L
I B R E T T O
V
O C A L
B
O O K
Book, Music and Lyrics by
Lionel Bart NOTICE: DO NOT DEFACE!
Should you find it necessary to mark cues or cuts, use a soft black lead pencil only.
NOT FOR SALE
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Book — US Copyright © 1977 Oliver Promotions Limited. Copyright © Renewed 2005 by the executors of the Estate of Lionel Bart. All rights reserved. Music and Lyrics — US Copyright © 1960 LAKEVIEW MUSIC, LTD., London, England. Copyright © Renewed 1988 by Lionel Bart. International Copyright Secured. All rights reserved.
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(Last Revised – May 2016)
C H A R AC T E R S OLIVER TWIST
A workhouse boy about 11 years of age.
FAGIN
An elderly receiver — runs training academy for young pickpockets.
THE ARTFUL DODGER
Fagin's brightest pupil — an undersized 16.
BILL SIKES
A villain in his prime.
NANCY
23 years old — a graduate of Fagin's academy, and Bill's doxy.
BET
A 15 year old lass in Fagin's establishment — idolises Nancy.
MR. BUMBLE
A large and pompous Beadle of the workhouse.
MRS. CORNEY
A sharp-tongued, domineering widow —
the Workhouse Mistress.
MR. BROWNLOW
An old gentleman of wealth and breeding.
MR. SOWERBERRY
The Undertaker.
MRS. SOWERBERRY
His overseer.
CHARLOTTE
Their sluttish young daughter.
NOAH CLAYPOLE
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.
— iii —
1.
2.
3.
4.
5.
6.
7. 8.
9.
ACT 1
MUSICAL NUMBERS
Prologue ...............................................................................................................1
Food, Glorious Food .......................................................OLIVER and BOYS ......1 Incidental Music into “Oliver!” ..............................................MR. BUMBLE ......3
Oliver! ...........................................MR.BUMBLE, WIDOW CORNEY, BOYS ......4
Scurry Music .........................................................................................................7
I Shall Scream! ..............................MR.BUMBLE, WIDOW CORNEY, BOYS ......9
Boy For Sale .............................................................................MR. BUMBLE ....11
That’s Your Funeral ...........................MR. SOWBERRY, MRS. SOWBERRY, ...14 ..................................................................................................MR. BUMBLE ....14
Coffin Music ........................................................................................................18
10. Where Is Love? .................................................................................OLIVER ....18
11. Next Morning ......................................................................................................20
12. The Fight .............................................................................................................22 13. Oliver ’s Escape ...................................................................................................25
14. Consider Yourself (Part One)..............DODGER, OLIVER and COMPANY ....28 15. Consider Yourself (Part Two) .....................................................COMPANY ....32
16. Consider Yourself (Part Three) ...................................................COMPANY ....32
17. Consider Yourself (Reprise) ........................................................COMPANY ....32
18. You’ve Got To Pick A Pocket Or Two ..............................FAGIN and BOYS ....35 19. Rum-Tum-Tum ....................................................................................FAGIN ....40
20. Intermezzo—Part 1 .............................................................................FAGIN ....41
21. Intermezzo—Part 2 .............................................................................................42 22. It’s A Fine Life...............................................................NANCY, BET, BOYS ....45
23. I’d Do Anything ..............................................NANCY, DODGER, OLIVER
...................................................................................BET, FAGIN and BOYS ....50
24. Be Back Soon .....................................................................FAGIN and BOYS ....54
25. The Robbery ........................................................................................................58
26. Chaos ...................................................................................................................58 27. Chase (Finale Act 1) ............................................................................................58
— iv —
ACT II
28. Oom-Pah-Pah ........................................................NANCY and COMPANY ....59 29. My Name .....................................................................................BILL SIKES ....62
30. Underscore After “My Name” ...........................................................................63
31. As Long As He Needs Me ................................................................NANCY ....66
32. Transition to “Where Is Love? (Reprise)”..........................................................67 33. Where Is Love? (Reprise) ......................................................MRS. BEDWIN ....68
34. Who Will Buy? (Part One) ....................................OLIVER and COMPANY ....68
35. Portrait Music .....................................................................................................74 36. Who Will Buy? (Part Two) ..........................................................COMPANY ....75
37. Who Will Buy? (Part Three) ..................................OLIVER and COMPANY ....76
38. Recapture.............................................................................................................77
39. It’s A Fine Life (Reprise).......................NANCY, FAGIN, SIKES, DODGER ....82
40. Reviewing The Situation ....................................................................FAGIN ....85
41. Back To The Workhouse .....................................................................................88 42. Old Sally ..............................................................................................................89
43. Oliver! (Reprise) .....................................MR. BUMBLE, WIDOW CORNEY ....91
44. The Locket ...........................................................................................................95 45. As Long As He Needs Me (Reprise) ................................................NANCY ....97
46. London Bridge / Reviewing The Situation (Reprise).......................FAGIN ....99
47. Bows (Part 1) ...............................................................................COMPANY ..105
49. Bows (Part 3)* ..............................................................................COMPANY ..105 50. Playout...............................................................................................................105
* #48—”Bows (Part 2)” has been cut
— v —
SYNOPSIS OF SCENES Ti m e: Ab ou t 1 85 0 AC T O N E Scene 1
THE WORKHOUSE
Early Evening
Scene 2
THE WORKHOUSE PARLOUR
Later (into street)
Scene 3
THE UNDERTAKER'S
Scene 4
THE UNDERTAKER'S
Next morning
Scene 5
PADDINGTON GREEN
Morning, week later
Scene 6
THE THIEVES' KITCHEN
Later, (into street)
Scene 7
THE STREET
ACT TWO Scene 1
THE "THREE CRIPPLES"
Scene 2
THE BROWNLOWS'
Two weeks later (into street)
Scene 3
THE THIEVES' KITCHEN
Later
Scene 4
THE WORKHOUSE
A few days later (into street)
Scene 5
THE BROWNLOWS'
Later (into street)
Scene 6
LONDON BRIDGE
At midnight
FINALE London Bridge
— vi —
A public house in Clerkenwell
(the following evening)
L
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B
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OLIVER!
— 1 —
ACT ONE
#1—Prologue Scene One
T he Dining Hall of a wor khouse, somewhere in the Midlands.
#2—Food, Glorious Food 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.
BOYS
IS IT WORTH THE WAITING FOR? IF WE LIVE ‘TIL EIGHTY FOUR
ALL WE EVER GET IS GRU…EL!
EV’RY DAY WE SAY OUR PRAYER—
WILL THEY CHANGE THE BILL OF FARE? STILL WE GET THE SAME OLD GRU…EL!
THERE IS NOT A CRUST, NOT A CRUMB CAN WE FIND,
CAN WE BEG, CAN WE BORROW, OR CADGE,
BUT THERE’S NOTHING TO STOP US FROM GETTING A THRILL WHEN WE ALL CLOSE OUR EYES AND IMAG…INE
The boys begin wistfully, and build excitement as the image they describe becomes more vivid. FOOD, GLORIOUS FOOD!
HOT SAUSAGE AND MUSTARD!
WHILE WE’RE IN THE MOOD— COLD JELLY AND CUSTARD!
PEASE PUDDING AND SAVELOYS!
WHAT NEXT IS THE QUESTION?
RICH GENTLEMEN HAVE IT, BOYS—
IN-DYE-GESTION!
FOOD, GLORIOUS FOOD!
WE’RE ANXIOUS TO TRY IT.
THREE BANQUETS A DAY—
OUR FAVOURITE DIET!
— 2 —
L
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OLIVER!
(BOYS)
JUST PICTURE A GREAT BIG STEAK— FRIED, ROASTED OR STEWED.
OH, FOOD,
WONDERFUL FOOD,
MARVELLOUS
FOOD,
GLORIOUS FOOD.
The workhouse GOVERNORS process past, following an enormous steaming meal, held by servants. Boys gape and sniff the fabulous smells. FOOD, GLORIOUS FOOD!
WHAT IS THERE MORE HANDSOME?
GULPED, SWALLOWED OR CHEWED—
STILL WORTH A KING’S RANSOM. WHAT IS IT WE DREAM ABOUT? WHAT BRINGS ON A SIGH?
PILED PEACHES AND CREAM, ABOUT SIX FEET HIGH!
FOOD, GLORIOUS FOOD!
EAT RIGHT THROUGH THE MENU. JUST LOOSEN YOUR BELT
TWO INCHES, AND THEN YOU WORK UP A NEW APPETITE IN THIS INTERLUDE—
THEN—FOOD,
ONCE AGAIN, FOOD,
FABULOUS FOOD,
GLORIOUS... FOOD.
The boys move off into their own individual dream worlds. FOOD, GLORIOUS FOOD!
DON’T CARE WHAT IT LOOKS LIKE—
BURNED!
UNDERDONE!
CRUDE!
DON’T CARE WHAT THE COOK’S LIKE.
L
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B
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OLIVER!
(BOYS)
JUST THINKING OF GROWING FAT— OUR SENSES GO REELING—
ONE MOMENT OF KNOWING THAT FULL-UP-FEELING!
FOOD, GLORIOUS FOOD!
WHAT WOULDN’T WE GIVE FOR THAT EXTRA BIT MORE—
THAT’S ALL THAT WE LIVE FOR.
WHY SHOULD WE BE FATED TO
DO NOTHING BUT BROOD ON FOOD, MAGICAL FOOD,
WONDERFUL FOOD,
MARVELLOUS
FOOD,
FABULOUS
FOOD,
BEAUTIFUL FOOD,
OLIVER
GLORIOUS FOOD.
ALL
The boys walk dejectedly back to their seats as the gruel is pushed on by the Paupers Assistant.
#3—Incidental Music Into “Oliver!” 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.
— 3 —
— 4 —
L
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B
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’
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OLIVER!
MR BUMBLE
(slowly takes off his cocked hat, bangs his mace and intones) FOR WHAT YOU ARE ABOUT TO RECEIVE
MAY THE LORD MAKE YOU TRULY THANKFUL. AMEN.
BOYS
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.
OLIVER
#4—Oliver MR BUMBLE
(faintly)
What?
Please sir, I want some more.
(roars)
OLIVER MR BUMBLE
More!
OLIVER runs away pursued by the PAUPER ASSISTANTS and the BOYS. (sings)
WIDOW CORNEY
CATCH HIM! SNATCH HIM!
MR BUMBLE
L
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HOLD HIM! SCOLD HIM! POUNCE HIM!
B
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’
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OLIVER!
WIDOW CORNEY MR BUMBLE WIDOW CORNEY
TROUNCE HIM!
PICK HIM UP AND BOUNCE HIM!
Riot. They’ve caught Oliver and are about to throw him into his cell.
MR BUMBLE
WAIT!
BEFORE WE PUT THE LAD TO TASK—
MAY I BE SO CURIOUS AS TO ASK
HIS NAME?
(scornfully)
ALL THE BOYS
O-LI-VER—
MR BUMBLE & WIDOW CORNEY
OLIVER! OLIVER!
MR. BUMBLE
NEVER BEFORE HAS A BOY WANTED MORE!
MR BUMBLE & WIDOW CORNEY
OLIVER! OLIVER!
WIDOW CORNEY
WON’T ASK FOR MORE WHEN HE KNOWS WHAT’S IN STORE.
MR BUMBLE
THERE’S A DARK, THIN, WINDING STAIRWAY
WITH OUT ANY BANISTER
WHICH WE’LL THROW HIM DOWN, AND FEED HIM ON
COCKROACHES SERVED IN A CANISTER OLIVER! OLIVER!
ALL
MR BUMBLE
WHAT WILL HE DO WHEN HE’S TURNED BLACK AND BLUE?
— 5 —
— 6 —
L
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B
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OLIVER!
(MR BUMBLE)
HE WILL CURSE THE DAY
SOMEBODY NAMED HIM…
ALL
O-LI-VER!
MR BUMBLE & WIDOW CORNEY
OLIVER! OLIVER!
MR BUMBLE
NEVER BEFORE HAS A BOY WANTED MORE!
MR BUMBLE & WIDOW CORNEY
OLIVER! OLIVER!
WIDOW CORNEY
WON’T ASK FOR MORE
WHEN HE KNOWS WHAT’S IN STORE.
MR BUMBLE
THERE’S A SOOTY CHIMNEY,
LONG OVERDUE FOR A SWEEPING OUT
WHICH WE’LL PUSH HIM UP,
AND ONE DAY NEXT YEAR WITH THE RATS HE’LL COME CREEPING OUT.
ALL
OLIVER! OLIVER! WHAT WILL HE DO?
MR BUMBLE
IN THIS TERRIBLE STEW?
HE WILL RUE THE DAY SOMEBODY NAMED HIM… O-LI-VER!
ALL & WIDOW CORNEY
Suddenly the GOVERNORS appear, disturbed from their meal… OLIVER!
OLIVER!
GOVERNORS
NEVER BEFORE HAS A BOY ASKED FOR MORE OLIVER!
OLIVER!
L
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B
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OLIVER!
CHAIRMAN
(spoken, flustered, in time with music)
PRAY SOME DECORUM RESTORE, I IMPLORE…
LET US FACE THIS CASE, IT’S
UNPRECEDENTED, QUITE UTTERLY.
GOVERNORS
HE’S DISGRACED THIS PLACE,
LARGE GOVERNOR
ENCOURAGING OTHERS TO WALLOW IN GLUTTONY.
ALL
(Questioningly)
OLIVER!… OLIVER!
(singing with decision)
GOVERNORS
LOCK HIM IN GAOL
AND THEN PUT HIM ON SALE, FOR THE HIGHEST BID GLAD TO BE RID
OF
O-LI-VER!
(to Assistants)
WIDOW CORNEY
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—Scurry Music Scurry music. BOYS ushered off by PAUPER ASSISTANTS. BUMBLE and WIDOW CORNEY remain.
— 7 —
— 8 —
L
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B
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OLIVER!
ACT ONE
Scene Two
T he W idows Par lour
MR BUMBLE
Mark my words Mrs Corney. That boy was born to be hung, I’ve never been so shocked in all my days.
WIDOW CORNEY
Hush, Mr B, you’ve had quite a turn and I fancy you might enjoy a little drop of something special. What is it?
MR BUMBLE
WIDOW CORNEY
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.
MR BUMBLE
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.
WIDOW CORNEY
Of course they’re not. When would they be? Sweet, Mr Bumble? Very sweet, indeed, ma’am
(Bumble Sneezes)
Bless you .
MR BUMBLE
WIDOW CORNEY
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)
Do you still keep a cat, ma’am.
MR BUMBLE
L
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B
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OLIVER!
WIDOW CORNEY
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.
MR BUMBLE
(loudly)
Very nice animals indeed, ma’am, and so very domestic.
WIDOW CORNEY
So very fond of their home too, that it’s really quite a pleasure, I’m sure. Mrs Corney, Ma’am.
MR BUMBLE
(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. Oh, Mr Bumble!
WIDOW CORNEY MR BUMBLE
It’s no use disguising facts ma’am. An h’idiot! I would drown it myself with pleasure!
WIDOW CORNEY
Then you’re a cruel man. And a very hard hearted man besides.
MR BUMBLE
Hard hearted, Mrs Corney? Hard? Are you hard hearted Mrs Corney?
WIDOW CORNEY
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 Shall Scream! YOU’RE A NAUGHTY BAD MAN
IF YOU THINK I CAN’T BE PROPER
PRIM AND HAUGHTY I CAN
AND YOU’LL PARDON IF I MENTION
YOU MUST STATE YOUR TRUE INTENTION
— 9 —
— 10 —
L
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B
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OLIVER!
MR BUMBLE
IS THERE NOT ANOTHER ROOM HERE? NO
WIDOW CORNEY MR BUMBLE
IF THERE WERE A BRIDE AND GROOM HERE WOULD THERE BE
WIDOW CORNEY
WELL THERE MIGHT WE SHALL SEE I SHALL SCREAM
MR BUMBLE
WIDOW CORNEY
I SHALL SCREAM
AT THE THOUGHT OF WHAT YOU’RE THINKING
I SHALL SCREAM
MR BUMBLE
YOU WILL WONDER WHERE THE SCREAM WENT WHEN WE COME TO AN AGREEMENT AS MY LOVELY DOVE IS CHUBBY
COULD SHE LOVE A CHUBBY HUBBY
WIDOW CORNEY
I SHALL SCREAM. MISTER BUMBLE
I SHALL SCREAM BUMBLE WUMBLE
I SHALL SCREAM, SCREAM, SCREAM
MATRON enters with OLIVER.
MATRON
I’ve brought the boy and his belongings ma’am.
MR BUMBLE
Well I best be off and see what I can get for this young scoundrel.
BUMBLE retrieves the boy from the MATRON.
WIDOW CORNEY
Make sure you get a good price for him Mr.Bumble.
BUMBLE leaves her and leads the boy through the streets towards the undertakers.
L
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B
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OLIVER!
#7—Boy For Sale
ONE BOY,
MR BUMBLE
BOY FOR SALE.
HE’S GOING CHEAP.
ONLY SEVEN GUINEAS.
THAT—OR THEREABOUTS.
(To passing man)
SMALL BOY…
RATHER PALE...
FROM LACK OF SLEEP.
FEED HIM GRUEL DINNERS. STOP HIM GETTING STOUT.
IF I SHOULD SAY HE WASN’T VERY GREEDY…
I COULD NOT, I’D BE TELLING YOU A TALE. ONE BOY.
BOY FOR SALE.
COME TAKE A PEEP.
HAVE YOU EVER SEEN AS
NICE
A BOY
They enter the undertakers shop. FOR SALE.
— 11 —
— 12 —
L
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B
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OLIVER!
ACT ONE
Scene Three
Inside the Under taker’s Par lour
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.
MR BUMBLE
Liberal terms, Mr Sowerberry… Liberal terms? Three pounds!
SOWERBERRY
Well, as a matter of fact, I was needing a boy...
MR BUMBLE
Good! Then it’s settled. One parochial ‘prentis. Three pounds please!
SOWERBERRY
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)
MRS SOWERBERRY
MR BUMBLE
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.
MRS SOWERBERRY
Well! What do you want? What is it? Oh, Mr Bumble!
SOWERBERRY
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.
MRS SOWERBERRY
L
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OLIVER!
— 13 —
MR BUMBLE
Yes, he is rather small—there’s no denying it. But he’ll grow, Mrs Sowerberry—he’ll grow.
MRS SOWERBERRY examines OLIVER doubtfully.
MRS SOWERBERRY
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)
SOWERBERRY
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.
MRS SOWERBERRY
Yes it’s a possibility. Very well, then, boy—what’s your name? Oliver—Oliver Twist, ma’am. A singular name.
OLIVER
MRS SOWERBERRY MR BUMBLE
Aye, ma’am, and one of my own choosing. Yours, Mr Bumble?
MRS SOWERBERRY MR BUMBLE
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. An orphan then, Mr Bumble?
MRS SOWERBERRY MR BUMBLE
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.
— 14 —
L
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(to OLIVER)
B
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’
S
OLIVER!
MRS SOWERBERRY
Well then, Oliver Twist, do you think you could look like that gentleman up there?
(points to sign near door)
Maybe. Perhaps if I had a tall hat…
(lost in imagining great things)
Never mind about tall hats…
(interrupting)
OLIVER
SOWERBERRY
MRS SOWERBERRY
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.
SOWERBERRY
Delightful.
(enthusiastically)
Very becoming.
MR BUMBLE
MRS SOWERBERRY
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? Yes, ma’am, I think so.
OLIVER
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.
#8—That’s Your Funeral
(sings)
SOWERBERRY HE’S A BORN UNDERTAKER’S MUTE.
I CAN SEE HIM IN HIS BLACK SILK SUIT.
FOLLOWING BEHIND THE FUNERAL PROCESSION…
L
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B
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OLIVER!
(SOWERBERRY)
WITH HIS FEATURES FIXED IN A SUITABLE EXPRESSION. THERE’LL BE HORSES WITH TALL BLACK PLUMES
TO ESCORT US TO THE FAMILY TOMBS,
WITH MOURNERS IN ALL CORNERS
WHO’VE BEEN TAUGHT TO WEEP IN TUNE.
THEN THE COFFIN LINED WITH SATIN. THAT’S YOUR FUNERAL.
MRS SOWERBERRY
THAT’S YOUR FUNERAL.
SOWERBERRY
LARGE ENOUGH TO WEAR YOUR HAT IN. THAT’S YOUR FUNERAL.
MRS SOWERBERRY
THAT’S YOUR FUNERAL.
SOWERBERRY
WE’RE JUST HERE TO GLAMORISE YOU FOR THAT ENDLESS SLEEP.
BOTH
YOU MIGHT JUST AS WELL LOOK FETCHING
WHEN YOU’RE SIX FEET DEEP.
MRS SOWERBERRY
AT THE WAKE WE’LL DRINK A TODDY
TO THE BODY BEAUTIFUL.
SOWERBERRY
THAT’S YOUR FUNERAL.
MRS SOWERBERRY
NOT OUR FUNERAL.
THAT’S YOUR FUNERAL.
BOTH
SOWERBERRY
IF YOU’RE FOND OF OVEREATING
THAT’S YOUR FUNERAL.
MRS SOWERBERRY
THAT’S YOUR FUNERAL.
— 15 —
— 16 —
L
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B
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OLIVER!
SOWERBERRY
STARVE YOURSELF BY UNDEREATING
THAT’S YOUR FUNERAL.
THE FUNERAL PROCESSION
THAT’S YOUR FUNERAL?
MRS SOWERBERRY
VISUALISE THE EARTH DESCENDING ON YOU CLOD BY CLOD.
YOU CAN’T COME BACK WHEN YOU’RE BURIED UNDERNEATH THE... SOD.
SOWERBERRY & MRS SOWERBERRY
WE WILL NOT REDUCE OUR PRICES.
KEEP YOUR VICES USUAL.
SOWERBERRY
THAT’S YOUR FUNERAL...
MRS SOWERBERRY
NOT OUR FUNERAL.
SOWERBERRY
THAT’S YOUR FUNERAL.
MR BUMBLE turns to go but is stopped by MR and MRS SOWERBERRY.
MR BUMBLE
I DON’T THINK THIS SONG IS FUNNY.
SOWERBERRY
THAT’S YOUR FUNERAL.
MRS SOWERBERRY
THAT’S YOUR FUNERAL.
MR BUMBLE
HERE’S THE BOY, NOW WHERE’S THE MONEY.
SOWERBERRY
THAT’S YOUR FUNERAL.
MR BUMBLE
THAT’S YOUR FUNERAL.
MR BUMBLE exits
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OLIVER!
— 17 —
BOTH
WE DON’T HARBOUR THOUGHTS MACABRE,
THERE’S NO NEED TO FROWN.
IN THE END WE’LL EITHER BURN YOU UP OR NAIL YOU DOWN. WE LOVE COUGHS AND WHEEZES
AND DISEASES CALLED INCURABLE.
SOWERBERRY
THAT’S YOUR FUNERAL
MRS SOWERBERRY
NO-ONE ELSE’S FUNERAL THAT’S YOUR... THAT’S YOUR... FUNERAL!
(End of song)
SOWERBERRY
MRS SOWERBERRY BOTH
MRS SOWERBERRY
Very well then, that’s your job. Junior coffin-follower… have you eaten yet? No, ma’am, not since…
(shouting)
Charlotte! Charlotte!
(off)
What?
OLIVER
MRS SOWERBERRY
CHARLOTTE
MRS SOWERBERRY
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.
— 18 —
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OLIVER!
MRS SOWERBERRY
Charlotte, don’t just stand there! Pull down the blinds. Henry, get to bed.
SOWERBERRY
A superb effect the more I think about it. A follower in proportion. Have you done? Yes, ma’am.
MRS SOWERBERRY OLIVER MRS SOWERBERRY
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.
#9—Coffin Music OLIVER peers apprehensively at his sinister surroundings.
#10—Where Is Love?
WHERE IS LOVE?
OLIVER
DOES IT FALL FROM SKIES ABOVE?
IS IT UNDERNEATH THE WILLOW TREE THAT I’VE BEEN DREAMING OF?
WHERE IS SHE?
WHO I CLOSE MY EYES TO SEE?
WILL I EVER KNOW THE SWEET “HELLO”
THAT’S MEANT FOR ONLY ME?
WHO CAN SAY WHERE SHE MAY HIDE?
MUST I TRAVEL FAR AND WIDE?
‘TIL I AM BESIDE THE SOMEONE WHO
I CAN MEAN SOMETHING TO…
WHERE…?
WHERE IS LOVE?
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OLIVER!
(OLIVER)
WHO CAN SAY WHERE… SHE MAY HIDE? MUST I TRAVEL… FAR AND WIDE?
‘TIL I AM BESIDE… THE SOMEONE WHO
I CAN MEAN… SOMETHING TO…
WHERE?
WHERE IS LOVE?
(End of song)
— 19 —
— 20 —
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OLIVER!
ACT ONE
Scene Four
Inside the Under taker’s next mor ning.
#11—Next Morning 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… (off)
NOAH
Charlotte, open the door, will yer? Charlotte open the door...
OLIVER
(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.
NOAH
OLIVER NOAH
OLIVER NOAH
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.
Did you knock sir? I kicked. Did you want a coffin sir?
OLIVER NOAH OLIVER
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OLIVER!
NOAH
— 21 —
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? No sir, I can’t say as I do.
(punctuating)
OLIVER NOAH
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.
CHARLOTTE
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.
D’you hear? Work’us? Here’s your bacon Noah. Nice and greasy, just how I like it.
NOAH
CHARLOTTE NOAH
CHARLOTTE feeds him.
What are you staring at work’us? Lor Noah let the boy alone.
CHARLOTTE NOAH
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.
— 22 —
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OLIVER!
CHARLOTTE
I better go downstairs. Something’s burning.
CHARLOTTE exits.
(addressing OLIVER conversationally)
Work’us… How’s yer mother?
NOAH
OLIVER
You leave my mother out of it—She’s dead.
NOAH
What did she die of, work’us? Shortage of breath?
(tearfully)
OLIVER
She’s just dead! She died of a broken heart.
NOAH
Well tol-de-rol-lol-lol-right-fol-lairy, Work’us. What’s set you a snivelling now?
OLIVER
You’d better not say anything more see!
NOAH
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. What did you say?
OLIVER 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!
#12—The Fight 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.
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OLIVER!
CHARLOTTE
Oh, you ungrateful, murderous little villain.
MRS SOWERBERRY
Quick, put him in ‘ere… Get the lid quick. Noah, run and get help… Charlotte, water quick! Oh my god, she’s going off!
CHARLOTTE
MRS SOWERBERRY
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?
NOAH
(enters breathless)
I found the beadle!
Oh! Mister Bumble! Oh! Mister Bumble!
(imperious)
CHARLOTTE MRS SOWERBERRY MR BUMBLE
Where is this owdacious young savage?! ‘E’s in there!
ALL
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. (shocked)
MR BUMBLE
Oliver?
You let me out!
OLIVER MR BUMBLE
Do you know this here voice, Oliver?
— 23 —
— 24 —
L
Yes I do!
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OLIVER!
OLIVER MR BUMBLE
And ain’t you afraid of it, Oliver? Ain’t you a-tremblin’ while I speak, Oliver? No I’m not!
OLIVER
MR BUMBLE staggers back and looks at the three by-standers in astonishment. (hysterically)
MRS SOWERBERRY
The boy must be mad. No one in half his senses could venture to speak to you like that. It’s not madness, ma’am.
MR BUMBLE
(he pauses)
It’s meat! What?
MRS SOWERBERRY MR BUMBLE
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.
MRS SOWERBERRY
Dear me! This is what comes of being over generous.
MR BUMBLE
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.
MRS SOWERBERRY
Oh Henry. That boy! Oliver! You’ve no idea what he’s been up to. We had to lock him up!
(banging the lid)
Help!
OLIVER
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OLIVER!
MR SOWERBERRY
Who’s in there? That coffin should not have been occupied till tomorrow. It’s reserved for a very important client. You’ve been drinking
MRS SOWERBERRY
MR BUMBLE opens the coffin and pulls OLIVER out by the scruff of the neck. (prodding OLIVER)
MR BUMBLE
Now, you young scallywag, what’s your explanation?
(pointing at NOAH)
He called my mother names.
OLIVER
MRS SOWERBERRY
Well, and what if he did, you little ungrateful wretch? She probably deserved what was said, and worse. She didn’t! She did! Its a lie!
OLIVER
MRS SOWERBERRY OLIVER
#13—Oliver’s Escape 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. He’s gone!
(drowsily)
Who’s gone? Oliver - he’s run off!
NOAH
MRS SOWERBERRY
CHARLOTTE SOWERBERRY
Three pounds of mine? Run off? After him!
— 25 —
— 26 —
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OLIVER!
ACT ONE
Scene Five
Paddington Green on the outskir ts of London – a week later.
OLIVER
(singing unaccompanied to keep his spirits up) FOOD, GLORIOUS FOOD!
HOT SAUSAGE AND MUSTARD!
WHILE WE’RE IN THE MOOD COLD JELLY AND CUSTARD!
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”.
DODGER
What yer starin’ at? Ain’t yer never seen a toff? No – never – I…
OLIVER
DODGER
That’s all right – don’t worry about it. Hungry? Starving. ‘Ere catch.
OLIVER
DODGER
(He throws him an apple.)
Tired?
Yes. I’ve been walking seven days.
OLIVER DODGER
Seven days! Runnin’ away from the Beak, yer must be? The what?
OLIVER
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OLIVER!
— 27 —
DODGER
Now don’t say yer don’t know what a beak is, me flash mate? A beaks a birds mouth.
OLIVER
DODGER
My eyes – how green! A beak – is a madg-strate, for your h’information. Who are you runnin’ away from then – your old man?
OLIVER
No, I’m an orphan. I’ve come to London to make my fortune.
(suddenly very interested)
Oh you ‘ave, ‘ave ya. Yes. Got any lodgings? No. Money? Not a farthing.
DODGER OLIVER DODGER OLIVER! DODGER OLIVER
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?
DODGER
When I’m at home. I suppose you want some place to sleep tonight, don’t you? Are you h’accommodated? No – I don’t think so…
OLIVER
DODGER
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!
— 28 —
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OLIVER!
OLIVER
Who is the respectable old gentleman, then? Is he a charity gentleman?
DODGER
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. My name’s Oliver. Oliver Twist.
(with a flourish)
OLIVER
DODGER
And my name’s Jack Dawkins – better known among me more h’intimate friends as the Artful Dodger. Pleased to meet you, Mister Dawkins.
(pausing for second thoughts)
OLIVER
DODGER
Come to think of it – I ain’t got no h’intimate friends. Still, what’s the difference, you’re coming with me. Are you sure Mr Fagin won’t mind? Mind?
OLIVER
DODGER
#14—Consider Yourself (Part 1) He bangs his dusty old top hat and sings.
CONSIDER YOURSELF AT HOME.
CONSIDER YOURSELF ONE OF THE FAMILY.
WE’VE TAKE TO YOU SO STRONG.
IT’S CLEAR WE’RE GOING TO GET ALONG.
CONSIDER YOURSELF WELL IN.
CONSIDER YOURSELF PART OF THE FURNITURE.
THERE ISN’T A LOT TO SPARE.
WHO CARES? WHAT EVER WE’VE GOT WE SHARE! IF IT SHOULD CHANCE TO BE
WE SHOULD SEE
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OLIVER!
(DODGER)
SOME HARDER DAYS
EMPTY-LARDER DAYS—
WHY GROUSE?
ALWAYS A CHANCE WE’LL MEET SOMEBODY
TO FOOT THE BILL—
THEN THE DRINKS ARE ON THE HOUSE! CONSIDER YOURSELF OUR MATE.
WE DON’T WANT TO HAVE NO FUSS,
FOR AFTER SOME CONSIDERATION, WE CAN STATE…
CONSIDER YOURSELF
ONE OF US!
CONSIDER YOURSELF…
OLIVER
(trying to copy all of DODGER’S actions) AT HOME?
DODGER
CONSIDER YOURSELF… ONE OF THE FAMILY?
OLIVER
OLIVER and DODGER are joined by other members of the gang.
GANG BOY
WE’VE TAKEN TO YOU SO STRONG?
OLIVER
GANG BOY
IT’S CLEAR… WE’RE…
GOING TO GET ALONG.
CONSIDER YOURSELF WELL IN?
ALL
GANG BOY
— 29 —
— 30 —
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CONSIDER YOURSELF
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OLIVER!
DODGER
GANG BOY
PART OF THE FURNITURE?
OLIVER
THERE ISN’T A LOT TO SPARE!
ALL
WHO CARES
WHATEVER WE’VE GOT WE SHARE.
DODGER
NOBODY TRIES TO BE LAH-DI-DAH AND UPPITY—
THERE’S A CUP O’ TEA FOR ALL.
DODGER leads OLIVER towards the town.
ALL
ONLY IT’S WISE TO BE HANDY WIV A ROLLING PIN
WHEN THE LANDLORD COMES TO CALL!
DODGER
CONSIDER YOURSELF…
OUR MATE.
WE DON’T WANT TO HAVE NO FUSS.
ALL
FOR AFTER SOME CONSIDERATION WE CAN STATE…
OLIVER
CONSIDER YOURSELF… YES! ONE OF US!
ALL
The action develops into a bustling market scene. They all sing.
COMPANY
CONSIDER YOURSELF AT HOME…
WE’VE TAKEN TO YOU SO STRONG…
CONSIDER YOURSELF WELL IN…
THERE ISN’T A LOT TO SPARE… IF IT SHOULD CHANCE TO BE
WE SHOULD SEE
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OLIVER!
(COMPANY)
SOME HARDER DAYS
EMPTY-LARDER-DAYS—
WHY GROUSE?
ALWAYS A CHANCE WE’LL MEET SOMEBODY
TO FOOT THE BILL—
THEN THE DRINKS ARE ON THE HOUSE! CONSIDER YOURSELF OUR MATE.
WE DON’T WANT TO HAVE NO FUSS.
FOR AFTER SOME CONSIDERATION, WE CAN STATE…
CONSIDER YOURSELF…
ONE OF US!
CONSIDER YOURSELF AT HOME.
DODGER ALL DODGER
WE’VE TAKEN TO YOU. SO STRONG. CONSIDER YOURSELF. WELL IN.
ALL
DODGER ALL
THERE ISN’T A LOT TO SPARE.
DODGER & LADIES
NOBODY TRIES TO BE LAH-DI-DAH AND UPPITY
THERE’S CUPPA TEA FOR ALL
GANG & MEN
ONLY IT’S WISE TO BE HANDY WIV A ROLLING PIN
WHEN THE LANDLORD COMES TO CALL
ALL
CONSIDER YOURSELF OUR MATE
WE DON’T WANT TO HAVE NO FUSS
— 31 —
— 32 —
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OLIVER!
(ALL)
FOR AFTER SOME CONSIDERATION WE CAN STATE
CONSIDER YOURSELF ONE OF US
#15—Consider Yourself (Part 2) FOR AFTER SOME CONSIDERATION WE CAN STATE
CONSIDER YOURSELF ONE OF US
#16—Consider Yourself (Part 3) IF IT SHOULD CHANCE TO BE WE SHOULD SEE SOME HARDER DAYS EMPTY LARDER DAYS WHY GROUSE
ALWAYS A CHANCE WE’LL MEET SOMEBODY TO FOOT THE BILL THEN THE DRINKS ARE ON THE HOUSE DRINKS ARE ON THE HOUSE
CONSIDER YOURSELF AT HOME
CONSIDER YOURSELF ONE OF THE FAMILY
WE’VE TAKEN TO YOU SO STRONG
IT’S CLEAR WE’RE GOING TO GET ALONG
CONSIDER YOURSELF WELL IN
CONSIDER YOURSELF PART OF THE FURNITURE
THERE ISN’T A LOT TO SPARE
WHO CARES? WHATEVER WE’VE GOT WE SHARE IF IT SHOULD CHANCE TO BE WE SHOULD SEE SOME HARDER DAYS EMPTY LARDER DAYS WHY GROUSE
ALWAYS A CHANCE WE’LL MEET SOMEBODY TO FOOT THE BILL
THEN THE DRINKS ARE ON THE HOUSE CONSIDER YOURSELF OUR MATE
WE DON’T WANT TO HAVE NO FUSS
FOR AFTER SOME CONSIDERATION WE CAN STATE
CONSIDER YOURSELF ONE OF US
#17—Consider Yourself (Reprise) CONSIDER YOURSELF AT HOME.
CONSIDER YOURSELF ONE OF THE FAMILY.
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OLIVER!
— 33 —
(ALL)
WE’VE TAKEN TO YOU SO STRONG.
IT’S CLEAR WE’RE GOING TO GET ALONG. CONSIDER YOURSELF WELL IN.
CONSIDER YOURSELF PART OF THE FURNITURE.
THERE ISN’T A LOT TO SPARE.
WHO CARES?
WHATEVER WE’VE GOT WE SHARE.
WHATEVER WE’VE GOT WE SHARE.
As the crowd disperses Fagin’s Lair appears, apparemtly deserted but for Nipper who is sweeping the floor.
GANG & LADIES (Off Stage)
CONSIDER YOURSELF AT HOME
CONSIDER YOURSELF ONE OF THE FAMILY
WE’VE TAKEN TO YOU SO STRONG
IT’S CLEAR WE’RE GOING TO GET ALONG
CONSIDER YOURSELF WELL IN
CONSIDER YOURSELF PART OF THE FURNITURE
THERE ISN’T A LOT TO SPARE
WHO CARES WHATEVER WE’VE GOT WE SHARE
NIPPER
IF IT SHOULD CHANCE TO BE WE SHOULD SEE SOME HARDER DAYS EMPTY LARDER DAYS WHY GROUSE
ALWAYS A CHANCE WE’LL MEET SOMEBODY TO FOOT THE BILL THEN THE DRINKS ARE ON THE HOUSE
GANG & LADIES (Off Stage)
CONSIDER YOURSELF OUR MATE
WE DON’T WANT TO HAVE NO FUSS
FOR AFTER SOME CONSIDERATION WE CAN STATE
CONSIDER YOURSELF ONE OF US.
— 34 —
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OLIVER!
ACT ONE
Scene Six
T he T hieves’ Kitchen.
DODGER and the Gang enter from above looking for Fagin. Fagin. Fagin.
Fagin appears.
What!
DODGER
FAGIN DODGER
I’ve brought a new friend to see you. Oliver Twist.
(offering his hand to shake)
Sir.
OLIVER
FAGIN
(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.
DODGER
Mr Twist has come to London to seek his fortune.
FAGIN
You’ve come to London to seek your fortune. We must see what we can do to help you. Are you hungry? Starving.
OLIVER FAGIN
Would you like a sausage? Charley, take off the sausages. Dodger, draw up a chair near the fire for Oliver.
CHARLEY
‘Ere Fagin! These sausages are mouldy!
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Shut up and drink yer Gin!
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OLIVER!
FAGIN
OLIVER is looking at the handkerchiefs.
FAGIN
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. Is this a laundry then, sir?
The boys roar with laughter.
OLIVER
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? Not arf! I’ll say it does!
BOYS
#18—You’ve Got To Pick A Pocket Or Two You see, Oliver…
FAGIN
IN THIS LIFE
ONE THING COUNTS— IN THE BANK
LARGE AMOUNTS!
I’M AFRAID THESE
DON’T GROW ON TREES…
YOU’VE GOT TO PICK A POCKET OR TWO. YOU’VE GOT TO PICK A POCKET OR TWO BOYS,
YOU’VE GOT TO PICK A POCKET OR TWO.
(singing)
BOYS
LARGE AMOUNTS DON’T GROW ON TREES—
YOU GOT TO PICK A POCKET OR TWO!
FAGIN
Let’s show Oliver how to do it, my dears.
— 35 —
— 36 —
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(sings)
I O N E L
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OLIVER!
FAGIN WHY SHOULD WE
BREAK OUR BACKS
STUPIDLY
PAYING TAX?
BETTER GET SOME
UN-TAXED INCOME…
BETTER PICK A POCKET OR TWO!
YOU’VE GOT TO PICK A POCKET OR TWO, BOYS… YOU’VE GOT TO PICK A POCKET OR TWO!
BOYS
WHY SHOULD WE ALL BREAK OUR BACKS? BETTER PICK A POCKET OR TWO!
Who said crime doesn’t pay?
FAGIN
ROBIN HOOD—
WHAT A CROOK! GAVE AWAY
WHAT HE TOOK
CHARITY’S FINE
SUBSCRIBE TO MINE
GET OUT AND PICK A POCKET OR TWO.
YOU’VE GOT TO PICK A POCKET OR TWO, BOYS, YOU’VE GOT TO PICK A POCKET OR TWO!
BOYS
ROBIN HOOD WAS FAR TOO GOOD.
HE HAD TO PICK A POCKET OR TWO.
My merry men!
TAKE A TIP
FROM BILL SIKES—
HE CAN WHIP
WHAT HE LIKES—
I RECALL
HE STARTED SMALL…
FAGIN
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OLIVER!
(FAGIN)
HE HAD TO PICK A POCKET OR TWO,
YOU’VE GOT TO PICK A POCKET OR TWO, BOYS! YOU’VE GOT TO PICK A POCKET OR TWO.
BOYS
WE CAN BE LIKE OLD BILL SIKES IF WE PICK A POCKET OR TWO.
FAGIN
DEAR OLD GENT
PASSING BY.
SOMETHING NICE TAKES HIS EYE.
EV’RYTHING’S CLEAR! ATTACK THE REAR!
GET IN AND PICK A POCKET OR TWO. YOU’VE GOT TO PICK A POCKET OR TWO, BOYS… YOU’VE GOT TO PICK A POCKET OR TWO!
BOYS
HAVE NO FEAR.
ATTACK THE REAR.
GET IN AND PICK A POCKET OR TWO.
FAGIN
WHEN I SEE
SOMEONE RICH
BOTH MY THUMBS
START TO ITCH… ONLY TO FIND
SOME PEACE OF MIND…
I HAVE TO PICK A POCKET OR TWO! YOU’VE GOT TO PICK A POCKET OR TWO, BOYS…
YOU’VE GOT TO PICK A POCKET OR TWO!
BOYS
JUST TO FIND SOME PIECE OF MIND—
FAGIN & BOYS
WE HAVE TO PICK A POCKET OR TWO!
— 37 —
— 38 —
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OLIVER!
FAGIN
JUST TO FIND SOME PEACE OF MIND
WE HAVE TO PICK A POCKET OR TWO. HEY!
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.
DODGER
ALL BOYS FAGIN DODGER
FAGIN DODGER FAGIN
(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.
L
I O N E L
(examining the wallets)
Did he make these himself?
(roars with laughter)
Yeah, with his own lily white hands!
(hits Charley)
B
A R T
’
S
OLIVER!
— 39 —
OLIVER
CHARLEY
FAGIN
You be quiet, Charley.
(To Charley)
And what have you got, my dear? Nose Rags.
CHARLEY
CHARLEY produces two large silk handkerchiefs – very elaborately patterned.
FAGIN
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? Yes, Mister Fagin, if you’ll teach me.
OLIVER
More giggling and nudging from the boys.
FAGIN
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! Who’s Bill Sikes Mr Fagin?
OLIVER FAGIN
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?
— 40 —
L
I O N E L
B
A R T
’
S
OLIVER!
OLIVER
Yes sir.
#19—Rum-Tum-Tum FAGIN
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. RUM-TUM TUM
TUM-TUM-TUM
POM-POM-POM
POM-POM-POM
SKIDDLE-EYE-TYE TEE-RYE-TYE-TYE
TEE-RUPPA-TUPPA-RUPPA-TUM-TUM
YOU GOT TO PICK A POCKET OR TWO, BOYS… YOU GOT TO PICK A POCKET OR TWO!
(Incredulous)
Is it gone?
(Showing it in his hand)
Yes sir, it’s in my hand.
(Patting OLIVER’s head)
OLIVER
FAGIN
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.
L
I O N E L
Where shall I sleep, Sir?
B
A R T
’
S
OLIVER!
— 41 —
OLIVER FAGIN
Here, my dear. By the warm. I’ll get you a night-cap.
OLIVER climbs onto the sofa.
Yes please
OLIVER
We’re out of Cocoa. Ave a drop of gin.
FAGIN
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.
#20—Intermezzo (Part 1) YOU’VE GOT TO PICK A POCKET OR TWO…
YOU’VE GOT TO PICK A POCKET OR TWO…
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.
— 42 —
L
I O N E L
B
A R T
’
S
OLIVER!
SIKES produces a 2nd candlestick from inside his coat.
(FAGIN)
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.
SIKES FAGIN
Cash Bill? What me! Keep cash around ‘ere, with all these young thieves about? I wouldn’t dare! Fagin.
SIKES
FAGIN
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. It better be.
#21—Intermezzo (Part 2)
SIKES
L
I O N E L
B
A R T
’
S
OLIVER!
SIKES exits behind the oven. FAGIN picks up the pearls then opens the trap and takes out his jewel box.
FAGIN
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. I’m sorry sir. I couldn’t sleep.
OLIVER FAGIN
Were you awake a quarter of an hour ago? No. Ten minutes ago? Not that I know of.
OLIVER FAGIN OLIVER
— 43 —
— 44 —
L
I O N E L
B
Be sure – be sure!! I’m sure!
(resuming his old manner)
A R T
’
S
OLIVER!
FAGIN OLIVER FAGIN
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)
OLIVER FAGIN
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.
Do you think I could get up now, sir?
OLIVER FAGIN
Certainly, my dear, certainly. There’s a basin of water over there – you can have a wash. But I had a wash yesterday.
(pointing to the corner)
OLIVER FAGIN
Well, today’s yer birthday – wash!
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.
Plummy and slam.
NANCY
L
B
I O N E L
A R T
’
S
OLIVER!
FAGIN
Nancy!
#22—It’s A Fine Life NANCY
(Lifts the manhole cover and shouts down.)
Come on Bet.
FAGIN
It’s Nancy! Wake up boys. The ladies are here. Ladies! Cor! ‘Ark at him!
DODGER NANCY
We’ll have less of that if you don’t mind!
Coming down the stairs into the room.
Where’s the gin, Fagin?
FAGIN
All in moderation, my dear. All in moderation. Too much gin can be a dangerous thing for a pure young girl.
NANCY
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)
SMALL PLEASURES, SMALL PLEASURES
WHO WOULD DENY US THESE? NOT ME!
DODGER NANCY
GIN TODDIES— LARGE MEASURES—
NO SKIMPING IF YOU PLEASE!
I ROUGH IT. I LOVE IT.
LIFE IS A GAME OF CHANCE
I NEVER TIRE OF IT—
LEADING THIS MERRY DANCE.
— 45 —
— 46 —
L
I O N E L
B
A R T
’
S
OLIVER!
(NANCY)
IF YOU DON’T MIND HAVING TO GO WITHOUT THINGS…
IT’S A FINE LIFE!
IT’S A FINE LIFE!
ALL NANCY
THO’ IT AIN’T ALL JOLLY OLD PLEASURE OUTINGS…
IT’S A FINE LIFE!
IT’S A FINE LIFE!
ALL NANCY
WHEN YOU’VE GOT SOMEONE TO LOVE
YOU FORGET YOUR CARE AND STRIFE.
LET THE PRUDES LOOK DOWN ON US,
LET THE WIDE WORLD FROWN ON US.
IT’S A FINE, FINE LIFE!
Ain’t that right Bet? Yeah, that’s right Nancy.
ALL NANCY BET
WHO CARES IF STRAIGHTLACES
SNEER AT US IN THE STREET?
FINE AIRS, AND FINE GRACES
NANCY
DON’T HAVE TO SIN TO EAT.
BOTH
WE WANDER THROUGH LONDON.
NANCY
WHO KNOWS WHAT WE MAY FIND?
BOTH
THERE’S POCKETS LEFT UNDONE
ON MANY A BEHIND.
L
I O N E L
B
A R T
’
S
OLIVER!
NANCY
IF YOU DON’T MIND TAKING IT AS IT TURNS OUT
IT’S A FINE LIFE!
IT’S A FINE LIFE!
ALL NANCY
KEEP THE CANDLE BURNING, UNTIL IT BURNS OUT
IT’S A FINE LIFE!
IT’S A FINE LIFE!
ALL NANCY
THO’ YOU SOMETIMES DO COME BY
THE OCCASIONAL BLACK EYE,
YOU CAN ALWAYS COVER ONE
‘TIL HE BLACKS THE OTHER ONE BUT YOU DON’T DARE CRY.
BET
NO FLOUNCES, NO FEATHERS, NO FRILLS AND FURBELOWS.
ALL WINDS AND ALL WEATHERS AIN’T GOOD FOR FANCY CLO’ES.
THESE TRAPPINGS. THESE TATTERS.
NANCY BET BOTH
THESE WE CAN JUST AFFORD. WHAT FUTURE? WHAT MATTERS?
NANCY BET ALL
WE’VE GOT OUR BED AND BOARD.
— 47 —
— 48 —
L
I O N E L
B
A R T
’
S
OLIVER!
NANCY
IF YOU DON’T MIND HAVING TO DEAL WITH FAGIN
IT’S A FINE LIFE!
IT’S A FINE LIFE!
ALL NANCY
THO’ DISEASED RATS THREATEN TO BRING THE PLAGUE IN
IT’S A FINE LIFE!
IT’S A FINE LIFE!
(to FAGIN)
ALL NANCY
BUT THE GRASS IS GREEN AND DENSE ON THE RIGHT SIDE OF THE ‘FENCE’
BOTH
AND WE TAKE GOOD CARE OF IT
THAT WE GET OUR SHARE OF IT,
ALL
AND WE DON’T MEAN PENCE!
NANCY
IF YOU DON’T MIND HAVING TO LIKE OR LUMP IT’… IT’S A FINE LIFE!
IT’S A FINE LIFE!
ALL NANCY
THO’ THERE’S NO TEA SUPPING AND EATING CRUMPET…
IT’S A FINE LIFE!
IT’S A FINE LIFE!
ALL NANCY
NOT FOR ME THE HAPPY HOME
HAPPY HUSBAND, HAPPY WIFE
THO’ IT SOMETIMES TOUCHES ME…
…FOR THE LIKES OF SUCH AS ME…
MINE’S A FINE…
L
I O N E L
FINE… LIFE!
(End of song.)
(looking at OLIVER)
‘Ere, who’s this then Fagin?
B
A R T
’
S
OLIVER!
ALL
NANCY
FAGIN
Oh ladies, I forgot, you must meet our new lodger – Master Oliver Twist Esquire.
NANCY and BET both curtsey. Oliver bows solemnly.
Charmed! Pleased to meet you, I’m sure.
NANCY BET
OLIVER bows. The BOYS laugh and cat call.
FAGIN
Oh yes, we’re all ladies and gentlemen ‘ere. We’re all quality… Ho yuss!
BOYS
OLIVER looks at them hurt and angry. NANCY seeing this immediately takes his part.
NANCY
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! Yeah?
DODGER NANCY
Have you seen the way them quality gentlemen treats their ladies? Of course I have. Shall we show them how it’s done?
DODGER NANCY
— 49 —
— 50 —
L
I O N E L
B
A R T
’
S
OLIVER!
DODGER
Definitely!
#23—I’d Do Anything Go on Nancy, give us a free show.
FAGIN NANCY
So, how’s it go then Dodger? It’s all bowing and ’ats off… and…
DODGER
“Don’t let your petticoats dangle in the mud my darling.” And “I’ll go last.” No, I’ll go last.
NANCY
DODGER
DODGER sings this send-up on the “gentry”. I’D DO ANYTHING
FOR YOU, DEAR, ANYTHING—
FOR YOU MEAN EV’RYTHING
TO ME.
I KNOW THAT
I’D GO ANYWHERE
FOR YOUR SMILE, ANYWHERE—
FOR YOUR SMILE, EV’RYWHERE—
I’D SEE.
NANCY
WOULD YOU CLIMB A HILL? ANYTHING! WEAR A DAFFODIL? ANYTHING!
DODGER NANCY DODGER NANCY
LEAVE ME ALL YOUR WILL?
L
I O N E L
ANYTHING! EVEN FIGHT MY BILL? WHAT? FISTICUFFS!
B
A R T
’
S
OLIVER!
DODGER NANCY DODGER
I’D RISK EV’RYTHING
FOR ONE KISS—EV’RYTHING— YES I’D DO ANYTHING…
ANYTHING? ANYTHING FOR YOU!!
(spoken)
Come on Nancy, give Oliver a go!
NANCY
DODGER FAGIN
NANCY
Now you do everything you saw Dodger do and I’ll help you with the words.
OLIVER
(NANCY prompts him – speaking the first two or three words of every phrase.) I’D DO ANYTHING
FOR YOU DEAR, ANYTHING— FOR YOU MEAN EV’RYTHING
TO ME.
I KNOW THAT
I’D GO ANYWHERE
FOR YOUR SMILE, ANYWHERE—
FOR YOUR SMILE, EV’RYWHERE
I’D SEE
BET
WOULD YOU LACE MY SHOE? ANYTHING!
OLIVER
— 51 —
— 52 —
L
I O N E L
B
A R T
’
S
OLIVER!
BET
PAINT YOUR FACE BRIGHT BLUE? ANYTHING! CATCH A KANGAROO? ANYTHING! GO TO TIMBUKTU?
(sings – after a moment’s hesitation)
OLIVER BET OLIVER BET OLIVER
AND BACK AGAIN!
I’D RISK EV’RYTHING
FOR ONE KISS—EV’RYTHING— YES I’D DO ANYTHING
ANYTHING? ANYTHING FOR YOU!!
BET OLIVER FAGIN
WOULD YOU ROB A SHOP? ANYTHING!
ALL
FAGIN
WOULD YOU RISK THE “DROP”? ANYTHING!
ALL
FAGIN
THO’ YOUR EYES GO ‘POP’… ANYTHING!
ALL
FAGIN
WHEN YOU COME DOWN ‘PLOP’?
L
I O N E L
B
A R T
’
S
OLIVER!
— 53 —
ALL
(sing sarcastically to FAGIN)
HANG EV’RYTHING!
WE’D RISK LIFE AND LIMB
TO KEEP YOU IN THE SWIM— YES, WE’D DO ANYTHING…
FAGIN
ANYTHING?
ALL
ANYTHING FOR YOU!!
End of song.
FAGIN
(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.
CAPTAIN
Oh Fagin, we was all going to see the ‘angin!
FAGIN
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.
NANCY
Yeah, you’re right. Now listen Oliver, you be careful. Ta ta you lot.
[ad lib]
Tat ta Nancy. Bye Bet.
[ad lib]
Don’t get hung!
BOYS
NANCY FAGIN
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.
— 54 —
L
I O N E L
B
A R T
’
S
OLIVER!
#24—Be Back Soon
LINE UP LINE UP SINGLE FILE SINGLE FILE
DODGER BOYS DODGER BOYS DODGER
PRESENT ARMS, LEFT… PICK, RIGHT… PICK… OI OI YOU CAN GO,
BOYS FAGIN BOYS FAGIN
BUT BE BACK SOON. YOU CAN GO,
BUT WHILE YOU’RE WORKING. THIS PLACE,
I’M PACING ROUND…
UNTIL YOU’RE HOME…
…SAFE AND SOUND FARE THEE WELL,
BUT BE BACK SOON.
WHO CAN TELL
WHERE DANGER’S LURKING
DO NOT FORGET THIS TUNE…
BE BACK SOON.
L
I O N E L
B
A R T
’
S
OLIVER!
— 55 —
BOYS
HOW COULD WE FORGET?
HOW COULD WE LET
OUR DEAR OLD FAGIN WORRY?
WE LOVE HIM SO.
WE’LL COME BACK HOME
IN, OH, SUCH A GREAT BIG HURRY
DODGER
IT’S HIM THAT PAYS THE PIPER.
BOYS
IT’S US THAT PIPES HIS TUNE SO LONG, FARE-THEE-WELL. PIP!, PIP!, CHEERIO!.
WE’LL BE BACK SOON.
FAGIN
YOU CAN GO,
BUT BE BACK SOON
YOU CAN GO,
BUT BRING BACK PLENTY
OF POCKET HANDKERCHIEFS.
AND YOU SHOULD BE CLEVER THIEVES.
WHIP IT QUICK,
AND BE BACK SOON
THERE’S A SIXPENCE HERE FOR TWENTY AIN’T THAT A LOVELY TUNE?
BE BACK SOON
DODGER
OUR POCKETS’LL HOLD
A WATCH OF GOLD
THAT CHIMES UPON THE HOUR. A WALLET FAT AN OLD MAN’S HAT.
BOYS BOYS
BOYS
BE BACK SOON
— 56 —
L
B
I O N E L
THE CROWN JEWELS
A R T
’
S
OLIVER!
DODGER
FROM THE TOWER.
WE KNOW
THE BOW STREET RUNNERS,
BUT THEY DON’T KNOW
ALL
THIS TUNE.
SO LONG, FARE-THEE-WELL. PIP!, PIP!, CHEERIO!.
WE’LL BE BACK SOON.
FAGIN
CHEERIO. BUT BE BACK SOON.
I DUNNO, SOMEHOW I’LL MISS YOU I LOVE YOU, THAT’S WHY I
SAY, “CHEERIO”… NOT GOODBYE.
DON’T BE GONE LONG. BE BACK SOON.
GIVE ME ONE LONG, LAST LOOK…
BLESS YOU.
REMEMBER OUR OLD TUNE… BE BACK SOON
CHARLIE, DODGER & OLIVER
WE MUST DISAPPEAR,
WE’LL BE BACK HERE,
TODAY…
…PERHAPS TOMORROW. WE’LL MISS YOU TOO IT’S SAD BUT TRUE
FAGIN
THAT PARTING IS
SUCH SWEET SORROW,
ALL
AND WHEN WE’RE IN THE DISTANCE
YOU’LL HEAR THIS WHISPERED TUNE…
L
I O N E L
B
A R T
’
S
OLIVER!
— 57 —
(ALL)
SO LONG, FARE-THEE-WELL. PIP!, PIP!, CHEERIO!.
WE’LL BE BACK SOON
FAGIN sings last chorus over BOYS last verse. BOYS continue singing.
BOYS
FAGIN
WE MUST DISAPPEAR,
CHEERIO. BUT BE BACK SOON.
WE’LL BE BACK HERE,
I DUNNO,
TODAY…
SOMEHOW I’LL MISS YOU
…PERHAPS TOMORROW.
WE’LL MISS YOU TOO
I LOVE YOU,
THAT’S WHY I
IT’S SAD BUT TRUE
NOT GOODBYE.
THAT PARTING IS
SAY, “CHEERIO”…
SUCH SWEET SORROW,
DON’T BE GONE LONG.
AND WHEN WE’RE IN THE
BE BACK SOON.
GIVE ME ONE LONG,
DISTANCE
BLESS YOU.
WHISPERED TUNE
YOU’LL HEAR THIS
LAST LOOK. . .
SO LONG, FARE THEE WELL PIP, PIP CHEERIO WE’LL
REMEMBER OUR OLD TUNE…
BE BACK SOON
BOYS
AND WHEN WE’RE IN THE DISTANCE
BE BACK SOON.
YOU’LL HEAR THIS WHISPERED TUNE
SO LONG FARE THEE WELL
PIP, PIP CHEERIO
WE’LL BE BACK SOON
OLIVER
SO LONG FARE THEE WELL
PIP, PIP CHEERIO
WE’LL BE BACK SOON
BOYS
SO LONG FARE THEE WELL
PIP, PIP CHEERIO
WE’LL BE BACK SOON.
— 58 —
L
I O N E L
B
A R T
’
S
OLIVER!
ACT ONE
Scene Seven T he Street.
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.
#25—The Robbery MR BROWNLOW’s pocket is picked. DODGER and CHARLEY run, and BROWNLOW turns to be confronted by OLIVER. OLIVER freezes.
MR BROWNLOW
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.
#26—Chaos #27—The Chase (Finale Act 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. END OF ACT ONE.
L
I O N E L
B
A R T
’
S
OLIVER!
— 59 —
ACT TWO
Scene One
T he “T hree Cripples”, a Public House that evening.
#28—Oom-Pah-Pah 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.
CHAIRMAN
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.
CUSTOMERS
Good old Nancy! Come on Nancy! All right! All right! Oom-pah-pah!
NANCY CHAIRMAN NANCY
THERE’S A LITTLE DITTY
THEY’RE SINGING IN THE CITY— ESPESHLY WHEN THEY’VE BIN ON THE GIN
OR THE BEER.
IF YOU’VE GOT THE PATIENCE,
YOUR OWN IMAGINATIONS
WILL TELL YOU JUST EXACTLY
WHAT YOU WANT TO HEAR…
ALL
OOM-PAH-PAH! OOM PAH-PAH!
THAT’S HOW IT GOES,
OOM-PAH-PAH! OOM-PAH-PAH!
EV’RYONE KNOWS.
NANCY
THEY ALL SUPPOSE WHAT THEY WANT TO SUPPOSE
WHEN THEY HEAR… OOM-PAH-PAH!!
— 60 —
L
I O N E L
B
A R T
’
S
OLIVER!
(NANCY)
MISTER PERCY SNODGRASS
WOULD OFTEN HAVE THE ODD GLASS—
BUT NEVER WHEN HE THOUGHT ANYBODY COULD SEE. SECRETLY HE’D BUY IT,
AND DRINK IT ON THE QUIET,
AND DREAM HE WAS AN EARL WIV A GIRL ON EACH KNEE!
CUSTOMERS & NANCY
OOM-PAH-PAH! OOM-PAH-PAH!
THAT’S HOW IT GOES.
OOM-PAH-PAH! OOM-PAH-PAH!
EV’RYONE KNOWS…
WHAT IS THE CAUSE OF HIS RED SHINY NOSE? CAN IT BE… OOM-PAH-PAH? PRETTY LITTLE SALLY
NANCY
GOES WALKING DOWN THE ALLEY,
DISPLAYS HER PRETTY ANKLES TO ALL OF THE MEN.
THEY COULD SEE HER GARTERS,
BUT NOT FOR FREE-AND-GRATIS—
AN INCH OR TWO, AND THEN SHE KNOWS
WHEN TO SAY WHEN!
ALL
OOM-PAH-PAH! OOM-PAH-PAH!
THAT’S HOW IT GOES.
OOM-PAH-PAH! OOM-PAH-PAH!
EV’RYONE KNOWS…
NANCY
WHETHER IT’S HIDDEN, OR WHETHER IT SHOWS—
IT’S THE SAME… OOM-PAH-PAH!!
Hilarious laughter.
SHE WAS FROM THE COUNTRY,
BUT NOW SHE’S UP A GUM-TREE—
SHE LET A FELLER FEED ‘ER, THEN LEAD ‘ER ALONG,
WHAT’S THE GOOD O’ CRYIN’?
SHE’S MADE A BED TO LIE IN—
L
I O N E L
B
A R T
’
S
OLIVER!
— 61 —
(NANCY)
SHE’S GLAD TO BRING THE COIN IN,
AND JOIN IN THIS SONG!
ALL
OOM-PAH-PAH! OOM-PAH-PAH!
THAT’S HOW IT GOES,
OOM-PAH-PAH! OOM-PAH-PAH!
EV’RYONE KNOWS.
NANCY
SHE IS NO LONGER THE SAME BLUSHING ROSE— EVER SINCE… OOM-PAH-PAH!
Lewd laughter. (shouts)
Altogether now!
COMPANY
NANCY
THERE’S A LITTLE DITTY
OOM-PAH-PAH! OOM PAH-PAH!
CITY—
THAT’S HOW IT GOES,
THEY’RE SINGING IN THE ESPESHLY WHEN THEY’VE BIN
OOM-PAH-PAH! OOM-PAH-PAH!
IF YOU’VE GOT THE
EV’RYONE KNOWS.
ON THE GIN OR THE BEER.
PATIENCE,
THEY ALL SUPPOSE WHAT
WILL TELL YOU JUST
WHEN THEY HEAR…
THEY WANT TO SUPPOSE
YOUR OWN IMAGINATIONS
OOM-PAH-PAH!!
EXACTLY
WHAT YOU WANT
TO HEAR
ALL
OOM-PAH-PAH! OOM PAH-PAH!
THAT’S HOW IT GOES,
OOM-PAH-PAH! OOM-PAH-PAH!
EV’RYONE KNOWS.
THEY ALL SUPPOSE WHAT THEY WANT TO SUPPOSE
WHEN THEY HEAR…
OOM-PAH-PAH!!
End of song—wild applause. THREE LOUD BANGS.
— 62 —
L
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B
Enter SIKES. (In a loud whisper)
A R T
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S
OLIVER!
VOICE
Bill Sikes!
#29—My Name MUSIC begins and he sings.
SIKES
STRONG MEN TREMBLE WHEN THEY HEAR IT! THEY’VE GOT CAUSE ENOUGH TO FEAR IT!
IT’S MUCH BLACKER THAN THEY SMEAR IT! NOBODY MENTIONS… MY NAME!
RICH MEN HOLD THEIR FIVE-POUND NOTES OUT—
SAVES ME EMPTYING THEIR COATS OUT—
THEY KNOW I COULD TEAR THEIR THROATS OUT
JUST TO LIVE UP TO…
MY NAME! WIV ME
JEMMY IN ME HAND,
LEMME SEE THE MAN WHO DARES
STOP ME
TAKING WHAT I MAY—
HE CAN START TO SAY HIS PRAYERS!
BICEPS LIKE AN IRON GIRDER,
FIT FOR DOING OF A MURDER,
IF I JUST SO MUCH AS HEARD A
BLOKE EVEN WHISPER…
(Whispers)
MY NAME!
‘BILL SIKES’ SOME TOFF, SLUMMING WIV HIS VALET,
BUMPED INTO ME IN THE ALLEY—
NOW HIS EYES’LL NEVER TALLY—
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OLIVER!
(SIKES)
HE’D NEVER HEARD OF… MY NAME!
ONE BLOKE
USED TO BOAST THE CLAIM
HE COULD TAKE MY NAME IN VAIN… POOR BLOKE…
SHAME ‘E WAS SO GREEN—
NEVER WAS ‘E SEEN AGAIN! ONCE BAD—WHAT’S THE GOOD OF TURNING?
IN HELL—I’LL BE THERE A-BURNING—
MEANWHILE, THINK OF WHAT I’M EARNING ALL ON ACCOUNT OF… MY NAME!
WHAT IS IT? WHAT IS IT? WHAT IS IT?…
NANCY
(Spoken)
Bill Sikes.
(End of song.)
NANCY kisses BILL. DODGER enters breathless and in a panic. Dialogue during underscore.
#30—Underscore After “My Name” Fagin!
Fagin!
Fagin!
DODGER
(He pounds the wall) (Entering)
FAGIN
Dodger! Where’s Oliver? Where’s the boy?
FAGIN takes hold of DODGER’s ear.
(to DODGER)
What—has-become-of—Oliver?
— 63 —
— 64 —
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I O N E L
(in between being shaken)
B
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OLIVER!
DODGER
Got took away in a coach!
FAGIN
(pulling Dodger up by his coat)
Who coach? What coach? Where coach?
DODGER slithers out of coat and shirt and he is naked from the waist up. (breathlessly)
DODGER
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! Where to? Quick? Speak!
FAGIN
DODGER
19, Chepstowe Gardens… Bloomsbury… I run all the way.
(Fretfully)
FAGIN
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!
(aloud)
Who?
(to nobody in particular)
SIKES
FAGIN
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.
(grinning)
SIKES
That’s very likely… You’re blowed upon Fagin.
(still to nobody in particular)
FAGIN
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.
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OLIVER!
SIKES starts towards FAGIN, who merely stares vacantly ahead.
SIKES
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.
DODGER FAGIN
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. It’s no good trying it on with me.
SIKES goes across to her menacingly.
NANCY
BILL
And just what do you mean by that remark?
NANCY gets up and faces SIKES.
NANCY
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?
BILL
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.
FAGIN
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? She’ll go Fagin.
SIKES
— 65 —
— 66 —
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OLIVER!
SIKES turns away. With sudden spirit, NANCY looks up at Fagin. No she won’t Fagin!
NANCY SIKES
Yes, she will Fagin!
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.
NANCY
Alright Bet. Go home. There’s a good girl.
Visual cue: as Bet gets halfway upstage
#31—As Long As He Needs Me AS LONG AS HE NEEDS ME…
OH, YES, HE DOES NEED ME…
IN SPITE OF WHAT YOU SEE…
…I’M SURE THAT HE NEEDS ME. WHO ELSE WOULD LOVE HIM STILL
WHEN THEY’VE BEEN USED SO ILL?
HE KNOWS I ALWAYS WILL…
AS LONG AS HE NEEDS ME.
I MISS HIM SO MUCH WHEN HE IS GONE,
BUT WHEN HE’S NEAR ME
I DON’T LET ON…
The TAVERN KEEPER is in the background putting chairs on tables and clearing up tankards. …THE WAY I FEEL INSIDE.
THE LOVE, I HAVE TO HIDE…
THE HELL! I’VE GOT MY PRIDE
AS LONG AS HE NEEDS ME.
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OLIVER!
(NANCY)
HE DOESN’T SAY THE THINGS HE SHOULD.
HE ACTS THE WAY HE THINKS HE SHOULD. BUT ALL THE SAME, I’LL PLAY
THIS GAME
HIS WAY.
AS LONG AS HE NEEDS ME …
I KNOW WHERE I MUST BE.
I’LL CLING ON STEADFASTLY…
AS LONG AS HE NEEDS ME.
AS LONG AS LIFE IS LONG…
I’LL LOVE HIM RIGHT OR WRONG.
AND SOMEHOW, I’LL BE STRONG… AS LONG AS HE NEEDS ME.
IF YOU ARE LONELY
THEN YOU WILL KNOW…
WHEN SOMEONE NEEDS YOU, YOU LOVE THEM SO.
I WON’T BETRAY HIS TRUST…
THOUGH PEOPLE SAY I MUST.
I’VE GOT TO STAY TRUE, JUST
AS LONG AS HE NEEDS ME.
#32—Transition to “Where Is Love? (Reprise)”
— 67 —
— 68 —
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OLIVER!
ACT TWO
Scene Two
Brownlow’s house – bedroom, stair s, mor ning room and street outside.
#33—Where Is Love? (Reprise) In the bedroom, MRS BEDWIN sits by Oliver’s bed singing a lullaby. WHERE IS LOVE?
MRS BEDWIN
DOES IT FALL FROM SKIES ABOVE?
IS IT UNDERNEATH THE WILLOW TREE THAT YOU’VE BEEN DREAMING OF?
WHERE IS SHE…
OLIVER embraces Mrs Bedwin.
They look out of window as street criers appear.
#34—Who Will Buy? (Part 1) ROSE SELLER
WHO WILL BUY MY SWEET RED ROSES? TWO BLOOMS FOR A PENNY.
WHO WILL BY MY SWEET RED ROSES?
TWO BLOOMS FOR A PENNY.
WHO WILL BY MY SWEET RED ROSES?
TWO BLOOMS FOR A PENNY.
MILKMAID
WILL YOU BUY ANY MILK TODAY, MISTRESS?
ANY MILK TODAY, MISTRESS?
ROSE SELLER
WILL YOU BUY MY SWEET RED ROSES?
MILKMAID
ANY MILK TODAY? MISTRESS?
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OLIVER!
— 69 —
ROSE SELLER
TWO BLOOMS FOR A PENNY
MILKMAID
STRAWBERRY SELLER
RIPE STRAWBERRIES, RIPE!
RIPE STRAWBERRIES, RIPE!
ANY MILK TODAY?
RIPE STRAWBERRIES, RIPE!
MISTRESS?
ROSE SELLER
WHO WILL BUY MY SWEET RED ROSES?
MILKMAID
RIPE STRAWBERRIES RIPE
KNIFE-GRINDER
KNIVES, KNIVES TO GRIND!
ANY MILK TODAY?
ANY KNIVES TO GRIND?
MISTRESS?
KNIVES, KNIVES TO GRIND!
ANY KNIVES TO GRIND?
WHO WILL BUY?
STRAWBERRY SELLER
WHO WILL BUY? WHO WILL BUY? WHO WILL BUY?
MILKMAID ROSE SELLER OLIVER
WHO WILL BUY
THIS WONDERFUL MORNING? SUCH A SKY
YOU NEVER DID SEE!
ROSE SELLER
WHO WILL BUY MY SWEET RED ROSES? WHO WILL TIE
OLIVER
IT UP WITH A RIBBON,
AND PUT IT IN A BOX FOR ME?
STRAWBERRY SELLER
RIPE STRAWBERRIES, RIPE!
— 70 —
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OLIVER!
OLIVER
SO I COULD SEE IT AT MY LEISURE— WHENEVER THINGS GO WRONG,
AND I WOULD KEEP IT AS A TREASURE—
TO LAST MY WHOLE LIFE LONG! ANY MILK TODAY?
MILKSELLER OLIVER
WHO WILL BUY
THIS WONDERFUL FEELING? I’M SO HIGH
I SWEAR I COULD FLY.
KNIFE GRINDER
KNIVES! KNIVES TO GRIND!
STRAWBERRY SELLER
RIPE STRAWBERRIES, RIPE!
OLIVER
ME, OH MY!
I DON’T WANT TO LOSE IT— SO WHAT AM I TO DO.
TO KEEP THE SKY SO BLUE?
THERE MUST BE SOMEONE WHO WILL BUY?
WHO WILL BUY?
KNIFE GRINDER
STRAWBERRY SELLER
WHO WILL BUY? WHO WILL BUY? WHO WILL BUY?
MILKMAID ROSE SELLER BROWNLOW
Come along Dr Grimwig, I think you’ll find a great improvement in the boy. That sir, is for me to decide.
DR GRIMWIG
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OLIVER!
BROWNLOW
Thank you, Mrs Bedwin. Mr Brownlow.
B
MRS BEDWIN MR BROWNLOW
How do you feel today, my boy?
OLIVER
Very happy, sir. May I stay here always, sir?
BROWNLOW
If you wish, dear boy, if you wish. Here’s the doctor come to see you.
GRIMWIG
Well, he’s certainly looking better. But you’re still not sleeping well, are you? Oh yes, I sleep very well sir.
OLIVER
GRIMWIG
Ah. Bad dreams, though, I’ve no doubt. Nightmares eh? No sir, I don’t have dreams.
OLIVER
GRIMWIG
Thought so! But you’re hungry aren’t you? No, doctor.
OLIVER
GRIMWIG
No. You’re not hungry. Not thirsty are you? If that boy is thirsty, I’ll eat my head! Are you? Yes sir. I am rather thirsty.
OLIVER
GRIMWIG
Just as I expected. It’s very natural he should be thirsty. You may give him a little tea. Thank you, Doctor. May I get up sir?
MRS BEDWIN OLIVER
— 71 —
— 72 —
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OLIVER!
GRIMWIG
Say aahhh...
(Inserting a spatula into his mouth.)
Aahhh
A R T
OLIVER
DR GRIMWIG
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.
MRS BEDWIN BROWNLOW
You’ll be glad to be up again, Oliver.
OLIVER
(To Mrs Bedwin seeing his new clothes)
Do I wear these?
MRS BEDWIN
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.
BROWNLOW
He’s a fine looking boy, don’t you think Grimwig?
GRIMWIG
Couldn’t tell you. I only know two sorts of boys. Mealy boys and beef-faced boys. And which is Oliver?
BROWNLOW
Mealy! Where does he come from?
GRIMWIG
BROWNLOW
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.
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OLIVER!
GRIMWIG
— 73 —
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. Only that he’s an orphan
BROWNLOW
(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.
GRIMWIG
Stuff and nonsense. You’re imagining things.
A bell rings and a MAID appears.
Yes, what is it? There’s someone to see you sir.
A boy enters running.
What does he want?
BROWNLOW MAID
BROWNLOW BOY
Books you ordered from the bookseller, sir.
BOY exits.
Ah yes, thank you…
(he turns away)
Now, I’ve got to give you some…
(the BOY has fled)
Hey! Wait a moment…
BROWNLOW
— 74 —
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OLIVER!
OLIVER and MRS BEDWIN have appeared at the top of the stairs. BROWNLOW shouts after the MESSENGER BOY.
(BROWNLOW)
Hey! Come back! Oh really, really, really and I particularly wished some books to be returned today.
(cannily)
GRIMWIG
Why not send Oliver with them.
OLIVER
Yes! Do let me take them for you please, sir.
BROWNLOW
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.
#35—Portrait Music OLIVER is about to go but BROWNLOW holds his hand, then his eyes move to a portrait on the wall. OLIVER looks. She’s a very pretty lady, isn’t she, Sir?
(Watching Oliver)
OLIVER
BROWNLOW
Yes it’s a portrait of my daughter Agnes… I’ll take the books then sir…
(absently)
OLIVER
BROWNLOW
Yes… you take the books
OLIVER exits.
GRIMWIG
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.
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OLIVER!
BROWNLOW
(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?
GRIWMWIG
Can’t say I do.
BROWNLOW
Well in ten minutes Dr Grimwig, when the boy returns, I think you will see.
GRIMWIG
Yes Mr Brownlow, ten minutes.
MUSIC starts
#36—Who Will Buy? (Part 2)
WHO WILL BUY?
KNIFE GRINDER
STRAWBERRY SELLER
WHO WILL BUY? WHO WILL BUY? WHO WILL BUY?
MILKMAID ROSESELLER
WHO WILL BUY
COMPANY
THIS WONDERFUL MORNING?
SUCH A SKY
YOU NEVER DID SEE! WHO WILL TIE
IT UP WITH A RIBBON,
AND PUT IT IN A BOX FOR ME? THERE’LL NEVER BE A DAY SO SUNNY,
IT COULD NOT HAPPEN TWICE.
WHERE IS THE MAN WITH ALL THE MONEY?
IT’S CHEAP AT HALF THE PRICE!
— 75 —
— 76 —
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WHO WILL BUY
B
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OLIVER!
(COMPANY)
THIS WONDERFUL FEELING? I’M SO HIGH
I SWEAR I COULD FLY
ME, OH MY!
I DON’T WANT TO LOSE IT—
SO WHAT AM I TO DO
TO KEEP THE SKY SO BLUE?
THERE MUST BE SOMEONE WHO WILL…BUY! THERE’LL NEVER BE A DAY SO SUNNY
IT COULD NOT HAPPEN TWICE
WHERE IS THE MAN WITH ALL THE MONEY IT’S CHEAP AT HALF THE PRICE
The side-show enters.
WHO WILL BUY THIS WONDERFUL FEELING I’M SO HIGH I SWEAR I COULD FLY
ME OH MY I DON’T WANT TO LOSE IT SO WHAT AM I TO DO
TO KEEP THE SKY SO BLUE
THERE MUST BE SOMEONE
WHO WILL BUY
#37—Who Will Buy? (Part 3) Instrumental as the side-show perform.
WHO WILL BUY THIS WONDERFUL MORNING
SUCH A SKY YOU NEVER DID SEE
WHO WILL TIE IT UP WITH A RIBBON
AND PUT IT IN A BOX FOR ME
THERE’LL NEVER BE A DAY SO SUNNY
IT COULD NOT HAPPEN TWICE
WHERE IS THE MAN WITH ALL THE MONEY
IT’S CHEAP AT HALF THE PRICE
WHO WILL BUY, WHO WILL BUY, WHO WILL BUY,
WHO WILL BUY, WHO WILL BUY, WHO WILL BUY,
WHO WILL BUY, WHO WILL BUY
L
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OLIVER!
(COMPANY)
WHO WILL BUY THIS WONDERFUL FEELING I’M SO HIGH I SWEAR I COULD FLY
ME OH MY I DON’T WANT TO LOSE IT SO WHAT AM I TO DO
TO KEEP THE SKY SO BLUE
OLIVER
THERE MUST BE SOMEONE
STRAWBERRY SELLER
MUST BE SOMEONE MUST BE SOMEONE
MILK MAID
KNIFE-GRINDER
MUST BE SOMEONE WHO WILL BUY
COMPANY
(Muisc Ends)
NANCY & BET enter they have been lying in wait
OLIVER
THERE’LL NEVER BE A DAY SO SUNNY
IT COULD NOT HAPPEN TWICE
WHERE IS THE MAN WITH ALL THE MONEY ITS CHEAP AT HALF THE PRICE
WHO WILL BUY THIS WONDERFUL FEELING
I’M SO HIGH I SWEAR I COULD FLY
ME OH MY I DON’T WANT TO LOSE IT SO…
Oh! my dear brother!
NANCY
(She throws her arms about his neck.)
#38—Recapture Leggo! Leggo! Nancy!
A CROWD gathers round.
OLIVER
— 77 —
— 78 —
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OLIVER!
NANCY
I’ve found him! Oliver, oh Oliver! My dear little brother! Where have you been? We’ve been worried out of our heads
FIRST WOMAN
What’s the matter love?
NANCY
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. It’s not true! The young wretch!
OLIVER
SECOND WOMAN
Go home, you little brute.
FIRST WOMAN OLIVER
I’m not! I haven’t any mother—or father! I’m an orphan! Oh heavens. Just listen to him.
OLIVER notices BET nearby.
Bet! Tell them to let me go!
NANCY
OLIVER NANCY
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.
SIKES FIRST MAN
SIKES
Young Oliver? Come home to your poor mother—you young dog! Come on home!
He grabs OLIVER’s shoulders.
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OLIVER!
(SIKES)
(sees books)
What, books, too? You’ve been stealing again have you? He’s nothing but a thief and a vagabond.
SIKES hits OLIVER.
SECOND MAN
That’s right, that’s what he needs.
SECOND MAN exits.
OLIVER
Let go. I don’t belong to them. Help! Help!
SIKES
(Putting his hand over OLIVER’S mouth)
Now you little bleeder, you’re coming with us. All right Bill. Leave him alone. Say goodbye to your fancy living. Leave him Bill, we’re here now.
NANCY SIKES NANCY
— 79 —
— 80 —
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OLIVER!
ACT TWO
Scene Three
T hieves Kitchen.
Enter SIKES twisting OLIVER’s arm, followed by NANCY and BET. NANCY hangs respectable shawls, hats etc around the fireplace.
FAGIN
Aaah! So you’ve come home again, have you Oliver my dear? Look at his togs, Fagin!
All the boys laugh and sneer.
DODGER
CHARLEY
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. (with an ironical bow)
FAGIN
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. Cor! Look at this!
DODGER
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.
Hullo, what’s that? That’s mine, Fagin.
SIKES
FAGIN
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.
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OLIVER!
SIKES
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)
SIKES FAGIN
This is hardly fair, Bill—hardly fair, is it, Nancy?
SIKES
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.
OLIVER
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.
SIKES
(Advancing towards OLIVER menacingly.)
So ‘e’ll be down here, will ‘e? Leave ‘im alone, Bill!
NANCY SIKES
(glares at NANCY, then turns to OLIVER)
What did you tell him about us? Nothing.
OLIVER
THE BOYS, sensing impending violence, hide themselves in corners.
SIKES
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.
— 81 —
— 82 —
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(as he tries to escape)
B
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OLIVER!
OLIVER
Help! Help!
SIKES grabs him, OLIVER hits SIKES across the face.
Hit me would you?
SIKES
He pushes off OLIVER and makes for his cudgel. NANCY rushes forward and grabs SIKES’ arm.
No leave him alone Bill!
NANCY SIKES
Stand off me, or I’ll split yer head open!
NANCY
Go on, then kill me! You’ll have to before I’ll let you lay a hand on that boy! Keep out o’this—I’m warnin’ you.
SIKES
SIKES flings NANCY across the room.
FAGIN
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.
SIKES NANCY FAGIN
Then keep quiet, will yer. All this violence. Tell ‘em all about us would you?
SIKES
#39—It’s A Fine Life (Reprise) I won’t stand by and see it done, Bill.
NANCY
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OLIVER!
— 83 —
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 goin’ 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?
(hysterically)
NANCY
Ah, yes, I know all about it. You don’t have to tell me!
SIKES
A fine one for the boy to make a friend of, you are!
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, ‘e’s a liar and a thief and all that’s bad. Ain’t that enough for you, without beating him to death!
FAGIN
Come, come Nancy, we must have civil words. Civil words, Bill.
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 fifteen years since and don’t you forget it! Well, what if you have?
SIKES
It’s your living ain’t it?.
NANCY
SOME LIVING! SOME LIVING!
SIKES
WHAT YOU DESERVE YOU GET.
NANCY
NO GETTING! ALL GIVING!
FAGIN
MUST WE HAVE MURDERS YET?
SIKES
THERE’LL BE MURDERS! THERE’LL BE TERROR—
…SUCH AS YOU’VE NEVER SEEN!
— 84 —
L
I O N E L
LORD HELP ME!
B
A R T
’
S
OLIVER!
NANCY FAGIN
NO VIOLENCE… PLEASE NO VIOLENCE… PLEASE NO SCENES
SIKES
WATCH IT, NANCY! MAKE NO ERROR! THERE AIN’T NO IN-BETWEEN…
LORD HELP ME! NO VIOLENCE… …IN LIFE!
NANCY FAGIN SIKES NANCY
IF YOU DON’T MIND MAKING A MATE OF SATAN IT’S A FINE LIFE!
FINE LIFE! MY LIFE! SATAN!
SIKES FAGIN SIKES
NO, WE DON’T MIND KEEPING THE ANGELS WAITING. IT’S A FINE LIFE!
FINE LIFE! FINE LIFE! COME…
DODGER NANCY FAGIN
…BETTER DO AS YOU ARE TOLD. WATCH OUT!
SIKES
FAGIN
BILL HAS GOT A HEART OF GOLD!
L
I O N E L
GET OUT…
B
A R T
’
S
OLIVER!
SIKES FAGIN
BETTER NOT TO MESS WITH IT… ON THE JOB!
SIKES
FAGIN
BETTER MAKE THE BEST OF IT… SHUT YOUR GOB! IT’S A FINE… FINE… FINE… FINE… …LIFE!
NANCY exits, followed by SIKES.
SIKES
FAGIN SIKES DODGER NANCY ALL
FAGIN
Take care of her, Bill. Take care of him, Dodger.
DODGER takes OLIVER off.
…and I’ll take care of myself!
#40—Reviewing The Situation (sings)
A MAN’S GOT A HEART, HASN’T HE?
JOKING APART—HASN’T HE?
AND THO’ I’D BE THE FIRST ONE TO SAY THAT I WASN’T A SAINT,
I’M FINDING IT HARD TO BE REALLY AS BLACK AS THEY PAINT.
— 85 —
— 86 —
L
I O N E L
B
A R T
’
S
OLIVER!
(FAGIN)
I’M REVIEWING THE SITUATION
CAN A FELLOW BE A VILLAIN ALL HIS LIFE? ALL THE TRIALS AND TRIBULATION!
BETTER SETTLE DOWN AND GET MYSELF A WIFE.
AND A WIFE WOULD COOK AND SEW FOR ME,
AND COME FOR ME, AND GO FOR ME,
(AND GO FOR ME), AND NAG AT ME,
THE FINGERS, SHE WILL WAG AT ME.
THE MONEY SHE WILL TAKE FROM ME. A MISERY, SHE’LL MAKE FROM ME…
…I THINK I’D BETTER THINK IT OUT AGAIN! A WIFE YOU CAN KEEP, ANYWAY, I’D RATHER SLEEP, ANYWAY.
LEFT WITHOUT ANYONE IN THE WORLD, AND I’M STARTING FROM NOW
SO “HOW TO WIN FRIENDS AND TO INFLUENCE PEOPLE” —SO HOW?
I’M REVIEWING THE SITUATION,
I MUST QUICKLY LOOK UP EV’RYONE I KNOW.
TITLED PEOPLE—WITH A STATION—
WHO CAN HELP ME MAKE A REAL IMPRESSIVE SHOW! I WILL OWN A SUITE AT CLARIDGES, AND RUN A FLEET OF CARRIAGES,
AND WAVE AT ALL THE DUCHESSES
WITH FRIENDLINESS, AS MUCH AS IS
BEFITTING OF MY NEW ESTATE…
(He waves graciously.)
“GOOD MORROW TO YOU, MAGISTRATE!”
…I THINK I’D BETTER THINK IT OUT AGAIN.
SO WHERE SHALL I GO—SOMEBODY?
WHO DO I KNOW? NOBODY!
ALL MY DEAREST COMPANIONS
HAVE ALWAYS BEEN VILLAINS AND THIEVES…
SO AT MY TIME OF LIFE
I SHOULD START TURNING OVER NEW LEAVES…?
L
I O N E L
B
A R T
’
S
OLIVER!
(FAGIN)
I’M REVIEWING THE SITUATION.
IF YOU WANT TO EAT—YOU’VE GOT TO EARN A BOB!
IS IT SUCH A HUMILIATION
FOR A ROBBER TO PERFORM AN HONEST JOB?
SO A JOB I’M GETTING, POSSIBLY,
I WONDER WHO THE BOSS’LL BE?
I WONDER IF HE’LL TAKE TO ME…?
WHAT BONUSES HE’LL MAKE TO ME…?
I’LL START AT EIGHT, AND FINISH LATE,
AT NORMAL RATE, AND ALL…BUT WAIT!
…I THINK I’D BETTER THINK IT OUT AGAIN. WHAT HAPPENS WHEN I’M SEVENTY? MUST COME A TIME. . . SEVENTY.
WHEN YOU’RE OLD, AND IT’S COLD,
AND WHO CARES IF YOU LIVE OR YOU DIE,
YOUR ONE CONSOLATION’S THE MONEY
YOU MAY HAVE PUT BY…
I’M REVIEWING THE SITUATION.
I’M A BAD ‘UN, AND A BAD ‘UN I SHALL STAY!
YOU’LL BE SEEING NO TRANSFORMATION,
BUT IT’S WRONG TO BE A ROGUE IN EV’RY WAY. I DON’T WANT NOBODY HURT FOR ME, OR MADE TO DO THE DIRT FOR ME.
THIS ROTTEN LIFE IS NOT FOR ME.
IT’S GETTING FAR TOO HOT FOR ME.
DON’T WANT NO ONE TO ROB FOR ME.
BUT WHO WILL FIND A JOB FOR ME,
DON’T WANT NO IN BETWEEN FOR ME
BUT WHO WILL CHANGE THE SCENE FOR ME? …I THINK I’LL HAVE TO THINK IT OUT AGAIN!
Blackout.
HEY!
— 87 —
— 88 —
L
I O N E L
B
A R T
’
S
OLIVER!
ACT TWO
Scene Four
W idow Cor ney’s Par lour.
#41—Back To The Workhouse 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.
MR BUMBLE
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. (shrieking)
WIDOW CORNEY
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?
MR BUMBLE
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.
(contemptuously)
Your prerogative!
WIDOW CORNEY
MR BUMBLE
I said the word ma’am. The prerogative of a man… is to command.
WIDOW CORNEY
And what’s the prerogative of a woman, in the name of Goodness?
L
I O N E L
B
A R T
’
S
OLIVER!
MR BUMBLE
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!
WIDOW CORNEY
Oooooh! You hard-hearted brute!
MR BUMBLE
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.
WIDOW CORNEY
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?
(backing away)
MR BUMBLE
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.
#42—Old Sally What’s the matter?
WIDOW CORNEY MATRON
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. You better come in.
They enter.
WIDOW CORNEY
— 89 —
— 90 —
L
I O N E L
Well what is it?
B
S
OLIVER!
SALLY
Turn her away.
(to MATRON)
’
(WIDOW CORNEY)
(indicating MATRON)
But Sal… it’s your old friend.
A R T
MATRON WIDOW CORNEY
Go on, get out of it!
MATRON tries to protest but WIDOW CORNEY pushes her off into the shadows.
SALLY
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!
WIDOW CORNEY
Never mind the year, what about her?
(sitting up fiercely with wild eyes)
SALLY
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.
(drawing closer)
WIDOW CORNEY
Gold? Go on, go on—yes. What of it?
SALLY
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.
The boy’s name? They called him—
(shaking OLD SALLY)
Yes?
WIDOW CORNEY SALLY WIDOW CORNEY
L
I O N E L
Oliver. The gold I stole was… Yes, yes—what?
B
A R T
’
S
OLIVER!
SALLY WIDOW CORNEY
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.
MR BUMBLE
We must indeed, ma’am. We must indeed.
#43—Oliver! (Reprise) OLIVER! OLIVER!
BOTH WIDOW CORNEY
THAT WAS THE MITE
WITH THE LARGE APPETITE.
OLIVER! OLIVER!
BOTH
MR BUMBLE
APPARENTLY HE’S FROM A RICH FAMILY!
WIDOW CORNEY
AND TO THINK WE NEARLY
STUPIDLY WENT AND LOST TRACK OF HIM…
MR BUMBLE
IF THE TRUTH WERE KNOWN, WE
BOTH WERE DELIGHTED AT SEEING THE BACK OF HIM. OLIVER! OLIVER! WHAT’LL WE DO…?
BOTH
MR BUMBLE
WIDOW CORNEY
WE MUST GIVE HIM HIS DUE…
BOTH
…AND WE’LL PRAISE THE DAY
SOMEBODY GAVE US
— 91 —
— 92 —
L
I O N E L
RAISE THE FLAGS
B
A R T
’
S
OLIVER!
MR BUMBLE
WIDOW CORNEY
COMING TO SAVE US CASH REWARDS
BOTH
MR BUMBLE
PLUS A PROMOTION
WIDOW CORNEY
WHO’D HAVE THOUGHT? HADN’T A NOTION
MR BUMBLE BOTH
PRAISE THE LORD, SOMEBODY BROUGHT US O-LI-VER!
(MUSIC ends.)
L
I O N E L
B
A R T
’
S
OLIVER!
— 93 —
ACT TWO
Scene Five
T he Brownlow’s Drawing Room.
MR BROWNLOW
I understand you bring information regarding the boy Oliver Twist.
(pre-prepared)
MR BUMBLE
We decided to come in answer to your advertisement? I decided.
(deflated)
WIDOW CORNEY MR BUMBLE
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.
MR BROWNLOW
Yes, yes it’s very good of you to come. Now what have you got to tell me?
MR BUMBLE
(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.
MR BROWNLOW
You say when he left your work house he went to an undertaker’s?
MR BUMBLE
Yes, Mr Sowerberry, the undertaker took Oliver from us for three pounds
MR BROWNLOW
You mean to say that you sold him… like an animal?
MR BUMBLE
Well, sir, it was Mrs Bumble who actually authorised the sale.
MR BROWNLOW
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!
— 94 —
L
I O N E L
(outraged)
B
A R T
’
S
OLIVER!
WIDOW CORNEY
Oh! How dare you speak so to me, sir! I came here to help you…
MR BROWNLOW
You came here in the hope of profiting from your own greed and dishonesty!
(trying to save the situation)
MR BUMBLE
As to that, sir—if you consider the trinket don’t properly belong to my dear wife… Shut up, you old fool!
WIDOW CORNEY
BUMBLE subsides, BROWNLOW takes out his wallet. Nancy appears in the background. (taking out some notes)
MR BROWNLOW
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. Yes, sir.
MRS BEDWIN
WIDOW CORNEY
We know the way out thank you very much.
She sweeps past MRS BEDWIN out of the room.
MR BUMBLE
I hope Sir that this unfortunate little circumstance will not deprive me of my porochial office?
MR BROWNLOW
Indeed it will. And you may think yourself well off besides.
MR BUMBLE
Well it was all Mrs Bumble. She would do it.
MR BROWNLOW
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.
L
I O N E L
B
A R T
’
S
OLIVER!
MR BUMBLE
(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…
#44—The Locket By experience!
BUMBLE exits.
BROWNLOW is left alone looking at the locket in his hand.
MRS BEDWIN enters, looking flustered.
MRS BEDWIN
There is a young woman enquiring for you, sir.
MR BROWNLOW
Mrs Bedwin… take a look at this miniature. Can you see who it is?
(he hands her the locket.)
MRS BEDWIN
(amazed)
Why it’s, Miss Agnes, sir!
MR BROWNLOW
Yes. My daughter Agnes. She must have found her way to the workhouse and had the child there.
MRS BEDWIN
If only she had told us.
NANCY appears in the doorway. (Seeing her)
MR BROWNLOW
Mrs Bedwin, who is this?
(Turning to MR BROWNLOW)
It’s about the boy sir.
Have you news of Oliver?
MRS BEDWIN
MR BROWNLOW
— 95 —
— 96 —
L
I O N E L
B
A R T
’
S
OLIVER!
NANCY
He’s in danger—in bad company. He was dragged off the day you sent him out with them books. Who took him? Me and…
MR BROWNLOW NANCY
(she stops)
…and someone else.
MR BROWNLOW
Where can I find him? Who is this other person you speak of? Take me to him.
NANCY
No! No, I can’t! I shouldn’t have said that!
MR BROWNLOW
Now come, sit down. You want to help the boy, don’t you? Why else are you here? I do want to help—but…
NANCY
MR BROWNLOW
Then at least tell me where I can find him.
NANCY
I can’t. But I’ll bring him to you. Not here. It’s too far. Where then?
MR BROWLOW NANCY
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.
(making up his mind)
Very well—I’ll be there.
MR BROWNLOW
L
I O N E L
B
A R T
’
S
OLIVER!
NANCY
Thank God!
She turns to go.
MR BROWLOW
Wait. Has the boy been hurt! Ill-treated? If so, I shall…
NANCY
I can’t say no more. Please. He’ll kill me as it is if he finds out where I’ve been.
(insistently)
MR BROWNLOW
Who is this man? Perhaps we can…
NANCY
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?
MRS BEDWIN
MR BROWNLOW NANCY
Yes, but he’s mine, and I’m his. I’ve got to go back. I want to go back.
(Nancy exits.)
#45—As Long As He Needs Me (Reprise) MRS BEDWIN
Do you think we can trust her Mr Brownlow?
MR BROWNLOW
I’m afraid we have no choice Mrs Bedwin.
In the street outside Brownlows house NANCY appears.
NANCY
HE DOESN’T ACT AS THO’ HE CARES.
BUT DEEP INSIDE I KNOW HE CARES.
AND THAT IS WHY I’M TIED
RIGHT BY HIS SIDE.
AS LONG AS HE NEEDS ME…
I KNOW WHERE I MUST BE.
— 97 —
— 98 —
L
I O N E L
B
A R T
’
S
OLIVER!
(NANCY)
BUT, WILL HE NEVER SEE
THAT SOMEONE ELSE NEEDS ME?
AS LONG AS LIFE IS LONG…
I’LL LOVE HIM…RIGHT OR WRONG… BUT, SOMETHING JUST AS STRONG, SAYS
SOMEONE ELSE NEEDS ME… A CHILD
WITH NO-ONE TO TAKE HIS PART. I’LL TAKE HIS PART, BILL… …BUT, CROSS MY HEART!
I WON’T BETRAY YOUR TRUST.
THO’ PEOPLE SAY I MUST.
MY HEART WILL STAY TRUE… JUST…
…AS LONG AS BILL NEEDS ME.
End of song. NANCY walks towards the bridge. SIKES appears and follows her.
L
I O N E L
B
A R T
’
S
OLIVER!
ACT TWO
Scene Six
London Bridge at night.
#46—London Bridge 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.
LAMPLIGHTER
Goodnight. Goodnight.
HUSSAR GIRL
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.
NANCY
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? Give me away would yer? No, not you Bill, never you. Get away from me woman.
NANCY SIKES NANCY SIKES
— 99 —
— 100 —
L
I O N E L
B
A R T
’
S
OLIVER!
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.
SIKES
Get away from me!
He strangles her and pushes her to the ground He raises his cudgel.
NANCY
God! God help me.
SIKES hits her with the cudgel. She screams.
SIKES
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.
MR BROWNLOW
I say you there! Oh my God! Help! Help! Help!
BOW STREET RUNNERS arrive.
What happened ‘ere? There’s been a murder Did you know this woman.
FIRST RUNNER
MR BROWNLOW FIRST RUNNER 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, somebody’s murdered Nancy! What did he look like?
FIRST RUNNER
L
I O N E L
B
A R T
’
S
OLIVER!
MR BROWNLOW
He was a broad shouldered heavily built man Anything else?
FIRST RUNNER
MR BROWNLOW
He wore a black coat and he carried a heavy cudgel.
LAMP-LIGHTER
Bill Sikes!
Upper bridge descends.
FIRST MAN
(On bridge)
What’s going on?
FIRST WOMAN
It’s Nancy! Bill Sikes has killed Nancy. Where will he be?
SECOND RUNNER
He’ll be at Fagin’s
FIRST MAN
(ad lib)
CROWD
Let’s follow him (etc.)
They exit.
SIKES with OLIVER bangs on FAGIN’s trapdoor with his cudgel. Fagin, Fagin.
FAGIN appears in the trapdoor.
What is it Bill? What have you done? The game’s up Fagin.
SIKES
FAGIN SIKES FAGIN
Oh no Bill you haven’t. Not Nancy, it can’t be.
— 101 —
— 102 —
L
I O N E L
(Fagin shouts down into the trap)
B
A R T
’
S
OLIVER!
FAGIN
OUT, Boys, OUT!!!
Suddenly, like rats from out of the sewers pour the BOYS. FAGIN has his money.
DODGER
(To FAGIN)
Fagin, Fagin! What do I do? Live up to your name. Dodge about.
FAGIN
FAGIN runs away. DODGER is about to leave and then remembers something.
Me hat!
DODGER
As he runs to the trap, BOW STREET RUNNERS enters and grab him.
Where’s Fagin? I don’t know.
SECOND RUNNER DODGER
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. (off)
Fagin!
CHARLEY BATES
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.
L
I O N E L
B
A R T
’
S
OLIVER!
— 103 —
Down on stage, led by BULLSEYE, the crowd enter,. It has swelled and become more menacing. Some of the men hold torches. (chanting low)
CROWD
Sikes, Sikes, Sikes… (etc.)
(over this)
MAN
He’s on the roof !
SIKES
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!
RUNNER
BROWNLOW
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)
FAGIN
CAN SOMEBODY CHANGE?
S’POSSIBLE.
MAYBE IT’S STRANGE…
BUT IT’S POSSIBLE.
— 104 —
L
I O N E L
B
A R T
’
S
OLIVER!
(FAGIN)
ALL MY BOSOM COMPANIONS AND TREASURES— I’VE LEFT ‘EM BEHIND…
I’LL TURN A LEAF OVER, AND WHO CAN TELL WHAT I MAY FIND?
L
B
I O N E L
A R T
’
S
OLIVER!
ACT TWO FINALE
#47—Bows (Part 1) CHILDREN
IF IT’S A CHANCE TO BE
WE SHOULD SEE SOME HARDER DAYS
EMPTY LARDER DAYS WHY GROUSE
ALWAYS A CHANCE TO MEET SOMEBODY TO FOOT THE BILL
THEN THE DRINKS ARE ON THE HOUSE DRINKS ARE ON THE
MEN
COMPANY
DRINKS ARE ON THE HOUSE
FOR AFTER SOME CONSIDERATION, WE CAN STATE. . .
CONSIDER YOURSELF
ONE OF US!
#49—Bows (Part 3) IF IT SHOULD CHANCE TO BE WE SHOULD SEE
SOME HARDER DAYS
EMPTY-LARDER DAYS-
WHY GROUSE?
ALWAYS A CHANCE WE’LL MEET
SOMEBODY
TO FOOT THE BILL-
THEN THE DRINKS ARE ON THE HOUSE!
CONSIDER YOURSELF OUR MATE.
WE DON’T WANT TO HAVE NO FUSS,
FOR AFTER SOME CONSIDERATION, WE CAN STATE…
FOR AFTER SOME CONSIDERATION, WE CAN STATE…
CONSIDER YOURSELF
ONE OF US!
THE END
#50—Playout
— 105 —
1. 2.
3.
ACT 1
M U S I C A L N U M B E R S ( VO C A L B O O K )
Prologue ...........................................................................................................108
Food, Glorious Food ......................................................OLIVER and BOYS ...108 Incidental Music into “Oliver!” .............................................MR. BUMBLE ...112
4.
Oliver! ..........................................MR.BUMBLE, WIDOW CORNEY, BOYS ...113
6.
I Shall Scream! .............................MR.BUMBLE, WIDOW CORNEY, BOYS ...116
5. 7.
7.
8.
9.
Scurry Music......................................................................................................116
Boy For Sale (C minor)............................................................MR. BUMBLE ...118
Boy For Sale (D minor) ...........................................................MR. BUMBLE ...119 That’s Your Funeral...........................MR. SOWBERRY, MRS. SOWBERRY, ........ .................................................................................................MR. BUMBLE ...120
Coffin Music ......................................................................................................122
10. Where Is Love? ................................................................................OLIVER ...123 11. Next Morning ....................................................................................................124
12. The Fight ...........................................................................................................124
13. Oliver ’s Escape .................................................................................................124
14. Consider Yourself (Part One).............DODGER, OLIVER and COMPANY ...124
15. Consider Yourself (Part Two).....................................................COMPANY ...129
16. Consider Yourself (Part Three) ..................................................COMPANY ...130
17. Consider Yourself (Reprise) .......................................................COMPANY ...134
18. You’ve Got To Pick A Pocket Or Two (F minor) .............FAGIN and BOYS ...137
18. You’ve Got To Pick A Pocket Or Two (G minor) .............FAGIN and BOYS ...141 19. Rum-Tum-Tum (F minor) ...................................................................FAGIN ...145 19. Rum-Tum-Tum (G minor)...................................................................FAGIN ...146
20. Intermezzo—Part 1 ............................................................................FAGIN ...147
21. Intermezzo—Part 2 ...........................................................................................147 22. It’s A Fine Life..............................................................NANCY, BET, BOYS ...147
23. I’d Do Anything .............................................NANCY, DODGER, OLIVER ..................................................................................BET, FAGIN and BOYS ...151
24. Be Back Soon ....................................................................FAGIN and BOYS ...154
25. The Robbery ......................................................................................................158
26. Chaos .................................................................................................................158 27. Chase (Finale Act 1) ..........................................................................................158
— 106 —
ACT II
28. Oom-Pah-Pah........................................................NANCY and COMPANY ...159 29. My Name ....................................................................................BILL SIKES ...165
30. Underscore After “My Name”..........................................................................166
31. As Long As He Needs Me (F major) ...............................................NANCY ...167
31. As Long As He Needs Me (F# major) .............................................NANCY ...170
31. As Long As He Needs Me (G major) ...............................................NANCY ...173
32. Transition to “Where Is Love? (Reprise)”........................................................176 33. Where Is Love? (Reprise) .....................................................MRS. BEDWIN ...177
34. Who Will Buy? (Part One)....................................OLIVER and COMPANY ...177
35. Portrait Music ...................................................................................................182 36. Who Will Buy? (Part Two) .........................................................COMPANY ...183 37. Who Will Buy? (Part Three) .................................OLIVER and COMPANY ...187
38. Recapture...........................................................................................................193
39. It’s A Fine Life (Reprise)......................NANCY, FAGIN, SIKES, DODGER ...194 40. Reviewing The Situation ...................................................................FAGIN ...197
41. Back To The Workhouse....................................................................................202
42. Old Sally ............................................................................................................202 43. Oliver! (Reprise) ....................................MR. BUMBLE, WIDOW CORNEY ...203
44. The Locket .........................................................................................................204
45. As Long As He Needs Me (Reprise) (F major) ...............................NANCY ...204
45. As Long As He Needs Me (Reprise) (F# major) .............................NANCY ...206
45. As Long As He Needs Me (Reprise) (G major) ...............................NANCY ...208
46. London Bridge / Reviewing The Situation (Reprise) ......................FAGIN ...210
47. Bows (Part 1) ..............................................................................COMPANY ...215
49. Bows (Part 3)* .............................................................................COMPANY ...217 50. Playout...............................................................................................................218 * #48—”Bows (Part 2)” has been cut
— 107 —
— 108 —
L
I O N E L
B
A R T
’
OLIVER!
S
OLIVER! ACT ONE
1. Prologue – TACET 2. Food Glorious Food Book, Music and Lyrics by LIONEL BART
Moderato q = 104
2
b & b c ..
BOYS
..
4 TIMES
Is
it worth the wait - ing for?
5
b &b œ œ œ œ œ . All we
8
b &b
œ.
e - ver get
nœ œ
n˙
is
gru
j ‰ œ œ œ œ
œ
Will they change the bill of fare? 11
b &b œ
œ œ œ
There's not
a crust
œ œ
not
a
j ‰ nœ œ œ œ œ œ œ
œ œ œ œ œ œ œ Œ
œ.
œ œ œ œ œ œ œ
Ev - 'ry day we say our prayer
el
-
If we live 'til eight - y four
œ œ œ œ œ.
œ.
Still we get the same old
j ‰ œ œ œ œ œ
œ
crumb can we find,
bœ
can we
beg,
14
b &b . ˙
œ œ
b &b œ
œ œ œ
rall.
all
œ œ œ close our eyes
20
b &b œ Hot
3
œ œ œ
œ œ and
bœ œ Œ
sau - sage and mu- stard!
b˙
i - ma
œ
us from
nœ bœ œ œ œ
While we're in the mood
-
Œ
el
œ œ œ œ œ
can we bor - row or
a thrill
œ
3
Food
Œ
bœ œ œ œ
Cold
Œ
glo - ri - ous food!
TABLE 1
œ
œ œ
when we
Lento q = 84
Œ
3
gru
get - ting
gine
-
˙
j ‰ œ œ œ
œ
œ œ
But there's no - thing to stop
cadge,
17
œ
œ.
Œ œ œ bœ œ œ 3
jel - ly and cus- tard!
Copyright © Oliver Productions Ltd., c/o 1 Bedford Square, London WC1B 3RA, UK Unauthorised use or reproduction of any part of this script/score is an infringement of copyright. All rights reserved.
#1—Prologue / #2—Food, Glorious Food
L
2 23
b &b
TABLE 2
ALL
’S OLIVER! Oliver!
26
b &b œ
a tempo
œ
in - dye - ges - tion! 29
b &b œ
3
œ
Three ban - quets a day
our
32
b &b œ
œ œ œ 3
œ œ œ œ
3
b (shouted) b & ¿ Œ
still
œ
œ.
worth
a king's
58
bout?
What
on a
b˙
3
œ œ œ
glo - ri - ous
˙
∑
ran - som
brings
2 4œ
œ 3œ œ
ten. ten. ten.
glo - ri - ous
food
The workhouse GOVERNORS process past, following an enormous steaming meal, held by servants. Boys gape and sniff the fabulous smells.
¿
j œ œ œ œ
œ œ œ œ œ œ
pic-ture a great big steak
mar - vel - lous
Gulped
b¿
Just
won-der - ful food
∑
(shouted)
œ
it
3
food
œ
j œ œ œ ¿
bœ œ Œ
œ 3œ œ
is there more hand- some?
b & b œ.
accel.
œ 3œ œ œ
44
51
an - xious to try
œ
Food
3 b &b œ bœ œ œ
3
We're
molto rit.
˙
food.
bœ œ Œ œ œ œ
œ
fa - vour - ite di - et!
#œ
fried, roast-ed or stewed Oh,
Vivo q = 160
œ œ œ
œ œ œ œ œ œJ ‰
Rich gen - tle - men have it, boys
glo - ri - ous food!
3
3
œ
Œ
3
bœ œ œ œ
Food
b˙
b &b
œ Œ
3
What next is the ques -tion
U nœ œ Œ
œ
— 109 —
A R T
j‰ œ œ œ œ œ œ œ œ œ œ œ nœ 3
Pease pud - ding and sa - ve loys
35
B
I O N E L
œ
˙ What
food
b˙
3
œ
œ œ
swal - lowed or
œ.
What
nœ
Œ
œ
∑
sigh?
#2—Food, Glorious Food
œ
Œ
œ
œ
chewed
j œ œ œ œ
is
it we
œ. Piled
dream
a -
j œ œ œ œ peach
-
es and
— 110 —
L
65
b &b œ
œ
œ
Œ
œ
cream a - bout 73
b & b b˙
Eat
b & b b˙
Œ
œ
belt
Two
89
b &b œ
œ
Œ
œ
ap - pe - tite 97
bœ &b
chesand
œ. in
this
œ
# ## & # # n˙
105
3
glo - ri - ous
Food
#### . & #œ
113
j œ œ œ
Burned, un
-
œ
œ œ œ
œ
## & # ## œ.
j œ œ œ œ
œ
129
One
œ
then
you
œ
Work
œ Œ
think - ing of grow - ing
œ
mo - ment of know - ing
nœ
Then
food
œ.
œ
Œ
fat
œ that
Our
Œ
œ full
up
a new
Œ
œ œ œ 3
once a - gain
# nn## ## ∑
nœ œ
what it
j ¿ ¿ œ
œ.
loos - en your
3
looks like
(shouted)
care
œ œ œ
The boys move off into their own individual dream worlds.
j œ œ œ œ
Don't
œ
b˙
food.
care
3
j œ œ œ œ
˙ ~~~~~~~~~~~~~ œ.
Œ
œ.
glo - ri - ous
Just
glo - ri - ous
der - done, crude
j œ
Just
bœ
Don't
n˙
# ## & # # œ.
121
œ
˙
food
œ œ œ
˙
me - nu
œ Œ
n˙ œ œ œ
∑
œ 3œ œ
Œ
3
˙ Food
in - ter - lude
fa - bu - lous food
food
∑
bœ
œ
through the
-
3
high!
j œ œ œ œ
in
œ
nœ
j œ œ œ œ
œ 3œ œ
Œ
Œ
œ œ
right
œ.
Oliver!’ S O L I V E R !
A R T
feet
j œ
œ.
food 81
œ
Œ
Six
œ Œ
B
I O N E L
œ
nœ
œ
∑
what the cook's like
j œ œ œ œ nœ #œ
∑
œ
Œ nœ #œ
∑
up
feel - ing
sen - ses go
Œ
#2—Food, Glorious Food
reel - ing
L
4
#### # & ¢
∑
° #### & #˙ 145
glo - ri - ous food
ALL
œ.
Why
# ## n˙ &# #
160
on
j œ œ œ œ 3
should
we
#œ Œ
to
œ œ œ 3
œ
Œ ˙ ˙
3
œ œ œ
˙
œ 3œ œ
>œ
beau - ti - ful
food
œ œJ ‰ Œ
ALL
U Œ
live for
œ
Œ
noth - ing but brood
œ Œ
won-der - ful food
œ 3œ œ
˙ ˙
all that we
Do
œ Œ
OLIVER
fab - u - lous food
˙ ˙
fa - ted
mag - i - cal food
Food
#### œ 3œ œ & #
be
Œ
for
nœ œ œ œ œ
That's
œ
live
∑
œ 3
˙
more
œ
œ
all that we
œ Œ
n˙ œ œ œ
would n't we give for
nœ œ œ œ
That's
ex - tra bit
3
3
˙
3
˙
168
#### ˙ & #˙
œ Œ
for
nœ œ œ œ œ
What
ex - tra bit more
That
#### & #
˙
Ó
œ
wouldn't we give
∑
3
3
∑
nœ œ œ œ
What
n˙ œ œ œ
That
175
— 111 —
3
nœ Œ œ œ œ
˙
Food
## & # ##
˙
glo - ri - ous food
GROUP 2 + GIRLS BACKSTAGE
153
’S OLIVER! Oliver!
A R T
œ Œ
n˙ œ œ œ 3
Food
¢
B
GROUP 1 + GIRLS BACKSTAGE
° #### & #˙ 137
I O N E L
œ 3œ œ
œ Œ
mar - vel-lous food
U U U a tempo ˙ œ œ nœ #˙ œ # ˙ ˙ n œ œ 3
glo - ri - ous
food.
SEGUE Incidental Music into Oliver
#2—Food, Glorious Food
— 112 —
L
B
A R T ’ S Oliver!
I O N E L
OLIVER!
5
3. Incidental Music into "Oliver" 2
Slowly and sadly q = 80
4 &4
U ‰ ¿ J
(Mace) Slow
19
? bbb Ó bbb
22
œ.
4
4 &4
bbb 68
j œ
Allegro alla marcia q = 144
9
Pomposo q. = 88
20A
œ
21
j nœ
n œ.
2 4
bbbbbb
œ
œ.
21A
œ.
j œfi
œ
7
poco più mosso
(Mace)
œ œ j œ.
8
4 4
∑
U ‰ ¿ J
?
&
nnnnnn 44
(32A / 32B)
(Cut off on
33
& 37
Œ
œ
œ #œ
œ #œ
œ
MR BUMBLE
& bw
œ #œ
bœ nœ
œ
œ
For what you are about to receive, may the Lord make you tru - ly
39
b2 &b 4
51
&
8
Presto q = 144 poco a poco accel.
œ œ bœ bœ
bœ œ œ œ
bœ œ
œ
thank - ful.
nn
U Œ
U œ
2 #œ 4
œ
œ bœ nœ
œ bœ nœ a tempo
BOYS
œ
A
-
(Mace)
œ
¿
b˙
U Œ
bb
men.
q = 184 ancora poco accel.
œ nœ nœ œ
bU̇ mace drop) ææ
nœ œ œ nœ
œ œ nœ #œ
OLIVER walks across. OLIVER: Stop when he gets to "Please sir, I want some more." (Bowl drop) BUMBLE. U̇
U ∑
U ˙
U ∑
SEGUE Oliver
##3—Incidental Music into “Oliver”
L
6
B
I O N E L
’S OLIVER! Oliver!
— 113 —
A R T
4. Oliver CUE: MR BUMBLE: (faintly): What? OLIVER: Please, sir,
Colla voce
b2 & b b4
œ. œ. Œ
∑
œ. œ Œ .
I want some more.
MR BUMBLE: (roars): More!
œ. œ.
∑
U̇
U ˙
∑
Agitato q = 200 8
WIDOW C.
b &b b œ
œ
MR BUMBLE
œ
Œ
Catch him! 13
b &b b œ
œ
Trounce him! 28
b nœ &b b
œ #œ
œ
WIDOW C.
œ
Œ
œ
Snatch him!
Hold him!
œ œ œ œ
œ
œ nœ
œ nœ
œ #œ
œ
Œ
œ
WIDOW C.
Œ
Scold him!
œ
œ
Pounce
him!
12
œ
Pick him up and bounce
œ
MR BUMBLE
him!
œ
œ
n œ^ J
U ‰ Œ
˙
Colla voce
MR BUMBLE
j œ nœ nœ
‰
Be - fore we
Wait!
b œ œ œ &b b œ
34
put the lad to
˙
a tempo
task
b &b b ¿
(spoken)
May I
be
so
œ œ nœ œ cur - ious as
to
œ
nœ
˙
ask
his
name?
Moderato q. = 105
BOYS 40
œ œ œ œ
¿
O - li -
¿
WIDOW C. & MR B.
& œ œ œ œ.
boy want - ed more!
#œ
O - li - ver!
ver!
45
œ J œ.
nnn 68 œ
Œ
œ J œ.
WIDOW C. & MR B.
œ
O - li - ver!
#œ
œ J nœ.
O - li - ver!
œ J nœ.
O - li - ver!
#4—Oliver
MR BUMBLE
œ
œ œ
œ œ
œ
Ne - ver be - fore has WIDOW C.
œ #œ #œ
Won't ask
œ
œ
a
œ
for more when he
— 114 —
L
49
œ œ nœj
& œ
53
ban - i - ster 57
&
Which we'll throw
œ œ œ nœ œ œ
served in
œ
can - i - ster.
a
& œ &
œ.
O 69
-
him
down
and
œ.
and
blue?
He
will
curse
the
day
bb & b b b œ nœ nœ Won't ask
œ
for more when he
œ.
MR BUMBLE
long
knows what's
o - ver - due for
b nœ. & b bbb
œ.
œ
œ
up
and
one
day
œ
œ
œ J œ.
nœ
-
li - ver!
O
œ J œ.
do when he's
œ nœ
œ
bœ .
store. There's a
soo
œ
œ J bœ . -
li - ver!
next year with
which we'll
œ
œ
the
rats
he'll
#4—Oliver
œ J bœ . œ. -
œ.
push
him
œ bœ be
ty
œ.
œ bœ œ
œ
him
O - li - ver!
MR BUMBLE
a sweep-ing out
œ
œ J
nœ
nœ
O - li - ver!
in
œ œ
œ
What will he
bœ œ œ nœ œ œ bœ œ œ
chim - ney
œ œ
œ
some - bo - dy named
œ bœj
œ
œ
œ
on cock - roach - es
feed him
œ
boy want - ed more!
œ
œ #œ
WIDOW C. & MR B.
œ œ œ œ. œ
œ
#œ
O
œ
an - y
œ
bbbbb œ
∑
a
stair - way with - out
WIDOW C. & MR B.
ver.
-
li
œ œ
O - li - ver!
œ J
˙.
bœ œ œ #œ
œ J nœ.
#œ
œ
WIDOW C.
80
œ.
œ
Ne - ver be - fore has
bb & b b b œ.
#œ.
œ
MR BUMBLE
76
œ.
O - li - ver!
b œ œ œ œ & b bbb œ œ
73
wind - ing
thin
œ
œ.
ALL
7
œ.
œ
œ
turned black
OLIVER!
S
œ.
œ J œ.
ALL
61
64
dark
œ.
œ nœ œ
’
œ.
œ bœ .
œ
A R T
Oliver!
MR BUMBLE
knows what's in store. There's a
& bœ œ œ
B
I O N E L
œ
œ
creep - ing
out
L
8 83
ALL
b & b bbb œ
œ J œ.
bb &b b b œ
œ J œ.
rue
the day
91
bb &b b b œ
œ J œ.
95
bb &b b b œ
œ J œ.
O - li - ver! 99
nœ
nœ
this
case
it's
b & b bbb œ.
œ.
nœ.
this
place
en
nœ
œ J bœ .
ALL
b & b bbb œ
œ J œ.
O - li - ver! 111
bb &b b b œ
œ œ œ œ œ œ (Suddenly the GOVERNORS appear, disturbed from their meal)
œ.
-
O
œ œ
Ne - ver
œ.
-
li
œ œ
œ
be - fore has
¿ n¿ n¿ ¿
Œ.
ver.
œ
œ œ
¿ ¿ ¿ j b¿ œ œ GOV 2
re - store I
im - plore Let us
bœ œ œ nœ œ œ bœ œ œ un - pre - ce - den - ted quite
GOV 4
œ œ œ nœ œ
œ. -
œ œ
GOV 5
œ
œ
to
ut - ter - ly
j œ bœ œ
GOV 3
He's dis -
œ œ œ bœ œ œ
wal - low in glut - ton - y
ALL GOVERNORS
j œ œ œ œ œ œ
œ œ
Lock him in gaol and then put him on sale for the
ALL GOVERNORS + BUMBLE, WIDOW C
be rid
œ
cour - ag - ing oth - ers
œ.
boy asked for more!
a
¿
¿
Pray some de - cor - um
O - li - ver!
glad to
œ.
(spoken, flustered)
œ œ œ J œ. nœ bœ
high - est bid
œ œ
œ
ALL + WIDOW C.
him
œ
O - li - ver!
face
— 115 —
GOVERNOR 1
œ J bœ . œ.
107
œ J
bœ
œ J bœ .
œ.
OLIVER!
What will he do in this terr - i - ble stew? He will
O - li - ver!
nœ
S
œ œ
some - bo - dy named
œ.
graced
’
Oliver!
œ
œ œ
bb & b b b bœ .
103
A R T
MR BUMBLE
O - li - ver!
ALL GOVERNORS
O - li - ver!
B
œ J bœ .
nœ
O - li - ver! 87
I O N E L
œ ˙˙.. J n˙.
+ ENSEMBLE
of O
-
˙. b˙˙.. li
-
˙˙.. ˙. ver!
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!
#4—Oliver
j œœ ‰ ‰ Œ. œ SEGUE Scurry Music
— 116 —
L
B
A R T ’ S Oliver!
I O N E L
OLIVER!
9
5. Scurry Music - TACET 6. I Shall Scream CUE: WIDOW CORNEY: What can you want to know for, Mr B.? WIDOW CORNEY: Mr Bumble, I shall scream. WIDOW C.
U ∑
2 &4
U œ
U œ
You're 6
& œ
œ œ ‰ œ
œ œ œ
pro - per prim and haugh - ty
I
& œ #œ œ œ
state your true in - ten - tion
& œ
œ
"
U & œ I
29
&
œ
U œ
shall
scream
œ
œ #œ
think - ing
I
34
shall
& œ œ œ œ come to
an
œ Œ
˙
œ œ I
shall
I
" œ œ ‰ œ œ men -tion
You must
œ #œ œ œ
MR B.
œ
œ
U ∑
MR B.
Œ œ bœ œ Œ We shall see
œ
œ œ
œ.
œ œ
œ
At the thought of what you're
œ
œ
œ
œ
œ
œ
"
œ
œ
won - der where the scream went When we
Colla voce
a - gree - ment As my
room here? If there were a bride and
scream
You will
œ œ #œ
you think I can't be
œ # œ œ œ #œ œ œ œ
scream
œ
If
"
œ "
man
WIDOW C: No!
Well there might
˙
œ #œ œ œ
œ œ
and you'll par - don if
Œ œ bœ
œ
œ
œ œ œ œ
œ œ
WIDOW C.
Tempo di Polka
˙
bad
Is there not an - oth - er
œ bœ œ Œ
WIDOW C.
naught - y
can
groom here Would there be?
23
‰ œ
œ œ
œ
" MR B. œ œ #œ œ
11
16
a
Allegretto q = 120
œ œ #œ œ
lov - ey dove is
œ œ #œ œ
chub - by could she
#5—Scurry Music / #6—I Shall Scream
œ œ #œ œ
love
a chub - by
L
10
U " WIDOW C. A tempo & œ œ œ œ œ œ.
39
hub - by
44
&
œ.
’S OLIVER! Oliver!
œ. œ.
œ œ œ œ œ
U ˙ ˙
‰
scream,
— 117 —
A R T
I shall scream, Mis - ter Bum - ble
‰
scream,
B
I O N E L
I
œ
œ.
œ œ œ
œ œ
shall scream Bum - ble Wum-ble
I
shall
On kiss
∑
scream.
7. Boy For Sale (D minor Version) (see Appendix for alternative keys) WIDOW CORNEY: Make sure you get a good price for him, Mr Bumble.
4
Andante q = 76
&bc 8
˙. &b
cheap.
12
˙ &b
& b ˙.
stout.
Ó
˙
œ œ œ œ
˙.
from lack of
sleep
j ‰ œ If
œ
œ
Più mosso
tel - ling you a
boy.
Boy for
œ œ œ œ
˙ sale.
He's go - ing
j ‰ œ ˙.
That or there a - bouts.
œ
I should say
he
Œ
Œ
œ œ œ œ œ œ U œ was - n't ve - ry greed - y
U j ‰ œ
tale.
One
œ nœ œ œ œj œ.
Have you e - ver seen as
19B
˙.
œ œ
boy.
Boy for
Tempo primo
A tempo " j rit. j œ œ w œ œ
Nice
a boy for sale?
#6—I Shall Scream
I 20
ra - ther
œ œ œ œ
˙
Stop him get - ting
din - ners.
Feed him gru - el
œ œ
Small boy,
œ nœ œ œ œ
œ
19A
peep.
œ
œ œ
œ ˙. œ œ œ
On - ly se - ven guin - eas;
2 &b 4 œ œ œ œ c œ . &b ˙
Larghetto q = 56
˙.
(To passing man)
œ nœ œ œ œ
19
21
U Œ
One
pale
15
MR BUMBLE
rall.
œ
œ
œ
œ
could not, I'd
be
œ œ œ œ
˙ sale.
∑
Come take a
U ∑
2 4
93
APPENDIX ALTERNATIVE KEYS
— 118 —
L
I O N E L
B
A R T
’
OLIVER!
S
7. Boy For Sale (C minor version)
WIDOW CORNEY: Make sure you get a good price for him, Mr Bumble.
4
Andante q = 76
b &b bc 8
b & b b ˙.
cheap.
12
b &b b ˙ b &b b
˙.
stout.
Ó
˙
œ œ œ œ
˙.
from lack of
sleep
‰ œj If
Più mosso
œ
œ
tel - ling you a
œ
boy.
œ œ œ œ
˙
œ œ
Boy for
sale.
He's go - ing
‰ œj ˙.
œ . œ œ œ ˙
Œ
tale.
That or there a - bouts.
Feed him gru - el
Œ
U j ‰ œ
19B
One
œ nœ œ œ œj œ.
Have you e - ver seen as
din - ners.
was - n't ve - ry greed - y
Tempo primo
˙.
boy.
œ œ
Boy for
A tempo " j rit. j œ œ w œ œ
Nice
a boy for sale?
#7—Boy For Sale (C minor)
ra - ther
œ œ œ œ
˙
U œ œ œ œ œ œ œ
he
œ œ
Small boy,
œ nœ œ œ œ
œ
I should say 19A
peep.
˙.
œ
On - ly se - ven guin - eas;
b2 &b b 4 œ œ œ œ c œ b & b b ˙.
Larghetto q = 56
(To passing man)
œ nœ œ œ œ
19
21
U Œ
One
pale
15
MR BUMBLE
rall.
Stop him get - ting
œ
œ
œ
I could not, I'd 20
œ
be
œ œ œ œ
˙ sale.
∑
Come take a
U ∑
2 4
U " WIDOW C. A tempo & œ œ œ œ œ œ.
39
hub - by
44
&
œ.
I shall scream, Mis - ter Bum - ble
‰
scream,
œ œ œ œ œ
œ. œ.
U ˙ ˙
‰
L
I
œ
œ.
œ œ œ
œ œ
shall scream Bum - ble Wum-ble
I
shall
On kiss B
I O N E L
A R T
∑S
’
OLIVER!
— 119 —
scream.
scream,
7. Boy For Sale (D minor Version) (see Appendix for alternative keys)
WIDOW CORNEY: Make sure you get a good price for him, Mr Bumble.
4
Andante q = 76
&bc 8
˙. &b
cheap.
12
˙ &b
& b ˙.
stout.
Ó
˙
œ œ œ œ
˙.
from lack of
sleep
j ‰ œ If
œ
œ
Più mosso
tel - ling you a
boy.
Boy for
œ œ œ œ
˙ sale.
He's go - ing
j ‰ œ ˙.
That or there a - bouts.
œ
I should say
he
Œ
Œ
œ œ œ œ œ œ U œ was - n't ve - ry greed - y
U j ‰ œ
tale.
One
œ nœ œ œ œj œ.
Have you e - ver seen as
19B
˙.
œ œ
boy.
Boy for
Tempo primo
A tempo " j rit. j œ w œ œ œ
Nice
a boy for sale?
#7—Boy For Sale (D minor)
I 20
ra - ther
œ œ œ œ
˙
din - ners.
Feed him gru - el
œ œ
Small boy,
œ nœ œ œ œ
œ
19A
peep.
œ
œ œ
œ œ œ œ ˙.
On - ly se - ven guin - eas;
2œ œ œ œ cœ &b 4 ˙. &b
Larghetto q = 56
˙.
(To passing man)
œ nœ œ œ œ
19
21
U Œ
One
pale
15
MR BUMBLE
rall.
Stop him get - ting
œ
œ
œ
œ
could not, I'd
be
œ œ œ œ
˙ sale.
∑
Come take a
U ∑
2 4
— 120 —
L
B
A R T ’ S Oliver!
I O N E L
OLIVER!
11
8. That's Your Funeral OLIVER: (faintly): Yes ma'am, I think so.
b b2 &b b 2 Ó
Œ
œ
bb &b b œ
see
œ
him
œ
œ
in
his black
œ
œ œ
œ
œ
He's 4
Doloroso h = 80
MR SOWERBERRY
a
born
œ
œ
silk
suit.
œ
œ œ
fu - ner - al pro - ces sion With his
10
bb &b b œ
œ œ
œ
œ
Œ
Ó
œ
Œ
Œ
œ
œ
bb &b b bb &b b
in
œ
œ
œ œ
b & b bb œ
œ
œ
Large
We're just here
b & b bb œ
BOTH
œ
œ
You might just
œ
œ
to
œ as
A tempo
œ
œ
œ
œ Œ Œ
to the fam - 'ly tombs,
œ
œ
œ
U ˙
in
tune.
œ
,
œ
With
Œ
MRS SOWERBERRY
œ
œ
œ nœ
œ
lined with sat - in
That's your
œ
œ
œ nœ œ
fu - ner - al
œ œ œ
That's your
fu - ner - al
MRS S
œ
œ
œ
œ
in
œ
glam - our - ise
œ
œ
œ nœ
œ
wear your hat
œ
œ
œ
the
suit - a - ble ex - pres- sion. There'll be
cor - ners who've been taught to weep
œ
œ
e - nough to
MR S
nœ œ
œ
MR S
œ
30
all
cof - fin
œ
26
œ
Poco più mosso
Then the 22
œ
œ œ œ œ œ œ
a
rall.
mour - ners
18
œ œ
in
"
can
œ
be - hind
rall.
œ œ œ œ œ œ œ
14
bb & b b nœ
œ œ
nœ œ œ œ œ
To es - cort us
hor - ses with tall black plumes
Œ
I
Fol - low - ing
fea - tures fixed
œ
Œ
œ
un - der - ta - ker's mute.
7
bb & b b nœ œ œ œ œ œ
œ
œ
œ
That's your
œ
you
œ
well look fetch - ing
fu - ner - al
œ nœ
for
œ
œ
that
œ
œ
when you're six
#8—That’s Your Funeral
œ œ œ
That's your
end - less
œ
œ
œ
œ nœ œ
œ feet
fu - ner - al
Œ
œ
Ó
sleep. j œfi
˙.
deep.
Œ
L
12 34
b & b bb
MRS S
œ
œ
At 38
œ
the wake we'll
bb &b b œ
MR S
œ
œ
œ
œ
B
I O N E L
drink
’S OLIVER! Oliver!
œ
a
œ
tod - dy
MRS S
That's your fu - ner - al
œ
œ
to
the
BOTH
œ œ œ œ œ
œ œ œ
œ
œ
œ œ ˙.
bo - dy
beau - ti - ful.
œ
2
accel.
˙.
œ œ œ Ó
fu - ner - al That's your
Not our
— 121 —
A R T
fu - ner - al.
Più mosso 44
bb &b b
48
bb &b b
MR S
œ
œ
œ
œ
œ
If you're fond of MR S
œ
œ
bb &b b œ
œ
œ
Starve your - self
52
œ
œ
by
Vi - sua - lise
the
œ
œ
b & b bb
œ
œ œ
œ
BOTH
MRS S
b & b bb œ
œ
œ
œ
Not
69
b & b bb
œ œ œ
our
œ I
œ
œ
œ
don't think this
œ nœ
That's your
œ
œ
œ
œ nœ œ
fu - ner - al
œ nœ œ
fu - ner - al
nœ
œ
song
is
œ
That's your
fu - ner - al
œ
œ
œ œ œ
That's your
œ
fu - ner - al?
˙.
Œ
˙.
Œ
clod
by
clod.
œ
œ
œ
œ
j œfi
un - der - neath the
keep your vi - ces
u - su - al
œ œ œ
sod. MR S
œ
œ œ œ œ
That's your fu-ner - al
MR BUMBLE turns to go but is stopped by MR & MRS SOWERBERRY
Ó
∑
fu - ner - al. MRS S
MR S
œ
œ œ œ
you
œ œ ˙.
That's your
œ
œ
œ
on
œ œ œ œ ˙.
œ
fu - ner - al
MR BUMBLE
That's your
when you're bu - ried
MR S
œ
œ
œ
œ œ œ œ
œ œ œ œ
œ nœ
MRS S
œ
We will not re - duce our pri - ces 65
œ
earth des - cend - ing
You can't come back 60
œ
un - der - eat - ing
œ
bb &b b œ
œ
o - ver - eat - ing
œ
56
MRS S
œ
fun - ny!
œ nœ
That's your
œ nœ œ
fu - ner - al
#8—That’s Your Funeral
œ
œ
That's your
œ œ œ
fu - ner - al
— 122 —
L
I O N E L
B
A R T
’
S
OLIVER!
13
Oliver! 73
bb &b b
MR BUMBLE
œ
œ
Here's the
œ
bb &b b œ
We
œ
œ
œ
œ
œ
œ
œ
bb &b b œ bb &b b
the
œ
œ
bb &b b œ
œ
œ
bb &b b
œ
œ
œ
œ
œ
fu - ner - al
œ
nœ
there's no
œ
you
up
œ
œ
or
œ
el - se's
Œ
˙.
Œ
j œfi
you
down.
œ
œ œ ˙.
in
- cu - ra - ble.
˙.
œ
fu - ner - al
œ œ
(Coffin slam)
Ó
¿ >
fu - ner - al!
your
∑
That's your
œ
w w
w w
˙.
MR S
œ œ œ œ œ œ œ
fu - ner - al.
frown.
œ
nail
œ
BOTH
œw n˙.
to
œ
MRS S
No - one
œ
need
œ
œ œ œ
That's your
œ
di - sea - ses called
and
MRS S
That's
fu - ner - al,
œ
œ
œ
œ nœ œ
rall.
œ
œ
wheez - es
œ œ œ
That's your 92
œ
œ
ei - ther burn
we'll
love coughs and
MR S
œ
œ
end
A tempo
We 89
œ
œ
In
85
œ nœ
œ
don't har - bour thoughts ma - ca - bre,
MR & MRS SOWERBERRY
81
œ
MR BUMBLE
boy, now where's the mon - ey? That's your
MRS S
77
MR S
Œ
Ó
9. Coffin Music - TACET MRS SOWERBERRY: . . . you can't sleep nowhere else! OLIVER peers apprehensively at his sinister surroundings.
Misterioso
& Œ
bœ
nœ
œ
6
&
œ
bœ
œ
<n>œ
∑
bw
w
œ
bœ
Œ œ
œ
bœ
œ
#œ
nœ
œ
bœ J
˙
3
‰
#œ J ˙.
w
Slow SEGUE AS ONE into Where Is Love?
#8—That’s Your Funeral / #9—Coffin Music
L
14
OLIVER
Where
& œ œ œ œ œ. Is
j œ
œ œ œ œ œ.
5
it
un - der- neath
is
the
wil - low
j œ
Where
& œ œ œ œ œ. Will I
17
&
e - ver know
A tempo
œ œ œ œ œ.
Who can say where she 21
& œ œ œ œ œ. 'Til
I
am be - side
j œ
Œ œ œ œ œ
Who can say where
‰ œj
œ
tree
she
j œ
j œ
that's meant for
Must I
the some - one who
I
& œ œ œ œ ˙ Where,
can mean
œ
w
Where
is
love?
œ œ œ œ Œ
she may hide?
Must I
j j & œ œ œ ‰ ‰ œJ œJ ‰ ‰ œ œ œ ˙
37
Œ
the some - one who
œ œ œ œ œ. where
˙
œ œ œ œ œ ‰ œ œ w
be-side
tra - vel far
œ bœ
˙
œ J
is
w
œ
of ?
tra - vel
œ bœ ˙
I can mean
Più mosso
w
love?
#10—Where Is Love?
j œ
w
to
see?
w
œ
on - ly
œ œ œ œ œ.
may hide?
œ
œ bœ bœ
w
w
a - bove?
I've been dream-ing
Who I close my eyes
w
j œ œ
j œ
fall from skies
œ œ œ œ œ.
33
'Til I am
— 123 —
œ bœ bœ
that
the sweet "hel - lo"
Where,
&
Does it
œ bœ œ œ.
& œ œ œ œ ˙ A tempo
OLIVER!
œ œ œ œ œ.
w
is
25
29
S
love?
œ bœ
œ œ œ œ œ.
13
’
Oliver!
w
j œ
9
&
A R T
10. Where Is Love?
Lento q = 75
&c
B
I O N E L
poco rit.
me?
œ J
w
#œ
œ
and wide?
some - thing
˙
to
rall.
∑
‰ œ œ w
far and wide?
Œ #œ œ ˙ some - thing to
2
— 124 —
L
B
A R T ’ S Oliver!
I O N E L
OLIVER!
15
11. Next Morning – TACET SEGUE from previous number after applause.
12. The 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 a lie!
14. Consider Yourself (Part One) CUE: OLIVER: Are you sure Mr. Fagin won't mind? DODGER: Mind?
3
Allegro q. = 128
#6 & 8
DODGER
Œ.
œ.
Con
# & ˙.
7
Œ.
œ.
home, 11
&
#
œ
Con
Œ.
j œ œ.
fam - i - ly.
# & Œ.
16
œ
œ.
œ.
It's
clear
Œ.
œ
si - der your - self
œ #œ
œ.
œ #œ
œ.
at
Œ.
œ
ta - ken
œ. we're
Œ.
to
œ
œ
si - der your - self
-
We've
œ.
-
œ.
Œ.
œ # œ œ.
one
Œ.
you
œ œ œ œ
go - ing to get
œ
of
the
œ.
˙.
so
strong,
j œ œ
a - long.
‰
œ.
Con -
#11, #12, #13—Tacets / #14—Consider Yourself (Part One)
L
16 21
&
#
Œ.
œ œ # œ œ.
si - der your - self
# & Œ.
B
I O N E L
’S OLIVER! Oliver!
œ.
˙.
well
in,
26
j œ œ.
Œ.
œ.
œ.
Œ.
Who
cares?
œ œ œ
œ
part of the
# & ˙.
31
spare,
# & œ
36
‰
share!
# & Œ.
If
40
œ
it should chance
j nœ
Emp - ty
# & œ.
#œ.
˙.
on
the
house
50
j œ œ
œ
chance we'll meet
# j & œ ‰ ‰ Œ.
œ.
œ
For
af
# & #œ
‰ œ.
state
Con
-
some
grouse?
j œ œ.
Œ.
ter some
œ
œ.
si - der your - self
Œ.
œ.
Œ.
no
j #œ œ œ
one
j œ
œ.
-
er - a
-
us!
#14—Consider Yourself (Part One)
are
our
j œ ‰ ‰ Œ. fuss,
j œ
œ.
nœ.
tion
we
can
j œ œj ‰ ‰ Œ. of
œ.
œ.
Œ.
si - der your - self
œ
con - sid
œ nœ #œ
Then the drinks
œ #œ œ.
j œ
j œ œ.
har - der days
œ œ # œ œ.
-
we
Al - ways a
the bill
œ.
j œ
œ
Œ.
don't want to have
j #œ œ
œ œ œ -
foot
‰
œ
We
#œ.
œ
j œ nœ
˙.
Why
to
e - ver we've got
-
should see
#œ.
Con
Œ.
# & Œ.
64
to
Œ
mate. 60
j œ
some - bo - dy
55
we
lar - der days,
j œ œ.
-
œ.
Œ.
œ œ œ
j œ œ
nœ
Œ.
si - der your - self
lot
‰ Œ.
œ
be
œ œ # œ œ.
-
a
is - n't
What
to
œ.
œ œ # œ œ.
There
j #œ œ.
œ
# & œ
45
œ.
j œ œ.
nœ
œ #œ œ
Œ.
Con
fur - ni - ture.
Œ.
— 125 —
A R T
Œ.
œ.
Con -
— 126 — 69
&
#
L
si - der your- self
# & Œ.
74
# & Œ.
84
œ
œ
œ
œ.
˙.
At
home?
fam -
&
#
strong,
œ.
Con
It's
part
a
& œ What
# & nœ
102
‰ Œ. -
-
j œ œ
lah - di - dah
# & ˙.
107
all.
and
spare,
j œ œ.
j œ
we
œ nœ #œ
On - ly
it's
œ
˙.
Well
in?
wise
œ œ œ œ
Œ.
‰
to
be
œ.
There
DOD / CAP / HAN / CHAR / DIP
œ
Who
cares?
DODGER
‰ Œ.
nœ
œ #œ œ
No - bo - dy
œ
cup
tries
wiv
#14—Consider Yourself (Part One)
j œ a
j œ œ.
to
Œ.
o' tea
j œ œ
han - dy
œ.
OLIVER
fur - ni - ture.
share.
j œ œ.
‰
Con
œ.
be
#œ. for
œ
j œ
a-
DODGER
Œ
j œ œ.
There's a
œ
you
go - ing to get
œ.
œ
to
DOD / CAP / HAN
‰ œ nœj j œ #œ œ.
Œ
up - pi - ty
DOD / CAP / HAN / CHAR / DIP
Œ.
to
e - ver we've got
ta - ken
œ ‰ Œ.
Œ.
˙.
œ œ œ œ
j œ nœ
the
œ.
Œ.
lot
œ
œ.
œ #œ
CHARLIE BATES
Œ.
of
si - der your- self
œ
we're
œ
œ œ # œ œ.
-
œ.
DIPPER
œ
œ.
We've
si - der your - self
œ.
DODGER
CAPTAIN
clear
Œ.
17
Con
Œ.
œ œ # œ œ.
œ œ # œ œ.
#
‰
œ ‰ Œ.
œ.
Œ.
-
œ #œ
is - n't 98
Œ
HANDWALKER
so
‰
OLIVER!
S
i - ly?
si - der your - self 93
’
j œ œ.
œ
the
˙.
long.
&
of
œ.
# #
œ
OLIVER
& œ 89
A R T
Oliver!
OLIVER
One 78
B
OLIVER
Œ.
œ œ # œ œ.
I O N E L
j œ œ.
rol - ling pin
-
L
18
# & Œ.
112
117
&
#
j œ
œ When
œ.
the
land
I O N E L
si - der your- self
# & Œ.
122
œ.
˙.
no
fuss,
comes
œ.
˙.
our
mate.
Œ.
<n>œ.
#œ.
OLIVER
we
can
state
Con
# & Œ.
132
# & Œ.
138
# & Œ.
144
# & Œ.
150
COMPANY
œ.
Con
œ.
We've
œ.
Con
œ.
There
# & bœ
j œ œ.
# & Œ.
#œ.
155
chance to be
160
-
Why
S
OLIVER!
œ.
-
to
Œ.
si - der your- self
Yes!
Œ.
j œ œ
bœ
home,
Œ.
grouse?
2 Œ.
spare.
j œ œ.
œ #œ nœ
2 2
˙.
Œ.
we should see some hard - er days,
˙.
us!
œ ‰ Œ J
in,
to
j œ bœ
of
3 4 ˙. 3 4œ
œ J
œ #œ œ
If
œ.
Al - ways a chance we'll meet
#14—Consider Yourself (Part One)
it should
j œ #œ œ.
œ bœ J
Emp - ty
œ
j œ Œ.
œ.
strong,
#œ.
lot
j #œ œ
3 4 ˙.
œ.
Œ.
one
at
well
6 8 œ œ #œ œ.
œ J
‰ œ
L'istesso
œ.
Œ.
œ
con - sid - er - a - tion
œ.
so
si - der your- self
a
¿
GANG
6 8 œ #œ œ nœ.
don't want to have
j œ
af - ter some
-
œ #œ œ.
œ
j #œ œ
For
si - der your - self
is - n't
œ.
œ
œ nœ #œ œ.
œ.
Con
We
ta - ken to you
-
Œ.
#œ.
Œ.
DODGER
call!
œ œ œ œ.
6 8 nœ œ #œ œ.
— 127 —
˙.
#œ.
DOD / CAP / HAN / CHAR / DIP
# & œ.
127
’
Oliver!
lord
Œ.
œ œ # œ œ.
A R T
œ.
œ.
-
B
lar - der days,
œ
œ œ J
some - bo - dy
œ J
to
— 128 —
# & œ
165
foot
L
œ œ. J
# & œ nœ #œ
Oi!
œ œ. J
Then the drinks
œ.
Œ.
œ.
si - der your - self
nœ.
# œ.
<n>œ.
#œ.
œ.
we
can
state
Con
181
&
# & Œ.
186
nb b
nœ.
Con
196
b & b Œ.
202
b & b Œ.
207
b &b œ
to
COMPANY
Œ.
b &b œ
œ.
˙.
well
in,
the
house!
Œ.
œ.
˙.
so
strong,
No - bo - dy
j #œ œ.
œ.
tries
Œ.
Œ.
j œ œ.
to be
for
j œ
œ
We
a
rol - ling
pin
don't want to have
œ.
˙.
at
home,
COMPANY
œ J
j œ œ
œ.
Œ.
us!
-
si - der your- self
˙.
to
j œ œ.
spare.
œ bœj
Œ.
up - pi - ty
There's a
j œ œ.
MEN, DODGER & GANG
œ #œ œ
On - ly
When the
œ.
œ œ #œ œ.
# œ.
lot
œ J
DODGER
We've
Œ.
j œ bœ
Œ.
Œ.
Con
a
œ.
of
DODGER
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œ
œ J
one
lah - di - dah and
Œ.
œ #œ œ J
œ J
œ
Œ.
all.
j œ œ.
Con -
af - ter some con - sid - er - a - tion
˙.
#œ.
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nœ œ #œ œ.
œ #œ œ J
is - n't
bœ
Œ.
œ.
œ œ # œ œ.
There
œ #œ œ bœ
han - dy wiv
on
si - der your- self
Œ.
LADIES & DODGER
j œ œ
are
COMPANY
you
cup - pa tea
212
˙.
si - der your - self
-
œ # œ œ œ.
ta - ken
#œ.
nœ œ œ œ.
œ bœ nœ œ.
191
b &b
œ.
For
-
19
œ.
#œ.
Œ.
fuss,
DODGER
OLIVER!
mate.
œ ‰ ‰ Œ. J
no
S
œ ‰ ‰ Œ. J
our
# & Œ.
176
’
A R T
Oliver!
COMPANY
¿.
the bill
171
œ
GANG
B
I O N E L
œ.
it's
œ.
land - lord
#14—Consider Yourself (Part One)
œ
wise
to
be
œ.
nœ.
comes
to
L
20 217
b & b ˙.
I O N E L
œ.
call!
Con
b & b Œ.
œ.
bœ &b
’
S
Oliver!
OLIVER!
si - der your - self
-
don't want to have
#œ œ J
œ
œ J
af - ter some
b œ œ œ œ. &b
œ J
Œ
‰
œ J
œ one
si - der your - self
œ.
nœ.
we
can
œ ‰ J
of
#œ.
Œ.
fuss,
con - sid - er - a - tion
231
mate.
œ ‰ ‰ Œ. J
no
#œ œ J
œ ‰ ‰ Œ. J
our
œ.
Œ.
— 129 —
œ.
Œ.
œ œ nœ œ.
œ œ #œ œ.
We
227
A R T
COMPANY
Œ.
222
B
‰
For
nœ ‰ J
œ.
‰
state
Con
accel.
Œ.
us
-
∑
SEGUE AS ONE Consider Yourself (Part Two)
15. Consider Yourself (Part Two) Più mosso q. = 160
4
b6 & b b8 41
Poco meno mosso
b6 & b b8
œ œ nœ œ.
œ.
20
2 4 œ.
˙.
œ
15
‰ œ.
œ œ nœ œ.
Œ œ.
œ.
œ
> œ
j œ œ
6 8 œ J
COMPANY 48
b &b b
œ J
(Tenors 8va)
‰
‰ #œ. For
52
b & b b nœ.
state,
œ.
Con
œ
af - ter some
œ œ œ œ. -
j #œ œ
si - der your-self
j œ Œ
j œ
œ
j #œ œ
j œ
con - sid - er - a - tion
œ
one
j œ œ.
of
Œ
‰
œ.
we
nœ.
can
3
us!
SEGUE AS ONE Consider Yourself (Part Three)
#14—Consider Yourself (Part One) / #15—Consider Yourself (Part Two)
— 130 —
L
I O N E L
B
A R T
’
OLIVER!
S
Oliver!
21
16. Consider Yourself (Part Three) 3
# #6 &#8 ## & # nœ
j œ œ.
### & œ
j œ œ.
7
19
CHILDREN
S/A
some -bod - y
˙.
œ. œ.
house
25
œ. #œ. on
œœ ##œœ œœ..
the
Œ.
si - der your -self
œ ¢& œ ‹
œ. œ.
Drinks are
Drinks are
° & œ œ
œ.
œ #œ œ. œ # œ œ.
si - der your -self
should chance to
Œ.
œ.
œ.
Drinks are
œ. œ.
˙. ˙.
at
home
œ. œ.
at
˙. ˙. home
we
˙.
j œ œ œ.
œ.
Why
Œ.
grouse?
the
the
the
j œ œ
j œ
should see
some
œ. #œ.
nœj nœJ ‰ ‰ nœ. œ.
œ. œ.
Con
œ. <#>œ.
Con
œ. œ.
con
nnn -
nnn -
nnn -
œœ œœ ##œœ œœ.. -
si - der your - self
œ œ #œ œ. œ œ # œ œ.
œœ.. con
the
œ ‰ ‰ œ. nœ. J
house
Œ.
on
Con
house
Œ.
œ. #œ.
œ ‰ ‰ . nœ J
house
nœ. nœ.
œ nœ #œ
Al - ways a
Then the drinks are
nœ. #œ. on
be
Œ.
#œ.
bœ. nœ. bœ. nœ. on
nœ
(Tenors loco)
Œ.
nœ. #œ. on
j œ œ.
nœ
to foot the bill,
œ.
˙.. œ.
it
j j j œ œ œ œ œ œ.
œ
Drinks are
## & # ˙..
T/B
œ nœ #œ
lard - er days
Emp - ty
house
### & nœ. ¢ ‹
(Tenors 8va)
œ nœj œ #œj œ.
Œ.
chance we'll meet
° ### . & ˙
Œ.
If
hard - er days
13
COMPANY
-
#16—Consider Yourself (Part Three)
si - der your - self
ä
L
22 30
° Œ. &
I O N E L
j œJ œ.
œœ œœ œœ œœ
B
36
œœ ‰ Œ.
it's
Œ. ¢& ‹ 42
° Œ. & Œ. ¢& ‹ 47
° & œœ
clear
œ. œ.
œœ ‰ Œ.
it's
clear
˙. ˙.
well
in
œ. œ.
we're
œœ ‰ Œ.
j œJ œ.
Œ.
œj œ. œJ œ.
Œ.
fur - ni - ture
52
° Œ. & Œ. ¢& ‹
#œ. œ.
œœ..
who
cares
œ. œ.
who
œ. œ.
cares
‰ Œ
œ. œ.
œ. œ.
-
œœ.. -
strong
a - long
œ œ #œ œ. œ œ # œ œ.
Œ.
There
is - n't
a
lot
œœ œœ œœ
œœ
ev - er we've got
œ. #œ.
˙. ˙.
to
spare
to
spare
œ.
Œ.
ev - er we've got
œ œ œ œ œ œ
part of the
Œ.
œœ œœ œœ œ #œ
œœ œœ œœ part of the
si - der your - self
œ œ #œ œ. œ œ # œ œ.
‰ Œ
Con - si - der your - self
si - der your - self
œœ œœ ##œœ œœ..
‰ Œ
Con - si - der your - self
Œ.
lot
what
a - long
œœ œœ ##œœ œœ..
a
œœ..
so
˙. ˙.
œ œ #œ œ. œ œ # œ œ.
is - n't
. #œœ.
strong
œœ œœ œœ œœ œj œ ‰ œ. œ œ œ. J
There
œœ..
so
œ.
to you
tak - en
go - ing to get
what
‰ Œ
Œ.
˙. ˙.
œœ œœ ##œœ œœ..
con
Œ.
œ œ #œ œ. œ œ # œ œ.
to you
œ. #œ.
œœ œœ œœ œ œj œ ‰ œ. #œ œJ œ œ.
con
Œ.
Œ.
go - ing to get
in
fur - ni - ture
œ ¢& œ ‹
œ #œ ‰ Œ.
˙. ˙.
well
œœ..
— 131 —
œœ œœ ##œœ œœ..
tak - en
We've
we're
œ. œ.
OLIVER!
œ. œ.
Œ.
one of the fam - i - ly
° . œ. & Œ #œ.
S
We've
œj œ. œJ œ.
œ œ œ œ œ œ œ œ
’
Oliver!
Œ.
one of the fam - i - ly
Œ. ¢& ‹
A R T
˙. ˙.
j œœ œ J œ
‰ œ #œ
j œœ œœ J
‰ œ #œ
we share
we share
#16—Consider Yourself (Part Three)
ALL
If
If
œ
it should
œ
it should
— 132 — (ALL)
57
& bœ
L
j œ œ.
& Œ.
67
& œ
j œ œ
bœ ˙.
Why
grouse?
œ œ. J
Œ. Œ.
84
° #œ & state ALTO
& #œ
œ ‰ ‰ Œ. J
Œ Œ œ . ‰ > con
-
BARI
state
œ œ. J
œ
chance we'll meet
#œ.
˙.
are
on
the
house
Œ.
Œ.
œ
œ #œ œ.
don't want to have
œ œ #œ œ J J
œ œ. nœ. J
∑
œ œ œ œ Œ.
can
> Œ. ‰ ‰ œj œ œ œ œ œJ
SOP Con -
con - si - der your- self,
∑
‰
Œ.
Œ >œ. con
>œ ‰ ‰ J
œJ
con - si - der your- self,
> ‰ ‰ œ J
œ œ œ œ.
-
œ œ œ œ.
˙.
Con - si - der your - self
œœ œœ œœ œœ..
to
œ.
af - ter some con - si - de - ra - tion we
œJ
œ J
con -
œ. we
œ #œ œ J
œ œ J
some - bod - y
œ.
for
lard - er days
Con - si - der your - self
& #œ Œ ‹ state ?
œ
œ.
Œ. #œ.
œ #œj œ.
œ bœ J
Emp - ty
mate
si - der your- self,
23
Œ.
œ ‰ ‰ Œ. J
œ œ œ œ
Œ
TENOR
¢
œ.
∑
CHILDREN
Œ
OLIVER!
j œ œ.
œ.
fuss
state
#œ
œ J
our
si - der your - self
no
S
œ #œ œ
Then the drinks
& œ œ #œ œ. œ.
’
Al - ways a
œ
73
& Œ.
A R T
Oliver!
j œ bœ Œ.
#œ.
foot the bill,
78
B
we should see some hard - er days
chance to be 62
I O N E L
˙˙..
si - der your - self
#16—Consider Yourself (Part Three)
˙˙..
con -
L
24
si - der your - self
° œ œ œ œ. & œ œ œ œ. 88
˙. ˙.
I O N E L
B
’S OLIVER! Oliver!
˙. ˙.
cresc.
˙. ˙.
si - der your - self
& ˙. & ‹
¢
?
˙.
˙.
˙.
˙˙..
° ˙. & ˙. 93
˙˙..
& ˙.
¢
?
˙.
cresc.
˙.
cresc.
˙˙..
˙. ˙. ˙˙..
œj œJ ‰
‰
œ ‰ J
‰
œ J ‰
‰
œœ J ‰
œj œ ‰ ‰ Œ. J
∑
˙.
œ ‰ ‰ Œ. J
∑
us.
& ‹
cresc.
˙.
˙. ˙.
us.
— 133 —
A R T
us.
œj œJ
One
of
œ
œ J
One
of
œ
œ J
One
of
œœ
œœ J
One
of
SEGUE Consider Yourself (Reprise)
˙.
œ J ‰ ‰ Œ.
∑
˙˙..
œœ J ‰ ‰ Œ.
∑
us.
˙˙..
‰
œ œ
#16—Consider Yourself (Part Three)
— 134 —
L
B
A R T ’ S Oliver!
I O N E L
OLIVER!
25
17. Consider Yourself (Reprise) q. = 145
° 6 &8
6 ¢& 8 ‹ 8
° . & Œ
œ. œ. con
. ¢& Œ ‹
3
-
-
13
Con
Œ. Œ.
si - der your-self
œ œ #œ œ. ¢& œ œ # œ œ . ‹
Œ.
to you
si - der your - self
œ œœ ##œœ œ. œ. œ
œœ œœ œœ œ œ œ œ œ œ
˙. ˙.
so
strong
œ.
˙. ˙.
so
strong
Œ. Œ.
19
go - ing to get
a - long
Con
œ œœ œœ œœ œj œ ‰ œ. œ œ œ œ. ¢& J ‹ go - ing to get
a - long
Con
œœ œœ ##œœ -
œ œ œœ
it's
clear
it's
œœ.. œ. œ.
si - der your - self
at
home
at
home
˙. ˙.
j œJ œ.
Œ.
œj œ. œJ œ.
Œ.
‰ Œ.
#œœ
œ. œ. We've
œœ..
fam - i - ly
œ. #œ. œ. œ.
˙. ˙.
fam - i - ly
œœ
We've
Œ. Œ.
‰ Œ.
we're
œœ
‰ Œ.
clear
si - der your - self
œ œœ ##œœ œ -
œœ
œ. œ. œ. œ.
Œ.
si - der your - self
one of the
œ. #œ.
° œ œ œ j & œ œ œ #œœ œœ œœ ‰ œ. J œ.
-
Œ.
œœ œœ ##œœ œœ..
one of the
œ œœ ##œœ œ. œ. œ
to you
-
œœ..
Œ.
si - der your-self
Œ.
tak - en
œ. œ.
Con
° & œ œœ ##œœ œœ.. œ tak - en
Œ.
COMPANY
œœ œœ ##œœ œœ..
œœ.. con
3
‰ Œ.
we're
œ. œ.
˙. ˙.
well
in
œ. œ.
well
#17—Consider Yourself (Reprise)
˙. ˙. in
Œ.
œ. œ.
con -
Œ.
œœ.. con -
L
26 25
° & œ œ
Œ.
œœ..
œœ ##œœ
I O N E L
si - der your - self
œ. œ.
œ #œ œ #œ
œ ¢& œ ‹ 29
is - n't
a
lot
œ œ #œ œ. & ¢ œ œ # œ œ. ‹ is - n't
35
° œ œ & œ œ
a
lot
œœ œ #œ
ev - er we've got
œœ œœ œœ œœ ¢& ‹ ev - er we've got #6 & 8
we
j œœ J
we
39
œ œ # œ œ.
# & Œ.
# & ˙.
49
œ œ œ
one of the
Œ.
strong
55
&
#
œ œ # œ œ.
si - der your-self
part
of
the
fur
˙. ˙.
to
spare
œ œ
of
the
fur
Œ.
— 135 —
j œJ œ.
Œ.
œj œ. œJ œ.
Œ.
œœ..
who
cares
œ. œ.
we
œœ..
œ.
œ œ œ #œ
j œ
at
home
œ.
œ.
It's
clear
Œ. œ.
œ.
œ.
œ.
share.
Con
œ.
-
œ œ #œ
go - ing to get
œ.
si - der your - self
Œ.
œ. so
œ œ œ œ œj œ.
we're
a
long
œ.
Con -
DODGER: (Shouted.) GANG + LADIES (offstage) Plummy and slam!
œ.
˙.
Well
in
Œ.
œ.
Con
#17—Consider Yourself (Reprise)
-
#6 8 #6 8
share.
ta - ken to you
Œ.
-
Œ.
œ œ # œ œ.
We've
Œ.
œ.
we
Con
Œ.
GANG + LADIES (offstage)
j œ
e - ver we've got
˙.
Œ.
what
What
œ.
œœ..
Œ.
cares
e - ver we've got
Œ.
what
share
Œ.
œ. #œ.
Œ.
œ œ œ #œ
What
œœ.. There
œ. œ.
who
share
There
- ni - ture
œ.
œœ..
œ. œ.
- ni - ture
œ. #œ.
Œ.
fa - mi - ly
Œ.
œ œ
spare
j œ œ.
œ
œ œ
˙. ˙.
si - der your - self
44
OLIVER!
œœ
œ. #œ.
to
j œœJ
S
œœ
œ œ
œ.
Œ.
’
Oliver!
œœ
part
Œ.
A R T
œœ
Œ.
si - der your - self
° & œ œœ ##œœ œœ.. œ
B
œ œ # œ œ.
si - der your-self
— 136 —
L
# & Œ.
B
I O N E L
60
œ œ œ
part of the 65
#
Œ.
# & nœ
j œ œ.
nœ
# & Œ.
#œ.
˙.
71
œ.
œ.
Who
cares?
chance to be
Œ.
œ
Why
# & œ
foot
87
&
#
j œ œ.
œ. no
# & œ. nœ.
97
104
&
#
Œ.
can
2
is - n't
œ œ œ
Then
j œ œ.
Œ
Œ.
œ. our
mate.
j œ ‰ ‰ Œ.
Œ.
œ œ œ œ.
œ.
lot
to NIPPER
j œ œ œ ‰ œ #œ œ
a chance
œ.
œ.
are
on
j œ œ.
we'll
meet
œ
it should
the
lard - er days
j œ œ
We
to
GANG + LADIES (offstage)
j œ ‰ ‰
house
œ.
j œ
some - bod - y
˙.
#œ. Œ.
If
‰ œ nœj j œ #œ œ. Emp - ty
j œ ‰ ‰ Œ.
fuss,
#œ.
œ
œ nœ #œ
the drinks
a
œ.
Œ.
e - ver we've got we share.
-
j œ nœ
j œ œ.
œ
der your self
# & Œ.
Œ.
Al ways
the bill
92
we
Œ.
grouse?
œ œ # œ œ.
si
œ.
27
œ œ # œ œ.
we should see some hard - er days
76
81
OLIVER!
There
What
j œ
S
œ.
fur - ni - ture.
& ˙.
spare,
Œ.
j œ œ.
œ
’
A R T
Oliver!
œ.
Con -
œ œ #œ œ.
don't want to have
#œ.
j œ #œ œ
For
af - ter some con - sid - er - a - tion
˙.
˙.
Œ.
state Con - si - der your - self DODGER: Fagin! Fagin!
U ∑
#17—Consider Yourself (Reprise)
j j œ œ #œ œ œ œ œJ ‰ ‰ Œ. J
one of
us
j œ
L
94
I O N E L
B
’S OLIVER! Oliver!
— 137 —
A R T
18. Pick A Pocket Or Two (F minor version)
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 . . .
bb &b b C œ œ œ Œ FAGIN
In this life
5
bb &b b œ œ œ
œ
œ
œ
œ
œ
œ œ œ Œ
œ Œ
One thing counts
" œ U œ. œ J
In
the bank
large a -mounts
œ œ œ œ œ œ œ
˙
I'm a - fraid these don't grow on trees You've got to pick a poc - ket or
9
bb &b b œ œ œ œ œ œ œ
got to pick a poc - ket or
13
BOYS
bb & b b œ.
j œ œ
whispered
Large
œ
a - mounts don't
FAGIN: Let's show Oliver how to do it, my dears.
7
U b & b bb œ Œ ∑
16
U œ.
˙ two,
œ
grow
œ
œ.
on
4
A tempo h = 88-92
rall.
œ
stu - pid - ly
Œ
œ
œ
pay - ing
34
b & b bb œ œ œ œ œ œ œ
Bet -ter pick a poc - ket or
œ.
two.
Œ
œ
tax?
‰
˙
You've
You've
w
two.
œ œ œ œ nœ œ œ
trees - you've got
to pick
FAGIN
œ
œ œ œ
a
œ
œ Œ
œ
œ
Why should we
30
œ
œ œ œ œ œ œ œ
j œ
˙
two.
boys. You've got to pick a poc - ket or
two
b & b bb œ
œ J
Œ
œ œ œ
poc - ket
œ œ œ Œ break our backs
œ
œ
Bet - ter get some un - taxed
œ œ œ œ œ œ œ
got to pick a poc - ket or
#18—Pick A Pocket Or Two (F minor)
or
˙ two,
˙
in - come
U œ.
œ J
boys. You've
— 138 —
L
B
A R T ’ S Oliver!
I O N E L
38
b & b bb œ œ œ œ œ œ œ
w
42
œ
bb &b b œ
œ
œ
œ nœ
œ
Œ
Bet - ter pick
a
FAGIN
œ
Rob - in Hood,
or
œ
œ
what
a
crook!
bb &b b œ œ œ œ œ
œ œ œ.
rall.
b & b bb œ œ œ œ œ œ œ
got to pick a poc - ket or
57
bb & b b œ.
GANG
j œ œ
œ
œ
Rob - in Hood was
61
bb &b b
3
FAGIN: My merry men!
two,
œ œ œ
What he likes
71
b & b bb œ.
two!
‰
Œ
Gave
You've
Œ
œ
œ
a - way
œ
what
he
œ.
too good.
œ a
œ
tip
œ œ œ œ œ re - call
he
You've
œ œ œ œ œ œ œ
œ
œ
From
Bill
œ œ œ. start - ed small,
got to pick a poc - ket or
˙
A tempo
w
œ Sykes
Π-
two.
Œ
˙.
He had to pick a poc - ket or
œ œ œ œ œ œ œ
took
two.
j œ œ œ œ œ nœ œ œ Œ
Œ
œ
‰
œ.
Get out and pick a poc - ket or
senza rit.
˙
œ
œ œ œ œ œ œ œ œ J
FAGIN
I
..
∑
boys. You've got to pick a poc - ket or
œ
œ
break our backs
Ó
œ
U " œ. œ J
˙
Take
67
b & b bb
far
Œ
Œ
Char - i - ty's fine, Sub - scribe to mine
53
all
‰
œ.
two.
œ
49
œ
œ
FAGIN: Who said crime doesn't pay?
.. ¿
œ
poc - ket
œ
Why should we
(shouted)
œ
45
œ.
two.
95
j œ œ
GANG
got to pick a poc - ket or
bb &b b
OLIVER!
two
œ
He
œ
œ
Œ
can whip
œ œ œ œ œ œ œ œ J
He had to pick a poc - ket or
˙
˙
two,
boys.
#18—Pick A Pocket Or Two (F minor)
Ó
Œ
‰ œ J
You've
L
96
B
I O N E L
’S OLIVER! Oliver!
75
b & b bb œ œ œ œ œ œ œ
w
œ.
two.
We
79
b & b bb
If we pick a poc - ket or
bb &b b œ
œ
œ
Pas - sing
Œ
œ
by
œ
Œ
œ
### &
101
tack
## &# ### &
109
œ
œ œ œ œ œ œ œ
œ
the
rear
œ
œ
I
poco rall.
œ œ œ
On - ly to
j œ œ œ œ œ nœ œ œ
œ.
FAGIN
When
105
two.
(sung)
œ
Get
Œ
in and pick a poc - ket or
œ
œ
œ
Œ
Some - one rich
see
œ œ
œ œ œ.
find some peace of mind
molto rit.
œ œ œ œ œ œ œ
got to pick a poc-ket or
˙ two,
old
"
œ
œ
œ
Œ
œ
You've
old
Œ
œ
gent
œ
œ
Ev' -ry-thing's clear! At -
eye
œ œ œ œ œ œ œ
got to pick a poc - ket or GANG (pinched nose sound)
w
j œ œ
œ.
two.
Have
no
Œ
˙.
œ
fear
at -
## nnnn #
∑
two.
œ
œ
Œ
œ
start
œ œ œ œ œ œ œ œ J I
Sykes
œ œ œ
Both my thumbs
have to pick a poc - ket or
U" U œ œ œ œ œ œJ œJ
boys
Bill
‰
œ.
FAGIN
œ. ‰ ˙
boys. You've got to pick a poc - ket or
97
bb &b b
œ
Takes his
tack the rear! Get in and pick a poc - ket or
two,
like
3
œ
Some-thing nice
U " œ. œ J
œ
œ
Dear
bb œ œ. œ œ œ œ œ œ &b b œ œ œ J bb &b b ˙
œ
two.
89
93
can be
Œ
˙
œ œ œ œ nœ œ œ
85
j œ œ
GANG
got to pick a poc - ket or
— 139 —
A R T
œ
to
œ.
two
œ œ œ œ œ œ œ
A tempo
You've got to pick a poc - ket or
#18—Pick A Pocket Or Two (F minor)
Œ
œ
itch.
‰
˙
You've
w
two.
— 140 —
## &#
113
L
I O N E L
B
A R T ’ S Oliver!
OLIVER!
97
rall.
j œ œ
GANG
œ.
Just
U œ œ œ œ #œ œ œ
FAGIN & GANG
œ
to find
œ
œ
some
peace
of
j œ
œ.
mind
We
have to pick
a
poc - ket
or
Allegro con moto
° ### .FAGIN .w & 116
two
### . . œ. & ¢
j œ ‰ Œ
˙
BOYS (+ FAGIN 2x ONLY)
j œ œ
Just
œ
œ
œ
œ.
to find some peace of mind
..
∑
∑
.. ˙ j œ œ œ œ œ #œ œ œ
We have to pick a poc - ket or
¿
(shouted)
two.
Œ
Hey!
19. Rum-Tum-Tum (F minor version) 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. q = 86 b b4 . .. FAGIN: See if you can take it from me without b & b4 . my noticing it – like you saw the others do.
2
3
bb &b b œ
FAGIN
œ
œ
Œ
Rum - tum - tum.
œ
œ
œ
Tum - tum - tum.
7
b & b bb œ œ œ œ œ
œ œ œ.
Skid-dle -eye - tye, Tee - rye - tye - tye,
bb &b b œ œ œ œ œ œ œ ˙ got to pick a poc - ket or
two,
œ
boys
œ
œ
Œ
Pom - pom - pom.
œ
œ
Œ
œ
Pom - pom - pom.
œ œ œ œ œ œ œ œ J
œ.
Tee - rup - pa -tup - pa -rup - pa -tum - tum.
‰
˙
You've
FAGIN: (incredulous): Is it gone? OLIVER: (showing it in his hand): Yes sir, it's in my hand.
U" œ œ œ nœ œ œJ œJ
molto rit.
11
Œ
œ œ œ œ nœ œ œ ˙.
You've got to pick a poc - ket or
#18—Pick A Pocket Or Two (F minor)
two.
Œ
L
28
B
I O N E L
’S OLIVER! Oliver!
— 141 —
A R T
18. Pick A Pocket Or Two (G minor version) (see Appendix for alternative keys) 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 . . .
b &b C œ œ œ Œ FAGIN
In
this life
5
b &b œ œ œ
œ
œ
œ
œ
œ
œ Œ
One thing counts
" œ U œ. œ J
b &b œ œ œ œ œ œ œ
got to pick a poc - ket or
13
BOYS
j œ œ
b & b œ.
whispered
Large
œ
a - mounts don't
FAGIN: Let's show Oliver how to do it, my dears.
U b &b œ Œ ∑
16
7
two,
œ
grow
œ
œ J
œ
stu - pid - ly
Œ
œ
œ
j œ
œ.
on
pay - ing
34
b œ œ œ œ &b œ œ œ
Bet - ter pick a poc - ket or
œ.
two.
˙
˙
two.
You've
w
trees - you've got
4
Œ
œ
tax?
‰
˙
You've
two.
œ œ œ œ #œ œ œ
A tempo h = 88-92
rall.
œ
a - mounts
œ œ œ œ œ œ œ
to pick
FAGIN
œ
œ œ œ
a
œ
œ Œ
œ
œ
Why should we
30
large
boys. You've got to pick a poc - ket or
two
b &b œ
the bank
œ œ œ œ œ œ œ
U œ.
˙
In
Œ
œ œ œ
You've got to pick a poc - ket or
I'm a - fraid these don't grow on trees
9
œ œ œ Œ
poc - ket
œ œ œ Œ break our backs
œ
œ
Bet - ter get some un - taxed
œ œ œ œ œ œ œ
got to pick a poc - ket or
#18—Pick A Pocket Or Two (G minor)
or
˙
in - come
˙ two,
U œ.
œ J
boys. You've
— 142 —
L
B
A R T ’ S Oliver!
I O N E L
38
b œ œ œ œ &b œ œ œ got
to pick a poc - ket
45
œ.
w
or
two.
b &b œ
a
FAGIN
œ
Rob - in
poc - ket
œ
Œ
œ
œ
Hood,
49
b &b œ œ œ
or
œ
œ
what
a
crook!
œ
rall.
b &b œ œ œ œ œ œ œ
57
j œ œ
b & b œ.
GANG
œ
œ
Rob - in Hood was
61
b &b
far
3
FAGIN: My merry men!
b &b œ
œ
œ
What he likes
71
b & b œ.
two!
‰
Œ
You've
œ
a - way
œ
what
he
œ a
œ
re - call
œ
He
tip
œ
œ œ œ œ œ œ œ
he
œ
From
Bill
œ
œ.
start - ed small,
œ œ œ œ œ œ œ
got to pick a poc - ket or
œ Sykes
Π-
˙
You've
A tempo
œ œ
took
two.
w
two.
Œ
˙.
had to pick a poc - ket or
Œ
Œ
œ
‰
œ.
j œ œ œ œ œ #œ œ œ
senza rit.
˙
Œ
œ
Get out and pick a poc - ket or
too good.
œ œ œ
œ
œ œ œ œ œ œ œ œ J
œ.
FAGIN
I
..
∑
boys. You've got to pick a poc - ket or
œ
œ
œ
U " œ. œ J
two,
Take
67
break our backs
Ó
Gave
œ.
˙
got to pick a poc - ket or
Œ
Œ
Char - i - ty's fine, Sub - scribe to mine
53
all
‰
œ.
two.
œ œ
œ
œ
FAGIN: Who said crime doesn't pay?
.. ¿
œ œ œ œ #œ œ œ
29
œ
Why should we
(shouted)
Bet - ter pick
j œ œ
GANG
42
b &b
OLIVER!
two
œ
He
œ
œ
Œ
can whip
œ œ œ œ œ œ œ œ J
He had to pick a poc - ket or
˙
˙
two,
boys.
#18—Pick A Pocket Or Two (G minor)
Ó
Œ
‰ œJ
You've
L
30
B
I O N E L
’S OLIVER! Oliver!
75
b œ œ œ œ &b œ œ œ
œ.
two.
We
79
b &b
If
we pick a poc - ket or
85
b &b œ
œ
œ
Pas - sing
Œ
œ
Œ
Some- thing nice
tack the rear! Get in and pick a poc - ket or
U " œ. œ J
two,
b &b
œ
tack
rear
Get
FAGIN
When
œ I
œ
œ
œ
poco rall.
œ œ œ.
On - ly to find some peace of mind
#### & #œ œ œ œ œ œ œ
109
Œ
molto rit.
got to pick a poc-ket or
˙ two,
"
œ
œ
got to pick a poc - ket or
j œ œ
œ.
two.
Have
no
Œ
˙.
œ
fear
at -
## nn # ##
∑
two.
œ
œ
œ
Œ
œ
start
œ œ œ œ œ œ œ œ J
have to pick a poc - ket or
U " U œ œ œ œ œ œJ œJ boys
gent
œ œ œ œ œ œ œ
Both my thumbs
I
old
Ev' - ry- thing's clear! At -
eye
You've
poc - ket or
Some - one rich
see
## & # ## œ œ œ œ œ
105
œ
Œ
œ
œ œ œ
w
in and pick a poc - ket or
Œ
Œ
œ
œ
Sykes
GANG (pinched nose sound)
j œ œ œ œ œ #œ œ œ
œ.
the
#### & #œ
101
two.
(sung)
œ
œ
‰
œ.
Bill
FAGIN
œ. ‰ ˙
œ œ œ œ œ œ œ
boys. You've got to pick a
97
œ
Takes his
b œ œ. œ œ œ œ œ œ &b œ œ œ J b &b ˙
old
3
œ
89
93
like
Dear
œ
œ
œ
two.
œ
by
œ
can be
Œ
˙
œ œ œ œ #œ œ œ
j œ œ
GANG
w
got to pick a poc - ket or
— 143 —
A R T
œ
to
œ.
two
œ œ œ œ œ œ œ
A tempo
You've got to pick a poc - ket or
#18—Pick A Pocket Or Two (G minor)
Œ
œ
itch.
‰
˙
You've
w two.
— 144 —
L
B
I O N E L
A R T
’
S
OLIVER!
31
Oliver! rall.
## & # ## œ.
113
j œ œ
GANG
Just
U n œ œ œ œ œ œ œ
FAGIN & GANG
to find
œ
œ
œ
some
peace
j œ
œ.
of
mind
We
have to pick
a
or
poc - ket
Allegro con moto
° #### .FAGIN & # .w 116
j œ‰ Œ
˙
two
#### . ¢& # . œ .
j œ œ
BOYS (+ FAGIN 2x ONLY)
Just
œ
..
∑
∑
. j œ œ œ œ œ ‹œ œ œ . ˙
œ œ œ.
to find some peace of mind
We have to pick a poc - ket or
¿
(shouted)
two.
Œ
Hey!
19. Rum-Tum-Tum (G minor version) 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.
2
b4 & b 4 ..
q = 86
3
b &b œ
FAGIN
œ
œ
Œ
œ
œ
Rum - tum - tum.
7
b &b œ œ œ
œ
..
œ
œ
Tum - tum - tum.
œ
œ
œ.
Skid dle - eye - tye, Tee - rye - tye - tye,
b &b œ œ œ œ œ œ œ ˙ got to pick a poc - ket or
two,
œ
boys
œ
œ
Œ
Pom - pom - pom.
œ
œ
Œ
œ
Pom - pom - pom.
œ œ œ œ œ œ œ œ J
œ.
Tee - rup - pa - tup - pa - rup - pa -tum - tum.
‰
˙
You've
FAGIN: (incredulous): Is it gone? OLIVER: (showing it in his hand): Yes sir, it's in my hand.
U" œ œ œ nœ œ œJ œJ
molto rit.
11
Œ
FAGIN: See if you can take it from me without my noticing it – like you saw the others do.
œ œ œ œ #œ œ œ ˙.
You've got to pick a poc - ket or
#18—Pick A Pocket Or Two (G minor)
two.
Œ
° ### .FAGIN .w & 116
two
### . . œ. & ¢
j œ ‰ Œ
˙
BOYS (+ FAGIN 2x ONLY)
j œ œ
œ
œ
œ
..
∑
.. ˙ j œ œ œ œ œ #œ œ œ
œ.
L I O of N E L B A R T ’ S O L I V E R ! to find some peace mind We have to pick a poc - ket or
Just
∑ ¿
(shouted)
Œ
Hey!1 4 5 — two. —
19. Rum-Tum-Tum (F minor version) 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. q = 86 b 4 b .. FAGIN: See if you can take it from me without & b b 4 .. my noticing it – like you saw the others do.
2
3
bb &b b œ
FAGIN
œ
œ
Œ
œ
Rum - tum - tum.
œ
œ
Tum - tum - tum.
7
bb &b b œ œ œ œ œ
œ œ œ.
Skid-dle -eye - tye, Tee - rye - tye - tye,
bb &b b œ œ œ œ œ œ œ ˙ got to pick a poc - ket or
two,
œ
boys
œ
œ
Œ
Pom - pom - pom.
œ
œ
Œ
œ
Pom - pom - pom.
œ œ œ œ œ œ œ œ J
œ.
Tee - rup - pa -tup - pa -rup - pa -tum - tum.
‰
˙
You've
FAGIN: (incredulous): Is it gone? OLIVER: (showing it in his hand): Yes sir, it's in my hand.
U" œ œ œ nœ œ œJ œJ
molto rit.
11
Œ
œ œ œ œ nœ œ œ ˙.
You've got to pick a poc - ket or
#19—Rum-Tum-Tum (F minor)
two.
Œ
° #### .FAGIN & # .w 116
j œ‰ Œ
˙
two
#### . # . œ. & ¢
j œ œ
BOYS (+ FAGIN 2x ONLY)
— 1 4 6 — Just
œ
..
∑
∑
. j œ œ œ œ œ ‹œ œ œ . ˙
œ œ œ.
L I OofN Emind L B A RWe T ’ S have O LtoI V E Ra ! poc - ket or to find some peace pick
¿
(shouted)
Œ
Hey!
two.
19. Rum-Tum-Tum (G minor version) 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.
2
b4 & b 4 ..
q = 86
3
b &b œ
FAGIN
œ
œ
Œ
œ
œ
Rum - tum - tum.
7
b &b œ œ œ
œ
..
œ
œ
Tum - tum - tum.
œ
œ
œ.
Skid dle - eye - tye, Tee - rye - tye - tye,
b &b œ œ œ œ œ œ œ ˙ got to pick a poc - ket or
two,
œ
boys
œ
œ
Œ
Pom - pom - pom.
œ
œ
Œ
œ
Pom - pom - pom.
œ œ œ œ œ œ œ œ J
œ.
Tee - rup - pa - tup - pa - rup - pa -tum - tum.
‰
˙
You've
FAGIN: (incredulous): Is it gone? OLIVER: (showing it in his hand): Yes sir, it's in my hand.
U" œ œ œ nœ œ œJ œJ
molto rit.
11
Œ
FAGIN: See if you can take it from me without my noticing it – like you saw the others do.
œ œ œ œ #œ œ œ ˙.
You've got to pick a poc - ket or
#19—Rum-Tum-Tum (G minor)
two.
Œ
L
32
B
I O N E L
A R T
’
S
Oliver!
OLIVER!
— 147 —
20. Intermezzo (Part One) CUE: FAGIN: If you go on this way, you'll be the greatest man of all time. FAGIN
p
B
œ
You've
got
b & b bb œ œ œ œ œ œ œ
E
A
b b4 &b b 4 Ó 4
Œ
D
got
6
bb &b b
to pick
4
a
poc - ket
to pick
a
poc - ket
1
w
or
U ∑
2 4
œ œ œ œ œ œ œ Lento
or
4
C
˙
œ.
two,
boys.
x4
You've
U ∑
two.
# 4Moderato n n n n 4 .. ∑
œ J
13
..
21. Intermezzo (Part Two) – TACET CUE: As Bill turns to exit.
CUE: NANCY: Plummy and slam! FAGIN: Nancy! (Music starts)
h = 80
22. It's a Fine Life
OUT CUE: NANCY: . . . the only bit of pleasure we have, would ya?
2
b & b bb C ..
œ. œ œ
Who would de - ny
œ
us
˙.
these?
Œ
œ. œ œ
No skimp-ing if
nœ
you
w
please!
˙
b˙ I
j œ œ.
˙
Small
plea- sures,
small
˙
j œ œ.
˙
Gin
9
b & b bb œ
NANCY
..
DODGER: Not me!
5
b & b bb œ
Repeat ad lib.
tod - dies,
j œ
œ.
rough it,
large
j œ œ. plea- sures,
j œ œ.
mea- sures,
j œ
˙ I
œ.
love it,
#20, 21—Intermezzo (Part 1 & 2) / #22—It’s A Fine Life
— 148 —
L
I O N E L
B
A R T
’
S
Oliver!
OLIVER!
13
b & b bb œ
œ. œ œ
Life
is
17
bb &b b
œ
a game of
I
rall.
œ
n œ. œ œ
Lead - ing
œ
If
out
˙ things,
It's
23
bb &b b œ
ain't
œ
œ œ œ œ.
all
fine
life!
œ
œ
œ
œ
It's
œ.
œ
œ
œ
œ
mind
a
˙
œ œ œ œ.
hav - ing to
life! When you've got some - one
œ
It's
a
to
œ
life!
˙
ALL
love,
with
fine
life!
œ. œ
Tho'
You for - get
œ
it
œ. œ
œ
œ. œ œ
˙.
go
œ
NANCY
fine
œ. œ
jol - ly old plea - sure out - ings, NANCY
it,
3
œ . œ b˙
œ
fine
3
26
bb &b b ˙
a
of
ALL
œ b˙
œ.
œ
you don't
20
bb &b b œ
tire
A tempo
b œ. œ
dance.
j œ œ.
˙
ne - ver
"
Œ
˙
thismer - ry
j œ œ.
˙
nw
chance.
33
It's
œ
a
œ
your care and
30
b & b bb . ˙
strife.
33
bb &b b ˙ fine,
œ
œ. œ
Let
ALL
NANCY: Ain't that right, Bet? BET: Yeah, that's right, Nancy.
˙
.. ˙.
fine
life.
bb & b b œ œ. œ œ œ
43
us in
bb &b b w
b˙
eat.
We
œ œ œ œ. œ œ
œ
the prudes look down on us, Let
∑
Œ
˙.
the street?
j œ . œ
Œ
˙
Fine
NANCY & BET
wan-der
˙ through
j œ œ.
airs and
j œ
3
œ
œ œ œ œ. œ
the wide world frown on us, It's
..
BET
j œ œ.
˙
Who
38
sneer at
3
˙
fine
j œ œ. gra-ces
j œ œ.
˙
cares if
straight
la - ces
NANCY
œ
œ. œ œ nœ
Don't have to sin
NANCY
œ.
Lon-don,
œ
œ.
œ œ
Who knows what we
#22—It’s A Fine Life
a
œ
may
nw
find?
to
L
34
I O N E L
B
’
A R T
S
Oliver!
OLIVER!
— 149 —
A tempo 48
b & b bb
NANCY & BET
j œ œ.
˙
There's
poc- kets
˙
j œ œ.
left
un - done
rall.
œ n œ. œ œ
On
œ
ma - ny a
œ
œ
don't mind tak - ing it as
it turns out,
It's
56
3 bb b b & œ œ œ œ œ œ. œ œ ˙
can - dle burn - ing un - til
60
bb &b b œ
œ
some - times
œ
œ
do
come
It's
a fine
by
life! It's
The
a fine
life! Keep the NANCY
life! It's
œ
œ
a fine
life! Tho' you
˙.
œ
oc - ca - sion - al
œ œ. œ
black
œ. œ
eye.
You can
64
b & b bb
œ
3
œ
al - ways 67
bb & b b ˙.
œ œ œ œ. œ œ
co - ver one 'Til
∑
Œ
he blacks
nnnn
cry. 72
& ˙.
˙
lows.
76
All NANCY
& w
clothes.
80
&
b˙
These NANCY
#w
ford.
BET
˙
No
Œ
˙
What
œ
the
j œ œ.
floun- ces,
j œ œ.
˙
winds and
œ . J œ
all BET
˙
˙
3
œ œ œ œ. œ ˙ o - ther one But
you don't
j œ œ.
˙
No
œ
fea- thers,
œ œ. J
wea - thers
j œ
œ. œ
œ
˙ œ œ. œ
a fine
œ
you
NANCY
ALL
œ. œ œ
˙.
If
. œ b˙ œ œ
œ. œ ˙
it burns out.
<b> œ. œ
ALL
œ . œ b˙
œ œ œ œ. œ œ ˙ 3
Œ
˙
be - hind.
52
bb &b b
NANCY
dare
œ. œ œ
œ
No frills and fur - be -
œ. œ œ
#œ
Ain't good for fan - cy NANCY & BET
œ.
œ
trap pings,
these
tat- ters,
These
j œ œ.
BET
˙
j œ œ.
ALL
fu - ture?
What
mat - ters?
We've
#22—It’s A Fine Life
œ
œ. œ œ
we
can just
œ
af -
rall.
# œ. œ œ got
œ
our bed and
— 150 —
L
I O N E L
B
Œ
& ˙
bbbb
NANCY
b œ. b œ
board.
88
œ
œ. œ œ
œ
life!
91
bb &b b ˙
3
œ
Tho' di - seased
threat-en
fine
life!
œ. œ ˙
It's
a
life! It's a
˙
œ. œ
the plague in
It's
NANCY
ALL
œ
to bring
œ. œ
œ
It's a fine
œ œ
œ œ œ œ.
rats
ALL
œ . œ b˙
œ œ œ œ. œ œ ˙ 3
NANCY
fine
35
don't mind hav - ing to deal with Fa - gin,
If you
bb & b b b˙
œ
OLIVER!
S
Oliver!
A tempo 84
’
A R T
œ. œ œ
œ
fine
œ
life! But the grass
is
œ
œ
œ. œ
˙.
green and
dense
On the
95
bb &b b œ
ALL
99
bb &b b ˙
the
mean
pence! ALL
### & œ
life!
˙
crum - pet,
### &
110
˙.
home,
### &
114
œ.
œ
fine 106
rit.
˙
## & # n˙
œ. œ œ œ œ œ œ œ. œ œ œ
'fence'
˙
103
3
˙.
œ œ œ
right side of
don't
a
It's
Œ
# # Slower 3 nnnn # <#> œ œ œ œ œ œ. œ œ ˙ n œ. n œ
NANCY
If you
œ. œ œ
don't mind hav - ing to like
fine
œ
œ
Tho' there's no
tea
œ.
œ
life!
œ
life!
œ
It's
œ
hap - py hus - band, hap - py
In 2 U " 3 œ œ œ œ œ œ. œ w
likes of such as me, Mine's a
fine,
3
œ œ œ œ.
œ
sip - ping an' eat - ing
Colla voce " U œ. œ œ œ œ œ. œ ˙ œ
œ
œ
It's a
NANCY
ALL
fine
œ. œ
or lump it
NANCY
œ n˙ a
a
œ œ œ œ. œ
And we take good care of it That we get our share of it And we
œ. œ ˙ It's
3
a
˙.
fine life!
Not for me
œ. œ œ
the
hap - py
"
3
œ
œ
œ œ œ œ. œ
wife. Tho' it some - times touch - es me, For ALL
Tempo primo
fine
life!
w
w
#22—It’s A Fine Life
w
w
˙
j œ‰Œ
the
L
36
I O N E L
B
’S OLIVER! Oliver!
— 151 —
A R T
23. I'd Do Anything NANCY: Shall we show 'em how it's done? DODGER: Definitely! (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 off... 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.
11
h = 84
b &b C 12
DODGER
b &b œ
Œ
I'd
you
œ
œ œ œ Œ
Œ
21
an - y -where
26
b &b b &b
œ
For your
Œ
me.
I know that
smile,
an - y - where,
w
DODGER
œ œ ˙
An - y - thing!
œ Œ Œ œ nœ œ œ
œ
Leave me all
œ
For your
œ
œ ˙
hill?
œ œ ˙
˙
your will?
œ œ ˙
An - y - thing!
#23—I’d Do Anything
œ
Œ
smile
œ
Œ
I'd
œ
ev -'ry -where
Wear a
NANCY
œ nœ
œ ˙
daf - fo - dil?
œ
Œ
go
œ œ œ Œ
œ #œ œ
#œ
For
NANCY
An - y - thing!
DODGER
œ
Œ
DODGER
Would you climb a
NANCY
#œ
Œ
an - y -thing
œ œ œ œ
œœ œ Œ
Œ
œ œ œ
Œ
œ
dear,
w
To
œ
Œ
you,
NANCY
see. 31
œ
For
œ
ev -'ry -thing
œ
œ
an - y -thing
mean
b &b œ œ œ Œ
Œ
œ œ œ
do
16
b &b œ Œ
Œ
œ
œ
E - ven fight my
˙
Bill?
œ
I'd
— 152 —
35
L
b &b Œ
DODGER (spoken)
‰ ¿ ¿ ¿j
¿
39
b &b œ œ œ
Œ
ev - 'ry -thing
-
Œ
œ
What? Fist - i - cuffs?
Yes
A R T ’ S Oliver!
Œ
œ
I'd
œ œ œ
b &b ˙
do
49
OLIVER
do
I'd
œ œ œ
˙
mean
58
œ œ & œ ev - 'ry -where
66
OLIVER
& œ
œ
˙
œ
For
an - y -where 62
Œ
your
I'd
An - y - thing!
To
œ œ ˙
DODGER
smile,
Paint your face
œ
Œ
an - y - where,
Œ
˙
#œ
For
BET
Œ
œ #œ
Would you
I'd
˙
bright
˙
blue?
#23—I’d Do Anything
Œ
#œ
œ lace
œ
œ
For
˙
go
˙
your
OLIVER
œ
for
an - y - thing
I know that
œ œ
dear,
œ œ œ
˙
œ œ œ
˙
œ œ œ œ
me.
see.
œ #œ
kiss,
nn
you,
w
œ
w
œ
BET
˙
Œ
ev - 'ry -thing
Œ
& œ œ œ
For
Œ
NANCY: Now you do everything you saw Dodger do and I'll help you with the words.
˙
œ
an - y - thing
53
you
Œ
œ œ œ
œ
one
œ œ œ
5
˙
& ˙
œ
For
(NANCY prompts him – speaking the first two or three words of every phrase.)
& n˙
Œ
œ
an - y - thing, An - y - thing? An - y - thing
œ‰ Œ J
you!
Œ
NANCY
FAGIN: Come on Nancy. Give Oliver a go! 43
37
ev - 'ry -thing
˙
I'd
OLIVER!
œ œ œ
risk
˙
#œ
B
I O N E L
smile
œ
my
˙
shoe? BET
˙
An - y - thing!
œ
œ
Catch a
L
38
I O N E L
B
A R T
’
OLIVER!
S
Oliver!
— 153 —
(sings - after a moment's hesitation)
OLIVER 69
& œ
OLIVER
œ
kang - a - roo?
& ˙ 78
&
risk
BET (spoken)
œ œ œ
¿ ¿
For
¿
&
œ
˙
kiss,
œ
˙
An - y - thing
for
you!
Yes
˙
I'd
do
Ó
7
Dance
œ œ œ
˙
#œ
ev -'ry -thing
œ œ ˙
œ
And back a - gain!
œ œ œ Œ
˙
one
"
Œ
Tim - buk - tu?
OLIVER
an - y - thing, An - y - thing? 82
˙
œ
ev -'ry -thing
œ
Go to
An - y - thing!
œ œ œ Œ
˙
I'd
œ #œ
œ œ ˙
˙
73
BET
∑
Ó
FAGIN
Œ
œ #œ
Would you 90
ALL
& œ rob
œ a
˙
shop?
FAGIN
œ œ ˙
An - y - thing!
œ #œ
œ
ALL
œ
Would you risk "the
FAGIN
œ œ
œ œ ˙
˙
drop"?
Tho' your
An - y - thing! (sarcastically
94
& œ
ALL
œ
eyes go
98
pop,
œ œ ˙
An - y - thing!
A tempo (poco meno)
& ˙
We'd
102
˙
rit.
& ˙
we'd
˙
risk
˙ do
œ œ œ
FAGIN
œ #œ
œ
œ
ALL to FAGIN)
Œ
Œ
Œ
œ
To FAGIN
œ œ œ
an - y - thing, An - y - thing?
˙
keep
you
Œ
in the swim
œ œ ˙
œ
An - y - thing
for
#23—I’d Do Anything
œ œ œ
œ œ œ
˙
ALL
œ
Hang ev - 'ry - thing!
When you come down "plop"?
life and limb
œ œ œ
œ
rit.
U̇ you!
#œ
Yes
œ
Œ
— 154 —
L
B
A R T ’ S Oliver!
I O N E L
OLIVER!
39
24. Be Back Soon CUE: FAGIN: Oliver, you can go with Dodger. You have to begin sometime and believe me you couldn't make a finer start. Good luck on your first job my dear. Don't worry, I'l be waiting for you when you get back. Dodger! (Music starts)
Bright March h = 122
2
&C 7
& O
Œ
¿
sent
arms
œ
but
15
& œ.
place
well
23
& œ. not
O
¿ Œ
up
Œ
be
soon
round
œ
˙.
œ
but
œ
be
back
w
for- get this
tune
œ
œ
could we
œ
let
32
& œ
œ
œ
come back home
œ
our
œ #œ
œ
œ
dear
GANG
can
œ #œ
Who can
œ
œ
go
old
œ
œ
Be
back
soon.
Fa - gin
œ
œ
œ œ œ
in,
oh, such a great big
œ
œ
hur - ry
#24—Be Back Soon
œ
˙
œ #œ
You
œ
can
œ
This
work - ing
œ
œ
Œ
œ #œ
Fare thee
˙
œ
Do
lurk - ing?
GANG
œ
Œ
œ
We
wor - ry?
œ
Oi!
˙
How
œ
Oi!
Pre-
FAGIN
safe and sound.
Œ œ
¿
œ œ
tell where dang - er's
˙
¿
œ
œ
˙.
˙ œ
sin - gle file
Œ
but while you're
˙ œ
Œ
¿
Un - til you're home
28
&
Sin - gle file
Pick!
‰ œ œ œ
soon
j œ œ bœ
Œ
GANG
¿ ¿ ¿ Œ
up
¿
You
˙
I'm pac - ing
¿ Œ
DODGER
j ¿ ¿ ¿ ‰ ¿
DODGER
Right!
˙.
back
j œ œ bœ
Œ
¿
Pick!
œ
œ
Line
GANG
Left!
19
& œ
O
¿
11
go
GANG
Line
DODGER
& œ
DODGER
Œ
œ
It's
œ
could we for - get? How
œ
œ
love him
DODGER
œ
œ œ œ
œ.
him
œ
œ
so. We'll
œ œ. J
that pays
œ J
the
L
40 36
& œ
GANG
˙
It's
40
& œ
œ #œ œ
pip, cheer - i - o
44
soon
48
& ˙
chiefs
but
‰ œ œ œ
˙.
œ #œ
& ˙.
soon
&
There's a
˙
˙
˙
Be
back
soon.
62
& œ & œ
˙
˙
Tow - er
¿
A
œ
We
71
&
œ
œ
œ
œ œ œ
œ
œ
˙
œ
œ
œ œ œ
Our pock - ets 'll hold
that
œ
œ
a watch of
& œ
œ
¿
75
œ œ
¿
wal - let
œ.
œ œ J
¿
fat,
œ
¿
an
œ
˙
˙.
but be back soon
œ
œ #œ œ
pip, cheer - i - o,
œ #œ œ
quick and
be
the
œ
˙
We'll
be
back
œ ˙
miss you
#24—Be Back Soon
back
w tune
œ
œ
œ
œ œ œ
œ
crown jew - els from the
œ
œ
˙.
they don't know this tune
œ
œ
œ
the
œ
I dun - no some-how I'll
œ
gold that chimes up - on
œ
But
bœ
œ
ALL (whispered)
œ
back
œ
˙˙
œ œ
œ
œ
œ
œ
¿
old man's hat,
know the Bow Street Run - ners
œ
¿
be
j œ œ
a love - ly
DODGER
¿
œ
œ
but
j œ œ bœ
œ.
Ain't
Pip,
pock - et hand - ker -
Whip it
œ
twen - ty
go
œ #œ
thieves.
DODGER
Œ œ
Of
Œ
œ
œ.
œ
˙
œ
œ
You can
plen - ty
cle - ver
long, fare thee well,
FAGIN
˙
œ
œ œ œ
œœ ‰ œ #œ J
œ
œ œ
œ
So
soon.
bring back
six - pence here for
long, fare thee well, Pip,
o
œ
tune.
œ
— 155 —
œ
GANG (shouted)
ho - ur
66
back
And you should be
52
ALL
be
go
˙. ˙˙
We'll
You can
OLIVER!
S
his
˙˙
œ
’
Oliver!
that pipes
˙
œ
A R T
œ
œ
œ #œ
& ˙.
57
us
B
œ
œ
œ
œ
pi - per
I O N E L
˙˙ soon.
œ I
(full voice)
œ
So
œœ ‰ œ #œ J FAGIN
Cheer - i -
œ.
j œ œ bœ
love you that's why
— 156 —
L
80
‰ œ œ œ ˙.
& ˙
85
& œ
œ
œ
œ
œ
˙
Œ
œ
soon.
œ
We
˙
98
& œ
We'll
˙
102
&
˙.
ALL
œ.
And
when
œ
tune
105
be
back
œ
Ó
day
¢& œ
œ
œ
œ
œ
per - haps
no some - how
œ
œ
I'll
˙
Be
back
w
old
œ
be
tune
the
œ
œœ ‰ œ J
true
˙
You'll
œ
Pip,
œ
We
Œ œ
œ #œ
œ
Œ
œ
œ
Œ
miss you
œ
hear
this
œ
œ
œ
We'll
œ I
œ o
-
œ
œ
but
œ
miss you
œ. love
œ
be
œ
be
œ back
œ
too, it's
j œ œ bœ
you that's why
#24—Be Back Soon
œ
œ
œ
back here
˙ I
œ
To
-
œ #œ
soon
sad
We'll
œ
˙.
œ
œ
whis - pered
cheer - i - o,
œ œ œ
œ
œ
œ
must dis - ap- pear, we'll
FAGIN
œ œ œ
œ #œ
pip,
to -
part - ing is such sweet
œ
œ
per - haps
œ
that
dis - tance
œ
To - day
œ
œ
œ
œ
œ
œ
but
œ
œ J
œ
œ
back here
œ
sad
fare thee well,
to - mor - row.
œ
˙
œ
it's
Cheer - i
109
j œ œ bœ
GANG
soon.
∑
¢&
too,
we're in
long,
˙˙
˙˙
œ
œ œ. J
œ
So
° ˙ &
° &
miss you
œ
sor - row
œ
œ
œ #œ
˙.
Give me
œ
dis - ap - pear, we'll
œ
41
Don't be gone long be back soon
FAGIN
œ
mor - row.
œ
œ œ œ
must
OLIVER!
S
Re - mem - ber our
94
& œ
œ.
œ
CHARLIE & DODGER
& ˙
’
Œ œ #œ œ œ œ œ
not good - bye
one long last look - bless you.
90
A R T
Oliver!
œ œ ˙
say cheer - i - o
I
B
I O N E L
I dun -
œ
œ
but true
œ that
‰ œ œ œ
say cheer - i -
L
42 113
° œ &
œ œ œ
part - ing
sweet
¢& ˙. o
116
œ
Œ
¢& œ
Œ
Œ
dis - tance
123
&
œ œ
œ
ber our
-
œ.
œ
long,
œ œ. J
œ J
we're in
long,
œ
œ
œ
fare thee well,
œ
œ
œ
fare thee well,
135
&
œ
œ
hear
this
Œ
And
œ
œ
œ
long, fare thee well,
one
œ
cheer - i - o,
˙.
old
tune
Pip,
œ Pip,
œ Pip,
Œ
œ
You'll
œ #œ œ
pip, cheer - i - o,
œ
œ #œ œ
pip, cheer - i - o,
œ
œ #œ
œ
œ
˙.
be gone
œ
œ
œ
look
œ
˙
˙˙
We'll
be
back
last
bless
˙
œ #œ œ
pip, cheer - i - o,
œ
hear
this
œ J
we're in
œ
long
the
œ
œ
be
back
œ
So
Œ
œ
soon.
˙
back
soon.
œ
whis - pered
˙
˙˙
We'll
be
back
soon.
œ
˙
˙
˙
We'll
be
back
˙
We'll
be
back
And
œ ‰ Œ J (GANG)
Œ
œ
œœ ‰ œ J
˙
soon.
˙ soon.
-
œœ ‰ œ J
So
œ
˙
Re
tune
˙˙
œ
œ
you
˙˙
˙ œ
œ
œ œ. J
tune
Be
œ
œ
when
whis - pered
Œ
dis - tance
œ
long
œ #œ œ
pip,
œ
œ
œ
— 157 —
œ.
œ
Don't
œ
bœ
the
131
& œ
œ
Pip,
127
&
œ
œ
j œ œ
œ.
when
˙
Give me
long, fare thee well,
mem
OLIVER!
Œ
œ œ
œ #œ
119
¢&
S
sor - row
You'll
soon
œ
’
Oliver!
not good - bye
° œ &
° &
A R T
œ
œ
œ
is such
B
I O N E L
OLIVER
So
GANG
œ ‰ œ J
So
(Whistle)
œ ‰ J
œ
SEGUE AS ONE The Robbery
#24—Be Back Soon
— 158 —
L
I O N E L
B
A R T ’ S Oliver!
OLIVER!
43
25. The Robbery BOYS
4 &4 œ
Whistle
œ œ œ
œ
Grandioso (almost half tempo) 4
8
h = 75
&C
47
&
œ œ.
œ. #œ. œ #œ
œ. œ
œ. œ
. œ. # œ œ #œ
œ. œ
œ
œ
œ #œ œ
˙ ˙
Œ
Ó
˙
C
35
Faster h = 138
b œ. bœ
( U̇)
rall.
3 2˙
b>œ
>œ
MR BROWNLOW: Give that back. Come on, give it back.
Ó
>œ > bœ
b œ^
26. Chaos – TACET MR BROWNLOW: Stop that boy! My pocket's been picked!
27. Chase (Finale Act One) – TACET
(End of Act One)
#25—The Robbery / #26, #27—Tacets
" œ^ U ˙ ææ˙
L
44
B
I O N E L
’S OLIVER! Oliver!
— 159 —
A R T
ACT TWO
28. Oom-Pah-Pah 8
# 3 & #4
h. = 60
# &#
19
>œ
˙.
œ
#œ
5
>œ.
#œ œ œ J
# & # œ.
43
˙
œ
#œ
œ
œ
œ
œ
CHAIRMAN: I call upon our Goddess of the Virtues to give us her well known rendition of the old school song –
# &#
33
-œ
2 The CHAIRMAN bangs his hammer.
˙.
œ
Œ
Œ
CHAIRMAN: Ladies and Gentlemen, Brethren, sinners all!
# &#
25
8
NANCY
There's
# & # œ.
œ
œ
œ
j #œ œ œ
œ
œ
a
lit - tle
47
pesh
# & # œ.
51
If
-
ly
dit
j œ œ
œ
got
the
ty
They're
bin
œ
on
œ
sing
œ
œ
œ
when they've
j #œ œ œ you've
-
œ.
œ
the
œ
pa - tience, Your
-
gin
œ.
own
#28—Oom-Pah-Pah
Œ
CUSTOMERS: Good old Nancy! Come on, Nancy! NANCY: All right! All right! CHAIRMAN: Oom-pah-pah!
6
œ
˙
œ
œ
œ
2
.. j #œ œ œ ing
in
œ
or
the
œ
the
j #œ œ œ
œ
ci
-
R&R
œ
œ
ty
Es -
˙.
beer.
œ
œ
i - ma - gin - a - tions
œ
Will
..
— 160 —
L
# & # œ.
55
j œ œ
tell
# &#
59
you
just
œ
ex - act
B
’
OLIVER!
S
œ
œ
œ
ly
-
A R T
Oliver!
what
œ
œ
œ
œ
œ
œ
œ
you
œ
œ
œ
# & # œ #œ
69
to
hear
want
to
# & # œ.
75
j #œ œ œ
Mis
# & # œ.
ter
-
79
ne
# &#œ
Per - cy
j œ œ œ
œ
œ
œ.
Snod - grass Would
œ
œ
œ
They
Oom
œ
of
buy
it
œ
And
œ.
drink
j #œ œ œ
œ
girl
œ
on
œ
each
œ
it on the
89
qui - et ALL
Œ
˙
œ
˙.
knee!
j #œ œ œ
ten
-
have the
goes
œ
œ
could
And dream
œ
Oom - pah - pah!
œ
œ
œ
Oom - pah - pah!
œ
Ev - 'ry - one
#28—Oom-Pah-Pah
they
Œ
œ
glass
But
j #œ œ œ
Se - cret - ly he'd
j œ œ œ
he was an
œ
Oom - pah - pah!
œ
Œ
œ.
œ
œ
œ
odd
see.
œ.
Oom - pah - pah!
œ
œ
œ
œ
˙.
œ
94
˙.
œ
œ
pah - pah!
œ
œ
œ
œ
sup - pose what
all
84
œ
œ
œ
-
œ
œ
œ
œ
ver when he thought a - ny - bo - dy
-
œ
Oom - pah - pah!
goes
˙
œ
When they hear
sup - pose
œ
NANCY
knows.
œ #œ
œ
˙.
it
˙.
Ev - 'ry - one
˙.
œ
œ
That's how
œ
œ
œ
Oom - pah - pah!
# &#
Œ
˙
œ
want
œ
œ
Oom - pah - pah!
64
# &#
45
ALL
Oom - pah - pah!
# &#
œ
I O N E L
˙. knows.
earl
œ
wiv
œ
œ
œ
œ
œ
That's how
a
it
NANCY
œ
What
œ
is
œ
the
L
46
# &#
100
œ
œ œ
cause of
2
# & # ..
107
nose?
# & # œ.
.. œ.
j #œ œ œ
j œ œ œ
œ
plays
# &#œ
her pret - ty
ank - les
OLIVER!
œ
to
all
œ
œ
gar - ters
# &#œ
j #œ œ œ
œ.
but
not
œ
the
men.
when to
# &#
say
œ
œ
œ
when!
œ
œ
œ
œ
œ
# &#
œ #œ
˙.
œ
whe - ther
2
# & # ..
141
it
œ #œ
shows, x3 142A
..
It's
U ∑
146
œ
gum
# & # œ.
151
œ
tree
œ
She
œ
the same
143
let
What's
j #œ œ œ
the good o'
œ
They could see her
j œ œ œ
œ
œ
œ
œ
œ
or two and then she knows
œ
œ
a
œ
cry -
˙.
in'?
˙
Oom
œ
œ
˙.
it
œ
goes
œ
œ
Whe - ther it's
hid - den, or
œ
˙.
pah - pah!
-
œ
œ
Œ
œ œ
But
œ.
now
feed
œ
She's
œ
'er
œ.
made
œ
then
œ
lead
'er
j #œ œ œ
#28—Oom-Pah-Pah
a
bed
œ
œ
to
a -
œ
lie
Œ
j #œ œ œ
she's up
accel.
œ
œ
Hilarious laughter.
was from the coun - try,
fel - ler
œ
NANCY
j #œ œ œ
œ.
j œ œ œ
œ.
a tempo
œ
Ev - 'ry - one knows.
She
# &#
inch
œ
œ
œ
œ
Oom - pah - pah! Oom - pah - pah! 135
An
œ
j #œ œ œ
Oom - pah - pah! Oom - pah - pah! That's how
129
œ
œ.
œ
Œ
al - ley, Dis -
œ.
˙.
Œ
ALL
Œ
˙
œ
œ
for free and gra - tis.
123
œ
œ
œ
walk - ing down the
118
œ
œ
j #œ œ œ
œ.
goes
of
˙.
Oom - pah - pah?
œ
œ
œ
— 161 —
˙
be
Sal - ly
œ
œ
œ
S
Can it
Pret - ty lit - tle 113
’
Oliver!
œ #œ œ
red shi - ny R&R
A R T
˙.
œ #œ œ
his
B
I O N E L
a
˙.
long,
œ
in
œ
She's
— 162 —
L
# & # œ.
j œ œ
glad
to bring
155
# &#
159
œ
the
A R T
’
OLIVER!
S
Oliver!
œ
œ
œ
coin
œ
in
and
œ
œ
œ
œ
œ
œ
œ
Oom - pah - pah!
164
œ
œ
œ
47
œ
join
# & # œ #œ
Ev - 'ry
169
˙.
œ
same blush - ing
- one
œ
in
this
song.
Ev - er
since
it
œ
œ
œ
œ
long - er
the
œ
˙.
goes
œ
knows.
œ
œ
Oom - pah - pah!
She
˙
œ
œ
is
no
œ
Oom
œ
∑
˙.
pah
pah!
>. œ œ >œ. œ #œ. ‹œ œ. œ #œ œ œ ˙ j ‰ œ. œ œ. œ œ œ. œ œ œœ. œ œ. œ. œ 3
Stage Violin
# œ œ#œ &# # &#
œ. œ œ. œ œ œ
# &#
œ.
180
185
3
œœ
œ œ
œœœ #œ. œ œ. œ nœ. 3
191
Oom
∑
¿
pah
¿
pah!
∑
œ
. œ œ. œ œ œ œ œ. œ œ œ. #œ œ. nœ œ. œ œ J ‰ œ . œ œ. ˙ œ
œ#œ. œ œ #œ œ #œœ
° ## NANCY & ¿ ¿ ## & ¢
Œ
˙
NANCY
˙.
œ #œ
rose
œ
That's how
œ
œ
œ
Oom - pah - pah!
175
B
ALL
Oom - pah - pah!
# &#
I O N E L
Oom
œ œ J
œ œ
¿
¿
pah
ALL
¿
Oom
¿
pah
¿
pah!
#28—Oom-Pah-Pah
œ œ
nœ. œ œ.
œ œ œ.
3 œ œ. œ œ œ œ œ. œ œ œ
œ œœœ œœ œœœ
œ œ
3
3
3
∑
pah!
∑
¿
Oom
¿
pah
¿
pah!
L
48
° ## & ¿
I O N E L
195
¿
Oom
## & ¢
’
S
Oliver!
OLIVER!
¿
pah!
¿
Oom
∑
° ## & #œ
A R T
∑
¿
pah
B
¿
¿
pah
pah!
œ
œ
œ
∑
¿
pah
pah!
∑
¿
Oom
— 163 —
¿
¿
¿
Oom
pah
pah!
œ
œ
œ
199
œ
Oom
## & ¢ #œ
Oom
œ
## & œ ¢
Oom 207
Oom
pah
pah!
Oom
pah
pah!
Oom
pah
pah!
œ
œ
œ
œ
œ
#œ
œ
œ
œ
œ
œ
pah!
Oom
Oom
pah
pah!
Oom
rit.
pah
pah!
NANCY: All together now!
bœ
œ
œ
œ
œ
œ
bœ
œ
pah
pah!
Oom
pah
pah!
Oom
pah
pah!
Oom
pah
pah!
œ
œ
bœ
œ
œ
œ
œ
œ
bœ
œ
œ
pah
pah!
Oom
pah
pah!
Oom
pah
pah!
Oom
pah
pah!
œ
œ
j nœ œ œ
There's
a
bbb & œ ¢
CHORUS
œ
211
œ
œ j œ
œ
œ
dit - ty
lit - tle
Oom - pah - pah!
bb ¢& b œ
pah!
œ
NANCY
pesh
pah
œ
° b . &b b œ
° bb & b œ.
œ
pah!
203
Oom
œ
pah
pah
° ## & œ
#œ
œ
Oom - pah -
œ
pah!
sing
œ
œ
Oom - pah - pah!
œ
œ œ
œ.
They're
œ
œ
ly when they've bin
-
œ
œ
That's
œ
j nœ œ œ ing
-
œ how
œ
in
œ
gin
or
œ
œ
œ
œ
#28—Oom-Pah-Pah
- 'ry
-
ty
˙.
it
the
Ev
ci
œ
on
Oom - pah - pah!
the
goes
œ
the
œ
- one
nnbb b
œ
˙.
beer.
˙. knows.
nn b bb
œ
Es -
— 164 —
L
j nœ œ œ
215
° bb œ. & b If
bb ¢& b œ
They
œ
œ
all
sup
219
° b & b b œ. tell
b b & ¢ bœ # ## &#
ALL
hear
œ
œ
they
œ
œ
what
œ
to
sup
˙
œ
want
to
j œ ‰ Œ œ
œ
Oom - pah - pah!
That's
œ
how
œ
œ
it
Ev
œ
They
° #### œ & 235
NANCY
When
¢
# ## &#
œ
œ
all
sup
-
they
∑
pose
œ
hear
Oom
U Ó
œ
œ
what
they
"
U ˙
molto rit.
œ
œ
- 'ry
S A
"
T B
want
U œ pah
-
œ
˙˙.. -
U œ pah
pah!
˙˙.. -
pah!
#28—Oom-Pah-Pah
## nnn # #
-
œ
˙.
one
knows.
#œ
to
œ
sup
"
U̇ .
rit.
231
Œ
goes
œ
œ
Oom - pah - pah!
Oom - pah - pah!
# ## &#
œ
## nnn # #
˙.
227
œ
Will
Œ
hear
pah!
œ
œ
pose
-
˙.
pah -
œ
˙.
œ
nœ
œ
you
œ
-
œ
œ
œ
i - ma - gin - a - tions
want
œ
œ
Oom
Oom - pah - pah!
#### &
what
œ
49
j nœ œ œ
œ.
œ
œ
œ
œ
œ
˙
œ
#œ
OLIVER!
S
own
just ex - act - ly
you
’
pa - tience, Your
pose
-
A R T
Oliver!
œ
œ
j œ œ œ
When they
223
œ
you've got the
B
I O N E L
-
pose
œœ ‰ Œ J
Œ
œœ J ‰ Œ
Œ
L
50
B
I O N E L
’S OLIVER! Oliver!
— 165 —
A R T
29. My Name SFX: Three loud bangs on the table. Enter SIKES. VOICE: (in a loud whisper) Bill Sikes!
Moderato q = 100
4
4 & b 4 ..
SIKES
.. ˙
Strong
men
œ
Ó
8
& b œ.
cause
œ œ.
e - nough
œ œ
to fear
11
& b œ #œ. œ œ
it!
Œ
œ
œ
œ. œ œ. œ
œ
Saves me
& b œ #œ. œ œ
to liveup
Œ
œ to
& b œ. œ œ. œ œ
œ
Lem - me see the man who
& b œ. #œ œ. œ œ # œ
Fit
Œ
œ
for
œ
Ó
dares
Stop
me
˙.
Œ
∑
do - ing of
œ
a mur - der,
œ. œ
œ
˙
If
œ
#29—My Name
˙ I
œ œ
œ œ œ œ ˙. jem - my in me hand,
œ. œ œ œ œ ˙ ta - king
Bi - ceps
œ. œ œ. œ œ
œ
Ó
œ
his prayers!
œ
it!
I could tear their throats out
Wiv' me
œ
œ
œ. œ œ. œ œ. œ
They know
Œ
˙
hold their five pound notes out
œ ˙
œ
32
œ
œ
œ
They've got
black - er than they smear
men
w
27
&b Ó
Rich
it!
œ. œ œ. œ œ
˙
my name!
23
He can start to say
œ
#œ
much
˙
emp - ty - ing their coats out
19
just
Œ
my name!
15
œ œ
œ
It's
#œ
No - bo - dy men - tions
&b Ó
trem - ble when they hear
œ
Œ
œ
œ. œ œ. œ œ
˙
Ó
what I may
œ
œ. œ œ. œ œ
like an i - ron gir - der,
œ. œ œ. œ œ
just so much as heard
œ a
— 166 —
L
B
I O N E L
A R T
’
OLIVER!
S
Oliver!
51
2
Whispers: 'Bill Sikes!'
36
& b œ #œ. œ œ bloke
Œ
œ
e - ven whis - per
41
& b œ.
#œ Ó
œ
& b œ. œ œ. œ œ
Bump'd in - to
He'd
49
& b œ. œ œ. œ ˙
53
& b œ. œ œ. œ ˙
Ne - ver was
57
Once
61
&b Ó
œ. œ œ. œ œ
˙
bad
œ
¿
what's the good of turn - ing?
vain
¿
¿. ¿ ¿. ¿ ¿
Œ
Œ
¿
hell!
œ #œ. œ œ
all
What is it?
œ
U ˙.
˙
˙
One
bloke
œ
˙
Poor bloke,
Œ
∑
a - gain!
In
¿
his
Œ
˙.
sung
65 SIKES: What is it?
& b #œ
in
shouted
Mean - while, think of what I'm earn - ing
U̇.
w
#œ
he seen
spoken
¿
œ
˙
Now
Œ
œ
my name!
my name
œ. #œ œ. œ œ
so green
˙
˙
the al - ley
#œ
of
œ. œ œ
He could take
me in
Œ
œ
ne - ver heard
œ. œ
used ter boast the claim
&b ˙
œ
œ
œ. œ œ. œ œ
œ
œ #œ. œ œ
eyes - 'll ne - ver tal - ly
shame 'e was
Œ
Some toff
œ
slum - ming wiv' his va - let,
45
œ
my name.
œ
œ. œ œ
œ
Œ
œ
Œ
Œ
I'll
be there
œ
on ac-count of
What is it?
œ
œ. œ œ. œ œ
U ˙.
a - burn - ing
œ
#œ
my name!
NANCY: Bill Sikes.
U̇ .
bœ
(NANCY kisses BILL)
30. Underscore After 'My Name' – TACET CUE: DODGER: Fagin! Fagin! Fagin!
#29—My Name / #30—Underscore After “My Name”
98
L
B
I O N E L
Oliver! ’
A R T
OLIVER!
S
— 167 —
31. As Long As He Needs Me (F major version)
WARNING: NANCY: Alright Bet. Go home. There's a good girl. VISUAL CUE: As BET gets halfway upstage.
Slowly (colla voce) q = 76
&bc
∑
U NANCY ‰ œ œ œ
Ó
As
long as
3
&b
˙
˙
œ œ œ
˙
œ
œ œ
he
needs
me
˙
˙
˙
Oh yes he
˙
does
˙
˙
need
œ
me
œ œ œ In spite of
7
&b
what
you
see
œ œ b˙ .
I'm sure that
he
œ
needs
˙
œ œ œ œ
˙
œ
me
Who else would
11
&b
˙
˙
love
˙
him
œ
still.
œ
œ
œ
˙
When they've been used
˙
so
ill
15
&b
˙
al 19
&bC
-
˙
œ œ œ œ b˙ .
˙
will
ways
As long as
he
In 2
b˙
so
˙
much
œ
œ
when
œ
he
œ
is
w
œ
needs
#31—As Long As He Needs Me (F major)
He knows I
C
œ œ œ
me.
gone
œ œ 3
˙
Œ
œ
I miss him
œ
œ
œ
But when he's
— 168 —
L
B
A R T ’ S Oliver!
I O N E L
OLIVER!
23
&b ˙
˙
near
œ
me
œ
œ I
don't
In 4
œ
w
œ
let
99
on
œ
œ
The
c
œ
way
I
27
&bc
˙
˙
feel
in
˙
œ
side
-
œ œ œ
The love I
˙
˙
˙
have
to
œ
hide
œ œ œ The hell! I've
31
&b
35
˙
˙
˙
got
my
pride,
As long as
Con moto (in 2)
&bC ‰
˙
œ œ œ œ
œ.
œ œ œ œ œ
j œ
he
‰
˙
He does - n't say the things he should 39
&b ‰
j œ ˙.
œ. œ œ œ
But all the same 44
&b
I'll play
Sostenuto
˙
˙
he
needs
˙
˙
˙
me
œ
œ
C
w
needs
me.
œ œ œ œ œ
j œ ˙
œ.
He acts the way he thinks
œ cw
˙.
his
œ
˙
I know where I
he should
j œ ‰ Œ ‰ œ œ œ
In 4
this game
œ œ
˙
way
As long as
˙
˙
must
œ œ œ
œ
be
I'll cling on
48
&b
stead
-
fast
-
œ œ œ œ b˙ .
˙
ly
As long as
œ
he
needs
œ œ œ œ
˙
me
As long as
52
&b
˙
life
˙
is
˙
long
œ
œ œ œ
˙
I'll love him right
˙
or
˙
wrong
#31—As Long As He Needs Me (F major)
œ
œ
œ
œ
And some - how
L
100
I O N E L
B
’S OLIVER! Oliver!
— 169 —
A R T
rall.
56
&b
˙
˙
I'll 60
be
strong
As long as
œ
he
lone
˙
œ
ly
-
œ
then
accel.
&b ˙
needs
˙
trust 73
b & b bb ˙ just
you
will
˙
œ œ œ œ
you
you love them
œ
œ œ œ
Tho' peo - ple
U" œ œ œ œ as long as
˙
say
I won't be
˙
˙ I
œ
must
w
U w
he
needs
If
you are
œ
œ
œ
bbbb
A tempo
When some - one
U U U œ bœ œ bœ
so
poco accel.
me
know
w
œ œ œ
Œ
w
œ
rall.
69
bb &b b
œ
3
˙
needs
In 2
& b b˙
64
˙
œ œ œ œ b˙ .
"
-
œ œ œ I've got to
w me
#31—As Long As He Needs Me (F major)
˙
˙
tray
his
˙
˙
stay
U ˙.
true
Œ
— 170 —
L
I O N E L
Oliver!
B
A R T
’
S
101
OLIVER!
31. As Long As He Needs Me (F# major version)
WARNING: NANCY: Alright Bet. Go home. There's a good girl. VISUAL CUE: As BET gets halfway upstage.
Slowly (colla voce)
#### # cq = 76 & #
∑
U NANCY ‰ œ œ œ
Ó
As long as
## # & # ##
3
## # & # ##
˙
˙
œ œ œ
˙
œ
œ œ œ œ n˙.
he
needs
me
˙
˙
˙
˙
Oh yes he does
˙
˙
need
œ œ œ
œ
me
In spite of
7
what
# ## # &# #
you
see
I'm sure that
œ
he
needs
œ œ œ œ
˙
me
Who else would
11
˙
˙
love
#### # & #
˙
him
œ
still.
œ
œ
œ ˙
When they've been used
˙
˙
so
œ
ill
15
˙
al
-
#### # C In 2 & # n˙
˙
œ œ œ œ n˙.
˙
will
ways
As long as
he
19
so
˙
much
œ
œ
when
œ
he
œ
is
w
œ
needs
#31—As Long As He Needs Me (F# major)
He knows I
C
œ œ œ
me.
gone
œ œ 3
˙
Œ
œ
I miss him
œ
œ
œ
But when he's
L
102
## # & # ## ˙
B
I O N E L
’S OLIVER! Oliver!
— 171 —
A R T
23
near
# ## # &# # c
˙
œ
˙
˙
me
œ
œ I
don't
In 4
œ
w
œ
let
on
œ
œ
The
way
c
œ I
27
˙
feel
# ## # &# #
in
side
-
œ œ œ
œ
˙
The love I
˙
˙
have
to
œ
hide
œ œ œ The hell! I've
31
˙
˙
˙
got
my
˙
œ œ œ œ
pride,
As long as
moto (in 2) #### # Con C ‰ & # œ œ œ œ œ
35
œ.
j œ
he
‰
˙
He does - n't say the things he should
#### # ‰ & #
39
j œ ˙.
œ. œ œ œ
But all the same
#### # & #
44
# ## # &# #
I'll play
Sostenuto
˙
˙
he
needs
˙
˙
˙
me
œ
œ
C
w
needs
me.
œ œ œ œ œ
j œ ˙
œ.
He acts the way he thinks he should
j œ‰ Œ ‰ œ œ œ
In 4
œ cw
˙.
this game
œ œ
˙
his
way
œ ˙
As long as
˙
˙
I know where I
must
œ
be
œ œ œ I'll cling on
48
stead
## # & # ##
-
fast
-
œ œ œ œ n˙.
˙
ly
As long as
œ
he
needs
œ œ œ œ
˙
me
As long as
52
˙
life
˙
is
˙
long
œ
œ œ œ
˙
I'll love him right
˙
or
˙
wrong
#31—As Long As He Needs Me (F# major)
œ
œ
œ
œ
And some - how
— 172 —
L
## # & # ##
B
A R T ’ S Oliver!
I O N E L
OLIVER!
103
rall.
56
˙
˙
I'll
#### # & #
60
˙
be
strong
As long as
œ
he
needs
In 2
n˙
lone
## # & # ## ˙
˙
œ
ly
-
œ
then
œ
needs
˙
you
trust
## &# ˙
73
just
œ
you love them
œ œ œ
Tho' peo - ple
U" œ œ œ œ as long as
˙
say
so
If you are
When some - one
˙
I
œ
must
w
U w
he
needs
œ
œ
œ
nnn###
I won't be
˙
poco accel.
œ œ œ
me
U U U œ nœ œ nœ
w
œ œ œ œ
˙
know
rall.
69
˙
will
3
Œ
w
œ
you
accel.
64
## &#
œ œ œ œ n˙.
"
I've got to
w me
#31—As Long As He Needs Me (F# major)
˙
tray
-
œ œ œ
A tempo
˙
stay
U ˙.
˙
his
˙ true
Œ
L
52
I O N E L
B
’S OLIVER! Oliver!
— 173 —
A R T
31. As Long As He Needs Me (G major version) (see Appendix for alternative keys)
WARNING: NANCY: Alright Bet. Go home. There's a good girl. VISUAL CUE: As BET gets halfway upstage.
Slowly (colla voce)
&
q = 76
#c
∑
U NANCY ‰ œ œ œ
Ó
As
3
& 7
&
#
#
˙
˙
he
needs
˙
˙
what 11
&
#
˙
15
&
#
˙
al
# C In 2 & n˙
œ œ œ
still.
˙
œ
˙
does
œ œ b˙ .
œ
œ
he
˙
When they've been used
œ œ œ œ b˙ .
˙
ways
Oh yes he
I'm sure that
˙
him
-
˙
see
˙
love
œ
me
you
œ œ œ
˙
will
As long as
he
19
so
˙
much
œ
œ
when
œ
he
œ
is
w
˙
˙
need
œ
me
œ
˙
needs
me
so
œ œ œ In spite of
œ œ œ œ Who else would
˙
˙
long as
œ
ill
œ
œ œ
He knows I
œ
˙
needs
me.
Œ
gone
#31—As Long As He Needs Me (G major)
3
œ œ œ
I miss him
œ
œ
œ
But when he's
C
— 174 —
23
L
#
& ˙
˙
near
# & c
œ
A R T ’ S Oliver!
œ
œ
me
B
I O N E L
I
don't
OLIVER!
œ
w
let
on
53
In 4
œ
œ
œ
The
way
27
˙
˙
feel 31
&
#
in
˙
side
-
got
The love
˙
˙
˙
œ œ œ
œ
my
He does -n't say the
39
#
& ‰
But all the same 44
&
#
œ. things
j œ ˙.
œ œ œ œ.
˙
he
needs
# & ˙
˙
˙
œ
me
j œ
to
œ
‰
˙
he should
œ
I'll play
Sostenuto
˙
have
As long as
35
˙
˙
he
needs
˙
I know where I
The hell! I've
C
j œ ˙
œ.
thinks
he should
j œ ‰ Œ ‰ œ œ œ
œ cw
œ
œ œ œ
me.
œ œ œ œ œ
his
I
w
In 4
˙.
œ
hide
He acts the way he
this game
œ
˙
˙
œ œ œ œ
pride,
moto (in 2) # Con & C‰ œ œ œ œ œ
I
˙
c
œ
way
As long as
œ œ œ
˙
œ
˙
œ œ œ œ
˙
must
be
I'll cling on
48
stead
52
&
#
˙
life
-
fast
˙
is
-
œ œ œ œ b˙ .
˙
ly
˙
long
As long as
œ
œ œ œ
œ
he
˙
I'll love him right
needs
˙
or
me
˙ wrong
#31—As Long As He Needs Me (G major)
As long as
œ
œ
œ
œ
And some - how
L
54 56
&
˙
#
˙
be
In 2
& n˙
lone
64
’S OLIVER! Oliver!
— 175 —
A R T
rall.
#
I'll 60
B
I O N E L
#
˙
strong
˙
As long as
œ
ly
-
œ œ œ œ b˙ . œ
œ
then
you
accel.
& ˙
needs
œ
will
he
œ œ œ œ
you
69
b &b ˙
œ
trust
œ œ
Tho' peo - ple
U" œ œ œ œ
73
b &b ˙ just
œ
as long as
œ
must
w
U w
he
needs
poco accel.
you are
œ
œ
œ
When some - one
˙
I
If
Œ
I won't be
˙
say
me
U U U œ bœ œ nœ
so
˙
needs
œ œ œ
know
w
you love them
˙
w
rall.
˙
œ
3
"
nb b -
œ œ œ I've got to
w
A tempo
˙
˙
tray
his
˙
˙
stay
true
U̇ .
Œ
me
32. Transition to "Where Is Love?" (Reprise) – TACET SCENE CHANGE: Brownlow's house.
9
h = 72
b & b bb C 10
4
Slower q = 88
&c
nnnn
In the bedroom MRS BEDWIN sits by OLIVER'S bed singing a lullaby.
œ ˙ œ œ œ
nœ ˙ #œ œ œ
#œ œ. #œ œ œ
œ nœ. J
œ œ J
œ
SEGUE AS ONE Where Is Love? (Reprise)
#31—As Long As He Needs Me (G major)
b &b ˙
œ œ
œ
trust
Tho' peo - ple
U" œ œ œ œ
73
b &b ˙
— 1 7 6 just —
œ
as long as
˙
say
I
poco accel.
w
Lhe I O
˙
˙
N E L
B
œ
must
"
U w A needs R T ’ S
œ œ œ I've got to
w
O L I V E me R!
˙
stay
˙ true
U̇ .
Œ
32. Transition to "Where Is Love?" (Reprise) – TACET SCENE CHANGE: Brownlow's house.
9
h = 72
bb &b b C 10
4
Slower q = 88
&c
nnnn
In the bedroom MRS BEDWIN sits by OLIVER'S bed singing a lullaby.
œ ˙ œ œ œ
nœ ˙ #œ œ œ
#œ œ. #œ œ œ
œ nœ. J
œ œ J
œ
SEGUE AS ONE Where Is Love? (Reprise)
#32—Transition to “Where Is Love? (Reprise)”
L
I O N E L
B
’S OLIVER! Oliver!
— 1 7 7 55 —
A R T
33. Where Is Love (Reprise) SEGUE AS ONE from previous number q = 84 MRS BEDWIN
4 &4 œ
Where
4
œ
œ
œ
j œ
œ.
is
bove?
Is
un - der-neath
it
the
& w
wil - low
j œ
œ œ œ œ œ.
of ?
&
Does it
fall from skies
j œ œ
œ.
tree
j œ
œ.
a -
bœ bœ œ
that you've been dream
-
œ
ing
2
OLIVER embraces MRS BEDWIN
8
13
love?
œ
œ
œ
œ
j œ œ bœ
œ œ œ œ œ.
& w
w
Where
w
is
she?
They look out of the window as the STREET CRIERS appear
œ œ œ œ
œ J
œ.
bœ
œ
œ.
œ J
œ
bœ
bœ
U œ
˙
œ
ROSE SELLER
bœ œ
(Cue)
Who will
Attacca
34. Who Will Buy (Part One) (Pickup in previous number)
Andante q = 84
ROSE SELLER
b 3 &b b 4
(œ
œ
)
Who will
buy
4
R
b & b b j œ. œ
œ œ
pen - ny?
Who will
b & b b œj œ.
œ œ
8
R
pen - ny?
j œ œ
œ.
œ
œ œ œ
my sweet red
œ. buy
œ.
Who will buy
j œ œ
ro
œ
my sweet red
j œ œ œ
œ œ
two
ses,
-
œ œ œ
ro
ses,
-
œ œ œ
my sweet red ro
-
ses,
œ
œ
blooms for
a
œ
œ œ
two
œ œ
two
œ
œ
œ
œ
œ
œ
blooms for
blooms for
#33—Where Is Love (Reprise) / #34—Who Will Buy (Part One)
a
a
— 178 —
L
56
12
M
R
° bb & b
I O N E L
∑
B
A R T
’
OLIVER!
S
Oliver!
∑
Œ
Œ
MILKMAID
œ œ
Will you
b ¢& b b œj œ.
Œ
∑
˙
œ œ
buy
a - ny
∑
∑
pen - ny?
16
M
R
° bb j œ. & b œfi bb b & ¢
j œ œ
milk
to - day?
R
∑
b ¢& b b œ .
j œ œ œ
b ¢& b b œ 28
S
to - day?
milk
∑
° b &b b bbb ˙ & ¢ Ripe
Œ
Œ
œ œ
A - ny
j œfi
j œ œ
œ.
milk
to - day?
∑
Œ
œ œ œ
my sweet red ro
° b &b b
blooms
M
j œ œ
œ.
∑
° b &b b
24
R
j œfi
œ œ œ
Œ
Œ
œ œ
mis - tress?
Œ
Will you
buy
S
œ œ
mis - tress? A - ny
∑
20
M
œ œ œ
˙
œ œ
˙.
œ œ3 œ
straw - ber - ries, ripe!
∑
œ œ ˙
a
Œ
STRAWBERRY SELLER
Ripe
for
Œ
Two
∑ œ
Œ
mis - tress?
ses?
-
∑ œ
œ œ œ
∑
pen - ny.
∑
Œ
Œ
MILKMAID
œ
œ
A - ny 3
œ œ œ
˙.
straw - ber - ries, ripe!
j œfi
œ.
milk
˙
Ripe
#34—Who Will Buy (Part One)
j œ
œ
to - day?
œ 3œ œ straw - ber - ries,
L 31
M
° bb & bœ œ œ
B
I O N E L
Œ
A R T
’
S
Oliver!
OLIVER!
∑
— 179 —
57
Œ
∑
Œ
œ œ
mis - tress?
S
b ˙. &b b
∑
ripe!
R
A - ny
bbb Œ & ¢
Œ
œ œ
35
M
S
R
° b j œ. & b b œfi b &b b
j œ œ
milk
j œ œ œ
œ.
Will you buy
my sweet red
∑
K
b &b b
Œ
∑
bb ¢& b ˙ ‹ ° b &b b Œ b ˙. &b b b & b b œ. bb ¢& b ‹
∑
ses?
∑
∑
∑
œ
Œ
œ œ3 œ
Ripe straw - ber- ries,
ripe!
R
ro -
∑ Œ
buy
j œfi
œ
Œ
A - ny
knives to grind!
œ œ ˙.
j œ œ œ œ œ œ.
my sweet red
˙
Ripe
‰ Œ
˙
Knives,
œ œ œfij œ.
j œ
A - ny milk
to -
œ œ3 œ ˙. Œ
straw - ber - ries, ripe
œ
Who
ro - ses,
Œ
œ
œ œ œ œ ˙
to day? mis - tress?
∑
œ
Who will
œ œ œ
œ œ œ
A - ny milk
∑
Œ
Who will buy?
knives to grind
œ œ
‰ Œ
œ œ œ.
œ œ ˙.
39
S
‰
œ œ œ.
mis - tress?
to- day?
Knives,
M
straw - ber - ries, ripe!
œ œ œ Œ
KNIFE GRINDER
K
œ œ œ
Ripe
ROSE SELLER
˙.
3
˙
œ œ ˙
knives to grind,
#34—Who Will Buy (Part One)
œ
will
œ. buy
œ œ œ
A - ny
j œ œ œ
my sweet red
œ œ
knives to
— 581 8 0 —
43
M
° bb & b˙
j œ ‰
day?
S
R
b &b b ˙
b &b b œ œ œ. ro
K
b ¢& b b ˙ ‹ grind! 48
O
-
ses,
b &b b C ‰ œ
OLIVER
Who
O
I O N E L
2 4
∑
2 4
∑
‰
2 4
∑
j œ ‰
˙
C
œ œ œ
˙
˙
C
˙
˙
˙
C
Who will buy?
Who will buy?
j œ
j œ œ œ œ œ œ.
Who will buy my sweet red ro
a
sky
bon
‰ œ
˙
STRAWBERRY SELLER
Ripe
j œ
and
œ œ. J
Who will tie
∑
-
ses,
-
œ œ œ œ œ
put it
in
a box
œ
for
#34—Who Will Buy (Part One)
j œ
you
∑
Ó
˙
j bb œ œ œ œ œ œ ¢& b rib
Such
œ œ. J
œ œ œ œ œ œ œ
∑
up with a
‰ œ
this won - der - ful morn - ing
œ œ
bbb œ œ œ œ ˙ & ¢
C
œ œ œ
∑
ROSE SELLER
Œ
° b &b b
œ œ œ
∑
Who will buy?
will buy
° bb Ó & b
OLIVER!
∑
2 4œ œ œ
œ œ. J
54
O
A R T ’ S Oliver!
Who will buy?
ne - ver did see
S
B
œ ‰ J
51
R
L
w
me?
œ
3
œ
j œ it
œ
straw - ber - ries,
L
57
S
° bb ˙ & b
œ ‰ Œ J
bb ¢& b ˙
‰
ripe!
O
b &b b ˙
wrong,
65
M
O
° bb Œ & b
œ œ
œ œ œ
‰ œ nœ œ And
it
œ œ œfij œ.
œ J
A - ny milk
œ
œ
at
my
as
˙
to - day?
K
O
∑
71
S
STRAWBERRY SELLER
° b ˙ &b b
Ripe
K
O
b & b b ˙. ‹ grind.
bb ¢& b ˙
œ
a
trea - sure
3
œ
œ
when
œ
œ
œ
œ
ev - er things go
œ
œ
to
œ
last
œ
œ
my whole life
∑ j œ
‰ œ <b>œ œ. J Who
Ó
will buy
this
KNIFE GRINDER
œ
œ œ
Knives, knives to
‰ œ
ing?
-
straw - ber - ries,
I'm
j œ œ œ œ œ ˙
œ œ. J
so high
˙.
I swear
Œ
I could fly
∑
ripe!
∑
Œ Ó
j nœ œ.
œ
œ
lei - sure
∑
j bb œ œ œ œ œ œ. ¢& b won - der - ful feel
˙
œ ‰ Œ J
long 68
œ
∑
œ ‰ Œ J
˙
° b &b b ‹
— 1 8 1 59 —
∑
œ œ œ œ
I would keep it
MILKMAID
bbb nw & ¢
’S OLIVER! Oliver!
A R T
∑
So I could see
61
O
B
I O N E L
‰ œ Me,
œ œ. J
oh my!
∑ j œ
j œ œ œ œ œ œ
I don't want to lose
#34—Who Will Buy (Part One)
it
j œ
So
— 601 8 2 —
L
74
O
b &b b œ œ œ œ œ. what am I
to do
77
M
S
° bb & b
∑
b &b b
∑
I O N E L
B
A R T ’ S Oliver!
j œ œ œ œ œ œ.
to keep the sky so blue?
Ó œ
b &b b Ó
œ
œ
Who will
K
O
j œ
œ œ œ œ œ
œ
œ
There must be some - one who
Who will
œ
Who will
R
OLIVER!
b & b b œ œ ˙. ‹ Who will buy? b w ¢& b b
œ
buy?
œ
U w
buy?
U w
˙. buy?
w
U w
w
U w ∑
buy.
35. Portrait Music – TACET CUE: MR BROWNLOW: No need to rush, but I shall expect you back in ten minutes.
#34—Who Will Buy (Part One) / #35—Portrait Music
U ∑
œ will
L
B
I O N E L
’S OLIVER! Oliver!
— 1 8 3 61 —
A R T
36. Who Will Buy (Part Two) CUE: BROWNLOW: Well in ten minutes, Dr Grimwig, when the boy returns, I think you will see. GRIMWIG: Yes, Mr Brownlow, ten minutes. (Music starts)
In 4 q = 126
° bc &b b
∑
b & b bc
∑ ∑
œ
bcœ ¢& b b mp
˙
œ
Who will
In 2 q = h
° b w M &b bC
5A
œ
Who will
KNIFE GRINDER
mp
˙
buy?
w
˙
œ
Who will
C
buy?
w
C
w
w
C
w
w
C
œ
œ
Who will
ROSE SELLER mp
∑
œ
∑
STRAWBERRY SELLER
∑
b & b bc
5
MILKMAID mp
˙
buy?
buy?
6
w
w
w
w
w
S
b &b bC w
w
w
w
w
w
R
b &b bC w
w
w
w
w
w
K
b &b bC w
w
w
w
w
w
œ œ œ œ
œ ˙.
bC b & ¢ b
∑
∑
ENSEMBLE
Œ ˙
Who
œ
˙.
will
buy
œ this
won - der - ful morn
#36—Who Will Buy (Part Two)
-
ing
— 621 8 4 —
10
L
b &b b Œ ˙
ALL
œ
˙.
Such
a
sky
B
A R T ’ S Oliver!
I O N E L
OLIVER!
œ œ œ œ
œ
you
ne - ver did
see.
œ
œ
Œ ˙
w
Who
œ
˙.
will
tie
œ it
16
b &b b œ
œ
œ
up with
œ
a
œ
rib
-
21
b &b b Œ
œ œ œ
There'll ne - ver
26
b &b b ˙
could
the
day
so
˙
w
price
b &b b Œ
46
b &b b Œ
˙
œ
˙.
I'm
so
high
˙
œ
˙.
Me
oh
my
do
œ
to
˙
œ
˙.
will
buy
œ
œ
so
˙.
blue
for
œ swear
œ ˙.
Ó
œ nœ œ
˙
˙
man
with
˙ it
the
˙
˙
cheap
at
half
the
œ I
œ
lose
œ
me.
˙
this
œ
w
˙
œ
don't want to
œ œ œ œ
box
Where is
I
I
keep the sky
Œ
œ œ
˙
sun - ny
It's
Who
51
b & b b ˙.
Ó
Œ ˙
w
a
twice
pen
-
˙
œ
in
a
mo - ney
b & b b nw
it
be
nœ ˙.
36
42
put
˙
hap
all
and
˙
not
˙
bon
œ
˙
˙
b &b b ˙
œ
˙
˙
31
˙
œ œ œ œ
won - der - ful
œ
œ
œ ˙
œ
could
fly
it
œ
œ
-
ing
w
what am
œ
there must be some - one
#36—Who Will Buy (Part Two)
feel
œ œ œ œ
so
œ
œ ˙.
˙
who
I
to
˙
will
L
56
° bb w & b
I O N E L
SOPS & BARIS (8vb)
Œ
buy
œ œ œ
There'll ne - ver
b w ¢& b b
˙
˙
˙
be
a
day
so
œ œ œ
There'll ne - ver
˙ it
˙
˙
˙
could
not
hap
∑
66
man
bbb & ¢ w
˙
˙
with
all
the
Œ
twice
71
° b &b b ˙
half
b ¢& b b ˙˙
half
nw
the
the
price
76
° b &b b œ œ œ œ
won - der - ful feel
b ¢& b b
œ œ œ œ
won - der - ful feel
˙
œ ˙.
with
-
ing
œ ˙.
-
ing
Œ
Œ
œ nœ œ
-
the
˙
pen
˙
˙
cheap
at
œ ˙.
˙
all
the
mo - ney
˙
œ
˙.
Who
will
buy
this
˙˙
œœ
˙˙..
œ
Œ Œ
w w Œ
so
hap
It's
n˙
w
w w
day
˙
˙ ˙
man
˙
not
mo - ney
˙
Where is
could
nœ ˙.
the
˙
a
˙
˙
n˙
˙
be
price
˙˙
sun - ny
twice
- pen
Ó
# œ œ nœ
Where is
˙
œ ˙.
w
It
˙
˙
˙
sun - ny
° b &b b ˙
— 1 8 5 63 —
˙ Œ
∑
61
bb ¢& b œ ˙ .
’S OLIVER! Oliver!
A R T
ALTOS & TENORS (loco)
buy
° b &b b Ó
B
Who
˙
œ
˙.
I'm
so
high
˙˙
œœ
I'm
so
will
œ
buy
œ
this
œ œ œ œ
˙˙..
I
swear I could fly
œ
high
I'll
œ œ œ œ
#36—Who Will Buy (Part Two)
swear I could fly
— 641 8 6 —
L
81
° bb & bw b b & ¢ b
Œ Œ
w
I O N E L
˙
œ
˙.
Me
oh
my
B
A R T ’ S Oliver!
œ I
what
bb ¢& b œ
what
œ
œ
œ
am
œœ
˙˙..
œ
Me
oh
my
I
am
I
to
œ
œ
I
must
b ¢& b b œ
must
œ
be
œ
be
œ œ
œ
œ
œ
œ
don't want to
lose
œ
œ
do
to
keep
the
sky
so
blue?
˙.
œ
œ
œ
œ
˙.
to
keep
the
sky
œ
˙
˙
œ
who
will
œ
˙
˙
some - one
lose
œ
œ
do
some - one
œ
œ
90
° b &b b œ
œ
œ
˙.
to
œ
don't want to
˙˙
œ
œ
who
˙ it
œ
so
Unis. (Tenors 8vb)
86
° bb & bœ
OLIVER!
will
œ
so
˙.
blue?
˙
œ
it
so
œ
There
œ
There
6 8 6 8
DEAD SEGUE Who Will Buy (Part Three)
#36—Who Will Buy (Part Two)
L
B
I O N E L
’S OLIVER! Oliver!
— 1 8 7 65 —
A R T
37. Who Will Buy (Part Three) Più mosso ENSEMBLE
° 6 ˙. &8
˙.
6 ˙. ¢& 8
˙.
buy
2
16
2
16
buy
32
21
& 75
&
6
2 4
85
° bb C Œ KIDS˙ & b b &b bC Œ b &b bC bbb C & ¢
8
œ
œ
˙.
Who
will
buy
GROUP 1
˙
œ
˙.
Who
will
buy
∑ ∑
œ
œ
œ
this
œ
this
∑ ∑
œ
œ
œ
œ
14
œ
œ
œ
œ
œ œ œ œ
œ ˙.
œ œ œ œ
morn
œ ˙.
˙
œ
˙.
Who
will
buy
won - der - ful
won - der - ful
Œ
GROUP 2
∑
morn
-
-
œ
œ
œ
Œ
˙
œ
Such
a
˙
œ
Such
a
ing
Œ
ing
œ
œ
œ œ œ œ
this won - der - ful
∑
#37—Who Will Buy (Part Three)
bbb C
œ
Œ
feel -
GROUP 3
˙
œ
Who
will
— 188 —
L
66 90
° bb ˙. & b
œ
œ
sky
you
b & b b ˙.
œ
b &b b œ . ˙
you
ne - ver
buy
this
œ
œ
’
OLIVER!
S
w
Œ
œ
œ
w
Œ
œ
˙.
a
sky
see.
see.
Such
œ
A R T
Oliver!
œ
did
˙
Œ
- ing
bb ˙. ¢& b
œ
B
œ
did
ne - ver
œ
sky
œ
I O N E L
œ
œ
won - der - ful
morn
œ
˙.
Who
will
tie
˙
œ
˙.
will
tie
œ œ
w
œ
˙.
a
sky
Who
œ
œ
you
œ
ne - ver
did
˙
Œ
œ ˙. -
˙
ing
Such
see
œ it
œ it
œ
you
95
° bb œ & b
up
b &b b œ
up
b &b b Œ
b œ b & ¢ b
œ
œ a
rib
-
œ
œ
œ
œ
with
with
a
˙
Who
œ
ne - ver
œ
œ
rib
-
œ
˙.
will
tie
œ
w
œ
did
see
œ
œ
and
œ
put
œ it
in
œ
œ
œ
œ
˙
œ
bon
and
˙
œ
bon
it
put
up
it
with
in
œ
œ
œ
a
˙
Œ
œ
Who
a
a
œ
rib
˙.
œ
box
and
w
box
œ
-
œ
˙.
will
tie
˙
˙
˙
œ
bon
and
œ it
99
° bb & bœ
put
b &b b w
œ it
b &b b œ
œ
b ¢& b b œ
put
œ
in
œ a
it
œ
in
œ
œ
œ
œ
up with
a
a
rib
˙.
œ
box
and
œ
put
œ it
œ
in
œ a
box
for
me.
˙
w
w
w
˙
w
w
˙
box
œ ˙
-
on
œ
and
œ
put
œ it
œ
in
œ a
w
˙
box
#37—Who Will Buy (Part Three)
for
me.
˙
w
for
me.
˙
w
for
me.
L 104
° bb Œ & b
KIDS, SOPS & BARIS
œ œ œ
There'll ne - ver
b ¢& b b
I O N E L
B
A R T
109
could
bbb & ¢
˙
˙
be
a
day
so
˙
˙
Œ
˙
˙
not
hap
∑
œ œ œ ˙
- pen
Ó ˙
nœ ˙.
all
the
mo - ney
bb Œ ¢& b # œ œ nœ Where is
the
n˙ man
119
° b SOP & KIDS w & b b nw
˙
not
˙
hap
˙
˙ It's
n˙
all
∑
˙
the
˙
so
œ nœ
sun
œ
Where is
could
the
˙ -
˙
˙
cheap
at
mo
A
˙
- ney
∑
w
b w &b b ‹ price
w
ALTO
price
TENOR
BARI
?b ¢ bb
nw
price
˙
˙
man
with
T
˙
˙
half
the
˙˙
˙˙
half
the
f
œ œ ˙
∑
Who will buy?
∑
mf
∑
œ œ ˙
w
w
w
w
w
Who will
œ œ ˙
mp
∑
Who will
w
ny
twice
pen
˙
-
˙
w
price
b &b b w
˙ it
day
Œ ˙
with
Ó
˙
a
˙
˙
67
sun - ny
twice
˙
° b &b b ˙
be
— 189 —
œ ˙.
w
it
114
OLIVER!
˙
There'll ne - ver
° bb & b˙
S
˙
ALTOS & TENORS
∑
’
Oliver!
œ œ ˙
sub. mp
Who will
w
buy?
buy?
buy?
#37—Who Will Buy (Part Three)
— 190 —
L
68
125
° bb & b
∑
A R T
’
S
Oliver!
OLIVER!
∑
∑
f
œ
∑
œ
∑ mp
∑
œ
w
w
# nnn## #
w
w
## nnn # #
œ
˙ buy?
Who will buy?
œ
sub. mp
˙
œ
Who will
° #### Œ &
w
buy?
KIDS, SOPS & BARIS (8vb)
˙
œ
˙.
Who
will
buy
#### Π&
œ
œ this
œ
œ
won - der - ful
œ
œ
feel
ing
-
˙˙
œœ
˙˙..
œ
Who
will
buy
this
#### w &
SELLERS (Men 8vb)
Who
° #### ˙. &
œ
## & # # ˙˙..
134
œ
œ
won - der - ful
˙
w
will
buy
œ
œ
feel
ing
-
w œ
˙.
I
swear I could fly
Me
oh
my
œ
œ œ œ œ
w
Œ ˙ ˙
œœ
˙˙..
oh
my
˙
w
w
w w
Me
will
buy
swear I could fly
so
˙˙
œœ
I'm
so
Who
Œ ˙
I
I'm
w
w
high
œ
Œ
˙.
œ œ œ œ
high
#### ˙ & ¢
˙
œ
˙
Œ
˙.
ALTOS & TENORS (loco)
¢
buy?
## nnn # #
œ
˙
œ
# nnn## #
˙
w
mf
Who will
b &b b ‹
129
B
Who will
b &b b
?b ¢ bb
I O N E L
˙˙
Who
#37—Who Will Buy (Part Three)
œ I
œ I
œ œ œ œ
don't want to
lose
œ œ œ œ
don't want to
˙˙
w w
will
buy
lose
L
° #### & œ ˙
I O N E L
B
’S OLIVER! Oliver!
140
œ
it
# ## &#
so
(Tenors 8vb)
œ ˙
œ
it
so
#### ˙˙ & ¢
Œ
œ
so
° #### & ˙
œ œ œ œ
what am
I
to
œ œ œ œ
˙.
œ
do
to
˙.
œ
to
do
to
œ œ œ œ
˙.
œ
what am
what am
I
I
— 1 9 1 69 —
A R T
to
do
œ œ œ œ keep the sky
so
œ œ œ œ keep the sky
to
˙. blue
˙.
KIDS
œ
there GROUP 1
œ
so
blue
there
œ œ œ œ
˙.
Œ
keep the sky
so
blue
145
must
# ## &# ˙ must
#### &
˙
be
˙
be
∑
˙
˙
˙
must
˙
˙
w
some - one
some - one
∑
¢
∑
∑
be
˙
˙
some - one
w
˙ must
˙
be
˙
˙
some - one
w
˙.
w
˙.
Œ
GROUP 2
˙
must
#### &
˙
˙
be
∑
˙
˙
some - one
∑
Œ
GROUP 3
˙
must
#37—Who Will Buy (Part Three)
˙
be
˙
some
˙
one
— 192 —
L
70
KIDS ° #### & w
w
#### w &
w
## &##w
w
I O N E L
151
who
SOP
who ALTO
who TENOR
## w &## ‹ who
## &##Œ ## &##Œ # ## &# Œ ‹ ¢
w w ? #### buy?
S
OLIVER!
w
w
w
w w
w
w
Œ
w
w
Œ
#w w
œ
w
Who
will
buy?
˙
œ
w
Who
will
buy?
˙
œ
w
Œ Œ
buy?
˙
œ
w
Who
will
buy?
˙˙
Who
will
buy?
˙
œ
w
Who
will
buy?
˙
œ
w
Who
will
buy?
˙
œ
w
Who
will
buy?
˙
Who
˙
will
w
w
w w
will
Who
œ
Œ
will
will
˙
Œ
will
who
157
’
will
w ? #### w
° #### Œ &
A R T
Oliver!
w
w
BARI
¢
B
Œ Œ
˙˙
w w
will
buy?
˙ will
˙
œ
˙
˙
Who
will
Who
will
˙˙
œœ
˙˙
Who
will
Who
will
˙
œ
˙
˙
Who
will
Who
will
˙˙
Who
˙˙
œœ
˙˙
will
Who
will
Who
will
#37—Who Will Buy (Part Three)
˙˙
˙˙ ˙˙
L
° #### w & 160A
160B
A R T
’
S
Oliver!
OLIVER!
161
w
buy?
B
I O N E L
— 193 —
71
w
w
œ ‰ Œ J
Ó
# ## w w &#
w w
w w
w w
œœ J ‰ Œ
Ó
## &##w
w
w
w
œ ‰ Œ J
Ó
w w
w w
w w
œœ J ‰ Œ
Ó
w w
w w
w w
œœ J ‰ Œ
Ó
buy?
buy?
## w w &## ‹ buy? w w ? #### ¢ buy?
## &##
163A
# ## &#
164
Playoff Œ
œ
(Cue)
˙
œ œ
˙
˙
˙
œ ˙.
˙
˙
˙
˙
˙
˙
˙
˙
171
Œ œ #œ œ
#### U ˙ Œ &
180
OLIVER
Who
˙
˙
œ
˙.
will
buy
#### œ & œ œ œ
˙
œ
œ œ œ œ
#œ ˙.
this won - der - ful
186
swear I could fly
˙
w
˙
feel
Œ ˙
œ
˙.
Me
oh
my
˙
˙
œ ˙. œ
rit.
˙
#w
Œ ˙
œ
˙.
I'm
so
high
ing
-
w
œ œ œ œ
I don't want to
lose
œ ˙ it
w
œ I
œ
so...
Cut on cue as OLIVER is captured
38. Recapture – TACET NANCY: Oh! My dear brother! CUE: OLIVER: Leggo! Leggo! Who is it? Leggo!
#37—Who Will Buy (Part Three) / #38—Recapture
— 721 9 4 —
L
I O N E L
B
A R T ’ S Oliver!
OLIVER!
39. It's a Fine Life (Reprise) WARNING: FAGIN: Then keep quiet, will yer. All this violence. CUE: SIKES: Tell 'em all about us would you?
Slow (in 2) h = 96
& C ..
∑
? C .. œ Œ Ó
{
5
? ..
∑
œ œ >
Œ
Œ
œ œ >
bœ bœ >
Œ
∑
∑
..
Œ Ó
∑
..
..
Ó
? ..
{
œ œ >
#œœ œ
Œ
œœ œ
Œ
Œ
œ œ >
(CUE: FAGIN: Civil words, Bill.)
& .. Π? ..
œ œ >
#œœœœ^ œ
Œ
œœœœ^ œ
Œ
Œ
Œ
bœ bœ >
b<n>œœœ
œœœ
Œ
Ó
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?)
Œ
^ bnœœœœ œ
accel. to h = 108
œ œ >
Œ
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 fine one for the boy to make a friend of, you are!
..
∑
(CUE: SIKES: . . . to make a friend of, you are!)
& .. Œ
{
bœ bœ
(CUE: FAGIN: What an actress!)
{
9
∑
œ
& ..
7
∑
bœ bœ >
Œ
^ œœœ œœ
Œ
Œ œ œ >
.. ..
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 fifteen years since and don't you forget it! SIKES: Well, what if you have? It's your living ain't it?
#39—It’s a Fine Life (Reprise)
L
I O N E L
B
A R T
NANCY
11
˙
Some
j œ œ.
— 195 —
73
j œ œ.
˙
liv - ing!
Some
∑
∑
No
œ œ œ œ œ
œ
giv - ing.
œ. œ œ #œ
Must
get.
∑
w
we have mur - ders
∑
¢&
∑
FAGIN
œ œ. J
All
get- ting,
w
What you de - serve you 16
yet?
∑
SIKES
∑
bœ
bœ
œ
There'll be 20
∑
° &
NANCY
Œ
œ
œ
Lord
¢& œ
There'll be 24
° & œ
œ
œ #œ
œ
œ
ter - ror,
bœ
œ
vio - lence! Please, no
¢& œ make
œ
no
bœ
œ
help
œ. œ œ
Such
œ œ œ.
er - ror! There ain't no in
don't
¢&
mind
3
œ œ œ œ.
mak - ing
∑
a mate
œ
of
œ
œ
œ œ
œ œ
Lord help
j œ ˙.
œ
œ
Ó
be - tween
œ. It's
∑
NANCY
If you
Ó
fine
Ó
œ
Ó
life! SIKES
nœ Fine
#39—It’s a Fine Life (Reprise)
œ. œ
life.
œ bœ a
Œ
˙
In
œ
Nan - cy,
me
œ
œ
Please, no
vio - lence!
œ œ
Sa - tan,
œ
Watch it
No
˙
Ó œ
seen.
œ
mur - ders!
vio - lence!
#w
NANCY
28
° A tempo & œ œ
œ
No
Œ
scenes.
œ bœ
me!
FAGIN
w
FAGIN
Œ
œ
as you've ne - ver
œ
j œ œ.
˙
SIKES
∑
° & ˙
NANCY
liv - ing!
∑
¢&
OLIVER!
S
Oliver!
h = 108
° &
’
œ
Life!
— 196 —
L
74 31
FAGIN
° œ &
My
œ life,
œ
Œ
SIKES
œ. œ œ
¢&
bœ
DODGER
FAGIN
Ó
œ
fine
<n>œ
NANCY
Ó
œ life!
got
œ a
OLIVER!
∑
œ œ
the an - gels
keep-ing
Come.
Bet - ter do
heart
41
œ
as
œ
you
œ
of
¢& œ gob!
the
Œ
œ
Œ
Œ
are
œ.
œ œ
œ.
œ œ
œ
œ
out
on
told,
Bill has SIKES
Œ
œ bœ
to
œ œ œ œ. œ w
fine DODGER
<n>˙
Ó SIKES
Œ
3
œ œ œ œ.
œ
Œ
œ
mess with it, Bet - ter
œ.
the job!
Ó U w
3
Ó
œ
SIKES
∑
a
a
œ. œ
˙. Œ
Bet - ter not
gold.
Œ
best of it. It's
It's
Watch out!
BET
NANCY
make
œ
∑
∑
° & œ
wait - ing,
Fine life
œ
œ. œ
FAGIN
Ó
Get
& œ
˙
œ
œ
œ œ.
œ. œ œ
œ
∑
¢&
S
œ
38
° œ &
’
3
œ
you don't mind
Fine life
œ
A R T
Oliver!
∑
œ
If 34
B
Sa - tan!
Ó ¢&
° & Ó
I O N E L
Shut your
U ˙ ˙ u
Fine
œ
Œ
Ó
Œ
Ó
Œ
Ó
life!
œ
life!
U w w u
Fine
œ
Fine
life!
SEGUE Reviewing the Situation
#39—It’s a Fine Life (Reprise)
L
B
I O N E L
’S OLIVER! Oliver!
— 1 9 7 75 —
A R T
40. Reviewing the Situation CUE: FAGIN: Take care of her, Bill. (SIKES exits.) Take care of him Dodger. (DODGER takes OLIVER off.) . . . And I'll take care of myself!
11
Moderato q = 120
b 4 & b bb 4 ˙
œ J
bb b Ó ¢& b
U Œ
°12
b & b bb
Cadenza
œ J
œ
œ œ nœ œ œ œ œ
œ œœ
œ œ œ
œ
nœ
œ
œ œ
U œ
C
FAGIN
C
œ
A 13
bb &b b C œ
Colla voce
nœ œ ˙.
œ œ ˙
man's got a heart,
œ
has-n't he?
Jok - ing a- part,
has-n't he?
17
bbb 4 œ 3œ œ œ 3œ œ œ 3œ œ œ 3œ œ b & 4 I'd
be
the first one
to
say that
19
I
was - n't
3 3 bb & b b nœ œ œ œ œ œ œ œ œ œ œ œ 3
find - ing
21
b & b bb Ó
it hard to
3
be real - ly
UU C œ ˙. Œ œ œ
Allegro h = 125
b & b bb œ œ œ œ fel - low be
a
œ œ œ œ
vil - lain
all
saint
I'm
Uj œ
œ Œ
œ ˙.
œ œ œ
his
w
‰
Œ
paint.
the sit - u - a - tion
I'm re - view - ing
26
œ
j œ
‰
˙
as black as they
And tho'
˙.
a
4 4
œ œ
œ œ ˙
œ œ ˙
œ.
life?
#40—Reviewing the Situation
‰
œ œ
All the
œ œ
Can
nœ ˙.
tri - als
a
— 761 9 8 —
L
31
b & b bb œ
B
A R T ’ S Oliver!
I O N E L
œ Œ
˙. œ œ œ nœ
wife.
bb & b b œ œ <n>œ nœ
46
bb &b b œ œ œ œ
bb & bb
œ œ œ œ
think it out a - gain.
54
bb &b b œ
Colla voce
58
b 4œ & b bb 4
out
60
œ
3
œ
œ
3 b & b bb nœ œ œ œ
˙
j œ‰ Œ
U Œ
œ3
an - y - one
in
œfij
œ œ nœ œ œœœ
œ
œ bœ
3
a tempo, vivo
œ
œ œ œ œ
think I'd bet - ter
3
6
6
6
œ
œ
I'd
œ
œ
3
3
œ
œ œ
œ œ ˙
˙
ra - ther sleep
œ
œ3
3
œ œ œ œ œ œ œ œ
how to win friends and to
wag at me, The
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ
an - y - way,
œ
the world and I'm start - ing from
3
œ œ <n>œ nœ
A
a - ny - way
wife you can keep,
"
mis - e - ry she'll make from me – I
nœ œ ˙.
œ œ ˙
œ
œ œ nœ œ
6
bb ¢& b b nœ œ œ œ w
sew for me, And come for me and
nag at me, The fin - gers she will
Lento, ad lib. Cadenza
∑
a
get my - self
nœ œ #œ œ
œ œ œ œ nœ œ #œ œ
go for me) and
∑
°
œ œ œ œ
œ œ
wife would cook and
mon - ey she will take from me, A
51
œ
œ
œ œ œ œ
go for me, (And
œ œ <n>œ nœ
Slower, accel. poco a poco
And a
41
set - tle down and
Bet - ter
" U U œ Œ œ œ
bb &b b w
nœ œ #œ œ
œ œ
and tri - bu - la - tion 36
OLIVER!
in - flu - ence peo - ple, so
˙ how?
#40—Reviewing the Situation
Slow
˙.
now
œ œ Left with -
4 4
‰ œj So
Uj " U U œ ‰ œ œ I'm
re -
C
L
Allegro
62
b & b bb C œ ˙.
œ
I O N E L
bb &b b œ œ œ œ ev - 'ry - one
know
œ Œ
sta - tion
b b "Œ U U b & b œ œ œ I
will
bb &b b œ œ œ
gain.
94
peo - ple
real im - pres - sive
help me make a
œ œ œ œ nœ œ #œ œ
own a suite at
Clar - idg - es, And run
œ œ œ œ
nœ œ #œ œ
œ
œ œ nœ œ
œ
" j ‰ Œ U Œ œ
is
a
w
show.
œ œ <n>œ nœ
car - riag - es, And
œ œ <n>œ nœ
"
œ œ <b>œ œ
a fleet of
much as
œ œ
with
œ œ <n>œ nœ
(spoken) Oh God!
Lento " n œJ œ Œ
œ œ œ œ
be - fit - ting of my
a tempo, vivo
œ œ œ œ nœ œ œ œ
think I'd bet - ter think it out
a -
rall. œ œ œ œ œnœ œ œ bœ œ œ œ œ œ œ U œœ œ nœ œ œ œ 3 œ œ œ nœ 3 3 3 œ 3 3 >œ >œ >œ >œ
"
œ
So
Colla voce
b & b bb œ
œ Œ
nœ ˙.
nœ œ #œ œ
es - tate; "Good mor- row to you, Mag - i - strate" I
∑
bb ¢& b b w
œ œ
all the Duch -es - ses with friend - li - ness as
87
b & b bb
œ œ
œ œ œ œ
bb &b b œ œ œ œ
°
‰
œ œ œ œ
Slower, accel. poco a poco
82
92
œ œ
I must quick - ly look up
Tit - led
Who can
77
new
œ Œ
œ ˙.
œ.
w
I
˙.
wave at
— 1 9 9 77 —
the sit - u - a - tion
67
bb & b b nœ
’S OLIVER! Oliver!
A R T
œ œ œ
view - ing
72
B
œ œ ˙
where shall I go?
nœ œ ˙.
Some - bo - dy?
œ
œ œ ˙
Who do I know?
#40—Reviewing the Situation
œ œ ˙
No - bo - dy!
œ œ All my
4 4
— 782 0 0 —
L
B
A R T ’ S Oliver!
I O N E L
OLIVER!
98
bbb 4 œ 3œ œ œ œ3 œ œ 3œ œ œ 3œ œ b & 4
˙.
‰
œ œ
dear - est com - pa - nions have al - ways been vil - lains and thieves
100
3 3 bb & b b nœ œ œ œ œ
my time of life 102
œ
3
œ
Allegro
œ
view - ing
sit - u
106
got
111
b & b bb nœ
to earn
a
bob!
œ Œ
˙.
a - tion
b b "Œ b & b œ œ œ So
a
121
b & b bb œ œ œ œ
won- der if he'll
126
b & b bb œ œ œ œ
fin - ish late, At
if
œ œ a
it
such
nœ œ #œ œ
rob - ber
to
you
nœ ˙.
œ œ
Is
For
116
‰
a
job I'm get -ting
pos - si - bly, I
œ œ œ œ nœ œ #œ œ
œ œ œ œ
hu - mil - i -
take to me? What bon - us - es he'll
œ œ nœ œ
"U œ œ <b>œ œ
nor -mal rate and
all, but wait! I
w
job?
œ œ <n>œ nœ
won - der who the boss - 'll
œ œ <n>œ nœ
make to me? I'll
re -
want to eat you've
per - form an hon - est
œ œ œ œ nœ œ #œ œ
C
œ œ œ œ
œ œ <n>œ nœ
Slower, accel. poco a poco
œ œ œ œ
œ œ
I'm
œ œ
- a - tion
œ.
w
leaves
œ Œ
œ ˙.
œ œ œ
j "‰ œ
˙
o - ver new
103
the
bb &b b œ œ œ œ
œ œ œ œ
I should start turn - ing
102A
bb & b b C œ ˙.
3
œ
So at
be? I
œ œ œ œ
start at eight, and
Vivo
œ œ œ œ nœ œ œ œ
think I'd bet - ter think it out a -
#40—Reviewing the Situation
L
°131
bb & bb
œ " J ‰
∑
bbbb w & ¢
gain.
œ
œ
" j ‰ Œ œ
U Œ
133
bb &b b œ œ b 4 & b bb 4 œ
œ
3
œ
’S OLIVER! Oliver!
3
œ
3
b 3 & b bb nœ œ œ œ
œ
œ
œ
œ
œ
3
142
you live
œ œ œ œ
œ
œ ˙.
or
you die
3
3
œ
œ œ
w
one con - so - la - tion's the mon - ey you may have put
by.
bb & b b C œ ˙. Allegro
3
œ
view - ing
the sit - u -
bb &b b œ œ œ œ bad 'un
b & b bb nœ
I shall
a - tion
œ
stay!
œ Œ
˙.
j œ ‰
œ
be
a
œ œ
œ œ œ œ
I don't want no - bo - dy
œ œ a
œ œ œ œ bad 'un and
œ
œ
rogue in
œ
a
œ
no trans - form -
œ œ <n>œ nœ ev - 'ry
œ œ œ œ nœ œ #œ œ
hurt for me, Or made to do the
#40—Reviewing the Situation
U U C œ œ
I'm re -
see - ing
nœ œ #œ œ
But it's wrong to
U " Ó Œ
nœ ˙.
You'll be
œ œ
Your
I'm
œ
j œ
‰
Slower, accel. poco a poco
157
bb &b b œ Œ
w
a - tion
When you're
sev -en - ty
œ Œ
œ ˙.
œ œ œ
147
152
œ
œ 44
œ
œ œ ˙
œ œ ˙
Must come a time...
3
œ
˙
œ
old and it's cold and who cares if 139
U œ œ œ n œ œ bœ œ b œ œ nœ
What
sev -en - ty?
œ
œ
œ œ œ nœ
œ
— 2 0 1 79 —
A R T
nœ œ ˙.
œ ˙
hap - pens when I'm
137
B
I O N E L
w
way.
œ œ <n>œ nœ
dirt for me. This
— 802 0 2 —
162
bb &b b œ
L
œ
œ
rot - ten
166
bb &b b œ
life
170
bb &b b œ is
173A
bb &b b Ó
œ
œ
is
not
for
œ
œ
one
to
rob
œ
want no
œ
œ
œ nœ
œ
no
be
in
œ
œ
œ
for
me,
œ <b>œ
œ nœ
think I'll have
"
œ
œ who
œ nœ
to think
ting
œ
But
me. But
œ #œ
get
œ
œ
OLIVER!
nœ
me. It's
œ
Prestissimo
I
A R T ’ S Oliver!
œ
tween for
U 174 Œ œ œ
B
I O N E L
it
far
too
œ nœ
who will find
œ
œ
out
hot
œ
œ
a
job
bœ
œ
will change the
œ nœ
œ
œ
scene
œ.
œ <n>œ nœ
for
œ <b>œ for
for
"
œ
me? There
œ 3œ œ œ
"
Œ
me?
œ^ Œ Ó
‰ Ó
a - gain.
me. Don't
Hey!
SEGUE Back to the Workhouse
41. Back to the Workhouse – TACET 42. Old Sally – TACET
#40—Reviewing the Situation / #41, #42—Tacets
L
B
I O N E L
A R T
’
S
Oliver!
OLIVER!
— 203 —
81
43. Oliver Reprise CUE: WIDOW CORNEY: We must retrieve that boy, Mr Bumble. MR BUMBLE: We must indeed, ma'am. We must indeed.
2
6 &8
BOTH
œ
& œ œ œ œ.
œ
large ap - pe - tite
œ œ œ j & œ œ œ
fa - mi - ly and to
& bœ œ œ track of
œ.
think
we
him.
j œ œ œ If
œ.
the truth
18
œ œ œ nœ œ œ &
BOTH
œ
see - ing the back of him
near
#œ.
œ.
were
known
we
œ J œ.
give
25
Raise 29
¿
him
MR B.
& œ
¿
his
œ J œ. œ J
&
˙. O
Com - ing
nœ
to save
œ œ
œ.
#œ
Had - n't
li
a
˙. -
œ J
praise
MR B.
˙. -
œ œ
#œ
Who'd have thought? 33
And we'll
nœ
ap - pa - rent - ly he's from a
bœ œ œ #œ œ œ
stu - pid - ly went and lost
œ
œ
œ
both were de - light - ed
at
œ.
the
œ J
œ
us. Cash
œ J
no - tion
BOTH
œ
œ #œ œ œ
œ
What - 'll
#œ
œ
œ J œ.
MR B.
#œ
œ
Plus a
œ J œ.
#œ
∑
ver!
#43—Oliver Reprise
nœ
gave
œ œ
re - wards
Praise the Lord,
j œ
"
we do?
some - bo - dy
day
BOTH
œ MR B.
O - li - ver!
œ
WIDOW C.
the flags
WIDOW C.
& œ
due
œ œ œ #œ #œ œ
œ J nœ.
#œ
BOTH
& ¿
j œ
ly
œ.
O - li - ver!
" j U U œ bœ ¿
22
-
œ œ
That was the mite with the
œ.
œ.
œ
MR BUMBLE
O - li - ver!
bœ .
MR B.
14
#œ
O - li - ver! WIDOW C.
10
œ J nœ
œ œ
œ
O - li - ver!
œ J œ.
BOTH
œ J nœ.
#œ
O - li - ver!
6
rich
œ J œ.
WIDOW CORNEY
WIDOW C.
¿ ¿
We must
œ J
us
nœ
œ J
nœ
œ J
pro - mo - tion
œ œ
some - bo - dy brought us
— 822 0 4 —
L
104
I O N E L
B
A R T ’ S Oliver! Oliver!
OLIVER!
44. The Locket – Tacet 45. 45. As As Long Long As As He He Needs Needs Me Me (Reprise) (Reprise) (G Major Version) (F Major Version)
(see Appendix for alternative keys) NANCY: NANCY: Yes, but he's mine, and I'm his. Yes, but he's I'm his. CUE: I've gotmine, to goand back. CUE: I've got to go back. NANCY: INANCY: want to go back. I want to go back.
4 4
# & b cc &
NANCY NANCY
‰ ‰ œjj œ œ œ œ œ actœ asœ œ - n't Heœ does He does - n't act
# & b . œj & œ j ˙ œ. heœ cares. ˙ know
8 8
know he cares.
as
j ‰ ‰ œjj œ œ œ. . œ j ˙. œ isœ whyœ I'mœ tied˙. œ this And And this is why
I'm tied
j œ. œ j ˙ œ. œ ˙ though he cares. though
œ œ
˙ ˙ needs
me
œ œ œ œ œ œ ˙ œ ˙ œ I know where I
# &b ˙ & ˙ ne
needs
˙ ˙ me
˙ ˙ ver
˙ ˙ see
œ œ œ œ b˙ . ˙. œ That œ belse œ - one œ some
˙ ˙ is
˙ ˙ long
œ œ œ œœ œ ˙ œ ˙ œ I'll love him, right
he
18 18
ne
# &b & ˙ ˙ life
-
ver
see
22 22
life
# &b & ˙ ˙ just
26 26
just
is
˙ ˙ as as
long
˙ ˙ strong
strong
he cares.
˙. ˙.
I know where I
I'll love him, right
œ œ œ œ b˙ . ˙. œsaysœ some œ belse œ - one says some - one else
his his
˙ ˙ must
must
side. side.
needs needs
˙ ˙ or
or
needs needs
j œj ‰ œ œ œ œ‰ œ œ œ As long as As long as
œ œ œ œ œ œ œ But, will heœ
˙ ˙
œ œœ œ œ œ œ œ
˙ ˙ wrong
œ œ œ œ œ œ œ œ But some - thing
me? me?
wrong
œ œ
I
˙ ˙ be.
be.
œ œ
That some - one else
But deep in - side
œ w œ w
right by right by
# &b & ˙ ˙ he
14 14
‰ j ‰ œj œ œ œ œ œ Iœ œ deep œ inœ- side But
œ. œ.
me. me.
But, will he
As long as As long as
But some - thing
, , j œ œj œ œ œ œ child with A
A child with
#44—The Locket / #45—As Long As He Needs Me (Reprise) (F major)
C C
L
I O N E L
B
’S OLIVER! Oliver!
— 2 0 5105 —
A R T
30
& b C b˙
no
-
˙
œ
one
35
&b œ
œ
œ
œ
but, cross 39
bb &b b ˙
trust
43
bb &b b ˙
just
œ
my
œ
to
œ
w
œ
take his
œ
part
j œ ‰ bœ
rit.
w
heart!
œ œ œ
Tho' peo - ple
œ œ œ œ as long as
I
˙
say
I
w
U w
Bill
needs
bœ
won't
be
œ "
˙
part,
Bill
bbbb c
A tempo
œ
must
˙
œ
I'll take his
˙
˙
œ
œ
-
œ œ œ
˙
your
˙
˙
My heart will stay
w
˙
tray
˙.
true
U Œ
me.
APPLAUSE SEGUE London Bridge
#45—As Long As He Needs Me (Reprise) (F major)
— 106 206 —
L
I O N E L
B
A R T ’ S Oliver!
OLIVER!
45. As Long As He Needs Me (Reprise) (F# Major Version) NANCY: Yes, but he's mine, and I'm his. CUE: I've got to go back. NANCY: I want to go back.
4
## # & # ## c
NANCY
‰ j œ œ œ œ œ He does - n't act
# ## # &# #
8
j œ. œ ˙
know he cares.
## # & # ##
‰ j œ œ œ œ œ
˙
as though he cares.
‰ j j œ. œ ˙. œ œ œ And this is why
j œ
œ.
œ
I'm tied
˙.
But deep in-side
œ w
right by
his
side.
I
j œ‰ œ œ œ As long as
14
# ## # &# #
œ œ œ
˙
he
˙
needs
˙
me
œ
˙
˙
˙
œ œ œ
˙
I know where I
˙
must
˙
œ
be.
œ œ œ
But, will he
18
ne
#### # & #
-
ver
see
˙
˙
œ n˙.
œ
That some - one else
needs
˙
œ œ œ œ
˙
œ
me?
As long as
22
˙
life
## # & # ##
is
long
œ
œ œ œ ˙
I'll love him, right
˙
or
wrong
œ
˙
just
˙
as
˙
strong
says some - one else
œ
needs
œ.
me.
œ
But some - thing
26
œ œ œ œ n˙.
œ
j œ œ
,
œ
A child with
#45—As Long As He Needs Me (Reprise) (F# major)
C
L
#### # C & #
I O N E L
B
’S OLIVER! Oliver!
— 2 0 7107 —
A R T
30
n˙
no
## # & # ## œ
-
˙
œ œ œ œ
one
to take his
35
œ
œ
œ
## &# ˙
œ
œ œ œ
## &# ˙
œ œ œ œ
but, cross my 39
trust
43
just
Tho' peo - ple
as long as
part
w
heart!
say
I'll take his
j œ ‰ nœ
rit.
˙
œ œ œ œ
w
I
œ nœ
won't be
˙
˙ I
œ
must
w
U w
Bill
needs
"
˙
˙
part,
Bill
A tempo nnn### c ˙ ˙ -
œ œ œ
tray
˙
My heart will stay
w
˙.
your
˙
true
U Œ
me.
APPLAUSE SEGUE London Bridge
#45—As Long As He Needs Me (Reprise) (F# major)
82
— 208 —
L
I O N E L
Oliver!
B
A R T
’
OLIVER!
S
44. The Locket – Tacet 45. As Long As He Needs Me (Reprise) (G Major Version) (see Appendix for alternative keys) NANCY: Yes, but he's mine, and I'm his. CUE: I've got to go back. NANCY: I want to go back.
&
4
#c
‰
NANCY
j œ œ œ œ
He does - n't act 8
&
#
j œ. œ ˙
‰
know he cares. 14
&
#
˙
˙
he
# & ˙
j œ. œ œ œ
And this is why
œ
as
j œ ˙.
I'm tied
œ œ œ
needs
˙
me
œ
˙
ver
˙
see
œ œ œ
˙
˙
œ
j œ
œ.
though
‰
˙
he cares.
But deep in - side
˙.
œ
w
right by
his
side.
œ
˙
I know where I
˙
must
j œ œ œ œ
œ I
j œ‰ œ œ œ As long as
œ œ œ
˙
œ
˙
œ œ œ œ
˙
œ
be.
But, will he
18
ne
22
&
#
˙
life 26
&
#
˙
just
-
is
˙
as
long
˙
strong
œ b˙ .
œ
That some - one else
œ œ œ
˙
I'll love him, right
œ œ œ œ b˙ .
says some - one else
needs
˙
or
me?
wrong
œ
œ.
needs
me.
As long as
œ
œ
But some - thing
j œ œ
,
œ
A child with
#45—As Long As He Needs Me (Reprise) (G major)
œ
C
L
B
I O N E L
’
A R T
OLIVER!
S
— 209 —
83
Oliver!
# & C n˙
30
no
-
#
35
& œ
˙
œ
one
but, cross 39
b &b ˙
trust
43
b &b ˙
just
œ
œ
to
take his
part
j œ ‰ bœ
w
my
œ
w
œ
rit.
œ
œ
œ
œ
heart!
œ œ œ
I
˙
Tho' peo - ple
say
œ œ œ œ
w
U w
Bill
needs
as long as
œ
nœ
won't
be
I
œ
must
"
˙
˙
part,
Bill
œ
I'll take his
˙
˙
œ
œ
n b cA tempo b ˙ ˙
-
tray
your
˙
˙
œ œ œ
My heart will stay
true
U Œ
˙.
w me.
APPLAUSE SEGUE London Bridge
46. London Bridge (Tacet until b. 152)
Lento
4 &4 Œ
Œ
bœ
Œ
w
œ #œ
bœ
œ
œ #œ
& bœ
˙.
Œ
bœ
&
w
œ bœ
˙
NANCY: Alright Oliver, now you stay here and I'll look for Mr Brownlow. There's a good boy. 13
œ
bœ
w
œ J ‰
œ #œ
bœ
NANCY enters with OLIVER.
LAMPLIGHTER: Goodnight, sir.
7
bœ
U w
œ #œ
Cresc. as BILL SIKES appears OLIVER: Nancy! NANCY: Bill!
j œ
w
œ œ œ
œ œ œ
‰
œ bœ œ œ œ bœ
œ #œ #œ
œ œ œ
œ œ œœ bœ œ
#45—As Long As He Needs Me (Reprise) (G major)
#œ nœ
œ
œ œœ
w w w
U œ
?
&b ˙
trust
43
b &b ˙
— 210 —
just
œ
œ œ œ
˙
Tho' peo - ple
say
œ œ œ œ
w
˙
˙ I
œ
must
"
U w
œ œ œ
˙
˙
My heart will stay
true
U Œ
˙.
w
me. Bill needs LIONEL BART’S OLIVER!
as long as
APPLAUSE SEGUE London Bridge
46. London Bridge (Tacet until b. 152)
Lento
4 &4 Œ
Œ
bœ
Œ
w
œ #œ
bœ
œ
œ #œ
& bœ
˙.
Œ
bœ
&
w
œ bœ
˙
NANCY: Alright Oliver, now you stay here and I'll look for Mr Brownlow. There's a good boy. 13
œ
bœ
œ J ‰
w
œ #œ
bœ
NANCY enters with OLIVER.
LAMPLIGHTER: Goodnight, sir.
7
bœ
U w
œ #œ
Cresc. as BILL SIKES appears OLIVER: Nancy! NANCY: Bill!
j œ
w
œ œ œ
œ œ œ
‰
œ bœ œ œ œ bœ
#46—London Bridge
œ #œ #œ
œ œ œ
œ œ œœ bœ œ
#œ nœ
œ
œ œœ
w w w
U œ
?
L
84
U
18
? #ww w
w bww
Throws NANCY to the ground
b œœ œ
19
&
Œ
œ b œœ
B
I O N E L
’
S
Oliver!
OLIVER!
— 211 —
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!
U w w #w w
œœ œ
A R T
BILL beats NANCY (3x) SIKES: Stop staring at me, woman. Close your damn eyes.
"
U ææ #w w ## w ww sfz
23
Ó
& O
29
3
Church Bell
?
SIKES: Damn you! Your eyes.
U ææ #˙˙˙ ## ˙˙
" Uæ
œ
#œ
œ
œ
œ
œ
FIRST MAN: What's going on?
32
& ..
œ
œ
œ #œ œ œ œ œ #œ
sfz
sfz
MR BROWNLOW: I say, you there! Oh my God! Help! Help! Help! FIRST RUNNER: What happened 'ere? 3 times œ 3 3
..
œ
œ
3
#œ
#œ
œ
#œ
#œ œ
œ
#œ
œ
œ
œ
#œ
FIRST WOMAN: It's Nancy! Bill Sikes has killed Nancy!
œ
"
˙˙æ ˙˙˙
œ
œ
œ
œ #œ
œ œ œ #œ #œ
#46—London Bridge
..
œ
œ #œ
3
..
#œ
3
‰ ¿
#œ
#œ 3
MR BROWNLOW: There'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! U "Bill ^ Round & round till cue Sikes!" # œœ
& ..
NANCY dies
œ J
3
˙˙.. ˙. ææ
œ œ œ #œ œ #œ
& ..
"
œ œ 3
œ
— 212 —
35
L
I O N E L
B
A R T
’
OLIVER!
S
Oliver!
SECOND RUNNER: Where will he be? (Dialogue continues.)
& .. œ
œ #œ
3
œ #œ #œ œ
œ œ
œ œ
.. .. œ
3
3
3
œ
œ #œ
x3
œ œ
85
œ œ
œ œ
œ œ
Crowds disperse
œ œ
œ œ
œ
..
SIKES: Fagin, Fagin. FAGIN: What is it, Bill? What have you done? SIKES: The game's up, Fagin. FAGIN: Oh no, Bill, you haven't. Not Nancy, it can't be. 37
#˙˙.. & ˙˙..
43
& 50
b˙ b˙ b˙
b˙ b˙ b˙
w w w
b˙ b˙ b˙
b˙ b˙ b˙
w w w
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!!
˙ ˙ ˙
w w w
œ bœ
‘
60
b b>œœ œœ œœ bnœ œ & bœ œ œ œ
b˙ b˙ b˙
n˙ b˙ n˙
œ
œ
w w w
b˙ n˙ b˙
œ
bœ
DODGER: Fagin, Fagin! What do I do?
Faster >
> bb œœ œœ œœ œœ bœ œ œ œ & b˙
bœ
œ
œ œ œ œ 2 b œœ œœ œœ œœ
&4
b˙ b˙ b˙
∑
Fast 4
& bœ
52
œœ œœ ‰ J
˙
‘
‘
‘
œ. œ bœ. œ œ. œ bœ DODGER: Me hat!
‘
‘
b œ. œ bœ. œ b œ. œ bœ
68
‘
‘
‘
˙ n˙ ˙
œ bœ
rall.
˙ b˙ ˙
˙ ˙ ˙
œ
œ
b˙˙ ˙
œ
œ
FAGIN: Live up to your name. Dodge about.
‘
œ œ nœ œ
‘
œ nœ bœ œ
> n#œœœ œœœ œœœ# #œœ #œ
#46—London Bridge
œ.
‘
œ.
‘
œJ
‘
U bb˙˙˙
2 4
œ
‘
œ. œ bœ. œ œ. œ bœ
œJ
bœ
‘
bœ. œ b˙ >
‘
SECOND RUNNER: Where's Fagin?
‘
‘
‘
#œ. œ œ. œ #œ. œ œ > > > >
L
86
76
B
A R T
‘
‘
13
(etc.)
8
&
— 213 —
‘
œ
œ > >
œ œ bœœ bnnœœœ œœœ œœœ nœœ bnœœœ bœœ nœœ œ œ >
CHARLIE BATES: Fagin!
& CUE: Green light
Ad lib frenzy.
U .. bœœœ œœœ œœœ ##œœœ ? .. 44 ###wwwww
‘
‘
‰ n œ bœ œ Œ J > > >
Œ
> > n#œœœ œœœ œœœ# #œœ #œœœ œœœ œœœ# #œœ #œ #œ (etc.)
FAGIN drops the FAGIN on bridge. 113 money from bridge. R&R b >œ œ œ œ >
.. #œœœ
œœ œ
œœ #œ œ ## œœ
MAN: He's on the roof!"
"
..
lunga
"
3 #œœœ &4 œ
ff
U b#˙˙˙˙... & ˙.
œœ œœ bb>œœ œœ œ œ bœ œ
bbœœ œœ œœ œœ
(etc.)
nœ œ nœœ
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!
sfp
Œ
œ #œ
œ
#œ
n œ #œ
142
& #w
bœ b œœ bœ
"
œ #œœ œœ œœ œ œœ..
œ
j œœ #œœ
#˙
#w
˙
w
"
SIKES: Stand back or I'll kill the boy.
U
SIKES falls to his death.
^
4 nœœ 4 ##œœ ff
136
&
Œ
16
115
134
OLIVER!
> nnnœœœ œœœ œœœ #œœ #œ Œ ‰ #œ J >
‘
DODGER: Wakin' a respeckable man up in the early hours of the morning! Shame on you!
102
&
S
DODGER: Who do you think you are a-laying your hands on? Assault and battery, that's what it is!
‘
nœ œ œ & bn œœ œœ œœ ##œœœ >
131
’
Oliver!
DODGER: I don't know.
&
84
I O N E L
nœœ. œœ...
œœ œœ
Ó
œ œ. œ œ #œ
j œ
# œ œ. 6 œ œ œ œ œ œ#œ œœœ œ œ œ œ œ œœœ œœœ 6
œ J
“”
6
#46—London Bridge
— 214 —
L
I O N E L
B
A R T ’ S Oliver!
OLIVER!
87
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. 146
&
œ
œ
œ.
j œ
bœ
œ
œ
œ
bœ
œ
U w
bœ
œ
FAGIN appears.
° b b C œfij œ &b b 151
œœœœ œœ œ œ œ nœ 6
6
bb b C ¢& b
6
5
6
œœœœœœ
nœ œ œ
nœ œ
nœ œœœ
œœ
œœ J
5
Œ
b b bb
C
‰ Œ FAGIN
œ
Can
œ œ œ.
some - bo - dy change?
156
bb &b b œ œ ˙
pos - si - ble.
159
j œ nœ œ ˙.
œ
pos - si - ble.
It's
3 3 œ œ 44 œ œ œ œ œ œ œ
All my
œ
it's
œ.
strange...
œ3 œ œ œ3 œ ˙.
o - ver and who can tell what I may
find?
#46—London Bridge
Uj " œ ‰ Œ
œ œ
but it's
‰ œj
dear - est com - pa - nions and trea - sures, I've left them be - hind.
3
leaf
œ
May - be
bbb nœ œ3 œ œ œ3 œ œ œ œ œ 3 b & œ œ ˙ turn a
œ
nœ œœœ
Ó
∑
153
bb &b b œ
œœœœœ
"
U̇ #
˙
I'll
4
L
88
I O N E L
B
’S OLIVER! Oliver!
— 215 —
A R T
47. Bows Part 1 4
b6 & b b8 ## & # nœ
9
j œ œ.
chance to
### &
13
œ
j #œ œ.
## &# œ
j œ œ
some - bod - y
CHILDREN
° ### . & n˙ 23
Œ.
#œ.
Why
j œ
to
œ foot
house
A
˙..
house
### & nœ. ¢ T/B
œ.
Drinks are
29
&
œ. #œ. on
the
œ
nœ. #œ. on
the
œ. œ.
œ. œ.
bœ. nœ. bœ. nœ.
œ.
œ.
nœ. #œ.
Drinks are
it
Œ.
should
j nœ
œ
Emp - ty
œ nœ #œ
j œ
œ.
Then the drinks
Drinks are
If
j œ œ.
œ
Al - ways a chance we'll meet
Œ.
Drinks are
## & # n˙..
Œ.
grouse?
œ.
œ nœ #œ
days
some hard - er
the bill,
œ.
Œ.
ALL CHILDREN & COMPANY
j œ œ.
nœ
˙.
j œ œ.
˙.
S
j œ
we should see
lard - er days
18
j œ œ
nœ
be
3
## nnn #
on
on
the
the
32
œ.
are
œ.
#œ.
on
the
œ ‰ ‰ Œ. J
nnn
œ. œ.
nœj ‰ ‰ Œ. nœJ
nnn
œ. <#>œ.
œ ‰ ‰ Œ. J
nnn
œ. <#>œ. house
nœ. nœ. house
house
15
#47—Bows (Part 1)
— 216 — 76
&
Œ.
84
& Œ.
L
œ.
œ œ #œ œ.
œ.
œ.
#œ.
œ
For
af
I O N E L
88
° #œ & state ALTO
& #œ
state
-
Œ
TENOR
& #œ Œ ‹ state BARI >œ. # œ ‰ ¢& ‹ state con
ter some
∑
œ œ œ œ -
Œ.
si - der your- self,
Œ
con - si
œJ
si - der your - self
° œ œ œ œ. & œ œ œ œ.
-
#œ J
œ œ œ œ
œ œ œ œ. ˙˙..
œ.
nœ.
we
can
> Œ ‰ ‰ ‰ œj œ œ œ œ œJ
œJ
con - si - der your- self,
con -
œ œ œ œ.
Con - si - der your - self
˙. ˙˙..
si - der your - self
˙. ˙.
cresc.
˙. ˙.
cresc.
˙.
˙.
˙.
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50. Playout – TACET #49—Bows (Part 3) / #50—Playout