MAN & BOY: DADA (2004, revised 2005)
An opera in two acts by Michael Nyman and Michael Hastings Music by Michael Nyman Libretto by Michael Hastings
Commissioned by Badisches Staatstheater, Karlsruhe, Germany
Vocal Score: 07/11/05
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This opera was first performed by Karlsruhe Opera on 13 March 2004 at the Badisches Staatstheater Karlsruhe, with John Pickering (tenor), Beverly O’ReganThielo (mezzosoprano), Janja Vuletic (soprano), designed by Peter Werner, directed by Robert Tannenbaum and conducted by Wolfgang Heinze. CHARACTERS Kurt Schwitters (1887-1948) aged 58. Michael aged 12. Michael’s Mother aged 40, who also plays woman on bus, bus conductress, museum attendant and BBC interviewer
In 1945, after the war, Kurt Schwitters spent some time in London. He was considerably impoverished and little known in Britain. He later went to Westmoreland where a farmer loaned him a barn. Schwitters died in Kendal, near Ambleside, Westmoreland, 1948.
THE SCHWITTERS POEM One day You finish to be a boy But you play Still with your old toy You like all the angels As you did before And think they are girls, Beautiful girls You think they are like you When you were young But you are old, And die and get cold.
(Kurt Schwitters. 02.04.1947)
INSTRUMENTATION Oboe Clarinet in B flat (doubling C Clarinet and Bass Clarinet) Alto Saxophone (doubling Soprano) Bassoon Percussion: Marimba; Vibraphone; Side Drum; Bass Drum; Temple Blocks; Tom-Toms; Drum Kit
Electronic Keyboard 2 Violins Cello Double Bass
Duration: c.1 hour 45 minutes
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M&B libretto (07 11 05).doc
MAN AND BOY: DADA Libretto by Michael Hastings Music by Michael Nyman (2004, revised 2005) The librettist would like to acknowledge the input of Victoria Hardie, who not only made several suggestions concerning the libretto, but also devised the idea of contrasting a boy wanting to bring order to the chaos of postwar London with the artist Schwitters, who openly acknowledged his pleasure in the beauty of random chaos.
ACT ONE Scene 1
On the bus. A woman in a headscarf sits up front. Michael stands and sways with the movement of the bus. Smart school uniform. He watches her. The old man, Kurt Schwitters, sits apart. He is poorly dressed.
MICHAEL
I can’t see what’s in her hand.
KURT
But I know it’s there.
WOMAN
One more stop.
MICHAEL
She’s definitely got a ticket.
WOMAN
It’s a request stop.
MICHAEL
Could be an orange one.
WOMAN
Ding the bell. But don’t get up too soon. Mustn’t fall off a bus when it’s moving.
MICHAEL
I don’t want an orange one. Need a blue. Really hard to find. I can see what’s in her hand.
KURT
So can I.
MICHAEL
What’s that geezer looking at?
WOMAN
Oh, to be home.
KURT
It’s a blue ticket.
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MICHAEL
Give it to me!
WOMAN
Open the stove and heat the room.
MICHAEL
Doesn’t really matter. Doesn’t collect bus tickets. He’s just a pathetic old man.
CHORUS/ALL
A ticket to go here. A ticket to go there. You need a ticket to breathe the air.
KURT
I’d prefer to buy a ticket for a day trip which promises not to get there and may not even come back.
MICHAEL
All she has to do is to forget it’s in her hand. The woman anticipates her stop. She dings the request bell. She makes her way to the open deck.
MICHAEL
Hold the rail tight, missus, so you don’t fall. (aside) And drop the ticket while you’re at it.
WOMAN
What a nice boy ...
MICHAEL
You don’t want to fall on the pavement. (aside) The ticket the ticket the ticket the ticket
WOMAN
Such a thoughtful boy ...
WOMAN
Don’t need this old ticket now.
KURT MICHAEL
I do! ...
The woman drops her ticket on the floor. It floats in the air. It is in no hurry to hit the deck. The bus comes to a halt with a mechanical sigh of brakes. The woman steps off the bus. The ticket hangs in the air in a tantalising manner. Michael makes a grab and misses it. The ticket slips to the floor. Kurt goes to it. He stumbles badly.
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Grabs his chest. He has collapsed. Michael dives for the ticket. MICHAEL
It is mine!
KURT
On the contrary, it’s mine. I saw it first.
MICHAEL
You don’t collect bus tickets!
KURT
I want to use it ... for something personal.
MICHAEL
I was the quickest. I was the nippiest. No one is faster than me.
KURT
But the planet does twenty-eight thousand miles per hour so you cannot compete. In my race I don’t give the prize to the winner who runs past. But I give it to the man at the back who, heroically and against all the odds, has triumphed and come last.
MICHAEL
What’s that geezer on about? Michael grabs a seat in the bus. He stares at the old man. We hear a ding. Kurt struggles to his feet. He gasps for breath. The boy turns to look at Kurt. The boy begins to think he hates the old man.
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Scene 2
Another day. Another bus stop. Kurt stands behind the woman at the bus stop. He holds a battered suitcase. There is a tin waste basket attached to the pole. The boy runs up. Pushes past them both and fishes in the basket for tickets. WOMAN
Excuse me! ...
MICHAEL
What for?
WOMAN
There’s a blooming queue.
MICHAEL
Not for me there isn’t.
WOMAN
There’s a queue unless you’re blind. When I’m in front I never look behind.
MICHAEL
Don’t believe in queues.
WOMAN
And I’m never lonely in a good queue when the bus comes by and there’s “standing room only”!
KURT
The longest queue I can recall is one when there was nobody there at all. So when the bus came at last the driver took one look and drove straight on past.
MICHAEL
What are you saying? The boy stares at the old man. The boy scratches his head. The old man Kurt begins to forage in the tin basket for tickets.
MICHAEL
I’ve already looked.
KURT
We may not be looking for the same thing. The old man, Kurt, suddenly collapses on the ground. His suitcase falls open and carrots and potatoes tumble out.
MICHAEL
You’re just doing that to gain attention!
KURT
Help me! ... Michael helps Kurt to his feet. The woman doesn’t look round. The old man has difficulty in standing upright. Michael picks up the carrots and potatoes. The bus arrives. Michael sees the woman climb aboard.
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Michael doesn’t hurry. Ding ding. The bus goes. Michael packs the vegetables back in the suitcase. MICHAEL
What’s all this then?
KURT
Just a few things I collect besides bus tickets. Sometimes I collect hunger and cold. And I'm partial to a bit of old age, and poverty too. And I try to put them in perspective Oh God, I try When I'm hungry I feed the pigeons. When I'm cold I throw open the British window and tear off my coat. When I feel particularly poor I write out extravagant cheques, And if I'm feeling ill I run up and down stairs like a mountain goat. Just a few things I collect beside bus tickets. Michael gives the suitcase back.
MICHAEL
Why ... didn’t you tell me you were ill?
KURT
Why ... did you miss your bus?
MICHAEL
I don't rightly know ...
KURT
Anyway, it’s only my body that lets me down from time to time.
MICHAEL
But you are ill aren’t you?
KURT
Yes I am.
MICHAEL
And you can’t stand up very well.
KURT
I can still recognise a rare bus ticket.
MICHAEL
So can I ...
KURT
I know. Michael studies the old man.
MICHAEL
Why don’t you stand at the front of the queue here, so you can get a seat on the next bus.
KURT
I thought you never believed in queues.
MICHAEL
Today’s an exception.
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Scene 3
Another day. The old man and the boy on a bus. Ding ding. The boy finds a ticket. Waves it at the old man. MICHAEL
Look at this! Somebody dropped it. You can go to the end of the route with this ticket.
KURT
But do you really need it?
MICHAEL
What are you saying?
KURT
There’s nothing very special about it.
MICHAEL
Maybe.
KURT
I bet you’ve got dozens in your collection.
MICHAEL
So what if I have? The old man tries to snatch it from the boy. The boy is quicker.
KURT
Give it over to me!
MICHAEL
No I won’t.
KURT
Please give it me!
MICHAEL
No I won’t.
KURT
Please! ...
MICHAEL
If you want it so badly I can give you one of mine, I’ve got hundreds at home.
KURT
Please. …
MICHAEL
Why? ...
KURT
Because you have so much of so many things. You have all these futures without misgivings. You see I’m inclined to think a baby’s sneeze has about as much to say as all of Socrates. You can take your future to the banks. All I want is just this ticket and you can afford to swap it for an old man’s thanks. The bus conductress comes along. Her cap and her ledge
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of tickets pinned to her belt. CONDUCTRESS
Any more fares please. Any more fares! The old man looks round. Alarmed.
KURT
I don’t have any money. I can be arrested for this! They will take me to a camp. I can be deported for this. Please! ... Kurt holds out his hand. The boy slowly gives him the ticket.
CONDUCTRESS
See your ticket, sir! Kurt shows her the ticket.
CONDUCTRESS
Going all the way to the end of the route, sir?
KURT
Eh? Yes! ... She clips it again with her steel puncher. Gives it back to him. Walks away.
KURT
(to Michael) Thanks ... The bus snorts into a gear change. There’s a ding ding.
KURT
Any more fares, please?
MICHAEL
No more fares. How far are you going? To the end of the line. What will you do when you get there? Be afraid to come back? Any more fares please? No more fares. Shall I come with you? If you want. How will we get home? We’ll find some tickets ... What an adventure! ... Any more fares please? No more fares ...
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Scene 4
Outside a front door in Hampstead. Kurt and Michael slump very tired. KURT
Your mother will be mad you’re not home.
MICHAEL
I don’t care ...
KURT
You’ll be late for tea.
MICHAEL
I know ...
KURT
Well, this is my home. Do you want to come in?
MICHAEL
No thank you.
KURT
Don’t you want to see what I do with the bus tickets I collect?
MICHAEL
Not really. (Looks at Kurt) What do you do with them then? Kurt goes inside. Comes out immediately with a collage. There is a bus ticket pasted in the collage.
KURT
Here you are!
MICHAEL
What is it?
KURT
It’s called Merz Art.
MICHAEL
I like the bus ticket. I’ve got one of those, from a number ninety-seven. It’s in much better condition than yours. But I’ll swap it if you want to.
KURT
But what do you think of the picture?
MICHAEL
Dunno.
KURT
All the other bits and pieces?
MICHAEL
It’s… interesting, isn’t it?
KURT
That’s not what you think. Tell the truth. You think that all the rest is rubbish.
MICHAEL
No I never said that.
KURT
But that’s what you think.
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MICHAEL
I’ve got to go home now. Kurt shows Michael the collage
KURT
Here is what I found today. Took a bus. Drank a coffee. Chewing gum stuck on my shoe. I ate a toffee. And a pretty girl read a letter written by her lover and tore it up. So I picked it up then and there. I thought she’d burst into tears, but she just shrugged and brushed her hair. Here is everything I found today. Here is everything I found today. So ... do you still think it’s rubbish?
MICHAEL
I must go home.
KURT
Tell me the truth - what do you think?
MICHAEL
Dunno. Mum will be looking for me. It’s kind of ... interesting rubbish.
KURT
But it’s still all rubbish?
MICHAEL
Something like that.
KURT
I wanted to hear you tell me the truth.
MICHAEL
I can help you if you want you know. I can swap you my green one, if it makes you feel any better. They look at each other.
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Scene 5
The lion sculpture outside the British Museum. Kurt is working on the lion. He has some tools. He places cardboard ears on the lion. He paints in feline eyes. Michael walks up. KURT
You followed me here.
MICHAEL
Only because I think you’re mad.
KURT
No, no, no. You like what I do.
MICHAEL
I think if someone catches you, you’ve got to scarper.
KURT
I don’t know the word ‘scarper’.
MICHAEL
Could be useful. Kurt steps back. Surveys the art work.
KURT
What do you think this is?
MICHAEL
I think it’s a lion.
KURT
It’s a cat!
MICHAEL
It was meant to be a lion.
KURT
No, no. It’s for stuffed shirts and town hall nabobs. It’s a self-satisfied ornament created by the Maharajahs of cement. They think it’s here for ever. It’s just possible they aren’t that clever. Kurt splashes cat-like huge white whiskers. The lion is transformed. Kurt offers his brush to Michael. Michael finishes off the cat’s whiskers. Kurt gives it a big red nose of paint. The Museum attendant runs up. She is in a formal blue suit. She blows on a whistle.
ATTENDANT
Vandalism of public property Vandalism means a hefty fine, and if you can’t pay up you go to jail for a trying time. The lion,
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the lion, look at the lion. KURT
It’s not a lion, It’s a cat.
ATTENDANT
It’s a concrete lion.
KURT MICHAEL
No. It’s a fat cat.
ATTENDANT
I don’t give a candle what it is. You are a vandal! The attendant blows on her whistle. Rushes away to find more attendants. Michael sneezes.
MICHAEL
I think I’m coming down with flu. What shall I do?
KURT
Scarper! ... Kurt packs away his brush and paints. They both leg it.
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Scene 6
BBC Third Programme Studio. Broadcasting House, London. The interviewer is a brisk young woman. She sits opposite Kurt Schwitters. They both wear large headphones. There is a glass wall between us. INTERVIEWER
This is the BBC Third Programme. We have in the studio today, the leading German exponent of the art of DADA Kurt Schwitters. Herr Doktor Schwitters for your first show in Hanover, instead of critics, you began your career by inviting forty sheep and twenty reindeer?
KURT
Well, I -
INTERVIEWER
Continuing with your life, you invented the term MERZ. MERZ Art can be anything from bus tickets to fox furs. You created a room which was not a room. You built a tower which broke through the roof and when rain began to pour your landlord decided to show you the door.
KURT
I don’t think it was exactly like that -
INTERVIEWER
‘Picasso is a 19th century artist’, you claim ‘He makes works to fit the inside of a pretty gilt frame’. And yet when asked what art means to you, you announce –‘art is the most useless thing in the world to do’.
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KURT
Well, you know, I get asked some pretty silly questions -
INTERVIEWER
In due course the DADA movement and you had to part DADA persisted in calling itself Anti-Art. Everything, you insisted, could be a work of art because everything is of equal value. What is it like to be a rebel in the Post War world and what does it mean to you?
KURT
Ah, yes, well I -
INTERVIEWER
And although you once described DADA as laughter in the dark which suited the times, is it true you became afraid DADA laughter could be mis-used for Nazi crimes?
KURT
Let me see if I can give you a detailed answer to that -
INTERVIEWER
I’m so sorry. We’ve run out of studio time. Thank you very much.
KURT
But -
INTERVIEWER
This is the BBC Third programme. You have been listening to Kurt Schwitters, the artist, on what it is like to be a leading figure of the movement known as DADA-ism.
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Scene 7
In Michael’s house. It is a small neat terrace. His mother stares at Kurt. KURT
How is Michael?
MOTHER
He’s in bed.
KURT
I’m the old man.
MOTHER
Michael has told me about you.
KURT
I’m his new friend.
MOTHER
That may be. But he cannot see you today.
KURT
He has this flu. I know he has this flu. So I quickly thought of something to do.
MOTHER
I can’t ask you to stay.
KURT
Not even for the famous British cup of tea?
MOTHER
I don’t wish to appear rude, but these days I never invite people in for tea.
KURT
‘Coughs and sneezes spread diseases. Trap them in your handkercheiveses’ A good old British saying. But it is just not true. Anyway, I’ve written him a poem.
MOTHER
My son didn’t say you were a poet, sir.
KURT
More than a poet, Madame: painter, singer and actor. More even than that, Madame: assemblage maker, sound poet, performance artist, musician and composer, magician, dancer, inventor, and even more, Madame. And even more.
MOTHER
Very nice, I’m sure. If you give me your poem, Michael will read it.
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KURT
No. It’s a Sneeze Poem. You have to see me do it. Michael enters. Pyjamas and red nose. Sniffles.
MOTHER
Michael, go back to bed. Kurt makes a grand gestures. He takes out a handkerchief and theatrically blows his nose.
MICHAEL
(to Kurt) What is this poem?
KURT
(resistance) Ah ha ha na ah wan na ha Ah oh ah ha na na na wu Ah ya ya harsna wanna hars nu Ah ha! (losing control) Stra stra stra oosh na stra stra ooshna stra stra no stra no ah na! (delivery) Ah tarsha da da arch starta stoo aarch ah starna no tish ar ar ar ah ah ha da ha shoo aha ah na anaha ahach a tash shooo! Kurt explodes. Mother takes a step back. Michael grins.
MOTHER
Would you like to stay for tea?
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Scene 8
Kurt’s room in north London. Cardboard boxes and crates hang from the ceiling. A bed is pinned to the ceiling. Michael holds a filled paper carrier bag. He knocks. No answer. He walks in. Suddenly, Kurt appears. MICHAEL
You don’t really sleep In that bed?
KURT
No.
MICHAEL
Then … what’s it for?
KURT
It’s a bed that nobody Sleeps in. Michael looks round the room. Explores.
MICHAEL
Everything else is on the ceiling.
KURT
Quite so. Using the floor Has no point Anymore. I once built a Room like this In Hanover. I called it my White Palace Room. I once built a Room like this Where you do Everything up there Except take a piss.
MICHAEL
Is it still there? Where is Hanover?
KURT
Hanover is a great German city. My house was blown to bits, people were bombed without pity. Much of my family lost their lives Everything of mine was Destroyed – my designs, My books, all my archives.
MICHAEL
Destroyed by whom?
KURT
By the British.
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MICHAEL
Who are they?
KURT
Your people. Michael looks around the room with curiosity.
MICHAEL
There’s nowhere to Sit. And what is more the only place to eat a meal is on the floor.
KURT
I’ve always thought eating takes up too much time. You have to go hungry to make thoughts sublime.
MICHAEL
Then you won’t be wanting any of these? Michael empties his carrier bag. Carrots and potatoes roll across the floor. Kurt scrambles suddenly and grabs all the vegetables from the floor. Stuffs the vegetables into as many pockets as he find.
KURT
Ah yes … Where was I? What was I thinking? I was talking about my White Palace Room in Hanover. It was an assemblage of despair In domestic ev’ryday feeling. So where was I?
MICHAEL
Something about taking a piss On the ceiling?
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Scene 9
On the way to school in the morning. His mother walks Michael to school. Michael is in school uniform.
MICHAEL
Did you know the Allies bombed Hanover to bits?
MOTHER
That’s what they were trying to do to us too. They cross the road at a busy junction.
MICHAEL
How did Daddy die?
MOTHER
He was a night watch man on a factory building. A German doodlebug bomb made a direct hit. They never found his body afterwards. I hate all Germans. All Germans are bastards.
MICHAEL
The old man is German.
MOTHER
Ah, well, … he’s diff’rent.
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ACT TWO Scene 10 Tea in the front room of the boy’s house. Michael lays out three places at the table. Cake and jam sandwiches etc. Michael goes upstairs. The doorbell rings. The mother moves to the door to let the old man in. KURT
I arrive to have traditional British tea in tea cups, on saucers with tiny spoons.
MOTHER
You’ll be lucky, make no mistake. There’s no sugar for a start. Sugar’s rationed. I’ve used all my ration to bake this cake for you. She shows him the cake. He reaches for it. Well, he almost manages to take a bite out of it. Playfully she smacks his hand down.
MOTHER
It isn’t tea-time yet. Haven’t put the kettle on.
KURT
Of course! There must be a special time to have tea. They sit at the table laid with cake and sandwiches. Kurt studies the sandwiches. The mother folds her arms.
MOTHER
I suppose you are a refugee?
KURT
I am worse than that here. I am almost a criminal. I escaped from Germany. Then I took a boat from Norway. But the British only see my German passport and assume I must be a Nazi. I’m a total Artist, I tell them as best as I can. So they put me in a camp on the Isle of Man. I can stay here in Britain,
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the immigration man wrote, on the strict understanding I leave by the first boat. MOTHER
Don’t you have a family?
KURT
Not long ago the Nazis killed my wife. I was not told for three months that she had died. I have a son called Ernst, who I love, but it is dangerous for him, too.
MOTHER
What can you do in such a situation?
KURT
Perhaps, I can marry an attractive British woman, who can cook for me and will give me a bed?
MOTHER
I hope you are not looking at me?
KURT
What? ... Is it time now, do you think, for famous cup of British tea?
MOTHER
(blushing) Not yet! Because ... because the kettle hasn’t boiled.
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Scene 11
In Michael’s neat bedroom upstairs. Nothing is out of place. Michael has laid out his collection of bus tickets. Kurt knocks and enters. Michael shows him the tickets. MICHAEL
This was a good one Ponders End to Waterloo. Mill Hill to Crystal Palace, that was my first. This one will cost you Blackwall Tunnel to Kew. My best buses are… My best buses are the 38, 21, 24, and I also love the 102.
KURT
It can’t be possible to collect ev’ry bus ticket in London?
MICHAEL
Maybe ...
KURT
Even if you could, what is the point?
MICHAEL
Dunno ...
KURT
Is it because you look around and ev’rything is such a mess?
MICHAEL
I don’t understand ...
KURT
You look at the bomb sites the farms are empty, no one’s down the coal pits the factories are closed. Is that it?
MICHAEL
Can’t say.
KURT
You want ev’rything back in its place. The King’s on his throne, fish and chips at the dog race. How diff’rent we are me and you. I like my chaos and rubbish, and all you think about is bus number 102.
MICHAEL
That’s the one I really want, it’s one I’ve never seen; It’s the Bull & Crown, Chingford, to Golders Green.
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KURT
How do we find this ticket?
MICHAEL
You break into the garage at night when the buses are asleep, and before the cleaners have arrived. And you hunt about on the floor.
KURT
And if you found this ticket, and if this whole collection was complete, what would you be?
MICHAEL
Somehow ... sort of – don’t know.
KURT
I’ve never been to the Bull & Crown, Chingford, but I live near the bus station depot where the red buses sleep. I’ve never been to Golders Green, but I live near the bus station depot where the red London buses sleep. Kurt stands by the door.
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Scene 12
Moments later. Downstairs in the front room. The mother puts the cosy over the tea pot. Kurt enters. She looks up. MOTHER
This is the cosy we put over the tea pot To keep the tea hot.
KURT
So, famous kettle is boiled?
MOTHER
Now, I come to think of it, I suppose you’d prefer your tea cold.
KURT
I forget to respectfully inform you that I dance and I’m highly adept at the tango.
MOTHER
Is there no end to what you can do?
KURT
Would you consider a tango for two?
MOTHER
Certainly not ... (reconsiders) ...not before tea.
KURT
I will take you to the Hammersmith Palais, or rather - you will take me because I don’t have money to pay.
MOTHER
At my expense.
KURT
I love women. I’ve loved women all my life. Women I love I call ‘arrs’. In Hanover I had a four seater car; when I drove along I never allowed more than two friends inside. I always kept one seat empty just in case I drove past a beautiful ‘arr’. (Looks at the mother) And you are definitely a real ‘arr’.
MOTHER
That’s not the sort of talk I want to hear, and you’ve made me blush like a silly cow. They sit at the table. She pours tea. Kurt stuffs himself with thin white sandwiches. The mother watches him.
MOTHER
What happened to you in the war?
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KURT
I lost everything. My work ... My woman ...
MOTHER
I’m sorry. Shouldn’t have asked.
KURT
(stops eating) What happened to you?
MOTHER
I lost almost everything, too. My husband ... The doodlebugs ... I still listen to the night sky. I still expect the stars to go out. Then a noise like no other noise -
KURT
What is a doodlebug?
MOTHER
The V1 rocket over London.
KURT
The doodlebug! She pushes the cake his way. She pours him more tea. He cannot stop eating. She watches him.
MOTHER
Terrible things happened in your country. I’ve seen pictures of Nazis forcing people to scrub the pavement with toothbrushes.
KURT
Oh that was perhaps more of a joke. You don’t want to believe everything you hear. Anyway, terrible things were done on both sides. Michael enters from his room upstairs. The mother stands and hugs Michael by the shoulders.
MOTHER
I said I lost everything ... That’s not quite true ... I’ve still got my son ...
MICHAEL
(looks at the devoured table) Oi! ... Who’s stuffed himself silly and left nothing for me?
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Scene 13
There is a discarded ticket box attached to the iron pole of a bus stop. Michael and Kurt pull out a number of old tickets and sift through them on the ground. A bus goes by. The conductress stands on the open deck. Ting ting! She isn’t stopping. They both ignore the bus. MICHAEL
It’s my birthday next week.
KURT
What is the one thing you want in the whole world for your birthday?
MICHAEL
Just ... forget it ... you can’t afford it anyway.
KURT
Do you want that ticket from the Crooked Billet to St Albans?
MICHAEL
Well, yes ... I do want that.
KURT
It won’t cost me money to get that. All we need to do is break into the bus garage.
MICHAEL
To be honest, that’s not the most important thing in the world. But, it’s close.
KURT
All right then, what is it What is it I can’t afford?
MICHAEL
I want a bike.
KURT
I’ll get you a bike.
MICHAEL
Nobody makes them any more.
KURT
I’ll get you a bike.
MICHAEL
There’s no petrol for cars. So no one’s going to sell a bike.
KURT
But if I find you a bike like no bike is like such a bike – in fact, a bike so important you won’t want to ride it. A bike you stare at amazed, But you don’t dare touch it.
MICHAEL
Show me a bike I want to ride! Show me a bike I dare not touch! Just show me! They let the bus tickets run through their fingers. There is nothing they want. They toss them up in the air. Clouds of bus tickets.
xxvii
Scene 14
The mother is alone in the house. Kurt knocks. She lets him in. KURT
It’s a lovely day today!
MOTHER
I don't think so. It hasn’t stopping raining.
KURT
I’ve brought something for you.
MOTHER
I’m very suspicious.
KURT
You can’t see it ... It isn’t food ... You can’t touch it ... It doesn’t want a bone ... It won’t crease ... And it’s just for you ...
MOTHER
I’m even more suspicious.
KURT
You were interested, you said, in the German V1 rocket. What did you call them, please?
MOTHER
Doodlebugs ...
KURT
And when the doodlebug rocket cuts out over London, how long do you count before it lands?
MOTHER
You ... you count to twenty.
KURT
I have written you a Doodlebug Song.
MOTHER
That’s very thoughtful of you but ... I’ll put the kettle on ... I think I need to sit down. Kurt doesn’t hesitate. He lies on the table and shapes himself like a medium sized rocket. The mother seems paralysed.
KURT
(preliminary ignition). Chuk chuk chuk chuk chukchukchukchuk perrsh perra perrsh perra whoorwhoosh sta szing! Szing teeeening vroooooooom! Wha! (Booster engine gains height) Weeeeeeeeeeeeeeeeeeeeeeeeeeeen .... Yhiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiine ... (initial rocket thrust fades) Chuka chuc ssssssssssssssssssssssss nn ... (through the night sky)
xxviii
Woorshshshshshshshshshshshshsshsssssss ... keeeeeeeeeniiiiiiiiiiing ... Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn ... Kurt changes his position on the table. Swivels to a different angle. Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng ... Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng chuka Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng chuk Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng churh Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng chu Nnnnnnnnnningchk! (rocket engine cuts out) (silence)
Eins, zwei, drei, vier, fünf, MOTHER
I think that’s enough -
KURT
sechs, sieben, acht, neun, zehn -
MOTHER
Stop it! Kurt rolls off the table onto the floor with a hint of a dive. The mother sits at the table crying. She shakes with tears.
KURT
What is it?
MOTHER
You won't understand! ...
KURT
What have I done?
MOTHER
You’ve done nothing! ...
KURT
You don't like the song?
MOTHER
(crying) My husband was killed by a V1 rocket.
KURT
I’m so sorry. I’ve been a silly fool.
MOTHER
You weren’t to know.
KURT
I am ashamed of myself.
MOTHER
(wiping her eyes) No, no. I’m positive it’s good song. I might need to hear it a couple of times before I can -
xxix
KURT
(He hugs her) I don’t want you to think I am exulting the war. I want you to believe it’s everything that I abhor. I believe the whole point of a proper war is to make absolutely sure no one is killed at all. The greatest wars are fought when nobody dies at all. The mother leans against his shoulder. She wipes her face.
xxx
Scene 15
Another day. In the front room. On the table are a few presents. The mother watches Michael unwrap the birthday presents. A few balloons. Cards on the mantelpiece. Kurt arrives with an object wrapped in brown paper. It is almost too large and awkward a shape to carry. It is difficult to guess what is under the brown paper. MOTHER
Happy birthday! Happy birthday! Happy birthday, Michael!
MOTHER KURT
Happy birthday, dear Michael! Happy birthday to you! Michael takes the large object in brown paper and unwraps it.
MICHAEL
It’s a bike It’s a bike It’s what I’ve always wanted! It’s a bike! It is a violently twisted boy’s bike. It looks like a piece of metal that has had a head-on crash with a vehicle. The bike frame and the wheels contorted. Michael looks at it. Michael looks up.
MICHAEL
(quietly, confused) It’s a bike ...
KURT
It’s a special kind of bike it’s a DADA bike.
MICHAEL
(lowers his head) Thank you ...
KURT
It’s a special kind of bike. Most children have bikes that they ride around all day. This is a bike which you hang on the wall.
MOTHER
Michael? ... Michael! ... The boy runs out of the room. The mother looks at the old man.
xxxi
MOTHER
He only wanted a bike ...
KURT
Perhaps I made a mistake ...
MOTHER
How could you do this? ...
KURT
You see I made a mistake ...
MOTHER
How could you do this to a boy? ...
KURT
I thought he’d see the joke in a bicycle which he can’t ride. I thought he’d laugh and think, here is a bike no one could ride.
MOTHER
You tell me you’re a a great artist and it may be true, but underneath this stuff, what kind of man are you?
KURT
I’m not sure ...
xxxii
Scene 16
Outside the old man’s room in north London. The mother approaches the door. Kurt opens the door before she can knock. They study each other. Moment. She follows him inside the room - his ‘White Palace Room’. The square cardboard stalactite shapes hang from the ceiling. When you enter, it is immediately an upturned space and the eye and the mind try to accommodate it. MOTHER
I don't understand this art you do. I still want to know what kind of man are you?
KURT
I just want to find a new way to look at each and every day. So much depends on opening our eyes with a sense of continuous surprise. What you see is not really there, what is real and true is too hard to bear.
MOTHER
What a rum old dog you are. But I’m prepared to take the chance. We’ll both go and tango at the Hammersmith Palais de Danse.
KURT
I’m very flattered.
MOTHER
I suppose I’m the one who pays for the tickets?
KURT
How well you understand me.
MOTHER
On the contrary. Such a great artist. I’m very flattered. But there are strict rules attached.
xxxiii
KURT
The tango has many strict rules. It’s a slow dance of passion and ultimate death.
MOTHER
And rule one is - there is no malarkey.
KURT
I don’t understand the word, ‘malarkey’.
MOTHER
I’ll put it in ordinary words: there’ll be no shenanigans.
KURT
‘Shenanigans’?
MOTHER
Hanky-panky. Kurt studies her.
KURT
I am having trouble with ‘hanky panky’ ... Studies her again.
KURT
But you are my London ‘arr’.
MOTHER
Ah, there you are wrong. I’m not your London ‘arr’.
KURT
And I keep in my car a seat empty for you, that is – I say if I had a car. You’d be my ‘wantee’.
MOTHER
Translate for me.
KURT
My ‘wantee’ is someone special who I want all the time.
MOTHER
Nor am I your ‘wantee’!
KURT
May I call you ‘Mutti’ -?
MOTHER
Call me what you like, But keep it in German, and there will be no, no über doings!
xxxiv
KURT
Über doings? I am unacquainted with über doings. And ‘malarkey’ ... And ‘shenanigans’ ... And this ‘hanky panky’. You mean nichts anruchiges dabei -
MOTHER
Whatever I mean, we’ll keep strictly to the art of DADA.
KURT
Oh really: will we?
xxxv
Scene 17 Lights change. It’s a cavernous dance hall. The slow Argentine tango has been called ‘a cake-walk played adagio’. Kurt and the mother dance. At the close of the tango he holds the mother in an intimate clutch. It is a tableau. He is about to kiss her. She abruptly turns her face to the side.Very stylish and poised. The mother leans back in his arms. Very Latin a la Hammersmith Broadway. MOTHER
After all According to DADA the whole purpose of making love is not to make love at all. Am I right?
KURT
I ... reserve my answer. To black.
xxxvi
Scene 18
The bus depot at night. Giant metallic cave. Michael and Kurt flash their torches. Thin corridors of beaming light. Shadows of red sleeping buses. Shadows of high towers. Shadows of barbed wire. Shadows of look-out towers. The boy encourages the old man to follow. Kurt steps back. Looks up at the dark shadows. He retreats. MICHAEL
Come on! ...
KURT
No ...
MICHAEL
What’s the matter?
KURT
It looks like a prison camp ... It looks like a ... (backing away) NO! ... Go on ahead ... The boy runs away into the darkness. Kurt is alone in the darkness.
KURT
Things the artist must not do today: Be trapped behind barbed wire walls ... Be judged by the shape and design of your nose ... Be banned from showing your work ... Be asked to scrub floors with a toothbrush ... Be afraid when they come for you ... Be told to pack one bag and leave your home... Be thrown into cattle trucks ... Being made to wear striped pyjamas ... Be ordered to shave for head lice ... Be told you must take a shower ... Things the artist must not do today Things the artist must not do today: Be forced to take a journey to a place you do not know ... Things the artist must not do today: Take a night train which passes a hundred stops, but they have no name ... Things the artist must not do today Things the artist must not do today‌ Michael runs back. He waves a bus ticket in his hand. He lights Kurt up with his torch.
xxxvii
MICHAEL
Look! Not a mark on it. It’s perfectly clean; Walthamstow Dog Track to Golders Green!
KURT
Where does it stop?
MICHAEL
Stops at Edmonton, the Angel, on the North Circular Road. Stops at Larkswood Swimming Pool, and at the Bull & Crown, Chingford. And then there’s the Bald Faced Stag at East Finchley Station. There’s Muswell Hill Broadway to Palmers Green Lane, then Golders Green Station and all the way back again.
KURT
Heaven ...
MICHAEL
Which stop would you like to get out at?
KURT
I like Larkswood Swimming Pool. It sounds like musical streams, Where trees float in dreams ... Moment. They study each other.
KURT
Is your collection complete?
MICHAEL
I think it is.
KURT
You don’t need me any more ... I don’t think we should see each other again. There isn’t a bus ticket you haven’t got. Everything’s back in it’s place and you got the lot. Kurt gives the ticket back to Michael. Kurt walks away into the dark.
MICHAEL
Where are you going? ... Michael is alone.
xxxviii
Scene 19 Outside Kurt’s room. The door is open. Michael approaches. Kurt is on his knees on the floor. He has a toothbrush in his fingers. Another day. MICHAEL
Why don't you want to see me?
KURT
I’m not good for you.
MICHAEL
But, why?
KURT
I don’t think we should meet again.
MICHAEL
But why?
KURT
I should never have given you that bike. I was trying to explain something about DADA. But that’s not the sort of thing that you’d like. I apologise ...
MICHAEL
I know why you were afraid to go into the bus depot. You thought it looked like a prison camp.
KURT
Yes that’s true...
MICHAEL
What are you doing on the floor?
KURT
People have been forced to clean pavements with a toothbrush. This is what they can do with DADA when they want to pervert it with Evil. You wouldn’t understand ...
MICHAEL
I’ll tell you what. I kind of like the shape of the bike. All twisted up. I can tell my friends I was out for a ride, and I hit a car head-on doing seventy-five.
KURT
You don’t have to pretend ...
xxxix
MICHAEL
Or ... if you like ... You can have the ticket I found. You can have it for one of those pictures if you want to stick it.
KURT
Michael ... I only want to be your friend. Kurt hesitates.
KURT
You look around and hate the chaos and want to put everything back in order. And you are so young. How strange ... I look around and see chaos, and I love it, it has a random beauty. And I am old.
MICHAEL
How strange ... Kurt starts to scrub the floor again with the toothbrush. He stops. Looks up at Michael.
KURT
Even DADA art can be applied for terrible uses. Even artists’ laughter in the dark is open to abuses. What do I need to make a toothbrush something less than Evil?
MICHAEL
(instinctively) Mmm‌ (spoken) toothpaste?
End
xl
MAN AND BOY: DADA Michael Hastings
Michael Nyman 2004, revised 2005
ACT ONE Scene 1
Michael
Woman
Kurt
Rehearsal Piano
q = 68
On the bus. A woman in a headscarf sits up front. Michael stands and sways with the movement of the bus. Smart school uniform. He watches her. The old man, Kurt Schwitters; sits apart. He is poorly dressed.
q = 68
p
cantabile
8
Reh. Pno.
p
15
Reh. Pno.
20
Reh. Pno.
© Copyright 2004, 2005, Michael Nyman Limited/Chester Music Limited.
Act 1 file corrected 07/11/05
Act 1
A
2
q = 148 mf
25 Mi
W
K
Reh. Pno.
I
can’t
see what’s in her
W
Reh. Pno.
W
Reh. Pno.
I
know it’s
mf
ossia*
One
more
there.
q = 148
mf
* for characterisation the lower pitches are preferable
tick - et.
It’s
a re - quest
got a
She’s def -’nite - ly
stop.
K
mf
But
34
Mi
hand.
stop.
K
30
Mi
Could
be
an
o - range one.
Ding
the
Act 1 3
38
Mi
W
K
Reh. Pno.
bell,
but
don’t get
up
too
soon.
W
K
Reh. Pno.
Must -n’t fall off a
bus when it’s
mov
-
Need
I
don’t
want
an
o - range
a
blue.
mf
Real - ly
hard
to
K
f
mf
find.
one.
W
Reh. Pno.
f
ing.
48
Mi
43
Mi
Act 1 4
B
52 Mi
W
K
Reh. Pno.
(mf)
I
can
K
Reh. Pno.
(mf)
So
mf
I.
(cheeky)
can
What’s that
W
see what’s in her hand.
58
Mi
gee - zer
look - ing
at?
63
Mi
W
K
Reh. Pno.
Oh,
to
be
home.
a
blue
It’s
ti - cket.
Act 1 5
69
Mi
f
Give W
K
Reh. Pno.
it
to
me!
Op
mf
-
-
en
f
74
Mi
W
K
Reh. Pno.
the
stove
and
heat
the
Does - n’t real -ly mat -ter.
Does -n’t col - lect
ti - ckets.
bus
room.
79
Mi
He’s just
a pa - the - tic
old
man.
W
K
Reh. Pno.
Act 1 6
84
Mi
C
A W
A K
Reh. Pno.
A
ti - cket
go here.
ti - cket
to
ti - cket
go here.
to
go here.
to
A
ti - cket to go
A
ti - cket to go
A
ti - cket to go
there.
You
need
there.
You
need
there.
You
need
a
ti - cket
a
ti - cket
a
ti - cket
88
Mi
to
W
Reh. Pno.
breathe the
to
breathe the
to
K
breathe the
air.
air.
air.
93
Mi
W
I’d pre sub. mp
K
Reh. Pno.
-
fer
to
buy
a ti
- cket
for
a
day trip
which
pro
sub. mp
- mi - ses
not
to get
there
Act 1 7
98
Mi
W
K
Reh. Pno.
and may not e
- ven
come
back.
All
to
101
Mi
W
K
Reh. Pno.
she
has
do
to
for - get it’s in
her
hand.
The woman anticipates her stop. She dings the request bell. She makes her way to the open deck
is
mf
W
K
104
Mi
Reh. Pno.
Act 1 8
108
Mi
Hold the rail
tight,
mis - sus, so you don't
fall.
(aside)
And drop the ti - cket
while you’re at
it.
W
K
Reh. Pno.
113
Mi
W
K
Reh. Pno.
What
a
nice
boy.
118
Mi
You
don’t
want to
W
K
Reh. Pno.
Act 1 9
122
Mi
fall on the
pave
(aside) mp
- ment.
The ti - cket,
W
K
Reh. Pno.
127
Mi
the W
K
mf
mp
the ti - cket,
ti - cket,
Reh. Pno.
the ti - cket,
Such
a
thought
-
-
ful
mf
131
Mi
W
K
Reh. Pno.
boy.
I
don’t
need
this
old
ti -
Act 1 10
135
Mi
W
K
Reh. Pno.
- cket
now.
I
do!
I
do!
The woman drops her ticket on the floor. It floats in the air. It is in no hurry to hit the deck. The bus comes to a halt with a mechanical sigh of brakes. The woman steps off the bus. The ticket hangs in the air in a tantalising manner. Michael makes a grab and misses it. The ticket slips to the floor. Kurt goes to it. He stumbles badly. Grabs his chest. He has collapsed. Michael dives for the ticket.
D q = 128 mf
139
Reh. Pno.
144
Reh. Pno.
148
Reh. Pno.
152
Reh. Pno.
157
Reh. Pno.
Act 1 11
161
Mi
W
K
Reh. Pno.
mf
is
mine!
It
165
Mi
W
K
Reh. Pno.
mf On the con - tra - ry
. s glis
it’s mine,
I
saw
it
first.
170
Mi
W
K
Reh. Pno.
You
don’t
col - lect
Act 1 12
173
Mi
W
K
bus
ti - ckets!
Reh. Pno.
I
want
to
use
it
176
Mi
W
K
Reh. Pno.
for
some
- thing
W
K
son
-
al.
f
Reh. Pno.
-
179
Mi
per
I
was
the
quick
- est,
I
was
the
Act 1 13
181
Mi
W
K
nip
-
pi
-
Reh. Pno.
than
No - one is fast - er
K
184
W
E
Mi
est.
Reh. Pno.
me.
(mf)
But
the
pla
-
net
187
Mi
W
K
Reh. Pno.
does
twen - ty
- eight
thou
- sand
miles per
hour
so
you
can - not
com - pete.
Act 1 14
W
K
190
Mi
Reh. Pno.
In
my
race
I
don’t give the prize
to the
win - ner
who
runs
W
K
193
Mi
Reh. Pno.
past.
But
I
give
it
to
the
man
at
the back
who, he
-
ro - ic - 'lly
and
a-
197
Mi
W
K
- gainst
Reh. Pno.
all
the odds,
has
tri
-
umphed
mf
and
come
in
last.
Act 1 15
201
Mi
W
K
Reh. Pno.
What’s that
gee - zer
on a
- bout?
p
210
F q = 106
Reh. Pno.
205
Reh. Pno.
Michael grabs a seat in the bus. He stares at the old man. We hear a ding. Kurt struggles to his feet. He gasps for breath. The boy turns to look at Kurt. The boy begins to think he hates the old man.
p
Act 1 16
Scene 2 213
Mi
W
K
Another day. Another bus stop. Kurt stands behind the woman at the bus stop. He holds a battered suitcase. There is a tin waste basket attached to the pole. The boy runs up. Pushes past them both and fishes in the basket for tickets.
q = 78
q = 78
Reh. Pno.
mp legato
217
Reh. Pno.
221
Reh. Pno.
G
225
Mi
W
q = 162
mf
Ex K
Reh. Pno.
-
cuse
q = 162
mf
mf
What
for?
me!
Act 1 17
230
Mi
W
There’s a K
Reh. Pno.
bloom -ing
Not
for
me there
queue.
235
Mi
W
is - n’t.
There’s K
Reh. Pno.
W
K
Reh. Pno.
ne - ver
look be
-
blind.
When I’m in front
I
240
Mi
queue un - less you're
a
Don’t
be - lieve
in
queues.
hind.
Act 1 18
245
Mi
W
K
Reh. Pno.
And
I’m
ne - ver
lone
-
ly
in a good
queue,
when the bus comes by
and there’s
250
Mi
W
K
Reh. Pno.
“stand - ing
room
on
-
-
ly!”
f
W
K
255
Mi
Reh. Pno.
f
The long - est queue
I
can
re - call
is
one where
there was
no - bo -
Act 1 19
260
Mi
W
K
Reh. Pno.
- dy
there
at
all.
So
when
the
bus
came
at
264
Mi
W
K
Reh. Pno.
last
the
dri - ver
took
one
look
and drove straight on
past.
W
K
268
Mi
Reh. Pno.
Act 1 20
271
Mi
What
are
you
say
-
ing?
W
K
Reh. Pno.
H
The boy stares at the old man. The boy scratches his head. The old man Kurt begins to forage in the tin basket for tickets.
273
Reh. Pno.
sub. p
278
Reh. Pno.
276
Reh. Pno.
Act 1 21
281
Mi
W
K
Reh. Pno.
mp
I’ve
al
-
rea - dy
mp
looked.
285
Mi
W
K
We may not be look-ing for the
Reh. Pno.
sub. p
thing.
292
Reh. Pno.
same
The old man, Kurt, suddenly collapses on the ground. His suitcase falls open and carrots and potatoes tumble out.
289
Reh. Pno.
Act 1 22
295
Mi
W
K
Reh. Pno.
mf
W
K
Reh. Pno.
mf
Help
do - ing that
gain at - ten - tion!
Michael helps Kurt to his feet. The woman doesn’t look round. The old man has difficulty in standing upright. Michael picks up the carrots and potatoes. The bus arrives. Michael sees the woman climb aboard. Michael doesn’t hurry. Ding ding. The bus goes. Michael packs the vegetables back in the suitcase.
me!
sub. p
to
mf
299
Mi
You’re just
305
Reh. Pno.
309
Reh. Pno.
mp
Act 1 23
312
Reh. Pno.
sub. p
I q = 140 mf What’s
all
this
316 Mi
then?
W
K
Reh. Pno.
q = 140
mf
f
320
Mi
W
K
mf Just a few
Reh. Pno.
things
mf
I
col - lect
be - sides
bus
tic - kets.
f
Act 1 24
323
Mi
W
K
p
Some
Reh. Pno.
q = 132
-
times
I
col - lect
q = 132
sub. p
W
K
326
Mi
hun
-
ger
and
Reh. Pno.
cold.
And
I’m
par
-
tial
W
K
330
Mi
Reh. Pno.
to
a
bit
of
old
age
and
po - ver - ty
Act 1 25
334
Mi
W
K
Reh. Pno.
too.
And
I
try
to
put
them
in
per
-
spec
-
tive.
W
K
338
Mi
Reh. Pno.
Oh
God,
I
try.
When
I'm
hun
-
-
gry
W
K
342
Mi
Reh. Pno.
I
feed
the
pi
-
-
When
geons.
I’m
Act 1 26
346
Mi
W
K
Reh. Pno.
cold
I
throw
o - pen
the
Bri - tish
win - dow
and
tear
off
my
coat.
350
Mi
W
K
Reh. Pno.
When
I
feel
par
-
ti - cu - lar - ly
mf
poor
I
write
out
ex -
mf
W
K
355
Mi
Reh. Pno.
- tra
-
va - gant
cheques,
And
if
I’m
feel - ing
ill
I
run
Act 1 27
358
Mi
W
K
Reh. Pno.
up
and down
W
K
Reh. Pno.
a
moun - tain
goat.
rit.
mf
Just
a few
things
q = 88
I
col - lect
be - sides
mf
bus
tick - ets.
q = 140
Michael gives the suitcase back.
mf
W
K
Reh. Pno.
q = 88
368
Mi
like
rit.
J
362
Mi
stairs
Why did - n’t you
tell me
you were ill?
q = 140 p
Act 1 28
373
Mi
W
K
did you
I
mf
Why
miss your
don’t
right - ly
know.
bus?
Reh. Pno.
mf
marc.
378
Mi
W
K
A - ny - way it’s on - ly my bo
Reh. Pno.
dy
aren’t
K
Reh. Pno.
q = 82
p
time.
ill,
to
time
W
from
q = 82 p But you are
that lets me down
382
Mi
-
you?
p
Yes I
am.
Act 1 29
388
Mi
W
K
Reh. Pno.
And you can’t stand
up
ve - ry well.
q = 150
f
I
can
f
f
So can
W
K
ti
still
re - cog - nise
a
rare
bus
cket.
I
Michael studies the old man.
I.
-
q = 150
393
Mi
know.
Reh. Pno.
K
q = 102
398
Mi
mf
Why don’t you stand at the front
of the queue here,
W
K
Reh. Pno.
q = 102
mf
Act 1 30
403
Mi
so W
K
Reh. Pno.
you can get
a
seat
on
the
next
bus.
mf
I
407
Mi
W
K
Reh. Pno.
thought you
ne - ver
be -
lieved
in
To- day’s
- cep - tion. W
K
Reh. Pno.
an
ex -
queues.
412
Mi
Act 1 31
Scene 3 417
Mi
Co
K
Reh. Pno.
q = 150
Another day. The old man and the boy on a bus. Ding ding. The boy finds a ticket. Waves it at the old man.
q = 150
f
Co
K
Reh. Pno.
You can
Co
K
Reh. Pno.
Look at
this!
Some - bo - dy dropped
it.
mf
424
Mi
f
421
Mi
go
to
the
end
of the route
with
this
tick
-
et.
f
But
do you
real - ly
Act 1 32
428
Mi
What Co
K
Co
K
Co
K
Reh. Pno.
-
spec - ial
a -
be.
ve - ry
ion.
I
- lect
it.
436
Mi
- bout
May -
Reh. Pno.
There’s no - thing
432
Mi
it?
say - ing?
need
Reh. Pno.
are you
So what if
I
have?
bet you’ve got
do
-
zens
in
your col -
The old man tries to snatch it from the boy. The boy is quicker.
Act 1 33
Co
K
439
Mi
Reh. Pno.
Give
Co
K
Reh. Pno.
to
-
ver
No
I
won’t.
me!
Please
give
it
to
me!
No
I won’t.
Co
K
Reh. Pno.
o
447
Mi
it
442
Mi
Please!
If you want it so
bad
-
ly,
I can give you one
of
mine.
Act 1 34
453
Mi
Co
K
Reh. Pno.
I’ve got
hun - dreds at
home.
459
Mi
Please.
L
Why? Co
K
Reh. Pno.
Be - cause you have
so
You
have
all
464
Mi
Co
K
Reh. Pno.
much
of
so
ma
-
ny
things.
these
Act 1 35
467
Mi
Co
K
fu - tures
Reh. Pno.
with - out mis
-
giv - ings.
471
Mi
Co
K
Reh. Pno.
You
see
I’m in - clined
to
think
a
3
ba
-
by's sneeze
has
as
much
to
474
Mi
Co
K
Reh. Pno.
say
as
all
of
3
So - cra - tes.
Act 1 36
Co
K
479
Mi
You
Reh. Pno.
can
take
your
484
Mi
Co
K
Reh. Pno.
fu
-
ture
to
the
banks.
Co
K
488
Mi
Reh. Pno.
All I want is just this
ti
-
cket
and
you can af - ford
to
swap
it
for
an
Act 1 37
Co
K
493
Mi
Reh. Pno.
old
man’s
thanks.
The bus conductress comes along. Her cap and her ledge of tickets pinned to her belt.
497
Mi
Co
K
Reh. Pno.
A - ny
fares
more
Co
K
A - ny more
fares!
The old man looks round. Alarmed.
p
I don’t have
M
q = 74
please.
Reh. Pno.
501
Mi
a
-
ny
mo - ney.
q = 74
sub. p
Act 1 38
506
Mi
Co
K
I can be ar - res - ted for this!
Reh. Pno.
They will
take
me
to
a
camp.
510
Mi
Co
K
Reh. Pno.
I
can
be
de
514
Co
K
Reh. Pno.
-
port - ed
for
this.
Please!
Kurt holds out his hand. The boy slowly gives him the ticket.
Mi
N q = 100
q = 100
f
Act 1 39
517
Mi
Co
K
Reh. Pno.
Kurt shows her the ticket.
f
See
your
ti
-
cket,
sir!
Go - ing
all the
way
to the
of the
route,
sir?
end
519
Mi
Co
K
Reh. Pno.
Co
K
Reh. Pno.
f
521
Mi
Eh?
Yes!
She clips it again with her steel puncher. Gives it back to him. Walks away.
gliss.
(to Michael)
Thanks!
Act 1 40
The bus snorts into a gear change. There's a ding ding.
523
Mi
Co
K
Reh. Pno.
A - ny
more
fares
please?
Co
K
526
Mi
Reh. Pno.
O
q = 162 528 mf
Mi
No
more
fares.
How
far
are
you
go - ing?
To the
end
of the
line.
Co
K
Reh. Pno.
q = 162 mf
Act 1 41
533
Mi
What
Co
K
Reh. Pno.
will you
do
when you
get
there?
Be
a - fraid
to come
back?
538
Mi
A - ny
more
fares
please?
No
more
fares.
Shall I come
Co
K
Reh. Pno.
542
Mi
with Co
K
Reh. Pno.
you?
If
you
want.
How
will
we
get
Act 1 42
545
Mi
home?
We’ll
buy
some
Co
K
Reh. Pno.
- ven
Co
K
Reh. Pno.
-
ture!
A
ets....
What an ad
-
-
-
tick
549
Mi
ny
more
fares
please?
,
552
Mi
No
more
fares.
Co
K
Reh. Pno.
,
f
Act 1 43
Scene 4 Outside a front door in Hampstead. Kurt and Michael slump very tired.
q = 92 555
Mi
K
q =92
mp
Reh. Pno.
mf
557
Mi
K
Reh. Pno.
559
Mi
K
Reh. Pno.
mp
Your
mo
- ther
will
be
mad
you’re
not
Act 1 44
562
Mi
K
Reh. Pno.
I
don’t
home.
mp
564
Mi
K
care
Reh. Pno.
You’ll
be
late
for
tea.
567
Mi
K
I
know.
Reh. Pno.
Act 1 45
570
Mi
K
Well,
this
is
home.
my
Do
you
want
to
come
Reh. Pno.
573
Mi
K
in?
Reh. Pno.
No
thank
you.
576
Mi
K
Don’t
Reh. Pno.
you
want
see
to
what
I
do
with
the
Act 1 46
579
Mi
K
Reh. Pno.
bus
ti
-
ckets
I
col
-
K
-
ly.
(looks at Kurt)
What
do
you
585
K
real
Mi
Not
Reh. Pno.
lect?
582
Mi
do
with
them
then?
Reh. Pno.
Act 1 47
588
Mi
K
Kurt goes inside. Comes out immediately with a collage. There is a bus ticket pasted in the collage.
Reh. Pno.
590
Mi
K
Reh. Pno.
592
Mi
K
Here
you
What is
it?
are!
Reh. Pno.
Act 1 48
P
595
Mi
K
Reh. Pno.
q = 86
f It’s
q = 86
f
called
Merz
K
Reh. Pno.
mf
K
Reh. Pno.
got
I
one
of those,
K
Reh. Pno.
yours.
f
But
f
tick - et.
the
bus
swap
se - ven.
it
if
I've
It’s in much bet - ter con - di - tion than
like
I’ll
from a num - ber nine - ty
602
Mi
Art.
599
Mi
mf
597
Mi
you
want
to.
Act 1 49
q = 90 604
Mi
K
Reh. Pno.
mp pic But what do you think of the
q =90
sub. mp
Dun
mf
Reh. Pno.
bits and
pie -
ces?
It’s
K
And all the o - ther
mf
is - n’t
in - te - rest - ing,
no.
608
Mi
-
ture?
-
mp
it?
Q
611 Mi
K
Reh. Pno.
q = 98
mf
That’s
not
what
you
think.
q = 98 leggiero
Act 1 50
613
Mi
K
Tell
the
truth.
You
think
that
all
the
Reh. Pno.
615
Mi
K
rest
is
-
-
Reh. Pno.
K
ne
-
ver
-
said
that.
mp
No,
I
bish.
617
Mi
rub
sub. mp
mf
But
that’s
what
you
Reh. Pno.
mf
Act 1 51
619
Mi
K
Reh. Pno.
think.
mf
I’ve
got
to
go
home
now.
622
Reh. Pno.
Kurt shows Michael the collage
R
624
Mi
K
Reh. Pno.
,
q = 76
(mf)
This
what
I
found
to
is
day.
Took
a
bus.
, q = 76 (mf) leggiero
628
Mi
K
Reh. Pno.
Drank a
cof - fee.
Chew - ing gum
stuck on my shoe.
I
a
ate
tof - fee.
And a
Act 1 52
633
Mi
K
Reh. Pno.
pret - ty
girl
read
a
let - ter
writ
-
ten
by
her
lov - er,
and
638
Mi
K
Reh. Pno.
tore it
up.
So I picked
it up
then and
there.
I
thought she’d
burst
643
Mi
K
Reh. Pno.
but
she
in - to tears,
just
shrugged
and
brushed
her
hair.
647
Mi
K
Reh. Pno.
Here
is
e
-
v’ry
-
thing
I
found
to
-
day.
Act 1 53
649
Mi
K
Reh. Pno.
Here
is
e
K
-
v’ry -
thing
I
found
to
-
day.
q = 102
mp
So
do
you
still
think
it’s
q = 102
Reh. Pno.
652
Mi
mp
rub -
bish?
S
657
Mi
q = 108 mf I
K
Reh. Pno.
must go home. mf
Tell me the truth
q = 108 mf
mf espress.
what do you
Act 1 54
662
Mi
K
Dun -
no.
Mum
think?
Reh. Pno.
will
be
look - ing
K
It’s
kind
of
Reh. Pno.
for me.
665
Mi
in
-
te - rest - ing rub - bish.
668
Mi
K
Reh. Pno.
But it’s still
all
rub
-
-
bish?
Act 1 55
671
Mi
K
Some
-
thing
like
that.
Reh. Pno.
p
I
want
-
ed
to
sub. p
K
Reh. Pno.
hear
you
q = 144 f I
K
tell
me
the
truth.
677
Mi
can
help
you
if
you
want
to
I
know.
can
swap
you my
q = 144 sim. R R L R
Reh. Pno.
674
Mi
f molto marc.
L
Act 1 56
683
Mi
K
Reh. Pno.
green
one,
if
Reh. Pno.
They look at each other.
makes
you
feel
a - ny
bet
- ter.
K
it
688
Mi
-
-
-
Act 1 57
Scene 5 q = 188 693
Mi
Att
K
Reh. Pno.
q = 188 f marcato
The lion sculpture outside the British Museum. Kurt is working on the lion. He has some tools. He places cardboard ears on the lion. He paints in feline eyes. Michael walks up.
698
Reh. Pno.
704
Reh. Pno.
710
Reh. Pno.
716
Reh. Pno.
Act 1 58
721
Mi
Att
K
Reh. Pno.
f
You
fol - lowed me
f
On - ly
be - cause
I
think you’re mad.
here
Att
K
726
Mi
Reh. Pno.
K
Reh. Pno.
-
es you,
you’ve got
to
I
think if
some - one
do
Don’t know
scar - per.
You like what I
catch
Att
No, no, no.
730
Mi
the
word
Act 1 59
733
Mi
Att
K
Reh. Pno.
T
Could be use - ful.
‘scar
Kurt steps back. Surveys the art work.
- per’.
Att
K
738
Mi
Reh. Pno.
Whatdo you think
this
I think
it’s a
is?
743
Mi
Att
K
Reh. Pno.
li - on.
It’s
It was meant
to
a cat!
Act 1 60
be
a
li - on.
748
Mi
Att
K
Reh. Pno.
No,
no!
It’s for stuffed shirts and
town hall
na -
bobs.
It’s a
753
Mi
Att
K
Reh. Pno.
self
sa - tis - fied
or - na
-
ment
cre
-
a - ted
by
the
Ma - ha - ra
-
jahs
757
Mi
Att
K
Reh. Pno.
of
ce
-
ment.
They think it’s here for
e - ver.
Act 1 61
761
Mi
Att
K
Reh. Pno.
It’s just pos - si - ble
764
they aren’t
U
Reh. Pno.
that
cle -
ver.
Kurt splashes cat-like huge white whiskers. The lion is transformed. Kurt offers his brush to Michael. Michael finishes off the cat’s whiskers. Kurt gives it a big red nose of paint. The Museum attendant runs up. She is in a formal blue suit. She blows on a whistle.
769
Reh. Pno.
775
Reh. Pno.
779
Reh. Pno.
Act 1 62
784
Mi
Att
K
Reh. Pno.
f
Van - da - li - sm
of
pub - lic
pro
-
per -
ty.
789
Mi
Att
K
Reh. Pno.
Van - da - li - sm
means a
hef - ty
fine,
and
if
you
can’t
pay
up
794
Mi
Att
you
K
Reh. Pno.
go
to
jail
for
a
try
-
ing
time.
The
li
-
on,
Act 1 63
798
Mi
Att
K
Reh. Pno.
the
li
-
on,
look
at
the
li
-
on.
802
Mi
Att
K
Reh. Pno.
Att
K
Reh. Pno.
It’s not a li
807
Mi
a
fat
a
fat
It’s
- on,
it’s
cat.
a
con - crete
li - on.
a cat.
No
I
don’t give
a
it’s
it’s
No
can - dle what
it
is.
cat.
Act 1 64
The attendant blows on her whistle. Rushes away to find more attendants.
812
Mi
Att
You
K
Reh. Pno.
are
a
van
-
dal!
più f
Att
K
816
Mi
Reh. Pno.
V
q = 122 822
Mi
Att
K
Reh. Pno.
Michael sneezes.
mp
I
think I’m
co - ming down with
flu.
What
q = 122 mp
Act 1 65
825
Mi
shall
Att
K
Reh. Pno.
I
do?
gliss.
Scar
-
mf
per!
Kurt packs away his brush and paints. They both leg it.
828
Reh. Pno.
831
Reh. Pno.
,
Act 1 66
Scene 6
BBC Third Programme Studio. Broadcasting House, London. The interviewer is a brisk young woman. She sits opposite Kurt Schwitters. They both wear large headphones. There is a glass wall between us.
q = 150
W
K
Reh. Pno.
q = 150
mf
841
W
K
Reh. Pno.
K
Reh. Pno.
Interviewer (spoken): This is the BBC Third Programme. We have in the studio today, the leading German exponent of the art of DADA Kurt Schwitters. Herr Doktor Schwitters for your first show in Hanover, instead of critics, you began your career by inviting forty sheep and twenty reindeer?
847
W
848
W
K
Reh. Pno.
mf
Act 1 67
853
W
K
Reh. Pno.
K
Reh. Pno.
Well,
I
Interviewer: Continuing with your life, you invented the term MERZ. MERZ Art can be anything from bus tickets to fox furs.You created a room which was not a room. You built a tower which broke through the roof and when rain began to pour your landlord decided to show you the door.
857
W
W q = 170 858
W
K
Reh. Pno.
q = 170 mf
863
W
K
Reh. Pno.
q = 124
I
don’t
think
it
was
q = 124
mp
mp
ex - act -
ly...
Act 1 68
q = 92 868
W
K
Reh. Pno.
Interviewer: ‘Picasso is a 19th century artist’, you claim - ‘He makes works to fit the inside of a pretty gilt frame’. And yet when asked what art means to you, you announce - ‘art is the most useless thing in the world to do’
like
that.
q = 92 mf
873
W
K
Reh. Pno.
W
K
Reh. Pno.
K
Reh. Pno.
q = 140
q = 140
mf
Well, you
882
W
877
know
I
get
asked
some pret - ty
sil - ly
ques - tions.
Interviewer: In due course the DADA movement and you had to part - DADA persisted in calling itself Anti-Art. Everything, you insisted, could be a work of art because everything is of equal value. What is it like to be a rebel in the Post War world and what does it mean to you?
Act 1 69
q = 126 883
W
K
mp
Ah,
yes,
mp
well
q = 126
Reh. Pno.
I....
X q = 92 886
W
K
Reh. Pno.
Interviewer: And although you once described DADA as laughter in the dark which suited the times, is it true you became afraid DADA laughter could be mis-used for Nazi crimes?
q = 92
mf
893
W
K
Reh. Pno.
q = 98
mp
3
mp
3
q = 98
Let me see
if
I can
give you a
de - tailed
3
an - swer to that.
3 3 3 3
3
3
3
3
3
3
Act 1 70
q = 164 899
W
K
Reh. Pno.
K
Reh. Pno.
mf
But..........
Interviewer: This is the BBC Third Programme.You have been listening to Kurt Schwitters, the artist, on what it is like to be a leading figure of the movement known as DADA-ism.
q = 164
905
W
Interviewer: I’m so sorry. We’ve run out of studio time. Thank you very much.
Y
910
W
K
Reh. Pno.
q = 86
q = 86
f
915
Reh. Pno.
920
Reh. Pno.
q = 156
Act 1 71
Scene 7 925
Mi
Mo
K
Reh. Pno.
q = 178
In Michael’s house. It is a small neat terrace. His mother stares at Kurt.
q = 178 f
Mo
K
929
Mi
Reh. Pno.
932
Mi
Mo
K
Reh. Pno.
mf
How
is
Mi
mf
-
chael?
Act 1 72
935
Mi
Mo
K
Reh. Pno.
mf
He’s
in
bed.
mp I'm
mp
the
old
man.
939
Mi
mf
Mo
K
Mi
has
told
me
-
chael
Reh. Pno.
mf
a
-
bout
you.
mp
I’m
his new
friend.
mp
943
Mi
Mo
K
Reh. Pno.
mf
That
mf
may be.
But
he
can - not
see
you
to - day.
Act 1 73
947
Mi
Mo
K
Reh. Pno.
mf
He
has
this
flu.
I
know
he
has
this
flu,
951
Mi
Mo
K
Reh. Pno.
So
I
quick - ly
thought of
some - thing
to
do.
955
Mi
Mo
I
K
Reh. Pno.
can’t
ask
you
to
stay.
Not
e - ven
Act 1 74
959
Mi
Mo
K
Reh. Pno.
for the fa - mous
Bri - tish
cup
of
tea?
I
don’t
wish
to
ap -
pear
964
Mi
Mo
rude,
K
Reh. Pno.
days
I
Mo
K
Z
‘Coughs
ne - ver
Reh. Pno.
these
but
969
Mi
in
-
vite
peo - ple
in
for
tea.
and
sneez
-
es
spread
dis
-
eas
-
es.
Trap them in
your
Act 1 75
975
Mi
Mo
K
Reh. Pno.
hand - ker - chieve - ses.
Trap them
in
your
hand - ker - chieve - ses’.
A
good
old
Bri - tish
say - ing.
980
Mi
Mo
K
Reh. Pno.
But
it
is
just
not
true.
mf
A - ny - way, I’ve
mf
984
Mi
Mo
mf
My K
Reh. Pno.
writ - ten
him
a
son
did - n’t
say
you were
a
po - em.
mf
Act 1 76
988
Mi
Mo
po
K
Reh. Pno.
-
et,
sir.
Mo
K
Reh. Pno.
A1
993
Mi
q = 132
(mf)
More
than
a
po
q = 132
-
et,
Ma - dame:
paint
-
er,
sing
-
er
(mf)
998
Mi
Mo
K
Reh. Pno.
and
act - or.
More
e - ven
than
that,
Ma - dame:
Act 1 77
Mo
K
1003
Mi
Reh. Pno.
as - sem - blage
ma - ker,
sound
po - et,
per - for
-
mance art
-
ist,
1008
Mi
Mo
K
Reh. Pno.
mu - si - cian
and
com - pos - er,
ma - gi
-
cian,
danc
er,
-
in -
1013
Mi
Mo
K
Reh. Pno.
- vent
- or,
and
e
-
ven
more,
Ma - dame.
And
e
-
ven
Act 1 78
1017
Mi
Mo
K
Reh. Pno.
more.
B1 q = 178
1021 Mi
Mo
Ve - ry nice, K
I'm
sure
If you give
q = 178
Reh. Pno.
me your
po - em,
Mi
-
chael will
1026
Mi
Mo
K
Reh. Pno.
read
it.
No,
it’s
a
Sneeze
Po - em.
You
Act 1 79
1032
Mi
Mo
K
Reh. Pno.
have to
see
me
Michael enters. Pyjamas and red nose. Sniffles.
do
it.
1038
Mi
Mo
K
Reh. Pno.
Mi - chael,
Kurt makes a grand gestures. He takes out a handkerchief and theatrically blows his nose.
go
back
to
bed!
1043
Mi
(to Kurt)
What
is
Mo
K
Reh. Pno.
this
Act 1 80
1047
Mi
po
-
em?
Mo
K
Reh. Pno.
SNEEZE SONG
C1
(q = c.88) Approximate pitches and rhythm, free within suggested outlines,
1051 (resistance)
Ah ha ha na ah wan na ha Ah oh ah ha na na na wu Ah ya ya har - sna wan - na hars nu Ah ha! f
K
1052 K
using all possibilities from speech to singing
(losing control)
Stra stra stra oosh
Ah tar - sha da
1055
,
(delivery)
K
1056 K
ha
1057 K
da
ha
na stra stra oosh - na
,
da arch star - ta
shoo
, a - ha
,
more sung
stoo
ah
stra stra no
aarch
na
ah
,
no
ah na!
(gutteral)
star - na no tish
an - a - ha
stra
ar
ar
ar
ah
ah
Kurt explodes. Mother takes a step back. Michael grins.
a - hach
a
tash
shooo!
Act 1 81
1058
Mi
Mo
q = 170 mf
Would
K
Reh. Pno.
q = 170
you
like
to
stay
mf
for
tea?
1062
Mi
Mo
K
Reh. Pno.
Act 1 82
Scene 8
Kurt’s room in north London. Cardboard boxes and crates hang from the ceiling. A bed is pinned to the ceiling. Michael holds a filled paper carrierbag. He knocks. No answer. He walks in. Suddenly, Kurt appears.
q = 224 1066
Mi
K
Reh. Pno.
q = 224 f
1071
Reh. Pno.
1076
Mi
K
Reh. Pno.
f
You don’t
real - ly
sleep in
that
for?
K
Reh. Pno.
bed?
1080
Mi
Then what’s it
f
No.
It’s a bed
that
no - bo - dy
Michael looks round the room. Explores.
sleeps
E - v’ry - thing
else
in.
Act 1 83
1084
Mi
K
is on the cei -
ling.
Reh. Pno.
Quite
so.
U - sing
lyrical
the
floor
has
1089
Mi
K
Reh. Pno.
no
point
I
once
built
a - ny - more.
1093
Mi
K
Reh. Pno.
a
room
like
this
in
Ha
-
no
-
1096
Mi
K
Reh. Pno.
-
ver.
I
called
it
my
White
Pa
-
lace
Room
Act 1 84
1100
Mi
K
Reh. Pno.
I
once
built
room
like
this
a
1103
Mi
K
Reh. Pno.
where
you
do
e
-
v’ry
-
thing
up
1106
Mi
K
Reh. Pno.
there,
ex - cept
take
mf
a
piss.
mf
1109
Mi
K
Reh. Pno.
Is
it
still there?
Where
Act 1 85
is
Ha
1113
Mi
K
Reh. Pno.
-
no
-
ver?
D1 q = 152 1117
Mi
K
f
Han - o - ver
q = 152
f
is a great Ger - man ci - ty.
Reh. Pno.
f
1122
Mi
K
Reh. Pno.
house
My
was
blown
to
bits,
Act 1 86
1127
Mi
K
Reh. Pno.
peo
-
-
ple
were
bombed
with
-
out
pi
-
1132
Mi
K
- ty.
Reh. Pno.
Much
of my
fa
-
mi
-
ly
lost
their
lives.
1137
Mi
K
Reh. Pno.
E
- v’ry - thing of
mine
was
des -
troyed,
Act 1 87
1142
Mi
K
my de - signs,
Reh. Pno.
my
books,
all
my
ar
K
Reh. Pno.
K
Des - troyed
-
chives.
by
whom?
1151
Mi
1147
Mi
By the Bri - tish.
Who
are
they?
Your
Reh. Pno.
Act 1 88
Michael looks around the room with curiosity.
1156
Mi
K
Reh. Pno.
peo - ple.
K
Reh. Pno.
q = 164 mf 1161
Mi
q = 164 mf
There’s no - where to sit.
And what is
more
the
on - ly place
to
eat
a meal
is
1165
Mi
on
K
Reh. Pno.
the floor.
mf
I’ve al - ways thought eat
-
ing
takes up too much time.
You have to go hun -
Act 1 89
1169
Mi
K
-
gry
K
-
K
Reh. Pno.
Then
you
won’t
be
want - ing
a
-
ny
blime.
mp
Kurt scrambles suddenly and grabs all the vegetables from the floor. Stuffs the vegetables into as many pockets as he can find.
3
3
E1
3
3
sub. p
e legato
p
Ah, yes, where was
3
these?
3
1177
Mi
Reh. Pno.
su
Michael empties his carrier bag. Carrots and potatoes roll across the floor.
of
make thoughts
1173
Mi
Reh. Pno.
to
mp
I?
What
Act 1 90
1183
Mi
K
was I think
K
Reh. Pno.
K
Reh. Pno.
I
was
talk - ing
a
mf
ing?
-
lace
Room
in
Ha
It
was
-
an
as
-
-
sem
-
my
White
blage
of
de
K
Reh. Pno.
- mes
-
tic
e
-
- v’ry
day
feel
-
do -
ling.
In
spair.
1199
Mi
-
Pa
ver.
-
-
no
-
bout
-
1194
Mi
mf
1188
Mi
-
Reh. Pno.
q = 176
So
q= 176
Act 1 91
1204
Mi
K
K
Reh. Pno.
was
a - bout
ta - king
a
piss
I?
1207
Mi
Some - thing
where
Reh. Pno.
on the cei - ling?
1210
Mi
K
Reh. Pno.
Act 1 92
Scene 9 q = 70 1212
Mi
Mo
On the way to school in the morning. His mother walks Michael to school. Michael is in school uniform.
q = 70
mp
Mo
mp
know
the
1224
Mi
mp
Mo
That’s what
they
to do
Reh. Pno.
to
us
bombed Ha - no - ver
to
Al - lies
bits?
They cross the road at a busy junction.
were try - ing
Did you
Reh. Pno.
1218
Mi
mf
Reh. Pno.
How
did
Dad - dy
too.
Act 1 93
1228
Mi
Mo
die?
Reh. Pno.
He
was a
night
watch - man
on
a fac - to - ry build -
ing.
1233
Mi
Mo
A Ger - man doo - dle - bug
bomb
made
a
Reh. Pno.
di - rect
hit.
They
ne - ver found his bo - dy
1237
Mi
Mo
af - ter - wards.
Reh. Pno.
f I
hate
all
Ger - mans.
All
Ger - mans are Bas
-
tards.
f
mp
mp
Act 1 94
1243
Mi
Mo
Reh. Pno.
mp
The
old
man
is
Ger - man
mp
Ah,
mf
1248
Mi
Mo
well,....
Reh. Pno.
he’s
dif
-
rit.
f ’rent.
rit.