Beauty And The Beast (Maun)

Beauty And The Beast by David Maun

“A tale as old as time, a brand new pantomime�

Beauty And The Beast

by David Maun © David Maun 2011. All Rights Reserved This e-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 play is a work of fiction. The characters are entirely the product of the authors’ imaginations and any resemblance to actual persons, living or dead, is entirely coincidental.

‘Beauty And The Beast’ is fully protected under the international laws of copyright which are enacted in the UK as the Copyright, Designs and Patents Act 1988. The right of David Maun to be identified as the intellectual owner of the work has been asserted by him in accordance with the above Act. While every precaution has been taken in the preparation of this play, the publisher assumes no responsibility for errors or omissions, or for damages resulting from the use of the material contained herein.

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Publication History: December 2011 :

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Rev A

Cast Principals (7m, 3f) Belladonna Prince Ferdinand Fairy White Rose Nathaniel Goldsmith Beauty Cecily Rosemary Lucy Lastic Crispin Cuthbert-Smythe Roderick Ruff-Diamond Hudson

An Evil Sprite (f) The Beast A Good Fairy Beauty’s Father The Heroine Beauty’s Sister Beauty’s Sister The Housekeeper (the Dame) A Suitor A Suitor The Beast’s Manservant

Support (1f, 1m/f) Dobsworth Mrs Botts Chorus of Boys and Girls

a servant another servant

Synopsis of Scenes The Prologue

Somewhere Betwixt and Between

Act One Scene One Scene Two Scene Three Scene Four Scene Five Scene Six Scene Seven

A Reception room in Beauty’s house.

Somewhere Betwixt and Between A Reception room in Beauty’s house.

A corridor in Beauty’s House The Garden of the Beast’s Castle The Kitchen at Beauty’s house The Garden of the Beast’s Castle

Act Two Scene One Scene Two Scene Three Scene Four Scene Five Scene Six Scene Seven

The Ballroom at the Beast’sCastle Somewhere Betwixt and Between The Ballroom at the Beast’s Castle A Country lane near Beauty’s Cottage The Garden around Beauty’s Cottage A Country lane near Beauty’s Cottage The Garden of the Beast’s Castle

The Epilogue Somewhere Betwixt and Between Walkdown & Calls

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General Notes Staging This pantomime can be staged very elaborately or very simply depending on the size of the stage and the capacity for scene changes. It has been written in the format of alternate scenes being played in front of a set of secondary tab curtains, to allow for the main set changes to take place behind. You will see that most of the full stage sets are repeated to allow the pantomime to flow smoothly, keeping set changes to a minimum.

Lighting The script includes a number of lighting cues, together with very basic suggestions of the style of lighting. Other lighting cues and states can be added as the Director deems necessary.

Pyrotechnics The script includes a number of cues for pyrotechnic flashes, for the two ‘immortal’ characters. The number of flashes used will no doubt depend on the budget available. Given a limited budget, it is suggested that the two most appropriate ones are used: at the opening of the pantomime, and at the beginning of Act Two, Scene Two. Sound Effects There are only a few sound effects, and these should be readily available.

Music The script includes a number of suggested places for songs. These songs should be chosen by the Director, Musical Director and Choreographer to suit the vision they have for the pantomime.

Costumes In general, ‘Beauty And The Beast’ should be costumed using the 18th Century style of dress as follows:The Prince, Beauty’s Father, Crispin and Roderick should wear frock coats,waistcoats and knee breeches, ii) Beauty should look very much a ‘principal girl’, with traditional dresses. iii) Cecily and Rosemary should not be dressed outrageously as ‘Ugly Sisters’, but could have a common theme, ie same dress but in different colours, or same material, but different styles. iv) White Rose could be a traditional silver, white and sparkling Fairy, and Belladonna could be dressed in dark colours (maybe black and purple as in the flower) and look more like a Sorceress. v) Hudson needs to be dressed as a Senior Member of the domestic staff. vi) The Chorus should be as bright and colourful as possible. In Act Two, Scene Three there is an opportunity for them all to have a ‘special’ costume as a character from a Fairy Tale, ie Snow White, Sleeping Beauty, Witches and Wizards. vii) Lucy Lastic, the Dame, should, of course, be as outrageous as possible. i)

ii

Beauty And The Beast The Prologue (Somewhere Betwixt and Between) Front of Tabs Scene depicting Fairyland. Mysterious lighting, possibly with a revolving glitter ball. As the Houselights fade, the main curtains open to reveal secondary curtains. There is a flash down stage left, Belladonna enters into a follow spot.

Belladonna

Welcome, to my wedding night!

I'm Belladonna, evil (pause) sprite! (Raises eyebrows ironically).

Silence! Silence! I can't stand noise.

Especially made by girls and boys.

Good! Now you’re silent, I'll proceed I've things to do and tell, take heed.

I've married many, many times I just love hearing wedding chimes.

My latest ‘victim’ does not know That I'm his bride, so now I'll show You just who is my new intended.

His life of fun has almost ended.

(Calling offstage). Peasants, pull the tabs aside

And let the victim meet his bride.

The secondary tab curtains open to reveal a small inset scene with a Throne on which Prince Ferdinand sits.

Prince Belladonna Prince Belladonna Prince Belladonna Prince

(To audience). Hello! I bet you think it’s exciting being a Prince. It’s not! In fact, it’s

not all it’s cracked up to be. I mean, people are always asking me questions.

(Tapping him on the shoulder). Excuse, me…

(Without looking at her). See what I mean?

Don't talk to them, it's time, you see, To take a wife. Now, marry me.

(Ignoring Belladonna). Usually, if I just smile at them they go away. (He turns to look at her). Aaaaaaah! (He gets off his throne and backs away). Leave me alone!

I’ll be your Princess, be your bride.

Submit to me, stand by my side.

Never! I could never marry you. You’re so... so...

During this next part White Rose enters stage right and listens. Follow spot on White Rose.

Belladonna Prince

Belladonna Prince Belladonna

Take care, my patience may not last.

Give me an answer, make it fast.

I? Marry you? You must be mad.

What makes you think that I’d be glad To take a wife whose face is cracked.

The answers, no, and that’s a fact!

Think again, then one more try.

My mind’s made up, I’d rather die!

Very well then, be my guest!

Prepare to die, as you request.

(She walks towards him menacingly and a nasty, ugly smile crosses her lips).

But wait, you think your life has ceased.

I’ll change you now, from Man to Beast.

Your once good looks will disappear The sight of you will make all fear.

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Your hair will grow, your teeth will curl.

Your eyes will bulge, your ears unfurl.

You’ll be detested and reviled In time you’ll wish that you had smiled And taken me to be your wife.

So now enjoy what’s left of life.

(Belladonna waves her wand, there is a short blackout and the Prince exits. Blackout and then bring up lights to original setting).

(Calling offstage). Peasants! Close the tabs I’m through.

White Rose

I’ll leave at once for Timbuktu.

(To audience). Farewell for now, we’ll meet again I don’t know how or where or when.

But rest assured I will be back! (She laughs and exits stage left).

(To audience). Dear oh dear, this will not do.

There must be something we can do.

Before we go on, let me tell You who I am. My name’s Adele.

I am the Fairy of the Rose And where I come from, no-one knows.

Now, Belladonna’s turned this man Into a Beast. I’ll need a plan To try and save him from this fate.

I only hope I’m not too late.

So Boys and Girls, your help I’ll need To foil this nasty, evil deed.

So, while I think just what to do I think the time has come for you To join a party taking place For a girl who’s really ‘ace’.

Her name is Beauty. Let’s away And join the fun without delay.

I’ll be off and see you soon It’s time to hear the opening tune.

White Rose exits stage right.

ACT ONE Scene One (A Reception Room in Beauty’s House) A full stage scene showing the bright and colourful interior of Beauty’s House, decorated for a birthday party.

The curtains open to reveal the party in full swing. The Chorus are singing and dancing. Beauty and Father are part of the number.

MUSIC #2 : A SONG FOR BEAUTY, FATHER & CHORUS After the number the Chorus break up into small groups around the stage. One or two servants enter and begin handing out drinks, etc. Beauty and Father move forward.

Father Servant Father Servant

Ah, Beauty, I wish your Mother was here to see you. She would have been so proud.

(To Father). Excuse me sir, but there are two gentlemen asking to see you.

Please show them into the Library.

Yes, sir. (Exits).

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Father Beauty Father

(Turning to Beauty). I expect these are more young men wanting to marry you.

But, I don’t want to get married. I want to stay here with you.

Ah, Beauty. So thoughtful and kind. If only your two sisters were like you.

Cecily and Rosemary enter, pushing past Beauty, and standing either side of Father.

Cecily Rosemary Cecily Rosemary Cecily Rosemary Cecily Both Cecily Rosemary Father Cecily Rosemary Father Cecily/Rsmry

Daddy.

Daddy.

Daddy.

We heard... ... that there... ... were two... ... young men ... outside.

Are they here to see me?

Or me?

I don’t know, my darlings. I haven’t spoken to them yet.

Why not?

Yes, why not?

Because, they have only just arrived and …

(Together). Never mind about that. Go and see them at once.

Cecily and Rosemary start to frog-march Father offstage.

Cecily Rosemary

(Turning to the Chorus). Right you lot. Off you go.

Yes, take a hike. We’d like a quiet word with our dear sister. (The Chorus exit, muttering about Rosemary and Cecily as they go. She now goes to one side of Beauty).

Now then, Beauty. If either of these two men ask you to marry them, say no!

Cecily (Going to the other side of Beauty). Better still, don’t speak to them. Go to your room.

Beauty But this is my birthday party.

Cecily/Rsmry (Looking at each other). Oooh! Touchy!

Rosemary You’re so selfish!

Beauty Me, selfish?

Cecily You see, she agrees with you!

Rosemary Now run along. (She pushes Beauty).

Cecily Yes, off you go! (She pushes Beauty too).

Cecily/Rsmry (Together). We haven’t got all night!

Lucy Lastic enters.

Lucy Rosemary Cecily Lucy Rosemary Cecily Rosemary Cecily Rosemary Cecily

Now then, now then, now then. What’s going on here?

It’s Beauty.

(Moving to one side of Lucy). She won’t go to her room and leave the men to us.

What are you talking about?

(Moving to the other side of Lucy). There are two men… …in the Library … …who we want … … to marry us … … so, we want Beauty… …out of the way.

During the above, Lucy moves her head from side to side as at a tennis match.

Lucy Cecily

Marry you. I don’t think so! They may have come looking for me! (She ‘preens’ herself).

Don’t make me laugh!

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Rosemary Lucy Cecily

No-one could be that desperate!

That’s it, that’s it, that’s it. Now off you go. Shoo! Skidaddle!

Come along Rosemary, let’s go.

Rosemary and Cecily link arms and exit.

Beauty Lucy Beauty Lucy

(Moving to Lucy). Oh, Lucy, thank you. (She kisses Lucy).

(Embarrassed). Stop it, stop it, stop it. Now go and find your friends in the garden.

Bye, Lucy. (She exits).

Good, that’s that sorted. (Seeing the audience). Oh, hello. (Waits for a response).

I said, hello! That’s better. I’d better introduce myself. My names Lucy, Lucy Lastic and I’m the Housekeeper. Now, what I’d like you to do is to call out “Hello, hello, hello”, every time you see me. Can you do that? Let’s have a little practise. (She goes into the wings, exits and comes on again). Not bad, not bad, not bad.

Let’s try it again. (Repeat). Well done, well done, well done. (To the Lighting Box). Can I have the houselights up, so that I can see this lot better? (Fade up houselights). Oooooohhhhhh!

(Lucy puts her hands over her eyes). Quick, turn them down again. (Fade out houselights).

Thank you. Cor, you didn’t half give me a shock. All those eyes! It was like looking at a fishmonger’s slab! And talking of fish, I can see a right old trout over there!

Anyway, where was I. Oh, yes, I spend my entire life rushing around looking after this lot. Rush, rush, rush, rush, rush and I only get one afternoon off a month. (She encourages the audience to say “Ah!”). So, last month I decided to pamper myself a little and have a Turkish Bath. Off I went and found this marvellous place … all white tiles and thick, thick steam. Oooh, it was lovely! In I went and took off all my clothes and lay down on the white tiles. It was bliss! Well,all of a sudden the steam cleared and, guess what, I found myself in a fish and chip shop! I tell you, naked or not, I was out of that door and down the street like a steam engine.

I shot past two old men waiting at a bus stop and one turned to the other and said.

“Did you see what she was wearing?” and the other one said “No, but whatever it was it needed ironing!” Cheek! Still, I’ve had worse jobs and Miss Beauty is a lovely girl.

She reminds me of myself when I was younger. And the Master is a kindly old soul. I could quite fancy him you know. No, there are only two problems working here, Miss Cecily and Miss Rosemary. They’re both jealous of Miss Beauty’s good looks. Every young man in the village wants to marry Beauty, but she isn’t interested. Whereas Cecily and Rosemary are so desperate, they pounce on any man that comes to the house!

Father enters with Roderick and Crispin following behind.

Father Lucy Crispin Roderick

This way gentlemen. Ah, Lucy. Please arrange for two additional places to be set.

These two gentlemen will be eating with us.

Certainly, sir. (Lucy tries to gives a little curtsey and falls over).

(Speaking with a lisp). Whoops-a-daisy. Come on, Roderick, give me a hand. (Roderick begins to clap). Oh, I say; very amusing. Come on let’s help her up.

(Who pronounces his ‘R’s as ‘W’s). Righto, Crispin. After three … 1, 2, 3!

Roderick and Crispin lift Lucy to her feet.

Lucy Crispin Roderick Crispin Roderick

Thank you, thank you, thank you.

It was my pleasure.

It was no trouble, no trouble at all.

Allow us to introduce ourselves. I am Crispin Cuthbert-Smythe. (He kisses her hand).

And I am Roderick Ruff-Diamond. (He too kisses her hand).

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Charmed, I’m sure. (She gives another little curtsey and falls over. Roderick and Crispin help her to her feet. Then, to the audience). I really must stop doing that. (To Father). If you’ll excuse me sir.

Father Lucy, would you find Beauty and ask her to join me?

Roderick Why, are you coming apart? (He turns to Crispin and they laugh exaggeratedly).

Lucy Yes, Sir. (To audience). Another couple of no-hopers. (She exits).

Father Now then gentlemen, what brings you here.

Crispin/Rdrk (Both dropping to one knee). We want to marry Miss Beauty.

Father (Laughing). But, gentlemen you cannot both marry her.

Crispin I am suave, sophisticated, single and sexy!

Roderick I am ravishing, ruthless and ruggedly romantic.

Father (Looking from one to the other). Yes, well I’ll let you know. In the mean time why don’t you stay and join the party.

Crispin Super!

Roderick Right-on!

Lucy

Rosemary and Cecily rush on as before and stand either side of father.

Cecily Rosemary Cecily Cecily/Rsmry Rosemary Cecily Father

Daddy.

Daddy.

Daddy.

(Stopping and looking at each other, then together). Men! (Turning to Roderick and posing). Oh, I say Cecily, look. We have company.

(Turning to Crispin and posing). Why, so we have.

Gentlemen, let me introduce my two daughters, Rosemary and Cecily.

Rosemary and Cecily move towards the two men, who back away.

Rosemary Roderick Cecily Crispin Rosemary Cecily Roderick Crispin Father Crispin/Rdrk

(Very seductively). Hello! My name’s Rosemary. What’s yours?

Roderick Ruff-Diamond. (Still backing away).

(Very seductively). And my name’s Cecily. What’s yours?

Crispin Cuthbert-Smythe. (Still backing away).

(To Roderick). I’m from a family with pedigree, chum.

(To Crispin). And I’d like to be your pal.

(To Crispin). We must be at Crufts.

(To Roderick). Well these two are certainly a couple of …!

(Sternly, warning). Gentlemen!

(Together). Supreme champions!

Rosemary and Cecily move towards the two men, so that the men end up back to back in the middle of the stage.

Rosemary Cecily Crispin/Rdrk Cecily/Rsmry Crispin/Rdrk Cecily/Rsmry

Now we’ve been formally introduced… …there’s something we want to tell you.

What’s that?

(Dropping to one knee, then together). Yes! I will marry you!

(Together). What!

(Together). Yes! I will marry you!

The two men turn to face each other and start ‘cuddling’ in fright.

Crispin/Rdrk Cecily/Rsmry Crispin/Rdrk Cecily/Rsmry

(Together). No! (Standing). Yes!

No! Yes!

Rosemary and Cecily grab Roderick and Crispin and try to ‘kiss’ them. The two men make a lot of noise and Beauty, Lucy and the Chorus enter.

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(Hopefully, the audience will say “Hello, hello, hello.” If not, she must remind them). Hello,

Lucy Cecily Rosemary Cecily/Rsmry Crispin/Rdrk Cecily/Rsmry Crispin/Rdrk Lucy Father Lucy Father

hello, hello. Now then, now then, now then. What’s all this noise?

We’ve just become engaged… …to be married.

(Together). Haven’t we boys?

(Together). Weeeeell!!

(Together, with menace). Yeeees.

(Together). We’d love to!

Well that’s that settled. (To Father). Go on then, make the announcement. (To the band). Fanfare please. (MUSIC #3 : FANFARE) Thank you. (To Father). Off you go then.

I hereby announce the forthcoming marriages of my two eldest daughters to these two gentlemen.

And I hope they all go and live somewhere else, very quickly.

Come on then, everybody. Let’s celebrate!

MUSIC #4 : A SONG FOR ROSEMARY, CECILY, RODERICK, CRISPIN, FATHER, BEAUTY, LUCY & CHORUS Fade to black after song.

Scene Two (Somewhere Betwixt and Between) Front of Tabs scene depicting Fairyland. Mysterious lighting, possibly with revolving glitter ball.

Belladonna

Hello peasants, I’ve come to see The Beast, who’s in captivity.

He’s shut himself away from view To save the likes of you (Points to one person). and you (Points to another).

From being frightened, shocked and scared Things worked out better than I dared!

You’ll see a once proud, future King.

Transformed into a hideous thing.

(She waves her wand. There is a pyrotechnic flash, followed by a blackout. The Beast enters and drops to the floor moaning and groaning. Lights up as a swirling effect in green and purple. SFX: Strange electronic sounds. After a couple of seconds, she waves her wand and the lights and music stop. The Beast slowly stops writhing. She goes to him).

Beast Belladonna

You really have turned out quite ugly and repulsive.

(Looking at Belladonna). At least I have a spell on me. What’s your excuse?

Such spirit. Oh, I am impressed And now to do what I do best.

(She waves her wand and the lights and music begin again. The Beast writhes in agony. After a few seconds she waves her wand and the lights and music stop).

(To audience). I do love causing people pain.

So much so, here goes, (pause) again.

(She waves her wand once again and the lights and music begin. The Beast writhes in agony.

After a few seconds she waves her wand and the lights and music stop).

Beast

And now, dear ‘Beast’, I’ve come to see If you’ll relent and marry me.

One last chance to say “I do”, Think carefully. It’s up to you.

Aaaaaaaahhhhhhhhhhhh!!

The Beast strikes Belladonna. She waves her wand as above and the lights and music begin again. The Beast sinks to the floor and writhes in agony.

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Belladonna

White Rose

How dare you strike me, now you’ll pay!

I’ll increase power, you’ll rue the day That you saw fit to reject me You’ll live a life of misery.

(Entering). Stop! Enough! This is not right!

You really are an evil sprite.

The effect lights go out, the music stops and the Beast slowly stops writhing.

Belladonna White Rose Belladonna White Rose Belladonna

White Rose Belladonna

Fairy White Rose, dear oh dear!

(Mock fear). I am so frightened; full of fear.

I challenge you – take up the fight.

Good versus Evil. Wrong versus Right.

Evil will always win the day.

Be off with you without delay.

I promise you I will succeed.

Set out your terms and we’ll proceed.

Fairy White Rose, the spell will break If you can find a girl and make Her love the man inside and see Beyond the Beast, then he’ll be free.

Agreed! Now just you wait and see, The power of love will set him free.

So confident – I am impressed.

I’ll leave you now to start your quest.

Au revoir, we’ll meet again Goodbye, farewell, auf wiedersehn.

Belladonna exits stage left with a flourish.

White Rose

I summon Hudson to appear And take the Beast away from here.

(Hudson enters and takes the Beast offstage. Then to the audience).

The perfect girl to break the spell Is one, I think, you know quite well.

So, everyone, it is your duty.

Tell me please – it must be … (Hopefully, the audience will shout out ‘Beauty’).

Well done, well done – I quite agree.

My plan will start: Act One, Scene Three.

I must away, I’ve things to do.

So, bye for now and toodle-oo.

White Rose exits.

Scene Three (A Reception Room in Beauty’s House) The set is as Scene One with additional party ‘clutter’ around the stage, ie balloons, streamers, plates and glasses. The lighting is very bright and colourful. Lucy and the Chorus are tidying up.

Lucy

(To audience). Hello, hello, hello. You wouldn’t believe how much there was to do,

Father Chorus Lucy Father

it’s all work, work, work. The stories I could tell!

(Entering). Good morning, everyone.

Good morning, Sir. (Chorus bow or curtsey).

(Standing up). Good morning, Sir. Did you sleep well?

Like a log.

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Lucy

Father Lucy Person #1 Lucy Person #1 Lucy Father Chorus Father

Did you wake up in the fireplace? (She laughs). “Woke up in the fireplace”. How do you feel … (pause) … grate? (She laughs again). Come on, ‘grate’, you know, as in fire grate.

I think you need to take a nap, Lucy.

But I’m not tired.

(To Lucy). Well, go and sit on the window ledge for a while.

Sit on the window ledge?

Yes, you might drop off!

Ooooh. Just wait ‘til I get my hands on you. (Lucy chases the person offstage).

(Laughing). It’s such a lovely day, why don’t you go for a picnic by the river.

(As they exeunt). Thank you, Sir. A picnic! Good idea. Wow! Great! Let’s go.

Now then Lucy …

Roderick and Crispin enter dressed in nightshirts, hats and slippers.

Crispin /Rdrk Father Crispin Roderick Lucy Crispin Father Roderick Father Crispin Father Crispin Roderick Crispin Roderick

(Together). Good morning; we think!

Good morning.

I say. Excuse me. May we ask a question?

In private. (Looking at Lucy).

Don’t mind me. I’ve got work to do. (She ‘busies herself’ around the stage).

(To Father). Did we do or say, anything to anyone last night?

Like what?

Did we propose marriage?

Yes, you did.

Was it to your youngest daughter?

Beauty? I’m afraid not. And now, if you will excuse me, I have two weddings to arrange. (He exits).

(To Roderick). You see. It wasn’t a dream.

(To Crispin). We really are going to be married.

Let’s escape, slip out stealthily.

Run away, retrace our route.

Crispin and Roderick begin to back out of the room.

Lucy Crispin Lucy

(Coming between them). Gentlemen. Aren’t you forgetting something?

Such as?

Your clothes!

Crispin and Roderick look at themselves, then each other, put one hand over their chests and put their hats over their groin. They become agitated.

Crispin Roderick Crispin Roderick Lucy

This is so embarrassing.

Really, really embarrassing.

I feel somewhat silly and exposed.

Very ridiculous.

Gentlemen, I’d like to say I’ve seen it all before … but I have led such a sheltered life. (To audience). You wouldn’t believe the sort of life I’ve led. Like a nun! None on Monday, none on Tuesday, none on Wednesday.

Cecily and Rosemary enter dressed in ‘baby doll’ nighties, posing at the side, each ‘eyeing’ their man.

Cecily Rosemary Lucy

Look, Rosemary. Doesn’t Crispin look crucial in crimson.

Not bad. But, my Roderick looks resplendent in red.

(To audience). Looks like a good time to go! See you later. Bye! (She exits).

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MUSIC #5 : A SONG FOR CECILY, ROSEMARY, CRISPIN & RODERICK At the end of the number Beauty and Father enter.

Father Gentlemen, your clothes have been washed, pressed and put in your rooms.

Crispin /Rdrk (Rushing to Father and speaking together). Thank you, Sir, thank you. (They shake his hand and exit).

Cecily/Rsmry (Together). Wait for us! (They chase after Crispin and Roderick).

Father (Watching them). I know I shouldn’t, but I do feel sorry for Roderick and Crispin.

Beauty Never mind. At least this means there will just be the two of us.

White Rose enters stage right ‘in disguise’ as a lawyer, wearing a wig and gown over her costume. She carries a scroll. She waves her wand, Beauty and Father freeze. The lighting dims and a follow spot appears on White Rose.

White Rose

(To Audience). As you can see, I’m in disguise.

I’m now a lawyer, to advise.

That due to some unseen misfortune Beauty’s Father has lost his fortune.

I need for Beauty to change location Which means a little fabrication.

I’ll make them move into their cottage Which means I have to change my language.

No more couplets. No more rhyme.

Keep it simple. It’s pantomime.

She waves her wand and Beauty and Father unfreeze. The lighting reverts also.

White Rose Father White Rose Beauty White Rose Father White Rose Father White Rose Father White Rose Beauty White Rose Father Beauty Father Beauty

(Clearing her throat). Ahem. (Father and Beauty turn to face her). Are you Nathaniel

Goldsmith, the fabulously rich merchant?

I am.

Then I have some bad news for you.

Bad news?

Yes. The Stock Market has collapsed and you have lost your entire fortune.

No! Surely, you are joking.

I’m a lawyer. (Pause). I don’t joke.

Everything?

Everything. Even this house!

But where will we live?

Now, let me see. You still have your cottage in the country. (With a broad wink to the audience). The one near the enchanted forest. You could go and live there.

That’s true.

I’m sorry to bring you such bad news. But I’m sure everything will turn out right in the end. Goodbye. (She exits).

Oh, Beauty. What’s to become of us?

Cheer up, Father. We’re still together. And it’s been ages since we went to the cottage.

I must go to the City and see what can be saved. (Calling). Cecily! Rosemary!

Lucy! My dear Beauty, I’ll leave at once.

Of course, Father.

Cecily, Rosemary, Crispin and Roderick enter followed by Lucy.

Cecily

You bellowed, Daddy.

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My darlings, I have some bad news. I’ve just been told that I am bankrupt.

Bankrupt?

Bankrupt.

No money?

No money.

(Together). But what about our weddings?

(Evenly). Postponed.

(Together, unhappy). Postponed!

(Evenly). Postponed.

(Together, ecstatic). Postponed!

(Evenly). Postponed Father is going to the City to sort it out. In the meantime we shall go and live at the cottage.

Cecily The cottage!

Rosemary But it’s so small!

Cecily Does this mean we’re poor?

Father I’m afraid it does.

Rosemary I don’t want to be poor.

Cecily We’ll have to buy our clothes in charity shops…

Rosemary …and our food from (insert name of local supermarket).

Lucy Never mind, never mind, never mind. You’ve still got Roderick and Crispin.

Cecily (To Crispin). You do still love me, don’t you?

Crispin (Nervously). Er…..

Rosemary (To Roderick). And you do still want to marry me, don’t you?

Roderick (Nervously). Er….

Cecily/Rsmry (Together, forcefully). Don’t you!

Father Rosemary Father Cecily Father Cecily/Rsmry Father Cecily/Rose Father Crisp/Rod Father Beauty

The lights fade, two spotlights hit Roderick and Crispin. SFX: music from the television programme ‘Who Wants To Be A Millionaire?’ is heard.

Crispin Roderick Crispin/Rdrk Cecily/Rose Crispin/Rdrk

Can I go 50/50?

Or phone a friend?

(Together). Or ask the audience?

(Together). We need your final answer.

(Together). We’ll let you know! Look!

Roderick and Crispin point upstage and exit downstage very quickly. Cecily and Rosemary run after them. The lighting returns to normal.

Lucy

Well, come along, come along, come along. We can’t stand here all day, there’s packing to be done. (To Father). Now then, Sir, you start in the study, and Miss Beauty, you sort out the library. Go on then … off you go. (She ‘shoos’ them off . Then, to the audience). As if I haven’t got enough work to do, now I’ve got to pack up this place and move. (Calling offstage). Right you lot. Come on there’s work to do.

There should be a ‘chase’ type sequence with Lucy and the Chorus rushing across the stage carrying increasingly more outrageous props, ie, coat stand, computer, etc. A strobe effect could be used.

MUSIC # 6 : ‘HURRY-UP’ MUSIC FOR LUCY & CHORUS Blackout at end of the music.

10

Scene Four (A Corridor in Beauty’s House) Front of Tabs. A corridor. Bright and colourful. Roderick enters carrying a parcel and a letter.

Roderick

Rosemary Roderick Rosemary Roderick Rosemary Roderick Rosemary Crispin Rosemary Crispin

Cecily Crispin Cecily Crispin Cecily Crispin Cecily Crispin Cecily

Lucy Cecily Lucy Cecily Lucy

(To audience). I’ve just received a parcel and a letter. (He puts down the parcel and opens the letter). It’s from my Gran. “Dear Roderick. I am writing this letter very slowly as I

know you can’t read very quickly. Happy Birthday! I saw this and thought of you! In case you don’t know what it is - it’s a pheasant.” (He picks up the parcel, looks inside and then holds his nose). Phew, it’s rancid! I think it’s rotten! I’ve got to get rid of it.

But how?

(Entering). Hello, Roderick. What have you got there?

Oh, it’s er… er… a present. For you.

What is it?

It’s a pheasant. You could roast it for your dinner. (He hands it to her).

Oh, thank you. That’s very kind of you. (She goes to kiss Roderick).

(Backing away). My pleasure. Don’t mention it. Don’t kiss me. (He exits).

I like pheasant. (She opens the parcel and looks in). Cor, what a rotten stink. It’s gone off! I must get rid of it.

(Entering).Hello, Rosemary. Have you been shopping?

No, er, Yes! Actually, I bought this for you. It’s a present of a pheasant, I thought you might like it for your supper. (She hands it over and exits).

A present of a pheasant, how very pleasant. I’ll put it in a casserole. (He opens the parcel and sticks his nose in). Strewth! What a stench. It stinks! It’s a very unpleasant present of a pheasant. I must throw it away as soon as possible.

(Entering). Hello, Crispin. What have you got there? Is it a present for me?

Yes, it is, but it was supposed to be a surprise.

You shouldn’t have! (She goes to kiss Crispin). Let me give you a little kiss!

No, please don’t. I mean … I don’t deserve it Silly boy. (She ruffles Rodericks’ hair). Now then, tell me about this present. Has it been advertised on television?

(To audience). No, but it could be advertised on smelly-vision.

I’m so excited. Go on. Tell me what it is.

It’s a pheasant. (He hands it over). I hope you’ll both be very happy. (He exits).

A present of a pheasant. How pleasant to receive a present of a pheasant. My Crispin’s such a love. (She opens the parcel). Cor, strewth and love-a-duck. This old bird has seen better days. (Looking into auditorium). And talking of old birds that have seen better days …

(Entering through the auditorium). Hello, hello, hello.

Lucy. I’ve been looking for you. I found this pheasant and thought of you.

A pheasant.

Yes. It’s a present. Now I must be off. (She exits).

(To audience). A present of a pheasant. I’m such a peasant. I’ve never eaten pheasant.

I wonder if it needs plucking? That reminds me, I know a rhyme about a pheasant plucker. And I have to say that line very carefully indeed!

I’ll save it for another time. It’s not just fairies that speak in rhyme! (She exits).

Roderick enters, reading his letter.

Roderick

(To audience). I’ve just reached the end of that letter from my Gran and it says

Rosemary Roderick

“PS. I’ve put a twenty pound note under the pheasant”. I’ve got to track it down.

(Enter Rosemary). Rosemary, where’s that present I gave you recently?

It was rotten, so I gave it away.

Well, my Gran put a twenty pound note under it. It’s imperative we retrieve it.

11

Rosemary Roderick Crispin Rosemary Crispin Roderick Crispin Rdrk/Rsmry Cecily Crispin Cecily

But, I gave it to Crispin.

(In anguish). Crispin!

(Entering). Yes. Crispin, have you got that pheasant I gave you?

No I haven’t! It was sweaty, stale and smelly. Why? Because it’s got a twenty pound note under it. We’ve got to recover it.

Oh, silly me. I’m such a soppy soldier! I gave it to Cecily.

(In anguish). Cecily!

(Entering). Yes. Cecily, my scrumptious little sausage. Have you got that present I gave you?

Don’t you “scrumptious little sausage” me! That pheasant was really unpleasant. So I gave it to Lucy.

Rdk/Rmy/Crn (In anguish). Lucy!

Enter Lucy holding parcel with the pheasant in it.

Lucy Roderick Rosemary Crispin Cecily Lucy

Did somebody call? (To audience). Hello, hello, hello.

Thank goodness! (Roderick snatches the parcel). Right, I’ve got the pheasant!

(Snatching the parcel from Roderick). No - I’ve got the pheasant!

(Snatching the parcel from Rosemary). No - I’ve got the pheasant!

(Snatching the parcel from Crispin). No - I’ve got the pheasant!

(Holding up the£20 note) Yes - but I’ve got the twenty pound note!

MUSIC #7 : SONG FOR LUCY, CRISPIN, RODERICK, CECILY & ROSEMARY After the song Cecily, Crispin, Roderick and Rosemary chase Lucy into the auditorium. Beauty and Father (now dressed for the City) enter.

Beauty Father Beauty Father Beauty Father Beauty Father Beauty

Now, are you sure that you have everything?

I think so.

You will take care won’t you?

I promise.

Lucy and I will organise everything at the cottage, so you’ve no need to worry.

I’m not worried about you. It’s your two sisters. They’re not used to fending for themselves.

They’ll be alright. Now, off you go and try and sort something out.

Do you want me to bring you anything from the City?

No thank you, just come home safely – that’s all I want. (She kisses him).

They exit. Fade to black.

Scene Five (The Garden of the Beast’s Castle) A dark and gloomy full stage set with the exterior of the castle at the back of the stage with a working doorway.

There should be a number of white rose bushes around the stage and a small garden bench. The scene opens with the Chorus dressed as strange masked creatures dancing in the garden.

MUSIC #8 : A DANCE FOR THE CHORUS After the dance, the creatures leave and two or three members of the Chorus enter dressed as servants and begin working in the garden. Shortly after this, Hudson enters. He is a gentle, kind and quiet man, dressed as a Senior Servant/Head of the Domestic Household. It is early evening.

Hudson Servant #1 Hudson

Quickly now. It is almost time for the Master to appear.

But Hudson, it’s such a lovely evening.

True. But I doubt the Master will think so.

12

Servant #2 Hudson Servant #2 Servant #3 Hudson Servant #1

Why does he shut himself away in the castle and only come out at night?

Because then he is able to pretend he’s like he was before that evil sprite Belladonna placed a curse upon him.

But he’s a prisoner in his own castle.

We hardly ever see him these days.

That is as he wishes. Now, run along. The Master wishes to walk in the garden alone.

We’ve finished Hudson. Come on, let’s go. (They exit).

Hudson watches them go and exits, into the castle. White Rose enters into a follow spot. The stage lighting dims slightly.

White Rose

Belladonna

White Rose

Beauty’s Father is quite close by, I need him here. It’s time that I Put “Phase Two” into operation, Something dramatic as befits the occasion.

I’ll start a storm as he rides by, His horse will bolt, then he must try To find a shelter from the rain By walking down this country lane.

So, wind and rain at once appear When he arrives, I’ll disappear.

(Entering stage left into another follow spot). Fairy White Rose, what’s this I see?

You’ll cause more misery than me!

Still I presume this is your plan To free the Beast, reveal the man.

I know I should wait round and see Just how you intend to beat me.

But I’m so confident that I Will win no matter what you try.

So I’ll away and leave you be But I’ll be back, believe you me! (She exits).

Now that she’s gone, I can proceed To cast my spell with Fairy speed. (She waves her wand and falling rain is heard).

Storm! Begin! Start a crescendo.

After a while - diminuendo.

There are flashes of lightning as a storm with thunder and lightning begins. White Rose moves downstage and opens a white umbrella. Father enters trying to shelter from the rain. White Rose waves her wand and the storm subsides. She shakes and closes her umbrella. The lights return to normal. Father crosses to the seat and sits down as if exhausted.

Father

Beast Father Beast Father Beast

That was a really sudden storm. Nelson, my horse bolted and now I have no idea where I am. I’ve been looking for a white rose for Beauty as they’re her favourite, but I haven’t been able to find one anywhere. (White Rose waves her wand; the white rose bush glows with a bright light, and there is a sound of small bells tinkling. He sees the bush and goes over to it. Looking around). A white rose! Why didn’t I see it before? Beauty shall have her gift! (He goes to the bush and picks a rose. As he does so, the Beast appears and the lights return to their pre-bush state).

(Ferociously). Thief! How dare you steal my roses!

(Backing away). I’m sorry. I had no idea they were yours. I didn't think...

(Furiously). Didn’t think! What excuse do you have for stealing this flower?

(Now recovered a little). I’m sorry, I didn't know this was a private garden.

(Angry). Sorry is not enough! Sorry will not save your life. You’re a thief and

I shall kill you.

13

Father Beast Father Beast Father Beast Father

Beast Father Beast Father

(Aghast). Kill me? But why?

Anyone who trespasses in my garden must die!

(Dropping to his knees). Please, I beg you. Spare my life, for Beauty's sake!

(Staring at him for a moment) Beauty? Who is this Beauty?

She is my youngest child, and as lovely as these flowers.

Who are you?

My name is Nathaniel Goldsmith. I was on my way home when my horse bolted in the storm. I was looking for shelter when I saw the beautiful white roses. I picked one for Beauty, my youngest daughter So? (Relenting). This daughter of yours is fond of flowers then?

She loves all beautiful things. She is as kind and gentle as she is pretty.

(Gently). You have a great love for this daughter of yours.

(Simply). She means the world to me. If you kill me her heart will be broken.

White Rose waves her wand, the lights dim and Beast and Father freeze. Spot on White Rose and the stage lights dim slightly.

White Rose

So far so good, my plans on course Again I’ll use my Fairy Force.

To make the Beast release this man Set him free, and then my plan Is that he’ll return within one week Listen now, the Beast will speak.

White Rose waves her wand, and exits. The lights return to normal. Beast and Father ‘un-freeze’.

Beast Father Beast Father Beast Father Beast Father Beast Father Beast Hudson Beast Hudson Beast

That must not happen. Beauty must have her white rose. (He paces about in deep thought for a moment or two). I will spare your life on one condition.

Anything? Please.

You must return within one week and bring with you the first creature that greets you when you reach your home.

(Laughing with relief). That will be our dog! I accept your condition, Sir! Good! Then take the rose to Beauty and don't forget your promise. (Now with emphasis). The first creature to greet you when you reach your home.

I shall not forget.

(More gently). You look tired.

Yes, I am. I have lost my horse and must return home on foot.

Then accept my hospitality tonight and tomorrow I will lend you a fresh horse.

You are very kind.

(Stopping and looking at him). Kind? No-one has said that to me for a long time.

(Calling). Hudson!

(As he enters). Yes Sir? Hudson, this gentleman will be staying at the castle. Give him food and drink and see that he has a bed for the night.

(Astonished). Staying, Sir? Here? Tonight?

Yes, inform the servants.

Hudson goes to the door and claps his hands. Two or three Servants enter. The Beast turns away from them and moves away.

Hudson Chorus

(To the Servants). Prepare food and drink for our guest. It is the master's wish.

Yes, Hudson. (To Father). This way, Sir.

Father turns to the Beast who is standing with his back to them all.

Father Hudson

Thank you, Sir. (He exits with the Servants).

(Going to the Beast). Master, what is the matter?

14

Beast Hudson Beast Hudson Beast Hudson Beast Hudson Beast

(Agitatedly). Everything's the matter! Hudson, I nearly killed that man!

But you didn't, master, and I'm sure you never would.

You are a good and loyal friend, Hudson, but in moments like these I am afraid of the day when the Beast takes over completely.

Master, we both know that you are too kind and gentle to hurt anyone.

But for how long? The smallest thing sends me into a terrible rage, like that poor fellow picking a single flower.

But the rage passes as quickly as it arrives. And afterwards you are sorry. (Gently mocking). Dear Master, what kind of beast are you?

I hope you're right, but I want you to watch me, guard me and see that I do no harm.

(With a small bow). Master, I am your servant.

(Holding his shoulders). Not my servant; my friend … a good friend. Now, please leave me alone.

Hudson exits.

MUSIC #10 : A SONG FOR THE BEAST Fade to black.

Scene Six (The Kitchen at Beauty’s Cottage) A bright and colourful front of tabs scene depicting a kitchen.

Lucy

Beauty

(To the audience as she enters). Hello, hello, hello. (She crosses the stage, turns round and blows a whistle). Squad! Quick march! Left, right, left, right, etc. (Beauty marches on followed by Crispin, Cecily, Roderick & Rosemary). Left, right, left, right, left, right.

Halt! (They do so). Squad! Face front! (They do so). Squad! Right dress! (They do so).

Squad! Stand at ease! Stand easy! (Cecily and Rosemary immediately sink to the ground, exhausted). Now then, now then, now then. No slouching. Get up, get up, get up!

(Roderick and Crispin help Cecily and Rosemary to their feet). That’s better. Now for

today’s duties. Miss Cecily and Miss Rosemary - wash and iron the clothes, clean out the grate, cook the dinner, dust the cobwebs, make the beds, polish the floor, get the shopping, etcetera, etcetera, etcetera. Roderick - mow the meadow. Crispin - chop the logs. Miss Beauty - churn the butter …

Done.

Cecily and Rosemary mock her gently.

Lucy Beauty

… bake the cakes …

Done, done.

Cecily and Rosemary mock her more loudly.

Lucy Beauty

… arrange the flowers in the sitting room …

Done, done, done.

Cecily and Rosemary mock her even louder.

Lucy Cecily Rosemary Lucy

… Good. Then you and I can go for a nice cup of tea.

I expect she’s already put the kettle on … … and warmed the teapot.

(Going up to them). No she hasn’t! I have! Come along Miss Beauty, let’s go.

Lucy and Beauty exit.

Cecily Rosemary Cecily

What’s happened to us? I used to be the belle of the ball.

Pity you lost your clanger! When we’re rich again I’m going to have a face lift.

When they see what’s underneath they’ll drop it again quickly.

15

Rosemary Cecily

You snob! You won’t eat a hotdog unless it’s registered with the Kennel Club!

I used to have hundreds of men at my feet. Now the only man who comes near them is the chiropodist!

While this is going on, Roderick and Crispin go offstage and collect an ironing board, an iron, a basket of washing, a washboard and sundry other ‘cleaning’ props.

Roderick Crispin Roderick Crispin Roderick Crispin

Come on, Crispin. Let’s go to the (insert name of a local Public House) and play cards with the Landlord.

Oh, no. Not me. I don’t play cards with him anymore.

Why not?

Would you play cards with a man who cheats and keeps all the aces up his sleeve?

I certainly would not.

No. And neither would he!

MUSIC # 11 : A SONG FOR CECILY, ROSEMARY, CRISPIN & RODERICK At the end of the song Roderick and Crispin take the props offstage.

Beauty Rosemary Beauty Crispin Roderick Rosemary Cecily Beauty

(As she enters). Rosemary! Cecily!

Oh, look out. Here comes Miss Goody two-shoes.

I wish Father would hurry up and come home.

I know, let’s have a game of hide-and-seek.

That will make the time go quicker.

Oh, alright. I suppose it could be fun.

Beauty, you stay here, count to twenty and we’ll hide. Don’t forget, close your eyes!

Alright. Off you go. One… Two…Three… Four… Five… etc. (Rosemary, Cecily, Roderick and Crispin ‘hide’ in the auditorium. When Beauty gets to fifteen, Father enters, sees Beauty, turns round and goes to exit) …Nineteen… Twenty! (She looks around and sees Father trying to exit). Father! (She runs to him and throws her arms around him).

Father Beauty Father Cecily Rosemary

Father!

Oh, Beauty, Beauty. What have I done? (Trying to push her away).

What do you mean?

I’m so sorry. Really I am. (Backing away).

(From the auditorium). Daddy. You’re spoiling our game.

(From the auditorium). We’re playing hide-and-seek.

Rosemary, Cecily, Roderick and Crispin slowly return to the stage.

Father Cecily Beauty Father Beauty Father

Beauty Father Beauty Father Beauty

If only I could hide.

Well, you’ll have to wait your turn.

But Father. Why should you be sorry? Tell me what’s wrong.

I can’t. It’s too terrible.

Father. Please tell me.

On my way home there was a terrible storm. My horse was frightened and ran away.

I was looking for somewhere to shelter when I came to a castle, whose garden was full of white roses. (He takes Beauty’s hands). I know they are your favourites, so I picked one. Just then, a hideous beast appeared and was going to kill me. I pleaded with him and he agreed to let me go but, I was to return within one week with the first living creature that greeted me. I thought it would be our dog and so I agreed. Oh, I’m so sorry.

That’s why you were trying to walk away. You didn’t want me to see you.

(Crying). Yes. Then I must go.

No! Father, you gave your word.

16

Father Beauty Cecily Rosemary Cecily Rosemary

I can’t let you.

You taught us that we must keep our promises.

Of course you must, mustn’t she Rosemary.

Yes. A promise is a promise. (Aside to Cecily). And it’s one less mouth to feed.

Come along Rosemary. Let’s go and pack Beauty’s bags for her.

Good idea. Come on boys, you can help.

Cecily, Rosemary, Roderick and Crispin exit, colliding with Lucy as she enters.

Lucy Beauty Lucy Beauty Lucy Beauty Lucy Beauty Lucy Beauty Lucy Beauty Lucy Father Lucy Beauty Lucy Beauty Lucy Beauty Lucy Beauty Father

Steady, steady, steady! What’s going on here? (To the audience). Hello, hello, hello.

(Moving to Lucy and, unseen by her, stands on her foot). Oh, Lucy. I have to go away.

(In pain). Oh! To live with a Beast in a castle.

(Pain). Ooh! He was going to kill Father for stealing a rose.

(Pain). Oooh!

But let him go if he promised to return within a week.

(Pain). Ooooh!

With the first living creature he met.

(Pain). Oooooh!

And that’s me!

(Pain). Ooooooh!

Lucy, whatever is the matter with you?

It’s Beauty. She’s standing on my foot! (She begins to sob loudly).

(Moving away). I’m sorry Lucy, I didn’t realise. Does your foot hurt that much?

No. I’m crying because you’re going away.

Please don’t cry. (She gives Lucy a handkerchief).

Thank you. (She takes the handkerchief, gives a very loud ‘blow’ and hands it back to Beauty with a large ‘hole’ in it).

(Looking at the handkerchief). That’s alright, Lucy. You keep it.

Thank you. (She exits still sobbing).

Come along, let’s go back to the cottage.

I don’t know what I’m going to do without you.

Beauty and Father exit slowly holding hands. Fade to black.

Scene Seven (The Garden of the Beast’s Castle) The tabs open to very dark and mysterious lighting; there is flash downstage left and Belladonna appears in a follow spot.

Belladonna

With Beauty and her Father due Here any moment, I tell you I’ve many tricks left up my sleeve.

I’ll cast a spell before I leave.

It’s nearly time to end Act One And so it’s time I had some fun.

When next we meet, I think that some Of you will look a little glum.

That is because I’ve managed to Do something that will affect you!

What have I done? Just wait and see.

I’m off to have a cup of tea!

Belladonna exits stage left and the lighting returns to its normal level. Father and Beauty enter, holding hands.

17

Father Beauty Father Beauty Father Beauty Father Beauty

This is the castle.

Oh Father, it’s lovely. I didn’t expect it to look so nice.

Appearances can be deceptive.

True. What you see on the surface is not always what is underneath.

I wonder where the Beast is?

We could knock at the door and tell him we’re here.

It is not too late for you to go home. I’ll plead with the Beast to let me stay here in your place.

No Father. A promise is a promise. Now go and knock at the door.

Father goes to the Castle door. As he gets there, the Beast appears. Father jumps back in alarm.

Beast Father Beast Beauty Beast Beauty Beast Father Beast Beauty Beast Beauty Beast Beauty Beast Father Beast Beauty Beast Father Beast Beauty Beast Beauty Beast Beauty Beast

(To Father). You’re back! Is this the daughter for whom you stole the rose?

Yes, this is Beauty.

(Towards Beauty). You are well named.

(Backing away slightly). Thank you.

(To Father). I am surprised, that you have returned.

If my Father makes a promise, he keeps it.

Your daughter is a credit to you. You must be very proud of her.

I am.

(Turning away). It must be wonderful to be so loved.

But if you love others, then that love is sure to be returned.

(Turning back quickly. Roughly). Not necessarily. (Beauty flinches). People look on the surface, never underneath. They look at me and are afraid.

I’m not afraid of you … (pause) … much.

You have nothing to fear. You will come to no harm, I shall see to that.

(Quickly). Oh, but my Father will be with me?

(Definitely). No! Your Father must leave.

We thought that you might …

(Strong). Beauty stays alone.

No! Please let him stay!

(Angry). No! He agreed to return with the first living creature that greeted him. (To Father). Your daughter belongs to me.

I didn’t know it would be Beauty. I should never have agreed.

(Menacingly). Are you trying to go back on your promise?

(At the Beast’s feet). Please, please let my Father stay.

(Strong). No! That cannot be. You will have everything that you need, and more. You will live like a Queen.

(Looking at him). You’re going to keep me a prisoner because of one rose.

Not a prisoner … a guest.

A guest!

The castle is large, you won’t have to see me if you don’t want to. Now, say goodbye to your Father. (He exits).

Beauty runs to Father and they embrace.

Beauty Father Beauty

(Tearfully). Oh, Father, Father.

Beauty, my dear. What have I done?

Don’t blame yourself. A promise is a promise.

MUSIC #12 : A SONG FOR FATHER AND BEAUTY Beauty Father Beauty

We must be brave. Now, let us say goodbye and be on your way.

(Embracing Beauty). Goodbye.

Goodbye.

18

Father walks slowly away; stops, turns, tries to smile and exits. Beauty looks around and then moves to a rose bush. As she does, Hudson appears.

Hudson Beauty Hudson

(Coughing). Excuse me, Miss.

(Turning). Oh! You startled me. I was looking at the roses.

They are very beautiful. I am Hudson. (He gives a small bow). My Master thought that

Beauty Hudson Beauty

you might be hungry after your journey. Can I get you something to eat and drink?

Thank you. That would be nice.

Then may I suggest that you eat here as it is such a lovely evening.

Thank you.

Hudson claps his hands and two of the Chorus bring on a small table and a chair. Hudson holds the back of the chair and invites Beauty to sit down. When she has done so, one of the Chorus gives Hudson a large menu.

Hudson moves around to the other side of the table and hands the menu to Beauty.

MUSIC #13 : A SONG FOR HUDSON & CHORUS Fade to black.

END OF ACT ONE.

INTERVAL

ACT TWO Scene One (The Ballroom at the Beast’s Castle) A full stage set with a balustraded rostrum running along the back of the stage with steps leading down to stage level. The balustrade could be covered with dustsheets giving the impression that the room in not used very much. The walls could have paintings missing or covered over. Subdued lighting. (There is a large dining table and two chairs upstage ready to be moved into position). As the curtains open the Chorus are preparing the room.

MUSIC #14 : A SONG FOR HUDSON & CHORUS After the song the Chorus set the table and chairs and take up positions around the stage. The Beast enters.

Beast Hudson Beast Dobsworth Beast Dobsworth Hudson Beast Hudson Beast

(Angrily). Three days it has been. Three days! And still she refuses to eat with me,

taking all her meals in her room.

Give her time, Sir. (Angrily). Time? Time? How much time does she need? (Calling). Dobsworth!

(Stepping forward). Yes, Master.

Tell Beauty to come down at once.

Yes, Master. (Exits).

(Gently, but with meaning). Dobsworth is now the third person you have sent to order Beauty to come down this evening.

So? Perhaps if you sent someone to ask her, she might accept.

Ask her?

19

Hudson Beast Mrs Botts Beast Mrs Botts Beast Hudson Beast Hudson Beast Hudson Beast Hudson Beast Hudson Beast

Yes, sir. Ask her.

(After a long look at Hudson). Mrs Botts!

(Stepping forward). Yes, Master.

(With heavy emphasis on the word ‘ask’ and a very definite look at Hudson). Please, ask,

Beauty if she would join me for dinner.

Yes, Master. (She exits).

(To Hudson, with heavy sarcasm). Better?

Indeed it was, sir. (With a small bow).

Thank you. (With a small bow).

If I might make a small suggestion?

(Slight sarcasm). Only one, Hudson?

If Miss Beauty does come down, she will be nervous.

So! Perhaps you could think of ways of putting her at her ease.

(Angrily). She is the one who refuses to come down. Let her to talk to me.

Perhaps, sir, you could meet her halfway.

(Angry). Halfway? If she thinks she can come here and …

Beauty enters carrying a large book. Hudson silences the Beast, who turns round. Beauty pauses as if making up her mind, then slowly walks to the table. Hudson moves to hold her chair. Beauty places the book on the downstage edge of the table.

Hudson Beast Beauty

(Moving to the Beast. Whispering). Master, thank her for coming down.

Thank you for coming down for dinner.

Thank you for ‘asking’ me.

Hudson and the Beast exchange a look. Hudson lifts up the decanter and shows it out to the Beast.

Beast Beauty

(Picking up the cue). Would you like some wine?

Yes, please.

Hudson pours them both wine and then moves to the Beast.

Hudson Beast Beauty Beast Beauty Hudson Beast Beauty Beast Beauty

(At the Beast’s side). Ask her if she is comfortable here.

Are you comfortable here in the castle?

Yes, thank you. Hudson and your staff have made me very welcome.

(Angrily). And I haven’t?

(Hurriedly). No,no. I didn’t mean that? I …

(Conciliatorily). Master!

(Quietly). I’m sorry. I didn’t mean to shout. I’m not used to having guests.

And I haven’t been a very good guest, staying in my room all the time.

The castle is your home now. You may go wherever you wish.

Thank you.

Two of the Chorus bring on soup bowls and place them in front of Beauty and the Beast.

Hudson Beast Hudson Beast Beauty

(At the Beast’s elbow). Master, ask her about the book.

(In a determined whisper). I was just about to.

(With a small bow). Of course, you were, Master. (He backs away).

(Casually). What’s the book you are reading?

It’s a book of Fairy Stories and Rhymes. They’re my favourite. (Getting excited).

Beast Beauty Beast

Princes, Princesses, Fairies, Witches, Wizards and lots of magic.

Do you have a favourite story?

(Quickly). Cinderella!

Why is that your favourite?

20

Beauty

(Picking up the book and moving in front of the table towards the Beast). Because it’s about

a girl who has two sisters who live with their Father - just like me. Cinderella’s mother died - just like mine. Only that is where the similarity ends, because she meets a handsome Prince, falls in love, gets married and lives happily ever after.

During this speech, Hudson gestures to the Chorus who leave quietly by the nearest available exit. Hudson is the last to leave.

Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast

Beauty Beast Beauty Beast Beauty Beast Beauty Beast

It’s a lovely story. You could be Cinderella now that you live in a Castle. I’m sorry that I cannot be your handsome Prince. (He stands and goes to leave).

(Reaching out to stop him). Please. Don’t go. (She touches his hand, then lets go very quickly. They look at each other, turn and move away).

I will leave you with your book. Good night. (He starts to exit).

Good night, and thank you.

(Turning to her). For what?

For asking me to have dinner with you. Perhaps you will ask me again?

Certainly.

Tomorrow, may I look around the Castle?

I shall arrange for Hudson to give you the grand tour. Unless …

Unless, what?

No. It was nothing.

Please tell me.

Unless, you would let me show you the castle. I have lived here all my life and know every inch of it.

I would like that very much.

Then I think we should start with the library.

May I ask you a question?

Of course.

This is a ballroom, isn’t it?

(Looking around). It was – a long time ago. Now it’s just (pause) a room.

Why don’t you use it as Ballroom?

Who would come to a Ball here?

I would.

(Laughing). Then it would be a very exclusive Ball for just two people.

You could invite your friends.

(Angry). Friends! What friends? I don’t have any friends.

I’m sorry, I didn’t mean to upset you. (She goes to leave).

Stay. Please. I apologise for my outburst. It was unforgivable. It’s just that I live here alone and, until now, the only people I speak to are Hudson and the staff. My manners are a little rusty.

Perhaps we could have a party so that I can meet everyone.

A party?

Yes. Very well, it shall be arranged. Only, not a party, but a Ball with all the servants as guests.

A Fancy Dress Ball with everyone dressed as characters from this book. (She moves to the table and looks through the book).

(Going to her). You could be Cinderella. (He gives a small bow).

Then you will have to be Prince Charming. (She gives a small curtsey).

I would be honoured.

They laugh.

Beast

(Calling). Hudson! Hudson!

21

Hudson Beast Hudson

(Entering). Yes, Master.

Hudson. We are going to have a Fancy Dress Ball. You and all the servants are invited.

A Ball sir? Very good sir?

Hudson exits as Beauty and the Beast read the book. The tabs close. Fade to black.

Scene Two (Somewhere Betwixt and Between) A front of tabs scene depicting Fairyland. Mysterious lighting, possibly with a glitter ball revolving. There is a flash stage left. Belladonna enters in a spot, glaring at the audience.

Belladonna

Belladonna

In case you thought that I’d forgot The part you’ve all played in this plot.

I came up with a wicked scheme To place a spell on the ice-cream.

The poison, at its very least Will change you into, well, a beast Your ears will swell, your hair will grow.

Your eyes will bulge, your nose will glow.

Bring up the houselights, then we’ll see (LX: Houselights up).

The transformation. Hooray for me!

(Peering into the audience and pointing). Look at him, his hair is growing.

(To another). And over here, his nose is glowing.

White Rose enters at the back of the auditorium carrying a large garden spray. She walks to the stage, spraying the audience with a fine mist. Follow spot on White Rose. Houselights down.

White Rose

Belladonna White Rose Belladonna

White Rose

Belladonna – not so fast!

Your childish games just will not last.

I can reverse your evil spell With magic water from Dingly-Dell.

I’ll spray a mist around this room It’s magic power will lift the gloom.

Once more you will have been defeated And of success, you will be cheated.

(Petulantly). Creating beasts is so much fun Now all my work has been undone.

Be off with you. Be gone. Away.

It’s clear that I have won the day.

Don’t get yourself in such a tizzy.

I’ll leave you now - you seem so busy.

(To Audience). I’ve booked myself a small excursion Having created this small diversion. (She exits. Her spot fades).

She’s gone, now I’ll reverse the spell.

Please raise your hands, it’s time to tell Who ate the ice cream? Hands up high.

I’ll spray you all then I must fly.

White Rose walks through the auditorium, spraying as she goes.

Scene Three (The Ballroom at the Beast’s Castle) As Act Two, Scene One, but with all the pictures restored and the dust sheets removed. Very grandly decorated for a Ball. Lighting is very bright and colourful. Some of the Chorus are on stage dressed as characters from fairy stories. Hudson is acting as Major-Domo and announces other characters as they arrive.

22

Hudson

‘Character name…’. (A Chorus girl enters). ‘Character name…’. (A Chorus boy enters).

‘Character name & Character name…’. (A Chorus boy and girl enter). Cinderella and Prince Charming …

Beauty and the Beast enter. The Beast offers Beauty his arm. Beauty hesitates, then takes it. They walk to centre stage and begin dancing.

MUSIC #15 : A SONG FOR BEAUTY, BEAST, HUDSON & CHORUS As the number ends the Chorus slowly leave. Hudson is the last to leave. He pauses to look at the couple before he exits.

Beauty Beast Beauty Beast

Thank you.

What for?

This lovely evening.

I should be thanking you, for breathing life into the castle again.

Hudson brings on two glasses of champagne.

Beast Beauty

(Taking a glass). Cinderella.

(Taking a glass). Prince Charming.

They toast each other, there is a flash and they freeze. Belladonna enters into a follow spot and the lighting reduces.

Belladonna

(Getting louder). No, no, no, no, no, no, no!

This isn’t what I want and so, I’ll simply change the atmosphere Causing Beauty pain and fear.

I never thought that she would be Pure and perceptive and would see Beyond the beast and glimpse the man.

It’s time for me to change the plan.

I’ll make her think her Father’s ill She’ll want to leave, but can’t until She begs the Beast to let her go.

He’ll rant and rave and tell her no!

That should stop them being happy.

I’ll cast the spell and make it snappy.

She whispers in Beauty’s ear, waves her wand and exits. Fade follow spot on Belladonna. Beauty walks away from the Beast. She appears upset.

Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Hudson Beast Hudson

(Gently). What’s the matter?

I don’t know. It’s as if someone is trying to tell me something.

What do you mean?

I keep thinking about my Father.

Your Father?

Yes. I think he’s ill and needs me with him.

I will send one of the servants to see what is happening.

But if he really is ill, it could be too late. I must go to him.

(Sharply). No! Please.

(Angry). No! I forbid it! (Beauty runs off. He starts to follow her, turns and shouts).

Hudson! Hudson!

(Entering). Yes, Master.

(Firmly). Hudson! It’s Beauty. She wants to go home.

What has happened?

23

Beast Hudson Beast Hudson Beast Hudson Beast Hudson Beast Hudson Beast Hudson

(Pacing around). She thinks her Father is ill and wants to be with him.

Master, if her Father is ill then she needs to be with him.

But I need her here.

You cannot keep her here forever.

She has made the castle feel alive again. She has made me feel alive again.

(Gently). Then let her go.

But I love her.

(Firmly). Let her go. If you love something, let it go. If it returns, it was meant to be.

Do you really think so?

Yes, Master, I do.

Then please ask Beauty to come back.

Yes Master. (He exits).

MUSIC #16A : A SONG FOR THE BEAST [FIRST PART] Halfway through the number Beauty appears. She has been crying. She walks slowly towards the Beast.

Beauty Beast Beauty Beast Beauty

Hudson says that you asked to see me.

Beauty, I apologise. If you want to go to your Father, I shall not stop you. You are free to go.

Do you really mean it?

With all my heart.

Oh, thank you. (She turns to go).

There is a flash and White Rose enters into a follow spot. As she does so, the lights reduce and Beauty and the Beast freeze.

White Rose

I’ve just arrived in time it seems, To safeguard all our hopes and dreams. (She moves between Beauty and the Beast).

If Beauty leaves like this then he, (Pointing to the Beast).

Is doomed for all eternity.

If Belladonna thinks that she Can outwit me, then she shall see That I will fight with all my might To maintain goodness, truth and right.

I cannot break her evil spell.

I’ll speak to Beauty, I must tell Her to return within one week Or else the future looks quite bleak.

White Rose goes to Beauty and whispers in her ear. As she exits she waves her wand, the lights return to normal and Beauty and the Beast unfreeze. Beauty starts to exit, stops, and turns back to the Beast.

Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast

What made you change your mind?

(Turning away from her). It was because I cannot refuse you anything. I love you, even though you do not love me.

(One step towards him). But I will come back.

(Turning to her). You will? Do you promise? Do you promise to come back within one week?

Of course I will.

If you don’t, I shall die of a broken heart.

I promise.

Then go. Hudson will see that you get home safely.

(Taking his hand). Goodbye, dear friend, and thank you. (She exits).

(Looking offstage). “Dear friend”. If only she could see me as I was and not as I am.

24

MUSIC #16B : A SONG FOR THE BEAST [CONCLUSION] Fade to black.

Scene Four (A Country Lane near Beauty’s Cottage) A front of tabs scene. Brightly lit, and possibly with a suggestion of overhanging trees.

Lucy

(Entering). Hello, hello, hello! (She gets out her purse, opens it, looks inside and shakes it).

Look at that. Empty! Why is there so much week left at the end of the money? I’m stony broke! Borassic Lint! All I’ve got is my lucky pound coin. (She fumbles for it in her cleavage). Here it is. Now, how can I get some money? I know, I could enter a Karaoke competition. (To the Pit). Hit it Boys! (The band play a popular karaoke tune, for example ‘YMCA’, ‘New York, New York’ etc, and she begins to sing. Everyone in the wings shouts, “Get Off” etc. She looks into the wings). Alright, alright, alright. Now then, let me see, what else could I do? Maybe I could sell my body. (To the band). What do

you think, fellas?

Band Member (Standing up). I’ve got an old pound note! (or some other currency alternative).

Lucy Cheeky monkey. Still, the way you’ve been playing, I suppose I should be grateful for any note at all. (A Chorus boy walks across the stage reading a book). Now, there’s a first … a chorus boy who can read! (She takes the book and clips the Chorus boy round the ear as he exits). Now what was he reading? (She looks at the cover). ‘How To Make Money Quickly’. (To the audience). This is just what I need. Now, what do I have to do? (Reading - Lucy mumbles and adds in the odd word). Mmmmmm ... pound coin ... mmmmmmm ... gullible victim ... mmmmmmmm ... works every time ... mmmmmmmm ... idiot proof. (To the audience). That all seems very straightforward.

I’ve got my lucky pound coin, so all I need is a gullible victim. Now where would I find a gullible victim at a time like this? (Roderick and Rosemary enter stage left and begin to walk across the stage. To the audience). Right on cue; miracles do happen!

Watch this. Roderick, I bet you a pound that I can prove you’re not here.

Roderick But I am here.

Lucy Yes, but I can prove that you’re not here.

Rosemary Impossible!

Lucy Is it?

Rosemary Of course it is. Come on Roderick, get your money out.

Roderick Yes dear. (He puts a pound on the floor and Lucy puts a pound next to it).

Lucy Now then Roderick. You’re not in Russia, are you?

Roderick Correct.

Lucy And you’re not in the Antarctic, are you?

Roderick No. Lucy Well, if you’re not in Russia and you’re not in the Antarctic, you must be somewhere else, mustn’t you?

Rosemary Of course he must!

Lucy Then if you’re somewhere else, you can’t be here, can you? I win. (She picks up the Roderick Rosemary

two pounds and exits very quickly).

(Staring at the floor). I’ve been tricked! (Turning to Rosemary). It’s all your fault.

Never mind. We’ll get it back. We’ll play the same trick on someone else. Now, let me see, who shall we use?

Crispin and Cecily enter and begin to walk across the stage.

Rosemary Crispin Rosemary Crispin

Perfect. (Calling). Crispin. Come over here.

Yes, Rosemary, what do you want?

I bet you a pound that I can prove you’re not here.

Not here. That’s ridiculous. Of course, I’m here. I’m speaking to you aren’t I? 25

Roderick Cecily Crispin Rosemary Crispin

True. But we can prove that you aren’t here and if we can’t you will win a pound.

(To Crispin). It will be like stealing candy from a baby. Go on, get your money out.

Yes, dear. So, what do I have to do?

Put a pound on the floor and then answer some questions.

(To Cecily). This is going to be simple.

Crispin places a pound on the floor. Roderick puts a pound next to it.

Roderick Crispin Rosemary Cecily Roderick Crispin Rosemary

Right. Now you’re not in Russia, are you?

Of course, I’m not.

And you’re not in the Antarctic, are you?

No, he isn’t.

Well, if you’re not in Russia and you’re not in the Antarctic, you must be somewhere else, mustn’t you?

Yes, of course, I must be.

Then if you’re somewhere else, you can’t be here, can you? We win.

Rosemary picks up the two pounds and exits with Roderick.

Crispin Cecily Crispin

Curses! I’ve been swindled, by a scoundrel and a scallywag.

Never mind, we’ll get it back. We must find someone else to play the trick on.

Who?

Lucy enters stage left and begins to walk across the stage.

Cecily Lucy Cecily Lucy Crispin Lucy Crispin

(In a loud voice). Lucy.

(To the audience). Hello, hello, hello. Yes, Cecily?

How would you like to win a pound?

How could I do that?

I wager you a pound that I can prove you’re not here.

(Winking at the audience). I bet you can’t!

I bet I can! Put your money down there.

Lucy puts her pound on the floor and Crispin puts his pound next to it.

Now then. (Cecily starts to laugh. Lucy joins in the laughing). You’re not in Russia, are you?

Lucy No. Cecily No. (Cecily begins to laugh again. Lucy joins in the laughing).

Crispin And you’re not in the Antarctic, are you?

Lucy No. Crispin No. (Crispin begins to laugh. Lucy joins in the laughing).

Cecily Well, if you’re not in Russia… (She laughs).

Crispin … and you’re not in the Antarctic (He laughs).

Cecily/Crispin Then you must be somewhere else, mustn’t you? (They both start laughing).

Lucy Yes, I suppose I must be. (She laughs).

Crispin Then, if you’re somewhere else ... (He laughs).

Cecily ... you can’t be here can you. (She laughs. Lucy bends down, picks up the two pounds and begins to walk off). Hey, wait a minute. You’re walking off with our money.

Lucy Oh no, I’m not. I’m not here! (To the audience). Bye-bye! (She exits, very quickly!).

Cecily

Crispin and Cecily look at each, then chase after Lucy. Beauty and Hudson enter.

Beauty Hudson Beauty Hudson

We’re nearly there. Thank you for bringing me home.

My Master told me to take good care of you.

Oh, Hudson, I can’t wait to see my Father again. I do hope he’s alright.

I’m sure he will be Miss Beauty. Now I must go. My Master will be waiting.

26

Beauty Hudson

Goodbye, Hudson. I’ll see you in one week.

My Master will be waiting. Goodbye. (He exits).

MUSIC #17 : A SONG FOR BEAUTY Fade to black.

Scene Five (The Garden around Beauty’s Cottage) Full stage with part of the cottage being visible upstage. A very bright summers day. Father is discovered practising his putting. Some of the Chorus enter.

Chorus #1 Chorus #2 Father Chorus #2 Chorus #1 Father Chorus #3 Father Chorus #3 Chorus Father

Mr Goldsmith, we’re off to the Village Fayre, why don’t you come with us?

They’ve got candy floss, apple bobbing and a coconut shy.

Thank you, but no. I think I’ll stay here.

But it’ll be fun.

It’s been ages since we saw you laugh.

I’m sorry. It’s just that since Beauty went away, I haven’t felt much like laughing.

Now go on, go and enjoy yourselves.

Will you be alright on your own?

I’ll be fine and I expect Cecily and Rosemary will be back soon.

Then we’re definitely going!

See you later. (The Chorus exit).

(Calling after them). Have a nice time.

Father carries on putting. Beauty enters, looks at the audience and puts a finger on her lips asking them not to tell Father she’s there. She tiptoes up behind Father and puts her hands over his eyes.

Beauty Father Beauty

Hello Father.

(Turning round). Beauty? Is it really you?

Yes, Father. It’s really me.

They embrace.

Father Beauty Father Beauty Father Beauty Father Beauty Father Beauty Father

But how did you escape?

I didn’t escape, the Beast let me go.

Let you go! But why?

I thought you were ill.

Ill? Me? I’ve been sad, but not ill.

I can see that and I’m so happy. (They embrace again). This means that my visit will be a happy one.

What do you mean visit ?

I have to go back in a weeks time.

But that’s not right. He can’t make you go back.

Father, please don’t let’s argue. A promise is a promise. Now, come on, let’s go to the Fayre. I want to buy some candy floss.

Candy floss! (Laughing). Alright, come on.

Beauty and Father exit. As they do Cecily and Rosemary enter.

Rosemary Cecily Rosemary Cecily Rosemary Cecily

I can’t wait to get married. When I was younger I wanted to marry a man who’d pick me up, whirl me round and drain me dry.

You didn’t want a man, you wanted a spin drier!

Well, what about you? What sort of husband were you looking for?

A live one!

What were you looking for most? Charm, wealth or appearance?

Appearance! And the sooner the better.

27

Crispin Cecily Roderick Rosemary

(Offstage). Cecily!

(Calling). Here my love, (Offstage). Rosemary!

(Calling). Waiting for you darling!

Crispin and Roderick enter.

Crispin Roderick Rosemary Cecily Rosemary Roderick Cecily Crispin Roderick Rosemary Crispin Cecily Rosemary Crispin Rosemary Crispin Cecily Crispin Cecily Rosemary Roderick Rosemary Cecily/Rsmry Crispn/Rdrk

We’ve been searching for you since sunrise.

What have you been doing?

We’ve been talking about men … … and about getting married.

My beauty therapist told me that I had the complexion of a sixteen year old girl.

Well give it back to her then. You’re making it all wrinkled.

(To Roderick). Beauty is only skin deep.

You must have a very thick skin!

When I was young, I used to be all pink and dimples.

Now you’re all drink and pimples.

Well, I am second to none, well groomed and handsome.

No you’re not! You’re second hand, not too well and gruesome.

That’s enough. Come along you two. It’s time to kiss and make up.

Must I? Yes. All right. Just one little kiss.

I’ve been told I’m a lovely kisser.

Where did you learn to kiss?

I used to syphon petrol out of army lorries.

Come on Roderick. Let me kiss your ruby red lips.

Restrain yourself! I do have scruples you know.

Don’t worry, I’ve been vaccinated.

(Together). Will you love us when we’re old and ugly?

(Together). Of course we will!

Crispin and Roderick exit into the auditorium, chased by Cecily and Rosemary. After a short pause, Lucy enters dressed as a checkout girl from a local supermarket. She is pushing one of the supermarket’s shopping trolleys.

Lucy

(To the audience). Hello, hello, hello. Do you like the outfit. (She gives a little twirl).

I’ve finally solved my financial problems. I’ve got myself a part time job in (insert name of local supermarket). Oooh, it’s ever so good and they have such lovely bargains

and special offers. Mind you, you do meet some funny people. There are times I think I’m the only normal person there! Let me tell you about some of them.

MUSIC #18 : A SONG ABOUT PEOPLE FOR LUCY & CHORUS At the end of the number Beauty and Father enter.

Lucy

(Seeing Beauty). Oh no, oh no, oh no! It’s a ghost! Help! Help! Help! (She begins to run around the stage).

Beauty Lucy Beauty Lucy Beauty Lucy Cecily Rosemary

Lucy. Stop it! It’s me … Beauty.

Help! Help! Help!

(Stopping Lucy). Lucy. Stop. I am not a ghost. It really is me.

Miss Beauty? Alive? So, the Beast didn’t kill you and eat you for supper?

(Laughing). No, he’s far too kind and gentle to do that.

Doesn’t sound like a proper beast to me.

(Offstage). Hello-o!

(Offstage). What’s happening up there-ere?

28

Lucy Come and see-ee!

Cecily/Rsmry (Offstage, together). We wi-ill!

Cecily, Crispin, Rosemary and Roderick enter.

Cecily Rosemary Crisp/Rod Cecily Rosemary Lucy Cecily Rosemary Beauty Cecily Father

Oh, look what the cat’s dragged in.

Just like a bad penny … she keeps turning up.

(Moving to either side of Beauty). Beauty!

She’s just too good to be true!

Too good too swallow you mean. (She and Cecily laugh).

That’s enough! Now come along. Be nice to your sister or I’ll make you cut my toenails again!

(To Beauty, prodding her about). No bits missing then?

(To Beauty). Didn’t the Beast attack you?

Of course not. He’s just lonely. He likes music and books.

Boring, as well as beastly!

That’s enough. All that matters is that Beauty is home

MUSIC # 20 : A SONG FOR FATHER, BEAUTY, LUCY, CECILY, ROSEMARY, CRISPIN, RODERICK & CHORUS At the end of the number Lucy, Father and Beauty step forward and the tabs close behind them.

Scene Six (A Country Lane near Beauty’s Cottage) As Act Two, Scene Four. The lighting is bright and colourful.

Lucy Beauty Lucy Father

Well, Miss Beauty. Now you’re home, you can help me. You too, sir.

What do you mean?

I think it’s time that the audience did some work.

Good idea. What are they going to do?

A pyrotechnic flash stage left. Stage lighting is reduced. Belladonna enters into a follow spot and all on stage freeze.

Belladonna

Beauty promised the Beast that she Would be away, one week only.

I cannot risk her sticking to Her plan, so this is what I’ll do.

I’ll play a small trick on her mind She’ll leave thoughts of the Beast behind. (She moves to Beauty, waves her wand and begins to exit).

(Stopping and turning back). But wait, I’ve got a good idea

Why should I wait one week to cheer?

I’ll make us leap a week through time (Confidentially). It also speeds up pantomime!

So hold your seats, it’s time to go One week into the future. So! (She waves her wand).

A big lighting effect happens involving the houselights to denote a change in time.

Those seven days have been erased Feel free to clap if you’re amazed.

Belladonna takes a bow, laughs and exits. All on stage unfreeze. Fade the follow spot on Belladonna and return lights to original setting.

AUDIENCE PARTICIPATION ROUTINE – LUCY, FATHER & BEAUTY 29

Lucy

Well, I think it’s time that I went and started cooking the dinner. Come along Sir, you can help me peel the potatoes.

Lucy & Father exit. Beauty follows them. As she gets to the edge of the stage White Rose enters. As she does so, Beauty freezes. Reduce overall stage lighting and bring up a follow spot on White Rose.

White Rose

I never thought that there would be Quite so much work in keeping me One step ahead and so I need A clock before I can proceed.

She collects a “clock” from the wings and hangs it at the side of the stage.

This Fairy clock will you amaze It doesn’t work on hours but days.

Alas, it is a week adrift I need to give its hands a shift.

Move forward seven days, one week So join in with me as I speak.

White Rose turns the clock hand and when it reaches the top she says ‘One’. She continues and encourages the audience to count with her. At ‘Seven’ there is the sound of a very loud alarm clock. Beauty unfreezes. Return lights to original setting.

Beauty White Rose Beauty

Goodness, gracious, what is that noise?

To find out, ask the girls and boys. (She exits. Fade follow spot on White Rose).

Boys and girls, do you know what that noise was? (If the audience don’t respond, Beauty will need to prompt them). The Beast! Oh no! How could I forget him? I must go. I only hope I’m not too late. (She exits).

Fade to black.

Scene Seven (The Garden of the Beast’s Castle) As Act One, Scene Five. Muted lighting. Quiet and sombre organ music plays. The tabs open to reveal the Beast, lying on the ground covered with a blanket. Hudson is kneeling facing the audience. After a few moments, Beauty runs in. She stops.

Beauty Hudson Beauty Hudson Beauty Hudson

Hudson!

(Standing). Miss Beauty, at last. We have been waiting for you.

(Going to the Beast). What’s the matter with him. Why is he so still?

My master is very ill and I cannot waken him.

May I talk to him?

You can try. Here, take my place.

(Hudson moves away and Beauty takes his place, still facing the audience).

Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast Beauty Beast

Beast. Oh, dear Beast. Can you hear me? It’s Beauty. Please talk to me.

(Stirring). Beauty, is it really you?

Yes, it is. I’m sorry I was away so long.

You came back.

Of course I came back.

I thought you had forgotten me.

I could never forget you and I promise never to leave you for so long again.

It is too late. You did not return as you had promised and now I am dying.

Dying? No, you must not die.

Perhaps it is better this way.

We’re together now. Please don’t leave me.

At least I saw you one last time.

30

MUSIC #21A : A SONG FOR BEAUTY AND THE BEAST [FIRST PART] At a pre-arranged point in the song, the Beast stops singing and sinks down. Beauty leans over him, holds his hand and begins to cry.

Beauty

No, please don’t die. I love you. I love you.

The music continues, the lights fade to black as pyrotechnics cover the transformation. At the end, the Prince is standing with Beauty still kneeling. Bring up full stage lighting following the transformation.

Beast Beauty Beast Beauty Beast Beauty Beast

(Holding out his hand). Beauty.

(Looking up). What’s happening? Who are you?

I am the Beast whose life you have just saved.

(Standing). The Beast? I don’t understand.

Many years ago an evil sprite put a spell on me when I refused to marry her. The spell could only be broken by a beautiful girl falling in love with me.

But who are you?

I am Prince Ferdinand.

MUSIC #21B : A SONG FOR THE PRINCE AND BEAUTY [CONCLUSION] After the reprise, White Rose and Belladonna appear in follow spots. The lighting reduces and Beauty and Prince/Beast freeze.

White Rose Belladona White Rose

So Belladonna, your spell is undone Evil’s defeated and Goodness has one.

I hate happy endings, it’s time to go.

I’ll leave you to sort out the end of the show.

Before you go I must make sure That you will interfere no more.

You’ll be in limbo, until I Decide what punishment to try.

Away with you without delay.

It’s time to get on with the play.

White Rose waves her wand and Belladonna exits as her follow spot fades. White Rose moves to Beauty and Prince/Beast, waves her wand and they unfreeze. Stage lighting reverts to before.

Miss Beauty and Prince Ferdinand Standing together, hand in hand.

On such an occasion, it seems only right That friends and relations receive an invite.

After three they will appear Close your eyes, they’ll soon be here.

White Rose moves downstage.

Father Beauty Hudson Beast Lucy Beauty Lucy Beauty Lucy

(Entering, and going to Beauty). Beauty!

Father!

(Entering, and going to Prince/Beast). Master!

Hudson, my friend.

(Entering). Hello, hello, hello. (She stands between Beauty and Prince/Beast). Now then, what’s going on here?

Oh, Lucy. This is the Beast.

No wonder you wanted to come back! I could quite fancy him myself!

I mean he was a Beast, but now he’s a Prince.

A Prince? Even better! Your Royal Highness. (She curtsies and falls over).

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Beast Lucy Father White Rose

(Helping her up). Madam, allow me.

Phwooooaaar! I could allow you anything!

Come along Lucy. (He pulls Lucy away, who continues to make eyes at the Prince).

So, finally, I think it right For me to issue an invite To your Sisters and their beaux Though what they’ll make of this, who knows!

Cecily, Crispin, Rosemary and Roderick enter from opposite sides.

Cecily Rosemary Beauty Cecily/Rsmry White Rose

(As they enter). Come along Crispin.

(As they enter). Roderick! Don’t dawdle!

My dear sisters. Let me introduce you to His Royal Highness, Prince Ferdinand.

(Together). A Prince! (They faint into their respective partners arms).

(To the audience). It’s time to make these walls resound We’ve proved, ‘Love makes the world go round’.

White Rose exits and the Chorus enter from left and right. Fade follow spot on White Rose.

MUSIC #22 : A SONG FOR THE CHORUS Fade to black.

Epilogue (Somewhere Betwixt and Between) A front of tabs scene depicting Fairyland. Mysterious lighting, possibly with a glitter ball revolving.

White Rose Belladonna

White Rose

Belladonna White Rose

(Entering into a spot). Come, Belladonna, let us hear

You say you’re sorry to all gathered here.

(Entering into a spot, looking miserable). Every year it is the same.

I try to play an evil game.

Then say, “I’m sorry.” Look contrite.

Hang my head and say “Goodnight.”

Everyone says “Aaah – that’s nice” And I’m forgiven in a trice.

I walk off slowly, looking sad (Brighter). And then continue being bad.

You see I’ve fooled you in the past.

My apologies just do not last.

I’m wicked, nasty, through and through And now I’ll place a spell on you.

There’s only one thing left to do That’s place a powerful spell on you.

Each time you try to cast a spell You’ll find that you will feel unwell.

(Waving her wand). Your head will spin, your throat gets sore Your ears will pop, your nose will pour.

There is no cure, so I’ve been told For what is called the ‘Common Cold’.

My magic’s strong. A curse on you.

(She raises her wand). A… a… a… tishooo!

One more chance, is all you’ve got To say your sorry, but if not Each time a wicked spell you utter You’ll begin to sneeze and splutter.

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Belladonna White Rose

(Falling to her knees, sneezing and spluttering).I’m truly sorry. Please break this spell

I can’t stand feeling this unwell.

(Waving her wand). Very well, your symptoms will cease But try to be evil and they will increase.

(To Audience). We hope that you will be delighted.

And come with us, you are invited Everyone it seems is heading.

To the castle. A Royal Wedding.

Fade to Black.

Walkdown and Calls

THE END

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Other Pantomimes by David Maun Cinderella This timeless tale of Cinderella who goes from rags to riches will delight audiences of all ages. With mirth, magic and mayhem it has all the right ingredients for a successful production.

The story follows the traditional tale with the Ugly step-sisters mistreatment of Cinderella in the Mansion kitchen; the faithful Buttons who is in love with her; Cinderella’s kindness to the old woman who turns out to be her Fairy Godmother; a magical transformation, the splendour of the Ball and the handsome Prince; the dramatic exit as the clock strikes midnight; the hunt for the slipper’s owner and the glorious happy ending.

Interwoven throughout are the comedy antics of two Policemen, Sergeant Letsby-Avenue and his inept son PC99, and their search for the infamous villain Burglar Bill. How these characters interact will become clear as the evening wears on!

With twelve principals and a chorus that can be any size, there is plenty of scope for big production numbers and fairytale sets. There are five main sets with numerous smaller scenes played in front of secondary tabs.

Mother Goose This is the simple story of poor, but ugly, Mother Goose who dreams of being rich and beautiful. A pantomime that will delight and enthral children of all ages.

Mother Goose lives in the Village of Sweet Content with her children Jill and Billy. The Village Squire wants his rent from her small run-down cottage and threatens to have her thrown out. However Priscilla, a magic goose who has escaped from Gooseland, arrives and is befriended by Mother Goose. When Priscilla starts laying golden eggs Mother Goose becomes rich, moves into a grand mansion and reopens the Village School.

In a sub-plot the Demon King challenges Fairy Paxo to a duel, insisting that evil will always triumph over good. He says that if he can change Mother Goose, then Priscilla will be his. Poor Mother Goose soon dreams of beauty and the Demon King seizes his chance and bewitches her. But fear not, a happy ending is guaranteed in true pantomime style.

Additional characters include Sam and Ella (The Squire's Bailiff and drippy girlfriend), Jack (the Squire’s nephew) and Queen of Gooseland.

With eleven principals and a chorus that can be any size, there is plenty of scope for big production numbers and fairytale sets. There are six main sets with numerous smaller scenes played in front of secondary tabs.

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