A musical adaptation of Jonathan Swiftâ€™s novel by Chris Chambers and Andy Rapps
Gulliver’s Travels by Jonathan Swift, adapted by Chris Chambers and Andy Rapps © Chambers & Rapps 2008. All Rights Reserved This script may not be copied or transcribed by any means electronic, optical or mechanical without the prior permission of the copyright owners or their agent. Photocopying this script without a suitable license is strictly prohibited. This musical play is a work of fiction. Names and characters are the product of the author‘s imagination and any resemblance to actual persons, living or dead, is entirely coincidental. ‗Gulliver‘s Travels adapted by Chambers & Rapps‘ is fully protected under the international laws of copyright which are enacted in the UK as the Copyright, Designs and Patents Act 1988. The rights of Chris Chambers and Andy Rapps to be identified as the intellectual owners of the work have been asserted by them in accordance with the above Act While every precaution has been taken in the preparation of this musical play, the publisher assumes no responsibility for errors or omissions, or for damages resulting from the use of the material contained herein. Published, and worldwide rights managed by : Stagescripts Ltd, Lantern House, 84 Littlehaven Lane, Horsham, West Sussex, RH12 4JB, UK Tel : +44 (0)700 581 0581 Fax : +44 (0)700 581 0582 email@example.com www. stagescripts.com Publication History: January 2011 :
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Synopsis At the opening of Act One the captain of a ship, Don Pedro de Mendez, is reading in his cabin. A compassionate man, he ponders on how difficult it is to find a purpose in life ('Another Way'). His crew return from a desert island carrying a wounded man, strangely dressed and whinnying like a horse. They discover his name is Lemuel Gulliver and Don Pedro determines to help him recover his mind. Gulliver starts to recount his experiences to Don Pedro and the story moves to his family in London, before his travels began. It is 1714. His business has failed and he is forced to leave his wife and children to take up a position as a ship‘s surgeon. The voyage is doomed and he is shipwrecked, washed up on a beach. Lilliput In the land of Lilliput, a council of war is in progress. The neighbouring country of Blefuscu is poised to attack, their navy anchored a mile offshore. These two great nations are engaged in a bitter conflict over which end of an egg one should crack. Reldresil, an advisor to The Emperor shows a certain amount of sympathy to both sides of the argument and The Emperor reminds him sharply as to why the war came about ('The Story of The Egg'). Proceedings are interrupted by news of a giant man found washed up on the beach. There is panic and excitement as the Lilliputians discover Gulliver asleep there, his colossal body stretched across the sand ('Enormous'). The Lilliputian army stake him to the ground and he wakes, unable to move. Council members, Skyresh and Flimnap, discuss what should be done with this giant man. They argue he is dangerous and expensive to keep, but The Empress is very taken with him and tries to convince her husband to free him ('What a Man Like That Could Do'). Once Gulliver‘s gigantic pistol is discovered and demonstrated ('The Inventory'), the Emperor agrees to free him if he will use this power against their enemy Blefuscu. If not, they will kill him. Gulliver has no choice but to wade out to sea and drag the enemy ships away ('Fifty Men Of War'). Having conquered The Blefuscan Fleet, Gulliver is awarded the title of Nardac – the highest honour in the land ('Nardac Ceremony'). Jealous of Gulliver‘s popularity, Skyresh and Flimnap plot to set fire to the royal palace in a bid to consume him. Gulliver swiftly extinguishes the fire using ―natural means‖, but unwittingly drenches The Empress in the process. Humiliated and soiled, she turns against him, demanding along with the others that the 'giant man-mountain' be put to death. ('What a Man Like That Could Do' Reprise). Gulliver wakes from a nightmare in Don Pedro‘s cabin and relates how he escaped the Lilliputian‘s poisonous intentions and made it back to London, to his wife and family, only to set sail again soon after on an even more astounding and unpredictable voyage. Brobdingnag In the land of Brobdingnag, it is harvest time and a farmer and his wife have sent their young daughter out to work in the fields ('Golden Corn'). She spots a tiny creature in the corn, rescues it and takes it home. Her spiteful parents shake it from the box onto the table and the tiny man revealed before their eyes introduces himself as Dr. Lemuel Gulliver. Seeing the opportunity to exploit this bizarre situation, the farmer and his wife force Gulliver to dance and sing on demand. He very quickly becomes the talk of the town and a lengthy tour show concludes with a command performance at the royal palace ('Happy Day'). The Queen is impressed, but concerned for Gulliver‘s physical health. She offers to purchase the tiny man for an agreeable fee and asks that their daughter, Glumdalclitch, stay at the palace to care for him. The farmer and his wife leave significantly richer and Gulliver and Glumdalclitch become great friends ('My Little Man'), though she reminds Gulliver of the home life he has left behind. Gulliver quickly gains favour at court, mastering the spinet with his feet and chronicling undiscovered insect-life, but he faces terrible danger from The Queen‘s Jester, a dwarf, who, jealous of Gulliver‘s increasing popularity, follows him to the orchard and sets a shower of apples falling about his tiny head. The Queen rebukes The Dwarf and orders him to apologise, which he sincerely tries to do ('Making Amends'). But his gesture of a sweet cake attracts a swarm of wasps that nearly sting Gulliver to death. The Queen orders The Dwarf‘s arrest and her household are quick to find him in the orchard, arguing with Glumdalclitch ('Orchard Sequence'). Cornered, he panics, grabbing the tiny Gulliver from Glumdalclitch and hurling him spontaneously from the cliff-top into the ocean before fleeing the scene. All exit in pursuit of The Dwarf, as The Queen comforts a grieving Glumdalclitch—her best friend, Gulliver, gone forever. In Act Two Don Pedro has gained Gulliver‘s trust and hears how Gulliver left his pregnant wife and family for a third time, taking up a lucrative job as Captain of The Adventure. Unlucky at sea, his captaincy is short-lived and his crew mutiny, setting him adrift in uncharted waters. Laputa Back in London, Mary continues to cope without her husband, having had his third child, Frances (‗One last Time‘). The action then returns to a distant shore as Gulliver continues to recount his story to Don Pedro. On the undiscovered flying island of Laputa, bizarre intellectuals mill around, jabbering to themselves, lost in mathematical conundrums ('How Does The Sun'). These Laputans survive in the air by demanding resources from the lands below, causing untold suffering. One of these lands is Lindalino, home to a passionate but ineffective resistance led by a spirited young woman called Gaia and
her grandfather, Munodi. They are determined to gain equality for their people but their petitions are quashed by The King and his Academy - the country‘s governing body. Into this land of unrest, Gulliver appears, winched up from the sea onto the flying island at the time of a major eclipse. Gaia interprets this as a heavenly sign and finds the opportunity to tell Gulliver of their sufferings and her plan to discredit the Academy that rules their lives. Gulliver recognises her sincerity and agrees to help. He manages to impress The King and gets permission to view The Academy at work. Gaia‘s followers are overjoyed at Gulliver‘s progress ('The Music of The Spheres') as is Gaia, whose kiss is recklessly returned by Gulliver, to his shame. Back In England, his wife, Mary, sings her baby to sleep. Gulliver enters The Academy, finding it full of eccentrics, wasting resources on hopeless experiments with no benefit to anyone ('The Academy'). Using this information against Laputa brings Lindalino under attack. As the flying island approaches, Gaia professes her love for Gulliver. He sees how his actions have led her on and tries to make her understand that he cannot be with her. But the death of a key figure in the plan demands his immediate attention. The distraught Gaia runs off into the storm. Minutes later comes a change of fortune as Laputa begins to retreat. The people return triumphantly only to be greeted by Munodi carrying Gaia in his arms. She has been killed. A solemn procession carries her away, to Gulliver‘s great distress. Gulliver comes to his senses on the ship‘s deck and Don Pedro tries to comfort him, but the memory of Gaia is too deep a pain. Houyhnhnmland (pronounced 'Hoo-na-him Land') Left to his thoughts, Gulliver enters Houyhnhnmland. He is attacked by wild ape-like creatures, until a horse – a sorrel nag – appears, which causes them to flee. The Sorrel Nag beckons him to follow and soon it becomes clear that in this land the horse is the master. Over a period of time, Gulliver learns the Houyhnhnm language and is drawn in to their peace-loving, non-materialistic ways. ('Hnuy Nyha Maiah'). His past starts to blur as he begins to look at life differently. The Assembly has ruled that a Yahoo cannot reside in a Houyhnhnm house and that he will have to leave. Gulliver defends himself, arguing that he is not a Yahoo - that he can reason and create - but The Master Horse is adamant that he must not use their land to escape his troubles, that his purpose lies elsewhere. The Sorrel Nag pleads for Gulliver to stay, to no avail. Don Pedro finds Gulliver sobbing on deck and his presence signals an angry response from Gulliver, denouncing the weakness and depravity of human beings. But Don Pedro offers an alternative view, of a Spirit in Man, of the power of perseverance and the importance of the quest to find a purpose in life ('Journey On'). Moved by Don Pedro‘s compassion, Gulliver returns to the cabin and heads home. Back in England, five years later, Gulliver‘s eldest daughter Betty is visiting with a new addition to the family. She hears that her father still spends most of his time in the attic writing or in the stables, talking to the horses. Clearly obsessed by his travels, Gulliver is revealed in the attic writing a letter to his publisher. He opens the book he has written - 'Travels Into Several Remote Nations Of The World In Four Parts'. His imagination takes flight as the characters are freed from the page. ('Attic Sequence'). The last figure to appear before him is Don Pedro, who reminds him to honour love in everything and continue to search for a perfect way to live ('Journey On' Reprise). At the climax of Gulliver‘s involvement in this vision, Mary enters the attic. Her distressed husband breaks down and opens up to her, wondering if she can see the figures standing before him. Calming him, she wipes his brow as Don Pedro and Gaia disappear from view. Mary‘s quiet dignity, inner strength and understanding touch Gulliver profoundly and they leave the attic together, hand in hand, on the path to a better way.
Characters Total Qty of Named Characters - Principals : 9m, 7f, 1m/f Support : 10m, 4f, 3jr-m, 1jr-f plus chorus NOTE : All principals and support roles can double throughout EXCEPT Gulliver, Mary and Don Pedro Gulliver’s ‘Real-Life’ Characters ... Principals (2m, 1f) Lemuel Gulliver – 30‘s, versatile, vulnerable, open, well-meaning, the journey for him is physical, emotional, mental and spiritual (High Baritone; a challenging role) Mary Gulliver – 30‘s, caring, forthright, long-suffering, her strength comes from within (Mezzo Soprano) Don Pedro – 30-50, humane, compassionate, philosophical, a ship‘s Captain (Baritone) Support (2m, 1f, 2jr-m, 1jr-f) Lieutenant Avaghelo – 20‘s, fiery, dutiful, ambitious, Don Pedro‘s aid (non-singing role) Dr Fernando – 30-50, a ship‘s surgeon, impatient, matter of fact (non-singing role) Jonny Gulliver – 8-12, a little bit of a bully (non-singing role) Young Betty Gulliver – 8-12, caring and kind (appears in Act One only, solo) Older Betty Gulliver – early 20‘s (appears in Act Two, final scene only, non-singing role) Frances Gulliver – 8, the Gulliver‘s third child (appears in Act Two, final scene only, non-singing role) Gulliver’s ‘Fantasy’ Characters ... Lilliput (Land Of The Little People) Principals (3m, 1f) The Emperor – 20-50, precise, controlling, arrogant, small-minded, self important (Baritone, solo) The Empress – 20-50, flirtatious, fickle, unpredictable and vindictive (Mezzo Soprano, solo) Skyresh – 20-50, manipulative, double-crosser, an Admiral, advisor to the Emperor, Gulliver‘s enemy (High Baritone, solo) Flimnap – 20-50, the Treasurer, cowardly, miserly (Baritone, solo) Support (2m, 1f, 1jr-m) Clefren & Marsi – 20-50, comedy double-act, husband and wife, quite simple but well-meaning (Baritone & Alto) Reldresil – 20-50, the Private Secretary, honourable, humble, fair (non-singing role) Drunhlo – 12 (approx), Clefren & Marsi‘s son, (small non-singing role)
Brobdingnag (Land Of The Giants) Principals (2m, 3f) Glumdalclitch - 12-16, a young girl, sweet, kind and caring, the Farmer‘s daughter (Mezzo Soprano, solo) The Farmer – 20-50, a yokel, earthy, a brute, unkind to his daughter, regional accent (Baritone, small solo) Mother – 20-50, the Farmer‘s wife, opportunistic, unkind to her daughter, same regional accent as The Farmer (Mezzo Soprano, small solo) The Queen – 20-50, honourable, sincere, powerful and kind (Mezzo Soprano, small solo) The Dwarf – any age, any height, the Queen‘s Jester, funny, impulsive, spontaneous, irritating and dangerous (High Baritone, solo) Support (1m, 1f) Grandma – 40-70, Glumdalgitch's Grandmother, not all there (an accordion player if possible, non-singing role) Dunstable – 20-50, dutiful, right-hand man to the Queen (non-singing role)
Gulliver’s ‘Fantasy’ Characters ... (cont’d) Laputa & Lindalino (The Flying Island & The Mainland) Principals (2m, 1f) Gaia – 18-30, a young woman, beautiful, honest, inspiring, a shining light, falls for Gulliver, leads the rebellion against Laputa (Mezzo Soprano) Munodi – 55-70, Gaia‘s grandfather, upright, caring, firm, diplomatic, practical and realistic (non-singing role) The King – 30-50, distracted, unfeeling, intellectual, devoid of common sense (non-singing role) Support (5m) The Warden - key-holder of the Academy, pompus, jobsworth (non-singing role) Academy Members x 4 – a number of useless intellectuals with bizarre ideas (Baritones, small solos) Houyhnhnmland (The Land Of The Horses) Principals (1m/f, 1f) The Master – (m/f) any age, the leading horse, poised, fluid, a guru, honours reason, honest and fair, all powerful within the society (movement / physical theatre skills from the actor would be a bonus, non-singing role) Sorrel Nag – any age, a female horse, caring, gentle, graceful, peaceful, loyal (movement / physical theatre skills from the actor would be a bonus, soprano, solo) Ensemble / Chorus Don Pedro‘s Crew; Lilliputians; A Herald; Army; Courtiers; Reapers; Punters in Pub*; Ladies at tea*; Apples; Three Maids*; Three Scholars*; Wasps; People of Brobdingnag; Laputans and Flappers; The King‘s Flappers; Doctor's assistant*; Musicians; Conductor (possibly played by the Musical Director); Dissenters on Lindalino; Yahoos; A caged yahoo; Horses Note : * = Solo singing roles taken from the ensemble
Musical Items 1) Another Way (Don Pedro & Company) 2) The Story Of The Egg (The Emperor & Lilliputian Court) 3) Enormous (Clefren, Marsi, Skyresh, Gulliver & Company) 4) What A Man Like That Could Do (Skyresh, Flimnap & Empress) 5) The Inventory (Clefren, Marsi & Drunhlo) 6) What A Man Like That Could Do [Reprise] (Emperor) 7) Fifty Men Of War (Gulliver & Ships Chorus) 8) One Little Flame (Skyresh & Flimnap) 9) The Nardac Ceremony (Gulliver & Company) 10) What A Man Like That Could Do [Reprise] (Skyresh, Flimnap, Emperor & Empress) 11) Golden Corn (Mary & Betty, Reapers, Country Girls & Glumdalclitch) 12) Happy Day (Farmer, Mother & Company) 13) My Little Man (Glumdalclitch & Gulliver) 14) Making Amends (Dwarf, Maids & Scholars) 15) Orchard Sequence (Glumdalclitch, Queen, Dwarf & Company) ~~ Interval ~~ 16) Prologue (Orchestra) 17) One Last Time (Mary) 18) How Does The Sun? (Laputans, Flappers, Gaia & The King) 19) The Music Of The Spheres (Gaia, Gulliver & Dissenters) 20) The Academy (Academy Members) 21) The Music Of The Spheres [Reprise] (Gaia, Gulliver & Dissenters) 22) Hnuy Nyha Maiah (The Horses) 23) Hnuy Illa Nyha Maiah / Be Gentle (Sorrel Nag & Gulliver) 24) Journey On (Gulliver & Don Pedro) 25) Attic Sequence (Company) 26) Journey On (Reprise) (Company) iv
ACT ONE Scene 1 - Don Pedro‘s Cabin & The Ship‘s Deck, 1722 MUSIC 1 : ‘ANOTHER WAY’ At sea. A large Portuguese trading ship is anchored a short distance from a small, uninhabited island. The ship‟s Captain, Don Pedro de Mendez, is reading in his cabin. Dr Fernandez enters.
Don Pedro Fernandez Don Pedro Fernandez Don Pedro Fernandez Don Pedro Fernandez Don Pedro Fernandez Don Pedro Fernandez Don Pedro Fernandez
Don Pedro Fernandez
Dr Fernandez? The crew are yet to return from the island, Captain. We have no fresh water. Something must have detained them. The springs are just beyond the creek. Yes. Well, you said I should keep you informed … Thank you. I see I have interrupted your reading. Philosophy, doctor – keeps me going on these long journeys. Is it good? I see a truth in it. Ah, but truth is such a … one man‘s herb, eh? Yes, take this for instance … (He picks up a small wooden ornament from his desk) Mmm … (taking it from Don Pedro) … this is rather unsettling … is it a man or a horse? That depends on your view. From this angle it appears to be one thing and then … (Don Pedro looks at Fernandez quizzically who then puts the ornament down and prepares to leave). Yes … well … much to do. Have them tell me when the crew return. Naturally. (He nods and exits).
Don Pedro picks up the ornament and turns it in his hand.
(Musing) It all depends on your view …
Don Pedro People talk of Good or bad, of truth or lie, Of right or wrong, of live or die. Of love or hate, of joy or pain, Of light or dark, of mad or sane. Of birth or death, of big or small, Of give or take, of rise or fall. Of lost or found, of day or night, Of Heav‟n or Hell, of black or white. Only in comparison can we truly see, A widening perspective, another way to be … Plainly dressed, the ensemble‟s faces are revealed on deck one by one. They represent Don Pedro‟s thoughts.
People talk of Long or short Of narrow, wide … Of rich or poor Of honour, pride … 1
Of war or peace Of hope or fear … Soloist 4 Of us or them Of far or near … Soloist 5 Of old or new Of future, past … Soloist 6 Of do or dare Of first or last … Soloist 7 Of body, soul Of weak or brave … Soloist 8 Of Man or beast Of King or slave … DP & Soloists Only in comparison Can we truly see A widening horizon Another way to be. [NOTE : Although written consecutively below, the lyrics (up to **) are mostly sung simultaneously, see the Vocal Score for details].
W2&3, M2&3 Good or bad
W1&4, M1&4 Of truth or lie
Of right or wrong Of live or die Of love or hate Of joy or pain Of light or dark Of mad or sane Of birth or death Of big or small Of give or take Of rise or fall Of lost or found Of day or night Of Heav‟n or Hell Of black or white Of good or bad
Of truth or lie
Of right or wrong Of live or die Of love or hate Of joy or pain Of light or dark DP, W1&M1 Only in comparison Can we truly see A widening horizon Another way to be. ** The lyrics are not shown for the following group or individual parts from here due to the complexity of the phrasing; please see the Vocal Score …
Women 1 -4 Men 1-4 Don Pedro 2
The ensemble depart, leaving Don Pedro alone with his thoughts.
Don Pedro Somewhere along the way I hoped for something more That life might give its secrets up Upon a distant shore I hoped to find a better way A Path to set me free To travel on to journey‟s end Wherever that may be … The creaking of the ship‟s timbers is heard as Don Pedro returns the ornament to its place.
MUSIC #2 : ‘DISCOVERY’ There is a commotion on the ship‟s deck as Dr Fernandez and the crew enter noisily, carrying Gulliver dressed in strange horse-like attire. He has a wounded leg and is tied by the hands. They place him on the ground and step away. Lieutenant Avaghelo makes his way swiftly to Don Pedro‟s cabin.
Avaghelo Don Pedro Avaghelo
Captain de Mendez … the men have found … they came across a … What is it Lieutenant? I think you had better see for yourself …
Don Pedro and Avaghelo join the crew on deck. Dr. Fernandez steps forward.
Don Pedro Fernandez Don Pedro Fernandez Don Pedro Fernandez Don Pedro Fernandez Don Pedro
Who is he? We don‘t know, sir. Is he wounded? An arrow to the leg. The natives, I should think. I have removed it. Poison? Perhaps. Untie him. But he could be dangerous. Does he look dangerous, Doctor. (Don Pedro unties the clearly distressed Gulliver and lifts him to his feet. His horse-like wooden-soled shoes and mane-like coat are a sight to behold). Who are you, sir? What is your name?
Gulliver responds in a sincere yet strange tone, like a horse neighing and blowing.
Crew Member He thinks he‘s a horse! The Crew react nervously, edging away.
Is this how you treat a man in need! (To Gulliver). What country are you from?
Gulliver moves and intones in the style of The Houyhnhmns.
(Chanting) Hnuy illa nyha maiah. Yahoo … (followed by a high pitched powerful neighing) … Yahoo! Yahoo! Yahoo!
There is a sense of general hysteria. The exhausted Gulliver collapses.
Avaghelo Don Pedro Avaghelo Don Pedro Avaghelo
Doctor Fernandez. (Fernandez beckons to some of the crew to help him take the man off to Don Pedro‟s cabin. The rest stand shocked and bemused). Back to work! We must catch the tide! (The crew disperse). Lieutenant Avaghelo … (Approaching Don Pedro) He was on the island captain. Why was he tied? He was behaving strangely. We believe his reason has been impaired. I will be the judge of that. Yes, sir. 3
Thank you, lieutenant.
Avaghelo leaves. The crew exit the cabin as Don Pedro enters. There is a silent moment as Don Pedro looks at the exhausted being asleep in his bed. Gulliver stirs.
Floating … in the sky … things impossible to believe. I cannot say the thing that was not!
Don Pedro takes a tankard of water, lifts Gulliver in his arms and puts the tankard to his lips. The water is reviving.
Drink. I mean you no harm.
Gulliver drinks and then pushes the water away.
Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro
Let me be! I seek some desolate place where to pass the remainder of my unfortunate life … (he flinches at his wound) … ah … I mean to do you all the service I am able. We are bound for England. You were close to death. And yet you seem to will it … I have seen what is true. Share it with me. Truth … nobody sees! I will do my best to understand you.
Don Pedro touches Gulliver out of compassion.
Gulliver Don Pedro
(Reacting against the physical touch) Yahoo!!!!!!!!! Something stronger, perhaps. (He moves away and pours Gulliver a brandy). Have you a
Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver
name? My name … I had forgotten … unimportant … Where are you from? I am from nowhere. I have no country! I want to help you. Help me? (He laughs hysterically that turns to pain). I was from England. Was? Before! Before all this! Years ago, with Mary …and John … and Betty … Who are they? Names from the past. But you remember … Can you forget your own family? (He tries to stand and winces with the pain in his leg.Don Pedro helps him to get comfortable and offers him the brandy. There is a significant moment of connection between the men). Lemuel … I am Lemuel Gulliver.
And I am Don Pedro de Mendez. Captain of the ship you find yourself upon. The pain will ease … tell me more … It will take your mind off it. We have a long journey ahead of us.
MUSIC #3 : FIRST DOMESTIC SCENE (UNDERSCORE) Gulliver
I was a doctor. My business began to fail. No help anywhere. I consulted with my wife, Mary, and determined to go to sea, to travel, as I always believed it would be, some time or other, my fortune to do …
Exit Don Pedro. Gulliver lifts the bed, which doubles as a chest and changes into the appropriate clothes for London, 1714, holding his frock-coat which Mary helps him put on during the next scene. He places the „horse‟ clothes and shoes back in the chest, shuts it and enters Scene 2 at the appropriate point.
Scene 2 - London 1714 (Gulliver‘s House) Gulliver‟s house in London, prior to him leaving his family for the first time. Gulliver‟s wife Mary and their children enter. Betty, his daughter, is about eight yrs old. She is holding a brand new rag doll and Jonny is around nine. He boasts a ship in a bottle.
Betty Mary Jonny Mary Betty Mary Betty Mary Betty
Mama, mama - look what father bought me. Did he now! And I got this - a ship in a bottle! How did that get in there!??? Betty, call over the fence to Mrs Moll and ask her for a little sugar. Take Jonny with you. Show her your presents. But papa is going soon! Have you ever known your father to be on time for anything? Not really! So he‘ll be here when you get back then, won‘t he! Off you go! Race you, Jonny!
Betty & Jonny leave as Gulliver enters (from the „ships cabin‟). The music stops.
Gulliver Mary Gulliver Mary
Even I can‘t keep the tide waiting Mary! There you are! If you don‘t hurry you won‘t be ready. Trying to get rid of me, Mary Burton! (She helps him put his frock-coat on, making sure everything is just right) Of course I‘m
not, but you don‘t keep a captain waiting, he‘s done us all a big favour … what with your practice failing; we should be thankful for the opportunity. (She is now staring into Gulliver Mary
Gulliver Mary Gulliver Mary Gulliver
his face). (Pause) Mary … Don‘t. (She pulls away). You know how I feel. If it hadn‘t been for those small-minded
colleagues of yours, tying you up in knots, then you wouldn‘t be going to sea. You should have stood up to them. I know … You‘ve always had big dreams, great plans. You‘re a good doctor. They look down on you, but you‘re bigger than them! Am I? Yes. Yes! Maybe this is all meant to be. Going to sea. You‘ve always wanted to travel. Mary, I love you. Do you think for a second that I would leave you, if I could see any other way. It won‘t be forever … (He goes to kiss her and surprises her by whisking her off her feet. They laugh).
It‘ll be alright. Betty and I embroidered this for you – to wish you luck. (She hands him
a handkerchief with a horse embroidered on it). Thank you. (Hearing the children). Here they come!
Betty returns with a jar of sugar, some eggs, and Jonny.
Betty Mary Betty Mary Jonny Gulliver Betty Gulliver
The sugar‘s in the box! And she gave us fresh eggs too! The kindness of neighbours … She liked my doll. And what did she think of your boat, Jonny? She said it must have been made by very little people! The detail on this handkerchief, Betty … The horse took me ages! Such beautiful creatures.
Jonny approaches the eggs in the box. 5
Jonny Betty Jonny Betty
Wow! Eggs! I want that big one! That‘s mine. (Grabbing a couple of eggs and starting to juggle) Look at me!
Give them back!
Betty reaches for the eggs and they fall on the table and crack.
Jonny! Betty! Look what you have done! What a waste! Is there never a moment‘s peace! Always fighting over something!
There is a loud knock at the door.
Mary That‘ll be Captain Pritchard‘s man! Children, say goodbye to your father. Betty & Jonny Goodbye, Father. Gulliver Come on then. (They say goodbye noisily as Gulliver lifts them both into his arms and spins them around). Ah … you‘re too big for me, I can hardly lift you. Jonny Bring us back lots of wonderful things. Gulliver ‗Bye Betty; ‗bye Jonny … into the yard, both of you. I‘ll see you when I return! Goodbye! (They exit swiftly. He and Mary look at each other. A moment). Goodbye, Mary… (They embrace and he exits). Mary Bon Voyage … A quick change and the actor playing Gulliver returns to the ship‟s cabin by the back steps and lies on the bed, asleep. Gulliver should be in place by the end of Scene 3.
Scene 3 - The Ship‘s Deck (1722) MUSIC #4 : OPENING OF LILLIPUT (MOSTLY UNDERSCORE) Dr Fernandez is discovered on deck with Don Pedro.
Don Pedro Fernandez Don Pedro Fernandez
He is not mad, Doctor! He is starting to recall what happened. How he left his family; how he was shipwrecked; at the mercy of the ocean; washed up on the shore … Where is he? Resting … I will bear with him, hear his stories, help him recover his mind … As you wish, Captain …
Gulliver is revealed briefly, asleep in the cabin. We enter his mind … fading out as The Lilliputians gather.
Scene 4 - Lilliput : The Palace (A Council Of War) A fanfare is heard and The Lilliputian court sweep on. Main characters at the council table are The Emperor, The Empress, Skyresh, Flimnap & Reldresil. They wear different colour sashes. Courtiers hold placards, which feature various episodes from the history concerning the egg and its relation to Lilliput. A herald holds a pole sporting an ornamental egg at a height.
Herald Emperor Empress Emperor Empress
Silence for The Emperor of Lilliput. Members of the council will swear their allegiance. Oh, can we not dispense with the formalities, Golbasto? It is tradition, my dear. (Rolling her eyes) Well, if you must …
Skyresh, Flimnap & Reldresil make the loyalty pose, which involves placing the right foot in the left hand, the middle finger of the right hand on the crown of the head and the thumb on the tip of the right ear, as well as a distinctive foot shuffle in time to the music.
Skyresh Flimnap Reldresil
Quinbus, Flestrin, Hekinah, Degul … Hurgo, Hurgo, Hurgo. 6
The music stops.
How perfectly ridiculous. So my lords, to the matter of war Blefuscu threaten another attack Their navy - anchored a mile off shore They show no sign of turning back. As Admiral of the Fleet elect I urge the element of surprise Let‘s take them when they least expect And cut the Fluscans down to size What says the treasury, Flimnap pronounce; Is there enough in the nation‘s accounts? Take them out! Destroy them all While the funds allow The danger grows the more we stall Attack the Fluscans now! How tedious it all is Nevertheless … Gentle Reldresil, tell me how you feel Have you some spin on how we can win; Our victory to seal? I cannot justify a war Where thirty-thousand die I think we should negotiate Where the middle ground may lie… (Sarcastically to Reldresil) So speaks the voice of reason; My honourable friend Our darkest hour is here Our land we must defend! Yes, Reldresil, lives have been lost, but I have to agree with Skyresh here … and I‘ll be damned if Lilliput should back down now!
MUSIC 5 – ‘THE STORY OF THE EGG’ The Emperor delivers a lecture on the history of Lilliput as a warning to Reldresil and others that might forget the reasons for their traditions.
Perhaps you need reminding why We fight this bloody war It all boils down to eggs you see And what went on before. Blefuscu was our ally In ancient times our friend For many years we‟d all agreed To crack the larger end! Until one day my grandfather Back then; a boy of ten Whilst slicing the top His finger did chop Which had to be sewn on again.
Whereupon his father Issued a proclamation The law was reversed The large end was cursed And for this he received an ovation. [Brief applause].
He decreed a new commandment for every Lilliputian To crack your egg the smaller end on pain of execution. [The Emperor stands still, lost in his musings, as the courtiers expand on the theme. Lines may be sung all together or split into solos and small groups].
What can you do with an egg? Apart from whisking and blending. Scramble or boil or fry it in oil The potential is never-ending. Some like it cold, some like it hot There lies no mistake But when the egg spins The trouble begins Deciding which end to break.
For those with any sense There is only one solution Crack your egg the smaller end … [Lost in thought] … Hmm! … Be a Lilliputian.
[The Emperor picks up from where he left off].
And so, this law was set in stone As schism filled the land Those leaning to the larger end Maintained the upper hand. They argued we‟d offended A fundamental law What The Prophet had intended We had chosen to ignore. In The Brundecral, Chapter 54 (Which is called their Alcoran) They plucked out a phrase To back up their ways And justify why this began. But on closer look at the holy book In our efforts to amend The scholars were vexed By the words of the text Which read “break the convenient end”.
Break the convenient end! What can you do with an egg? The baker sells you a dozen Eight for an omelette, four for a cake [Spoken] Though, “it is better with five”, says my cousin
Some like it hard, some like it runny There, lies no mistake But when the egg spins The trouble begins Deciding which end to break. For those with any sense To avoid a revolution Crack your egg the smaller end … [Lost in thought] … Hm! …Be a Lilliputian.
[The Emperor continues to muse on the theme – directing the threatening lines at Reldresil]
Emperor Ensemble Emperor
„The convenient end‟ has always been The cause of much debate But now it‟s all got out of hand Endangering the state. Call me megalomaniac, but No one is exempt The smaller end brings harmony The larger end … contempt! The small end harmony The larger end contempt! Oh! What can you do with an egg? Apart from dipping your soldier. Dunking it in, it isn‟t a sin Just ignore what your conscience told ya. Some like the yolk, some like the white There lies no mistake But when the egg spins The trouble begins Deciding which end to break. For those with any sense To advance our evolution Crack your egg the smaller end … [To Reldresil] … It‟s the right and proper thing to do! … Be a Lilliputian. It is allowed, if Truth be told That in the past, in days of old We cared far less which end we broke Our main concern was for the yolk. But now the issue is the shell The small end, Heaven, the large end, Hell! [except Reldresil] …
Be a Lilliputian!
(Threateningly, to Reldresil) So … are we all in agreement?
Reldresil has been put on the spot, there is an ugly pause, but he is saved from answering as the moment is broken by Clefren & Marsi Frelock bursting into the court in a state of extreme agitation.
My most excellent Council, one and all … Forgive this informality … but … There‘s a blooomin‘ great monster on the beach and everyone‘s going crazy!
The Empress screams. 9
Scene 5 - Lilliput (The Palace & The Beach) MUSIC #6 : ‘ENORMOUS’ Emperor Marsi Skyresh
Calm down, my dear. There is nothing to fear. I‘ve never seen anything like it. I can only thank Providence that it‘s asleep! There is no time to waste. Describe this monstrous sight … [Clefren & Marsi describe what they have seen to the Lilliputians]
Clefren Marsi Clefren Marsi Clefren Marsi Clefren Marsi Clefren Marsi Clefren Both
Enormous mouth Enormous jaw Enormous ears I counted four Gigantic nose Colossal feet And the rest of it you wouldn‟t call petite. A mass of hair And double chins Gigantic thighs Colossal shins Enormous tongue A monstrous sight! Must be bigger than a flamin‟ meteorite!
There is a general hubbub.
Would everyone just calm down! Your Emperor is unaffected. Just listen very carefully And do as directed. Call in the army Right away While he sleeps He‘s ours to play. Yes, Your Majesty. Come, my love, we shall adjourn to the beach … and see what the tide has brought us.
Those of the court make their way to the beach noisily, with a large sweep of the stage, as Don Pedro is revealed in the cabin, reading. Gulliver is still asleep. The Lilliputians arrive and stare out front, amazed by what they see. Gulliver, in their sight, is filling the theatre, above the audience‟s heads.
So there it lies for all to see Behold the giant mystery. Where it comes from, Heaven knows! The more we look, the more it grows.
Woman 1 Woman 2 Woman 3 Woman 4
Biggest thing I ever saw Everywhere you look there‟s more! North and South and East and West Have you seen the muscles on that chest?!
It‟s bigger than The highest tower How can we minimize Its power? We must restrain This monster‟s might If it comes at us we‟re ready for the fight
[Skyresh, the army and the archers sweep into formation – they will be responsible for tying him up].
Quinbus Flestrin Hekinah Degul Tolgo Phonac Borach Mivola Peplom Selan Hekinah Degul Hurgo Hurgo Hurgo [Skyresh addresses the army]
So here we are I can‟t believe A giant man My eyes deceive Get the ropes Oh what a sight Tie him up in knots and make them tight!
[The army put the ropes in place with lots of hustle, bustle and urgent activity. The ropes could perhaps be drawn up from the stage to the balcony or to a lighting bar].
Grab your spears And quivers too Prepare to fight And see it through Hold positions In your place … Archers, aim directly at his face! Ensemble 1 Enormous hands Enormous thighs Enormous arms Enormous eyes Colossal head Oh, what a sight
Army Quin-bus Flestrin Heki-nah Degul Tol-go Phonac Borach Mivola Pep-lom Se-lan Hekinah Degul
Tie him up in knots and make them tight
Hurgo Hurgo Hurgo 11
Ensemble 1 Enormous hands Enormous thighs Enormous arms Enormous eyes Colossal head Oh, what a sight
Ensemble 2 Quin-bus Flestrin Heki-nah Degul Tol-go Phonac Borach Mivola Pep-lom Se-lan Hekinah Degul
Tie him up in knots and make them tight
A sol-id neck … with rings of steel … A beat-ing heart … we hear and feel … A gi-ant man. Oh, what A sight Tie him up in knots and make them tight
At this point the ensemble move into one large group and stare out front at the giant stretched across the beach before their eyes. The Emperor and Empress stand together.
Ens 1, 2 & Army The sun grows hot, he may a-wake And if he moves the earth will shake. This giant sleeps in no man‟s land See his body stretched across the sand! [The ensemble make a huge sweeping gesture, painting the picture of this great being before them]
The Ensemble react as if scared and freeze in that position as Don Pedro‟s cabin becomes the focus. Gulliver wakes suddenly and jumps out of bed; the memory of the experience before him.
You must rest! Gulliver
I was alive! Alive and free Delivered from the sea I tried to move I couldn‟t stand Tied in knots and left upon the sand!
[He leaves the cabin and walks out among the Lilliputians].
The ropes were drawn From East to West Pulled tight across my chest Who‟d pinned me down And left me here?! Couldn‟t move my body And my heart was struck with fear I looked around, my head broke free Saw them walking over me Tiny beings pulling at my hair … [The Lilliputians unfreeze as Gulliver returns to the steps of the cabin, maintaining a little height above them].
Skyresh Pull the ropes as tight as he can bear. Gulliver Could I really see them standing there? Ensemble See the great man mountain over there… Glvr & Ens’ble And there, and there, and there, and there … [The Ensemble move apart and small groups or individuals point out front on each ―And there‖, building the imagined picture of an enormous Gulliver stretching across the sand out front (ie over the audience), Meanwhile, Gulliver climbs up into the crow‘s nest to Don Pedro‘s distress, reaching it and tying himself to the ship‘s mast].
Solos / Ens’ble And there … and there … and there … and there And there … and there … and there … and there And there … and there … and there … and there! [On the final ―there!‖, all the Lilliputians turn sharply and point upstage at Gulliver, who is now tied to the mast, transferring the imagined image of ‗big‘ Gulliver previously out front onto the ‗real‘ Gulliver . The image he portrays is similar to Da Vinci‘s Man restrained, or Christ on the cross].
I was enormous On the ground My head was spinning round. I lay before the sun The sea had spat me out and now My travels had begun!
[The Emperor climbs a swiftly erected platform laboriously, with Lilliputian pomp. He faces out front to speak to Gulliver. The ensemble sings his full regal name].
Golbasto Momaren Evlame Gurdilo Shefin Mully Ully Gue Golbasto Momaren Evlame Gurdilo Shefin Mully Ully Gue
(Shouting) I, Golbasto, Momaren, Evlame, Gurdilo, Shefin, Mully, Ully Gue -
Gulliver Ensemble Skyresh
Monarch of Monarchs! Delight and Terror of The Universe! Whose feet press down to the centre! Whose head strikes against the Sun! Most Mighty Emperor of Lilliput … in all humility … demand to know your intentions! (During this exchange Gulliver‟s voice may be amplified) I mean you no harm … Ah!!!! An earthquake! An earthquake! No … We are under attack! Battlestations!
Chaos abounds – the noise is dreadful. People shout and hold their ears. General melée.
There is silence, followed by a rumble that builds and builds; the Lilliputians react with great fear.
Forgive me … my stomach!
There is a mighty burp. The Lilliputians react with disgust.
Emperor Clefren Emperor Clefren Marsi Emperor
Please control yourself! Clefren Frelock! Your Highness? This ‗Great Man Mountain‘ must eat and drink. Gather all the chefs in the kingdom, and cook! Yes, your highness! Come on Marsi! Drunhlo!!!! (Clefren, Marsi & son Drunhlo exit). (To Gulliver) Where are you from? Blefuscu?! 13
Gulliver Emperor Herald Emperor Gulliver Emperor
(Whispering, especially if amplified) England.
Never heard of it. Call an Emergency Council! The Emperor calls an Emergency Council! I hope you will not take it ill if my officers search you … I am at your mercy, great and marvellous puissant Majesty! I request but one thing … my freedom. Of your request I have made a note … (To the Herald) make a note! And the Council will put it to the vote!
The Emperor heads off to the Council Meeting. The cast exit gradually, striking the Emperors platform. Gulliver remains in place, tied to the mast. Clefren & Marsi & Drunhlo re-enter. Clefren has a scroll which he is amending.
MUSIC #7 - UNDERSCORE TO END OF SCENE Clefren Marsi Clefren Marsi Clefren Marsi Clefren Drunhlo Clefren Drunhlo Marsi Clefren Marsi
Gather all the chefs in the kingdom. Who would credit it? So what have we got in storage, then? Hogsheads of wine? One thousand and eight… Loaves of bread? Nine hundred… Geese? Two thousand one hundred… Eggs? Seven. Seven?… Well, you can‘t rush a hen, can you. We can make a tasty batter with them! Three hundred cooks, each preparing five or six meals will give us an estimated … one thousand seven hundred and twenty-eight portions per meal. (Exasperated) Oh, is that all …?!
Skyresh interrupts their conversation and grabs the scroll with the figures.
The Council is ready to meet. Feed the intruder. Then search him and report with any items you find, to the court. This is a national emergency and should be treated as such. You haven‘t got a clue what a man like that could do! Clefren & Marsi Yes, sir!
Scene 6 – Lilliput, The Palace (an Emergency Council) MUSIC #8 – ‘WHAT A MAN LIKE THAT COULD DO’ The Emperor, the Empress, Skyresh, Flimnap and Reldresil are at the meeting. Skyresh walks straight in from the previous scene holding the scroll of figures. (Optional - Through this scene the distant shadow of Gulliver can be seen, still tied in the background, being fed and searched. Ladders may be involved; Clefren, Marsi & Drunhlo presiding).
Emperor Reldresil Emperor
Before you leave, Reldresil, tell me what you think. I think we should free him. Free him, Reldresil? Free him?! I am unconvinced. Admiral? What must be done?
I see him as a threat He‟s dangerously tall Anything this size Is challenging us all. We have to be pragmatic And caution must prevail Does everybody agree?
Skyresh is correct The risk is far too great And I must now consider The burden on the state. I‟ve measured his dimensions The ratio‟s twelve to one Feeding this monster simply can‟t be done!
[The Empress has heard enough and butts in, which is not formally acceptable].
You miss the point, as usual So negative, you two!!! You fail to see potential What a man like that could do! What a man like that could do! With that extra bit of height That extra bit of charm That extra bit of bite. What a man like that could do For a little thing like me Small, yes; but perfectly formed!
[The Empress leads The Emperor in a brief tango style dance].
What a man like that could do With that little touch of strength That little touch of wit That little touch of length. What a man like that could do For a little thing like me I hope that reason will suffice So set the giant free!! Skyresh
Might I interrupt Tell you what I think We have to stop this man From kicking up a stink. He came to us from nowhere And may well be a spy! Because of this, the man must die!
Empress Emperor Empress Emperor Empress Emperor
What a man like that could do [Spoken] Dear? If you let him pull his weight [Spoken] Yes? You gave him half a chance [Spoken] Right. 15
Empress Emperor Empress
And made him serve the state. [Spoken] Mmm? He could raise your statue high So it reaches to the moon And on the base, your coat of arms The double egg and spoon!
[Flimnap has been looking at Skyresh‘s figures on the scroll].
Nine hundred loaves of bread Two thousand one hundred geese Three hundred cooks One thousand and eight hogsheads of wine!
[Skyresh, Flimnap & Empress sing together. The Emperor is at the centre hearing it from all sides].
Golbasto … … listen to me! What a man like that could do . With an Emperor on his side
Skyresh Majesty … Flimnap … listen to me!
An Emp‟ror to em-power Empress
An Emperor as his guide What a man like that could do
If you help this man
Nine hund-red loaves of bread
Lilliput will fall
Two thousand one hund-red geese.
Skyresh Someone with his span Is dangerous to all
We don‟t know where he came from, The Counc-il must agree!
I know that reason will suffice, So set the giant free! That reason will suffice for now So set the giant free!
Please will you listen to me Ma-jes-ty! We can‟t! No we can‟t afford to set the giant free!
For our Empire, you and
Three hund-red cooks One thous-and and eight hogs-heads of wine Please will you listen to me Ma-jes-ty! We can‟t! No we can‟t afford to set the giant free!
MUSIC #9 : ‘THE INVENTORY’ Clefren, Marsi & Drunhlo enter with a cart full of Gulliver‟s possessions :- a giant handkerchief with a horse embroidered on it, a gold coin and a working pistol. (Note : these must be constructed at a 12:1 ratio).
Clefren Marsi Clefren
Push it … one, two, three … heave … heave … heave … come on Marsi!. I‘m trying my best, Clefren! Now, don‘t get all shirty! (The Council has been disturbed. The music pauses). My Lord, forgive this informality, But this cart‘s at war with gravity! Clefren Frelock, what of your report. Show your findings to the court. Clefren
In the depths of the pockets of The Great Man Mountain, Following the strictest search … [clearing his throat]
Mr Frelock! Clefren
Well, there it is for all to see … [he points to the cart] Here follows the inventory! [Spoken]
Item 1 …
Marsi and Drunhlo demonstrate the items from the cart.
In the right coat pocket … (With exaggerated displaying of the handkerchief) Showing here …
A great big piece of cloth Exceptionally coarse Inscribed with hieroglyphics And an etching of a horse.
Item Two; in the waistcoat, bottom left … Showing here … (He demonstrates an enormous gold coin). Marsi
Some circle-y things, Which, if they be of gold, Would be worth a bloomin‟ fortune! Or so I have been told …
Marsi! Please refrain from using bad language. It is very un-elegant! And now my Lord, to Item Three. Intriguing I must say We thought this item should be seen Before the close of day. Drunhlo & Marsi (Straining under the weight of the pistol) Showing here … Clefren
Lifted from his breeches… Hidden from the general view A hollow iron pillar With some timber fastened too. Of this bizarre appendage We know not what to say But the prisoner got heated And he said we must obey.
[Marsi & Drunhlo are manhandling the pistol].
He berated us quite sharply With unnecessary vigour. Marsi & Clefren And said whatever happens That we should not pull this trigger! [They turn, but are too late to warn the inquisitive Drunhlo as he pulls the trigger. The gun goes off and there is an enormous crash and a blast of smoke. Screaming ensues. The top of an ornamental egg held by a herald is blown off by the shot. Everyone is visibly shaken. The smoke starts to clear, then …]
What a man like that could do With an Emperor at his side This power in my hands It cannot be denied. What a man like that could do If he bowed his head to me. It all depends on if he'll fight Does everyone agree? Let's reconvene at morning‟s light To set the giant free!
Clefren, Marsi & Drunhlo take the cart and contents offstage and then return to the scene, as Skyresh, Flimnap, Reldresil and spare Lilliputians return, resetting The Emperor‟s platform.
Scene 7 - Lilliput - On The Beach MUSIC #10 : ‘GULLIVER IS FREED’ The Emperor uses the platform and addresses Gulliver again, facing out front. Gulliver is still tied to the mast.
Gulliver Emperor Gulliver Emperor
Gulliver Emperor Reldresil Gulliver Emperor Skyresh
Ensemble Skyresh Ensemble Skyresh Ensemble
Your liberty will be granted, once you‘ve sworn the oath, But your freedom has conditions, to the benefit of us both! You shall be our ally against our enemy Blefuscu, and do your utmost to destroy their fleet. (Amplified) On what grounds? Eggs! It all boils down to eggs! And if I refuse? Then we will kill you. Even now The Blefuscan Fleet are but a mile offshore, poised to attack. We are hours, if not minutes from war! We fight or die. You have great potential; use it to destroy this terror forever. Swear the oath of allegiance and you shall live. What says the Mighty Man-Mountain? For the sake of your people, I must swear. Reldresil … Repeat after me: Lumos Kelmin Pesso Desmar Lon Emposo … Lumos Kelmin Pesso Desmar Lon Emposo … We are counting on you. We give you your freedom; now you must give us ours. Free him! (Indignantly) Majesty?! (The Emperor looks sharply at him. Now as a „Sergeant Major‟). Make ready to cut the ropes! (The ties holding Gulliver down are cut one by one, releasing him by degrees). NORTH! CUT! SOUTH! CUT! EAST! CUT! 18
Skyresh Ensemble All
WEST! CUT! (Except Skyresh) FREE!
Any ropes previously flown above the audience return to the stage. Gulliver is free. The Lilliputians exit leaving Gulliver high up in the crow‟s nest.
But … I know nothing of your country … nothing of your wars …
He is interrupted by Don Pedro on deck, calling up to him. Gulliver now peers through a telescope.
Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro
Good view from the crow‘s nest, isn‘t it. I needed air. Five days in that cabin! I can see for miles … Come down. It is dangerous. I can see ships … must be fifty of them. Look … they‘re tiny … Trading ships. Come down. You promised to recount your stories. Stories?! (He starts to climb down). Stories!!! These are not stories. I speak only truth. Of course. So once you had your liberty, were you true to your word? Did you destroy the Blefuscan fleet?
MUSIC #11 : ‘FIFTY MEN OF WAR’ Gulliver
I agonised. But I had sworn the oath. And I was Lilliput‘s only hope …
Gulliver is now standing in the cabin with Don Pedro. As he begins to recount the story the ships begin to appear in view (these could be members of the chorus holding representations of sails aloft). Through the following scene he moves into the acting area and these ships surround him as he relives the experience of capturing the entire Blefuscan fleet single-handed.
Ship Chorus Ah … ah … ah … ah … Gulliver
(Looking through his telescope) I could see the ships in the distance.
Fifty Men Of War Were ready, silent as the grave Fifty ships before me Riding on the ocean wave.
These galleons I had promised to destroy for good or die Just do the job, don‟t ask the reason why! Through my telescope The sight was terrible to see Thirty thousand men That I must conquer to be free I gave my word, I swore an oath The choice was do or die Just fight for right, don‟t ask the reason why!
[Gulliver hands the telescope to Don Pedro, leaves the cabin and enters the scene, recounting the events that followed. He climbs the platform that The Emperor was using and the ships/sails surround him throughout until he gains control over them].
Ship Chorus Gulliver came, like a mighty conqueror Gulliver came, „cross the mighty sea. Freedom burning as a flame! Hear the story how this broken little man a mighty god became.
Then I was reminded That the telescope deceived. My power was far greater Than I‟d previously conceived. I flung some rope across my shoulders Waded out to sea, The enemy was waiting there for me! Then they saw me coming Looked in horror at my size. Each Captain gave the sign To shower arrows in my eyes. I quickly took my spectacles Secured them on my nose My eyes were shielded from their glancing blows.
Ship Chorus Gulliver came, like a mighty conqueror Gulliver And I stood behind enemy lines Ship Chorus Gulliver came, „cross the mighty sea Gulliver And I knotted their navy together Ship Chorus Freedom burning as a flame! Gulliver And I wondered. Now I‟d made them all surrender I could drag them back the way I came. Chorus 2&3 Gulliver Chorus 2&3 Gulliver Chorus 2&3 Gulliver
Gulliver came, like a mighty conqueror. Chorus 1 Fifty ships in the palm of my hand Gulliver came, „cross the mighty sea. And I carried them over my shoulder Freedom ever burning flame! And I wondered. How it was this broken little man, A mighty conqueror became!
Chorus 1&2 Hear the story how This broken little man A mighty god became. „Cross the mighty see. Gulliver
Aah …aah … … aah. Aah … … aah … aah … … Aah … aah. … Aah … aah.
Chorus 3 Gulliver came Like a mighty conqueror. Gulliver came „Cross the mighty sea.
Here am I … Touching the sky Feel so high. No fear will stop me My freedom I must buy!
Gulliver draws the ships away mightily. Stepping off the platform he leads the ships off. Exit all, inc Don Pedro.
Scene 8 - Lilliput (A Side Room in The Palace) Skyresh is looking out of a high window over the sea. Flimnap enters.
MUSIC #12 : ‘ONE LITTLE FLAME’ Skyresh Flimnap Skyresh
I expect you‟ve heard How their navy fell. They hadn‟t got a hope Not a hope in hell. He‟s stepping on my toes He‟s taking all the praise. Praise that was destined for me! What are we to do? There‟s no turning back The time has come, at last, This cursed egg to crack! We‟ll smoke him out of town And send him on his way.
Reldresil enters, a little tipsy. He sits on the platform. The music underscores.
Victory! Victory! They adore him. We have conquered! The Emperor has declared him a Nardac! That‘s one up from you Skyresh! You, but a lowly Clumglum! Hee hee! Forgive me! I have spent the last hour with him, celebrating. He‘s drunk the wine cellar dry! (Sobering up). The Emperor commands the army‘s presence at the ceremony. You have three days to prepare. Nardac! Who would believe it! (He exits). A Nardac! Flimnap
Why don‟t we kindle a flame And set a fire to his laces Fire will rise, no matter the size Covering up its traces One little flame? Set him on fire? Send him on his way!
(Coldly) I‘ve spent a life in service for an Emperor I despise … and in one day, this ‗thing‘ achieves the highest honour in the land … Nardac! Nardac!! Nardac!!! (He exits).
Scene 9 – Lilliput, The Market Square (The Nardac Ceremony) Music #12 still underscores. The Lilliputians gather in the square as Gulliver is to be knighted a „Nardac.‟ Gulliver and Don Pedro are revealed simultaneously in the cabin.
Golbasto Momaren Evlame Gurdilo Shefin Mully Ully Gue
Music #12 finishes. The Emperor addresses the crowd from the platform and it becomes clear that Gulliver is directly above them (“a colossus, his legs as far asunder as conveniently possible”).
Thirty thousand men defeated In less than half an hour Their forces now depleted Yet we maintain our Power Your Emperor singles out a man Whose service has of late Aided in the greater plan. He, Nardac I create!
There are loud cheers. The entire company do the „loyalty pose‟ as Gulliver enters the scene from the cabin, bringing Don Pedro with him. He observes and comments on the events before him.
MUSIC #13 : ‘THE NARDAC CEREMONY’ Ensemble Empress
Quinbus Flestrin Hekinah Degul Hurgo, Hurgo, Hurgo.
Never have I seen such a man!
During Gulliver‟s commentary the action of the scene unfolds around him. There are dancing girls, marching soldiers; great celebrations. He is enjoying every moment!
I was so high I‟d done my best The Empress smiled She was impressed. Celebrate with summer cheer Celebrate that peace is here. I bowed my head And kissed her hand The highest honour in the land! Celebrate with summer cheer Now that peace is here.
The drums began The troops advanced Their colours flew As women danced The air was full of summer cheer …
Nardac, Nardac, Nardac, Nardac, Nardac, Nardac, Nardac, Nardac, Naaar … dac.
[As Gulliver and Don Pedro return to the cabin there is a unity between the actor playing Gulliver and the imagined image of the ‗large‘ him].
Clefren Clefren & Marsi Emperor Clefren & Marsi Empress
Here am I Touching the sky Feel so high …
[Clefren & Marsi interrupt the moment by running on covered in soot. Clefren is very agitated and madly rings a bell. There is silence].
(Out of breath) F – f – f –f –f –f –f –f –f –f – f … (He looks at Marsi).
FIRE!!! Where? The royal palace! The Palace?! My wardrobe! My jewels!!!
She exits hurriedly. Chaos erupts; the people panic and scuttle around as smoke starts to take over the stage. Gulliver continues relating to Pedro from the cabin. The music continues 22
The people ran They could not see The flames, they leapt As high as me. They did their best I have no doubt But bucketfuls of water couldn‟t put the fire out! I saw a chance There was a way For I had drunk A lot that day. I had no time To think it through I did what any self-respecting gentleman would do!
Gulliver jumps onto the cabin bed, drops his trousers and, with his back to the audience, makes as if extinguishing the fire by „natural means‟. A wall of water crosses the stage. Optionally, a fine mist descends on the audience too.
The fire‘s out! Hooray!!! The fire is out! The fire is out! etc etc
There is general joy with Clefren ringing his bell etc until the Empress enters, drenched and covered in soot. There is an ominous silence that seems to last forever. Everyone stares at her. Gulliver is supremely embarrassed.
(Fuming) What are you all staring at! My palace. My wardrobe. My jewels.
GOLBASTO … !! I am drenched! I am soiled! Look at me! I want him out of here! (Gulliver is referenced directly above). Ahhhhhhhhhhhhhhhhh !! Call an Emergency Council!
The Ensemble Lilliputians exit. Skyresh, Flimnap & Reldresil remain with The Emperor and Empress.
MUSIC # 14 : ‘WHAT A MAN LIKE THAT COULD DO’ (REPRISE) Gulliver Don Pedro Gulliver Don Pedro
I was distraught. My actions had enraged her highness. But you put out the fire!? That mattered little now! Rest.
Gulliver lies down on the bed. The focus of the scene returns to the Emergency Council.
Flimnap Skyresh Empress Emperor Reldresil Emperor Reldresil Skyresh
I always said it would come to this! Look how he flirted with Her Majesty from the outset. That‘s true! (Now over-dramatically). I wish I had never set eyes on him! (Angrily) Where is he? Asleep, in the abandoned church … This sleep shall be his last. Poison him … But … (The Emperor gives him a „look‟). It shall be done, Your Excellency. (He exits). A wise decision. You never know what a man like that could do. Skyresh Flimnap
What a man like that could do If we fail to intervene He‟s gone one step too far The palace; [Spoken] a latrine!
What a man like that could do If one day he won‟t comply Let poison take his final breath The giant man must die
Let poison take his final breath The giant man must die This traitor must be put to death So let … the giant die! Let the giant die …
Flimnap Empress Skyresh Emperor Flimnap Empress Skyresh Emperor Flimnap Empress Skyresh Emperor Flimnap Empress Skyresh Emperor
Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die … Let the giant die …
The Lilliputians exit as the action moves simultaneously back to the cabin. Don Pedro is reading. End of Lilliput segment.
Scene 10 - Don Pedro‘s Cabin, 1722 Gulliver wakes suddenly; he is hysterical.
Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver
Poison! Poison! Poison! Calm down. Yahoos! They were going to poison me! I know, I know … but you escaped! Reldresil! He warned you! Yes. Fortune sent an upturned boat your way! Yes … You set sail in the middle of the night … Yes. Yes. And resolved never to put your faith in princes or ministers, where you could possibly avoid it! Correct. And you have proof of these experiences! Yes! I bundled six tiny cows, two small bulls and a number of miniature ewes and rams into my pockets. And they survived! They did! I used to set them a-grazing on a bowling green at Greenwich! 24
Don Pedro Gulliver
I want to believe you … I sold them for six hundred pounds to an old friend … one Peter Williams … whose money, along with some land that my Uncle John had left me allowed me to settle my wife and family in a good house in Rotherhithe. If only I could have counted my blessings and fought this desperate urge for adventure, I might never have gone to sea again …
Don Pedro exits.
Scene 11 - London 1716 (Gulliver‘s House) MUSIC #15 : ‘SECOND DOMESTIC SCENE’ Jonny, who has recently turned 11, runs on and chases Betty, 10, around the breakfast table at which Mary sits. Betty is holding her rag doll. Jonny grabs the doll and they fight over it until …
Betty Jonny Betty Mary Jonny Mary Jonny Mary
You‘ve torn his arm! No I didn‘t! (To Mary) Look … Jonny‘s torn his arm. Right! Sit down. Let me see. Oh dear! Jonny. I wish you wouldn‘t be such a bully! Eat your breakfast. I don‘t want it. Someone would be very grateful for that. Did father really discover a land of little people? Eat your breakfast.
Enter Gulliver. The music stops.
Gulliver Mary Gulliver Mary Gulliver
What‘s the matter? Nothing … (looking at the doll) … just Jonny throwing his weight around. (She sits down at the table and reaches for some bread). Ah!!! Are you alright? There was a wasp on the jam … A wasp! Oh, Mary … (He laughs).
Jonny picks up a spatula and chases the wasp round the room.
Mary Jonny Gulliver Mary Gulliver Betty Jonny Betty Gulliver Jonny Mary Gulliver Mary
It‘s not funny! You know I don‘t like them! (Smacking the wasp and flattening it) Got it! Well, it won‘t be bothering you again, Mary. I hope this new grammar school is going to teach you a little compassion, Jonny. (To Gulliver). What time are they coming for you? Within the hour. I found a tiny frog in the garden … look, I keep it in here … (She has it in a box). (Sidling up to it) Let‘s see! (He tries to take the box. They struggle). Give it here! Leave it alone! (A tussle ensues). Jonny! I‘m going! (He grabs an apple and storms out). Jonny … Say goodbye to your … (But he‟s gone). Never mind. He misses you.
Betty starts crying.
What is it, Betty? I don‘t want you to go away either. 25
Gulliver Betty Gulliver
Betty Gulliver Mary
But I won‘t be gone a long time … and I‘ll be thinking of you every minute. (Tenderly). What happened to dolly? Jonny ripped his arm. You can mend that. You can mend anything. You‘re going to have to be a big girl for your mother‘s sake. This is the last time … then I‘ll never go away again. Can you do that for me? Be a big girl? I‘ll try. Good. (There is a knock at the door). Sooner than I expected. So be it. Can‘t keep them waiting, Mary … (They embrace). The last time … I promise! (He exits). Safe journey … come on Betty …
MUSIC #16 : ‘GOLDEN CORN’ … get the needle and thread … let‘s have a look at your little friend. Oh, she‘ll be alright … Mary Hold the sunlight forever Let it guide on your way. Mary & Betty Through the night a fire burning In our hearts the day. The action of the sewing is echoed by the action of the reapers reaping as the music transfers us to a cornfield in Brobdingnag. During „Golden Corn‟, Mary and Betty exit.
Scene 12 - Brobdingnag (A Cornfield) The end of a day in the fields. Men are lifting hay bales and reaping corn. Some women carry baskets of fruit. Some are drinking. A picnic blanket is laid out on the ground upstage. It is the same colour as Mary‟s tablecloth. It is a country scene, a brilliant harvest-time, early evening.
Golden corn, golden hay … [see vocal score for details]
[A beautiful young girl, a farmer‘s daughter, appears from the fields; later known as Glumdalclitch]
Glumdalclitch The gold of the corn Gold of the sun End of the summer The harvest begun I sing with the birds Stand with the trees Hope with the mountain And cry with the breeze One bird is for sorrow Then two come along Flying together All their life long … The reapers take a break – some are drinking whisky.
Reaper 1 Reaper 2 Reaper 3 Reaper 2 Reaper 3 Reaper 4
(Mocking) Who's the prettiest little girl in Brobdingnag? (He waves a scythe at her). You
don‘t want me to tell your pa you‘ve been slacking, do ya? Leave her alone … time for you to get home, my dear; you know what your father will do if you‘re late. (Seeing something run past his feet) What‘s that! What? There! Look! Ah! There!! 26
Reaper 5 Reaper 1
Get it. Behind you!
They all try to catch it, bumping into each other as they do.
Reaper 3 Reaper 4 Glumdalclitch Reaper 1 Glumdalclitch Reaper 2 Reaper 1 Reaper 2
Over there. It‘s too fast! (Bending down and picks it up) I‘ve got it! (She puts it in her basket).
What is it? Vermin? One of those wretched little splacknucks? Yes, it is. I‘ll get rid of it. Good for you girl. Off you go now. (Glumdalclitch exits quickly). (Mockingly, after her) Don‘t be late now! Right! How about shifting those bales …
The reapers and workers exit, leaving the picnic cloth behind on the ground.
Scene 13 - Brobdingnag (A Farm) Glumdalclitch‟s Mother, Father (a Farmer) and her Grandma are in the farmhouse kitchen, finishing their meals at the table when Glumdalclitch runs in clutching her basket with the „splacknuck‟ within.
Mother I told you to be back in time for supper! Glumdalclitch I‘m sorry. I ran all the way. Farmer (Digging into the last of his lamb chop) Don‘t answer your Mother back. Sit down and eat your lamb. Glumdalclitch But it isn‘t a special occasion … where did … Farmer Stop asking questions. Glumdalclitch We haven‘t got any lambs … Farmer There was one left. Glumdalclitch Not my lamb … Mother It was ready … (She slams a plate of food on the table in front of Glumdalclitch). Eat it! Pause.
She said … eat it! It‘s very tasty. Why were you so late? I found something in the field. What? I don‘t know; a creature … Give it here … No, please … it‘s mine! Not any more … (He takes the box and looks inside). What have you got here then … wriggly little critter … can‘t get it out … Mother If it‘s a rat I‘ll scream! Glumdalclitch Be careful … Farmer It‘s gotta be some kind of vermin … Farmer Grandma Farmer Glumdalclitch Farmer Glumdalclitch Farmer Glumdalclitch Farmer
He shakes the box violently and rolls the creature out onto the kitchen table. On the other side of the stage (with a split perspective), Gulliver comes rolling out onto a large tablecloth.
MUSIC #17 : GULLIVER IS ROLLED ON Mother What is that! Kill it! Vermin! Glumdalclitch But it‘s not a splacknuck! It‘s a person! Grandma Can you pass the salt … 27
Mother passes the salt to Grandma. She shakes it on her meal and slides it down near Gulliver. A huge salt cellar is seen sliding onto the other side of the stage and into Gulliver‟s space.
Now you‘re talking stupid! What do ya mean, a person?! You been drinking in the meadows with the others! I‘ll deal with this! (He raises a spatula to whack it one). WAIT!!! Wait!
The Farmer is stopped in his tracks as Gulliver addresses his speech to the ceiling.
Farmer Mother Grandma Gulliver Mother Farmer Gulliver Farmer
The splacknuck … talks! Bloody Hell! (Having finished her meal) Thank you my dear. That was lovely.
Wait … please … What is it! What‘s it saying! I can hardly hear it! (Shouting) I am a man! May I offer my profound respects to you all. No. It‘s no good! Give me something to prod it with …
Mother passes him a length of straw from the flower arrangement.
Glumdalclitch Mother Farmer Gulliver Mother Farmer Gulliver Farmer Gulliver Farmer Grandma
Don‘t … you‘ll hurt him … (She grabs the straw). It‘s a freak of nature. Kill it! Maybe, you‘re right. (He raises his hand). No please! (Panicking). I have a family … I speak many different languages,fluently. I am a doctor! I have a degree from Cambridge University! Kill it! WAIT! (Something starts to dawn on him). Can you … dance?! Dance? Yes, dance! Dance! Yes, I can dance. A jig perhaps; or something more exotic … (He dances very badly). I can fence as well … see … (He mimes drawing a sword, and parries). (Laughing raucously) Mother! How about some music? Oh, lovely, dear.
Grandma picks up her accordion and starts to play a tune.
MUSIC #18 : ‘HAPPY DAY’ Farmer
(to Gulliver) DANCE!!! (which Gulliver does, as best he can).
It dances! Blow me! Glad you hid this little critter in your box and brought him home, To show me! Glory! We could make a fortune, this is only the beginning, what a story! Heavens! Spread the word, there isn‟t time to waste now. Blimey! Do the bloomin‟ chores! This little man‟s our business plan, so open up the doors!
[Reapers, workers and friends enter and crowd around the table].
Take a pew here. Don‟t forget the money; get your wallet out … You coughing up for Two dear? Customer 1 [Commenting on the thought of a little man] How strange!
Show‟s about to start, so if you want to see some art you‟ll need the Right change! Fine dear! You won‟t regret it, settle down now! Heigh Ho! Shut the bloomin‟ door! A little taster‟s good enough, just leave them wanting more!
Gulliver dances for about fifteen seconds. In the split perspective, those watching the little man on the table cheer at the end as he bows.
Viewer 1 Farmer
We want to hear it speak! Cough up then!
Viewer 1 flicks a coin onto the table. On the other side of the stage, a huge coin rolls out in front of Gulliver.
I really am overjoyed to be able to give you all such pleasure. I am your humble servant. (He bows). DANCE!!!
Gulliver dances on the coin as the Farmer and Co. move venue to a pub („The Sign Of The Green Eagle‟). There is a shifty, bear-baiting feel to it with lots of punters.
Alright! Bets in! What‟s a little flutter; shut the shutter, must be careful who I let‟s in! Come near! That tiny little critter‟s gonna jitter when he sees my little chum here! Last call! What d‟ya think is hiding up my sleeve now! Time‟s up! Tell me what it‟s worth! A little frog on top of him should bring him down to earth! Fight!!
The Farmer releases a little frog onto the pub‟s tabletop. On the other side of the stage a giant frog appears and Gulliver has to do his utmost to fight it off, which he does.
Farmer Punter 1 Punter 2 Farmer
Come on then! Look at him fight, who will be the conqueror? [Spoken] What‟s the odds? [Spoken] Ten to one
[Punter 2 takes the odds – and puts money on the table].
Look at him fight, how he ducks and dives!
[Gulliver strikes the frog and it runs off].
Punter 1 Punter 2 Farmer
Look – the frog took a blow! Blimey! Crafty little sprog! [Taking the money off the table] Cheers Mate! Right this round is over now But where the bleedin‟ hell‟s my frog!
Gulliver is exhausted. The scene moves to an afternoon tea performance for three ladies, hosted by Mother. Glumdalclitch rolls him out in view of the ladies, who each have a cup of tea. He stands, facing the audience out front when addressing the ladies. She and the ladies focus on the ground in front of them.
Mother Lady 1
Ladies Darling! 29
Mother Lady 1 Lady 2 Lady 3 Mother
Lady 3 Mother
An afternoon performance is so elegant … I must say this is charming! First rate! Here my little gigolo, my lips are pursed, my heart is fit to burst. [Shouting] WAIT! Calm down! Careful that your flirting doesn‟t Scare it! Would I?! Darling little thing! Maybe it‟s too tired to dance, but it might choose to sing!
Gulliver lah-lahs the song „Greensleeves‟.
Glumdalclitch and Gulliver are now alone together, away from everybody he has been performing for. Glumdalclitch addresses Gulliver as though he were on the ground. Gulliver addresses Glumdalclitch as if she was a cloud. They are near or next to each other; Glumdalclitch crouching, Gulliver standing.
Glumdalclitch Gulliver Glumdalclitch Gulliver Glumdalclitch Gulliver Glumdalclitch
Are you alright? I‘m fine. A little tired. I worry about you! My little nurse. In my language, that‘s ‗glumdalclitch‘! Then I shall call you my little Glumdalclitch! Come over here, I‘ll put you back in your box. You need to rest.
Gulliver exits as Glumdalclitch imitates lifting a tiny figure and putting it in her box. The Farmer enters, sheepishly with Dunstable, butler to the Queen of Brobdingnag.
Farmer Mother Dunstable Mother
Would you excuse us, ladies. There‘s some fella from the royal palace. He wants to talk with us. Awww! Her Majesty has heard of this marvel and requests a command performance. Nahhhhhhh! Mother
Farmer Mother Farmer Both Mother
Take some oils Wash him down and dress him, get his trousers off and press „em. Oh the Royals! Glory! We could make a fortune this is only the beginning of the story! Heavens! Spruce him up, we‟re going to the palace! Blimey! What a happy day! If I can flog „im off to them then don‟t get in my way!
[The ensemble enter and rally round and, with a flourish of energy and excitement, leads Mother, the Farmer, Grandma and Glumdalclitch to the gates of the Royal Palace. Glumdalclitch exchanges her humble basket for a smart box to carry Gulliver to the palace in. It is like a large jewellery box. She is less than enthusiastic about the trip and does not take part in the dance, more concerned with protecting and comforting Gulliver].
Fmr & Mthr „Orf we go then
Ensemble „Orf they go then Touring days are over Now they‟ve found a four-leafed clover They‟ll be famous
Glory! Ensemble Gotta give them credit, This is only the beginning of their story!
Yes, sir! Dressed their best, They‟re going to the palace!
Fmr & Mthr Ha!Ha! Ensemble
What a happy day! The world is at their feet and now they‟re really making hay Fmr & Mthr Whatever good comes out of this is ours to take away! All
We‟re / They‟re „orf to meet the royals now Oh what a happy … What a happy day!
The ensemble exit noisily as Gulliver and Don Pedro are revealed once more in the cabin. There is a sense that they are now watching the action unfolding below, as if Gulliver were relating it to Don Pedro.
Scene 14 - Brobdingnag (The Palace) Dunstable greets the Farmer, Mother, Grandma and Glumdalclitch as they arrive.
Welcome to Lorbrulgrud, capital of Brobdingnag; Pride of The Universe … The Queen will see you now. I trust you have the … (Glumdalclitch pats the box she carries). Good!
The Queen of Brobdingnag, three Maids and three Scholars enter.
Welcome! (The scholars and maids applaud) News of your find has spread through the kingdom. May we? Glumdalclitch I will need a moment to prepare him … A small table has been brought on. Glumdalclitch takes her box over to it.
Take all the time you need, my dear, I will address the crowd. (She addresses the crowd (you audience) out front. During this speech Glumdalclitch places the small figure of Gulliver onto the table, concealing her action, and the scholars bring on a huge magnifying glass, angling it in front of the table). Ladies and gentlemen; we have all heard of this marvel
… a tiny man, just six inches tall, and now you are here to witness the sight, but I fear you will not have as good a view as I, being so far away, so, my loyal scholars have worked overnight to build a huge glass to magnify the scene for your particular enjoyment … (The assembled people and audience applaud. The Queen turns to Glumdalclitch). My dear? Glumdalclitch steps out of the way revealing a tiny little man on the table.
(To Grandma) Mother! (To the figure of Gulliver). Dance!!
MUSIC #19 : MINI GULLIVER DANCE Grandma starts to play the accordion. The tiny figure of Gulliver dances for thirty seconds and then collapses. The music stops. The audience applaud. Glumdalclitch runs to the figure and caresses it, sobbing.
I am filled with joy to see the stories are true. But he looks exhausted. 31
Glumdalclitch Ten showings and more a day, week in week out … he can‘t survive much longer! Farmer Well, it was your duty to look after the little tyke. If you‘re not feeding it properly … Mother Yes, she can be a little lazy … always forgetting to feed the little creature … Glumdalclitch returns Gulliver to her box and the scholars remove the magnifying glass.
The Queen Grandma The Queen Farmer The Queen Farmer Mother Glumdalclitch The Queen Farmer Mother The Queen Grandma Dunstable
I see … There are some lovely pictures on the wall. Would you be prepared to part with him … It‘s not something I‘ve given much thought to; but … A thousand pieces of gold. Erm … Done! But you can‘t! But I also request the services of your daughter, at court. She must, after all, amend her laziness. Would you let your child go? Well … Preferred at court? How wonderful. You‘re absolutely right. She must learn her lesson! Shall we say another thousand? How nice that we all agree. You will be paid in the ante-room. When do we get to meet the Queen? Er … This way!
Dunstable escorts the Farmer, Mother and Grandma offstage.
MUSIC #20 : THE EXAMINATION Gulliver is speaking to Don Pedro in the cabin.
And that is how I came into the Queen‘s service.
Gulliver and Don Pedro observe the scene keenly.
The Queen Glumdalclitch The Queen Glumdalclitch
Welcome to your new home … How did you know I was so unhappy … Shh! What does the little man have to say … I‘ll see … (She places the box open on the small table, its back to the audience). He says, ―His Spirits are revived by the Influence of your Most …‖
Gulliver picks up the dialogue, leaves the cabin and enters the scene using a split perspective.
… of your Most August Presences. My recent life has been laborious enough to have killed an animal ten times my strength …
The scene continues in the court. The scholars laugh, their focus remaining on the little figure now hidden in the box.
Scholar 1 Scholar 2 Scholar 3
Fascinating! Remarkable! I‘m amazed at how so diminutive a creature can have such a large vocabulary!
They three of them laugh and look at the small Gulliver through their magnifying glasses. The actor playing Gulliver reacts as if the scholars are looking down on him from a great height.
Scholar 1 Gulliver Scholar 2 Scholar 1 Scholar 3
We know what it is not! But we cannot quite ascertain what it is. Charming. It‘s a he! A He! Oh yes! Undoubtedly a he! That goes without saying … He could not be produced by the regular laws of nature. 32
Scholar 2 Scholar 1 & 3 Scholar 2 Three Maids
… but may be classified as Lusus Naturae … Nature‘s little Joke! Priceless! Ladies? Rather …
The giggling maids gather round the box to view the figure.
Maid 1 Gulliver Maid 2 Maid 1 Maid 3 Maid 1
Oh look at him! Their scent was overpowering. He‘s holding his nose. What a darling! Oh ladies, what fun we could have with him. Oh let me have a go …
They play naughtily, with a mimed Gulliver, dancing him on their breasts.
Gulliver Maid 2 Gulliver Maid 3 Gulliver The Queen
I was passed from breast … He‘s tickling me! … to breast… So sweet … …to breast! Ladies! (They place the figure back in the box).
The Dwarf enters energetically with a large butterfly net for catching bees. He is the Queen‟s Jester and a dangerous presence.
Wasps, wasps! Everywhere! In the kitchens, in the orchard … everywhere! If you‘re too sweet, they‘ll seek you out. (He annoys some of the maids). Buzz! Buzz! Buzz! (They scream as he bumbles around them). (Now on a slightly raised level, speaks to Don Pedro) And then there was the dwarf. The
Queen‘s Jester! This meddling little wart of a man … tiny in comparison to that mighty queen. The Queen Enough! (The Dwarf stops alarming them). Tell me if I am mistaken, but I don‘t recall summoning you … Dwarf Oh, forgive me! I didn‘t realise the Queen‘s Jester needed to make an appointment … (He laughs). Perhaps my unannounced presence might make Her Majesty laugh so uncontrollably that she did herself a mischief! The Queen (To Glumdalclitch) My dwarf. Dwarf I do have a name. The Queen Were your Queen not so in love with harmony I would have banished your irreverent soul long since! Dwarf Oh, I‘m going to cry! Look … real tears, salty … (To Glumdalclitch) … Have a taste go on … taste … taste … taste! (He grabs her and tries to get her to kiss his cheek). Gulliver Get your hands off her! Dwarf Who said that? (To a scholar). Not you. (To a maid) … or you … too deep for a maid. Your Majesty, have you developed the unspeakable art of ventriloquism? Gulliver Just leave her alone! Dwarf Remarkable … your lips didn‘t flinch. Perhaps I should be Queen and you, my jester! The Queen If you look in that box, you will find my voice … Dwarf Ah!! Your voice-box! (He goes towards it). Glumdalclitch (Putting her hand on the lid) No! Dwarf Something … precious, my dear? … Look, a wasp! Bzzzzzz! Glumdalclitch (Moving away, swiping the supposed wasp) Where, where! (The Dwarf flicks open the box). Gulliver I was defenceless! Dwarf What‘s this? A new acquisition. 33
The Queen Dwarf
Remarkable, isn‘t he! Remarkable! How nice to meet you …
The Dwarf grabs the little figure in the box and squeezes it under pretence of giving Gulliver a handshake; the life-size Gulliver reacts by holding his own throat, as if he is being suffocated.
Gulliver Dwarf Gulliver The Queen
Ahhhhh! Something stuck in your throat, your Majesty! I couldn‘t breathe! Let him be! I will not have this behaviour. This is Brobdingnag, a land of peace!
The Dwarf pulls his hand out of the box. The life-size Gulliver is left gasping.
Of course it is, forgive me … it‘s hard to shake hands with something so … small …
The Dwarf exits. There is a pause.
Gulliver The Queen
And that was the beginning of our relationship! One of these days he will go too far! (To Glumdalclitch). Young lady, take your little friend and explore the grounds. You can view the sea from the orchard … Glumdalclitch Yes, Your Majesty, and thank you. Glumdalclitch shuts the lid of the box and exits. Gulliver remains motionless where he was following The Dwarf‟s „handshake‟.
(To Dunstable) I like the little man. But the greatest surprise was her!
The Queen, Dunstable and the Brobdingnagian court exit. Don Pedro‟s cabin fades. Gulliver exits.
Scene 15 – London, 1716 (Gulliver‘s House & The Orchard In Brobdingnag) MUSIC #21 : ‘MY LITTLE MAN’ Betty is revealed, as Mary enters, holding Betty‟s dolly now with a newly mended arm.
Betty Mary Betty Mary
Dolly! As good as new; just don‘t let Jonny get his hands on it. Where‘s her coat? Patience! A few more stitches …
Mary exits. Betty holds the dolly up and sings to her.
Look at the view What do you see? A sky made of blue Through an old apple tree. Look far away Over the sea … The feeling you get Is a feeling that‟s free. We both see the same sky, The blue of the sea. There is no difference Between you and me. [The lights stay up on Betty in London with her doll, as Glumdalclitch is revealed in Brobdingnag, in an orchard on the clifftops, holding the box with Gulliver in it. She breathes in the view. Opening the box, she shares her thoughts with him].
Glumdalclitch Look at the mountains Climbing so high Who made the beauty That nothing can buy Look at the flowers Too many to know I look from above And you look from below Betty Glumdalclitch Betty Both
We both see the same sky Look at the view The blue of the sea Feeling so free There is no difference Between you and me
Glumdalclitch My little man Together we‟re strong My life found a purpose When you came along. [As she gently rolls an imaginary Gulliver out onto the grass, so in split perspective the actor playing Gulliver rolls into the scene].
(With irony) How many times have I told you not to do that!!
Look at the view A bird in the air An orchard of roses And gold in your hair. I look far away To the life I once knew Somewhere out there Is a girl just like you.
Gulliver & Betty We both see the same sky The blue of the sea … In London, Mary enters the scene with the dolly‟s coat and gives it to Betty.
There, all done …
She puts the coat onto the dolly. Meanwhile, Gulliver kneels next to a kneeling Glumdalclitch and, looking eye to eye, the split perspective is broken for a moment only.
Glum & Glvr There is no difference Between you and me [Mary & Betty put the coat onto the dolly].
Mary & Glvr We both see the same sky Betty & Glum Look at the view Mary & Glvr The blue of the sea Betty & Glum Feeling so free Mary & Glvr There is no difference All Three Between you and me The sound of a bell ringing is heard.
Glumdalclitch Is that the time! The Queen will be expecting me back! Gulliver You go … I want to look a little longer. 35
Glumdalclitch I won‘t be long. (She exits). In London, Mary kisses Betty on the head and exits. Betty remains visible with her dolly.
My little girl Together we‟re strong My life found a purpose When you came along.
The lights fade on Betty in London.
Beautiful. The sea. The sky. The trees. The apples … the apples!!
Gulliver is aware that something is falling from the trees and realises that a number of enormous apples are heading straight for him! As they come bouncing into the space he tries to avoid them. He dodges one, only to meet another, until finally one knocks him to the ground, unconscious. The final image is of Gulliver centrestage, surrounded by now motionless apples. The Dwarf is the cause of these falling apples, having purposely shaken the tree. He is revealed nearer the end of the action, enjoying every minute, until, seeing Gulliver knocked out, he approaches his apparently lifeless body, standing near, with a sudden sense that he has gone too far. A blurring of the size perspectives occurs here.
What have I done? (He exits quickly).
Scene 16 - Brobdingnag (The Music Room in The Palace) The Queen is supervising the delivery of her new spinet. She is reading some sheet music)
The Queen Dunstable
Now Dunstable, I shall be at practice. (To those carrying the spinet). Set it down over there, would you. Perfect. Thank you. Fetch me the dwarf will you … At once, your Majesty.
Dunstable exits. The Queen sits at the spinet and starts to play.
MUSIC #22 : ‘MAKING AMENDS’ The Queen
The first part, I have … it is when we get to the middle section … here, see … the bass line defeats me … (She stops playing).
The Dwarf enters eating an apple.
Dwarf The Queen Dwarf The Queen Dwarf The Queen Dwarf The Queen Dwarf The Queen Dwarf The Queen
You called? I presume you heard of our little friend‘s misfortune? Nothing serious I hope. Have you been in the orchard this afternoon? I have indeed. Been collecting apples for the kitchen. But surely they are still sour. That‘s the way chef likes them. Had to shake the tree to get them down! I see. Are you aware that our little visitor was resting beneath that tree? No! Oh dear! I hope you don‘t think? I could have killed him. You very nearly did! It may take months for him to recover. You must make amends. Of course, Your Majesty, but how? Do something … nice! Use your imagination. (The Dwarf exits). His jealousy will be his downfall. (She starts to play the spinet again).
Scene 17 - Brobdingnag (Elsewhere In The Palace & The Music Room) The Dwarf leaves the music room and is revealed elsewhere, pondering on his next move.
Making amends What must I do? I‟ve gone too far That‟s nothing new Say „sorry‟ perhaps … No! That‟s not enough He thinks I‟m jealous And all of that stuff I lost my temper Got in a stew Now I‟m making amends …
[The Three Maids enter the Music Room to talk to the Queen].
Who‟d believe it! He‟s loosening my corset and I told him not to force it; just re-lieve it … The Queen Dotty? Maid 1 I gave a little cough and when I turned I knocked him off into the potty! The Queen Oh no! Maid 2 The current pulled him under for a moment! Maid 3 Nightmare! The Queen Sorry little scene! All Maids We thought this news should come to the attention of The Queen! Maid 1
Maid 1 The Queen Maid 2
Since arriving in our kingdom he has been chewed on by a baby, knocked over by a crust of bread and narrowly avoided dying in a cowpat. And now he is found flailing around in a bedpan! I am just thankful he had the good sense to keep his mouth shut.
Glumdalclitch enters with the little Gulliver in his box.
The Queen My dear, how is he? Glumdalclitch Much better, Your Majesty … The Queen Ask him to step out onto the keys … In split perspective the actor playing Gulliver rolls out the keys of a spinet onto the floor using just his foot, then dances swiftly along the keys finishing with a flourish.
The Queen and Glumdalclitch maintain the split perspective, as if Gulliver was on the actual spinet keys in front of them. The Dwarf is revealed again.
In this world You have to fight They say I‟m wrong I say I‟m right! I watch him perform He‟s taken my place I keep a permanent Smile on my face It turns my stomach! We‟ll never be friends! 37
The Three Scholars enter and deliver their findings to the Dwarf as they observe the life-size Gulliver through their magnifying glasses on the rolled-out spinet keys before them.
Scholar 2 Who‟d believe it! Scholar 1 This tiny little guy has got a microscopic eye Scholar 3 Can you conceive it! Scholar 2 A Teacher!! Scholar 1 The power of his naked eye has managed to identify a creature Dwarf Bravo! Scholar 2 A type of louse that lives upon the body. Scholar 1 Unknown! Scholar 3 First one to be seen! Scholars 1-3 His genius is noted and commended by the Queen! The Scholars join the Maids around the actual spinet as The Queen continues to play. In split perspective, the life-size Gulliver dances on the rolled-out spinet keys. They finish their duet with aplomb as The Dwarf exits.
Scholars The Queen Gulliver
Bravo! Bravo!!! At last we‘ve got it. Perfect, Your Majesty!
The Maids, Scholars and Brobdingnagians exit as The Queen leaves the spinet and walks over to Gulliver who is seated on the rolled-out keys. She addresses him eye to eye.
The Queen Gulliver The Queen Gulliver The Queen
Gulliver The Queen Gulliver The Queen
Over the past months I have come to understand your little ways. We have talked much! We have … And you have made a most admirable panegyric upon your country. Defending your people so eloquently. I have done my best… But there are some worrying differences between your land and ours. We aim to nurture, not destroy … we do not force our way to power, nor use fear to maintain it … Well, if I gave the impression that … You are such a witty, gentle creature and yet the customs and ways of your people shock me to the core. I can‘t see why! You must be an exception, but the bulk of those you describe appear to be the most pernicious race of odious vermin that Nature ever suffered to crawl upon the surface of the earth. I must protest!
Dunstable The Queen Gulliver
Some business, your Majesty. Very well. (She crosses to the actual spinet and addresses the keys as she exits). I shall return shortly … But …
The Dwarf is revealed, holding a slice of cake.
Life‟s upside down Turned on its head Do something nice That‟s what she said!
The toast of the town! He‟s better than me … He‟s wormed his way To the top of the tree So now I‟m trying Making amends And being the best of friends …
The Dwarf enters the music room and speaks to the actual spinet. Gulliver remains seated on the rolled-out keys.
Gulliver Dwarf Gulliver Dwarf Gulliver
Dwarf Gulliver Dwarf
Gulliver Dwarf Gulliver Dwarf
What are you doing here? I have something to tell you, and it has been remiss of me not to approach you earlier. Oh. It‘s hot in here, is it not? Shall I open a window? I‘m fine, but if you insist. (The Dwarf opens a window and the split perspective is broken as he comes down to the rolled-out keys, engaging in eye contact with Gulliver). You were saying … Remember the apples? I can hardly forget. (Sincerely) It was me … me; I shook the tree. On purpose! I was jealous. Angry. I hated you. The toast of the palace. You took my place in The Queen‘s affections! … but, it was wrong, what I did … I don‘t know what to say. I thought long and hard and decided … perhaps a sweet cake might be a fitting way of making amends. Well, it would combat the sourness of the apples … I accept your apology. I‘ll leave it for you here. To have at your leisure … I cannot tell you how much better I feel. (He places the cake on the spinet. On the rolled-out keys, next to Gulliver, a large slice of cake appears).
Gulliver Dwarf Gulliver
The quality of mercy is not strained. It blesseth him that gives and him that receives. Enjoy! (He exits). Thank you. I will.
MUSIC #23 : ‘THE WASP ATTACK’ As Gulliver approaches the cake to eat it, a low buzzing sound attracts his attention.
What‘s that? Thunder? Oh no! The window!
Giant wasps enter the music room, attracted by the cake. (These, at12 times normal size, could be suspended on wire from a thin stick and carried by neutrally costumed members of the chorus). As the wasps attack Gulliver on the rolled out keys he removes his waistcoat, and tries to swat them and fight them off. The battle is intense and vocal. He dispatches some and cuts one in half. Slowly he is pinned to the cake as the wasps descend upon him. Glumdalclitch, The Queen and Dunstable enter to find him besieged upon the keys. NB: In the split perspective they refer to him on the actual spinet.
Glumdalclitch Wasps! Get out! Go away! Oh no! Wasps! Help! (She shoos them away as Gulliver stirs). Look! Gulliver (Exhausted) Your Highness. It was the dwarf … he brought the cake! He opened the window! The Dwarf‘s to blame! The Queen The Dwarf?! Gulliver I will be revenged! Air … I need air! (He races discordantly along the spinet, runs up the cabin steps and faints on the bed).
Glumdalclitch He‘s fainted! 39
Glumdalclitch grabs the imaginary figure of Gulliver from the actual spinet and is seen putting him into her box. She runs out past Dunstable.
The Queen Dunstable The Queen
Let her go. Dunstable! Your Majesty? Gather some of the household. Find the dwarf immediately! He will answer for this! (Dunstable hurries out). I am disappointed! (She exits).
Scene 18 - Brobdingnag (The Orchard on the Clifftops) MUSIC #24 : ORCHARD SEQUENCE Glumdalclitch runs on clutching her box with Gulliver in it. She is out of breath and agitated. She talks into the box …
Glumdalclitch It‘s all my fault. If I‘d been there, this would never have happened. I‘ll never leave you again, never! Glumdalclitch One bird is for sorrow Then two come along Flying together All their life long … Glumdalclitch (Hugging the box to her) How could he do this to you … (The Dwarf enters. She sees him). You! How could you hurt him like that! The ensemble are heard offstage, hunting the Dwarf; the intensity and volume building through the continuing dialogue. The music and lyrics from here to <#> underscore the dialogue spoken between <1> and <2>.
Follow the wasps That‟s where he‟ll be Follow the wasps To the old apple tree There‟s nowhere to hide now! Ens 3&4 Follow the Follow the wasps wasps That‟s where he‟ll be That‟s where he‟ll be Follow the Follow the wasps to the wasps to the old old apple tree apple tree There‟s nowhere There‟s nowhere to hide now! to hide now! Foll … ow Follow the wasps Ens 3 Ens 2 Foll … ow That‟s where he‟ll be
Follow the wasps
That‟s where he‟ll be To … the … app-le … tree Ensemble
Follow the wasps to the old apple old apple tree
There‟s nowhere to hide!
Follow the wasps to the old apple tree
Dwarf Glumdalclitch Dwarf Glumdalclitch Dwarf Glumdalclitch Dwarf Glumdalclitch Dwarf
It was an accident, little missy, believe me … the wasps, not me … (He reaches to touch her arm). Now everyone‘s after me! Stay away! I didn‘t mean to hurt him. You‘re a liar! A bully! I hate you! I was doing something ‗nice‘ for him! You‘re incapable of that! Let me apologise to the little man; I must make amends! (He tries to get hold of the box). No! Leave him alone. I did nothing wrong! <2>
As they struggle over the box, the ensemble, maids, scholars, Dunstable and other Brobdingnagians enter the orchard and surround them. The struggle between The Dwarf and Glumdalclitch escalates until The Queen enters.
(Powerfully) GRILDRIG!!! (Silence descends as she approaches The Dwarf, who unhappily lets go of his hold on the box, defers, and listens to The Queen‟s judgement).
The Queen It breaks my heart, I knew you were capricious But I never thought malicious Where to start, I ... Really! Persistently beguiling, Now you stand before me smiling Insincerely! How dare you! Saying you were sorry, what a liar Ingrate! Spiteful little man Now I must have an answer as to how this all began! Ensemble
The Queen demands an answer as to how this all began! The Queen demands an answer as to how this all be… [interrupted]
In a moment of madness, the humiliated Dwarf spontaneously grabs the imaginary Gulliver from Glumdalclitch‟s open box and runs to the edge of the cliff. The ensemble gasp, but they can do nothing now. He holds Gulliver high and waves him in the air, threateningly)
Dwarf Everything was fine until this ‗thing‘ came along. The Queen No! Glumdalclitch (Falling to her knees) Please! The Dwarf pauses; he looks at her.
He throws Gulliver into the ocean. All actors freeze at that precise moment. In Don Pedro‟s cabin the real-life Gulliver is revealed, bolt upright in his bed, screaming as if being flung through the air.
Ahhhhhhhhh! (He collapses onto the bed).
All other characters unfreeze as The Dwarf flees the scene. The ensemble give chase as The Queen remains behind to comfort an inconsolable Glumdalclitch.
He‘s gone …
They exit together. Fade to black. End of Brobdingnag segment.
END OF ACT ONE 41
ACT TWO Scene 1 - Don Pedro‘s Cabin (1722) MUSIC #25 : OPENING OF ACT 2 Don Pedro is reading. Gulliver is sleeping on the bed, when suddenly he wakes from a nightmare in which he was reliving the feeling of being flung through the air.
Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver Don Pedro Gulliver
Aaaah!! Calm yourself. I am here. I was thrown into the ocean. By The Dwarf. That wretch. He took me from my Glumdalclitch. You might have drowned! I very nearly did. A passing ship rescued me and returned me to England. Their captain knew nothing of Brobdingnag. And all was well with your family? The children, yes. Taller. But my wife, Mary … she …
MUSIC #26 : ‘ONE LAST TIME’ Mary is revealed in her house in London, 1718. She is heavily pregnant and on the edge of tears.
… I was offered another post; Captain of ‗The Adventure‘. If I had known where the journey would lead I would never have left her again, never … not for the riches of the world … (He looks out, holding back his tears as he remembers his conversation with Mary).
Mary Gulliver Mary Gulliver Mary Gulliver Mary Gulliver Mary Gulliver
It‘s not that I am unable to cope; I‘m used to you being away. I know. But it‘s not what we planned … No. And the baby … Yes … I … And Johnny, Betty … (She holds back her tears). Mary … (Pulling herself together) Mr Williams asked after you … he‘s looking for someone to help him in his shop; a partner … why not tr… (Interrupting) No! (He pauses, and then, softer) One last time, Mary … please … and when I get back …
There is a loud knock on Mary‟s front door.
Carriage Driver (Offstage) Your carriage, Captain Gulliver! Gulliver When I get back, I‘ll … Gulliver comes out of the memory and crumbles onto the cabin bed, his eyes lost in thought. Don Pedro watches him closely as the light dims around them.
Scene 2 – London, 1718 (Gulliver‘s House) Mary
I recall when you filled me with wonder Lost myself in your eyes How you chose us a star to be under Love that bright never dies You promised me a thousand things There‟s a world to see How you‟d care for me… 42
I recall when we travelled together Couldn‟t bear it apart Now you‟ll leave with a change in the weather Nothing touches your heart You promised me a thousand things All our dreams could be I remember your dream was me … One last time I face another long goodbye Sail away Wherever you may be In my heart You stay. One last time I open up the door Tell me you will still remember On that distant shore… In my life have I yet to discover Where I truly belong In my heart are there paths to uncover Have I done something wrong? You promised me a brighter day Will that ever be? There‟s a world to see… I could go, take the children and leave you But what good would that do? If I stay, then I have to believe You feel a need for me too. You promised me a million things Every one a lie? And I‟m counting the years go by… One last time I face another long goodbye Sail away Wherever you may be In my heart You stay One last time I open up the door Tell me you will still remember... Will you still remember? On that distant shore…
The light on Mary fades as the action returns to Don Pedro‟s cabin.
Don Pedro Gulliver
You were providing for your family … their needs. I had been away for years; my children hardly knew me; she was with child … a child I have not seen to this very day … (He sobs). If only I had stayed; with her … with the children … it has brought my mind to this … Yahoo! (He breaks down). Calm yourself. 43
Gulliver Don Pedro Gulliver Don Pedro
And for what! My ship‘s crew mutinied … set me adrift on the open sea … You must leave this … (He is now holding Gulliver). I found myself stranded upon a rock … lost … frightened … (There is a pause as he continues to comfort Gulliver) I understand …
Gulliver gives a sudden gasp as the Laputans enter the space below the Cabin.
MUSIC #27 : ‘ HOW DOES THE SUN’ The Laputans travel in pairs. One of each pair is deeply engaged in a problem and totally unaware of anything else, their head in the clouds. The other, named a Flapper, carries a pigs bladder blown up on the end of a short stick, and at various intervals whacks his partner on the head or back, bringing them down off cloud nine and back to earth for a short while. Their outer garments are adorned with geometrical figures and musical instruments. They have an odd way of holding themselves and are peculiar to watch. They speak speedily.
Don Pedro Gulliver Don Pedro
… what is it? (He points at The Laputans entering) Laputans … look …
Scene 3 - The Flying Island Of Laputa Laputan 1 Laputan 2 Laputan 1 Laputan 2 Gulliver
The rising and falling of Laputa , this majestic flying island, depends on the attraction or repulsion of a … (pauses in thought and is flapped) … sorry, can I help you? (Is flapped) Ah! Were you talking to me? Remember the eclipse! Yes! The eclipse! How does the sun? Eclipsing. (From the cabin) There was this flying island …
Two more Laputans are now occupying the space, with attendant flappers.
Laputan 3 Gulliver Laputan 4 Laputan 3 Laputan 4 Gulliver Laputan 1 Gulliver Laputan 2 Laputan 5 Laputan 6 Don Pedro Laputan 4 Gulliver Laputan 3 Laputan 1 Gulliver Laputan 5 Laputan 6 Laputan 5 Laputan 6
This very day! I quake … deducing the motions of the celestial bodies … … these strange, vacant beings. x² over a² + y² over b² = 1 A Laputagorean Triple! In hypothesis! With their heads in the clouds … A Dodecahedron, at the centre! Literally! (Is flapped) Did you say eclipse! How does the sun? It approaches the earth and in due time must swallow it up. (Incredulous) A flying island? y=ax² + bx + c Upon my life. Cold, then warm. Hexagons; the eternal hexagon! Floating in the air … How are you? Not sleeping. Why? I calculate, that thirty-one years, four days, seventeen hours, three minutes and twenty-one seconds hence, a comet will probably destroy us all.
Laputans 1-6 are all flapped one after the other, like dominoes, by Laputans 7-12.
Laputans 1-12 How does the sun Upon its run The universe is changing And the chaos has begun Our world is geometrical A plus B plus C The answers will present themselves Mathematically. [The Laputans now chant and gesticulate. Gulliver joins in, copying their strange gesticulations].
Don Pedro Gulliver
3 point 1 4 1 5 9- 26535897-932 Pi – Pi Pi 3 point 1 4 1 5 9- 26535-
3 point 1 4 1 5 9- 26535897-932 Pi 3 point 1 4 1 5
Grp 3 & Glvr 3 point 1 4 1 5 9- 26535897-932 Pi – Pi Gulliver Pi …
(Holding Gulliver) Stop this! (All action onstage freezes).
Laputa, a flying island; believe me, exactly circular, about four and a half miles across; the king a tyrant, wielding a terrible power over the cities below, to deprive them of sun or rain, pelt them with boulders from above, or at the last remedy, drop it directly on their heads, if they did not do as he demanded.
All the Laputans are flapped as the supremely distracted King enters the space with two attendants holding his train and two flappers.
Hail to The King, Celestial praises sing.
But there was a resistance; in Lindalino …
Munodi and Gaia enter the space. Munodi is the ex-governor of Lindalino (the island below Laputa). Gaia is his granddaughter.
Don Pedro Gulliver
Lindalino. (Annoyed) Lindalino! The second city on the land below; they built a resistance! It began as a petition, a passionate plea …
Munodi and Gaia approach The King.
Munodi Your highness … King’s Flappers Wait! The King is deep in a problem … The King But if you cannot remove the cork, or break the bottle … (He is deep in thought. Pause. His Flappers flap him simultaneously). What‘s the matter! Yes! What is it! King’s Flappers Ex-Governor Munodi. Of Lindalino. Munodi Your Highness. I bring a petition from your subjects down on Lindalino. The King Where? Munodi Has your Highness been so long in the sky, that he has forgotten those of us who live below? The King Of course not! Munodi The whole country lies in a miserable state - houses in ruins, the people without food or clothes. The King The Academy will provide. They work tirelessly for your benefit. Munodi That may be so, but we are yet to see the fruits of their labours. The King But you will! Munodi We are requesting the right to govern ourselves. 45
I am saddened by your lack of trust in The Academy. (He becomes distracted). The coin goes in, but how to get it out?… (He is flapped) Yes? Munodi Our people are suffering. And the little food we have supplies this island‘s needs, not ours. The King And? Gaia (Passionately) We cannot live like this; you have a duty of care to your subjects. There is disease and hunger and you stand by, your heads in the sky … Munodi Gaia … Gaia Wake up Laputa. We are shouting from the earth below but it does not reach your ears … it does not touch your hearts. When, when will this oppression end?! The King (Pause) The coin in the bottle … the cork replaced … (is flapped). This is out of my hands. You dwell on the present; we look to the future. We are the future! King’s Flappers Your Highness, the eclipse … ! The King Ah!!! The Eclipse! Enough of this. (To Munodi). Be gone! This way! The King and his attendants shuffle off to the best viewing point for the eclipse.
Our leader will come. I hope you‘re right.
All Laputans are flapped except The King.
King & Lptns Look at the sun Upon its run The universe is changing The Eclipsing has begun. [The Eclipse darkens the stage and everyone marvels at the sight.]
At sun‟s eclipse I pray it‟s true That freedom‟s light Will rise anew Starting now And starting here A new world free of waste and Fear … has begun
How does the sun Upon its run The universe is changing The Eclipsing has begun.
Gulliver and Don Pedro are revealed in the cabin. Gulliver holds a large illustration of a flying island, drawn onto a bed-sheet, he is mid-explanation.
An eclipse! And it was at that very moment, stranded on a piece of rock in the ocean below, that I first saw the flying island hovering above me … It‘s lights dancing like sunbeams on the sea.
Back to the action on Laputa as the music stops and the light of the sun returns. The King‟s Flappers flap the King.
The King For why? Yes! What? King’s Flappers (Flapping the King) On Flandona Gagnole, my Lord; the women have spotted something. The King An omen! Gulliver (Handing the bed-sheet to Don Pedro, he walks from the cabin directly into the flying island scene) They hauled me up on a winch and I stood before their King. Gulliver‟s presence causes quite a stir among the Laputans; he appears quite dashing.
What brings you to the Sacred Rock at the time of the eclipse? What is your purpose? 46
Gulliver is visibly bemused and too bewildered to speak. A Flapper is given the nod by The King and moves in from behind to flap Gulliver, who is shocked and surprised.
King’s Flappers Speak! Gulliver I am Captain Lemuel Gulliver! My ship‘s crew mutinied and set me adrift in these uncharted waters. I thought I was to die. Stranded on that rock below. And then … a flying island! The King You cannot break the bottle! You cannot remove the cork! Gulliver Forgive me? The King Do you have some appreciation of mathematical principle? Gulliver I am not unversed in it. The King Maybe you hold the answer to my problem. That is why you are here! We must speak. Gulliver Might I rest first; wash and eat? The King Someone?! (A Flapper steps forward, the King nods, but Gaia manages to lead Gulliver away). So be it! Tonight we hold a concert in honour of the eclipse. We shall talk further. Examus! King’s Flappers The King departs … MUSIC #28 : ‘HAIL TO THE KING’ All Laputans are flapped. They follow The King, singing as they wander off. Exit all.
Hail to The King! Celestial praises sing!
Scene 4 - A Room On The Flying Island Gaia Gulliver Gaia Gulliver Gaia
Gulliver Gaia Gulliver Gaia Gulliver Gaia Gulliver Gaia
Sit down. Rest. (There is a bowl of water that she uses to wash his face). You look tired. (Bemused) I am, a little. Let me … (She takes a sponge and washes down Gulliver‟s brow). My name is Gaia. We have been waiting for you … For me? You were picked off the Sacred Rock at the time of the eclipse. It is foretold. ‗The Eclipse That Heralds The Brighter Day - Reveals The Light To Lead The Way‘ … your hands … (She starts to wash his hands then takes a hand towel and dries them). It is written upon them … (There is a „moment‟ between them). I think you might have made a mistake. I … There is no mistake. You are different to the rest. No … (He imitates the motion of a flapper). Only Laputans need flappers. Too long with their heads in the clouds … It is a rare atmosphere up here. I must say The King was supremely distracted. Dangerously so. So what brings you here? I come from Lindalino, one of the cities below. Our people are suffering. We want to govern ourselves, but The King will not hear of it. He says we must follow The Academy. The Academy? Forty years ago, our leaders on Lindalino visited Laputa. They returned with a smattering of mathematics and set about building an Academy Of Projectors that was to govern us in a new and exciting way, the finest brains in the land were to solve problems that had plagued us for generations. What could be better?
Gulliver Gaia Gulliver Gaia
In forty years, they have yet to bring any of their projects to perfection. Yet far from being discouraged, they are fifty times more violently bent on continuing their research. Each year The Academy expands, while the people starve. My parents tried to fight, but now they are dead no one will challenge The Academy‘s power. I am truly sorry … I have dreamed of you. I knew you would come. You bring the light … Look, I really am very flattered, but … You can help us! We must gain access to The Academy … dispel its mystery. It blocks our people and destroys their spirit. If only I could get inside it … prove what really goes on behind those doors! (Passionately). Our people are suffering … (She tops). You must think I‘m mad, asking for your help. No, not at all. I return to Lindalino tonight. Come and see us, at The Western Tower … (The King, his train and flappers enter suddenly and unexpectedly). The King; I must leave. (She exits).
The King Gulliver The King
Ah! There you are. This problem will undo me … May I be of assistance? Follow me … (Ad lib and flapping as three Laputans and flappers enter one by one with strange geometrically shaped musical instruments and take their places on the stage. They start to tune up. There is a pre-concert atmosphere. The King & Gulliver, Guests and Flappers enter, mingle and seat themselves). Next to me …
Honoured, Your Highness.
The Conductor and his flapper take to the stage. He taps his baton nervously …
Your Highness, assembled guests. Welcome to what I am calling an ecliptical feast. Our ears are soon to be blessed with a radically new and exciting offering from The Academy! Following ten years dedication, a group of musical genii‘ responsible for works such as ―Integer‖ and ―Parabola‖ (my particular favourite) now present an inspired piece in honour of the eclipse, entitled, simply … (forgets the title and is flapped) … ―Rhomboid‖.
MUSIC #29 : ‘THE CONCERT’ The conductor turns to the orchestra, baton raised. They play for five seconds and finish. The audience of Laputans are flapped and consequently clap. The King stands and claps. Gulliver claps too.
Gulliver The King
What happens now? Interval. (The Laputans break off and mingle. The instrumentalists start to leave). Come … (He takes Gulliver aside). A coin … placed in an empty bottle. The cork of the bottle replaced as before, yet apparently … (He drifts off). Gulliver Yes. King’s Flappers Your Highness! (They flap him). The King Yet, strangely … I am assured the coin can be removed from the bottle, without taking the cork out or breaking it. Well, it simply can‘t be done. I am at my wits end! Gulliver Push it in. The King What? Gulliver Push it in. The cork. Push it in and shake the coin out! The King Push it in and shake it out! Push it in and shake it out! Flandona Gagnole! Of course! You have solved it! At last! At last! What can I give you in return. Gulliver Anything? The King Just name it. Gulliver I have heard mention of a great Academy on the island below. If I could be allowed to see the workings of this great institution it would please me no end.
The Academy! Of course. It shall be arranged … (Addressing the Flappers). Remind me of this. Push it in and shake it out! Push it in and shake it out! (He exits).
Gulliver leaves a different way, destination Lindalino, the city below.
Scene 5 - Lindalino (The Land Below Laputa) MUSIC #30 : ‘THE MUSIC OF THE SPHERES’ On Lindalino, Gaia and a group of dissenters have met near The Western Gate.
Dissenter 1 Gaia Dissenter 2 Dissenter 3 Gaia
When will Laputa feel our anger!? Calm down. It is beginning. That‘s what you always say. Will Lindalino ever be free?! It will, I promise … on my life. Gaia
What I have to tell you is a blessing to us all I promised you A sign of hope Made a wish to Heaven and the planets heard my call They sent a man A sign of hope I saw and I felt A silent wonder … All at once, The stars aligned above. Looked in his heart And deep in that man, I saw love.
[Gulliver enters and observes Gaia and her followers from a distance].
In his eyes there is a journey He‟s all my spirit hears He talks to me and I am free The music of the spheres And all I‟ll ever want Before my days are gone Is find someone to guide me And rest my faith upon. Gulliver
I saw and I felt A silent wonder … I beheld Her power to inspire. Tried not to fall But deep in that heart I saw fire. In her eyes there is a journey And truth beyond her years In her I see a part of me The music of the spheres.
And all I‟ll ever want Before my days are gone Is find someone to guide me And rest my faith upon.
Gaia sees Gulliver and introduces him to the dissenters.
Gulliver Dissenter 1 Dissenter 2 Dissenter 3 Gaia Gulliver Dissenter 2 Gaia Dissenter 1
I came to tell you that I have been granted access to The Academy. How can this be? It‘s impossible. The King would never allow it. Is this true? It was simple, really. So the fight begins! In one day you achieve what we have waited a lifetime for. He is strong – like your father. Gaia
I said the time was right and now the proof you need is here. And he‟ll bring peace A lasting peace. We must prepare to fight, now there is nothing we should fear The sign of peace The sign of peace! [The dissenters hug one another in a sign of peace. Gaia and Gulliver hug too. There is a moment of attraction, broken by a powerful rallying call].
Hope rise triumphant Darkness clears Hope rise triumphant A new world appears Hope rise triumphant When everyone hears … The music of the spheres. The music of the spheres. [During ‗Hope Rise Triumphant‘ the dissenters lift Gulliver onto their shoulders and exit with him, cheering. Gaia hangs back for a second on her own].
At sun‟s eclipse My forecast true I hoped for this No less would do Starting now and starting here …
She follows them off.
Scene 6 - Laputa (On The Flying Island) The King of Laputa and his flappers enter. He is holding a bottle. He removes the cork, takes a coin, places it in the bottle, shakes it, replaces the cork, shakes it, observes it, and finally pushes the cork in and shakes the coin out into his hand. He is visibly relieved. The brief smile says it all.
Scene 7 - Flandona Gagnole (The Sacred Rock On Lindalino) Munodi, Gaia and Gulliver enter the space. Flandona Gagnole has the feel of a Stonehenge, mystical, beautiful, simple.
Flandona Gagnole … the Sacred Rock. Father used to bring me here when I was a child. I remember the carvings on the rocks, how the sun set through the pillars of stone. The design … (She wanders around). 50
Gulliver Munodi Gulliver Munodi Gulliver Munodi Gulliver Munodi Gaia Gulliver Munodi
A magical place … (He watches Gaia looking out to sea, then, to Munodi). You must be very proud of her. She‘s all I have left. Her parents taught her to love her fellow man, but she demands they have freedom as well. Something must be done. There‘s the island … In the distance. Hanging there. It‘s magnificent. An ancient feat of engineering … It seems to be moved by an invisible power. A huge magnet at the centre, poised so precisely that the weakest hand could turn it. Amazing. The magnet is actually lodestone, taken from this very hillside. So when the attracting end faces towards the earth, the flying island will descend? Exactly. And against such a power we have no defence. This is what we face. (Returning) It is so beautiful here. Yes, it is. I am going to go a little higher. I‘ll get a better vantage up there. (He goes to a higher vantage point).
Gaia Gulliver Gaia Gulliver Gaia Gulliver Munodi
Gulliver Munodi Gulliver Munodi Gulliver Munodi Gulliver Munodi Gulliver Munodi Gulliver Munodi Gaia Gulliver Munodi Gaia Munodi
My grandfather worries about me, but I cannot stand by and watch people suffer. You are an inspiration, Gaia. But you might get yourself killed. I do not fear death. Nor did my parents. I feel my father‘s arm around me and my mother‘s gentle spirit in the air. They always told me that the soul is free … I am unversed in these things … You don‘t know your own power … (There is another „moment‟ between them). Does anyone? (From his vantage point) You two, come and see! (They join him). Laputa are demanding their provisions from Maldonada. Dropping their ropes. The people have to comply. Nothing can repel the flying island. This is despicable. There must be a way to turn their power against them. But how? I don‘t know … (Pause). Have we enough followers to cut some of this lodestone for ourselves. Well, yes; I think so … Then it might just work. I have seen four large towers in Lindalino, one at every corner of the city. Yes. Could we position a lodestone on the top of each tower? Perhaps … When the island is directly overhead, by reversing the polarity of these magnets, we could force that flying monstrosity back into the sky. We may have the means to achieve this, but were the magnets not reversed simultaneously, the island would tip and crush us all. Then at the window of each tower, a torchbearer … to signal the others when the island is in place. It will be dangerous, but they would never imagine such a thing … we must gather support. And work quickly … But what of The Academy? The people will still follow them. The fear is too great. All in good time … Let‘s go. (He starts to leave). Gaia … One moment. Very well. (He exits. Gulliver and Gaia are alone).
MUSIC #31 : ‘HOLD THE SUNLIGHT’ 51
Gulliver Gaia Gulliver Gaia Gulliver Gaia
There are tears in your eyes … I am so happy that you are here … I don‘t know what to say. We could not do this without you. I‘m just glad I can be of help … Please take this. (She gives him an embroidered handkerchief with a picture of the sun embroidered on it). The Sun, to guide you …
Gulliver studies the handkerchief. Gaia kisses him on the cheek. There is another „moment‟; something has happened. Gulliver kisses her back passionately, then pulls away.
Gaia stops his lips with a finger and runs off, in love. Gulliver looks at the handkerchief. We see the picture of the sun on it. Simultaneously, Mary is revealed in London in 1719, embroidering a handkerchief with a picture of The Sun on it. There is a baby in a Moses basket near her. She sings their song as she sews. Gulliver seems to hear the memory of his wife on the wind.
Hold the sunlight forever Let it guide on the way… Mary & Gulliver Through the night, a fire burning In our hearts the day … Hold the sunlight [Gulliver faulters]. Mary Forever … Gulliver Forever… Gulliver
The light on Mary fades. Gulliver exits. Fade to black.
Scene 8 - The Academy On Lindalino MUSIC #32 : ‘THE ACADEMY’ The Academy is revealed in a way that suggests its grandeur and impregnability. There is something impenetrable about it, a warren of different geometrically shaped rooms are within. Gulliver approaches the exterior of the Academy with a scroll. The Warden of the Academy appears at a hexagonal door, climbing through awkwardly.
Gulliver The Warden Gulliver The Warden Gulliver The Warden Gulliver The Warden Gulliver The Warden
The Academy? This way. No, wait! Password. Password? But it has been arranged. I have a royal seal. Even so, I can‘t let you in … not without a password. But it‘s been signed by The King. But he didn‘t give you the password, did he … No he didn‘t … he gave me this. Do you know how long I have been Warden of this Academy? No … Forty years to the day! And in all that time I‘ve never seen one of … (He looks at the seal again, an awkward moment). The King?! Right then … this way! (They both climb through the hexagonal door, awkwardly. It mutates into the corridor inside the Academy. They wander down the extensive corridors). There are five hundred rooms. I can‘t show
you around the lot, so if you don‘t have any preference, I will pick and choose. The first room is revealed. A laboratory of some sort. They enter. An old, haggard man, dirty green from top to toe, is trying to extract sunbeams from cucumbers.
Gulliver The Warden
What is he doing with those cucumbers? Good question.
They observe the man, who is totally engrossed in his work. 52
Cucumber Man La ba dum Chop y chop Yam pi tum, too bum bum La ba dum Going green Cutting the cucumber Ba pi ba pi ba pi doo dum Ba pi du pi du pi doo. Hidden in the peel … To reveal Take the knife Chop y chop Grab a firm cucumber Smooth it down Lop the top Label with new number. Then you are extracting sunbeams The moment it is peeled See the sunny weather Hermetically sealed! Gulliver and The Warden make to leave.
Cucumber Man Don‘t go!!! (They leave). Gulliver How long has he been here? The Warden Eight years. In another eight he should have extracted enough sunshine to supply the King‘s garden … at a reasonable rate. Shall we move on. A new room is revealed as the Cucumber Man visibly continues his work. (This room reveals an Architect with extensive drawings of plans to build a house from the roof down. They catch him mid-thought.
Repeat at point <A> below using * words
Gulliver The Warden
A new method For building houses … Just start at the roof, At the roof, And work your way down … Watching spiders, Bees and spiders. They/*Just start at the roof Cucumber Man Ba pi ba pi ba pi doo dum … at the roof . Ba pi du pi du pi doo And work their/*your way down … See the sunny weather Cleverly down! Hermetically sealed!
I would have thought it might be easier to build a house from the foundations up. Old hat, my friend … old hat!
A new room is revealed. A teacher is testing his blindfolded student, seeing if he can discern colour by feeling.
Student Teacher Student Teacher Student Teacher
Blue Wrong Green Guess again Red Why? 53
Student Teacher Student Teacher Student Teacher Student Teacher
Gulliver The Warden Gulliver The Warden
Mauve! One more try Got to learn to feel the colour Feeling and smelling That is an art Pink Wrong Black Guess again Grey What! Orange? Ridiculous
Feeling the colour Feeling and smelling That is an art You must learn!
<A> [Repeated from above]. ↓ ↓ ↓
Without our blessed Academy Who knows where science would be We pledge our lives to uncover it Prove it, discover it! Look and see!
There really is someone you must meet. He has been here thirty years. The most ancient student of the Academy. His greatest achievement was breeding naked sheep … Let‘s not. As you wish. I‘d like to leave … You can‘t go yet. You haven‘t been to the political wing! After you …
A new room is revealed. In it are two people sitting on stools, both expressionless, being operated on by a surgeon/doctor and his assistant. The doctor sees Gulliver and The Warden enter.
The Doctor Gulliver The Warden Gulliver The Doctor The Warden
Almost there! Who are they? Volunteers. What‘s he doing? All shall be clear! He‘s found a way to make politicians agree with each other. It involves a minor operation. Doctor Scalpel please. [Assistant passes it] Assistant There. Doctor Make a cut. [Starts operating] Assistant Yes. Doctor Sever the occiput. Assistant Right. Doctor Half the brain! Assistant Half. Doctor Just a half! [Half of each brain emerges and is exchanged] Transfer the brain matter! Stick the pieces back together Now opposing halves combine When they debate... 54
Now everything‟s fine! [Spoken] A few stitches … there we go … [Sung] Look and see! [Reveals the patients‘ faces] How are you?
Patient 1 Patient 2 Doctor
Feeling grand! Everything‟s clear somehow! That is great Where d‟you stand? Who will you vote for now? See both sides of every story Work together – let‟s unite!
[NOTE : From this point until point <B> the lyrics are presented but are disconnected from each other and the music].
See both sides of every story Doctor Stick the pieces back together Work together – let‟s unite! Now opposing halves combine See both sides of every story Stick the pieces back together Work together – let‟s unite! Now opposing halves combine When they debate Why did we; Ever fight! Now everything‟s fine. Teacher
Got to learn to feel the colour Architect Feeling the colour Feeling and smelling That is an art you must learn.
They start at the roof At the roof And work their way down Cleverly down.
Cucumber Man Ba pi du pi du pi doo See the sunny weather Hermetically sealed! The Doctor
Suddenly, both patients have a fit and die. All the inventors remain in their rooms and join in the madness. The Warden shows Gulliver the way out.
Without our blessed Academy [Comprising Doctor, Teacher, Architect, Who knows where science would be Warden & Cucumber Man] We pledge our lives to uncover it Prove it, discover it! Look and look and Look and look and Look and look and…see!
Right, well I‘ll say goodbye then … ―Goodbye‖.
The Warden leaves Gulliver bewildered on the street outside the Academy.
Scene 9 - Outside The Academy MUSIC #33 : REPRISE (‘THE MUSIC OF THE SPHERES’) Gulliver immediately notices some Lindalinians arriving with baskets of fruit & vegetables and offerings for the flying island. Munodi and Gaia enter, exasperated.
Munodi Gaia Gulliver Munodi
The flying island approaches. But the people are scared. They are meeting Laputa‘s demands! They won‘t turn against The Academy … whatever we say. Are the magnets in place. On the towers, yes! And the four torchbearers are ready! 55
Then what are we waiting for.
Gulliver runs at the people with baskets of food and tips them over, calling for them to stop and listen. They gather and listen.
Gather round and listen, put your offerings away And stand your ground You have a choice. Don‟t trust The Academy – whatever they may say Just stand your ground You have a voice. I wish I could say I saw a purpose Give you all A reason to believe. But I‟ve seen their work Experiments, you can‟t conceive! They are all in it together Their projects they pursue They‟d rather spend their energies On anything but you. They promised you the earth But haven‟t sown the seed They‟ve wasted your resources And let your city bleed.
Gulliver spots The Warden in the crowd.
Gulliver The Warden Gulliver The Warden Gulliver The Warden The People
You … come here! (Grabbing him). Tell them! Tell them the truth! Tell them what really goes on inside The Academy! I don‘t know what you are talking about! I have seen it with my own eyes! Extracting sunlight from cucumbers! Feeling colours! Breeding naked sheep! (He twists the Warden‟s arm). Please don‘t hurt me! Tell them … (He applies more pressure to The Warden‟s arm). It‘s all true, sadly … no one really knows what they are doing anymore … (Ad lib. They are visibly shocked) Well, let‘s get in there and sort them all out! / What do you mean / etc … (Some of them notice suddenly that the island is approaching). Look! The Flying Island! / Laputa / etc … (Taking control) Yes! Laputa approaches, but we are prepared for them. They will get what they deserve. Lindalino will be free!!! (The people cheer etc). Go home … take your offerings with you. Laputa will go hungry tonight. (The people go, taking their offerings with them, resolved). Munodi, take your men to the Western Tower. Very well! (He signals his men to leave and then turns to Gulliver) Look after her.
Munodi exits and Gulliver follows after them briefly, as their leader, watching them prepare. Gaia has been observing all of this. She is besotted with Gulliver.
And all I‟ll ever want Before my days are gone Is find someone to guide me And rest my faith upon.
I saw and I felt a silent wonder All at once, The stars aligned above Looked in his heart And deep in that man, I saw … love
Gulliver approaches her.
Gaia Gulliver Gaia
How noble it is to tell the truth. We have suffered the Academy‘s lies all these years … there is nothing more despicable than a lie. Gaia … When you speak, the truth flows naturally through you. And now I must tell the truth … I love you.
At this point there is a huge crash, and shouting from offstage.
It has begun!
The noise level offstage increases throughout the next dialogue.
Gaia Gulliver Gaia Gulliver
Ever since I first saw you, my heart has loved you, we were always meant to come together … I can‘t be with you, Gaia … Why? Don‘t you love me … I had no idea you felt like you do … I … I should have told you … I‘m married. I have a family … children … I should have told you.
Gaia is totally shocked; heartbroken. She stands motionless. The noise level is high now. There is commotion offstage. Munodi hobbles on.
Munodi Gulliver Munodi
The torchbearer at the Western Tower has been killed. Killed. They are throwing boulders! There is no way through. We cannot reach the Western Tower now. The magnets will not align. The island will tip. We are all going to be crushed!
Gaia hears this and in a moment of passionate action she runs off into the boulder storm.
Gaia … Gaia! Gaia!
Munodi runs after her into the falling boulders. Gulliver makes as if to follow when … Don Pedro intervenes from his cabin, clearly caught up in the events that Gulliver is recounting.
Don Pedro Gulliver Don Pedro Gulliver
What happened?! She ran into the storm. She climbed the tower. She gave the signal! And?! It worked. The magnets aligned … can‘t you see. It‘s worked. She did it!!
Suddenly light briefly floods the stage as the Island rises and disappears. Gulliver has to shield his eyes. The Lindalinians run on, cheering. They have won. They lift Gulliver onto their shoulders, cheer and parade him around.
Lindalinians Hope rise triumphant When everyone hears The music of the spheres. The music of the spheres. They cheer and return Gulliver to the ground, but become aware, amid the cheering, of Munodi, who appears with Gaia in his arms. She is dead. There is a horrible pause.
She fell from the tower. 57
They all watch Munodi struggle to carry his daughter to the centre, where he falls to his knees with her, lays her on the ground, caresses her and steps back distraught. The disbelieving Gulliver moves towards her.
Gaia! Gaia! Gaia! (He cradles her in his arms. A significant pause) The soul is free …
Gulliver crawls away from her as the Lindalanians solemnly raise her from the ground and carry her away. Gulliver is doubled over, alone, in shock. Don Pedro steps out of his cabin and onto the deck of his ship, where Gulliver is lying. He approaches Gulliver, touching him on the shoulder. End of Laputa segment.
Don Pedro Gulliver
It wasn‘t your fault. (Still in it) It should have been me! Not her … not her! (Angrily). What is a man? A god? An angel? Or just a brute! Ah! … There is no reason in man! Just weakness, and waste and lies … lies … (To Don Pedro). Leave me! (He breaks down. Don Pedro returns to his cabin).
Scene 10 - Houyhnhnmland MUSIC #34 : ‘HOUYHNHNMLAND’ There is an ominous feel. Movements in the trees. Shadows. A single creature, then another, then groups of shadows. Suddenly, many creatures are revealed in the space. They creep up on the sobbing Gulliver like wolves approaching a prey. They surround Gulliver and smother him, tearing at his clothes and covering him in mud. He is too tired to do much apart from scream. When he screams, they scream … the noise of attack. Gulliver is pulled around by the creatures. Suddenly they stop, back off and then flee leaving Gulliver on the floor half naked looking like the creatures that just attacked him. He is covered in filth. The reason for the sudden exodus becomes clear. Something, like a shining white light stands regally at the back of the acting space. It is a horse. The power of her presence is clear. Silence. The Sorrel Nag moves a few steps towards him.
I don‘t understand … a horse, a horse … why did they run? I suppose I should thank you. I was sleeping. Some creatures. I should have been more careful … out in the open like this … Who do you belong to then? (He approaches the horse, who backs away). A fine horse like you must have a fine master too! Well this isn‘t going to get me very far, is it! (The horse starts to circle the half naked Gulliver). Looking me over, are you? You really are rather beautiful. Come here, come here … (He tentatively moves to stroke the horse, showing some affection. After a few seconds the horse makes a “Brrrrr” sound and moves off. She then turns her head back to Gulliver, who follows on behind. They continue walking).
Scene 11 – Houyhnhnmland (The Master‘s House & Surrounding Areas) Very soothing, ethereal music is heard as many beautiful horses appear on the stage at different levels, all clearly part of the same community and serving a common purpose. The setting is one of natural beauty with the mystical sense of somewhere like The Acropolis, a spiritual beauty. The horses chant and have that grace that something like Tai Chi conveys.
Hnuy nyha maiah Hnuy nyha maiah Hnuy nyha maiah Hnuy illa nyha maiah
[translates as ‗be gentle with yourself‘]
The Sorrel Nag enters, followed by Gulliver. To him, they are just normal horses.
Ah! More horses! Clearly your Master has a liking for them. Well, if you don‘t mind … (He goes to the drinking trough, which is adorned with precious stones, and washes his arms. The horses all respond with a disapproving neighing sound. There is some consternation. Gulliver looks up from what he is doing and for a moment is a little wary).
I…I… Another horse enters on a raised level, grander than all the rest. She is the Master. The other horses stop neighing. Silence. The Master looks at Gulliver, as do all the rest. 58
The Master Gulliver Master Gulliver
Yahoo! I‘m going mad. Yahoo! A speaking horse! You must be magicians … metamorphosed upon some design. Then I must let you know that I am a poor distressed Englishman, driven by his misfortunes upon your coast, and I entreat one of you to let me ride upon his back, as if he were a real horse, to some house, or village, where I can be relieved! (He falls to his knees).
The Master Gulliver The Master
Yahoo… Yahoo … yahoo to you … yahoo … (In a neighing fashion) Yahoo! (Neighs and nods at a nearby horse) Luhimuh …
One of the horses kicks a dead rat towards Gulliver.
Gulliver Sorrel Nag Gulliver
No, I couldn‘t eat that. Oats! Oats! (He sees some oats in a basket, takes a handful and throws them into the air). Oats! Hlunnh! Hlunnh! Yes … I eat hlunnh! Grind them down, a little water, make a paste, a cake … to toast at the fire. Hlunnh! I eat hlunnh!
Gulliver is overjoyed with the oats he has found. The horses start to neigh as if they are laughing and start to leave. The Master beckons to the Sorrel Nag. It becomes clear that she is to look after Gulliver. The Master circles Gulliver and leaves. During the following dialogue the Sorrel Nag moves slowly towards Gulliver. The events now occurring in Don Pedro‟s cabin become the focus.
Don Pedro Avaghelo
(As Lieutenant Avaghelo comes in, agitated) Yes Lieutenant.
He is disturbing the men, sitting there on the deck, screaming words I have never heard … (He and Gulliver make the sounds). ―Hlunnh! Hlunnh!‖ … like he is learning a new language, and neighing like a horse! For the love of God! I will deal with it in due course. Leave him be!
Lieutenant Avaghelo leaves. The focus returns to Gulliver and the Sorrel Nag. She sings and performs the stylised actions of the horse language in the style of Tai Chi or something similar.
Sorrel Nag Hnoo illa nyha maiah Yl niam shi houyn who na Nuhnoh numroh maiya hoo Yl luw nashy hllywn ma Gulliver has been sitting watching the Sorrel Nag and listening to her beautiful song.
Gulliver Sorrel Nag Gulliver Sorrel Nag Gulliver
I understand ‗Hnoo Illa‘ – you mean ‗be gentle‘. Gentle … You‘ve got it! And ‗luw‘ … The light … Yes! Yes! The light!
Gulliver now joins in with the Sorrel Nag, imitating, mirroring the actions and singing the song.
Be gentle then, ni-ha mai-ah The sun returns, hoo na Nuhnoh numroh to the end And light nashy hllywn ma.
… ni-ha mai-ah … hoo na Nuhnoh numroh … … nashy hllywn ma.
They are learning each other‟s language together. At the end of the verse, there is a fond moment as Gulliver strokes her mane. The Master is seen observing them for a few seconds, as they seem to be getting quite attached to one another.
Soon we will all understand each other. (Two horses enter with a mane-like coat for Gulliver. He goes over to them). For me … (He puts the coat on deliberately, with a sense that something changes in him as he puts it on). I am one of you now.
Gulliver starts moving like a Houyhnhnm, enjoying the sense of freedom. The focus of the scene shifts to Don Pedro‟s cabin.
Don Pedro Yes! Dr Fernandez enters. Fernandez Captain de Mendez, the man is ill. He is at this very moment, barefoot, trotting around the deck, as if he were a horse. I must advise … Don Pedro Dr Fernandez. Leave him be. Exit Dr. Fernandez. The focus returns to Gulliver and the Sorrel Nag)
This river is beautiful. A paradise. Try once more! No one can hear you out here.
Again, they sing and move together, this time Gulliver singing in Houyhnhnm and The Sorrel Nag singing in English. They have learnt each other‟s language.
Sorrel Nag Be gentle then my precious friend The sun returns each day Honour reason to the end And light will pave your way. Be gentle then my precious friend Gulliver Hnoo illa nyha maiah The sun returns each day Yl niam shi houyn hoo na Honour reason to the end Nuhnoh numroh maiya hoo And light will pave your way. Yl luw nashy hllywn ma. Gulliver strokes the length of the Sorrel Nag‟s face. From a distance The Master observes their closeness, and exits with a purpose in mind.
Gulliver Sorrel Nag Gulliver Sorrel Nag Gulliver Sorrel Nag Gulliver
In a few months we have come so far. What destiny drove you to our land … Someone I loved, but couldn‘t hold … What is to ‗hold‘? To have for oneself … to keep. Reason teaches us to share what Nature provides … That is why I want to stay here. With you. Gulliver
I‟ve never felt this way So happy, so content Like being here with you Was somehow always meant
[He moves forward, away from the Sorrel Nag].
A land where reason rules And virtue is to give – I know that you are teaching me A perfect way to live. There is a tender moment as the Sorrel Nag walks slowly towards Gulliver and rests her head in his. Then Gulliver breaks away and draws from his pocket a beautiful chunky necklace made up of precious stones. The music underscores.
Gulliver Sorrel Nag
I found these stones in the caves. For friendship … I cannot…
Please … (The Sorrel Nag bows her head and he places the necklace around her neck. There is clearly a deep connection developing between them. The moment is broken by the approach of two horses). There‘s someone coming … (One of the horses holds Gulliver‟s newly made horse-like shoes). My shoes. At last! You said they would be ready at first light. (He takes the shoes and tries them on).
Horse 1 Gulliver Sorrel Nag Gulliver Sorrel Nag Horse 1 Sorrel Nag Gulliver Sorrel Nag Gulliver
Lhnuwnh. Lhnuwnh. What is Lhnuwnh? Lhnuwnh? – ‗Spirit retire to first mother …‘ Do you mean ‗death‘? Yes … ‗death‘ … husband ‗death‘ this very morning … (Apologising, bowing her head) Hoi! (The two horses leave). Sorry she is late with shoes. There is no need. How can she worry about my shoes when her husband has just died? He is only stepping from one house to another … (Pause) You have this uncanny ability to make me see things differently.
The focus returns to Don Pedro‟s cabin. Lieutenant Avaghelo enters again.
Avaghelo Don Pedro
He is still on deck, Captain. He‘ll probably throw himself overboard! You should read more, Lieutenant. Very relaxing!
Lieutenant Avaghelo storms out. Don Pedro gets up and looks out of the window, then sits back down and reads. The focus returns to Houyhnhnmland. The Master enters. The music still underscores.
Gulliver The Master Gulliver The Master Gulliver The Master Gulliver The Master Sorrel Nag Gulliver
The Master Gulliver
Master! I have been blessed with a good friend and teacher! Soon I will understand your world. Some things cannot be learnt. I am of a mind to stay here for the duration of my earthly life. Tell me more of your homeland. Of Mankind. I would rather forget. Why did you leave? They offered me money. Money? Men can never have enough of it. It buys the finest clothing, the noblest houses, and attracts the most beautiful females. Without money you are considered nothing … People will do anything for it … even go to war. In my land differences of opinion have cost many millions of lives. How can this be? Nature made you incapable of such mischief. (Giving a wry laugh) Not so. In one siege, with the help of cannon, my countrymen blew up a hundred enemies at once, and beheld the dead bodies drop down in pieces from the clouds … to the great diversion of all the spectators! (Shocked) Brrrr.
The music pauses.
Gulliver Sorrel Nag Gulliver
The Master Gulliver
I keep meaning to ask you about those vile creatures that attacked me on my first day here. Leave it be. How do they come to be in a society as perfect as this? I didn‘t get a good view of them, but the smell, the shrieking, the hairy backs. I never beheld in all my travels so disagreeable an animal … You speak of Yahoo. Yahoo …? Might I ask, where do they come from, these Yahoos …
The music underscore starts again. 61
Gulliver The Master Gulliver
Some say many ages ago, Two yahoos Were born From the ooze and froth of the sea - they came. Retired to the mountains Multiplied Became by degrees Degenerate More savage Than the two originals. And I am told that your Great Assembly are going to wipe them from the face of the earth. The Assembly rules no Yahoo in Houyhnhnm house should be. Well, don‘t let them in! (The Master makes a distinctive head movement and almost immediately, a wicker cage is revealed/ brought on by four horses. Inside the cage is a Yahoo). That‘s it! That‘s what attacked me! Vile creature! What did you call it … Yahoo. Oh, the stench! (The horses release the Yahoo from the cage. Gulliver hides from it as best he can). Keep it away from me.
Will not hurt.
The Yahoo runs around, gurning, shrieking, smelling, poking, licking, like an ape under attack, until it finally catches sight of Gulliver and stops. Very slowly it draws itself up to its full height. Gulliver and the Yahoo mirror each other. Gulliver realises that he is a Yahoo in The Master‟s eyes.
The Master Gulliver The Master Gulliver
No!!! This is not possible!! (He grabs the Yahoo and throws it to the ground. It whines and scrabbles back to the cage). How can this be?! (To Sorrel). Why didn‘t you tell me … (Now shocked and angry). Why did you lie? What is it to ‗lie‘? To … distort the truth, for your own ends. To say the thing which is not. To say the thing which is not! But we have only told you true. You are Yahoo! I may look like a Yahoo, but I do not behave like one. I speak. I reason. I can create things … look!
The Horses begin a chant.
H-nuy ny-ha mai-ah. H-nuy il-la ny-ha mai-ah.
The horses‟ chant underscores and builds as the climax of the scene approaches. Gulliver pulls back the Sorrel Nag‟s mane to reveal the necklace. In his excitement he breaks the necklace and the stones fall to the floor. Gulliver scrambles around trying to pick them up. The Yahoo frees himself from his cage and challenges Gulliver for the jewels. A slight tussle ensues until Gulliver lets him have the stones.
(During this action gives a significant neigh, then) A Yahoo searches for shiny stones in
Gulliver The Master
the dust … But … And will fight to win them. And once it has them … will hoard them away and keep them for itself alone.
The Yahoo returns to the cage with his jewels.
But that‘s not me … that is Yahoo! I am happy here … I belong here, free of pain, misery, fear, lies! I am free of humanity … I am Houyhnhnm, not Yahoo!! (He falls to his knees).
The Sorrel Nag pleads passionately for Gulliver. She approaches him. He rests his head in her bowed neck.
Please, Master. Hnuy Lay ah Yahoo! Hnuy Lay ah Yahoo!! 62
You seek escape. You are Yahoo … you must leave … purpose elsewhere.
The Master stands head to head with the Sorrel Nag, forcing her back. She is torn but knows she must go, and retreats backwards. Gulliver is on his knees.
No … please. My purpose is here! There is no other purpose for me … I have no family, no children, no country. (The Master leaves). I AM HOUYHNHNM … NOT YAHOO … NOT YAHOO … NOT YAHOOOO!!
The music stops. End of Houyhnhnmland segment. Gulliver‟s scream echoes throughout the boat as the focus returns to Don Pedro‟s Cabin. Lieutenant Avaghelo and Dr Fernandez enter Don Pedro‟s cabin, gesturing to the deck.
Yes, gentlemen! I have it in hand. Thank you!
They exit. Don Pedro, carrying a blanket, leaves his cabin immediately and approaches Gulliver on deck.
Scene 12 - The Ship‘s Deck (1722) MUSIC #35 : ‘JOURNEY ON’ Gulliver is doubled over on deck. Don Pedro touches Gulliver on the shoulder and tries to put a blanket around him.. Gulliver reacts kinetically, as if woken from a nightmare.
Throw me back into the sea That‟s the only place for me The pox of vile humanity The pride, conceit and vanity Murder, lies, insanity Who cares for that reality! Break a person‟s heart in two To know themselves as just Yahoo …
Gulliver runs to the side of the boat to throw himself overboard, but is intercepted by Don Pedro.
Don Pedro Gulliver
No! Why not! What is there to live for? (He falls to the ground). Don Pedro Your pity makes a fool of you And plays upon your pride We may be less than angels; yes But there‟s a light inside. You‟ve been to hell and back, I know But nothing is in vain You give up now, you‟ll never learn The lesson from the pain … Gulliver
[A realisation] I‟ve
never felt this way So lost and so alone How do I change the world? Or face it on my own. I cannot see the way No land, no sea, no sky. I look into my heart And there I see the lie …
Don Pedro Somewhere along the way You hoped for something more That life might give its secrets up Upon some distant shore. You hoped you‟d find a better way Free of fear and pain But life is light and shade, my friend No rainbow without rain. Only in comparison we see… You can find another way to be… And that is my advice to you … Journey on; upon the ocean wave Every day - a thousand reasons You must take the journey on. So much for you to give Free your mind The purpose of the journey you will find And live … Don Pedro Gulliver Don Pedro
Tomorrow we arrive in Portsmouth. We will see you home, Gulliver. Doctor Fernandez tells me your wound is nearly healed. My wound will never heal, for Men will always be before my eyes … Yahoos! A very wise captain once told me, as I will now tell you. (Pause). Truth doesn‘t take you out of the world. It enables you to live better in it. Don Pedro Some say that Man is just a beast I see another way That hidden in the heart of Man The Spirit has its say. That this short life is just a taste Of journeys yet to be Of travels we are yet to face Upon a distant sea …
Don Pedro has now swayed Gulliver. Covering Gulliver with the blanket, they head back to the cabin. The music underscores.
Scene 13 – London, 1727 (Gulliver‘s House) Five years later. The kitchen at Gulliver‟s house. Frances is ten years old. She runs on, clutching Betty‟s old dolly. Mary follows after her in a coat and hat, catching her breath.
Mary Frances Mary
Frances … stop … Mama‘s getting too old for this. You used to race Betty home! That was years ago … ‗race you home‘, for goodness sake. Now, be a good girl. Your sister will be here in a minute … (There is a knock at the door) … Oh! Sooner than I thought! I‘ll go … (Enter Betty, a grown woman of twenty-one, holding a baby). Betty!
The music pauses.
(Ad lib to start with … “What happened to you!” “You‟ve grown!” “You‟re taller than me” etc. Then, referring to the dolly). Oh … You‘ve still got that old thing!
Frances shrugs, laughs and hangs up the coats and hats. 64
Betty Mary Betty Mary Betty Mary Betty Mary
Betty! (They embrace). Come in; come in. Oh!! Let‘s see that beautiful little thing. (Mary takes her). Ah … look at you … what‘s the matter … tell me who did it … we‘ll go and get them. (To Betty). Jonny‘s been in touch. How is he? Still working in the bank … doing very well. I don‘t know how I manage to cope without him now. Frances, a chair for your sister … let‘s sit down. Where‘s father? Where do you think? In the same place he‘s been for the last five years? I‘m just glad to have him home … if it hadn‘t been for that gentle Captain de Mendez, who knows what a state he would have been in … I‘d like to see him. So would I. Frances, go up to the attic; tell your father there is someone very special to see him.
Frances goes up to the attic.
Betty Mary Betty Mary Betty Mary
At least he is there for her… He does his best. When he hasn‘t got his head in his book. I just thank God it was published. Frances loves it! What‘s it called again? ‗Travels Into Several Remote Nations Of The World In Four Parts‘ Mmm. No doubt he still talks to the horses? Oh, he spends hours with them. I think, well, I know, he still prefers them to … he prefers them to … (She stops, a tear is held back).
The focus moves to the attic where Gulliver is frantically writing.
Father. (Frances tries to show him her dolly) Betty? What is it, Betty?
Frances and Gulliver mime a conversation as the focus moves back to Mary and Betty.
Betty Mary Betty Gulliver
But you‘ve got him back. Almost. Mr Williams in the market won‘t hear a word said against him, he says to his customers, ―It‘s as true as if Mr. Gulliver had spoke it!‖ Very well, very well!
Frances exits the attic.
Not everyone is as nice as Mr. Williams … He‘ll be alright …
Frances returns to the kitchen.
Frances Betty Mary
Father is busy … and he keeps calling me Glum-dal-clitch … (Whose baby is restless) Ah. Someone needs to be fed. Lets go through to the dining room. I‘ll go and get your father in a minute.
The music underscore starts again. Exeunt.
Scene 14 - The Attic Gulliver is still at his writing desk, surrounded by papers. He holds a quill made out of a wasp sting. There is an egg in an eggcup on his desk. As the scene begins he is reading back and correcting his letter. The music fades as he starts to read.
Cousin Sympson. It was then, I decided to sacrifice everything to truth … but I cannot learn that my book has produced one single effect according to my intentions. I desired you would let me know when party and faction were extinguished, judges learned and upright and disgracers of the press condemned to quench their thirst … (he writes) with their own ink … (now reading again). I should never have attempted so absurd a project as that of reforming the Yahoo race in this kingdom; and now I have done with all such visionary schemes forever.
He stands up and walks around for a few seconds. He sees a large copy of „Gulliver‟s Travels‟ on his desk and opens it randomly to a page that features Lilliput.
MUSIC #36 : ATTIC SEQUENCE Gulliver
Always fighting over something …
The Empress is revealed, then, shortly after, Skyresh, The Emperor and other Lilliputians. Gulliver sees them in his mind. NOTE : Although written consecutively below, the lyrics throughout the Attic Sequence (up to **) are mostly sung simultaneously, see the Vocal Score for details.
What a man like that could do! With that extra bit of height That extra bit of charm That extra bit of bite. What a man like that could do With that little touch of strength That little touch of wit That little touch of length What a man like that could do.
If you help this man Lilliput will fall Someone with his span Is dangerous to all.
It all boils down to eggs you see and what went on before!
[The Farmer, Mother & Glumdalclitch feed into the chaos
We could make a fortune, This is only the beginning, What a story! Heavens! [Gulliver‘s Line <#> below is spoken here] Spread the word, there isn‟t time to Waste now Blimey! Do the bloomin‟ chores
Glumdalclitch Look at the view What do you see A sky made of blue Through an old apple tree Gulliver <#> How could you sell your own daughter! (The Dwarf is revealed to Gulliver‟s horror). Oh no!
Dwarf ** The Queen
It turns my stomach We‟ll never be friends!
(Entering, shouts) Grildrig!
Gulliver slams the book shut, thinking that will end the vision.
Enough! (A beat … but then … enter The King of Laputa, Laputans, Flappers and Academy Members). Oh, my head …
The other characters on stage continue to add to the chaos, singing mostly simultaneously, in the following group or individual parts …
King, Laputans 1 & Academy 1 Laputans 2 & Academy 2 Empress Emperor
Lilliputians 1 Skyresh & Lilliputians 2 Farmer & Mother The Queen Glumdalclitch The Dwarf
… but the lyrics are not shown here due to the complexity of the phrasing. Please see the Vocal Score. The ensemble‟s activity builds to a climax and then they are suddenly still as Gaia enters. Gulliver is visibly moved.
I saw And I felt A silent wonder [Spoken] Gaia! All at once, The stars aligned above Looked in his heart And deep in that man, I saw … Love …
Gaia stands still now too.
It was my fault.
The Sorrel Nag is heard, as she slowly enters the space. If „Tai Chi style‟ actions have been used by the Houyhnhnms earlier then she repeats them, as Gulliver joins in the movement, remembering. The purpose is to relive the unity they had, however that is achieved.
Sorrel Nag Be gentle then my precious friend Gulliver Hnoo illa nyha maiah The sun returns each day Yl niam shi houyn hoo na Honour reason to the end Nuhnoh numroh maiya hoo And light will pave your way. Yl luw nashy hllywn ma. Gulliver
You have this uncanny ability to make me see things differently...
All characters onstage are still.
Somewhere along the way I found a simple view: “To honour love in everything, In everything you do”. I want to find a middle way, Discover if we can. And then the world would see at last What man might make of man …
[Don Pedro enters the attic to Gulliver‘s amazement.]
Don Pedro Gulliver Don Pedro Gulliver
Only in comparison we see … Honour Love in everything you see … You can find another way to be… We can find a perfect way to be…
[The ensemble unfreeze].
Then the world would… See at last, the world… World would see at last… The world would See what man might make of man
[See Vocal Score for exact phrasing].
Journey on, upon the ocean wave Every day, a thousand reasons You must take the journey on.
W1&2, M1&2 Only in comparison can we truly see … A widening perspective Another way … to be.
G, DP, W3&4, M3&4
So much for you to give Free your mind The purpose of the journey you will find.
At this point there is a unity of movement between Gulliver and the characters before him, as if moving as one. Again - if the „Tai Chi style‟ actions have been used as a convention during the piece, then those moves may become the basis of this moment. The lyrics are not shown for the following group or individual parts here due to the complexity of the phrasing; please see the Vocal Score …
Don Pedro & Gulliver Women 1 & 2 Women 3 Women 4
Men 1 & 2 Men 3 Men 4
Mary enters the attic suddenly, interrupting Gulliver mid-flow in his engagement with these visions. She obviously doesn‟t see them at all. The ensemble sing a final “Another way to …” and are interrupted by Mary‟s shouting. The music stops.
Lemuel! Lemuel! What are you doing sitting on your own up here. Come down and have your supper. Betty is here. I‘ll be down in a minute. (The music restarts; underscoring. The characters all start disappearing from the stage, chaotically, like Gulliver‟s confused imagination. He reaches out to them. With the exception of Gaia and Don Pedro all the characters exit. Gulliver is now irritated, sweating, neighing and whimpering). No! No!
Mary Gulliver Mary
What‘s the matter. Can‘t you see them?! Can‘t you see them … (Understanding this little „turn‟, goes to comfort him) Oh, come here …
She reaches for her handkerchief and dabs his forehead. Gulliver catches sight of it. It is the same design as the one Gaia made for him, embroidered with the sun.
Where did you get this?
Gaia is still visible on stage, as is Don Pedro. Gulliver catches Gaia‟s eye. She smiles and begins to exit. Don Pedro turns and exits too.
I embroidered it for you, while you were away, don‘t you remember? The sun … to remind me of you … (Gulliver kisses Mary; there is a sense of healing). Let‘s go down … (Pause) … together.
Mary and Gulliver leave the attic and exit, together. Fade to black. 68
MUSIC #37 : CURTAIN CALL Company
Journey on, upon the ocean wave Every day, a thousand reasons You must take the journey on.
W1&2, M1&2 Only in comparison can we truly see a widening perspective, Another way to be …
W3&4, M3&4 So much for you to give, Free your mind, the purpose of the journey you will find…
[NOTE : Although written consecutively below, the lyrics throughout the next sequence (up to <**>) are sung simultaneously, see the Vocal Score for details].
DP, G & M On, upon the ocean wave Every day - a thousand reasons You must take the journey on So much for you to give …
W1&2, M1&2 Only in comparison can we truly see
A widening horizon, Another way to be … Only in comparison can we truly see … Good or bad
Of truth or lie
Of right or wrong Of live or die Of love or hate Of joy or pain Of light or dark Of mad or sane Of birth or death Of big or small Of give or take Of rise or fall Of lost or found Of day or night
Of Heav‟n or Hell
Of black or white Of good or bad Of truth or lie Of right or wrong Of live or die Of love or hate Of joy or pain Of light or dark <**> Company
Free your mind The purpose of the journey you will find… And live … And live …
Fade to black.
MUSIC #38 : PLAYOUT