder-daysEmpty-larder-days & Whygrouse?Always-achancewe'llmeetsomebod-y-to & footthebill,Thenthedrinksareonthehousecon& sider-yourself-ourmatewedon'twanttohave & nofussforafter-someconsi-de-ra-tion-wecan & statecon CHILDREN si

-der-yourself,-consi

-der-yourself,-consi-der-yourself,SOPCon con

der

yourself

state BARI consi-der-yourself

Oneof

cresc.

Oneof

cresc.

Oneof

cresc.

Oneof

partofthefurni-ture.-Thereisn't-alotto & #

spare,Whocares?Whate-ver-we'vegotweshare.If NIPPER itshould & # chancetobeweshouldseesomeharder-daysEmpty-larder-days & #

Whygrouse?Alwaysachancewe'llmeetsomebod-y-to

& #

footthebillThenthedrinksareonthehouse GANG + LADIES (o stage) Con& # sideryourselfourmate.Wedon'twanttohave & # nofuss,Forafter-someconsid-er-a-tion& # wecanstateConsi-der-yourself-oneofus & # 2

DODGER: Fagin! Fagin!

18. Pick A Pocket Or Two

FAGIN: Well, not exactly, my dear. I suppose a laundry would be a very nice thing indeed, but our line of business pays a little better – don't it boys?

BOYS: Not arf! I'll say it does!

FAGIN: You see, Oliver . . .

gottopickapocket-ortwo.Why GANG shouldweallbreakourbacks &

Better-pickapocket-or (shouted) two. FAGIN: Who said crime doesn't pay? ∑ & bbbb

Rob FAGIN -inHood,whatacrook!Gaveaway-whathetook & bbbb

Chari-ty's-fine,Subscribe-tomineGetoutandpickapocket-ortwo.You've & bbbb

gottopickapocket-ortwo,boys. " You'vegottopickapocket-ortwo. & bbbb

Rob GANG -inHoodwasfartoogood.Hehadtopickapocket-ortwo

WhathelikesIrecall

two!You'vegottopickapocket-ortwo,boys.You've

gottopickapocket-ortwo.We GANG canbelikeoldBillSykes

Dear FAGIN oldgent & bbbb Passing-bySomething-niceTakeshiseyeEv'ry-thing's-clear!At& bbbb

Ifwepickapocket-ortwo.

tacktherear!Getinandpickapocket-ortwo.You'vegottopickapocket-or & bbbb two,boys. " You'vegottopickapocket-ortwo.Have GANG (pinched nose sound) nofearat& bbbb

tacktherearGet (sung) inandpickapocket-ortwo.

& ### When FAGIN IseeSomeone-richBothmythumbsstarttoitch. & ### Only-tofindsomepeaceofmind " Ihavetopickapocket-ortwoYou've & ### gottopickapocket-ortwo,boys " You'vegottopickapocket-ortwo.

& ### Just BOYS (+ FAGIN 2x ONLY)

tofindsomepeaceofmindWehavetopickapocket-ortwo. (shouted) Hey!

Rum-Tum-Tum

CUE:

FAGIN: All in good time, Oliver. All in good time. Now then, tell me, can you see my silk handkerchief, protruding from my pocket?

OLIVER: Yes sir.

bbbb

FAGIN: See if you can take it from me without my noticing it – like you saw the others do.

bbbb Rum FAGIN -tumtum.-Tumtum-tum.-Pompom-pom.-Pompom-pom.& bbbb

Skiddle-eye-tye,-Teerye-tye-tye,-Teerup-pa-tup-pa-rup-pa-tum-tum.-You've & bbbb gottopickapocket-ortwo,boys

FAGIN: (incredulous): Is it gone?

OLIVER: (showing it in his hand): Yes sir, it's in my hand. You've " gottopickapocket-ortwo.

18. Pick A Pocket Or Two

FAGIN: Well, not exactly, my dear. I suppose a laundry would be a very nice thing indeed, but our line of business pays a little better – don't it boys?

BOYS: Not arf! I'll say it does!

FAGIN: You see, Oliver . .

gottopickapocket-ortwo.Why

shouldweallbreakourbacks

Better-pickapocket-or (shouted) two. FAGIN: Who said crime doesn't pay? ∑

Rob FAGIN -inHood,whatacrook!Gaveaway-whathetook

Chari-ty's-fine,Subscribe-tomineGetoutandpickapocket-ortwo.You've

gottopickapocket-ortwo,boys. " You'vegottopickapocket-ortwo.

Rob GANG -inHoodwasfartoogood.Hehadtopickapocket-ortwo

FAGIN: My merry men!

two!You'vegottopickapocket-ortwo,boys.You've

gottopickapocket-ortwo.We GANG canbelikeoldBillSykes

Dear FAGIN oldgent & bb

Ifwepickapocket-ortwo.

Passing-bySomething-niceTakeshiseyeEv'ry-thing's-clear!At-

tacktherear!Getinandpickapocket-ortwo.You'vegottopickapocket-or & bb

two,boys. " You'vegottopickapocket-ortwo.Have GANG (pinched nose sound) nofearat& bb

tacktherearGet (sung) inandpickapocket-ortwo.

##### When FAGIN IseeSomeone-richBothmythumbsstarttoitch. & #####

Only-tofindsomepeaceofmind " Ihavetopickapocket-ortwoYou've

gottopickapocket-ortwo,boys

You'vegottopickapocket-ortwo.

Just GANG tofindsomepeaceofmindWe FAGIN & GANG havetopickapocket-or & ##### two FAGIN

& ##### Just BOYS (+ FAGIN 2x ONLY) tofindsomepeaceofmindWehavetopickapocket-ortwo. (shouted) Hey!

Rum-Tum-Tum

CUE:

FAGIN: All in good time, Oliver. All in good time. Now then, tell me, can you see my silk handkerchief, protruding from my pocket?

OLIVER: Yes sir.

FAGIN: See if you can take it from me without my noticing it – like you saw the others do.

bb Rum FAGIN -tumtum.-Tumtum-tum.-Pompom-pom.-Pompom-pom.& bb

Skiddleeye-tye,-Teerye-tye-tye,-Teerup-pa-tup-pa-rup-pa-tum-tum.-You've

bb gottopickapocket-ortwo,boys

FAGIN: (incredulous): Is it gone?

OLIVER: (showing it in his hand): Yes sir, it's in my hand. You've " gottopickapocket-ortwo.

CUE:

FAGIN: All in good time, Oliver. All in good time. Now then, tell me, can you see my silk handkerchief, protruding from my pocket?

OLIVER: Yes sir.

& bbbb

. q = 86

FAGIN: See if you can take it from me without my noticing it – like you saw the others do.

-tumtum.-Tumtum-tum.-Pompom-pom.-Pompom-pom. -

Skiddle-eye-tye,-Teerye-tye-tye,-Teerup-pa-tup-pa-rup-pa-tum-tum.-You've & bbbb gottopickapocket-ortwo,boys

FAGIN: (incredulous): Is it gone?

OLIVER: (showing it in his hand): Yes sir, it's in my hand. You've " gottopickapocket-ortwo.

CUE:

FAGIN: All in good time, Oliver. All in good time. Now then, tell me, can you see my silk handkerchief, protruding from my pocket?

OLIVER: Yes sir.

FAGIN: See if you can take it from me without my noticing it – like you saw the others do.

Skiddleeye-tye,-Teerye-tye-tye,-Teerup-pa-tup-pa-rup-pa-tum-tum.-You've & bb

gottopickapocket-ortwo,boys

FAGIN: (incredulous): Is it gone?

OLIVER: (showing it in his hand): Yes sir, it's in my hand. You've " gottopickapocket-ortwo.

CUE:

20. Intermezzo (Part One)

21. Intermezzo (Part Two) – TACET

CUE: NANCY: Plummy and slam! FAGIN: Nancy! (Music starts)

a Fine Life

Lifeisagameofchance.Inever-tireofit, & bbbb

Leading-thismerry-dance.If " youdon'tmindhaving-to

gowith & bbbb outthings,It'safinelife!It's ALL afinelife!Tho' NANCY it & bbbb ain'talljolly-old

NANCY: Ain't that right, Bet? BET: Yeah, that's right, Nancy.

It'sa & bbbb fine,fine

havetosinto

pockets-leftundone-Onmany-abehind.-If NANCY you & bbbb don'tmindtaking-it 3 asitturnsout,It'safinelife!It's ALL afinelife! NANCY Keepthe & bbbb candle-burning-un 3 -tilitburnsout.It'safinelife!It's ALL afinelife!Tho' NANCY you & bbbb sometimes-docomebyTheocca-sion-al-blackeye.Youcan & bbbb always-cover-one 3 'Tilheblackstheother-one 3 Butyoudon'tdare & bbbb cry.

There's

No BET flounces,-Nofeathers,-Nofrillsandfurbe & lows.Allwindsandallweathers-Ain'tgoodforfancy& clothes.These NANCY trappings,these BET tatters,-These NANCY & BET wecanjustaf& ford.What NANCY future?-What BET matters?-We've ALL gotourbedand ˙

Mine's

NANCY: Shall we show 'em how it's done?

DODGER: De nitely! (Music starts)

FAGIN: Go on Nancy, give us a free show.

NANCY: So how’s it go then, Dodger? It’s all bowing and ’ats o ... and...

DODGER: "Don’t let your petticoats dangle in the mud, my darling."

NANCY: And "I'll go last."

DODGER: No, I’ll go last.

I'd DODGER doany-thing-Foryou,dear,any-thing-For & bb youmeanev'ry-thing-Tome.IknowthatI'dgo & bb any-where-Foryoursmile,any-where,-Foryoursmileev'ry-where-I'd & bb see.Would NANCY youclimbahill?An DODGER -ything!-Wear NANCY adaffo-dil?& bb

An DODGER -ything!-Leave NANCY meallyourwill?An DODGER -ything!-E NANCY -venfightmyBill?

What?Fist

-icuffs?-I'driskev'ry-thing-Foronekiss, & bb ev'ry-thing-Yes-I'ddoany-thing,-An NANCY -ything?-An DODGER -ything-for & bb you! FAGIN: Come on Nancy. Give Oliver a go! 5 NANCY: Now you do everything you saw Dodger do and I'll help you with the words. n n & I'd OLIVER (NANCY prompts him – speaking the rst two or three words of every phrase.) doany-thing-Foryou,dear,any-thing-For & youmeanev'ry-thing-Tome.IknowthatI'dgo & any-where-Foryoursmile,any-where,-Foryoursmile & ev'ry-where-I'dsee.Would BET youlacemyshoe? & An OLIVER -ything!-Paint

& kanga-roo?-An OLIVER -ything!-Go BET toTimbuk-tu?OLIVER " And (sings - after a moment's hesitation) backagain!& I'driskev'ry-thing-Foronekiss,ev'ry-thing-YesI'ddo & any-thing,-An BET y (spoken) -thing?-An OLIVER -ything-foryou!

& 7 FAGIN Wouldyou & robashop?An ALL -ything!-Would FAGIN yourisk"thedrop"?An ALL -ything!-Tho' FAGIN your & eyesgopop,An ALL -ything!-When FAGIN youcomedown"plop"? ALL Hang (sarcastically to FAGIN) ev'ry-thing!& We'drisklifeandlimbTokeepyouintheswimYes & we'ddoany-thing,-An FAGIN -ything?-An ALL -ything-foryou!

A tempo (poco

CUE: FAGIN:

24. Be Back Soon

Oliver, you can go with Dodger. You have to begin sometime and believe me you couldn't make a ner start. Good luck on your rst job my dear. Don't worry, I'l be waiting for you when you get back. Dodger! (Music starts)

& gobutbebacksoonYoucangobutwhileyou'reworking-This & placeI'mpacing-roundUntil-you'rehomesafeandsound.Farethee & wellbutbebacksoonWhocantellwheredanger's-lurking?-Do & notforget-thistuneBebacksoon. GANG Howcouldweforget?-How & couldweletourdearoldFagin-worry?-Welovehimso.We'll & comebackhomein,oh,suchagreatbighurry

& piper - It's

usthatpipeshistune.Solong,faretheewell, Pip, & pip,cheeri - o - We'llbebacksoon. You FAGIN cango butbeback & soonYoucango butbringbackplenty - Ofpocket - handker & chiefsAndyoushouldbe clever - thieves. Whipitquick andbeback & soonThere'sasix pence - herefortwenty - Ain'tthatalovely - tune & Be ALL backsoon. DODGER Ourpockets - 'llhold awatchofgoldthatchimesupon - the & hourGANG A (shouted) wallet - fat,anoldman'shat, DODGER thecrownjewels - from the & Tower - WeknowtheBowStreetRunners - But ALL (whispered) theydon'tknowthistune (full voice) So & long,faretheewell, Pip,pip,cheeri - o, - We'llbebacksoon. Cheer FAGIN i -& obutbebacksoonIdunno - somehow - I'llmissyouIloveyouthat'swhy

Isaycheeri-o-notgoodbye-Don'tbegonelongbebacksoonGiveme & onelonglastlookbless-you.Remem-ber-ouroldtuneBeback & soon.

CHARLIE & DODGER Wemustdisap-pear,-we'llbebackhereToday-perhaps-to& morrow.-We'llmissyoutoo, FAGIN it'ssadbuttruethatparting-issuchsweet & sorrow-And ALL whenwe'reinthedistance-You'llhearthiswhispered& tuneSolong,faretheewell,Pip,pip,cheeri - o, - We'll & bebacksoon.We GANG mustdisap - pear, - we'llbebackhereTo& ∑ Cheer FAGIN i - o - butbebacksoonIdun& dayperhaps - tomor - row. - We'llmissyoutoo,it'ssadbuttruethat & nosomehow - I'llmissyouIloveyouthat'swhyIsaycheeri

parting - issuchsweetsorrow - Andwhenwe'reinthe & onotgoodbye - Don'tbegonelongbeback & distance - You'llhearthiswhispered - tuneSo & soonGivemeonelonglastlookblessyouRe& long,faretheewell,Pip,pip,cheeri - o, - We'llbebacksoon.And & member - ouroldtuneBebacksoon. & whenwe'reinthedistance - You'llhearthiswhispered - tune (GANG) So & long,faretheewell,Pip,pip,cheeri - o, - We'llbebacksoon. OLIVER So & long,faretheewell,Pip,pip,cheeri - o, - We'llbebacksoon.So GANG & long,faretheewell,Pip,pip,cheeri - o,

We'llbeback

MR BROWNLOW: Stop that boy! My pocket's been picked!

Robbery

MR BROWNLOW: Give that back. Come on, give it back.

26. Chaos – TACET (End of Act One) 27. Chase (Finale Act One) – TACET

CHAIRMAN:

CHAIRMAN:

CUSTOMERS: Good old Nancy! Come on, Nancy! NANCY: All right! All right! CHAIRMAN: Oom-pah-pah!

&

tellyoujustexact - ly - whatyouwanttohear & ##

Oom ALL pah - pah! - Oompah - pah! - That'showitgoesOompah - pah!& ## Oompah - pah! - Ev'ry - one - knows.They NANCY allsuppose - whatthey & ##

#œ

wanttosuppose - WhentheyhearOompah - pah!& ##

Mister - Percy - Snod grass - Wouldoften - havetheodd glassBut & ## never - whenhethought any - bo - dy - couldsee.Secret - ly - he'd & ##

buyitAnddrinkitonthequi et - Anddreamhewasanearl wiva & ## girloneachknee!Oom ALL pah - pah! - Oompah - pah! - That'showit & ## goesOompah - pah! - Oompah - pah! - Ev'ry - one - knows.What NANCY isthe

causeofhisredshiny-nose?CanitbeOompah-pah? -

Pretty-little-Sally-goeswalking-downthealley,-Dis&

playsherpretty-ankles-toallofthemen.Theycouldseeher & ## garters-butnotforfreeandgratis.-Aninchortwoandthensheknows & ## whentosaywhen!Oom ALL -pahpah!-Oompah-pah!-That'showitgoes & ## Oompah-pah!-Oompah-pah!-Ev'ry-one-knows.Whe

-therit'shidden,-or

## whether-itshows,It'sthesameOompah-pah!Hilarious laughter.

Shewasfromthecountry,-Butnowshe'supa

accel.

gumtreeSheletafeller-feed'erthenlead'eralong, -

What'sthegoodo'cryin'?-She'smadeabedtolieinShe's

Oompahpah!Oompahpah!Oompahpah!Oompahpah! & ##

Oompahpah!Oompahpah!Oompahpah!Oompahpah! & ##

Oompahpah!Oompahpah!Oompahpah!Oompah NANCY: All together now! pah! n n bbb & ## Oompahpah!Oompahpah!Oompahpah!Oompahpah! n n bbb & bbb

There's NANCY alittle - dit ty - They'resinging - intheci ty - Es& bbb

Oom CHORUS pah - pah! - Oompah - pah! - That'showitgoes & bbb peshly - whenthey'vebin ontheginorthebeer. & bbb

Oompah - pah! - Oompah - pah! - Ev'ry - one - knows.

Ifyou'vegotthepa tience, - Yourownima - gin - a - tions - Will & bbb

Theyallsuppose - whattheywanttosuppose& bbb

tellyoujustexact - ly - whatyouwanttohear

& bbb

WhentheyhearOompah - pah! -

& ####

Oom ALL pah - pah! - Oompah - pah! - That'showitgoes & ####

Oompah - pah! - Oompah - pah! - Ev'ry - one - knows. & ####

rit.

Theyallsuppose - whattheywanttosuppose" & #### When NANCY theyhearOom

29. My Name

SFX: ree loud bangs on the table. Enter SIKES. VOICE: (in a loud whisper) Bill Sikes!

& b

blokeeven-whisper-myname. Whispers: 'Bill Sikes!' 2 Sometoff & b slumming-wiv'hisvalet,-Bump'dinto-meinthealley-Nowhis & b eyes'll-never-tally-He'dnever-heardofmyname!Onebloke & b usedterboasttheclaimHecouldtakemynameinvainPoorbloke, & b shame'ewassogreenNever-washeseenagain! -

& b

Oncebadwhat'sthegoodofturning?-In shouted hell!I'llbethereaburn-ing& b Mean spoken -while,thinkofwhatI'mearning-all sung onaccount-ofmyname! & b

SIKES: What is it?

CUE: DODGER: Fagin! Fagin! Fagin! What

Underscore After 'My Name' –

31. As Long As He Needs Me

31. As Long As He Needs Me

VISUAL CUE: As BET gets halfway upstage.

32. Transition to "Where Is Love?" (Reprise) – TACET

Ripestrawber - ries, 3 - ripe!

Ripestrawber - ries, 3 -

Knives, KNIFE GRINDER knivestogrindAny - knivestogrind! & bbb Any-milktoday?mistress?-Any-milkto-

Whowillbuy?

Whowillbuy?

SoIcouldseeitatmyleisure-whenever-thingsgo & bbb wrong,AndIwouldkeepitasatreasure-tolastmywholelife & bbb MILKMAID Any-milktoday?

Knives,knivesto & bbb wonder-ful-feeling?-I'msohighIswearIcouldfly & bbb Ripe STRAWBERRY SELLER strawber-ries, 3 -ripe!

& bbb whatamItodotokeeptheskysoblue?Theremustbesomeone-whowill & bbb

Whowillbuy? & bbb

Whowillbuy? & bbb Whowillbuy? & ‹ bbb Whowillbuy? & bbb buy. CUE: MR BROWNLOW: No need to rush, but I shall expect you back in ten minutes.

35. Portrait Music

CUE:

36. Who Will Buy (Part Two)

BROWNLOW: Well in ten minutes, Dr Grimwig, when the boy returns, I think you will see.

GRIMWIG: Yes, Mr Brownlow, ten minutes. (Music starts)

Such

a skyyounever - didsee. Whowilltieit & bbb upwitharibbon - andputitinaboxforme. & bbb There'llnever - beadaysosunny - it & bbb couldnothappen - twiceWhereisthemanwith & bbb

skyyounever - didsee. Whowilltieit & bbb

skyyounever - didsee.

Whowilltieit & bbb

ing - Suchaskyyounever - didsee & bbb

buythiswonder - ful - morning - Suchaskyyou & bbb upwitharibbon - andputitinaboxand & bbb upwitharibbon - andputitinabox & bbb

Whowilltieitupwitharibbon - and & bbb never - didsee

Whowilltieit & bbb putitinaboxandputitinaboxforme. & bbb forme. & bbb putitinabox forme. & bbb

upwitharibon - andputitinaboxforme.

Whowillbuy?WhowillWhowill

Whowillbuy?WhowillWhowill

Whowillbuy?WhowillWhowill

39. It's a Fine Life (Reprise)

WARNING: FAGIN: en keep quiet, will yer. All this violence. CUE: SIKES: Tell 'em all about us would you?

(CUE: FAGIN: What an actress!)

SIKES: Tell 'em about us would you?

NANCY: I won't stand by and see it done, Bill.

FAGIN: Why Nancy, you're wonderful tonight. Such talent! What an actress!

NANCY: Am I? Take care I don't overdo it. 'Cos if I do, I'm going to put my mark on some of you, and I don't care if I hang for it!

SIKES:

You? Do you know who you are, and what you are?

NANCY: (hysterically)

Ah, yes, I know all about it. You don't have to tell me!

SIKES:

A ne one for the boy to make a friend of, you are!

(CUE: SIKES: . . . to make a friend of, you are!)

(CUE: FAGIN: Civil words, Bill.)

poco a poco accel.

NANCY: Lord help me, I am, and I wish I'd of been struck down dead before I lent a hand in bringing him back here. After tonight, he's a liar and a thief and that's all bad. Ain't that enough for you, without beating him to death... FAGIN: Come, come Nancy, we must have civil words. Civil words, Bill.

(OUT CUE: SIKES: It's your living, ain't it?)

accel. to h = 108

NANCY: Civil words! Yes! You deserve them from me! I was out on the streets for you when I was a child half his age, and I've been in the same trade, the same service for fteen years since and don't you forget it!

SIKES: Well, what if you have? It's your living ain't it?

Some

living!-Someliving! -

What SIKES youdeserve-youget.

& Allgiving.FAGIN Mustwehavemurders-yet?

No

SIKES

getting, -

Lordhelpme!No FAGIN violence!-Please,no & There'llbeterror,-Suchasyou'venever-seen.WatchitNancy,& violence!-Please,noscenes. FAGIN NANCY No Lord vio help lence! meNANCY Ifyou

makenoerror!-Thereain'tnoinbetween-Inlife.

don'tmindmaking

viewing-thesitu-a-tion-Imustquickly-lookup & bbbb

ev'ry-one-IknowTitled-people-witha & bbbb station-Whocanhelpmemakearealimpres-sive-show. & bbbb " IwillownasuiteatClaridg-es,-Andrunafleetofcarriag-es,-And

& bbbb

waveatalltheDuches-ses-withfriendli-ness-asmuchasisbefit-ting-ofmy & bbbb

newestate;-"Goodmorrow-toyou,Magi (spoken) Oh God! -strate"-I " thinkI'dbetter-thinkitouta-

& bbbb gain.

& bbbb

whereshallIgo?Somebo-dy?-WhodoIknow?Nobo-dy!-Allmy

ation-Forarobber-toperform-anhonest-job?

SoajobI'mgetting-possi-bly,-Iwonder-whotheboss'll-be?I

WIDOW CORNEY: We must retrieve that boy, Mr Bumble. MR BUMBLE: We must indeed, ma'am. We must indeed.

O BOTH -liver!-Oli-ver!-That WIDOWCORNEY wasthemitewiththe & largeappe-titeBOTH Oli-ver!-Oli-ver!-ap MRBUMBLE -parent-ly-he'sfroma & richfami-ly-and WIDOWC. tothinkwenearly-stupid-ly-wentandlost & trackofhim.If MRB. thetruthwereknownwebothweredelight-ed-at & seeing-thebackofhim BOTH Oli-ver!-Oli-ver!-What MRB. -'llwedo? " We WIDOWC. must & givehimhisdue " And BOTH we'llpraisethedaysomebo-dy-gaveus & Raise MRB. theflagsCom WIDOWC. -ingtosaveus. BOTH CashrewardsMRB. Plusapromo-tion& Who'd WIDOWC. havethought?Had MRB. -n'tanotion-Praise BOTH theLord,somebo-dy-broughtus & Oli-ver! -

45. As Long As He Needs Me (Reprise)

NANCY: Yes, but he's mine, and I'm his. CUE: I've got to go back.

NANCY: I want to go back.

knowhecares.AndthisiswhyI'mtiedrightbyhisside.Aslongas

knowhecares.Andthisiswhy I'mtiedrightbyhisside. Aslongas

heneedsme Iknow whereI mustbe. But,will he

NANCY: Yes, but he's mine, and I'm his. CUE: I've got to go back.

NANCY: I want to go back. 4 He NANCY doesn't - act asthoughhecares. Butdeepinside - I & ###### knowhecares.Andthisiswhy I'mtiedrightbyhisside. Aslongas & ###### heneedsme Iknow whereI mustbe. But,will he & ###### never - see Thatsome one - else needsme? Aslong as

###### lifeislong I'lllove him, right orwrong Butsome thing -

justasstrong sayssome one - else needsme.Achildwith

noone - totakehispart I'lltakehis part,Bill & # but,crossmyheart! Iwon'tbe n bb tray - your

bb trust Tho'peo ple - say Imust Myheart willstay true & bb just aslong asBill needs " me. APPLAUSE SEGUE London Bridge

(Tacet until b. 152)

LAMPLIGHTER: Goodnight, sir. NANCY enters with OLIVER.

(Tacet until b. 152)

46. London Bridge

LAMPLIGHTER: Goodnight, sir.

NANCY: Alright Oliver, now you stay here and I'll look for Mr Brownlow. ere's a good boy.

Cresc. as BILL SIKES appears

OLIVER: Nancy!

NANCY: Bill!

NANCY enters with OLIVER.

rows NANCY to the ground

NANCY: Don't take him back there, Bill. Let him go, for pity's sake, let him go. (SIKES hits OLIVER.)

NANCY: Why do you look at me like that, Bill?

BILL: Give me away, would yer?

NANCY: No, not you, Bill, never you.

BILL: Get away from me, woman.

NANCY: No, I won't let go, Bill, look at me, look at me! I've been true to you, upon my soul I have.

BILL: Get away from me.

NANCY: God! God help me!

BILL beats NANCY (3x)

SIKES: Stop staring at me, woman. Close your damn eyes.

SIKES: Damn you! Your eyes. "

NANCY dies "

MR BROWNLOW: I say, you there! Oh my God! Help! Help! Help! FIRST RUNNER: What happened 'ere?

MR BROWNLOW: ere's been a murder.

FIRST RUNNER: Do you know this woman?

MR BROWNLOW: I came here to meet this poor creature, and as I crossed the bridge I saw someone running in the other direction.

FIRST WOMAN: It's Nancy, someone's murdered Nancy.

FIRST RUNNER: What did he look like?

MR BROWNLOW: He was a broad-shouldered, heavily-built man.

FIRST RUNNER: Anything else?

MR BROWNLOW: He wore a black coat and he carried a heavy cudgel.

LAMPLIGHTER: Bill Sikes! "Bill Sikes!"

MAN: What's going on?

WOMAN:

SIKES: Fagin, Fagin. FAGIN: What is it, Bill? What have you done?

SIKES: e game's up, Fagin. FAGIN: Oh no, Bill, you haven't. Not Nancy, it can't be.

SIKES: Well let us in then, Fagin. FAGIN: Bill, I can't, It's not safe. SIKES: What can I do then?

FAGIN: Head for Limehouse, it's your best bet. OUT boys, OUT!!

DODGER: Fagin, Fagin! What do I do?

DODGER: Me hat!

FAGIN: Live up to your name. Dodge about.

SECOND RUNNER: Where's Fagin?

DODGER: I don't know.

DODGER: Wakin' a respeckable man up in the early hours of the morning! Shame on you! (etc.) 13

DODGER: Who do you think you are a-laying your hands on? Assault and battery, that's what it is!

SIKES: Give me the rope boy, the rope! Oliver, give me the rope or there'll be more murders. MAN: Fifty pounds to the man who takes him.

SIKES: Damn you, damn you! I'll escape you yet. Do your worst. Oliver, the eyes . . . Nancy! Your eyes! Your eyes!

SIKES: Stand back or I'll kill the boy.

falls to his death.

OLIVER: I hope you're not angry with me, sir.

BROWNLOW: Of course I'm not, I could never be that. Come, Oliver, we'll take you home now.

Oneofus.

Oneofus.

Oneofus.

Oneofus.