made in dagenham the musical

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MADE INDAGENHAMMusic by

DAVID ARNOLD

Lyrics by RICHARD HOMAS

Book by

RICHARD BEAN

LIBRE O / VOCAL BOOK

Josef Weinberger



MADE IN DAGENHAMMusic © Copyright 2014 by David G ArnoldLyrics © Copyright 2014 by Richard Tomas

Book © Copyright 2014 by Richard BeanEdition © Copyright 2015 by Josef Weinberger Ltd., London

All Rights ReservedPHO OCOPYING HIS COPYRIGH MA ERIAL IS ILLEGAL

Applications to perform this work must be made,BEFORE R EHEARSALS COMMENCE, to:

JOSEF WEINBERGER LIMI ED12 - 14 Mortimer Street

London W1 3JJUnited Kingdom

el: +44 (0)20 7580 2827Fax: +44 (0)20 7436 9616

www.josef-weinberger.com

Version Dagenham Previews 8.4 (04 Nov 2014)

Tis edition: September 2015



MADE IN DAGENHAMCast

FORD FAC ORY WORKERS:R O’G –Eddie’s wife

BC R –Shop Steward

S BCC

E O’G – Rita’s husband S B –Union Shop Stewards

SB – Apprentice oolmaker

M –NUVB Convenor

FORD FAC ORY MANAGEMEN :M H – Managing Director, Ford Dagenham

M –Ford U.S. ExecutiveR M –Production Manager

G H –Personnel Director

O HERS:H W –Prime Minister

B C – Minister of ransport C S – Aides to the P.M.

L H –Wife of Mr Hopkins G O’G / S O’G –Rita and Eddie’s son and daughter M B (School teacher ), C C (Comedian), C M (Singer )

C S , A , P R , P , F Wetc.,

Others as required / Doublings as required

Te Musical is set in Essex in 1968.



Orchestra

Woodwind 1 (Flute, Alto Sax, enor Sax)

Woodwind 2 (Clarinet in B , Soprano Sax, enor Sax, Baritone Sax)

rumpet (dbl. Cornet / Flugelhorn)

Keyboard 1 (Musical Director)

Keyboard 2

Keyboard 3

Guitar 1 (Electric, Steel Str. Acoustic, Ukelele in G)

Guitar 2 (Electric, Steel Str. Acoustic, 12 Str. Acoustic)

Bass Guitar (Electric, Double Bass)

Drums

PercussionBongos, Cabasa, Castanets, Congas, Crash Cymbal, Egg Shaker (small), Finger Cymbals,Glockenspiel, Mark ree, Mounted ambourine, Piatt i (small), Pin Chimes, Ra instick,

Shaker, Sleigh Bells, Snare Drum, Studio Shaker, Suspended Cymbal, ambourine,impani, riangle, ypewriter, Woodblocks



Musical Numbers

AC ONE

0. Opening (Instrumental )

1. Busy Woman (Rita, Sharon, Graham, Eddie, Women, Men)

2. Made In Dagenham (Factory Workers )

3. Tis Is What We Want (Sandra, Beryl, Rita, Cass, Clare, Factory Women)

4. Union Song ( Men)

5. Wossname (Clare, Women)

5a. Big Ben (Instrumental )

6. Always A Problem (Harold Wilson, Aides )

6a. Busy Woman (Barbara Castle) (Barbara Castle )

7. Pay Day (Ensemble )7a. Club Music (Club Singer )

8. I’m Sorry I Love You (Eddie, Rita, Men)

9. School Song (Ensemble Men, Graham)

9a. Into Te Berni Inn ( Instrumental )

10. Same Old Story (Te People )

11. Union Song – Reprise (Ensemble )

11a. Skilled Work (Instrumental )

12. Everybody Out (Rita, Factory Workers )

12a. Everybody Out – Play Out (Instrumental )



AC WO

12b. ooley’s Entrance (Instrumental )

13. Tis Is America ( ooley, Ensemble )13a. Tis Is America – ag (Instrumental )

13b. Tis Is America – Reprise (ooley, wo Men)

14. Storm Clouds (Lisa, ooley, Harold Wilson, Barbara Castle, Factory Men & Women)

14a. Storm Clouds – Scene Change (Instrumental )

14b. Car Showroom (Instrumental )

15. Cortina! (Cortina Man, Five Girls )

15a. Cortina – Play Out (Instrumental )

15b. ax Payer’s Bentley (Instrumental )

16. Te Letter ( Eddie )

16a. Into Parliament (Instrumental )

16b. Press Music (Instrumental )17. Ideal World (Barbara Castle )

17a. Into Te Hospital ( Instrumental )

17b. Same Old Story – Scene Change (Instrumental )

18. Nearly Had It All (Rita, Eddie, Women)

19. Viva Eastbourne (Beryl, Cass, Sandra, Men & Women)

19a. Into UC (Instrumental )

20. Stand Up (Rita, Eddie, Ensemble )

21. Bows (Company )

22. Play Out (Instrumental )



M I D 1

MADE IN DAGENHAM AC ONE

SCENE ONE

Music No. 0: OPENING

Coming up to 7 a.m. in the bedroom ofE and R O’G . Spot on the alarmclock clicking down. A ticking beat of music.R is making a cup of tea in the kitchenwhilstE is asleep in bed. Te alarm clock goes off.

Music No. 1: BUSY WOMANRHEY HERE SLEEPY DREAMERI JUS WANNA SAY I LOVE YOU LOADS, YA S UPID SOD WELL HERE GOES ANO HER DAY

(Life begins.R is the hub, the source of all knowledge, the engineroom, the everything .)

SMUM!!

GMUM!!

E / S / G WHERE’S MY, WHERE’S MY,CAN’ FIND MY HINGSCAN’ FIND MY, WHERE’S I GONE? WHY’S I ALWAYS ME? WHA HAVE YOU DONE WI H ALL MY HINGS?MUM!!!MUM!!!MUM!!!

(Whatever they’re looking for,R nds it and hands it to them. Shehangs out the washing, makes the breakfast, tidies the house, etc. Te



A O2

family home, as a well organised machine, but entirely dependent onthe knowledge and energy of one person.)

REVERY MORNING, SAME ROU INE WE PLAY OUR LI LE FAMILY GAMENO ONE KNOWS WHERE NO HING ISBU GUESS WHO ALWAYS GE S HE BLAME

SMUM!!

GMUM!!

REE H!!

E Rita! I can’t nd my favourite underpants!

R I had to shoot ’em.

E You shot my underpants.

R I had to put them out of their misery.

E What?

R In the airing cupboard!

R IF YOU WAN SOME HING DONE YOU ASK A BUSY WOMANCOZ YOU’RE WAS ING YOUR IME ASKING A MAN

SHE CAN DO IN ONE HOUR WHA HE CAN’ DO IN ENI ’S HE BASIC EFFIN’ DIFFERENCEBE WEEN US AND EFFIN’ HEMIF YOU WAN I DONE

HEN ASK A BUSY WOMAN



M I D 3

S Mum, what do you want for Christmas?

R An hour off.

G (o S .) Biology homework?

(S hands it over.)

R What are you doing Graham’s homework for?

S A shilling. (o G .)For a shilling.

(G gives her a shilling.)

G She wants to be a doctor. Ha, ha!

R Girls are nurses, Sharon. Tat’s why we got you that nurse’s outt.

S I want to be a consultant gastroenterologist!

R You’re just saying that.

E WE LOVE YOU DAGENHAM DAGENHAM WI H YOUR PARKS AND WA ERFRON SOH DAGENHAM, DAGENHAMSO GOOD HEY NAMED I ONCE

R (Laughing.) Stop it, Eddie – you’re making us late.

E / S / GOH DAGENHAM, DAGENHAM WI H YOUR ANCIEN BYLAWS

EROME WASN' BUIL IN A DAY

E / S / GBU DAGENHAM DEFINI ELY WAS

(On the last line of her song R puts a little present intoE ’ssnap tin. Tis is no ordinary present, but something wrapped, with aribbon – special.)



A O4

E Cup of tea eh, doll?

R Yes please, I’d love a cup of tea. Is life like this everywhere?!

(Chorus enter.)

M C (W )IF WAN SOME HING DONE YOU ASK A BUSY WOMANCOZ YOU’RE WAS ING YOUR IME ASKING A MAN

SHE CAN DO IN ONE HOUR WHA HE CAN’ DO IN ENI ’S HE BASIC EFFIN’ DIFFERENCEBE WEEN US AND EFFIN HEMIF YOU WAN I DONE

HEN ASK A BUSY WOMAN

(R spits on her hanky and wipes some grime offS ’s face .)

S (Fighting her off.) Uurgh!R Whatsamatter?

S It’s spit!

R Tis ain’t spit, this is mother’s spit

(Te chorus line of mothers spit into hankies, and wipe their children’s faces.)

CMO HER’S SPI !MO HER’S SALIVA! AIN’ NO GERMS

HA CAN SURVIVE HER!

(With a kissS is out the door.G turns, is about to go.)

R Oi! Come here. Show me your hand.



M I D 5

(G shows his hand.)

He’s hit you again ain’t he?!

C (Sung.)BAS ARD!

G Mum! It don’t hurt.

C (Sung.)BAS ARD!

R (o E ) Eddie, Graham’s getting caned at school. Mister

Buckton –C (Sung.)BAS ARD!

R He’s paid to teach him Latin, not attack him with a stick.

E He can’t treat him any different just cos he’s a scholarship boy.

G Don’t come into school mum!

R (Overly dramatic.) Oh, you’re ashamed of me are you?!

G Yes!

S Watch out Dad, Mum’s gone into one.

( And G is gone with a slam of the door.)

R Alright, Eddie?

E Yeah. What?

R What’s today?

CHINK, WHIRR, CLICK, CLICK, WHIRR

E uesday.

R uesday?



A O6

CHINK AGAIN, WHIRR, CLICK, CLICK, DURR

E Innit?R Is it a special uesday?

CREMEMBER, YOU MEMBER

E (Beat.) Pancake day?

R Go to work, you big lump.

E Love you!

(E moves in for a kiss.R kisses him lightly on the cheek,though he’d offered his lips. He’s gone. Out the door.)

R EVERY YEAR, HE SAME ROU INE WE PLAY OUR ANNIVERSARY GAME

C / R HE FORGE S

R AND I REMEMBER

HE DAY I OOK HIS

C / R S UPID NAME

CSHU HE DOOR, WERE YOU BORN IN A BARN? WIPE HOSE BOO S YOU DON’ LIVE ON A FAR MHOW DID YOUR LAS SERVAN DIE? WHY? BECAUSE I SAID, HA ’S WHY

EA YOUR GREENS OR YOU WON’ GROW HERE’S KIDS S ARVING IN AFRICA, YOU KNOW

BEDS AIN’ MADE FOR JUMPING ON



M I D 7

YOU’LL ALL MISS ME WHEN I’M GONE

(Door opens and G stands there, hand out, and is given his

bus pass .)R Bus Pass!

AIF YOU WAN SOME HING DONE ASK A BUSY WOMANSHE’S GO MORE ENERGY

HAN HE SUNSHE’S ALWAYS HERE NO MA ER WHAIF YOU LOSE YOUR KEY OR LOSE HE PLO

HE S RENG H OF A RHINOHE PA IENCE OF A NUN

I AIN’ NO SPRIN I ’S A MARA HON

EVERY LOVING MINU EOF EVERY LOVING DAY

ES S OUR LOVING NA URE

IN EVERY LOVING WAY MO HERS, SIS ERS, DAUGH ERSLOVINGLY WE SAY

WE GO HIS FEELINGHIS WONDERFUL FEELING

I ’S GONNA BE ANO HER KIDDY HUGGINGHEAR UGGING

EA SLUGGINGEVER LOVINGMO HER LOVING WORKING DAY

IF YOU WAN I DONE HEN ASK A BUSY WOMAN

(R is out the door and gone with a slam of the door.)

(End of scene.)



A O8

Music No. 2: MADE IN DAGENHAM

M

HE SMELL OF SUMP OIL FILLS HE AIR ONE WEEKS SWARFEGA IN MY HAIR I JUS CLOCK IN AND DO MY IME A FIVE O’CLOCK MY LIFE IS MINE

A FANBEL , GEARBOX OR A CLU CH WE’RE MEN WHO’VE GO HE MIDAS OUCH WE’RE PROUD OF WHA GOES IN O IGIVE I A KICK IF I DON’ FI

BLUE COLLAR CAR MENHA ’S WHO WE ARE

SHAME MOS OF USCAN’ AFFORD A CAR WHEY!

MADE IN DAGENHAM

LAID IN DAGENHAMSHAME WE’RE UNDERPAID IN DAGENHAMMADE IN DAGENHAM WE ARE DAGENHAM BOYS

S 1I LOVE MY JOB, I IS A GIF

S 5

A LOVELY S INKING EIGH HOUR SHIFESEE HOW HE FAC O RY DO H SHINE

S 2FROM EUROPE’S LARGES NEON SIGN

S 6 WE’RE FAMOUS FOR MIS ER HENRY FORD



M I D 9

A MFROM WHOM ALL GOODNESS S EMS

S 7 APAR FROM HE POLLU ION

S 8HA HE DUMPS IN O HE HAMES

S 3 AND OOOOH DUDLEY MOOREMAN, HE WAS SLICK

S 4BU HE GO A LI LE FAMOUS

A M AND HE FUCKED OFF PRE Y QUICK.

MADE IN DAGENHAMLAID IN DAGENHAMLAS YEAR WE HOLIDAYED IN DAGENHAM

MADE IN DAGENHAM WE ARE DAGENHAM BOYS

S 8 A HALF PIN HERMOS

S 3, 7, 5 AND MY S EEL CAP BOO S

S , 2OUR OVER ALLS PRO EC IVE

A MI ’S HE WORKING MAN’S SUI

S A E OF HE AR MACHINERYHEAL H AND SAFE Y GUARAN EEMAIN AINED DAILY HROUGH AND HROUGH Bang! BY ENGINEERING EXPER S AND SOME SUPER GLUE!



A O10

MADE IN DAGENHAMLAID IN DAGENHAMCOME GE YOUR CA SPAYED IN DAGENHAM.MADE IN DAGENHAM WE ARE DAGENHAM BOYS

A (M /W )PLAYED IN DAGENHAMS RAYED IN DAGENHAMLIFE IS READY MADE IN DAGENHAMGOD KNOWS WHY WE S AYED IN DAGENHAM

EMPERS GE ING FRAYED IN DAGENHAMCOZ S ILL WE’RE UNDERPAID IN DAGENHAM WE ARE DAGENHAM GIRLSBOYSGIRLSBOYSGIRLSOOOH WE ARE MADE IN DAGENHAM

SCENE WO

Te River Plant.B (front row) and other girls (back row). EnterR who takes a seatat her machine.

B Alright Rita? Are you getting any?

R Sex or loving?

B Oh! Tere’s a difference, is there?

(Enter C .)

B Alright Cass?

C (Sarcastic.) Yeah, I love it here.

B Are you getting any?



M I D 11

C Lord Jesus, Beryl!

(Tey laugh. EnterC .)

B Hello Clare! Are you getting any?

C (Giggles.) Stop it!

R Gonna be hot in this shed today.

C Yeah, and I got two hours whatsaname tonight.

B Overtime.

C Yeah.

C What are you saving up for, Clare?

C A you know –

B Deposit.

C – on a –

B – at.

C Yeah.

E What’s he do, your Ken?

C Mother’s Pride, he makes bread.

B So he’s a master baker is he?

C No, he’s got me.

C Are you gonna marry him?

C I gotta save a bit up rst.

B Bollocks, you’ve been giving it away!

C In an ideal world where would you like to get married, Clare?



A O12

C Er . . . Woodford Registry office.

C C’mon, girl, I said in an ideal world.

C I’ve always wanted to get married in the countryS e.

B Woodford ain’t the countryS e!

C But it’s near Chigwell . . .

B Yeah, and Chigwell ain’t the Seren-fuckin’-geti!

C (Kisses her teeth.) You wanna get yourself some dreams, girl!

R Cass is gonna be an airline pilot aren’t you, Cass?

C Before I’m thirty-ve.

B Who’s gonna get on your plane? A black woman pilot?! Fuck off!

(EnterS .)

C Here’s trouble!

R Morning Sandra!

S Alright girls!

B Alright Sandra, are you getting any?

S (Sung.) YEAH, YEAH, YEAH, YEAH, YEAAAAAAH.

B Dirty cow.

S Oi Cass, what you got your dog teeth set on?!

C Seven. For welts!

C It’d be a lot easier if we had a whatsaname with a you know.

Jo A transport system with a top feed?

B Tat’d be a bit too fucking twentieth century, that would!



M I D 13

S I put it on seven and it’s still sticking.

B Drop the dog teeth lower then, you daft slapper!

C Or use some, you know, ng.

C Wax!

B You wanna try sleeping at nights, girl!

R Who’s this one then, Sandra?

S Richard.

C What’s he do?

B Everything by the sounds of it!

S He’s a driving instructor. At British School of Motoring.

B No! He’s not that British School of Motoring’s Richard?

S Yeah. What about him?

B I’ve had him!

(Cheers. EnterB , a young apprentice.)

G Woah! / Barry! / Woo!

B Oh Jesus.

R You look tired, Barry?

B No, I’m not tired.

B Alright, Barry. Are you getting any?

B Please don’t talk to me.

R Barry! My tension discs are rubbing together. Tey’re getting hot.

C What’s your job title, Barry?



A O14

B I’m an apprentice toolmaker.

B Does that involve a lot of grinding?

B Yeah. If you want to make the tools hard.

(Laughter.B turns to go. But as a parting shot in revenge . . .)

B At least it’s skilled work, not like sewing.

R Oi! Tis is skilled work.

B Not any more, it ain’t.

(B exits .)

B He’s alright is Barry. I’d take me teeth out for him.

(Enter C and M , the NUVB, River Plant, Convenor.)

C Girls! You can machine off this is official union business.

C It’s hot hot hot hot in here, Monty!

B Yeah, I’m sweating like a fucking kestrel.

M Conditions in this shed have been minuted at the Health andSafety Committee.

B Oi Connie, could I get paid for sitting around in union meetingsdrinking tea?

C Have you read the union rule book?

B Yeah I have, it was brilliant, I couldn’t put it down.

R Put a sock in it, Beryl.

C Me and Monty have been at the Pay Review Committee.

All along, I’ve been asking for a re-evaluation of our grading –

M An I’m here cos Connie needs to sign off the new job evaluationscheme.



M I D 15

B Are we getting a pay rise or not?

M o cut a long story short you ladies have been evaluated as grade

B.C Tat’s an upgrade then, we were grade C.

C No, it ain’t. It’s an unskilled grade.

A Unskilled? / We’re skilled! / Tat ain’t right / Wot!?

R You can’t expect us to agree to that.

S Who else has signed up to this?M All the men. Te GWU, AEU, AUEW.

B I don’t care if the RAC, the IOU and the PM have signed, we’renot signing!

S I ain’t working unskilled in this shitheap.

C In my book this is indefensible.

B Why did you agree to it then!?

C I was outvoted, by the men.

M Look girls, I know what you want –

R – no you don’t. We want templates for this leatherette.

B And new machines! I’m not saying this machine’s old, but the

manual’s in fucking Latin.M Alright, what do you want?

Music No. 3: THIS IS WHAT WE WANT

SI WAN A CHAIR HA JUS DON’ CREAK I WAN A ROOF HA JUS DON’ LEAK I WAN A BOSS HA AIN’ A . . .



A O16

AFREAK

BI WAN A BOG HA DOESN’ REEK

ADOESN’ REEK DOESN’ REEK

M Ladies, are you going to be serious or what?

ADOESN’ REEK DOESN’ REEK

R WE WAN MACHINES

HA AREN’ SO LOUD YOU HAVE O YELL

C

WE WAN O WORK IN PLACESHA AIN’ HO AS HELL

S (F4) WE WAN SOME CHOCOLA E

HA WON’ MAKE US FA

A JUS GIVE US LOADS OF HA

LOADS OF HALOADS OF HA

S (F2)I WAN HE CAN EEN RUN BY WIMPEY’S RES AUR AN

S I WAN MY OVERALLS DESIGNEDBY MARY QUAN



M I D 17

S (F3)I WAN HE FAC ORY MOVED OSOU HERN SPAIN

BI WAN MY DOORS BLOWN OFFBY MICHAEL CAINE

AMICHAEL CAINE

ALL I REALLY WAN O SAY

IS HROW A LI LE CRUMB HIS WAY A INY EENY WEENY LI LE OUCHI ’S NO AS IF WE’RE ASKING FOR MUCHSPREAD SOME JOY AROUND HE PLACEPU A SMILE ON MY FACEDON’ MESS WI H USCOS HIS IS WHA WE WAN

B Go on, Clare, you say something.

C A CHANGING ROOM HA DOESN’ ALWAYS SMELL OF SHI

BEGYP IAN CO ON OWELS

O WIPE MY SWEA Y BI S

S CHANEL PERFUME ON AP AND SERVED FOR FREE

BI WAN BARRY OSERVICE ME

ASERVICE ME



A O18

A ) ALL WE R EALLY WAN O SAY IS HROW A LI LE CRUMB HIS WAY A INY EENY WEENY LI LE OUCHI ’S NO AS IF WE’RE ASKING FOR MUCH

SPREAD SOME JOY AROUND HE PLACEPU A SMILE ON MY FACEDON’ MESS WI H USCOS HIS IS WHA WE WAN

I’M PINING FOR,I’M WHINING FOR,I’M YEARNING FOR,I’M BURNING FOR,I’M ACHING FOR,I’M QUAKING FOR,I’M SICK OF BLEEDIN’ WAI IN’ FOR

CHANGE, CHANGE, CHANGEBRING I ONCHANGE, CHANGE, CHANGE

I’M MOANIN’ FOR GROANIN’ FOR PRAYIN’ FOR BRAYIN’ FOR SCHEMIN’ FOR SCREAMIN’ FOR AND S ILL WE’RE ONLY DREAMIN’ FOR

CHANGE, CHANGE, CHANGEKEEP DREAMING OF CHANGECHANGE, CHANGE, CHANGE

SO WHY DON’ YOU GE ON HE CASEBEFORE WE SMACK YOU IN HE FACEDON’ MESS WI H USCOS HIS IS WHA WE WAN



M I D 19

DON’ MESS WI H USCOS HIS IS WHA WE WAN

B Did you get that, Monty?M Yeah, loud and clear. As I’ve always said if a job’s worth doing, it

can wait until tomorrow.

(ExitM . B starts clapping.)

B Why didn’t we know about this, Connie?

C I’ve only just found out myself.

B No! I think she goes swanning off to these here job evaluationmeetings so you can see more of Monty.

R Why are we ghting amongst ourselves?

B You want a ght? Alright! Outside!

S Beryl, shutup!

C Yeah, and mind your whatsit –R – Language.

B Bollocks.

(Tey go back to work .)

SCENE HREE

(Union Convenors’ office at Ford. Tis is an office for the convenors and shop stewards touse, though it is within the suite of management offices. Present areB ( GWU) andS(AUEW).

Music No. 4: UNION SONG

MBRO HERS AND SIS ERSCOMRADES EVERY ONE



A O20

FIGH FOR YOUR FU URE AND HE UNION

HE RIGH S OF MAN ARE HE RIGH S GOD GAVE WE WORK OGE HER OR WE DIE AS SLAVES

(EnterM .He picks up his upperware snack box .)

S What you got there comrade?

M Jammy Dodgers.

S / B Phwoargh!

(S and B take his Jammy Dodgers.M is unhappy.)

S All property is theft, Monty.

M Listen, the girls are not happy.

B What’s their problem? You’ve had her ain’t yer, that Connie?

M None of your business, is it.

S Tere can be no personal secrets in the revolution comrade.

M Me and Connie was a long time back.

B Who else you had in that shed, comrade? Beryl?

S Urgh! Sandpaper.

S / B Rough.

S So, they won’t sign?

B No, Connie’s not happy.

S I’m not Sneezy.

B And I’m not Doc.



M I D 21

S Comrade, I represent two thousand engineers. Bill here –

B – One thousand tters –

S – and every one of them’s got a proper man’s hairy arse.

B It’s only your two hundred effing women that are effing it up.

(S spots M H walking towards the Convenor’s office .)

S Management. Hopkins?

B Wahey! Must’ve had the yanks on the blower, are we letting him

in?M I don’t have a problem with Hopkins.

B Tat’s because you’re a bourgeois revisionist running dog.

M And what are you?

B West Ham.

(B goes to let him in.)S Wait! Anyone got any farts?

(Tey all try and fart,S succeeds. EnterH .Tey remainseated .)

H Alright lads. Jesus, phwo! . . . Sid, what’s this about the NUVBnot signing off the new grades?

S My boys have signed.

B It’s the girls.

H Monty?

M Yeah, the girls are not happy about being downgraded.

H Who wouldn’t be. It’s your job, Monty, to persuade them of thebigger picture. Management and Union. It’s a long game.



A O22

S It’s test match cricket.

H It’s a game of give and take. You scratch my back.

B I scratch yours.

S And what a beautiful back it is, Mr. Hopkins.

H Tank you, Sid. Monty, it’s a done deal. Te men are happy. Tevote was overwhelming.

B Five thousand men. wo hundred women.

H You can’t win.B / S Oooh!

H Monty, your hands are tied and I’ve got your balls in a KenwoodChef.

M But I represent these women. Look, can we do somethingprocedural so things don’t come to a head?

H Sid? Any ideas?

S We could confuse the poor little darlings with some totallyincomprehensible bollocks.

H Te grievance procedure?!

B Te grievance procedure was Connie’s idea.

S She’ll have to comply.

H Tat is brilliant! omorrow morning, head office, Warley.

S Afternoon.

B After lunch.

M Berni Inn.

S / B Phwoargh.



M I D 23

(H exits .)

B Go on then!

S Fuck off, Monty!

B Win ’em over.

S If you’re not back in half an hour we’ll drag the river.

(M leaves .)

SCENE FOUR In the factory, machines working, so they’re shouting at each other.

S Who else is B grade?

C Te cleaners. Unskilled assembly.

R My Eddie.

C We ain’t unskilled.B It ain’t just anyone who can freddle a needle!

R You have to take three tests to get in here.

(EnterM .)

M Alright ladies, I’ve spoken to the management –

B – bastards!

M – and we’re gonna insist on registering a formal grievance.

R Hang on! I just thought, what about the girls at Dunton?

C Yeah, they do the same job as us.

M Tey have, anomalously, been given C grade. Skilled.

A (Uproar / Complaints.)



A O24

M Tey work in a pressurised environment.

S We got our own environmental problems here.

M Like what?

( A dead pigeon falls from the ceiling and lands atM ’ feet .)

B Like that!

C I’ll betcha Ford’s American factories ain’t like this boy!

M We go to Head Office tomorrow, me, Connie, and Sid.

C I don’t want Sid. I want one of the girls.

C ake Beryl.

R Yeah, she can do the swearing for you.

(Tey laugh.)

C – Don’t take Beryl, she could start a –

C – ght.

C – in a –

B – plough eld.

R We want a ght!

C I’ll go. I’ll tell ’em.

B What would you say, Clare?

Music No. 5: WOSSNAME

C (Starts speaking, and ends up singing .) I’d say . . . er . . . er . . . hangon . . . er . . .

WELL ’ERE IS HE FINGHE FING ’ERE IS HIS



M I D 25

AND DON’ NO ONE S ARAKING HE PISS

COS WHEN SUMMINK AIN’ RIGHHEN SUMMINK IS WRONGHERE'S A SMELL IN HE AIR

AND HE PONG IS QUI E S RONG

I BEEN A HIS GAMESINCE I WAS FOUR EENI KNOW MY WHA SISCALLEDDYAKNOWHWA IMEAN?

SO OUJAH KAPIVUWALAH DEE DAH AND GOODBYEI AM WHA I AMCOS I’M ME, AIN’ I?

M Is this a wind up?

C W

I KNOW WHA 'S GOING ON OO . . . YES I KNOW HE GAME OO . . . AND I KNOW HE WHA SI OO . . . ABOU HE WHA ISNAME OO . . .

AND I KNOW WHA 'S RIGH OO . . . AND I KNOW WHA 'S FAIR OO . . . BU SUMMING IN HIS FING OO . . . WELL, I DUNNO AIN' HERE OO . . .

HERE’S LO SA YA KNOW BLAH DEE BLAH DEE BLAH YEAH NO, YEAH NO, YEAH NO AND OUJAH OUJHA

BU I ALK I S RAIGH AND I ALK I PLAIN WHA YOU SEE IS WHA YOU WO SANAME



A O26

C WLIFE HERE AIN’ FAIR OOOH . . . AND PEOPLE GE HE BLAME, OOOH . . .

YEAH YEAH YEAH YEAH YEAH, YEAHBU YOU S AY FIRM AND RUE OOOH . . . S ICK O HE WHA SI SNAME

HA ’S DEEP INSIDE YOUOUJAH, OUJAH

C (Huge, anthemic.)I'M ME

WSHE’S HER

C AIN’ I

WNO D’UH

C

AND WE DON' SEE EYE O EYE WSEE EYE . . . , GE HER!

C AND YOU

W YOU WHO?

C YOU’RE YOU

WUS OO!

C AND WE AIN’ GO A BLEEDIN’ CLUE



M I D 27

A Speak for yourself, love!

C

HE PAS IS IN FRON AND HE FU URE’S BEHINDFANKS FOR HEARING ME OUI ’S A WEIGH OF MY CHES

WE’VE ALL BEEN HERE AND NOW WE’RE HERE

HA ’S ALL I’VE GO O SAY DO I MAKE MYSELF CLEAR?

R Your heart’s in the right place, Clare.

B But they fucked everything else up.

C It won’t work, love.

C Why not?

B ’Cause you couldn’t nd your own arse wiv both ’ands!

(C goes back to work, machining.)

C What about you, Rita?

A Rita! / Yeah Rita! / Rita O’Grady! / Good idea!

R Me? No! I can’t talk union stuff.

C It’s a day off, girl!

B Berni Inn. Free lunch.

R Yeah?! Ooh, alright then.

B Machine off ! Everyone. We ain’t doing no more work today.

M No! All workplace disputes have to be arbitrated in accordance with the grievance procedure. Or we’ll be up shit creek without apaddle.



A O28

B If all you want’s a paddle mate, I’ll fucking knit you one.

S You come in here, Monty, swinging your dick like you’re running

the country, well you ain’t running the country.

C Yeah. No. You ain’t running the country, that’s someone else.

(End of scene.)

Music No. 5a: BIG BEN

SCENE FIVE

Big Ben chimes.H W with threeC S .

H How many strikes has the UK suffered this year?

A 1 wenty-six thousand, Prime Minister.

H We’re 66th for industrial productivity, behind Chad. Where isChad?

A 2 65th, Sir.

A 1 Chad is a small African nation with seventeen goats, and a stringfarm.

H Seventeen goats, and a string farm, and they’re ahead of GreatBritain?

A 1 All their goats work.

A 2 Britain is currently top of the world league table for industrialunrest.

A Champeeeeons!

A 3 You can take your coat off Prime Minister. You’re indoors.

H Gannex pay me to wear it. At all times. It’s work. I’m trying to setan example . . .



M I D 29

Music No. 6: ALWAYS A PROBLEM

H

WHA WOULD YOU DO IF YOU WERE ME? WHA ’S YOUR POLI ICAL S R A EGY? YOU HAVE O FAKE SINCERE Y AND BRUSH UP YOUR MACHIAVELLI

WHA WOULD YOU DO IF YOU WERE ME? WHA KIND OF LEADER WOULD YOU BE?EVERY DAY A CRISIS OR SURPRISEDO YOU S AND FIRM OR COMPROMISE?

HERE’S ALWAYS A PROBLEM WAI ING IN HE WINGS

HA ’S ALWAYS BEEN HE PROBLEMFOR PRIME MINIS ERS AND KINGSBU WHA KEEPS ME UP A NIGH AND MAKES ME VERY ENSEIS HE PROBLEM OF

HE BALANCE OF PAYMEN S.

AUP IGH , HIGHLY S RUNGMAKES HIM VERY ENSE WHEN I COMES O

HE BALANCE OF PAYMEN S.

HIMPOR S, EXPOR SDEFICI OR SURPLUS

ACAPI AL INFLOWSECONOMIC CIRCUS

HIN LAYMAN’S ERMS WHEN I COMES DOWN O IIF YOU BUY MORE HAN YOU SELL

HEN YOU ARE REALLY IN HE SHI .



A O30

A 1 Actually, Prime Minister, the correct term is “visible trade decit”.

H

YOU CAN CALL I WHA YOU LIKE, SON WE’RE REALLY IN HE SHI .

AHERE’S ALWAYS A PROBLEM

WAI ING IN HE W INGSHA ’S ALWAYS BEEN HE PROBLEM

FOR PRIME MINIS ERS AND KINGS WE MAKE GREA HINGS

WHICH WE SELL WHEN WE CANBU HE WHOLE WORLD WAN S O BUY GERMAN

H ANO HER LI LE PROBLEM WI H WHICH A WE ARE BLESSEDIS A GREA DEAL OFINDUS RIAL UNRESS RIKES HERE S RIKES HEREI JUS AMAZES ME WHEN HE DAFFODILLS COME OU

HE MEN COME OU IN SYMPA HY

WE NEED IDEAS AND WE NEED A PLAN

O PU HE GREAIN O GREA BRI AIN

AUP IGH HIGHLY S RUNGBRINGS HIM OU IN A SWEA WHEN HE HINKS OF HE SIZEOF HE GREA BRI ISH DEB

H ARGHH



M I D 31

ADEB

H ARGHH

ADEB

H ARGHH

A

DEBH ARGHHHHHHHHHHHHHH!

(Te A go into a huddle .)

A 1 Sir, how do you feel about quantitative easing?

H I don’t need it, I’m very regular.

A 3 But this is an emergency.

H In an emergency I have two black coffees and a cigarette.

A 2 Printing money.

H Printing money? Can we do that?! Brilliant!

A

NO MORE BLOODY PROBLEMSIN HOSE BLOODY WINGSPRIN ING CASH WILL MAKE US ALL MORE POWERFUL HAN KINGS

HIS IS HE MAS ER PLANO CURE OUR ECONOMY

HI HAD BE ER BLOODY WORK COS HERE AIN’ NO PLAN B



A O32

A WE LOVE OUR COUN RY

HE GREA ES ON HE EAR H WI H I ’S IMMOR AL INDUS RIESFROM MINING O WOOLWOR HS

HEY’LL S ILL BE AROUND WAY AF ER WE’RE GONE WHICH, JUDGING FROM S A E OF HINGS, WON’ . . .BE . . .VERY . . .LONG!

HOH SHI !

A 3 Printing money never solved anyone’s problems. You’re going tohave to take on the unions.

H I’ll create a new cabinet post. Secretary of State for aking on theUnions. Candidates?

A 1 Michael Foot.

H Communist. He won’t be happy until we’re eating pickledbeetroot, drinking petrol and shagging our sisters.

Aides 3 Barbara Castle!

A 2 But she’s Minister of ransport.

H Is she busy?

A 1 She’s learning to drive.

H Get her in here.

A 2 She’s a woman.

H Good! She can do her own typing.

(EnterB C .)



M I D 33

Music No. 6a: BUSY WOMAN (BARBARA CASTLE)

B

HERE I AM WELL WHA DO YOU WAN ?I HAVEN’ GO ALL DAY YOU KNOW JUS BROUGH IN HE BREA HALYSER ALL YOU HAVE O DO BLOW

I’M FIGH ING FOR AN IDEAL WORLD AS WELL AS ALL HE HOUSEHOLD CHORES AND DON’ FORGE YOUR SEA BEL , PLEASEI JUS PASSED HE SEA BEL LAWS

B What is it Prime Minister? Spit it out! I’m a busy woman.

A ( Audience aside.) FIERY! LIKE HER HAIR!

H Barbara, you know when you’ve lent your lawn mower to a friendbecause you can see that the neighborhood would be improved ifhe mowed his lawn.

(B and A look quizzically at the audience.)

He forgets to return it. He starts to think it’s his. He goes aroundmowing other people’s lawns, he’s out of control. Field mice andvoles lose their habitats. Every green shoot is mowed down, untilnally, a once green and pleasant land is brown and lifeless.

B If you want to talk about the union’s abuse of power, don’t use sillymetaphors. I don’t beat around the bush.

A ( Audience aside.) FIERY! LIKE HER HAIR!

H Te Labour Party is dependent on the trade union movement.

B You can’t tell me anything about the trades unions. I paid my rstunion dues when they were still on the tit!

H Barbara, Barbara! It’s easy being the opposition, it’s just a lot ofeating and drinking, but we’re the Government now.

B I came into politics to improve the lot of the working classes.



M I D 35

RUN O HE BAR ANDGE A ROUND IN S R AIGH AWAY

GE A LI LE MERRY MAKE A LI LE MESSCAN' DO QUI E AS MUCHNOW WE'RE PAID A LI LE LESS

PAY DAY HEY HEYHE WEEK IS NEARLY DONE

PAY DAY OUR DAY FORGE ALL YOUR ROUBLES AND KISS HEM ALL AWAY

PAY DAY PAY DAYDEE JAY DEE JAYPLAY ANO HER UNESO WE CAN DANCE HE NIGH AWAY

GE A LI LE MERRY MAKE A LI LE MESSCAN' DO QUI E AS MUCHNOW WE'RE PAID A LI LE LESS

PAY DAY HEY HEYHE WEEK IS NEARLY DONE

S WHA YOU DRINKIN’?

ECHERRY BRANDY WHA D’YA SAY?SHERRY WA NEYSDUBONNEDOUBLE DIAMOND



A O36

ROO BEER SANGRIA OVER HERE!

I HINK HEREFORE I DAGENHAM WE ALL DRINK BEER AND BABYCHAMBROWN ALE, BABYCHAMBROWN ALE, BABYCHAM

BABY, BABY, BABY, BABY

MC Te barman wants his glasses back at the bar. He can’t see a thing without them.

R Oi Connie, what are you doing over there? Come here.

C I’ve got to get this bloody speech done.

R Speech?

C UC conference next month. Unless I write it all down I’ll neverget through it.

B Give the revolution a break will ya. Get pissed and forget. We’recelebrating.

S Rita’s tenth wedding anniversary.

C Rita! What did he get you?

Flowers?R Flowers? You’d be lucky! Do you know what he got me for

Christmas?

S A baby doll nightie?

R A tartan shopping trolley.

(Tey laugh.)



M I D 37

B Don’t let this put you off marrying Ken, Clare. I had sevenhappy years wiv my husband, and seven out of twenty-ve ain’tbad.

(E and S arrive with pints. Tey are greeted with silence .)

S Go on then, why ain’t B grade good enough for you, then?

C Cos we’re, you know . . .

C – skilled.

E Yeah, but you’re sitting down all day.

B Did Ford give you a test to see if you could stand up?

E No.

B Standing up ain’t a skill then is it!

S None of you can lift three hundred Cortina wheels in a day.

R You don’t get it, do you?

S You can’t have six thousand hairy arsed blokes sweating awayearning less than a woman.

(Te MC takes the microphone.R refuses to look at E . Ewaves his hand in front of her face and gets no response .)

MC Ladies and Gentlemen, our rst act of the evening, back by publictransport – lovable, larger than life Chubby Chuff!

Music No. 7a: CLUB MUSIC

(C takes the stage. He is the archetypal fat bloke in suit.)

C ook the mother-in-law on safari last year. She got attacked bythree lions. My wife says “Aren’t you gonna help?” I said no, threeshould be enough.

(Some laughter.)



A O38

C She’s a big woman, the mother-in-law. She joined one of themgymnasiums, got on the rowing machine and the bloody thingsank.

(Reaction.)

She came round for dinner last night and I did one of themFreudian slips. I meant to say “could you pass the butter please”but what I actually said was “you fat ugly bastard you’ve ruined mylife”.

R You got any jokes about fat men?!

C Oh hello gorgeous, women’s libber, hey? Burn your bra – I’d pay tosee that.

B Don’t you slag off our Rita or I’ll come up there and sit on yourface!

C I’m serious, if I was her dad, love, I’d still be doing bath time.

A Oi! / Watch it, you! / Whadyermean! / I can’t believe he said that.

(B takes the mic and improvises a gag.)

B Tere’s a fat bloke, and another really fat bloke. (o the girls.) Ha,ha. What!? I dunno! And another really fat ugly fat bloke in a pubon their own cos they’re all really fat and ugly and smelly and thenthe ceiling falls in and fucking kills them!

MC Off the stage, off the stage. We’ve got another act coming.

E Alright Rite, that’s enough.

R Don’t you tell me what to do, Eddie O’Grady.

E What’ve I done?

R You don’t even know what you’ve not done, do you?

C What’s today?

E Oh no. Is it?



M I D 39

B It fucking is.

E I’m sorry love. What can I say?

HAPPY BIR HDAY, O YOU . . .

M / EHAPPY BIR HDAY O YOU –

R I’m going home. It ain’t my birthday!

(R leaves the stage, exits the club.)

E What? It ain’t her birthday?

B How long you been married, Eddie?

E Er . . . Millwall’s last season in Division 3 South, so that’s 1958. Ibeen married about ten years.

C en years exactly.

E Exactly. What? o the day? Oh shit!

C Go after her, Eddie! All she needs is sorry.

(E runs after her.G leave the club. Te next act takes thestage and the mic.)

C SMOON OVER DAGENHAMSHINING UP ON HIGH

FILL ME FULL OF LOVE AND JOY HEN PASS ME HA PORK PIE

(Outside the club.R has gone.E comes out into the night air.During the next the girls exit the club.R is standing in the street,crying. She’s waiting forE .)

E (Into the night air.) Rite! Rita! Wait!

R It’s our anniversary, Eddie, and you forgot!



A O40

E I remember every second of our honeymoon. I do. est me.

R est you?! Piss off. I don’t need reminding that we loved each other

ten years ago!Music No. 8: I'M SORRY I LOVE YOU

EI KNOW I'M A GIBU YOU HAVE O ADMI WHEN I COMES DOWN O II ADMI I'M A GI . . .

(Beat.)

I AIN' GO A CLUE

R WELL HA MUCH IS RUE

E ALL I CAN SAY IS . . .

R Here it comes . . .

EI'M SORRY I LOVE YOU.

I’M JUS A MAN WI H A FOOLISH BRAINI PROMISE HA I’LL NEVER, NEVER, NEVER, NEVER,NEVER, NEVER, NEVER, EVER,NEVER FORGE AGAIN WHEN YOU’RE NO HEREI’M NO ALL HER E

HERE AIN’ A SINGLE HING I CAN DOI’M SORRY I LOVE YOU

R EDDIE, I'M A SOF OUCH



M I D 41

I DON’ ASK FOR MUCH AND HA 'S WHA I GE IN RE URNBU ONE DAY A YEAR I DON’ GE I , ED WHY DON’ YOU LEARN?!

ELOOK IN MY EYESSEE HEY'RE REGRE FUL, BU YE FULL OF JOY

HA 'S GO A BE WOR HMORE HAN FLOWERS OR CHOCOLA ESOR SOME S UPID CUDDLY OY

I’M JUS A MAN WI H A FOOLISH BRAINI PROMISE HA I’LL NEVER, NEVER, NEVER, NEVER,NEVER, NEVER, NEVER, EVER,NEVER FORGE AGAIN YOU SUCKER PUNCH MY SOUL WI HOU YOU I’M NO WHOLE

HERE AIN’ A SINGLE HING I CAN DOI’M SORRY I LOVE YOU

R I’M SICK OF I

ESORRY

R

I’M IRED OF IESORRY

R I’VE HAD ENOUGH

EI’M SORRY



A O42

R OH COME ON, ED

EI’M SORRY

R I’M SICK OF . . .

ESORRY

R SICK OF I

ESORRY

R SICK OF I

E

SORRY R I’M SICK OF . . .

ESORRY

R S. I. C. K.

ES. O. R. R. Y.I'LL SHOU I FROM HE ROOF OPSI'LL SCREAM I ILL I'M HOARSEEVERY HING HA 'S MINE IS YOURS APAR FROM HE BIKE OF COURSE

ELL ME JUS HOW MANY IMES YOU WAN ME O ELL YOU



M I D 43

HOW MANY IMES I'M SORRY I GO LOS A NINE Y WOI’M SORRY I’M SORRY BU I LOVE YOU

M (& E ad lib.)HE’S JUS A MAN WI H A FOOLISH BRAINHE PROMISES HA HE’LL NEVER, NEVER, NEVER, NEVER,NEVER, NEVER, NEVER, EVER,NEVER FORGE AGAIN YOU SUCKER PUNCHED HIS SOUL WI HOU YOU HE’S A RIGH ARSEHOLE

HERE AIN’ A SINGLE HING HE CAN DO

EI’M SORRY I LOVE YOU

MIF YOU WAN HE’LL BEG

LOOK HE’S DOWN ON ONE LEGNOW HE’S DOWN ON ALL FOURS

E WHA EVER HE WEA HER, WHEREVER, FOREVER WHA EVER HE WEA HER, WHEREVER, FOREVER

M WHA EVER HE WEA HER, WHEREVER, FOREVER

EI’M SORRY, I’M ALWAYS YOURS

M ALWAYS YOURS



A O44

HE’S SORRY, HE’S ALWAYS YOURSHE’S SORRY, HE’S ALWAYS YOURS Repeat 6 times to fade.

(Huge, lush orchestral sweep as they exit into the sunset.)

E Enough!

(During the song they sit on a park bench.)

R We’re alright, ain’t we?

E Yeah we’re alright. Course we’re alright.

(E gives R a kiss .)

R Mr Buckton, is caning our Graham. It ain’t right.

E Remember Mr Perkins?

R Virgin Perkins?

E Yeah. Woodwork. He used to put me head in a vice and burn me with cigarettes.

R What’s your point?

E It didn’t do me any harm.

(R falls asleep on E .)

R I think he canes him ’cause he’s a scholarship boy. I’m gonna gointo the school to complain. (Beat.) I love you, Eddie.

EHEY HERE SLEEPY DREAMER I JUS WANNA SAY I LOVE YOU LOADS

R YOU S UPID SOD

(Tey both fall asleep. End of scene .)



M I D 45

SCENE SEVEN

Te H house, breakfast.

H Snuggles?

L Yes, darling.

H Tese eggs taste funny.

L Tey’re duck eggs.

H Why am I eating duck eggs? I’m not Albanian.

L For a change, I’ve started buying whatever is one to the left of what I usually buy. Tat’s why we’ve got no coffee but lots ofDomestos.

H Let’s go out for dinner tonight and we can talk then. I’m sorry, Ihave to go. I’m at head office today.

L Mr. Buckton caned Perry yesterday. He can hardly sit down.

H What had he done?L He’d farted. In Latin.

H Impressive! Most people can’t even speak Latin.

L So you’re quite happy for your son to be physically abused by asadist?

H It’s an expensive public school. I’d be disappointed if he wasn’t

getting abused. I remember one time we were playing Rugby atRugby in Rugby. We lost seventy-three nil. o be honest, we werelucky to get nil. We were all given six of the best on the hand.Onthe hand . Now that does hurt. Bottoms are for girls. Now whathave you got today darling? upperware Party?

L I thought I’d wash up, do the ironing, polish off a couple of bottlesof vodka and then set re to the Women’s Institute.

H Sorry darling, I’ve got to rush.



M I D 47

B Ah! Let me guess. Mrs. O’Grady.

R Yeah. Well done.

B How can I help?

R I’m not . . . what I want to say is . . . you bin caning my son?

B Yes.

R Oh. You admit it then.

B An integral element of an elite education is discipline. Ergo,

R – Ergo? Tat’s Latin, is it?

B Yes, it means therefore. Ergo, it is incumbent on me to cane yourson, and constrain his natural recalcitrance.

R I dunno what that word means either.

B He’s insolent, he kicks against tradition. Like most of thescholarship boys he conforms to the current fashion of

individualism, which is antithetical to the core values of theschool.

R I don’t want you caning him. He’s a child, ergo, it ain’t right.

B I’m afraid your outrage is misplaced.

R My outrage?

B Do you want your boy to do A levels, sixth form, to go to

university? I do. Are you saying you’d be happier if he left atsixteen and got a job in a factory? I don’t know if you’ve ever beenin a factory but –

R – I work in a factory!

B Ten you should know better. Is there anything else I can help with?

R No.



A O48

(R is defeated. Te teacher turns his back on her.R leaves.Shebumps intoL H . Lis wearing a red Biba dress.)

L Excuse me!R Oh piss off!

L I beg your pardon!

R Sorry, I thought you were a teacher. I’m in a mood. MisterBuckton’s caning my boy.

L Mine too. Tat’s why I’m here.

R Rita O’Grady.

(Handshake .)

L Lisa Hopkins.

R I like that dress.

L It’s Biba.

R Someone should do summat about it. Te caning, not the dress.Te dress is fab. Don’t do anything about that. Leave the dressalone! It’s perfect! I love it! Don’t touch the dress! Ha! Sorry, I go weird when I’ve got the hump.

L We should start a petition. What do you think? Shall we?

R Oh God, I dunno. I’m not political.

L It’s not politics, I’m not asking you to stand for Parliament. Tis iscruelty, we parents have to stand up to him.

R Yeah, good luck. I gotta go.

MDO NO CRY, DO NO CRY DO NO BAWL, DO NO WEEPDO NO HOWL FOR YOUR MAMMY OR YOUR GRANNY WHEN YOU SLEEP



M I D 49

CRUSH ALL FEELING AND NEVER EVER COWER PREPARE FOR A CAREER IN HE CORRIDORS OF POWER

(End of scene.)

SCENE NINE

B C and H W and A . H is smoking a pipe with acup of tea in his hand.B has a cup of tea and a Cadbury’s chocolate nger.

H So Barbara, you’ve had those lovely legs of yours under the desk fora week now. Who do you blame for this country’s pitiful record ofindustrial productivity?

B Te problem as I see it is we have to get our people to go to workand stay there. We need a no-strike agreement with the UC.

H Are you mad, woman? I told you the Labour Party is dependent onthe UC.

B Tis is not easy for me either, it’s tearing me apart. Tis is my draft white paper, ‘In Place of Strife’. We have to ban strikes.

(H stands in a huff.)

H We can’t ban strikes! Te UC have six million block votes at theLabour Party conference. Tey bought me this pipe. Tey pay formy holidays in the Scilly Isles. Tey underlay in my bathroom!

B But Harold . . .

H No, Barbara, you’ve got this all wrong. I’m going. And I’m notcoming back until you’ve got a solution.

(H opens a door, goes in, closes the door. He opens the door,comes back in.)

So that’s a cupboard is it?

A 3 I think it’s a stationery cupboard, Sir.



A O50

H (Looks at cupboard.) It’s certainly not moving.

B Dockers, miners, train drivers, dinner ladies. I don’t mind the

UC striking when the ories are in, but we’re Labour, they’repissing on their own doorstep!

H What about management? Tey have to take responsibility. It takestwo to tango.

B Don’t try and bamboozle me with choreography! I don’t care thatyou’re Prime Minister, Prime Minister. You’ve given me this job,you have to let me do it my way, or I’ll turn on you, and you don’t want that because I’m like a she-lion. And have you ever seen ashe-lion drag down a wildebeest?

H I’m from Hudderseld.

B Get out.

H I would if I could.

B Tat door there! Men!

(End of scene.)

Music No. 9a: INTO THE BERNI INN

SCENE EN

A Berni Inn.R and C sat at the table reading menus.M is in thebackground laughing and drinking.

R Tis menu’s like reading the Karma Sutra. Everything sounds nice,but I can’t picture any of it.

(Tey laugh. C takes a couple of pills from a pot and washesthem down with water. R sees this .)

R Headache?

C Yeah.



M I D 51

R You’re lying.

C Yeah.

M (Shouting.) Oi! Garçon!

(W goes over to M .)

R Why’s Monty not sitting with us?

C He stays at the hotel next door.

R Hotel?! He only lives in Barking.

C You don’t understand expenses, do you?

R So come on did you and Monty ever?

C Once. Scarborough, 1953, Labour Party conference.

R But only once. You learned your lesson, eh?!

C Yeah, don’t drink and operate heavy machinery.

R Woo! It’s all going off behind the curtains! Why didn’t you evermarry?

C Monty?

R I dunno, he can’t have been the only single fella in Essex.

C He was a good dancer, but I didn’t love him and I’d already

married the Labour Party, and a lousy husband he turned out tobe.

R You was tryna change the world.

C I didn’t want to be my mum. Te drudge, the grind, low wages,factory work.

R Cheer up, Con, you can’t be miserable in the Berni Inn! You donea lot. You got us a grievance procedure.



A O52

Music No. 10: SAME OLD STORY

C A grievance procedure is not changing the world.

C YES ERDAY WHEN I S AR ED OUI KNEW I ALL, I HAD NO DOUBLIFE WAS HERE IN FRON OF ME“JUS BE WHO YOU WAN O BE”

S AR ED WORK WAY OO YOUNGSAME AS ALL HE BLOKES WORKED OUR FINGERS O HE BONEMAKING DO BY MAKING JOKES

BU NOW I’M OLDER, LOOKING BACK I DOESN’ SEEM SO FUNNY SAME WORK, SAME HOURSBU HALF HE MONEY

I ’S AN AGE-OLD S ORYI ’S AN AGE OLD ALES ILL HE SAME OLD REASONS

HA ARE HERE O MAKE US FAIL

SECOND A HE ABLEPICKING UP HE CRUMBSCHANGE IS ALWAYS PROMISEDBU SOMEHOW NEVER COMES

I JOINED HE LABOUR PAR Y ON HE SHOULDERS OF HE GREAEMANCIPA ED EENAGER WHO DIDN’ HAVE IME O WAI

FIERCE, FEIS Y, FULL OF FIGH A WARRIOR A DREAMER

HIR Y YEARS ON,I’M S ILL A UNION CONVENOR



M I D 53

YOU ALL SAID O ME“S ICK WI H I , WE NEED YA” WHA DID I ACHIEVE?

HE GRIEVANCE PROCEDURE

I ’S AN AGE OLD S ORYI ’S AN AGE OLD ALES ILL HE SAME OLD REASONS

HA ARE HERE O MAKE US FAIL

ALWAYS ON HE OU SIDEKICKING A HE DOOR LOOKS LIKE A GLASS CEILINGFROM DOWN HERE ON HE FLOOR

C WI ’S ALWAYS BEEN A WHISPER AAHH . . . etc.BU CAN’ I BE A ROAR ALL HOSE UNHEARD VOICES

HA WON’ AKE NO MORE

OH, RI A, PLEASE WAKE UPI NEED YOU O SEEI AIN’ ABOU HE MONEY I ’S EQUALI Y

C Tis doesn’t have to be just about C grade.

R What do you mean?

C If we got C grade tomorrow, we’d still be earning less than a manon C grade.

R Eighty-seven per cent. Tat ain’t too bad.

C Did Martin Luther King ask for eighty-seven per cent of rights forblack people?

R You know they shot him? I’m here to get C grade back, nothingelse. Women have never had equal pay.



A O54

C What about your Sharon?

R She’s six.

C And when she’s twenty-six do you want her to be on eighty-sevenper cent?

R She wants to be a doctor. Ha!

C She could be. Nothing changes if it isn’t challenged.

C YOU CAN HE CHANGE HE S ORY YOU CAN CHANGE HE ALEDON’ FALL FOR ALL HOSE REASONS

HA ARE HERE O MAKE US FAIL WE HAVE O MAKE I OUR IMECAN’ OUR IME BE NOW? AIN’ GO IME FOR WAI INGRI A MAKE I NOW

(End of scene.)

SCENE ELEVEN

Te management offices at Warley. Initially there are the three managers sat at a table. Onof these isM H . M , C and R arrive in the corridor outside thisoffice.

Music No. 11: UNION SONG – Reprise

M / WBRO HERS AND SIS ERS,COMRADES EVERYONEFIGH FOR YOUR FU URE AND HE UNION WHEN I COMES DOWN O MANAGEMEN manage-munt EACH AND EVERY ONE OF HEM’S A O AL . . .



M I D 55

H Come in, come in.

(Enter M .)

M Afternoon, gentlemen.

A Afternoon. / Monty. / Alright?etc.

M Right, today we’ve got the ladies.

H Woooo!

M One shop steward, Connie, she’s alright, she knows and respects

the procedures, and er . . . one of the trouble makers.H Are they t?

H Hubble, please!

H Just a joke.

H Tey threatened to walk out yesterday, that is not a joke.

M I’ll have to lay off ve thousand men if I don’t get a continuoussupply of Cortina seats.

M We can park this in the grievance procedure. Connie wasinstrumental in setting up the grievance procedure, so she ain’tgonna argue against it.

H We can do what we like, then? Tey’re under our thumbs.

H Ooh, Mucky.

H Hubble! Tat remark is not worthy of a Personnel Director.

H Sorry, just a joke.

M You’re management, I’m union, but we’re all men, and this is our world, the world of work. It’s when we go home that we’re in thedog house.

M I hate going home.



A O56

( A beat of time. All three men drop their heads in a moment of tragicintrospection.)

M I’ll go round them up.

H Woof! Woof!

(In the corridor, C and R are waiting for M .)

M Now there’s three of them and three of us, so it’s a fair ght.Connie’s done these meetings before. It’s all collective agreementsand procedures, so leave the talking to us, eh Rita?

R I’ll keep me mouth shut, I’m just making up the numbers.

M erric!

(M turns and enters the room. Tis time the managementstand.)

M You know Connie Riley, shop steward, River Plant. Tis isRita O’Grady, er . . . machinist. Rita, this is, Gregory Hubble,Personnel Director, Ron Macer, Production Manager and JeremyHopkins, Managing Director, Ford Dagenham.

R Oh! Never met you before. Hello. Sorry. I’ll shut up now!

M Te NUVB executive supported the job evaluation exercise.

M rue, but my members at the River Plant –

H – the girls.C Yes, the girls, are reluctant to sign it off.

R Yeah. Sorry.

H Fortunately, we have a grievance procedure now, partly due to yourefforts in the past, Connie.

C Yes. We do wish to register a formal grievance.



M I D 57

H We have no objections to grading grievance hearings being grantedunder the formerly agreed formal grievance procedure.

M So you agree to grant the girls their grading grievance before thegrading committee on the grounds that their grading grievancegripes can be grieved in the grievance procedure if they’re graveenough.

H Granted.

M Great. Grand. We’re very grateful. Gregory.

H When is the next Grievance Committee?

H September?

M Agreed.

R Hang on! I ain’t working on a grade B for three months. We’reskilled workers.

H Tat is to be discussed in September.

R You have to take three tests before you get in the door. Ergo wemust be skilled.

H Ergo?

R Yes, bloody ergo.

H Do they take three tests?

M Of course we test them.

R He tests us cos he can’t afford to let just anybody loose on hisexpensive leatherette. And what about the girls at Dunton? Teygot C grade.

H – there are only two girls at Dunton.

R – what’s that gotta do wiv anyng?

M Now come on, you’re –



A O58

R – don’t you dare tell me my outrage is misplaced. It’s the principle.

M Te girls at Dunton have to work under pressure.

R – I have to make three hundred pieces a day. You try working withthat monkey on your back!

M Dunton is a Research and Development facility, there are nodrawings –

R We ain’t working from drawings neiver! Go through that shed, you won’t nd a single template.

M Rita –

R (o M .) – Don’t you “Rita” me, Monty. Alright, so if weain’t skilled, yeah, you could do our jobs, yeah? Tat’s what you’resaying innit? (Beat.) So – what kind of needle would you use forleatherette?

(Silence.)

Ballpoint, or a crewel?

(Silence.)

M Look –

R – What would you set the dog teeth on for real leather? (Beat.)D’yer know what the dog teeth are? Alright. Last question. Whatkind of brush would you use to sweep the yard?

H A yard brush?

R Correct! Well done, Mister Hubble, you could be a cleaner.

H Every job has been analysed across twenty-eight characteristics.

R wenty-eight characteristics and the sex of whoever does it.

M £17 for a forty-hour week is not –



M I D 59

R – Don’t insult me, alright? You know what we want. Are yougonna give us equal pay or not?

H Equal pay?!M Tis isn’t about equal pay?!

M Connie?

C Why isn’t this about equal pay?

H Tis is not an equal pay issue.

R It wasn’t, but it is now.C You’ve made it one.

H But the grievance procedure was your idea.

C Fifteen years ago. And you’ve been abusing ever since.

R Come on, Connie, we’re going. You can stuff your grievanceprocedure where the sun don’t shine.

(R and C stand and make for the door.)

Good to meet you. A cup of tea would’ve been nice, but I guessthat’s skilled work.

(R and C exit. End of scene.)

SCENE WELVE

Music No. 11a: SKILLED WORK

Music underscore factory rhythm. All machines off. A tense silence.R stands on a box.

R So we met the management . . .

B – Bastards!

S What did you say?



A O60

B Machine off everyone! Rita wants to make a speech.

R I said the girls at Dunton are on C grade.

A Yeah! / (Supportive noises.)

R I said we must be skilled, cos you test us.


R I said, I’ve had it up to here!


R I said, we’re sick of talking about it, we want summat done.


R So we’ve got to vote now.

B What we voting for?

R A strike. Hands up, all in favour?

Music No. 12: EVERYBODY OUT

(It’s almost unanimous, butC is stalling .)

B Clare!?

SCENE HIR EEN

Tis scene segues out of Act 1 Scene 12 and is set across two weeks as a rapidly movingmontage of events, the spine of which is the song “Everybody Out”. Locations switch quhere, and there is musical underscoring throughout the whole scene.

R SOME IMES IN YOUR LIFE YOU GO A S AND UP FOR WHA YOU KNOW IS RIGH AND BE PREPARED O FIGH



M I D 61

AND SOME IMES IN YOUR LIFE YOU GO A GE UP AND LOOK HEM IN HE EYE AND SCREAM HE REASON WHY

I ’S A LONG IME COMING AND WE'RE READY FOR A SCR API ’S A LONG IME COMING AND WE AIN’ URNING BACK

A WEVERYBODY OU !GE OU ON HE S REE AND ON O HE PICKE LINEEVERYBODY OU !LE ’S MAKE I CLEAR WE’RE HERE O SEND A SIGNEVERYBODY OU !

CIF HEY GE ANGRY, WELL I ELL YA WE’LL GE MEAN WE’LL CHAIN OURSELVES

O OUR SEWING MACHINES

A WEVERYBODY OU !

B Oi, Monty! Your girls have gone mad.

M What is it?

S Drugs.

B What are you gonna do about it, Monty? Tey’re your ock.

S Yeah, what the ock are you gonna do about it?

M ( Moves to tannoy .) Your union does not support independentindustrial action!



A O62

WHERE’S NO MORE ALKING

NO CONVERSA ION NO CONVERSA IONDON’ REA US GIRLSLIKE A POOR RELA ION

EVERYBODY OU

(Phone rings chez H . L answers, but J is frustratedthat he didn’t get there rst .)

L Lisa Hopkins.

H Give me the phone!

M Monty here, N.U.V.B. from the River Plant.

(L hands over the phone .)

H Hopkins.

M It’s the girls. Tey’ve walked out.H Shit! Put Sid on.

(M hands phone toS .)

H (o L .) Hey! What time is it in America?

L I’m not the speaking clock!

(L walks off in a huff .)S Sidney.

H Is this a strike?

S All the classic signs. Tere’s a brazier, a picket line, and a barricade.If we had an orchestra it could be a musical.

(Phone down.)



M I D 63

WI ’S ALWAYS BEEN HIS WAY NOW I ’S GO O S OPEVERYBODY OU !

YOU S ARVE HOSE A HE BO OMO FEED HOSE A HE OP

EVERYBODY OU !

WE’RE HE CAN OF WORMSHA , YOU BE ER REALIZEHESE WORMS ARE URNING IN O BU ERFLIES

EVERYBODY OU !

B Prime Minister, the Ford women have walked out.

H But the war’s over, why are women working?

B Tey’re not working, they’re on strike.

H No Labour government will be pushed around by a lot of women

with dyed hair.B Tey make the seats for the cars!

H Fit the cars with sunroofs and we can all drive standing up! Do Ihave to think of everything!?

WLADIES IF YOUR FELLA S AR S O WHINGE OR S AR S O MOAN

E On strike?! We need the money?

WELL HIM HA YOU’LL AKE HE S RIKE

RIGH BACK IN O YOUR HOME

(E is trying to cook .)

E How long do you cook an egg for?



A O64

WLE HIM DO HE COOKING,LE HIM RY O MAKE HE MEALS

S wenty-seven minutes.

W AND MAKE HIM O DO I ALL DAY LONGIN A PAIR OF FIVE INCH HEELS

(E looks quizzically atS .)

S Better safe than sorry.

WEVERYBODY OUEVERYBODY OUEVERYBODY OUEVERYBODY OU

MGIRLS, YOU DONE HE RIGH HING

WE’RE BEHIND YOU ALL HE WAY MAKE YOUR POIN HEN BACK O WORK BEFORE BANK HOLIDAY

WE’RE PROUD OF YOU AND WHA I ISHA YOU ALL GO O SAY

BU MAKE I QUICK GE ON WI H ICOS WE’LL S RUGGLE ON S RIKER’S PAY

AEVERYBODY OUEVERYBODY OUEVERYBODY OUEVERYBODY OU

(On the picket line.F S R and P .One sleazy, A .)

R 1 Tis way, ladies. Smile for the camera.



M I D 65

R I’d have had me hair done if I’d known we were gonna be in thepapers.

B I’d have had a shave.C Are you national press?

R 2 Te Guardian.

B Tat’s alright then, I don’t know anyone who reads that.

A Tat’s beautiful! What’s your name?

S Sandra.

A Gissa bit of leg then, Stella!

B Oi! She’s on strike, she’s not on the game!

A My card, baby.

R Let me see that.

(R snatches the card.)

Fiesta!?

B Tat’s a bleeding wank mag!

A You don’t have to.

(A has gone .)

R 2 Ladies, is it your intention to halt production on the new FordCortina?

C I know this management –

B – Bastards!

C – they’ll just get their nished seats from Liverpool.

S What can we do then?



A O66

C We need some working class solidarity.

B ’Kinnel!

C We need the girls in Liverpool to strike.


B Hello Liverpool!

A Hiya queen!

R WE’RE HERE O ASK A FAVOUR WE NEED YOU ALL ABOARD WE WAN O SHOVE A ROCKEUP HE ARSE OF HENRY FORD

IF YOU S OP MAKING SEA SHEN YOU S OP OUR PRODUC ION LINEBU IF YOU CARRY ON

HE S RIKE IS JUS A WAS E OF IME

R , S , WI AIN’ ABOU HE MONEY I ’S ALL ABOU RESPEC WOMEN ALWAYS COMING SECOND

HA ’S WHA WE REJEC

A WDAGENHAM AND LIVERPOOL

OG HER WE GO CLOULADIES LE ME HEAR YOU SAY EVERYBODY OU !

EVERYBODY OUEVERYBODY OU



M I D 67

EVERYBODY OUEVERYBODY OU

( is at the shooting range.) Yeah? ooley.

H We’ve got a strike.

Oh Lord Jesus!

H wo strikes, actually.

What? You only had one strike a minute ago.H Dagenham and Liverpool.

What do the men want?

H Women.

Men always want women, tell me something I didn’t know.

H Te women are on strike. We have one week’s supply of carseats. One week before I have to shut down the whole Ford UKoperation.

Who’s the ring leader?

H Rita O’Grady.

Anarchist? Communist?

H Housewife, and working mother. My God!? Tey’re the worst! Okay, I’m coming over. Put the kettle

on.




A O68

(E at the end of a long hard day of domestic chores, holding abasket of washing .)

E I fed the kids.R What did you cook for them?

E Chips on toast.

R Why?

E Cos I can cook chips, and I can cook toast. We’re alright, you do what you have to do love.

A R EVERYBODY OU . . .EVERYBODY OU . . . We don’t want pin money we want proper money.EVERYBODY OU . . . Equal pay for equal work! What do we want?EVERYBODY OU , Equal Pay! When do we want it? Now!EVERYBODY OU !

GE OU ON HE S REE

AND ON O HA PICKE LINEEVERYBODY OU !LE ’S MAKE I CLEAR WE’RE HERE O SEND A SIGNEVERYBODY OU !

M WE WON’ BE DISMISSED AND WE WON’ BE IGNOR ED

W WE’LL HROW OURSELVESUNDER HE LA ES MODEL FORD.

MEVERYBODY OU !

S WEVERYBODY OU !



M I D 69

AEVERYBODY OU !

S WEVERYBODY . . .

AEVERYBODY . . .

S WEVERYBODY OU !

AEVERYBODY OU !EVERYBODY . . .EVERYBODY OU !EVERYBODY . . .OU !

Music No. 12a: EVERYBODY OUT – Playout

(End of Act One.)



A T70

AC WO

SCENE ONE

Music No. 12b: TOOLEY’S ENTRANCE

Helicopter rotors getting louder, dry ice, chopper lands, stands in the hatchway,tall, besuited, shades, cowboy hat, cowboy boots. He is followed by an enforcer type, A ,also in shades, besuited, but no cowboy hat. Tey’re into the management offices as musiand chopper end.

Okay guys, the cavalry’s here!

H Hello, would you like some tea? No! We’re not here to drink tea! We’re here to play hardball! You!

What’s the name of this town?

H Dagenham.

Incorrect! (He turns to his sidekick.) Adams!? What’s the name ofthis town?!

A Sir! America! Sir! (Banging the table.) Lesson one! Tis is America! And in America

everything is American.

Music No. 13: THIS IS AMERICA

I’M HE GO O GUY WHEN HE GOING GE S OUGH

AND HE GOING’S GONE MAD AND I’VE KINDA HAD ENOUGH

I SAY I LIKE I IS,I ELL I O YOUR FACE

HE REASON I AM HERE’SO PU YOU IN YOUR PLACE

AF ER DEA H, A XES AND HE LORD



M I D 71

HE ONLY O HER CER AIN Y,MY FRIENDS, IS FORD

WE GAVE HE WORLD HEVERY FIRS PRODUC ION LINE AND WE WILL BE RIGH HEREUN IL HE END OF IME

MHIS IS AMERICA, AMERICAHE U. S. A.

WE ELL YOU WHA O DO WHA O DO AND YOU DO AS WE SAY WE ARE HE OP DOG OP DOG YOU LOVE O HA E AND YOU ARE OUR POODLE

HE FIF Y FIRS S A E.

WE'RE SO MUCH BIGGER BIGGER WE'RE SO MUCH BE ER AND OUR SUN IS HO ER SUN IS HO EROUR WA ER'S WE ER WE MOVE FAS ER AND FUR HER OO

/ SBASICALLY WE'RE O ALLY SUPERIOR O YOU

ANARCHIS S, COMMUNIS S, WE FOUGH HEM ILL WE WON WE SAW OFF JIMMY HOFFA AND HIS EAMS ER SCUM

WE BOUGH ALL HE PUBLIC RANSPOR , WE SHU I DOWNNOW HE CAR’S HE ONLY WAY YOU CAN GE AROUND OWN



A T72

WE’RE SO MUCH BE ER AND I'M NO BEING MEAN WE’VE GO ROU E SIX Y SIX YOU’VE GO HE A HIR EEN

WE GAVE YOU ROCK AND ROLL YOU GAVE US CILLA BLACK WELL HANKS A LO FOR NO HING YOU CAN HAVE HER BACK

MHIS IS AMERICA, AMERICAHE U. S. A.

WE’RE ALL S RAIGH WE’RE ALL S RAIGH AND YOU’RE ALL GAY WE ARE HE OP DOG OP DOG YOU LOVE O HA E AND YOU ARE OUR POODLE,

HE FIF Y FIRS S A E.

GE OFF YOUR HIGH HORSE, HIGH HORSEPU AWAY YOUR SERMONIF I WEREN’ FOR US WEREN’ FOR US YOU'D BE SPEAKING GERMAN AND WHILE WE’RE HERE WHILE WE’RE HERE

HERE’S ONE HING MORE YOU S ILL OWE US MONEY S ILL OWE US MONEYFROM HE SECOND WORLD WAR

ALUMINUM,BASEL,

OONA,OREGANO,PAY RONIZE,EDINBRO, JAGWAR,EYE RAQ,



M I D 73

KRASSAAN CROISSAN , YOOOOHGUR ,CARRIBEAN,ERB,PECAHN,CAMOMEEL,NO A DAME,VAYSE,PAREESHUN, YOURINAL,VIE AMIN,, WOO CES A SHIRE SAUCE, YOU GUYS CAN’ EVEN SPEAK ENGLISH!

W enter.

W / MHIS IS AMERICA, HIS IS AMERICA HE U. S. A.

NOW DON’ FORGE HA . . . GE HA

YOU DO AS WE SAY WE GO HE SHIR SHIR AND YOU GO HE VES

YOU’RE SIMPLY HE WORS , AND WE’RE SIMPLY HE BES SIMPLY HE BES

A WE GO HOLLYWOOD AND VEGAS OO, YOU GO HAMES .V. AND WHIPSNADE ZOO WE GO A PRESIDEN , WE GO SUPERMAN YOU GO PRINCE CHARLES, AND DESPERA E DAN

(Guitar solo.)



A T74

A ANY HING YOU CAN DOOR WAN O DO, ANY HING YOU CAN DOI HAVE O REALISEEVERY HING HA YOU DOOR WAN O DO,EVERY HING HA YOU DO WE HAVE O SUBSIDIZE

YOU CAN’ PICKE AND CHOOSE WI H FORD,

HA 'S YOUR ICKE O LOSE WI H FORDONE HING’S CER AIN,I’LL BUS HIS S RIKEGE READY, DAGENHAM,GE BACK O WORK,GE ON YOUR BIKE

AHIS IS AMERICA,

HE U. S. A. WE GO COPS WI H GUNS WHO WILL BLOW YOU AWAY WE GO HE KENNEDYS AND SCOOBY DOO YOU'VE GO ED HEA H AND DANNY LA RUE

WE GO HE WHI E HOUSE,

YOU'VE GO NUMBER EN WE GO HE EMPIRE S A E, WHICH PISSES ON BIG BEN WHEN I COMES O MUSIC, JUS REMEMBER HIS

HERE’D BE NO FREAKINGBEA LES WI HOU ELVIS.

YOU’RE DREARIER AND WEARIER



M I D 75

YOU REMIND ME OF SIBERIA, YOU’RE BASICALLY INFERIOR,SO DAGENHAM,

SCREW YOU

AHIS IS AMERICA.

Music No. 13a: THIS IS AMERICA – Tag

Okay. Tis Rita O’Grady, what’s she like, her?

H Put it this way, I wouldn’t climb over her to get to you.

I’m pleased about that, faggot. Is she a commie?

M We don’t think she’s a communist.

(o M .) Do you think I’m screwing your wife, right now?

M I know you’re not because you’re here.

So you know more about your wife’s sex life than you do aboutyour job, Mister Production Manager?! You faggot, gimme thefacts.

H One hundred and eighty-seven Dagenham women are on strike,backed by the NUVB.

What are they like?

H Normal English women. Irrational, moody –

Are they local?

M Dagenham, most are married to men working at Fords.

Rita O’Grady, is she married to a Ford worker?

M Yes. Edward O’Grady, he’s on the line, unskilled.

Tey’ve got two Ford incomes, and one of them’s on strike. Faggotass! What’s the nished unit stockpile situation?



A T76

H en thousand.

So we got ten thousand new Cortinas going rusty on an old

aireld. Okay. Stop the line. Lay the men off.

Music No. 13a: THIS IS AMERICA – Reprise

H You’re cutting off the O’Gradys’ money completely.

If you wanna eat steak, you’ve gotta shoot the horse.

M I can’t lay off ve thousand men just because you want to stop

Eddie O’Grady’s money.

Maybe you can’t. Maybe you ain’t man enough. Maybe this is a job for an American.

/ MHIS IS AMERICA

(End of scene.)

SCENE WO

Te maisonette. A week later.G is playing with a football andS isattempting to play the recorder.R is on the phone to a reporter.

R I’m not a Marxist, I’m not a Leninist, I’m a machinist. (Into

phone.) I can’t hear you . . . hang on.

(Puts the phone down.)

Go on, get some fresh air! You’re not spending all half term in thehouse.

(G and S exit with E ,who is going to work .)

R Eddie, remember Sharon’s got the dentist at –



M I D 77

E Six o’clock, I’m on it, relax. (o G .) Graham, go to thepark, don’t accept sweets from naked men.

(Door closed .

Doorbell.R opens the door toL , dressed in an André Courrègesminiskirt .)

R Oh, it’s you.

L Hello, I brought the petition against corporal punishment.

R Come in.

L I just passed Graham in the street.

R Yeah, they’ve been driving me mad. Hard work half term, innit.

L Oh gosh yes, I’ve had to send Perry up in a glider.

R For a week?!

L Lessons. Now here’s the petition.

(She hands it over toR .)

R (Reading.) “If a man attacked a child with a stick in the street, he’dface legal action. Why is the same act permissible in this school?”.Tat’s brilliant. I’ll sign that.

(R signs .)

L Rita? Do you know who I am?

R You’re not Perry’s mum?

L I’m Jeremy Hopkins’s wife. Ford Dagenham’s general manager.

R (Beat.) Oh Jesus. You’d better go. I got the girls coming round fortheir strike pay in a minute.

L I want to help.



A T78

R How can you help?

L Did you know that women in America have had equal pay since

1963.R Really?

L History is my subject.

R Are you a women’s libber?

L Yes. And so are you.

R Me?! No, I’m not political.L You’re fooling no-one but yourself.

(EnterB wielding a paper.C , C , C and S follow .)

B Rita, have you seen this? I look like a fucking dinner lady!

A Hi / Alright? / Hello / Hiya

S I seen that dress in Vogue.

L It’s an André Courrèges design.

B You’d need couregge to wear it.

L Rita, I’d better go. Good luck, girls. You’re ghting a battle for all women.

B Are we?

L arra!

A Bye / See you / Tanks

(L is gone . C starts distributing envelopes containing thestrike money and ticks off names in her union book .)

C Your strike pay.



M I D 79

Music No. 14: STORM CLOUDS

S – How much is it?

C wo pounds a week.

S wo quid?

C Each.

S I thought strike pay was like a salary. I can’t live on two quid a week.

WEVERYBODY OUEVERYBODY OUEVERYBODY OU

(End of scene.)

SCENE HREE

Outside the factory. Tump, thump, thump of rhythmic industrial production – specicallythe sound of the continuous production line. Te girls on the picket line outside the RiverPlant. Suddenly the sound design cuts, the plant has stopped running.

C Whappen?

B It’s gone quiet.

C Tey’ve stopped the assembly line.

[ M ONTAGE #1.]

WS ORM CLOUDS ON HE HORIZON

ENSION IN HE OWNPRESSURE BUILDING UPRUMOURS GOING AROUNDMONEY RUNNING SHOR



A T80

DOWN O OUR LAS POUNDDON’ LE HE BAS ARDS GRIND YOU DOWN

(Te men start ling past, some walking, some cycling.)S You got some face, ain’tcha, after this?

C What’s up?!

S Five thousand men laid off, that’s what’s up.

B You happy now?! Eh, eh!?

C What’s going on?!R We ran out of seats, ain’t we.

B Go back to work!

B You’re only working for pin money! (Kisses teeth.)

C (Kisses teeth.) It ain’t pin money for me, boy!

B Wa?! You caannn’ get a man!C Bill!? You told me there was enough seats for another week.

B Tere is.

C Management’s ghting dirty.

R Listen, this was always going to happen. No one said it would beeasy, we’ve got to stick together.

R If you’re a communist go and live in Russia!

S You happy now, Connie Riley!? You’ve closed down Dagenham. You’ve put ve thousand men out of work!

[ MONTAGE #2.]

M WELCOME O EQUALI Y



M I D 81

HIS IS WHA I 'S LIKEHIS IS WHA I ’S LIKE

EQUAL SHI FOR EVERYONE WHEN YOU GO ON S RIKE

WS ORM CLOUDS ON HE HORIZON

( and H . readingM ’ le. EnterM .)

Your expense account. You’ve had more sh dinners than Moby

Dick. Rail fares, dry cleaning. A Chinese massage?

M Tat’s two separate items. A Chinese and a massage.

I need you to bust this strike. Or I’ll bust you.

M You can’t talk to me like that, mate.

Mate, I’ll eat you for breakfast and blow you out my ass.

M ( Aggressive.) Do that and I’ll register a grievance!

H What Mr ooley wants to know is – which girls are feeling thepinch?

M My job is to represent these women –

– Men’s jobs are at stake.

M Sandra.H (o .) Sandra Beaumont. She’s a bit of a dolly bird.

So one of these broads is short of money and doesn’t look like Walter Matthau. Can we offer her promotions work?

M So Ford America’s worried are they?

Do you understand domino theory?



A T82

M Yeah. Get rid of your double six as soon as you can.

If England falls to equal pay, the rest of Europe will follow.

[ MON AGE #3.]

A WS ORM CLOUDS ON HE HORIZON

L PROBLEMS IN HE HOME

(Domestic.E washing up in his wife beater top. EnterR .)

S Mum, some men came and took the television!

E We couldn’t pay the monthly.

R Tere was ten quid in the kitchen pot.

E (Raising his voice.) I had to get a new tyre for the motorbike.

R en quid on a motorbike tyre?! I don’t spend that on shoes!

E You’re not gonna come off your shoes at ninety mile an hour areyou!

R Don’t you ever ever raise your voice at me in front of my kids,Eddie O’Grady.

E Whassamatter?

R I’m on strike! Tat’s what’s the matter!

[ MON AGE #4.]

H WHELP ME, HE ECONOMY IS SIMPLY IN FREEFALL

MCU ING DOWN ON BOOZE AND FAGS AND EVEN ON FOO BALL



M I D 83

HE ECONOMIC INDICIES

MAKE HE BLOOD CHILL WI HOU FORD YOUR R ADE FIGURES ARE SIMPLY ROADKILL

( , H , Lhave just nished a fondue at theHhouse.)

I never knew eating cheese could be both dangerous and exciting.

H It’s a fondue, it’s a Swiss dish, like Lisa.

Are you a Swiss dish, Lisa?

L No, I’m not.

( proposes a toast with cheese forks .)

Here’s to the great British dolly bird!

L Excuse me!?

H Mr. ooley doesn’t mean you, darling. One of the strikers, weoffered her a cash contract with the promotions department.

L And she accepted?

H Yes, the launch of the 1600E Cortina.

L What’s her name?

H Why do you want to know her name?

L Because if I choose to join in this conversation I would like to useher name and not refer to her as the “dolly bird”.

H Sandra Beaumont.

L And when does this promotion happen?

Friday. You see, Lisa, breaking a strike is like breaking a horse. Yougotta break its will.



A T84

L I thought Ford was in the habit of simply shooting strikers.

Michigan 1932 is history.

L Which is my subject. Five strikers dead, and sixty chained to theirhospital beds with shotgun wounds.

H Darling, that’s enough. Please, bring in the dessert.

Oh, wow! What’s for dessert?

L (Standing.) Cheese.

[ MON AGE #5.]

AS ORM CLOUDS ON HE HORIZON

ENSION IN HE OWNPRESSURE BUILDING UPRUMOURS GOING ROUND

H WUNEASY LIES HE HEAD

HA WEARS HE CROWN

B CDON’ LE HA BAS ARD GRIND YOU DOWN

(Domestic . E opens the door toL .)

L Could I speak to Rita, please?

E Why? Who are you?

R Don’t be like that, invite her in. She’s a friend.

(EnterL .)

L Tey’ve offered Sandra a Ford promotions contract.

R What?



M I D 85

L Tey’re trying to crack your solidarity. Te launch of the 1600 ECortina on Friday.

[ MON AGE #6.]

WE HAVE O BUS HE S RIKEBE RU HLESS GE I DONEIF YOU DON’ WE’RE OU A HERE WE’LL MOVE O BELGIUM

HHIS IS A ROUGH PA CH

I READILY ADMIBU PLEASE DON’ GO O BELGIUM

ACOS BELGIUM’S REALLY SHI

(Enter B .)

B Rita!

E Bloody hell, it’s like Piccadilly Circus here!

B It’s Connie. She fainted. Went unconscious. She’s in the OldChurch Hospital. Acute Unit. Listen, she’s asking for you.

[ MON AGE #7 .]

AS ORM CLOUDS ON HE HORIZON

ENSION IN HE OWNPRESSURE BUILDING UPRUMOURS GOING AROUNDMONEY RUNNING SHORDOWN O OUR LAS POUND

DON' LE HE BAS ARDSGRIND YOU DOWNDON’ LE HE BAS ARDSGRIND YOU DOWN



A T86

I AIN’ ABOU YOUI AIN’ ABOU HE LAW I 'S HREE HOUSAND FAMILIESUNEMPLOYED AND POOR DON’ LE HE BAS ARDSGRIND YOU DOWN

HE BAS ARDS GRIND YOU DOWNHE BAS ARDS GRIND YOU DOWNHE BAS ARDS GRIND YOU DOWN

Music No. 14a: STORM CLOUDS – Scene Change

SCENE FOUR

Hospital.R and E with owers.E is carrying motorbike helmets.

E If you’re quick, we can be home by two.

R Eddie?! Connie’s got breast cancer, I’m not “gonna be quick”.

E I din’t mean it like that, just that, you know, my mum’s got thekids until ve, that’ll give us a bit of time.

R On our own.

E Yeah. Go on. I’m alright. Exchange and Mart, and I’m on apromise!

(R kisses him, it feels like a promise.E sits and reads . Rmoves on to the ward and ndsC ,who is in a bed with atypewriter on her lap, tapping away painfully slowly.R shows the owers, triumphantly.)

R Da, da!

C Tey’ll take them away. Tere’s bacteria in ower water.

R Don’t drink it then!



M I D 87

C I feel alright now, but they won’t let me out.

R You’re in no t state to go nowhere.

C I was going to Redbridge. Tey’ve got to Sandra. She’s been offeredmarketing work.

R I was gonna tell you that.

C Ford dealership Redbridge, today, three o’clock. alk her out of it,Rita. I know solidarity sounds like a slogan. But it’s all we’ve got.

R Oh no. oday is not a good day.C Sandra doing cash work for Ford is not solidarity.

R Alright, alright, leave it with me.

C You can get a 145 –

R – Eddie’s here with the bike.

C And Te UC conference. Saturday.

R You can forget about that.

C I want you to give my speech.

R Piss off! Te UC?! I can’t. Saturday is Graham’s school concert,he’s singing.

C Tere’ll be other concerts.R You’re not a mother, Connie, you don’t understand!

C Te reason women don’t have their rights is ’cos they always putthe children rst.

(C types slowly.)

Tis is the speech. I’ll have it nished by 1971 at this rate.



A T88

R You’re a bully, Connie Riley, but I love you. I’ll pick it up in themorning.

(R leaves.E stands, seeing her coming .)R Eddie. Promise me you won’t go into one.

E What is it?

R I need to get to Redbridge for three. Sandra’s doing a promotionout there.

E What about the us?!

R And I can’t do Saturday.

E It’s Graham’s concert day. He’s singing.

R One of us gotta make a speech, at the UC. Connie can’t.

E And you’re the only woman in the world who can?

R Eddie. Tis is important to me! It’s about –

E – I know what it’s about, but you’re not listening to me! We needyou. Te kids need you.

R Eddie, this isn’t the time.

E No, it is the time and it needs saying . . . I know you think I ain’tbothered about important things like wot you are, and that I’monly interested in the bike and Millwall, but I’m trying to supportyou in this. Rita, I ain’t out every night on the booze, I don’t sleeparound . . .

R Oh I married a bleeding saint, did I?

E I never hit you or the kids.

R You want me to be grateful for that? Tat, Eddie, is how it shouldbe.

(R storms off . End of scene.)



M I D 89

Music No. 14b: CAR SHOWROOM

SCENE FIVE

A Ford Dealership showroom in Redbridge. A Cortina covered in a glitzy drape.P mull around, P . Lighting for a show.

H Ladies and Gentlemen, welcome to the launch of the 1600ECortina. Te presence of the Minister today reects theimportance of Ford’s manufacturing base to the British economy.Please welcome the Secretary of State for Employment, MrsBarbara Castle.

( Applause .)

B C Tank you. Ford may be American but the Cortina is British!Designed by Roy Haynes, this new model, the 1600E, has a G and

engine, and a lowered suspension, I know how it feels –

(Laughter.)

Ford employs thirty thousand men in this country –

R – And women!

B – Yes, and women.

R And we women are paid less than the men!

M Shutup, will ya!

B We do have a dispute with the women at Ford, and we are losingnine thousand cars a week, that’s nine thousand cars we could beexporting to balance our trade gures.

R Equal Pay and we go back to work!

M Equal Pay for women, are you mad?!

H Go and live in Russia!



A T90

R I’m going nowhere mate!

H I’m not your bloody mate. Don’t mate me, mate!

M Can someone chuck her out!

B For Pete’s sake can we have a look at this bloody car!

Music No. 15: CORTINA!

(Lights, music, dance, action. Tink Pan’s People but with additionalboys. Te message of the dance is that if you buy a Mark II Cortina1600E you’ ll get laid. Cue undressing dance moves, girls losingdresses, and a dance gag of every time a girl sits in the driving seat shis dragged out and the man replaces her. Te comedy maths on thiswould be – girl sits in driving seat / is removed by boy taking over; girl sits in driving seat / is removed by boy taking over; girl sits indriving seat and boy removes steering wheel and takes it to passengerseat.S could lead on this feminist agenda vis a vis the drivingseat. Other gags would be reclining seats and legs in air. Could govery raunchy. Girls in the boot. Screen wash at climax of action. Post

climax, suspension sinks and puffs of smoke come out of the engine.)GBAH BAHBAH BAHBAH BAHBAH BAH DA! BOO!

C M G

I ’S HE CAR FOR MEI ’S HE CAR FOR YOU AF ER HE MARK ONECOMES HE . . . OOHMARK WO MARK WO, OOH WELL YOU BUY A MARK WOCOS YOU KNOW YOU OUGH A I 'S LIKE A MARK ONE,ONLY FRAC IONALLY SHOR ER FRAC IONALLY SHOR ER



M I D 91

C MCOR INA,

GOOH

C MI ’S LEANER AND I 'S MEANER

GOOH

C MCOR INA

GOOH

C MCOMES IN WHI E OR CREAM ER

GOOH

C M + GWO DOOR FOUR DOOR

C MIF YOU CAN AFFORD MORE

C M + GLEA HERE E’S HE ONE O GE

C M WOODEN DASHBOARD?

C M + G YEAH YOU BE !



A T92

GDUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A

C M + G

COR INAOO WOO WOO WOO

R Sandra! What do you think you’re doing?!

S Earning a living!

H Oi! What’s your problem?

R How long have you got?S I can’t live on two pound a week strike pay!

R No, Sandra! NO!

C MSELF ADJUS ING BRAKESFOR HOSE RICKY ROUNDABOU SBUIL O REALLY LAS . . .

GHREE YEARS!

C MOR HEREABOU S

GOOH . . . OOH . . .



M I D 93

C MI ’S SLIGH LY SHOR ER BU MORE ROOM INSIDE

G WELL HOW HE HELL’S HA POSSIBLE?

C MI ’S NOW EX R A WIDE!!COR INA,

G

OOH


H (o S G .) Tat woman there, I want her thrown out.

GOOH

C MCOR INA

GOOH


GOOH

C M + GUPHILL, DOWNHILL,

C MI WILL GIVE A BIG HRILL



A T94

C M + GSEE HE WORLD SEE HE SIGH S WI H WILIGH , NIGH SIGH , SIDE HEADLIGH S

GDUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A DUB A

DUB A DUB A DUB A DUB A C MCOME ON, ACCELERA E JUS DO I , WHY WAI ?BEFORE I GE SMUCH OO LA E,

C M + GSEIZE HE MOMEN ,BABY, RIGH . . .

G WOW, WOW, WOW, WOW, WOW, WOW, WOW, WOW, WOW . . .

C MCOR INA,

GDRIVING


GMORE FUN HAN ARRIVING

R You’re letting us down Sandra, you’reletting yourself down!

S I’m getting fty quid for an hour’s work!

R You call this work? What about theother girls, where’s your solidarity,Sandra?

S Solidarity? Tat ain’t gonna pay therent!

R We woman are paid 87 per cent ofthe male rate –

(S G tries to grab R .)

Don’t you touch me, get your handsoff me!

S Oi! Leave her alone! She built thiscar, yeah, a woman!

H You’ve started now, have you!?

S Yeah, I have. It ain’t right paying women less than men.



M I D 95

C MCOR INA

GHERE’S NO SENSE IN DEPRIVING


G AF ER ALL HE NINE O FIVING

C M + GCOR INA

Music No. 15a: CORTINA! – Play Out

(Security guard makes a grab forR ,but R gets away. End ofscene.)

SCENE FIVE–A

Front cloth.S walking away fromR .

R Sandra! Come here!

S You can't tell me what to do!

R Tis is exactly what they want. Us to start ghting amongst

ourselves.

S What is it you don’t understand. I can’t pay the rent.

R We’re ghting for Equal Pay.

S If we get Equal Pay. It won’t change nothing. It’ll still be a shit job, only a shit job with Equal Pay.

R Tat’s not the point.

H Women don’t do theengineering.

S What are you gonna sit onthen, if there’s no seats? Your dick? You dick.



A T96

S It's all about you, innit. Little Miss bleeding Angry, but nicelooking, all over the papers. You're loving it, ain’t ya.

R No!

(S exits. EnterB C walking ahead of her D . B is carrying a briefcase.B ,considers, butwalks past .)

R ( Angry.) Oi Barbra, we’re not gonna get any help from you then?

(B stops.)

B You’re Rita O’Grady, aren’t you?

R I dunno. I don’t know who I am anymore.

B (o driver.) Go on, ed, I’ll see you in a minute.

B I’m in a difficult position, Rita, I’ve got to balance the tradegures, so I want you back at work, but I’m also a woman.

R Is that why you went into politics? o balance the trade gures?

B (Beat.) Come to Westminster, tomorrow. Let’s talk it through.

R Can I bring some of the other girls?

B Yes, why not. One o’clock. omorrow.

(B gives her a card .)

Do you want a lift? Tat’s my Bentley.

R No it isn’t. It’s my Bentley. I paid for it. As a taxpayer.

B You’re right. Love. (Beat.) Can you give me a lift?

R Oh, alright then.

(Tey exit. End of scene.)



M I D 97

Music No. 15b: TAX PAYER’S BENTLEY

SCENE SIX

R returns to the maisonette. She walks in the door, closes it, takes her coat off. A radi playing, radio one, chart hits, quietly.

R Eddie, Eddie!?

(She looks at her watch. Goes to the foot of the stairs.)

Graham! Sharon! I’m gonna do sh ngers!

(Silence.)

Mash and peas! (Beat.) Alright! I’ll do chips! Graham!? Sharon?!

(Deadly silence. She runs upstairs and straight back down again.)

( o herself.) Eddie!!!????

(She goes into the kitchen and then nds the letter on the table. She

opens the letter.E sings.)

Music No. 16: THE LETTER

EI JUS CAN’ AKE HIS ANY MOREI’M GONNA AKE HE KIDS AWAY FOR A DAY OR WO I’M NO SURE

I KNOW I’M NO ONE FOR ALKINGBU I HINK YOU KNOW WE SHOULDSO IF YOU’RE EVER AROUND YOU NEVER KNOW,MIGH DO SOME GOOD

COS I CAN’ DO HISON MY OWN, NO MOREI NEED YOU AROUNDOR ELSE WHA IS HIS ALL FOR?



A T98

I NEED YOU O S AND BESIDE MEI NEED YOU O BE MY WIFEI ’S SUCH A SIMPLE HINGI NEED YOU IN MY LIFE

(R sits and starts to cry .)

YOU KNOW WHA HEY’RE SAYING A WORK?I’D ELL YOU IF YOU WERE EVER HERE,“READ HER HE RIO AC , KEEP HER IN LINEGE HER IN HE HOUSE, AND YOU OU FOR A BEER”

YOU KNOW WHA HEY'RE GONNA SAY BEHIND MY BACK? WELL I’D ELL YOU IF YOU WERE EVER HERE“WHO’S IN CHARGE? WHO WEARS HE ROUSERS?MAYBE HE’S, YOU KNOW, A QUEER”

COS I CAN’ DO HISON MY OWN, NO MOREI NEED YOU AROUNDOR ELSE WHA IS HIS ALL FOR?I NEED YOU O S AND BESIDE MEI NEED YOU O BE MY WIFEI ’S SUCH A SIMPLE HINGI NEED YOU IN MY LIFE

WELL YOU SHOULD SEE HE S A E OF HE PLACEHE S A E OF YOUR SON AND DAUGH ER

WE R AN OU OF MILK LAS NIGHSO BREAKFAS WAS CORNFLAKES AND WA ER AND YES, I’VE BURN HE OAS AND HE SAUSAGE AND EGGS OO AND HE S UPID WASHING MACHINE WELL I ONLY EVER LIS ENS O YOU

AND OH HA LOVELY SHIR WE BOUGH FOR SHARON IN CANNING OWN WELL I USED O PINK BU I IRONED I AND NOW I ’S MORE SHI BROWN



M I D 99

AND WHEN I HAD O CLEAN HE BOGI ELL YOU, MAN, I ’S SCARY I COULDN’ FIND HE BLEEDING BLEACHI HAD O USE HE FAIRY!

AND I CAN’ DO HISON MY OWN, NO MORE AND I NEED YOU AROUND WHA HE FUCK IS I ALL FOR? AND I NEED YOU O S AND BESIDE MEI NEED YOU O BE MY WIFE

I NEED YOU O UNDERS AND YOU’RE HE LIGH HA LIGH S MY LIFE

HOPE YOU DIDN’ GE IN OO LA E,HOPE HE MEE ING WEN ALRIGHI HOPE YOU’VE DONE YOURSELF PROUD AND BY HE WAY, HE KIDS SAY GOODNIGH .

(Doorbell. She stands in hope that it’s

E, rushes to the door opensit. It’sL .)

R Oh, it’s you.

L I’m sorry, is this a bad time?

(R is close to tears.)

R Eddie’s left me! He’s taken the kids!

L I’m sorry. Tat must be very painful, but –

R – I’m a mother and I’ve lost my kids!

L You’re a brilliant mother and you have not lost your children.

R Tis ain’t worth it.

(R hands L the letter fromE .)



A T100

L Rita, Rita. You’re caught up in something, and it’s taken over, fornow. You have to be strong, and sacrices have to be made.

R Not my children!L Eddie will come back, with the children. You’re making history,

Rita.

R What?

L Yes, history. Like Rosa Parks.

R Who?

L Rosa Parks. She was a black woman, she refused to give her seat upto a white man on a bus.

R Where? Stoke Newington?

L Alabama. 1955. What she started, Martin Luther King nished.

R You know they shot him?

L Gandhi, Rosa Parks, Martin Luther King, they weren’t on theirown. You know what Gandhi needed?

R A sandwich.

(Tey laugh.)

L A lot of women, not just working class women, they’ve seen you inthe news, we want to support you.

R I can’t do it. Anyway I don’t know how to talk this union stuff.

L Yes you do. Just be yourself and remember why you’re doing it.

R Why am I doing it?

L You have a daughter. Now, what are you going to wear? For theUC. It’s on V.

R I dunno.



M I D 101

L You know my Biba dress? You can borrow that and you’ll lookfantastic. You are not alone.

(Tey hug . End of scene .)

Music No. 16a: INTO PARLIAMENT

SCENE SEVEN

Outside Parliament, by the Oliver Cromwell statue.C , B , C.

C Who’s that?C Oliver Cromwell.

C I like her boots.

B Are we early or is Rita late?

C One o’clock outside Parliament. Rita’s late.

C I can’t wear thigh length leather boots on me wotsit.B On your head?

C On me wedding day.

B Depends on the dress, dunnit.

C In and ideal world, what would be your dream wedding dress,Clare?

C White o’ course.

B You can’t wear white, you daft slapper, you’ve already had it off!

C You’ll have to have peach.

B Or salmon.

C My Ken don’t like sh.



A T102

B It’s a wedding dress. He don’t have to fucking eat it.

(EnterR .)

R Sorry I’m late.

B Are you alright?

R Yeah, I’m ne, thanks.

B Don’t you lie to me, girl.

R No, I’m alright.

(EnterS .)

S Am I late?

B Yes!

R I don’t care about that, we’re just glad you’re here.

B / C /C Hmmm!

S Gimme a break, you lot! Tey give me fty quid to wiggle my arse! Who can say no to that?

C You’d do Playboy then, would you?

S Yeah! Tis strike is about fairness, equality, right and wrong. It’sgot nuffin to do with feminism. Who’s that?

C Cromwell.

S I like her boots.

R Honestly, come on then girls! Beryl, no swearing!

B I can’t fucking promise.

R Let’s do it!

Music No. 16b: PRESS MUSIC



M I D 103

(Tey move towards the Parliament gates where there are press gathered.)

H 1 Ladies, are you going to ask Barbara Castle for Equal Pay?R ’Course we are, that’s what we’re striking for, innit?

H 2 And if she refuses, how will you cope with that?

R How will we cope? We’re women! We always cope!

(Tey go into the building. End of scene.)

SCENE EIGH

B C ’ office. L opens the doors and the girls come in.

B Come in! Rita, welcome. Sit down, all the furniture’s old. And callme Barbara, not ma’am, I’m not the Queen, not yet. Ha, ha!

R Tis is Beryl.

B Alright? Tat’s C & A, innit?

B Tis? Yes.

B I got one of them. Te zip goes.

B It’s only for work. Now girls I don’t want to get your hopes up –

(Enter H W .Tey all stand .)

H Don’t stand, I wouldn’t stand for you. I won’t stay because I realisethat having a handsome powerful man sucking suggestively on apipe might be a distraction! Westminster is a boys’ club, I’m afraid,the ladies’ loos are in Clapham. But you can use the gents’ if youdon’t mind standing up. I was breast fed and I like women, I’veknown several intimately, and my mother was a woman, thoughI never slept with her after puberty, because that’s not normal,not yet, anyway. But I’ve also met countless women on the stairsduring my lifetime up and down the length and great breasts of



A T104

this nation. Welcome, and I hope you have a good girly bitchabout everything.

(He leaves .)B Sherry anyone!?

A Oh, nice. / Lovely. / Please.

B Now girls, I’m going to do something unusual for a politician. I’mnot going to lie to you. I want you to go back to work. I’ve beentalking to Ford American who are offering you ninety-two per centof the male rate.

C Oh, that’s great!

R No, we ain’t going back wivout equal pay.

B When I was young, like you, I thought I could change the worldovernight. I saw injustice all around me, lies, back-stabbing,nepotism, corruption – and that was just the Labour Party. But allmy shouting, and banging tables, went for nothing. Real change

takes time. How do you eat an elephant?

B In a bagel!

B One bite at a time, and an awful lot of mastication.

C Ooh! (Giggles.)

R We came here today because you’re a woman, and Labour.

B I can’t do anything without the backing of the UC, the men, andmen don’t see equal pay for women as a priority.

C I’m an optimist –

R – Cass wants to be an airline pilot.

B Before she’s thirty-ve.

B Tat’s fantastic. And when are you thirty ve, Cass?



M I D 105

C uesday. But I’m not giving up. Because, that’s not an option is it,giving up. Rita’s right, we should all be working towards our ideal world.

Music No. 17: IDEAL WORLD

B Aye, the only problem with that, love, is that you don’t live inan ideal world – you live in the real world, where if you ask foreverything you get nowt.

B IN AN IDEAL WORLDEVERY HING WOULD BE JUS GREAIN AN IDEAL WORLDLOVE WOULD ALWAYS CONQUER HA E

IN AN IDEAL WORLDHE WORKERS, BOSS OR S AFF

IN AN IDEAL WORLDHEY’D SI AND HAVE A LAUGH

HE SUN WOULD ALWAYS RISE AND SHINE,HE SKIES WOULD BE DEEP BLUEHERE’D BE A CURE FOR CANCER

AND HE COMMON COLD AND FLUHERE WOULD BE NO GUNS OR CRIME,HE S RONG WOULD HELP HE WEAKHE RAINS WOULD ALWAYS RUN ON IME,

WE’D WORK A FOUR DAY WEEK

WE’D GE O MEE HE PRA WHO PU HE VA UPON HE AMPON WE’D HAVE A CHA AND AF ER HAHIS FACE WE’D DULY S AMP ONIMAGINE A GREA WORLD OF UNIMAGINABLE BLISS WHERE MEN KNOW HOW AND WHERE O FIND A WOMAN’S CLI ORIS



A T106

IN AN IDEAL WORLDEVERY HING WOULD BE JUS GREAIN AN IDEAL WORLDLOVE WOULD ALWAYS CONQUER HA E

IN AN IDEAL WORLD WE’D CARE AND SHARE AND HEAL, AND OUR DREAMS OF HAPPY ENDINGS WOULD BE REAL

HE BERLIN WALL WOULD FALL

AND SO WOULD YRAN S OVERSEASCIVIL RIGH S WOULD FLOURISH WELLIN ALL COMMUNI IESNO BOMBING IN CAMBODIA,NO WAR IN VIE NAMINS EAD OF MAR IN LU HER KING

HEY’D SHOO HE KU KLUX KLAN

HE PLANE WOULD REVOLVE AROUNDHE MEEKES OF HE MEEK

AND PRO ES AN S AND CA HOLICS WOULD KISS HE O HER CHEEK APAR HEID WOULD BE DULY CRUSHED AND SO WOULD POVER Y

HE EAS AND WES WOULD DO HEIR BESO LIVE IN HARMONY

BU IN HE REAL WORLDI ’S A S RUGGLE EVERY DAY IN HE REAL WORLD YOU’RE LUCKY IF YOU MAKE OKAY

IN HE REAL WORLDI ’S NO ABOU HE NICEI ’S ABOU OUGH COMPROMISE AND SACRIFICE



A T108

B You’re saying no to ninety-two per cent?

R I’d say no to ninety-nine per cent.

B You’re tough, Rita, but you’ve got a real ght on your handsbecause you’ll never change Government policy without thebacking of the UC.

R I’m going to Eastbourne, to the UC.

B I’ll see you there, then.

Music No. 17a: INTO THE HOSPITAL

R Come on, girls.

Girls See you, Barbara. / Bye. / Tanks, Barbara.

B I could murder a pint. Anyone?

C What was all that in there about eating elephants?

B Oh Clare, for fuck sake.

(Tey’re out the door. End of scene.)

SCENE NINE

Te hospital. Te screens aroundC ’ bed are open but there is no bed there. Mis in the bedside chair, praying, in a secular kind of way. EnterR , carrying some fruitand a magazine.

R Where’s Connie? (Beat.) Monty?! Oh, no. No, no, no!

M We was talking. She seemed quite chipper. She smiled at me, andI was talking, and I held her hand, and then I realised she’d gone.(Beat.) I loved her.

R Yeah, we all loved her, Monty.

M No, no. I loved her. I asked her to marry me, 1956. We had athing, but it weren’t love, not for her it weren’t.



M I D 109

R I’m sorry. I didn’t know.

M She was a very private woman. Bit old fashioned in some ways.

And she wanted to marry for love, I guess, and she knew that shedidn’t love me. So that’s was it for her. Some people get hitched just not to be lonely, but she was a very principled, you might say,idealistic woman. A dreamer.

R Tat’s got my name on it.

( An envelope.)

M Yeah. Tat’s for you.

R I think I know what it is.

M I’ve read it. It’s bloody brilliant.

R Is it? Oh Jeez.

(R takes the envelope .)

M She put her whole life into that speech. (Pause.) I let her down, youknow.

R No, Monty, no.

M I’ve let all you girls down.

R How’s that?

M Rita, in a million ways.

(End of scene.)

Music No. 17b: SAME OLD STORY – Scene Change

SCENE EN

A playground or park.E , S and B are sat on the park bench.

B D’you remember Len Wilson? Red hair, freckles, glass eye.



A T110

S No. What he look like?

E I know him. West Ham.

B His wife becomes Lord Mayor of Hornchurch so Len starts callinghimself Lady Mayoress.

E Why?

S o get his expenses.

B He gets himself a handbag to carry all her stuff around, and

because he’s got a handbag, he gets himself matching high heels.E Tis is about me, you’re having a go at me aren’t you.

B What happened to Len?

S He ended up having a sex change operation he didn’t want.

E Alright! Alright! What’s your point, Stan?

S Behind every powerful woman, there’s a man waiting for surgery.

B Sort her out, Eddie. We’ve all got mouths to feed.

(Enter R . She is carrying the speech envelope from the previousscene . E is there, seemingly alone .)

R I’m sorry I’m late.

E I knew you’d be late.R Where are the kids? I’ll take them.

E Tey’re coming back to Mum’s.

R Te arrangement was that I’d pick them up from here.

E Yeah, but being a mother to my kids ain’t enough for you, is it?Saving the world –



M I D 111

R – Eddie, I’ve got to do this. I’ve got a lot on my plate at themoment, but that won’t last forever. I’ve got to do this.

E Kids need looking after, feeding, washing, I dunno.R No, I know you, Eddie, it’s cos you didn’t have a clean shirt.

Ironed the way your mother does.

E Don’t blame me, you done this.

R You stole my kids away in the middle of the night!

E It wasn’t the middle of the night. It was the middle of the night

when you got home and rst noticed them missing. ( A ball bounces across the stage, chased by S .)

R Hiya m’love.

E We’re going back to Gran’s.

S I don’t want to go. Grandma licks her plate!

E If you’d been through the war, you’d lick your plate. (Enter G .)

G Hiya mum.

R Hi. Do you understand why I can’t be at your concert?

G It’s alright.

E Come on, get your stuff, we’re going.

R You’ve got to go with your dad, babe.

E Graham! Come on now!

R (o S .) It’s just for this week, Sugar. I promise.

E It’s broken.

R What’s broken?



A T112

E Our marriage.

R You walked out.

E I didn’t walk out, you did.

Music No. 18: WE NEARLY HAD IT ALL

R I’M SUPPOSED O HA E YOU BU I DON’ YOU WAN ME O BEG YOU BU I WON’

EI’M A A LOSS

R I’M A A LOSS OO

R / ESOME HING WE AGREE ON

E

IS HA I ? ARE WE HROUGH?R Looks like it, doesn't it.

(E exit s.)

RI’M S ILL HERE, I AIN’ GIVEN UPI’M S ILL A MO HER AND A WIFEBU ALL HIS HAPPENED SUDDENLY I JUS DROPPED IN O OUR LIFE

I CAN’ LE ANYONE DOWNSO WHA AM I SUPPOSED O DO?DON’ URN YOUR BACK ON ME NOW COS NOW’S HE IME HA I NEED YOU

I HOUGH I HAD HE FU UREIN HE PALM OF MY HAND



M I D 113

I HOUGH YOU WERE BESIDE ME AND OUR DREAMS WERE ALL PLANNED

HOUGH WE WOULD WE S AY OGE HER NOW HE WORLD’S COLD AND SMALL

HOUGH HA WE’D GROW OLD AND GRAY OGE HER;OH BABE, WE NEARLY HAD I ALL

AND WHA ABOU OUR DAUGH ER I WAN O LOOK A HER AND SEE

HA HER FU URE’S FULL OF HOPESO SHE DON’ END UP LIKE ME

I’M FINDING A VOICE FOR HE FIRS IME I NEVER KNEW I HAD BEFORE WELL I S AR ED AS A WHISPER

R / WBU I ’S GO O BE A ROAR

WE HOUGH WE HAD HE FU UREIN HE PALM OF OUR HANDS WE HOUGH YOU WERE BESIDE US AND WE HAD I ALL PLANNED

WE KNOW LIFE ISN’ EASY BU WE COULD HAVE S OOD ALLINS EAD WE SEE HE MOMEN S WHEN WE ALMOS HAD I ALL

R I DON’ MEAN I DON’ LOVE YOUI DON’ MEAN I DON’ CAREBU I’LL SEE HIS HROUGH WI H OR WI HOU YOU HERE

(E and theK are gone . R leaves. She takes the speech withher . End of scene.)



A T114

SCENE ELEVEN

Music No. 19: VIVA EASTBOURNE

Eastbourne – on-the-road song. An entirely musical, song-based scene, but we do seeRand theG and M and his U F with banners gathering forthe bus; and H are travelling rst class in the train or by helicopter. TeU G take the train;C and W are limo driven by chauffeurs;L drives her mini. Troughout,R hugs and protectsC ’ speech.

MVIVA EAS BOURNE

HE .U.C. BY HE SEA VIVA EAS BORNEBEER AND CHIPS IN QUAN I Y

WELL I PROMISE HA YOU WON’ BE BOREDINDISCRE ION IS ASSUREDBED AND BREAKFAS SUBSIDISEDPROPHYLAC ICS ARE ADVISED

EAS BOURNE A WEEK BY HE SEA

M S WI H HE .U.C.

WSHE'S ONLY GO ONE CHANCE

S

AND DON’ WE KNOW I

W JUS HIS ONE LI LE CHANCE

CI HOPE SHE DOESN’ BLOW I

W JUS SAY WHA YOU GO O SAY



M I D 115

B WE'RE WI H YOU ALL HE WAY

WRI A, GIRL, GO ALL HE WAY!

MIN FIGH ING, OU FIGH ING

ALKING ALL HE LINGOIN BE WEEN HE UNION SCENE

HE S RIPPERS AND BINGO!

WI’M PINING FOR,I’M WHINING FOR,I’M YEAR ING FOR,I’M BURNING FOR,I’M ACHING FOR,I’M QUAKING FOR,I’M SICK OF BLEEDIN’ WAI IN’ FOR . . .

MDONKEYS ON HE BEACH,SNOGGING ON HE PIER, A NOD, A WINK A PROPER DRINK, A VOMI ING ON BEER

WCHANGE, CHANGE, CHANGEBRING I ON

CHANGE, CHANGE, CHANGEHOH I DO LIKE O BE BESIDE HE SEASIDEOH I DO LIKE O BE BESIDE HE SEA

AVIVA EAS BOURNE

HE .U.C. BY HE SEA VIVA EAS BOURNE



A T116

HNO EXAC LY USCANY

M A WEEK IN WHICH O

W AIR OUR VIEWS

M A WEEK IN WHICH O BOOZE AND SCHMOOZE

WHE ONE HING O DECIDE UP HERE WE’LL S AR HE REVOLU ION

MSOME IME NEX YEAR

AVIVA EAS BOURNE

(End of scene .)

SCENE WELVE

B In place of disagreements we need agreements, in place ofdisruption we need production, and in place of strife we needharmony! And I won’t take no for an answer!

A Fiery like her hair!

( A green room situation, back stage at theUC. R in a nervousstate, she is holding C ’speech.)

R (Reading.) “President, Congress, comrades, brothers and sisters” –

(Knock on the door . R opens it andM comes in.)

Monty!



M I D 117

M – Shhh! Can you hear that?

R What?

M Tat is the sound of nuns booing the Pope. Tree thousand tradeunionists booing a Labour Prime Minister.

R Oh my gawd, Harold Wilson’s not here, is he?

M Yeah, and that Barbar bar bar barbara Castle.

R I’m so nervous, Monty.

M You’ll be great! You’re not gonna read it, are you?

R Oh gawd. I can’t learn it!

M It looks terrible though, dunnit.

(Distort ) Composite ve speakers, this is your two minute call.

M Tat’s you, composite ve is the Equal Pay Amendment.

(Enter L wearing a press badge around her neck .)

L Rita.

R Lisa?! What you doin’ here?

L I brought the Biba dress.

R Oh my gawd, it’s beautiful. How did you get back stage?

L I have a press pass! I’m working for Te Spectator Magazine.

R Tat’s brilliant!

M (o R .) You’ve obviously not read Te Spectator. Anyway asthey say in orthopaedics – break a leg!

(M is gone. Now alone,R and L hug .)

R So you’re working? What did your husband say?



A T118

L He doesn’t know. I told him I was going to Monaco for the weekend.

R Don’t walk out on him, Lisa, please, hating men isn’t what this isabout.

L Absolutely, I don’t hate all men. I just happen to have made anexception for my husband. Look, I have a Double First fromCambridge and he can’t even imagine me working, never mindbeing any good. Tis isn’t just about working class women, you aredoing this for all of us.

R Would you mind listening to my speech?

L Of course.

R President, Congress –

L – You’re not going to read it, are you?

R Oh Jesus! I’ve tried to learn it but with everything, it’s doing myhead in!

L You’re going to be brilliant.

Composite ve speakers, Equal Pay Amendment, to the wings,please.

L You’d better get ready. Good luck.

(R dives into the loo to change into the Biba dress. Enter ,

he’s smoking a cigar. He nds the speech, looks at it, and tears it up.R comes out.)

(Whistles, impressed with her looks .) I didn’t expect you to be alooker.

R You’re the yank, aintcha?

(Treatening / lecherous.) Yeah. And you’re the Brit. We could havea special relationship.



M I D 119

(R goes to leave .)

I love the dress. Are you a Red? Ya know, I could create a position

for you, baby. Composite ve speakers to the stage!

You’re on.

(He blocks the door.)

Who’s looking after your kids today, Mommy? Daddy I guess,since he’s laid off. I guess a strike must test a relationship. I never

married, I prefer horses.

R Where’s my speech?

Nervous, eh? I like a nervous broad. Frightened meat tastes better.

( edges towards R .)

R Don’t touch me!

Bit of advice on public speaking, remember the three D’s. Drive,Diction and Don’t forget you’re just a little girl!

( is gone . R crashes around the room in panic to pieceC ’speech back together . She collapses and starts to cry. EnterB , S , C , and C .)

B What the fuck’s going on!?

R He’s torn up Connie’s speech.

B Who?

C (Kisses teeth.) Te bumbaclot American?

R I don’t know what I’m gonna say!

B Don’t panic, we can put it back together again.

Composite ve speaker, Rita O’Grady to the stage now.



A T120

S You didn’t need a speech in Liverpool.

B No, you made it up.

C And you was you know, ng!

C Come on girl, you’re on!

R I can’t do it. I can’t . . .

B Rita O’Grady! Get your fucking arse up there. You’re lettingConnie Riley down.

(R pauses.)

R Alright. I’m ready.

(Tey all leave. End of scene.)

Music No. 19a: INTO T. U. C.

SCENE HIR EEN

Te UC. Te auditorium. and H leave.

Next composite number ve, Equal Pay. Rita O’Grady of theNUVB.

(R amateurishly taps the microphone .)

R Hello. Is this thing on?

( aps microphone. Whiney feedback.)

So yeah we went on strike because you know, you gotta dosomething, ain’t ya. What Connie woulda said was we are the working classes, men and women and we women have beenearning less, sometimes, half – what you men earn, doing the same job, side by side. And that ain’t fair, is it?



M I D 121

And none of us are working for pin money, I got enough pins,thank you very much. We women are working to pay the rent, andto feed and clothe our kids.

We’re not from out of space, you know. We’re your wives, yoursisters, your daughters, in some cases your mothers, still working atsixty, sixty ve. I saw a woman, she must’ve been seventy, waitingon tables at the Wimpy bar up the road here. Broke my heart, itdid. Look, it started off with C grade, that’s all we wanted, but itturned into Equal Pay. We deserve that, and we’re not ashamed toask for it.

I’m not perfect. Me own daughter, I bought her a nurse’s uniformand laughed at her when she said she wanted to be a doctor. Tatnurse’s uniform is the only thing in her wardrobe that ain’t pink. What’s that all about? Why can’t she be a bloody doctor?

Music No. 20a: STAND UP

R EVER GE HE FEELING YOU'VE BEEN CHEA ED FOR SO LONG? YOU KNOW WHA ’S RIGHBU YE HEY MAKE YOU FEEL I 'S WRONG

SECOND A HE ABLEPICKING UP HE CRUMBSCHANGE IS ALWAYS PROMISEDBU SOMEHOW NEVER COMESS AND UPS AND UP

In the war women worked as doctors, bus drivers, land girls. Ergo, we won that war together and yet women are still being asked tomake do, to wait until tomorrow. Well when is tomorrow? enyears? wenty years? Fifty years?

S AND UPS AND UPIF YOU’RE WI H ME

HEN PU YOUR HAND UP



A T122

We women have always supported you men, every time youneeded us we’ve been there and you never had to ask. So we’vecome here to today because we need you to vote for this Equal Pay

Amendment.

HE FIRS S EP IS HA YOU PU YOUR HAND UPHEN YOU CAN MAKE A S AND FOR EVERYONE

We’re a family, the UC, Brothers and Sisters, Comrades,everyone. Tem’s your words not mine. You men, are you happythat your daughters will grow up to be second class citizens? Yourdaughters. You can change this, you can, cos nothing changes if

it isn’t challenged. So stand up for women’s rights because, youknow, if not now, when?

S AND UPS AND UPS AND UP

HE WORLD RIDES ON OUR SHOULDERS WHILE HEY AKE US FOR A RIDE WE’RE IN HE HEAR OF EVERY HINGBU KEP ON HE OU SIDE

R / WSO I’M ASKING FOR YOUR HELP AND I KNOW HA MONEY'S IGH

R BU WE NEED YOU S ANDING BY OUR SIDE AND DOING WHA IS RIGH , OH . . .

R / WS AND UPS AND UPIF YOU'RE WI H ME

HEN PU YOUR HAND UP YOU GO O URN AROUND AND FACE HE FIGHGO O LEARN O PU HINGS RIGHONLY WAY O LIVE YOUR LIFECOME ON,



M I D 123

S AND UPS AND UP

HE FIRS S EP IS HA YOU PU YOUR HAND UP

AND HEN YOU MAKE A S AND FOR EVERYONEHEN HE BA LE WILL BE WON

S AND UP

R W WE WON’ RUN AND WE WON’ HIDE OOOH etc.SO DON’ PASS BY ON HE O HER SIDEMEN, WOMEN WE ARE ONE WE ARE HE UNION

W / M YOU MIGH HINK OOOH etc.

HA WE JUS CAN’ WINBU I ELL YOU HIS FOR NO HING WE AIN’ GIVING IN WHA I WAN O SAY IS HA ODAY COULD BE HE DAY

R / M

S AND UPS AND UPIF YOU’RE WI H ME

HEN COME ON PU YOUR HAND UP YOU’VE GO O URN AROUND AND FACE HE FIGHGO O LEARN O PU HINGS RIGHONLY WAY O LIVE YOUR LIFECOME ON,

S AND UPS AND UPHE FIRS S EP IS HA YOU PU YOUR HAND UP

MAKE A S AND FOR EVERYONEHEN HE BA LE WILL BE WON

COME ON,

R / W / MS AND UPS AND UP



A T124

HE FIRS S EP IS HA YOU PU YOUR HAND UP AND HEN YOU MAKE A S AND FOR EVERYONE

HEN HE BA LE WILL BE WONS AND UP NOW

P Equal Pay Amendment is carried. Equal Pay is now UC policy!

S AND UP NOW S AND UP

ES AND UPS AND UPI’M WI H YOUSO I CAN HOLD MY HAND UPI WAS WRONG AND YOU WERE RIGHSHOULD HAVE BEEN HERE FOR YOUR FIGH YOU'RE HE LIGH HA LIGH S MY LIFE

E Wow! You look amazing.

R I only borrowed it.

E I’m sorry Rite. I let you down. I let myself down. I don’t supposeyou’ll have me back, but I love you Rita O’Grady. It’s amazing what you’ve done. Amazing.

R Eddie, you big lump.

B Emmeline Pankhurst won the vote for women, and is rightly

esteemed by history. Te women of Ford Dagenham have changedthe world today, and history should place these ordinary working women alongside the suffragettes for having achieved Equal Pay, which is yet another step forward in the continuing story of womenstanding up for their rights.

R / W / MS AND UPS AND UP



M I D 125

IF YOU'RE WI H MEHEN COME ON PU YOUR HAND UP

YOU’VE GO O URN AROUND AND FACE HE FIGHGO O LEARN O PU HINGS RIGHONLY WAY O LIVE OUR LIVESCOME ON,

S AND UPS AND UP

HE FIRS S EP IS HA YOU PU YOUR HAND UP WELL YOU CAN MAKE A S AND FOR EVERYONE

HEN HE BA LE WILL BE WONS AND UP NOW! WHY DON' YOU JOIN US, COME ONS AND UP NOW! WE NEED YOUR HELP SO COME ONS AND UP NOW!NOW, NOW!NOW, NOW!

(Te End.)

Music No. 21: BOWS

CMADE IN DAGENHAMLAID IN DAGENHAMNOW WE’RE EQUAL PAID IN DAGENHAMMADE IN DAGENHAM

WE ARE DAGENHAM GIRLS / BOYS etc. WE ARE MADE IN DAGENHAM

Music No. 22: PLAY OUT



MADE INDAGENHAMMusic by

DAVID ARNOLD

Lyrics by

RICHARD HOMAS

Book by

RICHARD BEAN

VOCAL BOOK

Josef Weinberger



Musical Numbers

AC ONE

0. Opening (Instrumental ) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 1

1. Busy Woman (Rita, Sharon, Graham, Eddie, Women, Men) .. .. .. .. .. .. .. .. .. . 1

2. Made In Dagenham (Factory Workers ) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 8

3. Tis Is What We Want ( Sandra, Beryl, Rita, Cass, Clare, Factory Women) .. .. 11

4. Union Song ( Men) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 14

5. Wossname (Clare, Women) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 14

5a. Big Ben (Instrumental ).. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 17

6. Always A Problem (Harold Wilson, Aides ) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 17

6a. Busy Woman (Barbara Castle) (Barbara Castle ) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. 21

7. Pay Day (Ensemble ) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 227a. Club Music (Club Singer ) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 26

8. I’m Sorry I Love You (Eddie, Rita, Men) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 27

9. School Song (Ensemble Men, Graham) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 32

9a. Into Te Berni Inn ( Instrumental ) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 32

10. Same Old Story (Te People ) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 33

11. Union Song – Reprise (Ensemble ) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 35

11a. Skilled Work (Instrumental ) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 36

12. Everybody Out (Rita, Factory Workers ) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 36

12a. Everybody Out – Play Out (Instrumental ) .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 43



Vocal Book

0

70's Rock (q = 162)

6

7–14 15–17

Book © Copyright 2014 by Richard Bean Music and Lyrics © Copyright 2014 by David G Arnold Lyrics © Copyright 2014 by RichardT omas Edition © Copyright 2015 by Josef Weinberger Ltd., London

All Rights Reserved PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL

rall. . . 20

1

Hey there slee py - drea mer- I just wa nna - say I

Colla

love you loads ya stu pid- sod well here goes, a no- ther-

(3,4 in)5

4

4

2 4

?

CUE: Green light from SM

(Timp roll)

U

>

‘ >

Lyrics by RICHARD THOMAS

Opening (TACET)

ACT ONE Music by DAVID ARNOLD

MADE IN DAGENHAM

> > >8 3

> > >

U

bbbbRITA

CUE: Alarm clock stops Busy Woman

bbbb

æ

wæ æ

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œ œ œ™ œj œ œ œ Œ œ œ œ™ œj œ œ



day

(q = 166)9

Where's my, Where's my, Can't nd my things

Mum Mum Mum Mum Can't nd my Where's that gone?

Mum Mum Mum Mum Can't nd my Where's that gone?

Why is it al ways- me? Mum Mum Mum Mum Mum Mum Mum Mum

13

What you done wiv all my things and Mum Mum Mum Mum Mum Mum Mum Mum

Eve ry - mor ning - same rou tine,- we play our lit tle- fam 'ly - game

17

No one- knows where no thing - is but guess who al ways- gets the blame

21

If

25

27–32

Teeth

Mum Mum Mum

Mum Mum

Mum

Mum

4

44

4

bbbb

bbbb

EDDIE

bbbbSHARON

bbbbGRAHAM

bbbb

bbbbSHARON & GRAHAM

bbbbRITA

bbbb

bbbb 6

RITA: In the airing cupboard!RITA

nnbb

bbbb RITA 6 nnbb

bbbbSHARON 6 nnbb

bbbbGRAHAM 6 nnbb

œ Œ Ó

œ œ œ œ œ œ œ œ¿ Œ ¿ Œ ¿ Œ ¿ Œ Œœ œ œ Œ œ œ œ

Œ ¿ Œ ¿ Œ ¿ Œ ¿ Œ œ œ œ Œ œ œ œ

Œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œj ‰œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œŒ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

Ó Œ ‰œj

Ó Œ¿œ Œ œ Œœ Œœ Œ

Œœ Œœ Œœ Œ Œ

Made in Dagenham – Vocal Book 2



you want some thing - done Ask a bu sy - wo man- 'Cause you're wast ing - your time

34

ask ing - a man. She can do in one hour what he can't do in ten it's the

39

bas ic- eff ing - diff 'rence- bet ween- us & eff ing - them. If you want it done then ask a bu sy -

44

wo man-

[Underscore]48

50–59

We love you, Dag en- ham,- Dag en- ham,-

60

With your parks and wat er- fronts.- Oh, Dag en- ham,- Dag en- ham—- So

65

good they named it once. Oh, Dag en- ham,- Dag en- ham-

69

With your an cient- by laws.- Rome was n't- built in a day, But Dag en- ham- def' nate- ly -

74

was.

79

80–81

If

bb

bb

bb

bbSHARON: Mum, what do you want for Christmas? bbb

bbbRITA: You're just saying that.

EDDIE

bbbbb

bbbbb

bbbbbRIT (Laughing) Stop it, Eddie- you're making us late.

EDDIE / SHARON /GRAHAM

bbbbbEDDIE:

EDDIE / SHARON / GRAHAM

bbbbbEDDIE:Cup of tea, eh doll?

RITA: Yes please, I’d love a cup of tea.

2 nnnnn RITA:Is life like this everywhere? n

bbbbb 2 nnnnn WOMEN n

œœœœ œŒœœ ˙ ˙ œœ œŒœ œœœ œ ˙

˙ œ™ œj ˙ Ó Ó Œ œ œ œœ œ œœ œ œ œœ œ œ œœ œ

œœ œ œ œœ œ œ œœ œ œ œœœœ œœœ œ œœ™ œj

œœ ™

œ œ œ œ œ œ œ™ œJ œJ œ™ œœœœ ˙ œœ œœœ œœœ

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œœœœ œ˙™ ˙ œœ œœ œœ‰œj œ œ œœœœ

œ Œ Ó

Ó Œœ




122

126

T ink, Whirr, Click, Click, Whirr

T ink a gain- Whirr, Click, Click, Durr

130

Re member,- you mem ber-

134

138–139

Ev 'ry - year the same rou tine- We play our ann i- ver- sary - game

In 2 - Slower140

He for gets- and I re member- the day I took his stu pid- name

rit. . . . . A Tempo (in 4)145

149–150

He for gets- Stu pid- name

Shut the door, were you born in a barn? Wipe those boots you don't live on a farm. How did your last

151

2 4

3 4

C

4

4

GRAHAM: Don’t come into school Mum!RITA: Oh, you’re ashamed of me, are you?GRAHAM: Yes! SHARON:

Watch out, Dad - Mum's gone in to one.

> >

RITA: Alright Eddie?EDDIE: Yeah. What?

. . . .

RITA: What’s today?

. . . . . ..

WOMEN

n

EDDIE: Tuesday.RITA: Tuesday? (WOMEN)

n n

EDDIE: Innit?RITA: Is it a special Tuesday? (WOMEN)

EDDIE: (Beat) Pancake day?RITA: Go to work you big lump.

2

EDDIE:(Kiss) "Love you"

RITA

U nnn 2

WOMEN

Uu

nnn 2

WOMEN

˙™ œ œ œ™ œJ œ™ œJ œ™ œJ œ œ œ œœ œ œ œ œœ œ œ

œ œ œ œœ œ œ œ œ œ œ

œ Œœ Œ œjœ‰œjœ‰œ Œ

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Œ Œœ ˙ œ œ ˙ ˙

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j œœ

œœ œœœ

Œ

œœœŒ œœœŒ

œœœœœ œœœ œœœœœœœœ œœœœ




ser vant- die? Why? Be cause- I said, that's why. Eat your greens or you won't grow –

156

T ere's kids star ving - in Af ri- ca,- you know. Beds ain't made for jump ing - on.

161

You'll all miss me when I'm gone. If you want some thing -

165

done Ask a bu sy - wo man- She's got more en er- gy - than the

170

sun She's al ways- there no mat ter- what, If you lose your key or

175

lose the plot, T e strength of a rhi no,- T e pa tience- of a nun, It

180

ain't no sprint– it's a mar a - thon.- Ev 'ry - lov ing - mi nute- of ev 'ry - lov ing -

Half-time feel183

day. Tests our lov ing - na ture- in eve ry - lov ing - way Moth ers,- sis ters,-

188

b

b

b b

RITA: Bus pass! WOMEN (+ OFF-STAGE)

bbbbb

bbbbb

bbbbb(with Ts)

bbbbb n n

bbbbbn n ALL WOMEN nnbbb

bbb nnb

œ œ ˙ œ œ œ œ œ œ ˙ œœ œ œœ œ œœ œ Œ

œ œ œ œ œœ œ œœ œœ œ œ ˙ œœ œœœ œœœ œœœ Œ

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œ œ œ œ œ

œ Œœ œ ˙ ˙ œj œ™œ œ™ Œœœ˙œ˙ œ™™ œj ˙ œ™œ™ œjœ

w ˙ Œ ‰œj œœ œ œœ œœ œœ œ œœ œ œ œœ

œ œ œ‰œj œJ œ œ œœ œœœ‰œjœJ œœœ œœœœ œœ ‰œjœJ

œœ œœ œ œœ œœ œŒ œ œœ œœ˙ œ œœœœ

˙™ Œœ œœ œœ˙ œ œœœœ ˙ Ó œ œœ œ




daugh ters,- Lov ing - ly - we say, We've got this fee ling,- this won der- ful-

194

fee ling - It's go nna - be a no- ther- ev er- lov ing,-

200

Heart tug ging,- tea slug ging,- ev er- lov ing,-

go nna - be a no- ther- kid dy - hugg ing - ev er- lov ing,-

moth er- lov ing - wor king - day

SEGUE

204

moth er- lov ing...- If you want i tit done then ask a a bu sy - wo man-

moth er- lov ing...- If you want i tit done then ask a a bu sy - wo man-

b M1+2 / M3

b RITA

b

b

b

b

b

œœÓ œœœœ ˙ Ó ˙ œ œ œ œ œ œ

˙ œ™™ œj œ œœ œœ œ Ó œ œ œ œ

Ó œœ œ œœ œœ œœ œ

œ œœ œœ œ œ œœ œÓ Ó œ œ œ

œ œ œ œ œ œ w w w

œ œ œ œŒœ œœ œ œ œ œ œ œ™ œj œœ ™

œ œ œ œ Œœ œœ œœ œ œ œ œ™ œj œœ ™




2

Med. Pop Beat (q = 132)

6

T e smell of sump oil lls the air, One week's Swar fe- ga - in my hair.

10

I just clock in and do my time; At ve o' clock my life is mine.

14

A fan belt,- gear box - or a clutch– We're men who've got the Mi das- touch.

18

We're proud of what goes in to- it: Give it a kick if it don't t.

22

Blue col lar- car men that’s who we are, Shame most of us can’t af ford- a car.

26

Made in Da gen- ham,- laid in Da gen- ham,- Shame we're un der- paid- in Da gen- ham.-

30

Made in Da gen- ham,- we are Da gen- ham- boys. I love my job,

35

it is a gift; A love ly -

stink ing -

eight hour shift. See how the fac-

40

4

2

2 4

(Clicks) (Drum ll) ^ - . ^ ^- . ^ ^ - .

CUE: SEGUE CLICK Made In Dagenham

^ - . ^ ^- . ^ ^ - .

MEN

‹

b(MEN)

b n M1

M5 EDDIE

¿ ¿ Œœ œJ œ œJ œ œ œœœ‰œJ œ œœœœ‰œJ w

Œœ œJ œ œJ œ œ œœœ‰œJ œ œœœœ‰œJ œ œœ œœœœ

Œœ œJ œ œj œj œ œj œj œ œj œ œ œ œœ œJ œ œJ œœ œ

Œœ œ œœ œj œ œj œj œ œj Œœ œJ œ œJ œJ œ œJ œœ œ

Œœ œj œ œj œj œ œj œœ œŒœ œj œ œj œj œ œj œœ œ

Œœ œJ œ œj œj œ œj œj œ œj œ œ œj œ œj œj œ œj œœ œ

Œœ œj œ œJ œJ œ œj œœ œŒœ œj œ œJ œJ œ œj œœ œ

œ œ œœœ œ œ œœœ œ œ œ œœ œ œœœ

œ œ œœœ œ œ œœœœ w œŒ Ó ŒœœJ œœj

œj œ œj œj œ œj œ œ œJ œ œJ œJ œ œJ œœ œŒœ œJ œ œj




to- ry - does shine From Eu rope's- lar gest- ne on- sign. We're fa mous- for Mis ter-

44

Hen ry - Ford From whom all good ness- stems, A part- from t he pol lu- -

48

tion- T at he dumps in to- the T ames. And ooh, Dud ley - Moore! man

52

he- was slick, But he got a lit tle- fa mous- and he fucked off pret ty - quick.

56

Made in Da gen- ham,- laid in Da gen- ham.- Last year we hol i- dayed- in Da gen- ham.-

59

Made in Da gen- ham,- we are Da gen- ham- boys. My half pint- ther mos-

63

And my steel capped- boots, Our ov er- alls- pro tec- tive,-

68

It's the work ing - man's suit. State of the art ma chin- er- y,-

72

Health and safe ty - guar an- tee.- Main tained- dai ly - through and- through-

77

By en gin- eer- ing - ex perts- and some su per- glue!-

81

84–85

3 4

4 4

M2 M6

ALL M7

M8 M3

M4 ALL n

TEN / BARI + BASS

n

TEN /BARI + BASS M8

M3, M7, M5 M8, M2

ALL MEN

2

œj œ œj œj œ œj œ œ œJ œ œJ œJ œ œJ œœ œ ¿ ¿J ¿ ¿J Œ¿ ¿

¿J ¿ ¿J ¿ ‰œj œ œ œj œ œj ˙ Œ ‰œj œ œœJ œ œj

œj œ œj œj œ™ œ œœJ œ œj œ Œ Œ ‰¿J ¿ ¿ ¿ ¿‰œJ

œœœœ œ œ œœœœœœœ œ œœœ œœœ Œ

œ œ œœœœœ œ œ œœœ œœœœ œœ œ œ œœ ‰œjœJ œœœœ œ

œ œ œœœœœ œ œ œœœœ ˙œœœ w œœ ˙ Œ ‰œj œ œœj œ™

Ó ‰œj œœ œ™ œj œ œ Ó Œ ‰œj œ œœœœœŒ

Ó ‰œJ œœ œ œœœ œ œ œœ‰œj œj œœj Ó

œ œœ œ œj œ œj Ó œ œœ œ œJ œ œJ Œ

Ó Œ ‰ œJœ

œœ

œœ

œœ

œœJ

œ œJ

œŒ




Made in Da gen- ham,- laid in Da gen- ham.- Come get your cat spayed in Dag en- ham,- Made in Da gen- ham,-

86

Played in Da gen- ham,- we

91

we are Da gen- ham- boys. Played in Da gen- ham,- we

strayed in Da gen- ham,- Life is read y - made in Da gen- ham,- God knows why we

96

strayed in Da gen- ham,- Life is read y - made in Da gen- ham,- God knows why we

stayed in Da gen- ham,- Tem pers- get ting - frayed in Da gen- ham,- 'cos we're still un der- -

100

stayed in Da gen- ham,- Tem pers- get ting - frayed in Da gen- ham,- 'cos we're still un der- -

paid in Da gen- ham,- We are Da gen- ham- girls, Da gen- ham-

104

paid in Da gen- ham,- Girls! Boys! Girls! Boys!

girls, Da gen- ham- girls, we are Made in Da gen- ham.-

108

Girls! Boys! Girls! Boys! ooh we are Made in Da gen- ham.-

‹

TEN / BARI + BASS

TEN + BARI /BASS

nTEN /BARI + BASS

Hand claps

‘ ‘ ‘

WOMEN

‹

(MEN)

‹

‹

F6, F5+ SANDRA / F2, F3, F7

‹

GIRLS

BOYS GIRLS BOYS

‹

GIRLS BOYS GIRLS BOYS (BOYS)

œ œ œœœœœ œ œ œœœœœ œ œ œ œœ œ œœœœ œœ œ œœœœœ

Œ¿ ¿‰¿J ¿ Œ¿ ¿‰¿J ¿

œ œ œœœ Ó Œ ‰œj

œ œ œœœœ œ™œœœ w œjœœ jœ™ Ó œ œ œœœ Ó Œ ‰J

œ œ œœœ Ó œ œ œœœœ œ œœœ Ó œ œœœ

œ œ œœœ Ó œ œ œœœœ œ œœœ Ó œ œœœ

œ œ œœœ

Ó œœœœ œ œ œœœ Œ ‰ œJ

œœœœ

œ œ œœœ Ó œœœœ œ œ œœœ Œ ‰ œJ œœœœ

œ œ œœœ œœ œœ œœœœœ w œ‰œœJœœœœœœœœ

œ œ œœœ ¿ Œ¿ Œ ¿ Œ ¿ Œ

œ™™ œ

j˙ œŒœœœœœ w œŒ œœ œœœœœœœœœ

¿ Œ¿

Œ¿ Œ¿

Œœœœœœœ œœŒ œœ œ œ œœœœœ




3

I want a chair that just don't creak, I want a roof that

Rubato Gospel feel

just don't leak, I want a boss that ain't a freak I want a

4

bog that does n't .reek Does n't- reek, does n't- reek. Does n't- reek, does n't-

A Tempo Shuffl e7

reek. We want ma chines- that ain't so loud you have to yell. We want to work in plac es-

11

that ain't hot as hell. We want some choc' late that dont make you fat Just

14

give us loads of that Load sa - that load sa - that. I want the can teen- moved to

17

Wim py's- res tau- rant,- I want my ov er- alls- des igned- by Mar y - Quant,

20

I want the fac t'ry - moved to South ern- Spain, I want my doors blown off

by

23

4 U SANDRA

CUE:BERYL: . . . Latin!MONTY: Alright, want to you want?

T is Is What We Want

ALL BERYL

SOP / MEZ / ALT MONTY: Ladies . . .

RITA CASS

F4:

RITA,CASS, F4:

ALL F2

SANDRA

F3 BERYL

Œ œ œ œœœœ œ œ œ œŒ Œœ œ œœœœ

œ œœ œŒ Œœ œ œœœœ œ œœ œœ œœ

œ œ œj œ œj œ œ œœ œ œœ Œ Ó Œœ œœ œ œ

œj

œj

œ œ œœœœ œ œ œj œ œj ‰

œj

œ œ œœœ œ

œ œ œj œ œj ‰œj œ œ œœœœ œ œœ œ™ œj

œj œœj

œj œ œj œ œ œœ œ œœ

j œj œ œ œœ œœ

œ œ œj œ œj œj œj œ œ œœœœ œ œ œj œ œj

œj œj œ œ œœœœ œj œ œj ‰œj œœ œ œ œ œ




Mich ael- Caine. say

26

Mich ael- Caine. All I real ly - want to

is "T row a lit tle- crumb this way." A ti ny - tee ny - wee ny -

29

lit tle- touch, It's not as if we're ask ing - for much. Spread some joy a round- the

32

place, Put a smile on my face. Don't mess with us, 'Cos

36

this is what we want. A chang ing - room that does n't- al ways- smell of shit,

41

E gyp- tian- co ton- towels to wipe my swea ty - bits. Cha nel- per fume- on tap and

45

served for free. I want Ba rry - to ser vice- me.

48

Ser vice- me. All we real ly - want to

say is "T row a lit tle- crumb this way." A ti ny - tee ny - wee ny -

52

ALL

SOP + MEZ / ALT

CLARE

BERYL SANDRA

BERYL

ALL

SOP + MEZ / ALT

œ œ œ œœ œ w

Ó Œ œ œœj ‰œ œ œ œœœœ

‰œj

œ œ œ œœœ œj

œ™™ ˙ ‰œj œ œ œ œœœ

œj œ œj œ™ œj œœ œ œœœ œœ œ œj‰ Œ Œœ œ œ œ œœœ

w Œœ œ œœœ œjœ™ ˙ Ó Œœ œœ œ œ‰œ

j

œj œ œj œj œ œj w ‰œj œ œ œœœœ œj œ œj œj œ œj

‰œj œ œ œœœœ œ œ œj œ œj ‰œj œ œ œœœœ

œœœ œ‰œj œœœ œjœœj œjœ œœœ œ™

Ó Œœ œœj‰œ œ œ œœœœ

w ‰œj

œ œ œ œœœ œjœ™

™ ˙ ‰œj œ œ œ œœœ




lit tle- touch, It's not as if we're ask ing - for much. Spread some joy a round- the

56

place, Put a smile on my face. Don't mess with us, 'Cos

60

this is what we want. I'm pi ning - for, whin ing - for, yearn ing - for, burn ing - for,

65

ach ing - for, quak ing - for, sick of bleed in'- wait in'- for Change, change, change, Bring it on

70

Change, change, change. I'm moan in'- for, groan in'- for, pray in'- for, bray in'- for,

74

schem in'- for, scream in'- for and still we're on ly - dream in'- for Change, change,

78

change, Keep dream ing - of Change, change, So why don't you get on the

81

case? Be fore- we smack you in the face. Don't

84

mess with us, 'Cos this is what we want. Don't

88

mess with us, 'Cos this is what we want!

92

ALL

œj œ œj œ™ œj œ œ œ œœœ œ œ œ œŒ Œœ œ œ œ œœœ

w Œœ œ œœœ œj œ™ ˙ Ó Œœ œœ œ œ‰œj

œjœ œ

jœjœ œ

jw Ó Œ ‰

œj œœœj‰œœœj‰œœœj‰œœœj‰

œœœj ‰œœœj ‰ œœœœ œ œœ ˙ ˙ ˙ œœœ

˙ ˙ ˙Œ ‰

œj œœœj ‰œœœj ‰œœœj ‰œœœj ‰

œ œ œj ‰œ œ œ œ œ œ œ œ œ œœ ˙ ˙

œ™™ œ

jœ œ œ ˙ ˙ œ œ œ œ œ œ œœœ

w ‰œj

œ œ œ œœœ œj

œ™ ˙ Ó Œœ

œ œ œ œ‰œj

œj

œ œj

œj

œ œj

w Ó Œœ

œ œ œ œ‰

œ

j

œ

j

œ œ

j

œœœw




4

Broth ers- and sis ters,- com rades,- ev 'ry - one.-

2 CLICKS IN

Fight for your fu ture- and the Un i- on.- T e rights of man are the

4

rights God gave. We work to geth- er- or we die as slaves.

7

5

Well, 'ere is the ng, And the ng 'ere is

3,4 . . . Easy Shuffl e

this, And don't no one- start tak ing - the piss, 'Cos when sum mink - ain't

6

right, T en sum mink - is wrong. T ere's a smell in the air and the pong is quite

9

strong. I been at this game since I was four teen.- I know what my

12

4

12

b

TEN + BARI / BASS

CUE:

CLARE: Yeah, and mind your whatsit.RITA: Language.BERYL: Bollocks.

Union Song

b

TEN /BARI + BASS

b

CLARE

CUE:

What would you say, Clare? Wossname

œœ

œœ

œœ

œœ

œœ

˙˙ œ œœœœœ œ œ™ œ™ œœ œ ˙œ ˙

œœ œ œ

œœ œ

œ™ œ™ œ

œ œ œ™œ œ œ™

œ œj œ

œœœ

œ œœ

œ œ œ™™ œj œ™œ œ™ œjœJ œ œ œ œ œœ œ œ œ œ œ Œ

Ó™ Œœj œœœ œ™ Œ™ ‰

œ œœœœ

œ™Œ™ Œ

œj œœœ œ™Œ™ Œ™

œœœ œ™Œ™ ‰

œ œœœœ

œ™ Œ™ Œœj œœœœ™ Œ™ ‰œ œœœœœ™ Œ™ ‰

œ œœœœ

œ™ Œ™ Œœj œœœ œ™ Œ™ Œœj œœœ œj œ Œ™ Œœj œœœ

Made in Dagenham14



°

¢

°

¢

°

¢

whats it- called –- do you know what I mean? So, ou jah- kap iv - u- wat,- La de- dah- and good

15

bye. I am what I am, 'cos I'm me, ain't I? I know what's go ing -

18

on. Yes, I know the game, and I know the wot sit- a bout- the whats its- -

21

Oo oo...- Oo oo...- Oo oo...-

name. And I know what's right, And I know what's fair, But some ng in this

24

Oo oo...- Oo oo...- Oo oo...-

ng Well, I dun no–- ain't there. T ere's lots a–- ya know, n' blah de- -

27

Oo oo...- Oo oo...-

blah de- blah- de- blah- and lots of "Yeah, no" and Ou jah,- ou jah.- But I talk it

30

straight, and I talk it plain. What you see is what you whats its- name-

33

4

WOMEN

bb

œ œj œ™ ‰œœœœœœ™ Œ™ ŒœjœœœœœœŒ™ ‰œœœœœ

œ™ Œ™ Œœjœœœœ™ ‰œœœj‰ ‰œj ‰ ‰œ™

Œ™ ‰œ œœ œœ

œ™ Œ™ Œœj œœœ œ™ Œ™ Œœj œœœ œ œj Œ™ ‰œ œœœœ

Œ™ œ™ œ ‰ Œ™ Œ™ œ™ œ ‰ Œ™ Œ™ œ™ œ ‰ Œ™

œ™ Œ™ Œœj œœ œœ™ Œ™ Œœj œœ œœ™ Œ™ ‰œœœœœ

Œ™ œ™ œ ‰ Œ™ Œ™ œœ™™ œœ‰ Œ™ Œ™ œœ™™ œœ ‰ Œ™

œ™ Œ™ ‰œ œœœœ œ™ Œ™ Œœj œœœ œ™ Œ™ Œœj œœj

Œ™

œ™

œ‰ Œ™ Œ™

œ™

œ‰ Œ™

œ œj œ œj œ œj œœœ œj œ Œ™ Œœj œœ œœŒ™ Œœj œœœ

œ™ Œ™ Œœjœœ

œœ™ Œ™ Œ™ œ

œj œ

œjœ

œj œ™

œ™

œ™

Œ™ Ó™

Made in Dagenham 15



°

¢

°

¢

°

¢

°

¢

°

¢

Life ain't fair and peo ple- get the blame, yeah, yeah. But you stay rm and

Half-time feel 37

Oooh... oo oooh... Yeah, yeah.

true, Stick to the whats its- name- that's deep in side- you.

41

Oooh...

Ou jah,- Ou jah!- I'm me, ain't I? And we don't see eye to

rit . . . A tempo46

She's her. No d'uh.(durr)

See eye,

eye. And you– you're you, And we ain't got a bleed in'-

50

get her! You who? Us too!

clue. T e past is in front and the fut ure's- be hind.- Fanks for hear ing - me

C.V. Meno54

Speak for your self,- love!

out, it's a weight off my chest. We've all been there and now we're

57

here. T at's all I got to say. Do I make my self clear?

60

4

4

2 4

2 4

12

12

bb

bbWOMEN

bb

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bb bbbbb

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bbbbb

bbbbb

bbbbb

bbbbbad lib.

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w ™™ œ n™ ‰œj œn Œ Ó

œj œ™ œ Œ ‰œj œœœœœœ œ ˙ ˙ ˙ w

w ™™ Œ

¿ ¿ ¿ ¿ Œœ ˙™ œœ œ™ ˙™ Œ™ œœj œ™ œ™ œ™ œœj

Œ™ œ™™ ˙™ Œ™ œ™ ˙™

™ Œ™ œ™ œ™˙™œ™

˙™ Œ™

œ™ œ™

Œ™

‰œœœœœ

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œ™ ‰œ œœ™ œ™

Œ™ œ™™ œ™ Œ™ Œ™ œ™

™ ˙™ Œ™ œ™ ˙™™

œ™Œ™ Œ œj œœœ œ™ Œ™ ‰œ œœœ œr œ™ Œ™ ‰œ œœœœ

Œ™ ¿ ¿ ¿ ¿J ¿ Œ™

œ™ Œ™ ‰œ œœœœ‰œŒ™ Œ™ œœœœ™ Œ™ Œ™ œœœ

œ™ Œ™ ‰œ œ

œœœ

œ™ Œ™ Œ™ ‰œ

œœ™

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Œ™ Ó™

Made in Dagenham16



6

5a

What would you do if you were me? What's your po li- ti- cal- stra te- -

Colla voce

gy? You need to fake sin ce- ri- ty.- And brush up your Mach ia - -

5

ve lli.- What would you do if you were me? What kind of lead er- would you

9

be? Ev 'ry - day a cri sis- or sur prise —- Do you stand rm or com promise?-

13

T ere's al ways- a prob lem- wait ing - in the wings. T at's al ways- been the

A tempo (in 2)18

prob lem- for Prime Min is- ters- and Kings. But what keeps me up at night, and it

24

makes me ve ry - tense, is the prob lem- of the bal ance- of pay ments.-

29

C

6

6

UHAROLD WILSON

CUE:CLARE: You ain't running the country, that's someone else.

CUE:HAROLD WILSON: I'm trying to set an example.

Always A Problem

Big Ben(TACET)

U

U

Ó ‰œj œœ œ œ œœ ˙ ‰œj œœ œ œ œ œœ

˙ ‰œj œœ œ™ œj œ œ˙ Œœ œœ œ œ œ

œ ˙ œ œœ œ œ œœ ˙ ‰œj œœ œ œ œœ

˙ Œœœœ™ œjœ œœœ œŒ ‰œj œœœœ œ™ œj œŒ

Œ™ œ™ œ™ œ œj œ™ œ™ œ œj œ œj œ™ Œœj œ œj œ œj

œ œj œ œj œ œj œ œj œ™ œ œj œ œJ œ œJ œ™ œ œj

œ œj œ œj œ™

œ œj

œ œj œ œ

Jœ œj

œ™

˙™

œ™

Œ™




al ways- been the prob lem- for Prime Min is- ter's- and Kings. We make great

59

al ways- been the prob lem- for Prime Min is- ter's- and Kings. We make great

things which we sell when we can, but the whole world wants to buy

64

things which we sell when we can, but the whole world wants to buy

A noth- er- lit tle- prob lem- with which we all are blessed Is a

Colla voce – Slower (in 2)69

Ger man.-

Ger man.-

great deal of in dus- tri- al- un rest.- Strikes here, strikes there—it just a maz- es- me; When the

73

daf fo- dils- come out the men come out in sym pa - thy.- We need i deas- and we need a plan To

77

put the great in to- "Great Bri tain".-

A tempo (in 2)81

Up tight,- high ly - strung, brings him out in a

C

C

C

6

6

HAROLD

M2 + M6 / M5

œ œJ œ œj œ œJ œ œJ œ œj œ œj œ™ Œ œj œ™ œ™

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Ah

86

sweat. When he thinks of the size of the Great Bri tish- debt.

Ah Ah Agghhhh..

91

Debt! Debt! Debt!

Bril li- ant!- No more blood y - prob lems- in those blood y - wings.

94

Print ing - cash will make us all more pow er- ful- than kings. T is is the mas ter- -

100

plan to cure our e con- o- my.- It had bet ter- blood y - work 'cause there ain't

105

no Plan B. We love our coun try,- the great est- on the earth. With

110

it's im mor- tal- in dus- tries- from min ing - to Wool worths.- T ey'll still be a -

116

round way af ter- we've gone, which judg ing - from the state of things

121

HAROLD>

.

> > U AIDE 1: Sir, how do you feel about quantitativeeasing?

HW: I don't need it, I'm very regular. In anemergency I'll have two black coff ees and a cigarette.

AIDE 2: Printing money?

HW: P rinting money? Can we do that?

U

HAROLD ALL

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HW + M6 / M2 / M5

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126

ve ry - Won't be ve ry - long! Oh shit!

133

6a

Here I am. Well,what d'ya want? I hav en't- got all day you know

(In 4)

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4

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rit.7

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CUE:HW: Good. She can do her own typing.

BARBARA CASTLE

Busy Woman (Barbara Castle)

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Northern Soul Vibe

2 CLICKS

6

Pay day! Our day! Cash in my pock et- gon na - drink it all a way.-

10



Pay day whad ya say? Run to the bar and get a round in straight a way.-

14



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CUE:BARBARA CASTLE: . . . cup of tea & a chocolate nger.

Pay Day

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SANDRA (BOYS)

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Pay day Dee Jay Play a no- ther- tune so we can dance the night a way.-

30



Pay day! Dee Jay

Get a lit tle- mer ry - make a lit tle- mess, we can't do quite as much now we're

34



make a lit tle- mess, we can't do quite as much now we're

paid a lit tle- less. Pay day!- Hey hey T e week is near ly - done.

37




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Wha d’ya - say?- Wat neys- Dou ble- Dia mond-

41

Cher ry - Bran dy - Sher ry - Du bon- net- Root Beer

What you drink in'?-

San gri- a - I think there fore- I Da gen- ham- We all drink beer

45

O ver- here! I think there fore- I Da gen- ham- and Ba by - cham-

Brown Ale, Brown Ale, ba by - ba by - ba by - ba by -

48

51–52

Ba by - cham- Ba by - cham,- ba by - ba by - ba by - ba by -

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VAMP - CUT OFF ON CUE:CUE: You can't have 6000 hairy-arsed blokes earning less than a woman.MC: Ladies and Gentlemen . . .

53–68

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7A

Fanfare rall. [DIALOGUE]

[DIALOGUE] [DIALOGUE] [DIALOGUE]6

Moon o ver- Da gen- ham,- shin ing - up on high

Cheesey crooner swing!COUNT IN:

3..4..1..11

Fills me with joy and love, now pass me that pork pie.

rit. . . .16

. . . . > U

CUE: Fanfareafter each gag!

U

CUE:MC: . . . Loveable, larger than life, Chubby Cha ff "

Club Music

U U U U U

CUE:CONNIE: Go after her Eddie. All she needs is sorry.

CLUB SINGER

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8

I know I'm a git But you have to ad mit- When it comes down to

Colla

it. Ii ad mit- I'm a git... I ain't got a clue— Well that much is true— But all I can

4

say is... I'm sor ry - but I love you. I'm just a man

Triplet shu ffl e8

with a fool ish- brain, I pro mise- that I'll nev er,- nev er,- nev er,- nev er,-

13

nev er,- nev er,- nev er,- ev er,- nev er- for get- a gain.- When you're not here

17

I'm not all there. T ere ain't a sin gle- thing I can do; I'm sor ry,- I

21

love you. Ed die,- I'm a soft touch. I don't ask for much And

26

that's what I get in re turn.- But one day a year— I don't get it, Ed, Why don't you

30

4 EDDIE

CUE:RITA: I don't need reminding that we loved each other ten years ago.

I'm Sorry I Love You

RITA EDDIE

RITA: Here it comes...

RITA

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Made in Dagenham 27



°

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learn?! Look in my eyes, See they're re gret- ful,- but yet full of joy.

34

T at's got ta - be worth more than owers or choc 'lates- or some stu pid- cud d- ly - toy.

39

I'm just a man with a fool ish- brain, I pro mise- that I'll

43

nev er,- nev er,- nev er,- nev er,- nev er,- nev er,- nev er,- ev er,- nev er- for get- a gain.-

48

You suc ker- punch- my soul, With out- you I'm not whole. T ere ain't a

51

sin gle- thing I can do; I'm sor ry,- I love you I'm

56

sick of it. I'm tired of it. I've had e nough.- Oh,

A tempo60

Sor ry.- Sor ry.- I'm sor ry.-

come on Ed. I'm sick of it. Sick of it. Sick of it. Sick of it.

63

I'm sor ry - Sor ry.- Sor ry.- Sor ry.- Sor ry.-

EDDIE

RITA

EDDIE

œ˙ ˙ œ œ œ œ œœœœœœ œ™ œœ

Œ ‰œj œœœœ œ œ œ œ œœœœœœ œœœ˙

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¿ ¿ ¿j ‰ Œ ‰œj œœœŒ œœœŒ œœœŒ œœœŒ

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Made in Dagenham28



°

¢

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¢

S.. I.. C.. K.. I'll shout it from the roof tops,- I'll

66 121

S.. O.. R.. R.. Y.

scream it till I'm hoarse. Ev 'ry - thing - that's mine is yours a part- from the bike of course.

122

Tell me just how ma ny - times you want me to tell you How ma ny - times I'm sor ry;- 'cause I got

125

lost at nine ty - two.- I'm sor ry,- I'm sor ry - But I love you.

128

He's just a man with a fool ish- brain, He pro mis- es- he'll

133

He's just a man with a fool ish- brain, He pro mis- es- he'll


138


You suc ker- punched- his soul, With out- you he's a right arse -

141

You suc ker- punched- his soul,

soul...

With out- you he's a right arse

bbbbbb(loose quavers)

(EDDIE)

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MEN (+ EDDIE ad lib)

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Made in Dagenham 29



°

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hole T ere ain't a sin gle- thing he can do; I'm sor ry,- I love

145

hole T ere ain't a sin gle- thing he can do;

you.

149

If you want he'll beg, Look, he's down on one leg. Now he is down on all

What ev - er- the wea ther,- wher ev - er,- for ev - er;- What ev - er- the wea ther,- wher-

153

fours. What ev - er- the wea ther,- wher-

ev er,- for ev - er,- I'm sor ry,- I'm al ways- yours.

157

ev er,- for ev - er,- al ways- yours.

al

al

ways

ways

-

- He's sor ry,- he's al ways- yours.

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MEN

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(MEN)

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Made in Dagenham30



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falsetto ri ff ad lib6x to fade

162

He's sor ry,- he's al ways- yours. He's sor ry,- he's al ways- yours.

He's sor ry,- he's al ways- yours.

He's al ways- yours.

He's sor ry,- he's al ways- yours.

He's al ways-

yours

Slow 4 (rubato)

166

172

176

Hey there slee py - drea mer- I just wa nna -

180

say I love you loads, you stu pid- sod!

Maestoso185

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EDDIE

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bbbbbb

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bbbbbb

RITA: Mr. Buckton is caning our Graham. It ain't right.EDDIE: Remember Mr. Perkins?RITA: Virgin Perkins?

EDDIE: Remember Mr Perkins?RITA: Virgin Perkins?EDDIE : Yeah.Woodwork.

bbbbbbEDDIE: He used to put me headin a vice and burn me with cigarettes.

RITA: What’s your point?EDDIE: It didn’t do me any harm.RITA: I think e canes him ’cause he’s a scholarship boy.

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RITA: I’m gonna go into the school tocomplain. (Beat) I love you Eddie.

U EDDIE

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U

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Made in Dagenham 31



9

Where the iron heart of Eng land- bleeds Be neath- its nob le-

2 CLICKS IN

gown Stands a school whose sons all ght with might to fur ther- its re nown.- On ward-

6

through all knocks and hard ship.- Do not fear when death stomps by. Hold your

11

nerve and think of Al bion.- What ev - er- hap pens- do not cry.

rall. . . . (DIALOGUE)15

Do not cry, do not cry, Do not bawl, do not weep, Do not howl for your mam my - or your

2 CLICKS IN 20

gran ny - when you sleep. Crush all fee ling - and nev er,- ev er- cow'r. Pre -

24

9a

pare for a ca re- er- in the cor ri- dors- of pow'r.

27

4 MEN

CUE: HOPKINS: Trouble at mill. School Song

(TACET)

GRAHAM

U

ALL

CUE: LISA: . . . we parents have to stand up to him.

RITA: Yeah, good luck, I gotta go.

U

Into T e Berni Inn(TACET)

Ó Œœ œ œœœœœ ˙ Œœ œ œjœœ

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10

Yes ter- day - when I start ed- out, I

Slow

knew it all, I had no doubt. Life was there in front of me, "Just be who you want to be."

4

Start ed- work way too young, Same as all the blokes. Worked our n gers- to the bone

7

mak ing - do by mak ing - jokes, But now I'm old er,- Look ing - back it does n't- seem so

10

fun ny,- Same work, same hours but half the mo ney.- It's an age old sto ry,- It's an

12

age old- tale, Still the same old rea sons- that are there to make us fail. Se cond- at the ta ble,-

16

Pick ing - up the crumbs. Change is al ways- pro mised- But some how - nev er- comes.

20

I joined the La bour- par ty - On the shoul ders- of the great E -

24

4bb U CONNIE

CUE:RITA: You got us the grievance procedure(Go)

Same Old Story

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man ci- pa - ted- teen age- er- Who did n't- have time to wait. Fierce, fei sty,- full of ght, A

27

war ri- or,- a dream er.- T ir ty - years on, I am still a Un i- on- con ve- nor.- You all

30

say to me, "Stick with it, we need ya." What did I ac hieve?- T e Grie vance- Pro -

33

ce dure?- It's an age old sto ry,- It 's an age old- tale, Still the same old rea sons- that are

36

there to make us fail. Al ways- on the out side,- Kick ing - at the door,

40

Looks like a glass cei ling - From down here on the oor. It's

accel....43

al ways- been a whis per- but can't it be a roar? All those un heard- voic es- that won't

Piu mosso46

Ahh Ahh,

take no more. Oh, Ri ta,- please wake up, I need you to see It

49

Ahh,

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œœœ œœœœ œœ œœ™Œ Œœœœœœ ‰œj œj œ œj

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ain't a bout- the mo ney,- It's e qual- i- ty.-

rall. A tempo52

Ahh,

57

64

You can change the sto ry,- You can change the tale. Don't fall for all those rea sons- that are

70

there to make us fail. We have to make it our time. Can't our time be now?

73

11

Ain't got time for wait ing,- Ri ta,- make it now.SEGUE

76

Broth ers- and sis ters,- com rades,- ev 'ry - one.- Fight for your fu ture-

3, 4 . . .

and the Un i- on.- When it comes down to man age- ment- Each and ev 'ry - one- of them's a tot al...-

5

4

bbbbbb

CONNIE: T is doesn't have to be just about C-Grade.

nnnnbb[UNDERSCORE]

bbbbbb nnnnbb

bb

bbRITA: No! What?CONNIE: Nothing changes if it isn't challenged.

bbCONNIE

bb

bb U

. . . . . MEN / WOMEN

Union Song – Reprise

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°

¢

12

11

70's rock ( = 162)

Some times- in your life You got ta - stand up for What you know is right And be pre pared- to ght And

6

some times- in your life You got ta - get up And look them in the eye And scream the rea son- why

10

It's a long time com ing - And we're read y - for a scrap.

14

It's a long time com ing - and a - we ain't turn ing - back. Ev ry - bo- dy - out!

18

Ev 'ry - bo- dy - out!

Get out on the street and on to- that pick et- line. Ev 'ry - bo- dy - out!

22

Let's make it clear we're here to send a sign. Ev 'ry - bo- dy - out!

26

4 1

(Drums:)

2 3 4 >

> >

BERYL: Clare?

>> > >

CUE:RITA: Hands up . . . All in favour? Everybody Out

Skilled Work (TACET)

RITA

(RITA)

>

ALL WOMEN >

ALL WOMEN >

>

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°

¢

If they get an gry,- well I tell ya we'll get mean.

30

We'll chain our selves- to our sew ing - ma chines- Ev 'ry - bo- dy - out!

34

38–41

46

T ere's no more talk ing,- no con ver- sa - - tion. no con ver- sa - tion-

50

Don't treat us girls like a (your)

poor re la - tion,- Ev ry - bo- dy - out!

54

Don't treat us girls like a (your)

poor re la - tion,- Ev 'ry - bo- dy - out!

58

62

CLARE

ALL WOMEN >

nnnnb

BILL: Look at this! Your girls have gone mad.MONTY: What Is it?SID: Drugs.BILL: What are you gonna do about it, Monty? T ey're your ock.SID: Yeah, what the ock are you gonna do about it?MONTY: (Monty moves to the tannoy.) Your union does not support unofficial industrial action!

> > > > > >

b> > > > > >

bWOMEN

b MEZ.

>

b

ALT.

SOP. >>

b ‘> > > > > >

b‘

> > > > >

Œ œ œj œ œj œœ œœœj œ œj œj œ œj ˙

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66

°¢™

†™

It's al ways- been this way; now it's got to stop

SAFETY 72

Ev 'ry - bo- dy - out! You starve those at the bot tom- to feed those at the top.

77

Ev 'ry - bo- dy - out! We're the can of worms— T at, you bet ter- rea lise.-

81

T ese worms are turn ing - in to- but ter- ies!- Ev 'ry - bo- dy - out!

85

°¢™

†™

VAMP - out any bar

90

94

La dies,- if your fel la - starts to whinge or starts to moan

97

b

HOPKINS: (to Lisa)Hey! What time is it in America?LISA:I'm not the speaking clock!(Lisa walks o ff in a hu ff .)SID: Sidney.HOPKINS: Is this a strike?. . . .

SID: All the classic signs.T ere's a brazier,a picket line, and a barricade. If we had anorchestra, it could be a musical. (Phone down)

. .

b WOMEN

b >

b >

b >

bCUE to CONT:BARBARA:T ey make the seats for the cars!> >

>> >

>> >

>> >

>

b WILSON: . . . and we can all drive standing up! Do I have to think of everything?> >

>> >

>> > > n

WOMEN

EDDIE: Onstrike?! We needthe money!

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Tell him that you'll take the strike right back in to- your home.

101

Let him do the cook ing,- Let him try to make the meals. And

105

make him do it all day long in a pair of ve inch heels.

109

Ev 'ry - bo- dy - out Ev 'ry - bo- dy - out Ev 'ry - bo- dy - out Ev 'ry - bo- dy - out

113

Girls you done the right thing, we're be hind- you all the way.

117

Make your point then back to work be fore- bank hol i- day.- We're

121

proud of you and what it is that you all got to say but

125

make it quick–get on with it 'cos we'll strug gle- on strik er's- pay.

129

EDDIE:How long do you cook an egg for?

STAN:Twenty-seven minutes.

STAN: Better safethan sorry.

TUTTI SOP + MEZ / ALT SOP / MEZ / ALT F6 / SOP / MEZ / ALT nnnbb

bb MEN

bb

bb

bb


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133

°¢™

VAMP - OUT ANY BAR

137

†

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°¢™ VAMP - OUT ANY BAR 145

†

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153

157–160 161–162

We're here to ask a fa -

165

vour,- And we need you all a board.- We want to shove a rock et- up the arse

170

of Hen ry - Ford. If you stop mak ing - seats then you stop our pro duc- tion- line.

175

bbTUTTI SOP + MEZ / ALT SOP / MEZ / ALT F6 / SOP / MEZ / ALT

nn

CUE to CONT: JOURNALIST: Ladies, is it your intention to halt production on the new Ford Cortina?

SANDRA: What can we do then?CONNIE: We need some working class solidarity.BERYL: 'kinnel!CONNIE: We need the girls in Liverpool to strike.

TUTTI SOP + MEZ / ALT SOP / MEZ / ALT F6 / SOP / MEZ / ALT

nnnbb

bb. . . . . . . . . . . . . . . .

RITA: Hello Liverpool! ALL: Hiya queen! RITA

bb

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°

¢

But if you car ry - on the strike is just a waste of time.

180

Ain't a bout- the mo ney.- It's all a bout- res pect.-

184

Wo men- al ways come in'- sec ond;- T at's what we re ject.-

189

Wo men- al ways- come in'- sec ond;- T at's what we re ject.-

Dag en- ham- and Liv er- pool;- to geth- er- we got clout.

193

La dies,- let me hear you say, "Ev 'ry - bo- dy - out!"

197


202

°¢™

VAMP - OUT ANY BAR

206

†™

210

bb

bbRITA + SANDRA + F2, F3, F5

bbRITA + F3 + F5

bbSANDRA + F2

bbTUTTI WOMEN

b b b

bbb n


bb

bbHOPKINS: Housewife and working mother.TOOLEY: My God! T ey're the worst!OK, I'm coming over, put the kettle on.

.

. . . .. .

..

. .

bb

.

. .

. ..

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°

¢

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ON CUE 214

218

Ev

sotto voce

'ry - bo- dy - out... Ev 'ry - bo- dy - out... Ev 'ry - bo- dy - out...

224

Get out on the street and on to- that pick et- line.

230

Ev 'ry - bo- dy - out. Ev 'ry - bo- dy - out!

Ev 'ry - bo- dy - out! Let's make it clear we're here to send a sign. Ev 'ry - bo- dy - out!

235

We won't be dis missed- And we won't be ig nored.- We'll throw our selves-

240

un der- the lat est- mod el- Ford! Ev 'ry - bo- dy - out!

245



nn

EDDIE: I fed the kids.(Eddie turns a romantic low lighting lamp on, and the main light off , he then swivelsthe pinny round to the back, getting ready for business.)RITA: What did you cook for them?KIDS: Chips on toast.RITA: Eddie, chips on toast! Why?EDDIE: Cos I can cook chips and I can cook toast. We're alright, you do what you have to do, love.

TUTTI SOP + MEZ / ALT SOP / MEZ / ALT

[STARBURST]

F6 / SOP / MEZ / ALT

>

> >

MEN

WOMEN

SOLO GIRL >

MEN


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°

¢

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Ev 'ry - bo- dy - Ev 'ry - bo- dy - out!

249

Ev 'ry - bo- dy - out! Ev 'ry - bo- dy -

Ev 'ry - bo- dy - Ev 'ry - bo- dy - out!

253

Ev 'ry - bo- dy - out! Ev 'ry - bo- dy -

257

Ev 'ry - bo- dy - out! Ev 'ry - bo- dy - Ev 'ry - bo- dy - out!

12a


FAST SEGUE

262


>

TUTTI

>

>n n

>

>

>n n

solo ad lib

>

> n n

>

>

Everybody Out – Play Out(TACET)

End of Act One

n n

F1 & M1 / F2 & M2 / F3 / M3

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13

12b

I'm the go to- guy when the go ing - gets tough, And the

2 CLICKS IN

Driving Rock ( = 132)

1–3

go ing's- gone mad and I've kin da - had e nough.- I tell it like it is, I say it

7

to your face T e rea son- I am here's to put you in your place. Af ter-

10

death and tax es- and the Lord T e on ly - o ther- cer tain- ty,- my friends, is Ford We

13

gave the world the ve ry - rst pro duc- tion- line And we will be right here un til- the

17

end of time. T is is A mer- i- ca - T e U S- A.- We tell you

20

A mer- i- ca -

4bb TOOLEY

CUE: TOOLEY:

And in America everything is American. T is Is America

Tooley's Entrance(TACET)

ACT TWO

bb

bb

bb

bb

bb nn

bb M6 / M1 n nn

Ó Œœ œœ œ œœœ œœ œœœ œ œ

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what to do, and you do as we say. We are the top dog you love to hate, And

23

what to do, top dog

you are our poo dle,- the f ty - rst- state. We're so much big ger,- we're

27

big ger,-

so much bet ter,- and our sun is hot ter- and our wa ter's- wet ter,- we move fa ster- and

30

sun is hot ter- fa ster-

fur ther- too. Ba sic'- ly - we're to tal- ly - su pe- ri- or- to you.

34

Ba sic'- ly - we're to tal- ly - su pe- ri- or- to you.

A nar- chists,- com mu- nists,- We fought them 'till we won. We

37

38–40

saw off Jim my - Hof fa - and his Team ster- scum. We bought the pub lic- tran sport,- we

43

shut it down. Now the car's the on ly - way you get a round- town We're

46

nbb

nbb

bb TOOLEY

bb

bb

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so much bet ter- and I'm not be ing - mean. We've got Route Six ty - Six, you've got the

49

A thir teen.- We gave you rock 'n' roll, you gave us Cil la - Black. Wellthanks a lot for no thing.- You can

52

have her back. T is is A me- ri- ca,- the U S- A.- We're all straight, and

56

A me- ri- ca,- We're all straight.

you're all gay. We are the top dog you love to hate, And you are our poo dle,- the

60

top dog

f ty - rst- state. Get off your high horse, put a way - your ser mon.- If it

64

high horse,

weren't for us you'd all be spea king - Ger man,- and while we're here, there's one thing more. You

67

weren't for us while we're here,

bb

bb

bb nn

bb M6 / M1 n nn

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œj œ œj ‰ œJ œœ œ™ œJ œ ‰œj œj œ œJ Œ ‰œj œœœœœ ‰œj

œ™

˙ œjœ Œ

œœœœ‰œJ œ œ œ™ œJ œ™ œ œœj œ œJ œœœœ˙™ œ

Jœ

Œ

œ œ œœ œ œœj œ œj œœ‰œj œ™ œJ œ™ œj œj œ œJ Œ ‰œj

œ œœ œŒ œ™œ™ œj œ™J œ™ ‰




still owe us mo ney - from the Se cond- World War. A -

71

still owe us mo ney -

lu mi- num,- Ba sel,- Too na,- O re- ga - no,- Pay tro- nize,- E din- bro,- Jag war,- Eye raq,- Krass ant,- Yoo ghurt,- Ca

75

rib bean,- Neet shee- Pe cahn,- Ca moh- meel,- No ta - Dame, Vayze, Pa ree- shun,-

80

You ri- nal,- Vie ta - min,- Woo ces- ta - shi- er- Sauce? You guys can't ev en- speak Eng lish!- T is is A -

84

T is is A -

T is is A -

me ri- ca,- the U S- A.- Now don't for get- that You do as we say, We have the

88

me ri- ca,- ...get that,

me ri- ca,- get that

nbb

TOOLEY

nbb

bb

bb

bbTOOLEY

nn

bb

WOMEN

nn

bb

M6 / M1

nn

œœœœœ œ œœœ œ œ Œ Ó Œ ‰™ ¿r

œ œ œ œ œœ œ œ œŒ

¿™¿ ¿ ¿ ¿ ¿ ¿™¿ ¿™¿ ¿ ¿™¿ ¿ ¿™¿ ¿ ¿j ¿ ¿j ¿ Œ¿ ¿ ¿ ¿™¿

¿ ¿ ¿Œ¿™¿Œ ¿ ¿Œ¿ ¿ ¿Œ ¿j ¿ ¿j Ó ¿ ‰™ ¿r¿ ¿Œ

¿™¿ ¿ ¿™¿ ¿™ ¿ ¿ ¿ ¿ ¿ ¿Œ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿j‰ Ó ‰œJœ œ

Ó ‰œnjœ œ

Ó ‰œJœ œ

œ™ œJ œ ‰œj œj œ œJ ‰ œJ œœ œ™ œj œ ‰œj œœœœ‰ œJ œœ

œ™ œjœ Œ œ™˙ œj œ Œ

œ™ œJ œ Œ ˙™ œJ œ Œ




T shirt,- and you have the vest. You're sim ply - the worst, And we're sim ply - the best. We got

92

T shirt,- sim ply - the best.

T shirt,- sim ply - the best.

Hol ly - wood- and Ve gas- too, You got T ames T. V.- and Whip s'nade- Zoo. We got a

96



Pres i- dent,- We got Su per- man- You got Prince Charles, and Des pe- rate- Dan.

100



A ny - thing - you can do or want to do, a ny - -104–110

thing you can do we have to re a - lise.- Ev' ry - thing that you do or want to do, ev' ry -

113

SOP / MEZ / ALT + M1 + M6

nbb

bb

œ™ œJ œ™ œj œœ œ œŒ ‰œj œœœœŒœœœœœœŒœ œ

œ™˙ œj œ Œ œ œ œ œÓ˙™ œJ œ Œ œœœœÓ

œ™ œJ

œ ‰œj œj œ œJ

Œœœ œ œœ ‰œj œj œ œj ‰ œ

Jœœ

œ™ œjœ ‰œj œœœ œ

j Œœœœ œ œ œ‰œj œj œ œj ‰œn

jœ œœ

œ™ œJ œ ‰œj œjœ œ

j Œœ œœ œ œ‰œj œj œ œj ‰œ

jœ œ

œ™ œJ œ œ œœj œ œJ Ó œœœ œŒ ‰œj œœœœÓ

œ™ œjœ œ œ œœœ œ

j Ó œ œ œ œŒ ‰œj

œ œ œ œÓ

œ™™ œj œJ

œŒœ œ œ

jœ œ

j Ó œœœ œŒ ‰œj œœœœÓ

Ó Œ ‰œ œ œ œ œœ œ œ œœ œœ œ œ œœ‰ œ œœ œ

œ œ œœ œ œœ œ œœ œœœ œœ œœ œœ wœœœ w Ó Œ ‰ œ œœ œœ œ œœ œ œ œœ œœ œ œ œœ‰ œ œœ œ




thing that you do we have to sub si- dise.- You can't pic ket- and choose

rall.Slow but insistent

117

with Ford, T at's your tic ket- to lose with Ford. One thing's cer tain,- I'll bust

accel.121

this strike. Get rea dy - Da gen- ham,- get back to work, get on your bike.

A tempo125

T is is A me- ri- ca,- the U S- A.- We got cops with guns who will

Slower Steadier, quasi martial129



blow you a way.- We got the Ken ne- dys- and Scoo by - Doo. You got Ted Heath and

accel.133



bb TOOLEY

bb

bb

bbTOOLEY

nn

bbSOP / MEZ + ALT

nn

bb M1 + M6 / M2 + M3 + HOPKINS

nn

œ œ œœ œ œœ œ œœ œœœœœœœœœœ wœœœ w œ œœ œ œœ

œJ œ œj œ Œ œ œœ œ œœ œJ œ œj œ Œ œ œœ œ œœ

œJ œ œjœ ‰œ

jœœœœœ ‰œ

jœœœœœJ œ œ

jœ™

œJ

˙

Ó œ œ œ œ™ œJ œ ‰œj œJ œ œJ Œ œœ œ œœ œ œ

Ó œ œ œ œ™œ™ œj œJ œ ‰œjœJ œj œJ œ œJœj Œ œœ œœ œœ œ œ œœ

Ó œ œ œ œ™œ™ œj œJ œ ‰œjœJœj œJ œ œJœ

j Œœ œ œœ œ œ œ œ œœ œ

œœœœ ‰œJ œœœ™ œJ œ‰œj œJ œ œJ œŒ œœœœŒ ‰œj

œœœœœœœ ‰œjœJ œœœ™œœœ™ œj œJ œ‰œjœJ œj œJœœj œJ œŒ œ œ œ œœ œ œŒ ‰œjœJ

œœœœœ œ œ‰œjœJ

œ œœ™œœœ™ œj œJ

œ‰œjœJ

œj œJ

œœj œJ

œŒ œœœœœ œ œŒ ‰œjœJ




Dan ny - La Rue. We got the White House, you've got Num ber- Ten. We got the

A tempo137



Em pire- State, which pis ses- on Big Ben. When it comes to mu sic- just re -

140



mem ber- this: T ere'd be no frea king - Bea tles- with out- El vis.- You're

143

mem ber- this: T ere'd be no frea king - Bea tles- with out- El vis.-

mem ber- this: T ere'd be no frea king - Bea tles- with out- El vis.-

drea ri- er- and wea ri- er,- re mind- me of Si be- ri- a,- you're to ta - lly - in fe- ri- or,- so

146

œœœœ‰œJ œ œ œ™ œJ œ œ œœJ œ œJ ‰œJ œœ

œ œ œ œœ œ œ‰œjœJ œ œ œ™œ œ ˙ œj œ œ œœ œj œJ œ œJœj ‰œjœJ œœœ

œœœœœ œ œ‰œjœJ œ œ œ™œ œ œ™ œj œJ œ œ œœ œj œJ œ œJœj ‰œjœJ œ œœ

œ œœ œ œ œœj œ œJ ‰ œ œœœ œ™ œJ œ œœ

œ œœ œ œ œœ œ œœj œJ œ œJœj ‰ œ œœœœ œ™œœ œ™ œj œJ œ œœœ

œ œ œ œ œ œœ œ œ

œj œJ

œ œJœj ‰œ œœœ œœ

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Jœ œ œœ

œJ œ œJ ‰œj œœ œœœœœ œœ œœœœŒ ‰œj

œj œJ

œ œJœj ‰œjœ

Jœœœœ œ œ œ œ œœ œ œ œœ œœ œj œœ œ œj Ó

œj œJ œ œJœ

j ‰œJœj œ œœœ œœœœœœ œ œ œ œ œœœ œj œœœœ

j Ó

œ œœœœ œœ œœ œœœœ œœ œœ œœœœ œœ œ




13a

Dag en- ham...- Screw you. T is is A me- ri- ca!-

SEGUE

149

T is is A me- ri- ca!-


13b

3, 4 . . .

( = 132)


7

4

T is Is America – Tag

- - - .. . . .

CUE:TOOLEY: Okay. Stop the line. Lay the men off .

T is Is America – Reprise

M6 / M1 / TOOLEY

>

œ œœŒ Ó Œ œ œJ œ

™

Ó Ó ‰œJ

œ œ œœ œÓ

Ó ‰œJ œ œ œœ œÓ

Ó ‰œJ œ œ œœ œÓ

Ó ‰œJ œ œ œœ ™ Ów œ œ œ œ

w ˙ Ó Ó ‰œjœJ œ œœ œ œ œœ œÓ




14

Ev 'ry - bo- dy - out. Ev 'ry - bo- dy - out.

= 76

1–6

Ev 'ry - bo- - dy out.

12

Storm clouds on the ho ri- zon.-

DIALOGUE19

20–21

Ten sion- in the town. Pres sure- buil ding - up Ru mours- go ing -

26

round Mo ney - run ning - short Down to our last pound

32

Don't let the bas tards,- grind you down.

37

41–46

47

°¢™

†™

VAMP53

6 WOMEN SOP + MEZ / ALT

4 44 4

WARN: BERYL: Are we?-----------------------------------------CUE: CONNIE: Your strike pay. Storm Clouds

SOP / MEZ / ALT 4 4

‹

U TUTTI WOMEN

‹

4 4

‹

44

‹

œ œ œ œ œ œ ˙™ ˙™ œ™ Œ™ œ œ œ œ œ

˙™ ˙™ œ™ Œ™

œ œ œ œ œ œ ˙™ ˙™ ˙™

œ™ œ™ œ™ œ™œœ œ™ œ™ œ™ Œ™

œ™ œ™ œ™ œœœ ˙

™ Œ™ œœ

œœœ ‰ Œ™ Œ™ œœ

œœ

œ™ Œ™ Œ™ œœœœ œ ‰ Œ™ Œ™ œœœœ œ™ Œ™

Œ™ œ œ œœ™ œ™ œ™ œ œJ

˙™

˙ ™˙ ™ ˙ ™ ˙ ™

‰™œ™ œ™ œ™ œ™ œ™

œ™ œ™

œ™ œ™ œ™ ˙ ™ œ™ œ™ œ™ œ œ ˙ ™ ˙ ™




°

¢

Wel come- to e qua - li- ty - T is is what it’s like

On Cue59

(this is what it’s like) E qual- shit for ev’ ry - one- When you go on

64

strike

69


75

83

91

°¢™

†™

VAMP(Out either bar)98

101–102


On Cue105

MEN

b b

‹

ALL WOMEN

TOOLEY: Do you understand domino theory?MONTY: Yeah. Get rid of your double six assoon as you can.

‹

TOOLEY: If England falls to equal pay, the rest of the world will follow. ALL WOMEN

œ™ œ œj œ™ œ œj œœœ Œ™ Œ œj œœœ œ™ Œ™

ŒœJ œœœ œ™ Œ™ œ œ œ œ œœœŒ™ Œ œJ œœœœœ

œ™™ Œ™

œ™ œ™ œ™ œ™œœ œ™ œ™ œ™ Œ ‰

œ™ œ™œ™ œ™ œ™ œ™ ˙ ™

œ™ œ™ œ™ œ™ œ™ œ™ ˙ ™

œ™ œ™œ™ œ™ œ™ œ™ ˙ ™

œ™ œ™ œ™ œ™ œ™ œ™ ‰œJ

œ œ

œ œ œ™ ˙ ™ ™ ™ ‰ œJ

œ œ œ œ œ™ ˙ ™

‰ œJ

œ œ œ œ œ™ ˙ ™

œ œ œ œ œœ™ ˙ ™

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œœ œ

œ œ œœ

œ™ œ™ œ™ œ™œœœ™ œ™




°

¢

Pro blems- in the home.

110

115

°¢™

†™

Più MossoOn Cue

121

Help me, the e co- no- my - is sim ply - in free fall.- Cut tin- down on booze and fags and e -

Pop Ballad (in 4) ( = 92)

128

T e e co- no- mic- in di- cies- make the blood chill

131

ven- on foot ball.-

With out- Ford your trade gures- are sim ply - road kill.-

rit.134

Tempo primo (in 2) ( = 76)138

146

154

160–161

2 4

4

6

6

‹

LISA4

‹

4 4 4

‹

[Dr. ll] VAMP(Out either bar)

WILSON MEN

TOOLEY

+ MEN

n

‹

œ™ Œ ‰œ™ œ™ œ™ œœœ œ™ Œ™ Œ™ œ œ œ œ

˙ ™ Œ™ œ œ œ œ ˙ ™ Œ™ œ œ œ œ ˙ ™ Œ™ œ œ œ œ

˙ ™Œ™ œ œ œ œ™

œ™ œ™ œ œJ

œ œ œ œ œœ™ œ™ œ™

¿¿¿ ¿¿

œ œ‰ œ œ œœœ‰œj œœœœœ Œ œ œ œ œ œ œœœ œœ

Ó Œ ‰œj ‰œœœj œ œœœ œœœœ œÓ

œœœ œœœ Œ

œ œ œ œ œœœœ Óœ œj œ™ ˙ w

œ™ œ™œ™ œ™ œ™

œ™

˙™

œ™ œ™œ™ œ™

œ™

œ™

˙ ™

œ™ œ™œ™ œ™ œ™ œ™ ˙ ™

œ™ œ™ œ™ œ™ œ™ œ™ ‰œJ

œ œ

œ œ œ™ ˙ ™ ‰œJ

œ œ œ œ œ™ ˙ ™




°¢™

†™

VAMP(Out either bar) On Cue162

Storm clouds on the ho ri- zon.- Ten sion- in the

166

town. Pres sure- buil ding - up Ru mours- go ing - round Un -

172

ea sy - lies the head that wears the crown. Don’t let that bas tard-

178

grind you down.

183

°¢™

†™

VAMPOn CuePiù Mosso

189

We have to bust the strike. Be ruth less–- get it done. And if you don’t we’re

In 4 - Pop Ballad ( = 92)195

out of here. We will move to Bel gium.- T is is a

198

2 4

4

6

‹

TOOLEY: Michigan 1932 is history.LISA: Which is my subject. Five strikers dead, andsixty chained to their hospital beds with shotgun wounds.CUE to CONT HOPKINS: Darling, that's enough. Please, bring in the dessert.

TOOLEY: Oh, wow! What’s for dessert?LISA: (Standing) Cheese.

‹

TUTTI

‹

WILSON 4

‹

CASTLE

‹

[Dr. ll]

TOOLEY

WILSON

œ œ œ œ œœ™ œ™ œ™ œ œ œ œ œ

œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ

œ™ œ™ œ™ œ™œœ œ™ œ™ œ™ Œ™ œ™ œ™ œ™ œœœ

˙™ Œ™ œœœœœ ‰ Œ™ Œ™ œœœœœ™ Œ™ Œ™ Œœj

œ œj œ œj œ œj œ œjœ

™Œ™ Œ™ œ œ œœ œj œ™

œ™ œ œJ œ™ Œ™ œ™ œ™ œ™ œ œJ

œ™ œ™

˙ ™ œ™ œ™ œ™ œ œJ ˙ ™ ˙ ™

¿ ¿ ¿ ¿ ¿Œ œ œœœœœ Œ ‰œj œœ‰ ‰œœœ ‰œj œœœœ

œ œ™ œœ ‰œœ ˙ ˙ œ œ Œ œ œ œ




°

¢

°

¢

°

¢

°

¢

rough patch, I rea di- ly - ad mit.- But please don’t go to Bel gium- ‘cos

In 2 201

°¢™

†™

Bel gium’s- real ly - shit.

Tempo primo VAMP(Out either bar) On Cue 206

Storm clouds on the ho ri- zon,- Ten sion- in the

212

hor i- zon- ten sion- in,

town. Pres sure- buil ding - up Ru mours- go ing - round

218

ten sion- in the town pres sure- buil ding - pres sure-

Mo ney - run ning - short Down to our last pound Don’t let the

223

buil ding - pres sure- buil ding - down to our last pound.

bas tards- grind you down. Don’t let the bas tards- grind you down.

228

Don't let the bas tards- bas tards- grind you down.

6 ALL

‹

WOMEN

TEN + BARI / BASS

‹

4 4

b b b

‹

44

b b b n

‹

œ œj Œ™ Œœj œœœœœ ‰ Œœj œ œJ œ œ œœ œj Œœj

œ œj

œœj

œ‰ Œ™œ œœ œ œ

œ™ ˙ ™ œ œœ œ œœ œœ œ œ

œ œœ œ œ œ œ œ œ œ œ

œ™ œ™ œ™ œ™œœ œ œj œ™ œ™ Œ ‰œ™ œ™ œ™ œœœ

Œ™ œ™œ™ œ™œ™ œ ‰ Œ™œ™œ™ œœ™œ™ œ ‰

œ™ Œ™ Œ™ œœœœ œ ‰ Œ™ Œ™ œœœœ œ™ Œ™

œ œœœœ œœœœ™œ œ™Œ™ œ™œ™ œ™™ œ™œ™ œ™œ™ œ™™ œ™™

Œ ‰œœœœ œ ‰ Œ™ Œ™ œœœœœ™ Œ™ Œ™ œ œ œ

œ™œ™ œ™™ œ™œ™ œ™™ œ™œ™ œ™œ™ œ œj œœ œj œ™œ™ Œ™

œ™ œ™ œ™ œœJ ˙™ Œ™ œ œ œœ™ œ™ œ™ œœJ ˙™

Œ™ œ œ œœ™œ œœ™ œ™™ œ™œ™ œ™œ™ œ™œ™ œœœj ˙™œ ™




°

¢

°

¢

°

¢

°

¢

It ain’t a bout- you, it ain’t a bout- the law. It’s three thou sand-

6/8 Rock Feel 235

It ain’t a bout- you, it ain’t a bout- the law. It’s three thou sand-

fam’ lies- un em- ployed- and poor. Don’t let the

240

fam’ lies- un em- ployed- and poor. Don’t let the

bas tards- grind you the bas tards- the

245

bas tards- grind you down. grind you down

grind you down

bas tards- the bas tards-

SEGUE

252

grind you down grind you down.

grind you down grind you down.

‹

[MAKE LAST SUPPER]

‹

[G.P.] (WOMEN)

[G.P.] (MEN)

‹

WOMEN

b

EDDIE / TEN + BARI / BASS EDDIE / TEN

b

BARI / BASS

‹b

>U

b>U

>u

?

>u

>U

ŒœJ œœœ œ ‰ Œ™ ŒœJ œ œœœ œ ‰ Œ™ ŒœJ œœœ

Œœj œœœ œ ‰ Œ™ Œœj œ œœœ œ ‰ Œ™ Œœj œœœ

œ œj œ ‰ ‰œ œœ œj ˙™˙™ Œ™ Œ™ Œ™ œ œ œœ œ

œ œj

œ‰ ‰

œ œœ œj ˙™

˙™

Œ™ Œ™ Œ™œ œ œœ œ

œ™œ™ œ™œ™ œ™œ™ Œ™ ˙™˙™ ˙™˙™ Œ™ œ™œ™ œ™œ™ œ™œ™Œ™ œ™œ™

œ™œ™ œ™œ™ œ™œ™Œ™

˙™˙™ ˙™˙™œ™œ™ Œ™ Œ™ œ œj œ™œ

Jœ™ Œ™

Œ™ œ œj œ™œ™ Œ™

œ™œ™ œ™œ™ Œ™œ

™

œ™

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J‰ ‰ Œ™

Œ™ œœ œj œ™œJ œ™ Œ™ Œ™ œ œj ˙™œJ ˙™ œJœj

‰ ‰ Œ™

Œ™ œ œj œ™œ œ™ Œ™ Œ™ œ œ ™j ˙™

œœj ‰ ‰ Œ™




°

¢

°

¢

15

14a

14b

Bah bah Bah bah Bah bah

2 CLICKS IN

Fanfaric!! ( = 132)

It's the car for me, i t's the car for you. Af ter- the Mark One comes the...

Easy 47

Bah bah da! Boo!

Mark Two. Well, you buy a Mark Two 'cos you know you ough ta.- It's

12

Ooh Mark Two Ooh

4 GIRLS

.nnn . nnb . n

CUE:Barbara Castle:For Pete's sake, can we have a look at this bloody car!

Cortina!

Storm Clouds – Scene Change(TACET)

Car Showroom(TACET)

CORTINA MAN

. .

>

F1 + F2 / F3 + F4 / F5

Œœ˙ ˙ Ó Œœ˙ ˙ Ó Œœ˙ ˙ Ó

Ó Œœ œœœœ œœœœœŒœœœœœ œœ

Œœœ

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œ

j Œ¿ Ó

Ó Œœ w Ó Œœ œœ œœœ œœœœœ œœ‰œj

Œ œ w ˙ ŒœœÓ




°

¢

°

¢

°

¢

°

¢

°

¢

like a Mark One, on ly - frac tion- nal- ly - short er.- "Cor ti- na.- It's lean er- and it's

17

frac tion- nal- ly - short er- Ooh

mean er.- Cor ti- na.-

21

Ooh Ooh

Comes in white or cream er.- Two door,- four door.-

24

Ooh Two door, four door-

If you can af ford- more Leath er- ette's- the one to get. Wood en- dash board?- Yeah, you bet!

28

Leath er- ette's- the one to get Yeah, you bet!

Dub a - dub- a - dub- a - dub- a,- dub a - dub- a - dub- a - dub- a,- dub a - dub- a - dub- a - dub- a,- dub a - dub- a - dub- a - dub- a,-

31

"Cor -

33

dub a - dub- a - dub- a - dub- a,- dub a - dub- a - dub- a - dub- a,- dub a - dub- a - dub- a - dub- a,- dub a - dub- a - dub- a - dub- a,-

F1 + F2 / F3 / F4 / F5

GIRLS

œœ œ œœœœœ œœœœœ œ™ œj ˙ Œ ‰œj œœœœ

œ œ œ œ œ œŒ Ó ‰œœœj ˙ Ó

œ™ œj ˙ Ó Œœ œ™ œj ˙

Ó ‰œœn œœ

j˙

Ó Ó ‰œ œœ

j

Ó œœœœ œ™ œj ˙ œ œœ œ

˙ Ó Ó ‰œœ œj

˙ Ó œ œœ œ

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ti na,- Oo woooo- woo oo- woo."

3x 35

ti na - woo woo woo

Self ad- just- ing - brakes for those tric ky - round a - bouts.- It's built to real ly - last–

39

T ree

Or there a - bouts.- It's slight ly - short er- but more

42

years! Ooh Ooh

room in side.- It's now ex tra - wide. "Cor ti- na.-

46

"Well, how the hell's that pos si- ble?"- Ooh

It's lean er- and it's mean er.- Cor ti- na.-

50

Ooh Ooh

RITA: Sandra! What do you think you're doing?SANDRA: Earning a living!PETROLHEAD 1: Oi! What's your problem?RITA: How long have you got?SANDRA: Can't live on two quid a week strike pay RITA: No, Sandra, NO!

1º only

1º only

CUE: HOPKINS: T at womanthere, I want her thrown out"

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Comes in white or cream er.- Up hill,- down hill,-

54

Ooh Up hill,- down hill,-

it will g ive a big thrill. See the world and see the sights with twi light- night sight- side head lights.-

58

See the world and see the sights with twi light- night sight- side head lights.-

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61

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63

Come on ac cel- er- ate,- Just do it,- why d'you wait? Be fore- it gets much too late,

65

Seize the mo ment,- ba by,- right

68

Seize the mo ment,- ba by,- right wow, wow, wow, wow, wow, wow, wow, wow, wow,

GIRLS

CORTINA MAN

(SANDRA punchesCORTINA MAN .)

GIRLS

Ó œœœœ œ™ œj ˙ œ œœ œ

˙ Ó Ó ‰œœ œj ˙ Ó œ œœ œ

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"Cor ti- na.- It's lean er- and it's mean er.-

72

Driv in'- More fun than ar -

Cor ti- na.- Comes in white or

76

riv ing,- T ere's no sense in dep riv - ing,-

15b

15a

cream er.- Cor ti- na.-

rall . . . SEGUE79

Af ter- all the nine to- v - ing.- ti na.-

CORTINA MAN:

GIRLS

U

Cortina – Play Out(TACET)

Tax Payer's Bentley (TACET)

U

Ó Œœ œ™ œJ ˙ Œ ‰œj œœœœ œ™ œJ ˙

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I just can't take this a ny - more-

(In 2)

I'm go nna - take the kids a way - for a day or two, I'm not

6

sure. I know I'm not one for tal king - but I think–you know– we should.

10

So if you're ev er- a round- You nev er- know– might do some

14

good. 'Cos I can't do this on my own no more I

18

need you a round,- or else What is this all for? I need you to stand be-

23

side me, I need you to be my wife. It's such a sim ple- thing. I

28

need you in my life You know what they're say in'- at work? I'd

33

tell you if you were e ver- here, "Read her the riot act, Keep her in line, Get

37

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2nd X:EDDIE:

CUE: RITA sees the letter.

T e Letter

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her in the house and you out for a beer." You know what they're gon na - say be hind- my

41

back? Well I'd tell you if you were ev er- here, "Who's in charge?

44

Who wears the trou sers?- May be- he's, you know, a queer." 'Cos I can't

Drive harder

do

48

this on my own no more And I need you a round- Or else

52

What is this all for? I need you to stand be side- me, I need you to be my

57

wife. It's such a sim ple- thing, I need you in my life. Well,

62

you

Freely - building

should see the state of the place, the state of your son and daugh ter- We ran out of milk last night so break -

67

fast- was corn akes- and wa ter- And yes, I've burnt the toast and the sau sage- and eggs too And the

70

stu pid- wa shing - ma chine- well it on ly - e ver- li stens- to you And oh that love ly - shirt we bought for Sha

73

ron- in Ca nning - Town Well it used to be pink but I ir oned- it and now it's more shit brown- And

76

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17

In an i deal- world ev 'ry - thing - would just be great. In an

Colla Voce

i deal- world love would al ways- con quer- hate. In an i deal- world the

5

work ers,- boss or sta ff In an i deal- world they'd sit and have a laugh. T e

8

sun would al ways- rise and shine, T e skies would be deep blue. T ere'd be a cure for can cer- and the

Bright ( = c. 154)11

com mon- cold and u. T ere would be no guns or crime;T e strong would help the weak T e

14

trains would al ways- run on time, we'd work a four day week. We'd get to meet the prat who put the

17

V.A.T. u pon- the tam pon,- We'd have a chat, and af ter- that His face we'd du ly - stamp on. I -

20

mag ine- a great world of un im- a - gin- ab- le- bliss, where men know how and where to nd a

23

wom an's- clit o- ris.- In an i deal- world ev 'ry - thing - would just be great. In an

Half-time feel ma poco più mosso 26

4 U UBARBARA CASTLE:

CUE:CASS: "We should all be working towards our ideal world"

Ideal World

Ó Ó Ó Œ ‰œœ œ œ œ œœœ œ œœœ ‰œœ

œ œ œ œ œœ œ œ œœœœ ‰œœ œ œ œ œœ

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i deal- world love would al ways- con quer- hate. In an i deal- world we'd

31

care and share and heal, And our dreams of hap py - end ings- would be real. T e

37

Ber lin- wall would fall and so would ty rants- o ver- seas.- Ci vil- rights would our ish- well in

Normal feel43

all com mu- ni- ties.- No bomb ing - in Cam bo- di- a,- No war in Vi et- nam.- In -

46

stead of Mar tin- Lu ther- King they'd shoot the Ku Klux Klan. T e pla net- would re volve- a round- the

49

meek est- of the meek, And Pro tes- tants- and Cath o- lics- would kiss the oth er- cheek. A -

52

part heid- would be du ly - crushed And so would pov er- ty,- T e East and West would do their best to

55

live in har mo- ny.- But in the real world It's a strug gle- ev 'ry -

Half-time feel58

day. In the real world You're luck y - if you make O. K. In the

63

real world it's not a bout- the nice. It's a bout- tough com promise- and sac ri- -

68

ce. Let me tell you; it was so much tough er- when I start ed- out.

Click in74

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Wo men's- rights, My God, you'll have to beg and bleed and scream and shout. T e

80

bot tom- of the bot tom- and the low est- of the low. Mired in my so- gy - ny - no

84

chance to rise and grow. But you got to keep on go ing - And you got to keep on

With weight!90

ght ing.- Got ta - punch a bove- your weight; Be low - the belt and do some bi ting.- I know

95

all you want is sex ist- laws to fall and be re pealed.- I know all you're ask ing -

100

for is just a lev el- play ing - eld. Lev el- play ing - eld. In our

rall . . .105

i deal- world, it will sure ly - come to pass. And our i deal- world, is so

Half-time feel111

near ly - in our grasp. And our i deal- world, if you're brave and take this

117

deal, one day those hap py - end ings,- could be real. Should be real,

Ad lib Rock 122

will be real. We'll make our world i deal.-

rall . . .

ALMOST SEGUE

128

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˙ Œœ œœ œœœœ˙ œœœ w Ó Œœ œw

Ó Œœœw Ó œœœw Ó ˙ w




18

17b

17a

I'm sup posed- to hate you, but I don't. You want me to beg you but I won't.

Rubato

I'm at a loss, I'm at a loss too. Some thing - we a gree- on Is that it? Are we

5

through? I'm still here – I ain't giv en- up. I'm still a moth er- and a wife.

More movement ( = 72)8

But all this hap pened- sud den- ly,- It just dropped in to- our life. I

12

can't let an y - one- down, So what am I sup posed- to do? Don't

17

4 RITA

‘

CUE:EDDIE: I didn't walk out, you did.

Nearly Had It All

Same Old Story – Scene Change(TACET)

Into T e Hospital(TACET)

EDDIE RITA

EDDIE +RITA

EDDIE

“

RITA: Looks likeit, doesn't it.

“

U RITA

‘

‘

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¢

turn your back on me now 'Cos now's the time that I need you.

21

I thought I had the fu ture- in the palm of my hand.

25

I thought you were be side- me and our dreams were all planned.

28

T ought we would stay to geth- er;- Now the world's cold and small. T ought that we'd

31

grow old and gray to geth- er;- Oh babe, we near ly - had it all.

34

And what a bout- our daugh ter;- I want to look at her and see

37

T at her fu ture's- full of hope, So she don't end up like me.

40

I'm nd ing - a voice for the rst time – I nev er- knew I had be

44

fore. Well, it star ted- as a whis per,- But it's got to be a roar!

48

But it's got to be a roar!

WOMEN

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‰œj œ œ œœœ œœ Œ ‰œœœ™ œ œœ œj œ™ ˙

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We thought we had the fu ture- in the palm of our hands.

52

We thought we had the fu ture- in the palm of our hands.

We thought you were be side- us And we had it all planned.

56

We thought you were be side- us And we had it all planned.

We know life is n't- ea sy - but we could have stood tall.

59

We know life is n't- ea sy - but we could have stood tall.

In stead- we see the mo ments- when we al most- had it all.

62

In stead- we see the mo ments- when we al most- had it all.

It don't mean I don't love you It don't mean I don't care But I'll

Rubato66

see this through, with or with out- you there

A tempo

Segue

70

(RITA)

(WOMEN)

U

U

(RITA)

U

˙ œ™ ‰ ‰œj œ œ œœœ œœŒ ‰œ œ œ™œ œœ œjœ™ ˙

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19

Vi va - East bourne,- T e T. U. C. by the sea.

3,4 . . .60s Rock

1–3

Vi va - East bourne,- Beer and chips in quan ti- ty.- Well, I pro mise- that you

8

won't be bored, In dis- cre- tion- is as sured.- Bed and break fast- sub si- dized,- Proph y - lac- tics- are ad vised...-

13

East bourne,- A week by the sea With the T. U. C. We've on ly - got one

17

chance, Yeah, and don't we know it. Just this one lit tle- chance.

21

I hope she doe es- n't- blow it. We're with

26

Just say what you got ta - say

you all the way

30

Ri ta - girl go all the way. In ghting,- out ghting,-

MEN

Viva Eastbourne

M SOLO LADIES

SANDRA LADIES

CASS

BERYL

WOMEN

WOMEN MEN

Ó œœ œ œœ ‰œ™œ™ Œ ‰œjœœœœœ œ œ œœ œœ œœœ œŒ Ó

Ó œœ œ œœ‰œ™œ™ Ó œœœœœœ œ œœœœœ œœ œŒ Ó Œœ œœœ œœ œœœ œ

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I'm

34

talk ing - all the lin go.- In be tween- the Un ion- scene the strip pers- and the bin go!-

pi ning - for, I'm whin ing - for, I'm yearn ing - for, I'm burn ing - for, I'm ach ing - for, I'm quak ing - for, I'm

37

sick of bleed in'- wait in'- for

40

Don keys- on the beach, Snog ging - on the pier. A

Change, change, change, Bring it on

43

nod, a wink, a prop er- drink, A vom- it- ing - on beer.

Change, change, change.

47

Oh I do like to be be side- the sea side,- Oh I

Vi va - East bourne,- T e T. U. C. by the sea.

51

do like to be be side- the... Vi va - East bourne,- T e T. U. C. by the sea.

WOMEN

MEN

(WOMEN)

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Vi va - East bourne,-

55

Vi va - East bourne,- Not ex act- ly - Tus can- y -

air our views,

60

A week in which to A week in which to booze and

T e one thing to de cide- up here We'll start the re vo- lu- -

64

schmooze.

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tion,- Vi va - East bourne!-

68

Some time- next year. Vi va - East bourne!-

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20

E ver- get the feel ing - you've been cheat ed- for so long?

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You know what’s right but yet they make you feel it's wrong.

5

Se cond- at the ta ble pi cking - up the crumbs Change is al ways-

In 29

prom ised- But some how - nev er- comes Stand up, Stand up,

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A Tempo 21

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Stand up, stand up, If you're with me then put your hand up.

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RITA: Why can't she be a bloody doctor?Stand Up

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RITA: In the war, women worked as doctors, bus drivers, land girls. Ergo we won that war together,and yet women are still being asked to make do, to wait until tomorrow. Well when is tomorrow?Ten years? Twenty years? Fifty years?

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bbbbbbRITA: We women have always supported you men, every time you needed us we'vebeen there and you never had to ask. So we've come here today because we needyou to vote for this Equal Pay Amendment. 6 RITA

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step is that you put your hand up. And then you make a stand for ev ’ry - one,-

41

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Stand up Stand up Stand up T e

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world rides on our shoul ders- while we’re ta ken- for a ride, we’re

A tempo (CLICK IN)65

in the heart of ev ’ry - thing - but kept on the out side.- So I'm ask -

69

ing - for your help and I know that mo ney's- tight But we need

73

ask ing - for your help know that mo ney's- tight

you stand ing - by our side and do ing - what is right, oh,

77

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'We're a family, the TUC. Brothers and sisters, comrades everyone, them your words, not mine. You men, are you happy that your daughters will grow up to be second class citizens? Your daughters. You can change this, you can, cos nothing changes if it isn't challenged. so stand up for women'srights because, you know, if not now, when?'

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Stand up, stand up, if you’re with me then put your hand up, You’ve got to

81

Stand up, stand up, then put your hand up,

turn a round- and face the ght, got to learn to put things right, On ly - way to live your life,

85

turn a round- and face the ght, got to learn to put things right, On ly - way to live your life,

come on Stand up, yeah, stand up, the rst step is that you put your hand

88

come on Stand up, stand up, the rst step is that you put your hand

up. And then you make a stand for ev ’ry - one,- then the bat tle- will be won,

92

up. make a stand for ev ’ry - one,- then the bat tle- will be won,

stand up We won’t run and we won’t hide, so don’t pass by on the

95

stand up

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oth er- side; men, wo men- we are one, we are the U ni- on.-

100

ooh,

You might think that we just can’t win but I tell you this for noth ing - we ain’t

104

Ooh,

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giv ing - in, no what I want to say is that to day - could be the day!

108

Ooh, ah,

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Stand up, stand up, if you’re with me then come on put your hand

112

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up, You’ve got to turn a round- and face the ght, got to learn to put things right,

116

On ly - way to live your life, come on Stand up, stand up, the rst

119

step is that you put your hand up. make a stand for ev ’ry - one,- then the bat tle- will be won,

123

come on. Stand up, stand up, the rst

CLICK STOPS127

Stand up, stand up, the rst

Stand up, stand up, the rst

step is that you put your hand up. And then you make a stand for ev ’ry - one,-

133

step is that you put your hand up. make a stand for ev ’ry - one,-


then the bat tle- will be won, stand up now!

136



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stand up now! stand up

Meno mosso142

147–150



Stand up, stand up, I'm with you so I can hold my hand up,

151

I was wrong and you were right, should have been there for your ght, you're the light that lights my life.

155

158

165

Half feel171

177

accel.182

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EDDIE: I'm sorry, Rite. I let you down. I let myself down. I don't suppose you'll haveme back, but I love you Rita O'Grady. It's amazing what you've done. Amazing.RITA: Eddie, you big daft lump.

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BARBARA CASTLE:Emmeline Pankhurst won the vote for women, and is rightly esteemed by history.T e women of Ford Dagenham have changed the world today, and history should place these ordinary working women alongside the suff ragettes for having achieved Equal Pay, which is yet another step forward in thecontinuing story of women standing up for their rights.

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Stand up, stand up, if you’re with me then come on put your hand

a tempo187

Stand up, stand up, then come on put your hand

Stand up, stand up, then come on put your hand

up, You’ve got to turn a round- and face the ght, got to learn to put things right,

190

up, turn a round- and face the ght, got to learn to put things right,

up, turn a round- and face the ght, got to learn to put things right,

On ly - way to live our lives, come on Stand up, wow stand up, the rst

193

On ly - way to live our lives, come on Stand up, stand up, the rst

On ly - way to live our lives, come on Stand up, stand up, the rst

step is that you put your hand up. Well you can make a stand for ev ’ry - one,-

197



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why don’t you join us, come on stand up now!

205

stand up now!

stand up now!

We need your help so come on stand up now!

209

stand up now

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21

Med. Pop Beat ( = 132)

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Made in Da gen- ham,- laid in Da gen- ham.- Now we're e qual- paid in Dag en- ham,-

Slower76

Made in Da gen- ham,- laid in Da gen- ham.- Now we're e qual- paid in Dag en- ham,-

WOMEN

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MEN œ œ œœœ œ œ œœœ

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made in dagenham the musical

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