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The Gut Girls

Music by Matthew Lee Knowles #A 1.1 > 1.2 [page 19] Maggie: And, Ellen, if
Music by Matthew Lee Knowles
#A
1.1 > 1.2 [page 19]
Maggie: And, Ellen, if no bugger ate meat, we
wouldn't have no jobs would we?
*Cue to stop > Lady Helena is in place and waiting.
repeat all sections, any order, ad lib. 
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lots of pedal
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#B
1.2 > 1.3 [page 25]
Lady Helena: And so would you be. If you really
knew of the plight of these poor,
wretched, miserable girls.
*Cue to stop > Harry: Oi!
  
  
   
    
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 
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f vamp as needed, ad. lib. if required
#C
1.3 > 1.4 [page 30]
Lady Helena: In the hope that through me they will
learn of thy everlasting love. Amen.
*Fade out when Edna is in place.
 
 
 
 
pp

             pp  
             pp  
2 #D 1.4 > 1.5 [page 32] Edna: Talking of daft ideas, how is Ellen
2
#D
1.4 > 1.5 [page 32]
Edna: Talking of daft ideas,
how is Ellen the mouth?
*Cue to stop > Ellen: This is my room.
( .B. music should end naturally)
L.V.
  
  
slowly.
slowly.

#E

1.5 > 1.6 [page 34]

Annie:

and

I thought, you lucky, lucky bastard, how

much better if I'd have been born like that.

*Cue to stop > Jim: What was Lady Helena talking ( .B. music should end naturally)

Lady Helena talking ( .B. music should end naturally )      

              
 
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 
 
 
            #F 1.7 > 1.8
#F 1.7 > 1.8 [page 38] Maggie: But I've learnt all I need to know
#F
1.7 > 1.8 [page 38]
Maggie: But I've learnt all I need to know about
being a good Mother from you.
*Fade out into opening of scene
 


slow and tense


          #G 1.8 > 1.9 [page 41]
          #G 1.8 > 1.9 [page 41]
#G 1.8 > 1.9 [page 41] Maggie: You can't have everything you want in life,
#G
1.8 > 1.9 [page 41]
Maggie: You can't have everything
you want in life, girl.
*Cue to stop > Arthur: For God's sake Priscilla


 
 
 

ped.

#H(a)

1.9 > 1.10 [page 44]

Lady Helena: And, what better way than to find an interest outside the confines of domesticity?

*N.B. trem. starts immediately on cue and lasts approx. 6 seconds. when scene is almost ready, begin bracket 2 glissando should occur as Madjacko enters stage and begins speaking (Thank you ladies and gentlemen

)

3

gliss.       1. 2.      
gliss.
1.
2.
 
steady tempo

fff
 

#H(b)

I TER AL CUE 1.10 [page 46]

Madjacko: Thank you ladies and gentlemen, thank you very much. Goodnight. girls shouting "Pig! Pig! Pig"

Play 3 page spread, consisting of:

"He'd have to get under, get out and get under" & "Little Annie Rooney"

*Cue to stop > Maggie: "She'll have to come up with better enticement than that if she wants me to go to her bleedin' club.

> abrupt stop when Kate stands up.

#H(c)

E D OF ACT O E MUSIC

"When I Take My Morning Promenade"

3 page spread.

*cue to start > as cast exit the stage; play once through.

4

#I

OPE I G ACT TWO [page 49]

Stage Manager Cue/house lights down

*Cue to stop > Lady Helena: Quiet please.

steady, molto rubato

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not spread
all chords spread upwards
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#J 2.3 > 2.4 [page 60] Lady Helena: No, you go home and rest, and
#J
2.3 > 2.4 [page 60]
Lady Helena: No, you go home and rest, and
set poor Arthur's mind at rest too.
*Fade out into opening of scene
 
 
L.V.
    
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sim.
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con. ped.

5

#K

2.4 > 2.5 [page 63]

Annie: But we ain't got nothing. Polly: The Lord will provide.

*the last chord should be struck just as Lady Helena first speaks.

quite fast, with anticipation

rall.  a tempo accel. rall.  sim.       
rall.
 a tempo
accel.
rall.
sim.
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
#L 2.5 > 2.6 [page 70] Polly: Will that be all, madam? Annie: Very good,
#L
2.5 > 2.6 [page 70]
Polly: Will that be all, madam?
Annie: Very good, madam.
Kate: Thank you madam.
*Fade out into opening of scene
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6

I TER AL CUES > 2.6

#L(a) [page 71] Ellen: It's women's behaviour she wants to change.   *Cue to
#L(a)
[page 71]
Ellen: It's women's behaviour she wants to change.
*Cue to release pedal >
 
 
Polly: Here Annie, what's it like?

  
 
#L(b)
[page 72a]
Polly: Yeah. I ain't looking forward to it.
*Cue to release pedal >
Ellen: What'd she say?

  
#L(c)
[page 72b]
Annie: I'm going to give this a try 'cos at the end
of the day mate, what choice have I?
*Cue to release pedal >
Ellen: Mag, what's happened to the others?
#L(d)
[page 73]
Maggie: I'd better get back and let
her know what's happened.
.B. slight pause after line before chords.
*Cue to release pedal >
Kate: What you doing here?
    

#L(e)
[page 74]
Kate: Yeah, I'll say this for her, she's
really putting herself out.
*Cue to release pedal >
 
 
 
Eady: You're telling me that
joined together names.
   
 
    
#L(f)
[page 75]
Eady: Not unless yer get
off yer backside.
*Cue to release pedal >
Ellen: D'you need any hands?
   

7

#M

2.6 > 2.7 [page 75]

 

Polly:

I'm

not really sure like, should

I have used the back door?

*let final chord decay into scene.

very slow

 

   

 

 

       

mf

 

 

 
 

   

 

   

 

            # 2.7 > 2.8 [page 79] Lady
            # 2.7 > 2.8 [page 79] Lady
# 2.7 > 2.8 [page 79] Lady Helena: You will be top of the invitation
#
2.7 > 2.8 [page 79]
Lady Helena: You will be top of the invitation
list for the forthcoming fête.
*quick fade as Polly starts talking.
Reminiscing, certain
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#O
2.8 > 2.9 [page 81]
Arthur: I'm pleased to see that you are
learning to assert your authority
with the servants at last.
*Fade into scene
completely out by > Emily: Very good, madam.
L.V.
  
 
dreamy, unsure, sometimes hurried
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 
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vamp bar if needed

8

#P 2.9 > 2.10 [page 83] Kate: I'll try the best I can - now
#P
2.9 > 2.10 [page 83]
Kate: I'll try the best I can -
now please go away.
*Cue to stop > Arthur: My dear, all I am asking of

 
 
ad. lib.
 
 
 

ped.

#Q

2.10 > 2.11 [page 87]

Polly: I can't be here not when Priscilla: No.

Music starts as Polly exits

he comes to his senses.

*Cue to stop > When Annie is in place, end firmly on a suitable chord.

              
 
   
 


  


mf
f
 
 
 
 
 
#R
2.11 > 2.12 [page 90]
Maggie: You got a responsibility, Mrs Cuttle-Smythe,
not only to yourself, but to Polly.
*Cue to stop > Len: D'you reckon they'll hang her then?
slow, funereal
mf

9

#S

2.12 > 2.13 [page 92]

Len: Bleedin' hell. Sausages! What you trying to do to me boy?

N.B. This music continues throughout this scene

*Cue to stop > [page 94] Ellen:

she

even gives speeches in public -

you'd never think it would yer - People think she's mad. Lady Helena: Priscilla, (pause) what an unexpected

repeat all sections, any order, ad lib. be aware of cast talking, work with their
repeat all sections, any order, ad lib.
be aware of cast talking, work with their words, don't drown them out, give them support.
 
 
 
  
lots of pedal
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 

#S(a)

E D OF ACT TWO MUSIC

"When I Take My Morning Promenade"

*Cue to start > Ellen: 'So', she says, 'you just going to sit there and let it happen again, then?

N.B. short pause after cue word before music starts.