Directors Guide

Book, Music and Lyrics by
KRISTEN ANDERSON-LOPEZ
and ROBERT LOPEZ
Book Adapted by
LINDSAY ANDERSON
Music and Orchestrations Adapted and Arranged by
MYRNA CONN
Based on the 2003 Disney / Pixar film Finding Nemo written by
Andrew Stanton, Bob Peterson, David Reynolds and directed by Andrew Stanton
DIRECTOR’S GUIDE
© Disney/Pixar
Welcome to
Disney’s Finding Nemo JR.
It all began in 2003 when we, newly married, saw Pixar’s Finding Nemo. It was such a
complete, emotional journey of the joys and terrors of parenthood told breathtakingly on
screen, and it quickly became one of our all-time animated favorites. Andrew Stanton’s
film had so much humor, so much heart, and so much love in the story of a protective
clownfish father, his curious son, a resilient blue tang, and the beautiful, dangerous, big
blue world.
In 2004, as soon-to-be parents, we were given the chance to write our first stage musical
adapting this beloved story for a show in Disney’s Animal Kingdom. We had to say yes.
After our first draft was complete, our creative team grew with the addition of our
colleague at Disney, Michael Jung; our director, Peter Brosius; puppet designer Michael
Curry; and others. We began developing the show over a series of workshops, honing
the story and script, envisioning and building puppets and sets, and recording the score
with a giant orchestra. It was our first time going through many of these processes as a
collaborative duo.
We tried to channel our own feelings as new parents into the story—how simultaneously
exhilarating and terrifying being in charge of a new little person can be. When the show
opened in 2007 at Walt Disney World, we were thrilled to see our creation come to life but
especially touched to be able to bring our own toddler to enjoy the show with us.
Many years later, a version of the show still plays multiple performances a day in Florida. It
has survived years of changes at the park and a global pandemic. We are very proud of it.
But perhaps we are proudest of all that the show is now available for young performers
everywhere. The wonderful writing team of Lindsay Anderson and Myrna Conn have
worked with Disney Theatrical Group to streamline the story and make it achievable in
schools and community theaters. We have seen the inspiring (and adorable) sparkle in the
eyes of these young performers as they retell the beloved tale of Marlin, Nemo, and Dory,
and it reminds us of a similar sparkle in our own eyes—and in our little one’s—at seeing
what theater can do.
For us, Finding Nemo – The Musical is about firsts. Our first full show, our first child, our first
experience in the professional theater as a writing pair. It was a wonderful first in every
sense for us and has led to many even more satisfying adventures in the theater. We hope
that for you and the young performers working on this iteration, it can be that, too.
Bobby and Kristen Lopez

Songwriters
Credits & Copyrights
ShowKit® Content
Alexa Aquino, Caley Beretta, Erin Breznitsky, Clayton Daniel Briggs, Kiara Brown-Clark,
James Bruenger-Arreguin, Kerry Candeloro, Lauren Chapman, Sofiya Cheyenne,
Andrew Hanley, Pearl Hodiwala, Sarah Kenny, Rachel Lee, Natalie Lall,
Colleen McCormack, Lisa Mitchell, David Redman Scott
Designers
Erica Scalogna, Eric Emch
Consulting Services provided by

iTheatrics
Special Thanks
Harlem School of the Arts, Tavia Odinak
Production Photos
Aspire Performing Arts Company; Bloomfield, NJ
Melody Lane Performing Arts Center; Cape Coral, FL
Riverdale Children’s Theatre; Riverdale, NY
Spark of Creation; San Francisco, CA
St. Andrew’s School The Priory; Honolulu, HI
Weston Drama Workshop; Weston, MA
The Broadway Junior® Concept and Format

created by Music Theatre International (MTI)
Find a complete list of Broadway Junior® musicals at www.mtishows.com/broadway-junior.

School Edition and full-length musicals may be found at mtishows.com.
Disney stage titles may be found at DisneyTheatricalLicensing.com.
Disney’s Finding Nemo JR. Director’s Guide © 2023

Music and Lyrics © 2007 Wonderland Music Company, Inc. (BMI).
Additional Lyrics and Arrangements © 2023 Wonderland Music Company, Inc. (BMI).
Script and all other material © Disney/Pixar. Unauthorized duplication is prohibited by law.
Finding Nemo JR. and Disney’s Finding Nemo JR. are trademarks of Disney Enterprises, Inc. All rights reserved.
Broadway Junior, Family Matters, and ShowKit are registered trademarks of Music Theatre International.
All rights reserved. Unauthorized duplication and use is prohibited.
Table of Contents
Overview
About Your ShowKit®.....................................................................................................................................A1
Your Performance License...........................................................................................................................A2
Using This Guide..............................................................................................................................................A3
Prepping Your Production...........................................................................................................................A4
Script
Actor’s Script..................................................................................................................................................... B1
Production Tips Key......................................................................................................................................B11
Actor’s Glossary........................................................................................................................................... B222
Show Glossary............................................................................................................................................. B224
Credits & Copyrights................................................................................................................................. B227
Casting
Casting Your Show..........................................................................................................................................C1
Character Breakdown....................................................................................................................................C4
Rehearsal
Rehearsal Strategies...................................................................................................................................... D1
Music Direction............................................................................................................................................... D6
Choreography................................................................................................................................................. D7
Theater Games & Rehearsal Exercises..................................................................................................... D9
Design
Sets....................................................................................................................................................................... E1
Props.................................................................................................................................................................... E4
Costumes........................................................................................................................................................... E7
Lighting & Sound..........................................................................................................................................E13
Connections
Source Material................................................................................................................................................ F1
About the Authors.......................................................................................................................................... F2
A Part for Everyone......................................................................................................................................... F3
Curriculum Connections.............................................................................................................................. F4
Community Connections...........................................................................................................................F11
Music Theatre International, Disney Theatrical Group, and iTheatrics......................................F12
Resources
Resources & Organization............................................................................................................................G1
Sample Program..............................................................................................................................................G2
Sample Poster...................................................................................................................................................G4
Black & White Logo.........................................................................................................................................G5
Sound Cue Sheet.............................................................................................................................................G6
Director’s Glossary..........................................................................................................................................G9
Downloads & Digital Media
Performance Accompaniment & Guide Vocal Tracks.........................................................................H1
Choreography Videos....................................................................................................................................H2
Downloadable Resources............................................................................................................................H3
About Your ShowKit®
OV E RV IE W
C ongratulations! With ShowKit® in hand, you
are ready to begin putting together your
production. Here’s a quick description of what
creative team can use them for reference as they
design the production. Additionally, forward the
Performance Accompaniment Tracks to your music
your ShowKit® contains: director and choreographer to use in rehearsals.
Director’s Guide Choreography Videos

This guide provides you and your creative team These streaming videos feature fully
with all the information you’ll need to prepare, choreographed demonstrations of the show’s
cast, rehearse, design, direct, and produce this larger or more complex musical numbers. If
musical along with ideas for connecting your the choreography includes any tricky moves, a
production to school curriculum and involving demonstration video breaks down those steps
your community. Let the suggestions and tips for performers of all levels. While it is not usually
inside this guide inspire your own creative legal to recreate another’s choreography, feel free
process. You’ll find best practices developed from to use as much of this choreography as you like –
years of research as well as resources and other your performance license allows you to use this
helpful hints that you can use along the way. choreography in its entirety in your performances.
Forward the link to the streaming Choreography
Piano/Vocal Score Videos to your choreographer for reference. If
This book contains all the show’s written vocal replicating the videos in their entirety, consider
music and piano accompaniment. In addition, forwarding the link to the cast as well, which will
the Piano/Vocal Score includes an introduction help them practice on their own.
to music directing and specific suggestions for
teaching the show’s score to your cast. Downloadable Resources
This set of downloadable files contains digital
Actor’s Scripts versions of the items included in the Resources
The perfect resource for young performers, each section of this guide – for example, the Sound
Actor’s Script includes an introduction to musical Cue Sheet and Director’s Glossary − as well as
theater, an overview of the show’s plot and other essential documents, including audition
characters, the libretto (script) with interpolated sides (selections of dialogue), rehearsal calendars,
sheet music, and a glossary of theater terms and lesson plans, and vocal and physical warm-ups.
show vocabulary. Most documents are saved as Microsoft Word
or Excel files and can be edited to meet your
Guide Vocal & Performance specific needs. Throughout this guide you will be
instructed to download various documents to
Accompaniment Tracks help you in the production of this show. All such
As part of your ShowKit®, you have received two documents can be found at the Downloadable
digital recordings of the music for this show. On Resources link provided to you on your “My MTI”
the Guide Vocal Tracks you’ll hear kids performing page.
musical numbers and underscored dialogue
accompanied by professional studio musicians.
This recording will give you and your cast a good
sense of the rhythm, tone, and scope of the show
as well as important cues for musical entrances.
You’ll use the Performance Accompaniment
Tracks – without the guide vocals – for your
performances. Forward the Guide Vocal Tracks to
your cast and creative team – your performers will
use them to help learn their vocal parts and your
Music Theatre International • Broadway Junior® • Director’s Guide | A1

Your Performance License
OV E RV IE W
B efore you received your ShowKit®, someone

in your organization signed a performance
license agreement. A performance license is a
Can I Cast Differing Genders?
Very often, the best-suited performer for certain
roles does not match the gender of the character.
legally binding contract between a producing
Is casting that performer a violation of your
organization and a show’s authors or their duly
performance license? No – as long as you maintain
appointed representative. In this case, that
the gender of the character, which means not
representative is Music Theatre International
changing the name or pronouns in the script. Your
(MTI). The license specifies the terms and
audiences may notice the difference, but don’t
conditions for your production of the musical.
worry – they will quickly forget about it as they
In some ways, a performance license is like a become immersed in your theatrical storytelling!
driver’s license, which allows you to operate a Keep in mind that the plots of certain plays
vehicle as long as you obey certain rules. If you depend on gender disguises and romance, so
break the rules, your license may be revoked make sure your casting decisions do not confuse
and you may even find yourself banned from the story or become a distraction. (See pp. C6-8 for
producing future shows. You have obtained show-specific information on gender in casting.)
the rights to produce a show as long as you
follow the rules of your performance license. What About Adding Voices?
If someone else signed the license agreement, If you need to add voices to support a chorus
ask for a copy and review it carefully to ensure or reassign lyrics in a given verse for audibility,
that you abide by its terms and conditions. To you may do so. Refer to the Piano/Vocal Score
help you get started, below are answers to some for suggestions on achieving the best results
frequently asked questions. from your young performers. But again, consider
storytelling clarity and authors’ intentions prior
What Is a Copyright? to making any adjustments in this area. For
Once the authors have completed writing a example, if the lyrics of a song reveal information
show, their work is copyrighted, which means a certain character should not hear, do not
that they retain the right to determine how it is include that character in the song.
copied. Only the authors or their representatives
may decide who may present their work, where Can I Reuse a ShowKit®?
the work may be presented, and for what You may have come across a ShowKit® from a
amount of compensation. Copyright law also previously licensed musical and wonder if you
protects a show from being altered without can use the materials for a new production
explicit permission from its authors. without obtaining another performance license.
This is not allowed, even in an educational
Can I Make “Minor” Changes? setting. If you use another’s intellectual property
No. The notes, lyrics, and dialogue of the musical without properly compensating the owners, you
must be performed as written. Some think that are essentially robbing them of their livelihood.
making “minor” cuts or additions to a show is Besides being unethical, producing a show
simply part of production. Others believe that without a performance license is illegal and
they have the right to “experiment” broadly as subject to criminal punishment with hefty fines
an expression of their own artistic vision. They under federal law. With the Internet, it’s very easy
are wrong. A licensed theatrical production to track and shut down unlicensed productions.
represents an agreement between the show’s Make sure your organization has a license
authors and the organization producing it. As agreement before you begin rehearsals.
the director, it is your responsibility to bring the
authors’ intentions to life onstage. There are a What If I’m Not Sure?
myriad of interpretive decisions you can make in Contact your licensing agent at MTI to discuss
your production without altering the show. any questions about copyright and your
performance license. www.mtishows.com
A2 | Disney’s Finding Nemo JR.

Using This Guide
OV E RV IE W
Y our Director’s Guide has been carefully
compiled to help you plan and execute
a production that will allow your young
Feel free to utilize this guide as best suits your
needs during the rehearsal process. Transfer the
Design section to a different binder and give
performers to grow and develop a sense of pride it to your costume and set designers. Pull out
in their work. Studying this guide will save you the Script section while you work with actors
time and money and ensure that the engaging during rehearsals. Add in pages for extra notes
and worthwhile process of putting on a musical and reminders. Feel free to customize it to your
doesn’t become overwhelming! particular needs.
Director’s Guide at a Glance Planning for Success

This guide is divided into eight simple sections Now that you’re an expert on ShowKit® contents,
that cover the entire production process: the ins and outs of your performance license,
Overview outlines the “big picture” of and how to use this guide, let’s talk about what
producing and directing your musical and you’ve gotten yourself into.
how it can be supported by the ShowKit®. You are about to direct a musical with kids.
Script includes a reproduction of the Actor’s It will take a great deal of time, planning,
Script opposite production tips, music cues, and dedication, but it will be rewarding. By
and space for notes and blocking diagrams. introducing young people to the magic and
You will use this section constantly, so feel limitless potential of musical theater, you will
free to add blank pages, highlight as you unlock important life lessons that will reach
please, and maximize its usefulness. far beyond your production. Prepare to watch
your students take risks and work together for
Casting includes detailed cast descriptions the greater good of the community. They will
and suggestions for holding auditions and incorporate important skills like discipline and
finding the best actors for the roles. time management without knowing it because
Rehearsal includes best practices for they will be having so much fun (download the
creating a healthy rehearsal environment included Theater Benefits Letter).
for your kids – from setting up a rehearsal On the following pages you will find some of
schedule all the way through your final tech the best practices for producing a musical with
and dress rehearsals. young performers. This information is gathered
Design comprises suggestions with specific from experts in the field based on thousands
examples for creating the sets, costumes, of hours of work with children in many diverse
props, lights, and sound for your production. settings, including school plays, after-school
Connections introduces you to the show’s programs, and professional academies. There is
source material and authors, provides no single right way to do this important work.
curriculum ideas and activities for the However, if you are new to this world, know
classroom, and suggests ways to use the that the strategies described in the following
musical to connect with your community. pages have proven to be highly successful. If you
are more experienced, the show-specific hints
Resources includes a sample program, contained in this guide may still provide a spark
Sound Cue Sheet, glossaries, and more. of inspiration or offer time-saving solutions that
Templates for these items and other can inform and guide your production. Feel free
useful digital resources are provided as to expand these suggestions to suit your style,
Downloadable Resources. artistic vision, and production’s objectives.
Downloads & Digital Media includes
content and credits lists for the Guide Vocal
and Performance Accompaniment Tracks,
Choreography Videos, and Downloadable
Resources as well as the links where you may
access each.
Prepping Your Production
OV E RV IE W
T he best place to start preparing for a musical

is with the script, which you’ll want to read
several times as you plan your production.
designers; and a production stage manager.
Ideally, your creative team will also include a
lighting designer and a sound designer. (For
more specifics, download the Production Roles
Let the Script Inspire You worksheet.)
Sequester yourself away from all distractions and If you are the sole member of your team, don’t
interruptions before you tackle your first reading worry. It will be challenging, but it is possible to
of the script. Then just relax and read the script produce and direct a musical with kids by yourself.
with an open mind. Keep some paper handy to If you find yourself in this situation, start recruiting
jot down images and feelings that arise. You’ll help. You don’t need specialized help; you can
never experience these first impressions in the share the information in this guide with willing
same way again, and you don’t want to forget volunteers and achieve great success. Involve
them as you become far more familiar with the parents, colleagues, and friends if you can. If your
script than your audiences will be. team is still short on members, consider scaling
During this first reading don’t worry about “How back production values like sets and costumes
am I going to stage that?” or “How will I cast my in order to work more efficiently with your given
show?” There will be plenty of time to answer resources. Your time is a valuable resource, so be
those questions soon enough. But do remember careful of spreading yourself too thin.
to read all stage directions for key information,
including essential action not included in the Plan Production Meetings
dialogue. The stage directions have been tested Meetings with your creative team are called
and refined for clarity during pilot productions, “production meetings.” At your first production
so take advantage of this work, which will meeting, pass out scripts and read the show aloud,
free you to focus on the artistic vision for your including all stage directions. When you come to
production. a music cue, play the corresponding Guide Vocal
Track. This is a great way for everyone to get a
Envision Your Production fresh, firsthand sense of the show. Next, share
Let a day or two pass and read the script again. In your artistic vision for the production and have
this reading you should concentrate on making the rest of the creative team members share their
broad decisions that will guide your production, thoughts and identify any potential challenges.
like the overall look of the set, costumes, and End this meeting by creating a rough production
props. For example, do you see the costumes as calendar and setting some deadlines for the
contemporary or from a certain time period? Are creative team members. And don’t forget to set
they realistic, exaggerated, or cartoon-like? Ask your next production meeting! (See the sample
yourself these same questions about the set and agenda for your first production meeting on the
props. You’ll eventually share these answers with opposite page.)
your creative team. During this second reading,
you should start thinking about how to tackle Block Your Show
any specific production challenges. Once you establish your creative team and your
set designer has determined a basic ground plan,
Establish Your Creative Team you are ready to begin blocking your production.
Armed with notes from at least two readings “Blocking” refers to the physical action within
of the script and a broad sense of your artistic each scene that supports your storytelling.
vision for the production, you are now ready With pencil in hand, read the script again and
to begin collaborating with your creative team. determine each character’s entrance and exit
This team should consist of a music director; locations as well as a rough outline of their
a choreographer; set, prop, and costume blocking. Consider all the entrances and exits
A4 | Disney’s Finding Nemo JR.

you have available to you. Many auditoriums keep things clear for your actors and, most
OV E RV IE W
have house doors or aisles that can be used in importantly, the audience.
performance. The key on p. B4 lists the basic Lastly, remember you can always change your
abbreviations used by most actors and directors mind – that’s why you’re using a pencil. During
for blocking notes. the rehearsal process, you will add blocking
Remember to be consistent as you establish details and nuances one layer at a time until
offstage locations. For example, if a character the show is completely staged. Any issues will
exits a scene stage right to go to the kitchen, become obvious and can be adjusted on the
during that entire scene always use the spot as needed.
stage right exit for the kitchen. This will help
Your First Production Meeting

Below is a sample agenda that you can use to ensure your first production meeting is a success.
It will help you work efficiently and productively while still making your team members feel
valued and actively engaged.
Confirm all team members’ contact information.
Review the production roles and each member’s area of responsibility.
Read through the script as a group. Assign roles and use the Guide Vocal Tracks so
everyone gets a sense of the timing and flow of the show.
Discuss your overall vision for the production. Talk about how the design elements will
help tell the story and advance the themes of the show. A great way to get everyone
thinking about design concepts is to develop a word cloud – after the initial read-through,
ask your creative team to share any adjectives that come to mind that describe the tone,
style, and themes of the play. As a group, narrow the list down to 2-3 adjectives that will
inform the overall design concept of your production. Now each designer is free to imagine
and design within the parameters you’ve set together as a group.
Discuss the budget for your production, breaking it down by department, if possible.
Discuss initial ideas for production elements (sets, props, costumes, etc.).
Review an initial production calendar, including performance dates.
Schedule additional production meetings.
Set rough deadlines for production elements (ground plans and design concept
presentations are good homework assignments for your next production meeting).
Identify a plan for your auditions.

S C R IP T
ACTOR’S SCRIPT
Table of Contents
Welcome to the Theater ......................................................................................................... ii
What to Expect During Rehearsals ................................................................................. iii
Marking Your Script ................................................................................................................ iv
Synopsis ....................................................................................................................................... vi
Characters .................................................................................................................................viii
Theater Tips ................................................................................................................................ ix
Finding Nemo JR. Script .......................................................................................................... 1
Prologue................................................................................................................................. 1
Big Blue World (Part 1) ..................................................................................................... 5
Big Blue World (Part 2) ..................................................................................................... 8
The Drop-Off ......................................................................................................................16
Abduction / Big Blue World (Reprise) ........................................................................18
Dory’s Ditty .........................................................................................................................21
Fish Are Friends Not Food..............................................................................................26
Seagulls 1.............................................................................................................................34
Where’s My Dad?...............................................................................................................35
We Swim Together ............................................................................................................39
Just Keep Swimming (Part 1) ........................................................................................47
Just Keep Swimming (Part 2) ........................................................................................54
Not My Dad .........................................................................................................................65
Go With the Flow ...............................................................................................................66
One Dedicated Father .....................................................................................................81
That’s My Dad ....................................................................................................................87
We Swim Together (Reprise) .........................................................................................89
Just Keep Swimming Together.....................................................................................92
Finale (Part 1).....................................................................................................................97
Finale (Part 2).....................................................................................................................99
Bows ................................................................................................................................... 103
Actor’s Glossary .................................................................................................................. 106
Show Glossary ..................................................................................................................... 108
Credits & Copyrights ........................................................................................................ 111
Music Theatre International • Broadway Junior® • Director’s Guide | B1

WELCOME TO THE THEATER
SC R IP T
Congratulations! You’ll be working with your creative team and fellow

cast members to put on a musical. Before you begin rehearsals, there are
some important things you should know. This book is your script. Whether
putting on a school production or rehearsing a professional show, every
actor, director, and stage manager works from a script. Your Actor’s Script
contains additional information for this musical, like this introduction and
two glossaries. You can look up any bold words in the Actor’s Glossary at the
back of this book. Be sure to take good care of your script and take notes with
a pencil since what you’ll be doing onstage can change during rehearsals.
One of the first things you’ll need to learn is what to call the various areas
of the stage. Since most stages used to be raked, or tilted down toward the
house where the audience sits, the term downstage is still used to refer to
the area closest to the audience, and upstage is used to refer to the area
farthest from the audience. Stage left and stage right are from the actor’s
perspective when facing the audience. This diagram shows how to use these
terms to label nine different parts of the stage.
ii
B2 | D isney’s Finding Nemo JR.

WHAT TO EXPECT
S C R IP T
DURING REHEARSALS
You will be performing a musical, a type of play that tells a story through
music, choreography, and dialogue. Because there are so many parts of a
musical, most shows have more than one author. The composer writes the
music and usually works with a lyricist, who writes the lyrics, or words, for
the songs. The book writer writes the dialogue (spoken words, or lines) and
the stage directions, which tell the actors what to do onstage and which
music cues to listen for. If the book writer and lyricist are the same person,
they are often referred to as the librettist, since the book and lyrics together
are referred to as the libretto.
Your director will plan rehearsals so that the cast is ready to give its best
performance on opening night! Remember to warm up before each
rehearsal so that your mind, body, and voice are ready to go. Every rehearsal
process is a little bit different, but here is an idea of what you can expect as
you begin to work on your show:
Music
Since you’re performing a musical, it is important to learn the music during
the rehearsal process. Your music director will teach the cast all the songs in
the show and tell you what to practice at home.
Choreography
Since most musicals include some movement or dance, you’ll also be
rehearsing choreography. Your choreographer will create the dances and
teach them to the cast. The music and the choreography help tell the story.
Blocking & Scene Work
Your director will determine where everyone in the cast stands and how they
move around the stage. You’ll use theater blocking terms (downstage left,
upstage right, etc.) a lot during this portion of the rehearsal process. You will
also practice speaking your lines and work on memorizing them. Rehearsing
your part from memory is called being off-book. Your director will help you
understand the important action in each scene so you can make the best
choices for your character’s objective, or what your character wants.
iii

MARKING YOUR SCRIPT
SC R IP T
Notating your script can help you to remember important blocking and
direction. Below are some tips to keep you on track.
1 Always write your name legibly on your script. Scripts have a way of
getting lost or changing hands during rehearsals.
2 Mark your lines and lyrics with a bright-colored highlighter to make

your part stand out on the page. This will allow you to look up from
your script during rehearsals, since it will be easier to find your
place when you look back down.
3 Underline important stage directions, lines, lyrics, and individual

words. For example, if your director wants you to stress a word,
underline it in your script.
4 Save time and space by using the following standard abbreviations:
ON: onstage OFF: offstage US: upstage
DS: downstage SL: stage left SR: stage right
CS: center stage X: cross
You may use these abbreviations to modify other instructions (you

could write “R hand up” to remind yourself to raise your right hand).
You may also combine them in various ways (you could write
“XDSR” to remind yourself to cross downstage right).
5 Draw diagrams to help clarify your blocking. For example, if you are
instructed to walk in a circle around a bench, you might draw a box
to represent the bench, then draw a circle around it with an arrow
indicating the direction in which you are supposed to walk.
6 Draw stick figures to help you remember your choreography.
Mark your music with large commas to remind yourself where to

7
take breaths while singing.
8 Although you should feel free to mark up your script, be careful it

doesn’t become so cluttered with notes that you have a hard time
finding your lines on the page!
iv

S C R IP T
1 C ar o l i n
e Siegr
i st (Ne
mo)
2
B o w hea
d 8
4 XDSR 7

SYNOPSIS
SC R IP T
In the warm, tropical waters of the Great Barrier Reef, members of the
SEA CHORUS relish in the beauty of their underwater paradise, including
two clownfish and soon-to-be-parents, MARLIN and CORAL (Prologue).
Tragically, a vicious BARRACUDA attacks, leaving Marlin alone with all but
one of their eggs, a child he names NEMO.
Time passes, and Nemo excitedly arrives at the schoolyard for the first day of
school, where it is revealed that Nemo was born with one fin that is smaller
than the other, referred to as a “lucky fin.” An overprotective Marlin struggles
to let his kid go for the very first time (Big Blue World – Parts 1 and 2).
PROFESSOR RAY whisks Nemo and the other students off to the edge of the
coral reef, causing Marlin to panic (The Drop-Off). Upon spotting a mysterious
boat lurking just beyond the reef, Nemo’s classmates swim towards it, daring
each other to go further into the deep water. When a terrified Marlin arrives
and scolds the children, Nemo defiantly charges further out and is captured
by a diver’s net (Abduction / Big Blue World – Reprise).
In his frantic search for Nemo, Marlin swims into DORY, a friendly yet
forgetful blue fish who offers to help (Dory’s Ditty). Unknowingly, Marlin and
Dory float into shark territory, where they meet BRUCE, a great white shark,
and a whole frenzy of sharks trying to adopt fish-free diets (Fish Are Friends
Not Food). Amidst the sharks’ gathering, Marlin spots a diver’s mask lying on
the ocean floor, and Dory turns to the sharks for help reading the inscription,
hoping it will offer a clue to find Nemo. Doubting her judgment, Marlin
struggles with Dory over the mask, accidentally causing her nose to bleed.
The scent of blood ignites Bruce’s insatiable appetite for fish, and while Marlin
and Dory escape, they lose the diver’s mask in the process.
Meanwhile, in a tank at the Sydney Harbour Aquarium, a scared Nemo longs

for home (Where’s My Dad?). Members of the TANK GANG reassure Nemo,
hatching a plan to clog the fish tank and escape into the ocean as a team (We
Swim Together). NIGEL, a fish-friendly pelican, promises to keep an eye out
for Nemo’s dad in the sea.
Back in the ocean, Dory tries to cheer Marlin up as the search for Nemo
continues, but Marlin is frustrated by her quirky antics. Luckily, they reunite
with the diver’s mask, which has the address of where Nemo was taken.
Though Marlin would prefer to go on alone, the two head off towards Sydney
with the generous assistance of a school of MOONFISH (Just Keep Swimming
– Part 1). After an argument over which direction to travel, Marlin’s choice
wins, leading the duo into a dangerous swarm of JELLYFISH that sting Dory
and overwhelm them both (Just Keep Swimming – Part 2).
vi

Back at the aquarium, Nemo and the Tank Gang have successfully dirtied up
S C R IP T
the tank for their escape plan but find they are still trapped by an immovable
grate blocking the tank’s intake pipe. GILL, who like Nemo has one different
fin, promises they can hatch a new plan. Nemo fears an escape is hopeless,
doubting that Marlin is even out there searching (Not My Dad).
Back in the ocean, a large colony of SEA TURTLES rescues Dory and Marlin
from the jellyfish and guides them through the fast-moving East Australian
Current. CRUSH, a wise sea turtle, gives Marlin some advice on mellowing out
and learning to trust his kid (Go With the Flow). After a totally tubular ride
through the current, word spreads throughout the ocean about Dory and
Marlin’s trek to find Nemo (One Dedicated Father).
Nigel flies to the tank to deliver the exciting news that Marlin has reached
Sydney Harbour, and Nemo beams with pride (That’s My Dad), but the
appearance of an aquarium net threatens to stop Nemo from escaping.
Determined to get Nemo back out to sea, the Tank Gang works together to
break free of the net and coaches Nemo to swim through the grate and up
the intake pipe (We Swim Together – Reprise). They know that they’ll join
Nemo out in the ocean someday.
In the ocean, Marlin worries that all hope is lost when, suddenly, Nemo
flies out of the tank pipe! Their happy reunion in the harbour is suddenly
interrupted when a giant fishing net appears, sweeping Dory up, along with
a school of Moonfish. Having learned from the Tank Gang how to free them,
Nemo swims into the fray and instructs the captured fish to swim down
together, guiding Dory and the Moonfish to freedom (Just Keep Swimming
Together). With admiration for each other’s bravery, Marlin and Nemo make
their way home with their new friend Dory (Finale – Part 1).
With faith in Nemo to take on all the adventures that await in the ocean,
Marlin and Dory send Nemo off to school to go explore the big blue world
(Finale – Part 2).
vii

CHARACTERS
SC R IP T
INTRODUCTION
ENSEMBLE – the SEA CHORUS, an assortment of ocean creatures that
Marlin and Dory interact with on their journey, including ANGELFISH,
DAMSELFISH, BARRACUDA, MOONFISH, JELLYFISH, SEA TURTLES (1 &
2), GROUPER, LOBSTERS (1 & 2), OCTOPUSES (1 & 2), ELECTRIC EELS (1
& 2), and SEAHORSES (1 & 2); the REEF PARENTS, including SHELDON’S
PARENT, PEARL’S PARENT, and TAD’S PARENT, adult sea creatures who
drop their kids at school; the SHARKS, a frenzy of sharp-toothed ex-
carnivores and the nervous FISH “FRIENDS” they bring along to prove their
newfound vegetarian ways; the SEAGULLS, a pesky flock of birds, and the
frustrated VACATIONER they bother for a snack; and the SEA TURTLES, a
righteously chill group, including KAI, BREEZE, and SEA TURTLE KIDS
NEMO – a curious young clownfish, born with a “lucky fin,” who brims with a
sense of wonder and an eagerness for adventure
MARLIN – Nemo’s anxious and overprotective father, a clownfish who prefers

the safety of his anemone to the unknowns of the open ocean
DORY – an optimistic, bubbly, and sociable blue tang who experiences

frequent short-term memory loss
CORAL – Nemo’s brave mom and Marlin’s wife
PEARL – an excitable and friendly flapjack octopus
SHELDON – an H2O-intolerant seahorse with an appetite for trouble
TAD – a self-admittedly obnoxious butterflyfish
PROFESSOR RAY – Nemo’s enthusiastic, encyclopedic stingray teacher
SCUBA MASK DANCER – a performer who floats the diver’s mask through
the water
BRUCE – the intimidating ringleader of the sharks who is dedicated to

adopting a vegetarian diet
CHUM and ANCHOR – two of Bruce’s loyal shark cronies
BUBBLES – a friendly yellow tang who is captivated by bubbles and

exclusively uses the word to communicate
BLOAT – an open-minded and supportive blowfish who is proud to be part of

the Tank Gang
viii

S C R IP T
GURGLE – a nervous royal gramma fish who enjoys the regulated cleanliness
INTRODUCTION
of the aquarium tank
PEACH – a mature, down-to-earth starfish who offers guidance and

reassurance to all
GILL – a relentless and inspiring leader with a set of battle scars and a torn fin
who will stop at nothing to return to the freedom of the ocean
NIGEL – a friendly, sharp-eyed pelican who is proud to know all the local
happenings of Sydney Harbour
CRUSH – a laid-back 150-year-old sea turtle who knows how to hang loose
SQUIRT – the fearless, buoyant offspring of Crush
THEATER TIPS
• It takes an ensemble to make a show; everyone’s part is
important.
• Be respectful of others at all times.
• Bring your script and a pencil to every rehearsal.
• Arrive at rehearsal on time and ready to begin.
• Be specific! Make clear choices about your character’s
background and motivation for each line and action.
• To help memorize your lines, write them down or speak them
aloud to yourself in a mirror.
• Don’t upstage yourself. Cheat out so the audience can always
see your face and hear your voice.
• Before each performance, tell everyone to “break a leg” –
which is theater talk for “good luck”!
• Be quiet backstage and remember: if you can see the
audience, they can see you – so stay out of sight.
• If you forget a line or something unexpected happens onstage,
keep going! When you remain confident and in character, it’s
unlikely that the audience will notice anything is wrong.
• Remember to thank your director and fellow cast and crew.
• Have fun!
ix

Production Tips Key
S C R IP T
T o the left of each Actor’s Script page
reproduced in this section you will find a
page of production tips with space for your
directorial notes (see blocking abbreviations on LIGHTING TIP
p. B4). The tips provide “insider information” from Lighting tips help you illuminate your storytelling
people who have completed the task you are using adjustments to brightness, color, and
undertaking – directing this musical with young pattern.
performers – and reinforce or complement
the advice in the rest of this guide. Of course,
these tips are simply suggestions – feel free to
incorporate your own creative ideas to stage and
SOUND CUE
design your production.
Sound cues signal when a recorded track should
Production tips fall under these categories: begin and are compiled in the Sound Cue Sheet
on pp. G6-8 of this guide. A digital version is also
included in your Downloadable Resources.
BLOCKING TIP
Blocking tips address the placement of the actors
on the stage. They may include reminders about MUSIC TIP
the focus of a given scene, detail any complex Music tips address tricky moments in the score
stage action, or offer staging suggestions. and guide performers’ vocal production.
COSTUME TIP PROP TIP

Costume tips highlight particular costume needs Prop tips include suggestions about the
and discuss solutions to potential challenges. selection, construction, and employment of your
production properties (props).
CHOREOGRAPHY TIP
Choreography tips supplement the streaming SET TIP
Choreography Videos with additional Set tips provide insight for creating and using
information on staging and rehearsing musical scenery in your production.
numbers.
DRAMATURGY TIP
ACTING TIP Dramaturgy tips offer insight into the
Acting tips offer advice on coaching actors to construction of the story, the development of the
deliver their best performances and tell the play, and other background information.
show’s story as clearly as possible.

SC R IP T
NOTES
SOUND CUE
Track #1 – PROLOGUE
Cue – (House lights down.)
BLOCKING TIP
To set the scene, have your ensemble create
tableaus to bring coral, plants, and fish groups
to life. The reef should be bursting with energy
and action, so direct your performers to think
about the way their particular character would
move. Dedicate rehearsal time to establishing
your ensemble characters so that each one has a
purpose, a backstory, and a style of movement.
DRAMATURGY TIP
Be sure to research the abundant aquatic life of
the Great Barrier Reef to inspire all of your creative
choices. Real-life images of the Reef will be
particularly useful in designing your production’s
costumes, lighting, set, and props.
LIGHTING TIP
When lighting this underwater world, use blues
and greens to create a cool ocean look that
contrasts the bright white-and-yellow lighting
used for the scenes on land. You might also use
down light to mimic sunlight shining down from
above the water or use gobos to create water
patterns.
B12 | Disney’s Finding Nemo JR.

S C R IP T
(#1 – PROLOGUE. A brief overture begins.)
PROLOGUE
Prologue 01
(The SEA CHORUS enters to create the Great Barrier Reef. Some SEA CHORUS
members become coral and aquatic plant life, including MARLIN and CORAL's
sea anemone home. Life is beautiful and full of possibilities.)
5
& 44
SEA CHORUS:
∑ œ œ œ œ ‰ K Œ
œ . œ œ . œ œ œ œ
1-5
Just be - low the Co - ral Sea
Œ
9
& œ. œ œ œ œ œ œ œ œ. œ œ œ œ
pa - rents dream of who their kids will be.
## C
& œ. œ œ œ œ ‰ œK . œ œ œ œ Œ
11
œ
Love and joy are all they know…
(MARLIN emerges from MARLIN: Coral, look

their anemone home.)
# # C Œ‰ K
at all that open ocean!
K Kœ œ ˙ ∑
13
& ˙ œ œ ˙.
œ œ
In the big blue world…
## Œ ‰ K
(CORAL emerges from their anemone home.)
œ ˙ ˙
17
& K Kœ œ œ ˙.
œ œ
In the big 1 blue world…

SC R IP T
NOTES
SET TIP
Check out p. E2 for ideas on how to design Coral
and Marlin’s anemone. Then work with your actors
and crew to create a seamless transition from
one location to the next that is achievable in the
time allotted by the music on the Performance
Accompaniment track.
ACTING TIP
Marlin and Coral are ecstatic to become new
parents. Work with your actors so that they are
comfortable finding a comedic playfulness in this
scene.
PROP TIP
See p. E4 for ideas on how to design your eggs,
making sure that they are large enough to be
visible to the audience. Remember that all but one
of the eggs will need to be swept off the stage by
either the actor playing the Barracuda or a crew
member, so the eggs should be linked together or
held in a container to ease the transition.

# # C Œ‰ K
& K Kœ œ ˙ ˙ ∑
œ œ ˙.
œ œ
S C R IP T
## Œ ‰ K
(CORAL emerges from their anemone home.)
œ ˙ ˙
17
& K Kœ œ œ ˙.
œ œ
MARLIN: You know, a lot of other clownfish had their eye on this place.
CORAL: The Drop-Off really is beautiful, Marlin.
MARLIN: Best view in the Great Barrier Reef.
5
(MARLIN takes a deep breath.)
##
&
20-24
MARLIN: (overly excited) Oh
# # SEAŒ CHORUS: K
yeah, a fish can breathe out here!
‰ œ ˙ ˙ ∑
25
& K K œ œ ˙.
œ œ œ
(Music continues under dialogue.)
CORAL
Marlin, shhh! You’re gonna wake the kids.
(In the anemone, many eggs are resting in their new home.)
We still have to name them. I like Nemo.
MARLIN
Nemo? Well, we can name one Nemo, but I’d like the rest to be Marlin Jr.
CORAL
Just think! In a couple days, we’re going to be parents!
MARLIN
Yeah. What if they don’t like me?
CORAL
Marlin, there are over 400 eggs. Odds are, one of them is bound to like
you.
MARLIN
Really?

SC R IP T
NOTES
SOUND CUE
Track #2 – BARRACUDA ATTACK
Cue – CORAL: Funny dancers. Just like their dad.
(MARLIN and CORAL laugh.)
ANGELFISH: Look out!
LIGHTING TIP
Use lighting to help change the tone of the scene
from cheerful to fearful when the Barracuda enters.
Darken the lights, even adding reds or purples to
make this dramatic shift pop.
COSTUME TIP
See p. E9 for ideas on how to costume your
Barracuda. You might consider using a Chinese
Dragon-style puppet manipulated by either a
single actor or a group of actors to sweep in and
swipe away Coral and the eggs. You might also
choose to costume a single actor in shimmery or
metallic fabric to create this menacing predator.
BLOCKING TIP
Use the musical underscoring to guide your
blocking of this fast-moving sequence. Rehearse
this moment slowly at first, building up to show
speed over time.

S C R IP T
CORAL
Really. I like you. You won’t be doing this alone. Besides, you’ve already
got the “dad jokes” down to an art form.
MARLIN
You love my jokes! What did the ocean say to the shore?
CORAL
(playing along)
What did the ocean say?
MARLIN
Nothing! It just waved!
(SEA CHORUS groans.)
CORAL
(laughing)
Oh, Marlin.
MARLIN
Our kids will be funny, too! And great dancers!
(MARLIN busts a move and spins CORAL around.)
CORAL
Funny dancers. Just like their dad.
ANGELFISH
Look out!
(#2 – BARRACUDA ATTACK. A BARRACUDA enters quickly.)
DAMSELFISH
It’s a barracuda! Hide!
(The other families of SEA CREATURES quickly hide themselves and

their eggs. MARLIN moves toward the anemone. CORAL stays frozen
in place.)
MARLIN
Get inside, Coral.
(The BARRACUDA pauses and locks eyes with CORAL.)

SC R IP T
NOTES
ACTING TIP
Marlin is devastated over the loss of Coral and
their eggs. Work with your actor to explore how he
might process such grief and how it would affect
his voice and body.
SOUND CUE
Track #3 – I’VE GOT YOU
Cue – MARLIN: Coral?! Coral!!
(MARLIN spots the tiny cracked egg.)
(MARLIN): Oh! Oh no, you’re cracked!…
BLOCKING TIP
This is a great opportunity to utilize members
of the Sea Chorus to swirl across the stage to
represent the passage of time and the relocation of
the anemone away from the Drop-Off. You might
also show different groups of Reef Kids and their
Parents crossing the stage as they too prepare for
the first day of school.
SET TIP
Distinguish this anemone from the first by placing
it in a different place onstage or making an entirely
different prop to give a nod to this relocation.
ACTING TIP
Establish Marlin and Nemo’s relationship by
contrasting your two actors’ physicality and
energy to show their difference in age and
experience. It’s also important to show that Marlin’s
overprotectiveness comes from a place of care
and concern, especially as the parent of a disabled
child. His anxiety comes not from malice or
grouchiness, but from a fear for his child’s safety.

S C R IP T
CORAL
I have to protect the kids!
MARLIN
Coral, they’ll be fine! Just get inside!
(CORAL darts to protect the eggs.)
Coral, no!
(The BARRACUDA charges toward CORAL and the eggs. MARLIN

disappears into the anemone. In a swirl of action, the BARRACUDA
swims offstage, taking CORAL and all but one of the eggs, which is now
slightly cracked. MARLIN re-enters alone and disoriented.)
MARLIN
Coral?! Coral!!
Oh!
(He rushes to the egg and carefully cradles it in his fin.)
Oh no, you’re cracked!
(#3 – I’VE GOT YOU.)
(MARLIN)
There, there. I’ve got you. You’re safe now. I promise I will never let
anything happen to you... Nemo.
(MARLIN clings to the egg and retreats back into the anemone.)
SCENE ONE: FIRST DAY OF SCHOOL

(Time passes. MARLIN and NEMO now live in a different anemone, far
from the Drop-Off. An excited NEMO peeks out from the anemone.)
NEMO
First day of school! First day of school! C’mon Dad, wake up!
(A groggy MARLIN emerges from the anemone.)
MARLIN
School? Huh? I don’t wanna go to school. Five more minutes!

SC R IP T
NOTES
SOUND CUE
Track #4 – BIG BLUE WORLD (PART 1)
Cue – MARLIN: The anemone. All right, I’m up! It’s
your first day of school, Nemo…

S C R IP T
NEMO
Not you, Dad. Me! Come on! It’s time for school! It’s time for school!
Time to leave the amenani… amenemony… annemem…
(MARLIN yawns and stretches.)
MARLIN
The anemone. All right, I’m up! It’s your first day of school, Nemo.
(#4 – BIG BLUE WORLD – PART 1.)
BIGBig
BLUE
BlueWORLD (PART
World (Part 1) 1) 04
(MARLIN): We’re ready to learn,
to get some knowledge!
2
NEMO: Woohoo!
b
& b b b b 44
MARLIN:
‰ Ó Œ ‰ K
1-2 œ
Now
b
& b bbb K œK œ K
4
K
œ. œ œ œ œ œ œ œ œ œ
what’s the one thing we re - mem - ber be - fore we
bbbb K
NEMO:
∑ Ó Œ ‰ œK œ œ Œ ‰
6
& b œ œ œ
The o - cean’s not safe, so
bbbb
(MARLIN):
& b œK ∑ ∑
œ œK ˙
head out from here?
(During the following, MARLIN
and NEMO move in and out of the
anemone, looking in both directions.)
bbbb
3 3
∑
9
& b œ œ œ œ œ œ œ œ œ ˙
we have to check if the coast is clear.
b
& b bbb
5
∑ ∑ Œ Œ
x x x
Right! • Director’s
Music Theatre International • Broadway Junior® We go Guide | B21
SC R IP T
NOTES
BLOCKING TIP
If your anemone set piece is built so that your
actors can’t go through it directly, play with having
them poke out around the sides of it.
BLOCKING TIP
Upon their entrance, pair each Reef Parent with
their Reef Kid to clearly show their relationship.
Once onstage, they can separate from one another
to interact with other Parents and Kids.

bbbb
(MARLIN):
& b œK ∑ ∑
œ œK ˙
head out from here?
S C R IP T
(During the following, MARLIN
and NEMO move in and out of the
anemone, looking in both directions.)
bbbb
3 3
∑
9
& b œ œ œ œ œ œ œ œ œ ˙
we have to check if the coast is clear.
b
& b bbb ∑ ∑
x
Œ Œ
x x
Right! We go
bbbb
(MARLIN):
Œ Œ Œ ‰. r
12
3
& b x x x x x x x x
out, then back in. And then we go
b
& b b b b x Œ ‰ . xr x Œ ‰ K
14
x x x x x x
out, and then back in. And one more time,
16
b bbb Œ ‰. r Œ Œ ‰ K
& b x x x x x x
out, and then back in. And
bbbb
NEMO:
∑ Œ ‰ ìx x Œ
18
& b
Come on!
bbbb
(MARLIN):
& bx x Œ ‰x x x x x x x xŒ ‰ K
x x
some-times if you wan - na do it four times… O - kay!
(Music continues under dialogue. MARLIN and NEMO leave the

anemone and swim toward school. The SEA CHORUS enters as sets of
REEF PARENTS and REEF KIDS also arrive at school.)

SC R IP T
NOTES
ACTING TIP
Work with your actors to specify the activities or
games each of them are engaging in. Each actor
onstage should have a clear idea of what they
are doing and thinking while waiting for class
to start. In rehearsal, tap various actors on the
head and have them speak out loud what their
character is thinking at that moment. You can use
this same thought tracking exercise throughout
your rehearsal process to encourage every actor to
consider their perspective in each scene.
COSTUME TIP
One of Nemo’s fins will need to be smaller than the
other to create the “lucky fin.” See p. E9 for tips on
how to create Nemo’s costume.
DRAMATURGY TIP
See pp. D10–11 for resources on how to
responsibly stage this scene that highlights Nemo’s
limb difference and how to navigate a conversation
about disabilities with your actors. While the
characters of Pearl, Sheldon, and Tad might not
deal with the situation appropriately, this is an
opportunity to discuss with your students a better
way to engage with people with disabilities. Refer
to the Rehearsal Exercises for more guidance.

S C R IP T
NEMO
Hey, Dad! Do you know how old sea turtles are?
MARLIN
Sea turtles? I don’t know.
NEMO
Sandy Plankton said they could live to be a hundred!
(MARLIN and NEMO arrive at the schoolyard. TAD, SHELDON, and

PEARL are playing. Their PARENTS are nearby, watching.)
MARLIN
If I ever meet one, I’ll ask.
(NEMO spies the other KIDS playing.)
NEMO
Can I go play? Please, Dad?
MARLIN
Hang on a minute. Let me ask the other parents where you’re supposed
to be.
(to Tad, Sheldon, and Pearl’s PARENTS)
Excuse me, is this where we meet the teacher?
SHELDON’S PARENT
Yep! Sure is.
PEARL’S PARENT
Look who’s out of the anemone! Hi, Marlin.
TAD’S PARENT
Hey, you’re a clownfish, right? You got any jokes?
MARLIN
I don’t do jokes.
(PEARL, TAD, and SHELDON gather around NEMO.)
PEARL
(to NEMO)
What’s wrong with your fin?
SHELDON
It’s smaller than your other one!

SC R IP T
NOTES
DRAMATURGY TIP
People with limb differences saw themselves
represented in the film Finding Nemo, and the term
“lucky fin” has been embraced with pride by the
limb difference community since its release. For
more information about how this character has
shaped conversations about disability in society,
see the “Disability in the Big Blue World” article
provided as a Downloadable Resource.
DRAMATURGY TIP
Sea cucumbers are a type of animal that may be
found in all the world’s seas. While some can be
found in the deep sea, most are found in shallow
waters. For more information, reference the Show
Glossary on p. B224.
SOUND CUE
Track #5 – BIG BLUE WORLD (PART 2)
Cue – MARLIN: You know, this is actually Nemo’s
very first day of school.
NEMO: Dad…
PEARL: On my first day of school, I saw a sea
cucumber! It was awesome.

S C R IP T
TAD
Weird!
TAD’S PARENT
(scolding TAD)
Be nice!
MARLIN
(rushing over)
Nemo was born with it, kids. We call it a lucky fin!
NEMO
Dad!
PEARL
See this tentacle? It’s actually shorter than all my other ones!
SHELDON
I’m H2O intolerant.
(sneezes)
TAD
I’m obnoxious!
MARLIN
You know, this is actually Nemo’s very first day of school.
NEMO
Dad…
PEARL
On my first day of school, I saw a sea cucumber! It was awesome.
(#5 – BIG BLUE WORLD – PART 2.)
BIG BLUE WORLD

Big Blue (PART
World (Part 2) 2)05
TAD: I wonder what
we’ll see today!
b 2
& b b 44
NEMO:
‰œ œ‰‰ œ œ ‰ œ œ œœœ œŒ
1-2
What if… Oh wow, would - n’t it be cool
5
bb b (NEMO):
Œ œ œ œ œ œ8 Œ
& œ. œ œ œ œ
œ.
if we Music
mayTheatre
- be met a shark
International at Junior®
• Broadway • Director’s Guide | B27
school?
bbb
MARLIN:
∑ Ó Œ
SC R IP T
NOTES
CHOREOGRAPHY TIP
Nemo and the Reef Kids should enthusiastically
take in the big blue world surrounding them. This
is a great moment to have them center stage and
elevated on blocks, while the sea and plant life
move around, above, and below them. Remember
to also consider what might be occurring beyond
the “fourth wall” as they look out excitedly towards
the audience.

bb 4 2 NEMO:
b
& 4 ‰œ œ‰‰ œ œ ‰ œ œ œ œœ œŒ
1-2
What if… Oh wow, would - n’t it be cool
S C R IP T
5
bb b (NEMO):
Œ œ œ œ œ œ Œ
& œ. œ œ œ œ
œ.
if we may - be met a shark at school?
bbb
MARLIN:
& ∑ Ó Œ ¿
No!
b
PEARL: SHELDON:
œ œ œ œ œ ‰ ≈ œr œ œ
3
&bb Œ Œ
7
œ œ œ
Or an an - gel - fish! I hear they have wings!
NEMO,
b K
& b b ‰ œK œ œ œ
K
REEF KIDS:
œ ˙
9
œ œ œ œ œ
Can you be - lieve there are so man - y things…
NEMO, REEF KIDS,

b SEA CHORUS:
& b b Œ ‰ K K œ ìœ ˙ Œ
11
˙ œ œ ˙
œ œ
In the big blue world,
b
& b b bœ bœ œ œ œ œ œ Œ ‰ K Kœ œ
14
œ œ ì
we’re gon - na go ex - plore. In the big
16
b bb ˙ ˙ Œ
& œœ˙ œ œ œœ œœ œ
blue world, we’ve nev - er seen be - fore.
b
&bb Ó Œ Œœ
19
œ œœ ˙ œ œ
œ œ œ œ
So man - y crea - tures swim - min’ ’round the
b œ. bœ œ bœ 9 Œ
&bb ‰ œ
22
ì K K
œ œ œ ì
sea. Music Theatre International • Broadway
In Junior® •the
Director’s
bigGuide | B29
24
SC R IP T
NOTES
COSTUME TIP
Consider giving Professor Ray a large cape that
the Reef Kids can hold onto when setting off to
explore the ocean, to mimic them gliding through
the water on this stingray’s back. Instead of using a
cape, you might have your actors trail very closely
behind Professor Ray as if drafting in the wake.
See p. E11 for more ideas on how to costume this
enthusiastic teacher.

b
&bb Ó œ œ œ œ Œ Œœ
19
œœ ˙ œ œ œ
So man - y crea - tures swim - min’ ’round the
S C R IP T
b b œ. bœ œ bœ Œ ‰ œ
& b
22
ì K K
œ œ œ ì
sea. In the big
b ˙
&bb ˙ ‰
NEMO:
K
24
œ œ ˙ œ
blue world, And
26
b bb
& œ œ œ œ œ œ œ
œ
all of them are wait - ing for me.
MARLIN: That’s what I’m afraid of.

(PROFESSOR RAY enters.)
2
REEF KIDS: Professor Ray!!
& bbb
27-28
PROFESSOR RAY:
bbb K‰ K ‰ ‰ œK œ ‰ ‰ œK
3
Œ
29 3 3
& œ œ œ œ
œ
Let’s name the zones, the zones, the zones.
bbb K K K
3
œ ‰ œ ˙
31 3
& œ œ œ œ œ œ
Let’s name the zones of the o - pen sea!
PROFESSOR RAY: Good morning, explorers!

Looks like we’ve got a new student.
NEMO: I’m Nemo.
4
(MARLIN rushes over to PROFESSOR RAY.)
& bbb
33-36
b
& b b ‰ œ œ ‰ ‰ œ œ 10≈ œr œ œ œ œ œ
MARLIN:
Œ
37
Hi, there! One thing, be - fore you be - gin:

b
&bb Œ œ œ œ Œ
39
œ œ
SC R IP T
NOTES
BLOCKING TIP
Pull Marlin and Nemo downstage so that they are
closer to the audience for this tender moment as
the rest of the characters remain in motion in the
background.

4
(MARLIN rushes over to PROFESSOR RAY.)
& bbb
33-36
S C R IP T
b
& b b ‰ œ œ ‰ ‰ œ œ ≈ œr œ œ œ œ œ
MARLIN:
Œ
37
Hi, there! One thing, be - fore you be - gin:
b
&bb Œ œ œ œ œ œ œ œ Œ
39
œ œ œ œ œ
you should know that Ne - mo’s got a lit - tle fin.
NEMO: Dad! NEMO: Ugh!
b K r
MARLIN: (to Nemo) PROFESSOR RAY:
&bb Œ œ œ œ œ ‰ œK œ ≈ œ œ œ œ Œ
41
You get ti - red. Don’t fret, we’ll take it slow.
K
bbb ‰ œK œ œ œ œ K
NEMO:
œ ˙
43
& œ œ œ
Dad, I think it’s time for you to go…
(MARLIN pulls NEMO aside for a private moment.)
b
& b b Œ ‰ œK œK œ ìœ
MARLIN:
˙ Œ
45
˙ œ œ ˙
œ œ
NEMO: Aw, Dad.

b Œ ‰ œK œK œ œ ˙
& b b bœ bœ œ œ œ œ œ ˙
48
œ œ ì
you’re just a lit - tle fish. In the big blue
b
&bb œ œ œ Œ
51
œ œ œ œ œ œ œ
œ œ
world, you’ll be seen as a tast - y dish.
b 11 K K
NEMO: No…
K K
&bb Œ
53
œ œ œ œ œ œ ˙
œ
You Music Theatre International • Broadway Junior® • Director’s Guide
mean so much to me. | B33
55
SC R IP T
NOTES
BLOCKING TIP
Work with your actors on developing a casual
farewell gesture for this moment. It can be a wave,
a hand on the shoulder, a fist bump, or something
original. Be sure to contrast this gesture with
Nemo’s more meaningful goodbye hug to Marlin in
the final scene.

b
&bb œ œ œ Œ
51
œ œ
world, you’ll be seen as a tast - y dish.
S C R IP T
b K K
NEMO: No…
K œ K
&bb Œ
53
œ œ œ œ œ ˙
œ
You mean so much to me.
55
b bb ‰ K œ. bœ œ bœ
& œ œ œ œ œ œ ì
I don’t know what I would do
57
b bb Œ ‰ K K œ ˙ ˙ ‰ K
& œ œ ˙
œœ œœ œ ì œ
in this big blue world if
60
b bb Œ Ó
& œ œ œ œ œ œ œ œ
some - thing should hap - pen to you.
bbb
NEMO: MARLIN:
œ. œ œ œ œ ‰ œ
62
& œ œ œ œ œ œ œ ì
No need to wor - ry, Dad, I’ll be o - kay. I’m
b œ K
&bb œ œ œ œ œ œ œ œ œ œ Œ
64
ì ì ì
scared you’ll end up as a clown - fish fi - let.
MARLIN: Do you want me

to come with you?
2
NEMO: Dad, I’ll be alright.
bbb
PROFESSOR RAY:
& œ. œ œ œ œ œ Œ
66-67
Climb a - board, ex - plor - ers!
b K‰
(PROFESSOR RAY):
& b b œK œ œ Œ
69
œ œ œ œ œ ˙
Hold on tight! Are you read 12 - y?
bbb ‰ œK œ
NEMO, REEF KIDS:
& ∑ Ó
Music Theatre International • Broadway Junior® • Director’s Guide
œ | B35
Yes, we’re read-
SC R IP T
NOTES

2
bbb
PROFESSOR RAY:
& œ. œ œ œ œ œ Œ
66-67
Climb a - board, ex - plor - ers!
S C R IP T
b K
(PROFESSOR RAY):
& b b œK œ œ ‰ Œ
69
œ œ œ ˙
œ œ
Hold on tight! Are you read - y?
bbb ‰ œK œ
NEMO, REEF KIDS:
& ∑ Ó œ
Yes, we’re read-
(NEMO and REEF KIDS follow PROFESSOR RAY.) MARLIN: I don’t
b
think I’m ready!
&bb Ó Œ ∑
71 3
œ ˙.
œ œ
Real - ly read - y?
b
&bb œ œ œ Ó ∑ ∑
- y!
b
ALL:
& b b Œ ‰ K K œ ìœ ˙ Œ
74
˙ œ œ ˙
œ œ
b K
&bb œ Œ ‰ K Kœ œ
77
bœ bœ œ œ œ œ œ œ œ
Won - der - ful sights to see. In the big
b ˙
& b b ˙˙ Œ
79
˙ œ˙ œ ˙
.
blue world…
b K K
&bb œ œ œ œ œ œ œ Œ
81
œ œ œ
œ
This is the place for me. What’s wait - ing out
b
&bb œ œ ˙ Œ 13 Œ œ œ œK œ .
83
there? We can ne - ver

SC R IP T
NOTES

b K œ K
&bb œ œ œ œ œ œ œ Œ
œ œ
œ
This is the place for me. What’s wait - ing out
S C R IP T
b
&bb œ œ ˙ Œ Œ œ œ œK œ .
83
there? We can ne - ver
b b b œœ .. K
b b œœ œœ b œœ Œ ‰
85
& w K K
œ œ œ.
know. In the
87
b bb w ww
& ww w œw œ ˙ .
big blue world…
NEMO, REEF KIDS,
bb b Œ f
SEA CHORUS GROUP 1:
ww ww
90
& œ œ œœ œ
We’re read - y to go.
PROFESSOR RAY, MARLIN,
f
PARENTS, SEA CHORUS GROUP 2:
& bbb ∑ Œ ‰ K Kœ œ ˙ ˙
œ œ ì
In the big blue
b
& b b Œ b œ œ œì œ . Œ œ œ œœ œ ww
93
We’re read - y! We’re read - y to go.
b
& b b œ œ ˙. ∑ Œ ‰ K Kœ œ
ì
œ œ
world… In the big
14

SC R IP T
NOTES
SOUND CUE
Track #6 – FIRST-TIMER
Cue – Segue from #5 – Big Blue World (Part 2).
ACTING TIP
Marlin’s fear overwhelms him in this moment.
Play with your actor on how Marlin embodies his
emotions through his body and voice.

S C R IP T
b Œ bœ œ œ œ.
& b b ww Œ œ œ œœ
96
ì œ
We’re read - y! We’re read - y to…
b
&bb ˙ ˙ œ œ ˙. ∑
blue world…
ƒ
b
&bb Œ www ∑
99
œ œ œ œ œ
So read - y to go!
bb b Œ ƒ www ∑
& œ œ œ œ œ
So read - y to go!
(#6 – FIRST-TIMER. NEMO, REEF KIDS, and PROFESSOR RAY

exit. MARLIN and REEF PARENTS wave goodbye as they go.)
SHELDON’S PARENT
(to MARLIN)
You’re doing really well for a first-timer!
PEARL’S PARENT
I remember I was a mess when my kid first went to the Drop-Off.
MARLIN
Well, whaddaya gonna do? You gotta let ‘em go to the Drop-Off
sometime…
(realizing what he’s just said)
The Drop-Off?! I’m coming, Nemo!!
(MARLIN exits in a panic in the direction of Nemo’s class. The REEF

PARENTS and any remaining SEA CHORUS watch him go and then
exit.)
15

SC R IP T
NOTES
SET TIP
See pp. E2-3 for tips on how to create the Drop-Off
without building an entirely different set.
SOUND CUE
Track #7 – THE DROP-OFF
Cue – Segue from #6 – First-Timer.
LIGHTING TIP
Use darker blues for this scene to highlight the
characters’ proximity to the open ocean and the
lurking dangers hidden within it.

S C R IP T
SCENE TWO: ABDUCTION TO SHARKS
The Drop-Off
(#7 – THE DROP-OFF.) 07
THE DROP-OFF
## 4 4
& 4
1-4
1-4
(PROFESSOR RAY enters with NEMO and REEF KIDS.)

PROFESSOR RAY: Come on, explorers, sing with me!
## 4
&
5-8
5-8
##
PROFESSOR RAY:
K‰ K K K
9 3 3 3
&
9
œ œ œ œ œ œ œ œ œ œ œ
Let’s name the spe - cies, the spe - cies, the spe - cies.
##
REEF KIDS:
K‰ K œ K K
3 3 3
& œ œ œ œ œ œ œ œ œ œ
Let’s name the spe - cies, the spe - cies, the spe - cies.
## K œ K K ˙
K‰
11 3 3 3
&
11
œ œ œ œ œ œ œ œ
Let’s name the spe - cies that live in the sea!
## K œ K K ˙
K‰
3 3 3
Let’s name the spe - cies that live in the sea!
16

SC R IP T
NOTES
ACTING TIP
Work with your actor playing Professor Ray to
ensure proper pronunciation and excellent diction
when naming the species. To build confidence,
try having the entire ensemble speak the names
slowly, using call and response, and bring it up to
tempo after some practice. Then have Professor Ray
say these lines alone in time with the music.
PROP TIP
Feel free to experiment waving long, dark blue
fabric held by members of the Sea Chorus to
represent the vast open ocean. You might have
additional members of the Sea Chorus wave lighter
blue fabric on a different part of the stage to
represent the Reef.
BLOCKING TIP
Safety first! Teach your actors set “choreography”
for this moment, minimizing actual physical
contact. Make sure to walk them through the
motions slowly before having them attempt it on
their own. It is also important that the actor being
“pushed” be in control of the motion at all times—
it is Pearl’s reaction that will make this moment
work.

S C R IP T
## Ó
PROFESSOR RAY:
K K
3
œ œK œ K K
3 3
œ
13
3 3
There’s por - i - fer - a, coel - en - ter - a - ta,
## K K K œ œK œ œK œ
15 3 3 3 3 3 3
& œ œ œ œ K œ
œ œ œ œ
hy - dro - zo - a, scy - pho - zo - a, an - tho - zo - a, and some
## K K
œ ˙
17 3 3
& œ œ œ
fish like you and me!
(PROFESSOR RAY)
Here we are at the Drop-Off, where our reef ends and vast, open ocean
stretches for miles.
TAD
Whoa, it’s nothing but blue as far as the eye can see!
PROFESSOR RAY
Stay close, but remember: we keep our supraesophageal ganglion to
ourselves.
(TAD, SHELDON, and PEARL lag behind and break off from the group
as PROFESSOR RAY and the other STUDENTS exit. NEMO pauses,
unsure whether to follow the class or new friends. After a moment,
NEMO decides to join TAD, SHELDON, and PEARL, who are
standing on the edge of the Drop-Off peering out into open ocean.)
NEMO
Hey! Wait up!
(Near the edge, TAD fake-pushes and abruptly pulls back a startled
PEARL. PEARL gasps.)
TAD
Saved your life!
17

SC R IP T
NOTES
DRAMATURGY TIP
Many species of octopus are known for producing
ink when they feel they are in danger!
SOUND CUE
Track #8 – THE BOAT
Cue – PEARL: Aww, you made me ink!
(TAD and SHELDON laugh.)
BLOCKING TIP
If your production has opted not to create a
physical boat onstage, you can have your actors
look offstage or out into the audience to “see” the
boat beyond the stage.
ACTING TIP
To land this comedic line, Sheldon should say
“butt” very seriously, completely unaware of the
humorous mistake.
SOUND CUE
Track #9 – ABDUCTION / BIG BLUE WORLD
(REPRISE)
Cue – TAD: Oh! Sandy Plankton said it’s called a
“boat.”
SHELDON: Actually, it’s pronounced “butt.”
PEARL: (in awe) That’s a pretty big butt.
DRAMATURGY TIP
This is a moment in which the other characters
are making fun of Nemo’s fin. Ensure that your
cast understands the impact of this taunting
and bullying on Nemo. Nemo’s decision to move
towards the boat is prompted by a need to convey
strength to the other students and Marlin. Nemo
is feeling underestimated by Marlin and wants to
assert independence and prove them all wrong.

S C R IP T
PEARL
(upset)
Aww, you made me ink!
(TAD and SHELDON laugh. #8 – THE BOAT.)
NEMO
Whoa... What’s that?
(NEMO points to a boat. The OTHERS see it now it as well.)
TAD
Oh! Sandy Plankton said it’s called a “boat.”
SHELDON
Actually, it’s pronounced “butt.”
PEARL
(in awe)
That’s a pretty big butt.
(#9 – ABDUCTION / BIG BLUE WORLD – REPRISE.)
ABDUCTION / BIG BLUE

Abduction / Big Blue
WORLD World (Reprise) 09
(REPRISE)
(SHELDON, TAD, and PEARL start to swim toward the boat,
challenging one another to see who can get the closest to it.)
SHELDON: Look at us! We’re gonna touch the butt!
PEARL: Come on, Nemo!
TAD: How far can you go?
NEMO: Uh, my dad says it isn’t safe…
SHELDON: Oh, ‘cause of your “lucky fin.”
PEARL: “Nemo, you know you get tired.”
NEMO: Stop!
TAD: Don’t be such a shrimp!
8
NEMO: I’m not!
## 4
& 4
1-8
(MARLIN enters, distressed and frantic, and begins scolding NEMO.

TAD, SHELDON, and PEARL quickly swim back to safety.)
NEMO: I wasn’t gonna—
## ¿ ¿ ‰ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Œ ¿ ¿
9
MARLIN:
& ì ì
18
Ne - mo! No! You can’t be an - y - where near here! You’re too
| B47
## ¿ ¿ ‰ ¿ ¿ ¿ Œ
NEMO: But Dad!
¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ‰ ¿
11
&
SC R IP T
NOTES
BLOCKING TIP
The timing of this scene is very important. First
have your cast listen to the Guide Vocal Track
of this song and make note of where the lines
fall within the music. Next, have them read
along. Finally, read though the scene with the
Performance Accompaniment Track. Try to keep
that timing in mind as you block the scene as well.
Refer to the Choreography Video for more tips on
staging this scene.
ACTING TIP
The other Reef Kids anxiously follow Marlin and
Nemo’s interaction, waiting to see what Nemo will
do. Despite their taunting and jesting, the Reef
Kids are very frightened of the Drop-Off. Make sure
these actors are attentive and actively reacting in
this scene.
BLOCKING TIP
Carefully time Nemo’s swim and capture with the
music. Work with your actor to find a swimming
movement that shows that Nemo is working very
hard to quickly swim away but is also slow enough
to fill the time in the music. Challenge this actor to
use their whole body to show the immense effort
being made.

& # 44
1-8
(MARLIN enters, distressed and frantic, and begins scolding NEMO.

TAD, SHELDON, and PEARL quickly swim back to safety.)
S C R IP T
NEMO: I wasn’t gonna—
## ¿ ¿ ‰ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Œ ¿ ¿
9
MARLIN:
& ì ì
Ne - mo! No! You can’t be an - y - where near here! You’re too
## ¿ ¿ ‰ ¿ ¿ ¿ Œ
NEMO: But Dad!
¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ‰ ì¿
11
&
lit - tle! I was right! We’ll try school a - gain next year. You
## ¿
NEMO: I can!
¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿
13
&
know that you can’t swim well. No, you
## ¿ ¿ ¿ ¿ ¿ ¿
Œ ‰
14
& ì
can’t! Now come a - long! You
# ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
& #
15
think that you can do these things, but
16
## ¿ . ¿ ¿ ¿"
NEMO: I hate you.
Ó
&
you are wrong!
(NEMO starts swimming toward the boat. MARLIN shouts from

the edge of the Drop-Off, attempting to coax NEMO back to safety.)
## Œ NEMO:
K
‰ œ ˙
17
& K K œ ˙
œ œ
In the big blue
MARLIN: Nemo!
##
What are you doing?
Œ
19
& œ œ ˙ 19 œ œ œ œ œ
bœ nœ
world, there are things I can do.
MARLIN: You
21 get back here!
SC R IP T
NOTES
PROP TIP
See p. E5 for tips on how to create the scuba diver’s
net and how to create the illusion that Nemo is
captured. If you are using an actual net, work with
this prop in slow motion first and then bring it
up to tempo. Remember to always keep safety in
mind when working with difficult props and scenic
elements.

## K
& Œ ‰ K K œ ˙ ˙
œ œ œ
In the big blue
S C R IP T
MARLIN: Nemo!
##
What are you doing?
Œ
19
& œ œ ˙ œ œ œ œ œ
bœ nœ
world, there are things I can do.
MARLIN: You
## Œ get back here!
‰ K ˙
œ ˙
21
& K K
œ œ œ
In the big blue
MARLIN: You are in big
##
trouble, you hear me?!!
Œ
23
& œ œ ˙ œ œ œ œ œ œ œ
world, I'm not a - fraid of you!
## K
Œ K
25
& œ œ œ ˙ ˙
œ
I’m gon - na show you!
## ˙.
‰ œK œ Œ
27
& œ œ œ
I’m swim - min’ out to sea!
(A scuba diver’s net appears.)

SHELDON: (urgently) Nemo! There’s a net! Look out!
(NEMO is captured in the net. TAD, SHELDON, and PEARL exit, frightened.)
2
NEMO: Ahhh!!! Dad! Help me!!
##
&
29-30
(Music continues under dialogue. MARLIN watches in horror as

NEMO, the net, and the boat disappear. MARLIN swims frantically
around the stage, trying to follow the boat.)
20

SC R IP T
NOTES
PROP TIP
See p. E5 for ideas on how to construct the diver’s
mask. Make sure it is clear in this moment that the
mask has been lost in the underwater world.
SOUND CUE
Track #10 – DORY’S DITTY
Cue – MARLIN: Coral, I’ve lost Nemo. I don’t know
what to do. I need your help, Coral. Please!
Anyone!

S C R IP T
MARLIN
Neeeeeeemooooooooooooo! Noooo! I’m coming, Nemo! Wait!!! Slow
down!
(The SCUBA MASK DANCER floats a diver’s mask across the stage.)
Oh no, it’s gone. It can’t be gone! Has anybody seen a boat? Please! They
took my kid!
(Desperate and out of breath, MARLIN calls out.)
Coral, I’ve lost Nemo. I don’t know what to do. I need your help, Coral.
Please! Anyone!
(#10 – DORY’S DITTY.)
DORY’S DITTY
Dory's Ditty 10
(DORY enters, singing. MARLIN continues to search for the boat;
he does not yet see DORY. Unbeknownst to DORY and MARLIN,
they have swum into shark territory.)
œ. œ. œ. œ. œK ‰ Œ
& b 44 œ. œ œ œ K ‰ Œ
DORY:
∑
1
. . . . œ.
La la la la la la la la la la
(DORY bumps into MARLIN,

knocking the wind out of him.)
MARLIN: Oof!
>¿
≈ ¿
DORY: Sorry, sir!
& b œ. œ. œ. œ. œ ∑
4
.
la la la la la LOOK OUT!
MARLIN: Help! They’ve got my kid! They’ve got Nemo!

Have you seen a boat?!
DORY: A boat! I’ve seen a boat! Follow me!
MARLIN: Thank you!
5
&b
6-10
(MARLIN follows DORY all around the stage. After a few moments,
she gets suspicious when she notices someone following her.)
œ. œ. œ. œ. œK ‰ Œ
21
œ. œ. œ. œ œK ‰ Œ
DORY:
&b ∑
11
. . .
SC R IP T
NOTES
BLOCKING TIP
Encourage Dory to meander around the entire
stage, swimming at various speeds, making it more
difficult for an increasingly frustrated Marlin to
follow her.
ACTING TIP
Work with the actor playing Dory to get lost in her
singing, prompting her to forget her conversation
with Marlin and consequently scold him for
intruding on her “moment.”

MARLIN: Thank you!
5
&b
6-10
S C R IP T
(MARLIN follows DORY all around the stage. After a few moments,
she gets suspicious when she notices someone following her.)
œ. œ. œ. œ. œK ‰ Œ œ. œ. œ. œ œK ‰ Œ
DORY:
&b ∑
11
. . .
DORY: Do you MIND?!
& b œ. œ. œ. œ. œK ‰ Œ ∑
14
.
la la la la la
(MARLIN, confused, catches up to DORY.)

MARLIN: What?
DORY: I’m trying to swim here!
MARLIN: But… we’re trying to find Nemo. You were showing me
which way the boat went!
6
DORY: A boat! I’ve seen a boat! Follow me!
&b
16-21
(DORY takes a big breath MARLIN: We already did this!

and begins to swim again.) DORY: We did? Oh dear.
3
œ. œ. œ. œ. K ‰ Œ bbbbb
DORY:
&b ∑
22
œ.
24-26
La la la la la—
3
&b ∑ Ó ¿ Œ bbbbb
MARLIN:
No!!
bb b bDORY:
42 œ Œ 44
œ b œ-
27
& b bœ bœ œ
bœ
I guess I should ex - plain,
b
& b b b b 44 œ 42
œ œ œ œ œ Œ 44
29
22
œ- œ
Some - thing’s diff - ’rent in my brain.
31
b bbb 4 Œ Œ b b
& b 4 œ œ œ œ œ
| B55
œ œ œ œ œ-
SC R IP T
NOTES

b
& b bbb bœ bœ œ œ b œ- 42 œ Œ 44
bœ
I guess I should ex - plain,
S C R IP T
b
& b b b b 44 œ 42
œ œ œ œ œ Œ 44
29
œ- œ
Some - thing’s diff - ’rent in my brain.
31
b bbb 4 Œ Œ b b
& b 4 œ œ œ œ œ œ œ œ œ œ-
Things get real - ly scram - bled in my head. I
b
&b nœ. ‰
33
œ œ. nœ œ œ œ œ œ
have no short term mem - o - ry. I for -
b
&b Œ
34
œ œ œ œ œ œ œ-
get things al - most in - stant - ly.
b œ œ
&b Ó
35
œ œ œ. œ œ œ ˙
I’m not ev - en sure what I just said…
(DORY strikes a grand pose as if she’s ready to jump into a big song and
dance… Then, she forgets where she is again.)
(DORY)
May I help you?
MARLIN
Ughh!! You’re wasting my time. I have to find my kid!
DORY
Meeko?
MARLIN
Nemo! Never mind.
(MARLIN starts to swim away. DORY now follows him.)
23

SC R IP T
NOTES
COSTUME TIP
Marlin’s distinctive clownfish stripes should be
clearly visible in his costume. In all your designs,
be sure to emphasize each character’s signature
distinguishing features. Check out pp. E8-9 for
more costuming ideas.
SOUND CUE
Track #11 – SHARK TERRITORY
Cue – MARLIN: No! Look, are you going to help me
or not? I have to find my—
LIGHTING TIP
A dramatic shift in lighting will help reinforce that
Marlin and Dory have entered the ominous Shark
Territory. Reds and oranges can also help intensify
the danger.
BLOCKING TIP
Direct your Sharks to enter slowly and deliberately,
with Bruce in the lead and the other two flanking
Bruce’s sides. These three Sharks should be a
menacing and powerful unit, making all the other
characters onstage shrink in comparison.
ACTING TIP
Work with the actor playing Bruce to nail this
character’s comic timing and over-the-top
personality. Encourage these lines to be delivered
with confidence, power, and a bit of charm.
SET TIP
If you decide to have the Sea Chorus hold blue silk
fabric to represent the ocean, use darker hues to
contribute to the eerie feeling of Shark Territory in
this scene.

S C R IP T
DORY
Hey, you’re a clownfish, aren’t you? I like your stripes! I bet you’re
pretty funny, too!
MARLIN
(stops swimming and faces DORY, abruptly)
No! Look, are you going to help me or not? I have to find my—
(#11 – SHARK TERRITORY. MARLIN turns from DORY and gasps

dramatically. He runs directly into BRUCE, ANCHOR, and CHUM.)
BRUCE
Hello!
DORY
Well, hi there, sharks!
BRUCE
Name’s Bruce.
DORY
I’m Dory! And this is…
MARLIN
You don’t need to know. I’m nobody, really. I was just leaving—
(MARLIN attempts to swim away, but BRUCE blocks his path.)
CHUM
Looks like you’ve stumbled upon a little party we’re havin’.
DORY
Oh, I love parties! Can we stay? Please? Can we? Can we?
MARLIN
I’m not really the partying type…
ANCHOR
(flashes teeth)
‘Fraid we won’t take no for an answer.
(A frenzy of SHARKS enters, chattering, each with a terrified FISH

“FRIEND” cowering behind them. The SCUBA MASK DANCER
floats the diver’s mask onstage and sets it on the sea floor before exiting.)
CHUM
Ah, the gang’s all here! Welcome to the party, mates!
24

SC R IP T
NOTES
SOUND CUE
Track #12 – FISH ARE FRIENDS NOT FOOD
Cue – BRUCE: Let’s all say the pledge.

S C R IP T
BRUCE
Well, well, would you look at this lot of bloodthirsty barnacles? Did
everyone follow the assignment and bring a “guest” with them today?
ANCHOR
Sure did, here’s mine.
(ANCHOR takes DORY.)
BRUCE
And how ‘bout you, Chum?
CHUM
Um… well… I, uh, must have…
(belch)
… misplaced mine?
SHARK
I’ve got an extra!
(The SHARK shoves an extra FISH “FRIEND” towards CHUM.)
CHUM
Thanks, mate!
(MARLIN spots the diver’s mask lying on the sea floor.)
MARLIN
(aside, stage whisper)
Hang on… Dory, that’s the diver’s mask! The diver who took my kid!
DORY
Harpo?
MARLIN
Nemo!
(MARLIN attempts to approach the mask. BRUCE pulls him back.)
BRUCE
Let’s all say the pledge.
(#12 – FISH ARE FRIENDS NOT FOOD.)
25

SC R IP T
NOTES
LIGHTING TIP
The shift into this show-stopping tune should be
enhanced by brighter and warmer lighting to draw
the audience into the theatricality of the number.
CHOREOGRAPHY TIP
Reference the Choreography Video for this number
for a fun way to stage this soft-shoe, vaudeville-
style song. Play with the comedy of the Fish
“Friends”’ reticence to dance along. Consider
matching each shark with a fish dance partner for
some hilarious dancing dynamics!
ACTING TIP
Encourage the Sharks to let their individual
personalities shine in this big number!

S C R IP T
FISH ARE FRIENDS NOT
Fish Are Friends
FOOD Not Food 12
BRUCE:
# 4 ∑ Ó Œ
1 3
& 4 œ œ
Fish are
# (BRUCE): Œ 46 w Ó 44
3
& w ˙ œ
friends, not food!
CHUM: SHARKS
# Œ
46 ˙ ~~ ˙ Ó 44
GROUP 1:
Œ œ
3
& œ œ ˙ ˙
Fish are friends, not food!
ANCHOR: SHARKS
# Ó
46 ~~ ˙ Ó 44
Œ œ ˙
3 GROUP 2:
& Œ œ œ ˙
Fish are friends, not food!
# 4 Œ K
CHUM:
œ K Œ
6
& 4 œ œ nœ œ œ
œ
Though we have long, sharp teeth,
# ANCHOR:
œ œ K
Œ œ bœ œ œ Œ
8
& œ ì
we’re nice sharks un - der - neath.
26

SC R IP T
NOTES

S C R IP T
#
ALL SHARKS:
Œ œ K K
10
& œ œ nœ œ œ bœ
œ
We know that fish are friends, not
CHUM:
12
# Œ
(sheepishly)
Œ ¿ ¿ ¿ ¿ Œ
& œ ¿ ì ì
food. Well, some - times we know.
# K K
Œ œ Œ
14
& œ œ nœ œ œ
œ
Sure, we could eat you whole…
# Œ K
SHARKS GROUP 1:
œ œ œ bœ œ œ Œ
16
& œ ì
But we have self con - trol.
#
SHARKS GROUP 2:
& Œ œ œ K K Œ
œ bœ œ œ œ
But we have self con - trol.
# Œ K K
œ
18
& œ œ nœ œ œ #œ
œ
# K K
& Œ œ œ œ œ bœ œ œ nœ
27

SC R IP T
NOTES

DORY: (excitedly) I’d
#
S C R IP T
like to be your friend. BRUCE:
∑ ŒBRUCE:œ œ
20
&# œ
DORY: (excitedly) I’d
like to be your friend.
∑ Œ œ œ
20
& The stress

œ
of
# (SHARKS GROUP 1):

(SHARKS GROUP 1):
Œ Ó ∑
The stress of
&# œ
& food.
œ Œ Ó ∑
# food.
(SHARKS GROUP 2):
œ
& # (SHARKSŒGROUPÓ 2): ∑
œ
& food. Œ Ó ∑
food.
22
#
& # nœ œ œ œ œ œ
22 nœ œ œ œ œ œ œ œ œ ˙
& nlife œ œo- cean
œ inœ the œ -’llœ n œ toœ œe -mo
lead œ -tion œ œ- ing.
œ -alœ eat œ ˙
# Plife in the o- cean-’ll lead to e - motion - al eat - ing.
K
& # Pw w œK œ .
˙
& Ooo w w œ itœ .
˙ (Yes
# POoo (Yes it
&# P K
˙ b˙ n˙ bœ nœ ˙ œK œ .
& Ooo
˙ b˙ n˙ bœ nœ ˙ œ itœ .
(Yes
Ooo (Yes it
# Œ
CHUM:
œ œ ‰ œK
25
& œ œ œ œ œ œ
When you need help get - ting through it, and
#
& Œ Ó ∑
œ
>
will!)
#
& Œ Ó ∑
œ
>
will!)
#
(CHUM): ANCHOR:
28
œ #œ œ œ Œ
27
& œ nœ nœ nœ #œ œ
kelp
just won’t do it, don’t start fee - ding…
| B67
SC R IP T
NOTES

#
& Œ Ó ∑
œ
>
will!)
S C R IP T
#
(CHUM): ANCHOR:
œ #œ œ œ Œ
27
& œ nœ nœ nœ #œ œ
kelp just won’t do it, don’t start fee - ding…
# SHARKS GROUP 1: K
& œ œ œ #œ œ œ Œ œ œ œ n œ œK œ Œ
29
œ
Swim to a mee - ting! Oh yes, we’ve seen the light.
# SHARKS GROUP 2: Œ
& œ œ œ nœ #œ œ œ œ K K Œ
œ œ œ œ œ
Swim to a mee - ting! Oh yes, we’ve seen the light.
# Œ œ œ K
œ bœ œ œ Œ
32
& œ ì
Each day we fight the fight
# K K
& Œ œ œ Œ
œ bœ œ œ œ
Each day we fight the fight
# K
Œ œ œ œ n œ œK œ b œ nœ œ œ
34
& œ
œ
to curb our ap - pe - tite and change our at - ti -
#
Œ œ œ
&
œ
K K
œ œ œ œ bœ œ nœ œ œ
ANCHOR: Fish are friends!

# ˙ œ ‰ œ œ ˙ œ œ
Œ
37 3 3
& ì
tude. Fish are friends! Fish are
# K 3
b œœ # n œœ ‰ œ Œ
3
& œœ œ ˙ œ œ
tude. Fish 29
are friends! Fish are

# ˙ >
CHUM: Fish are food!
œ
+CHUM:
Œ ¿ œ œ œ Œ Ó
39
& œ
SC R IP T
NOTES
CHOREOGRAPHY TIP
Have fun with the dynamic between the Fish
“Friends” and the Sharks. The Fish should be a part
of the choreography but also looking for ways to
swim away to safety. Incorporate moments for
the Sharks to pull their Fish “Friend” back into the
frenzy in this soft-shoe-style number.

#
& Œ œ œ K K nœ œ œ
œ œ œ œ œ bœ œ
S C R IP T
ANCHOR: Fish are friends!
# ˙ œ ‰ œ œ ˙ œ œ
Œ
37 3 3
& ì
# K 3
b œœ # n œœ ‰ œ Œ
3
& œœ œ ˙ œ œ
# ˙ >
CHUM: Fish are food!
œ
+CHUM:
Œ ¿ œ œ œ Œ Ó
39
& œ >
friends! No, fish are friends, not food!
# >
& Œ ¿ œ œ œ œ Œ Ó
œ œ œ œ >
˙
friends! No, fish are friends, not food!
BRUCE: Like we rehearsed, everyone!
5
(The SHARKS launch into a soft-shoe dance section with their FISH “FRIENDS.”)
# ∑
42
&
43-47
#
SHARKS GROUP 1:
K K Œ Ó
48
& œ nœ œ œ #œ œ
Fish are friends, not food.
# K K
SHARKS GROUP 2:
& œ bœ œ œ nœ œ Œ Ó
(As the SHARKS continue to dance, encircling their frightened guests,

MARLIN and DORY sneak away to look at the mask.)
MARLIN: (looking at the mask) What do these markings mean?
I can’t read human!
DORY: Hey, look, sharks! I bet they can help.
MARLIN: No, no, no, Dory! 30
(DORY heads toward the SHARKS and MARLIN grabs her fin,
trying to hold her back.)
DORY: Hey, sharks?
MARLIN: No, MusicDory!Theatre International • Broadway Junior® • Director’s Guide | B71
DORY: Let me just… I know what to…
(MARLIN lets go of DORY’s fin and it snaps back into DORY’s face.
SC R IP T
NOTES
ACTING TIP
Involve all your Sharks in this choreography so
that none of them notice Marlin and Dory heading
towards the mask.
PROP TIP
See p. E5 for tips on how to make the nosebleed
prop. Note that it can be handled by Dory or
another cast member coming from offstage. Be
sure to pre-set this prop in anticipation of this
moment.
CHOREOGRAPHY TIP
At this moment, the choreographed soft-shoe
dance changes into a chaotic emergency, as all the
Sharks frantically hold Bruce back from attacking
the fish. Carefully walk through this traffic pattern
to ensure that everyone is safe and consistent
during this chase sequence. Run it under tempo
a few times before bringing it up to performance
speed.

K œ Œ Ó
& œ bœ œ œ nœ
S C R IP T
(As the SHARKS continue to dance, encircling their frightened guests,
MARLIN and DORY sneak away to look at the mask.)
MARLIN: (looking at the mask) What do these markings mean?
I can’t read human!
DORY: Hey, look, sharks! I bet they can help.
MARLIN: No, no, no, Dory!
(DORY heads toward the SHARKS and MARLIN grabs her fin,
trying to hold her back.)
DORY: Hey, sharks?
MARLIN: No, Dory!
DORY: Let me just… I know what to…
(MARLIN lets go of DORY’s fin and it snaps back into DORY’s face.
Her nose starts to bleed.)
# 8
Ó Œ ¿
DORY:
&
50-57
Ow!
MARLIN: I’m sorry! Is your nose bleeding?

DORY: Wow, I really knocked my snout there.
(DORY’S blood drifts through the water and over to BRUCE,
who smells it with a big sniff.)
BRUCE: Oh, I smell blood… that’s good!
5
ALL SHARKS (except BRUCE): Intervention!
#
&
59-63
(The SHARKS rush over and try to restrain BRUCE. BRUCE begins
chasing MARLIN and DORY. All of the FISH “FRIENDS” escape
and exit. MARLIN and DORY lose the mask in the chase.)
# Œ K
BRUCE:
œ K Œ
64
& œ œ nœ œ œ
œ
I need a lit - tle taste.
#
SHARKS:
& ∑ Ó Œ ¿
>
No!
# Œ œ œ K
œ bœ œ œ Œ
66
& œ ì
Why let ‘em go to waste?
#
& ∑ 31
Ó Œ ¿
>
Bruce! Guide
Music Theatre International • Broadway Junior® • Director’s | B73
BRUCE:
SC R IP T
NOTES

#
SHARKS:
& ∑ Ó Œ ¿
>
No!
# K
S C R IP T
Œ œ œ œ bœ œ œ Œ
66
& œ ì
Why let ‘em go to waste?
#
& ∑ Ó Œ ¿
>
Bruce!
#
BRUCE:
∑ ∑ Ó
68
& X
Fooooood!
#
SHARKS GROUP 1:
& Œ œ œ K K œ Œ Ó
œ œ œ œ œ œ
Re - mem - ber, fish are friends, not food!
#
Œ œ œ œ
SHARKS GROUP 2:
& œ œ œ œ œ œ Œ Ó
ì ì
Re - mem - ber, fish are friends, not food!
ANCHOR:
Remember
#
the steps! CHUM: (to MARLIN and DORY)
∑ Œ œ K K Œ
71
& œ œ nœ œ œ
œ
He is - n’t at his best!
# Œ œ K
ANCHOR: (to MARLIN and DORY)
œ œ bœ œ œ Œ
74
& œ ì
He’s just been real - ly stressed!
#
BRUCE:
Œ ¿ ¿
¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿
76
&
> > ¿ >
I
>
need some food! I need some food! I need some
# K
Ó Œ œ 32œ œ n œ œK œ Œ
79
& X
> œ
food! I’ve got you in my sight!
82
# ¿ ¿
SC R IP T
NOTES

#
Œ ¿ ¿
¿ >¿ >¿ ¿ ¿ ¿ ¿ ¿
76
&
> > ¿ > > > > > >
I
>
need some food! I need some food! I need some
S C R IP T
K
Ó Œ œ œ œ n œ œK œ Œ
79
& X
> œ
food! I’ve got you in my sight!
# Œ ¿ ¿ b¿ ¿ ¿ ¿ Œ
82
& ¿
I’m ha - vin’ fish to - night!
MARLIN, DORY:
# Œ
SHARKS GROUP 1:
K K
AHHH!!!
œ Œ
84
& œ œ œ œ œ
œ
Re - mem - ber, fish are friends!
#
SHARKS GROUP 2:
& Œ œ œ œ œ œ œ Œ
œ ì ì
# Œ
DORY: This way!
œ K K Œ
86
& œ œ œ œ œ
œ
# Œ œ œ œ œ œ œ Œ
& œ ì ì
(MARLIN and DORY escape offstage. BRUCE, now exhausted,

is successfully restrained by the rest of the SHARKS. They are all out of breath.)
# Œ K K
œ
88
& œ œ œ œ ˙
œ
Re - mem - ber, fish are friends…
# Œ œ œ œ œ œ ˙
& œ ì ì
33 ANCHOR: Kelp, anyone?

ALL SHARKS:
# Ó
+BRUCE: (weakly) Blech. / Ugh. / Ew. / etc.
Œ Œ Ó ∑
90
& œ œ
> >
SC R IP T
NOTES
SOUND CUE
Track #13 – SEAGULLS 1
Cue – Segue from #12 – Fish Are Friends Not Food.
BLOCKING TIP
The Boardwalk scenelets are all meant to ease
the transitions into and out of the Tank scenes.
You should be able to set up the Tank scenes
in their entirety upstage of the Boardwalk. Use
a curtain or actors holding up silk to shield the
change. Running these transitions smoothly will
take practice, so be sure to build time into your
rehearsal schedule to run them.
SET TIP
The Boardwalk scenes should not have a fully
realized set! Place the Boardwalk downstage in
front of a curtain or even place it somewhere
among the aisles of the house. Use actors or sound
effects to help create a Boardwalk ambiance
without bringing cumbersome set pieces on for
such a short moment. See p. E3 for more ideas on
how to create your Boardwalk.
LIGHTING TIP
As these Boardwalk scenes take place on land
rather than in the ocean, think about how lighting
can help convey a warm summer day in Sydney
Harbour.

Œ œ œ œ œ œ ˙
& œ ì ì
S C R IP T
ANCHOR: Kelp, anyone?
ALL SHARKS:
# Ó
+BRUCE: (weakly) Blech. / Ugh. / Ew. / etc.
Œ Œ Ó ∑
90
& œ œ
> >
not food.
# Ó Œ Œ Ó ∑
& œ œ
> >
not food.
(The SHARKS exit.)
SCENE THREE: BOARDWALK (PART 1)

(#13 – SEAGULLS 1.)
SEAGULLS
Seagulls 1 1 13
(The following scenelet should be performed during the scene change
from shark territory to the aquarium tank. Sounds of Sydney Harbour
accompany playoff music. A Sydney Harbour VACATIONER enters,
6 8
about to enjoy a snack on the boardwalk. SEAGULLS trail behind.)
### 4
& 4
1-6 7-14
(More and more SEAGULLS

enter and begin to swarm.)
### Ó
ONE SEAGULL: SEAGULLS:
Œ Ó Œ
15
& ¿ ¿
Mine! Mine!
SEAGULLS: Mine! Mine! Mine! Mine! Mine! etc.

(The frightened VACATIONER drops their snack and runs offstage.
3
The SEAGULLS snatch the snack and exit.)
###
&
17-19
34

SC R IP T
NOTES
SOUND CUE
Track #14 – WHERE’S MY DAD?
Cue – Segue from #13 – Seagulls 1.
LIGHTING TIP
Most indoor fish tanks have fluorescent bulbs, so
think about using less color and brighter lights
to create a cooler tone onstage in this scene to
contrast the other scenes taking place in the open
ocean.
BLOCKING TIP
Consider designating a specific portion of the
stage as the “tank area” that can permanently
house the tank. This area can remain in the dark
during other scenes to conceal its set pieces.
Placing the tank near one of the corners of the
stage would also allow Nigel easy access to the
tank window from offstage.
SET TIP
Construct a simple tank populated with artificial
plants and tank decor. Be sure to include the grate
that leads to the intake pipe as it is an essential
element of the tank. Note that there should also be
a large rock that Nemo swims offstage with later in
the scene. Refer to pp. E2-3 for more information
on how to design your tank.
ACTING TIP
Nemo’s longing for adventure and exploration is
suddenly replaced by a deep fear of the unknown.
Help your actor convey this terror and nervousness
in the scene.
MUSIC TIP
The end of this intimate moment for Nemo should
feel quiet while remaining energized. While
volume decreases, vocal intensity should increase.
Work with the actor playing Nemo to find this
balance.

S C R IP T
SCENE FOUR: MEET THE TANK GANG
(#14 – WHERE’S MY DAD?.)
WHERE’S MY
Where's My DAD?
Dad? 14
(Transition to a tank at the Sydney Harbour Aquarium,
populated with aquarium plants. The tank is near a window,
which allows NIGEL to visit. NEMO, alone and terrified,
enters the tank as if dropped in. NEMO begins running into
7
the tank walls and realizes that there is no way out.)
### 4 nnn
& 4
1-7
NEMO:
2
Dad? Dad!!
NEMO:
& œ œ œ œ ‰ j
8-9
œ. œ
Where’s my dad? I’m
Œ
11
& œ. œ œ œ œ œ. œ œ œ œ œ œ œ
all a - lone. I’m too small to be here
‰ j œ œ ‰ œj
13
& œ. œ œ œ œ . œ œ
œ œ
on my own. I swam a - way ‘cause
& œ. œ œ œ œ ‰ Jœ œ bœ œ œ Œ
15
bœ œ
I got mad, but now I real - ly need him.
˙ ˙ w
17
&
Where’s my dad?
35

SC R IP T
NOTES
ACTING TIP
Remember: Bubbles, Bloat, Gurgle, and Peach have
been very isolated for many years and should be
elated to see a new face in the tank. Be sure that
they relish this interaction with Nemo!
ACTING TIP
Each uttering of “bubbles” means something
different! Bubbles is communicating in their own
language just like every other character. Work with
this actor to explore how “bubbles” can be said
differently to help express the character’s thoughts
and feelings, and remind the other actors in the
scene that they are not meant to be laughing at
Bubbles. Refer to the “Communicating Bubbles”
Rehearsal Exercise on pp. D12-13 for more details.

S C R IP T
(Music continues under dialogue. A stream of bubbles is blown onstage.
BUBBLES rushes onstage and begins trying to collect the bubbles as if
they are prized possessions.)
BUBBLES
Bubbles! Bubbles, bubbles, bubbles!! My bubbles.
(NEMO is terrified and backs away from BUBBLES.)
NEMO
Ahhh!!
(BLOAT enters. NEMO nearly bumps into BLOAT.)
BLOAT
Oops! Hello there!
NEMO
Ahhh!!
(NEMO runs and hides behind a plant in the tank and comes face to face
with GURGLE, who is already hiding there.)
GURGLE
Stranger! Stranger in the tank!
(PEACH is pressed up against the side of the tank.)
PEACH
(to GURGLE)
Stop that, you’re scaring the poor thing! It’s okay, honey.
(NEMO cowers in fear. The TANK GANG gathers around, realizing

that they’ve frightened NEMO.)
NEMO
Where am I?
BLOAT
Welcome to the Sydney Harbour Aquarium! I’m Bloat. That’s Peach,
Gurgle, and Bubbles.
BUBBLES
Bubbles! (Hello!)
BLOAT
This tank is our little corner of the aquarium.
36

SC R IP T
NOTES
BLOCKING TIP
The window Nigel appears at can be built by using
a raised platform to create the effect that Nigel
is looking down on the Gang from above their
tank. The same effect can also be achieved using
an actor’s block. See pp. E2-3 for more details on
creating Nigel’s window.
SOUND CUE
Track #15 – HOW AM I GOING TO GET OUT OF
HERE?
Cue – TANK GANG: Bye, Nigel!
NEMO: How am I going to get out of here?
(GILL emerges from behind a rock.)

S C R IP T
GURGLE
It’s not much, but it’s home.
(NIGEL appears at the window, peering into the tank from above.)
NIGEL
G’day, mates!
TANK GANG
Hi, Nigel!
NIGEL
Just popping by for a quick hello!
PEACH
We have a newcomer!
NIGEL
Thought there might be! I saw Professor Sherman’s boat dock in the
harbour this morning.
NEMO
I’m Nemo. I’m from the Great Barrier Reef… in the ocean.
GURGLE
The ocean?! Ahh! Germs!!
(GURGLE cowers behind a plant.)
NEMO
I swam away at the Drop-Off, just for a second, and this diver in a mask
came out of nowhere. I have to get back to the Reef! I have to find my
dad. He’s probably so mad at me.
NIGEL
Oh dear. I’m afraid the Great Barrier Reef is thousands of kilometers
from here. But I’ll keep a look out for your dad, Nemo.
(NIGEL flies away and exits offstage.)
TANK GANG
Bye, Nigel!
NEMO
How am I going to get out of here?
(GILL emerges from behind a rock, having heard the entire conversation.
#15 – HOW AM I GOING TO GET OUT OF HERE?.)
37

SC R IP T
NOTES
ACTING TIP
Gill should have a very different energy from the
rest of the Tank Gang. Work with this actor to
explore different ways to bring this tough-talking
fish to life, experimenting with different vocal and
movement qualities.

S C R IP T
GILL
Hey! Kid!
NEMO
Huh?! Who are you?
GILL
Name’s Gill, and I’m gonna get you back to the ocean. In fact, I’m gonna
get all of us back to the ocean, where we belong.
PEACH
Your escape plans never work, Gill.
GILL
That doesn’t mean we should ever stop trying.
BLOAT
(to NEMO)
Gill here is always cooking up new ways to try and bust us outta the
aquarium.
GURGLE
(worried)
A real risk-taker!
BLOAT
(in awe)
Daredevil!
PEACH
(skeptical)
Wishful thinker!
GILL
Fish are not meant to be in a box. It does things to ya.
BUBBLES
Bubbles… (Tell me about it…)
GILL
We can’t give up! We were so close last time!
BLOAT
Operation Toilet Flush was the closest we’ve come.
GURGLE
But our tank smelled for weeks! I still have nightmares.
38

SC R IP T
NOTES
SOUND CUE
Track #16 – WE SWIM TOGETHER
Cue – GURGLE: But that pipe pumps water into
the tank. There’s no way we can swim against that
current!
PEACH: Unless the pump was off.
CHOREOGRAPHY TIP
Work with your actors to find different levels
throughout the song as the characters grow in
enthusiasm and confidence. You might choose
to have the Tank Gang dance and move around a
stationary Nemo as they try to convince Nemo to
join in their escape plan.

S C R IP T
PEACH
We’re just getting too old for this stuff.
GILL
Look, gang, we’ve gotta help the kid!
BLOAT
Okay, Gill. What do you have in mind this time?
GILL
The intake pipe. It leads directly to the ocean.
(GILL points to the intake pipe in the tank. The opening is blocked by a
grate.)
GURGLE
But that pipe pumps water into the tank. There’s no way we can swim
against that current!
PEACH
Unless the pump was off.
(#16 – WE SWIM TOGETHER.)
WE SWIM
We SwimTOGETHER
Together 16
GILL: Exactly. That’s why
4
Nemo here is the key.
### C Œ
GILL:
& œ œ
1-4
œ œ
I’ve got a feel -
### K
GURGLE:
K Œ K Œ Œ ‰ ¿
6
& œ œ. œ œ. œ œ œ œ
- in’ we’ve found a way. You
### 3 3 3 3
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
9
&
said this be - fore and we al - most got squished by a…
### K
39
PEACH:
¿ K K Œ
11
& nœ œ œ œ œ œ. œ œ
Hey! We don’t need a re - play.
GILL:
SC R IP T
NOTES

###
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
9
&
said this be - fore and we al - most got squished by a…
S C R IP T
### K
PEACH:
¿ K K Œ
11
& nœ œ œ œ œ œ. œ œ
Hey! We don’t need a re - play.
### GILL:
Œ K Œ
13 (to NEMO)
& œ œ œ œ œ œ. œ
This time is diff - ‘rent, ‘cause
###
œ ˙ Œ œ
15
& œ œ œ
now we’ve got you! We’ll
###
œ ‰ K
17
all get out if we can swim the
### Ó
19
& œ œ œ w
œ ˙
way we al - ways do: To -
### K
œ. Œ œ œ œ K
22
& œ ˙ œ. œ ˙
geth - er, we swim to - geth - er.
### Œ K K
25
& œ œ œ œ œ œ
œ œ œ
Co - op - er - a - tion is the se -
###
BUBBLES: Bubbles? (How so?)
K K Œ Ó Ó
27
& œ œ œ œ œ œ ˙
- cret to our suc - cess. We
BLOAT:
### K K (chiming in proudly)
œ œ œ œ œ œ œ Œ œ
30
& œ
swim in har - mo - ny.
40 We’re a
### œ K
GILL, BLOAT:
œ œ œ œ œ œ Œ œ
| B91
32
& œ
ì
SC R IP T
NOTES
ACTING TIP
This is the first time Nemo has met another fish
with a similar fin difference. Discuss the importance
of this moment with your cast and how this might
resonate with Nemo and Gill alike. (See the “Role
Model Reflections” Rehearsal Exercise on p. D13 for
discussion prompts.) In this moment, Gill connects
with and encourages Nemo to find strength within.
Have your cast compare this moment to Nemo’s
interaction with Marlin earlier in the play.

###
BUBBLES: Bubbles? (How so?)
K K Œ Ó Ó
27
- cret to our suc - cess. We
S C R IP T
BLOAT:
### K K Œ
(chiming in proudly)
œ œ œ œ œ œ œ œ
30
& œ
swim in har - mo - ny. We’re a
### œ K
GILL, BLOAT:
œ œ œ œ œ œ Œ œ
32
& ì œ
fish - y fam - i - ly. And the
### K K
œ œ œ œ œ œ
34
& œ œ œ œ
co - ral reef will be our new ad -
GILL: So, how about it, kid?

NEMO: I don’t swim well. I got a bad fin.
GILL: One bad fin never stopped me!
###
(GILL flashes a torn fin.)
8
œ Œ Ó ∑
36
&
38-45
dress!
# # # GILL: K Œ
46
& ˙ œ œ œ œ œ. œ
Good fins or bad fins, we
### Œ
GURGLE:
Œ
K ¿ ¿
48
& œ œ
œ. œ œ
bat - tle through. But the
### 3 3 3
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ
50
&
o - cean is sca - ry and dan - ger - ous, Gill!
### ‰ œK œ œ
GILL:
K Œ
52
& nœ œ œ. œ œ
Not when you’re with our crew.
41
### Œ BLOAT:
K Œ
54
& œ œ œ œ œ œ.
Music Theatre International • Broadway Junior® • Director’s Guide œ | B93
You’re one of us now, we’ve
SC R IP T
NOTES
CHOREOGRAPHY TIP
The music in this song lends itself nicely to a conga
line! The dance party can then end abruptly when
Gill surprises everyone with his outrageous plan.

### 3 3 3
Œ
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
50
&
o - cean is sca - ry and dan - ger - ous, Gill!
S C R IP T
### ‰ œK œ œ
GILL:
K Œ
52
& nœ œ œ. œ œ
Not when you’re with our crew.
# # # ŒBLOAT: K Œ
54
& œ œ œ œ œ œ. œ
You’re one of us now. We've
###
PEACH:
œ ˙ Œ œ
56
& œ œ œ
all got your back! And
### ALL:
œ Œ
58
no fish will be left be - hind. We
###
Ó
60
& œ œ œ w
œ ˙
pad - dle as a pack. To -
### K Œ œ œ œ
œ. K
63
& œ ˙ œ œ œ œœ .. œœ ˙˙
geth - er, we swim to - geth - er!
### Ó K K
66
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ
œ œ
And to - geth - er we’ll get out - ta here as a
BLOAT:
### K œ œK
œœ Œ Ó Œ
69 (soulfully)
& œ œœ œ
œ œ œ
group! Oh, I be - lieve we can!
###
NEMO:
˙ Ó 42¿ ¿ ¿ ¿ ¿ ¿
72
&
Yeah, but what’s the plan?
| B95
### Ó
GILL:
‰ K K
74
&
SC R IP T
NOTES
ACTING TIP
It’s important for the audience to clearly hear Gill’s
dialogue so that they can understand the escape
plan. Be sure that Gill uses excellent diction and
projection as the complex scheme is described.
Incorporate diction and projection warm-ups into
your rehearsals each day so everyone has a chance
to practice these important skills.

### K œ œK
Œ Ó Œ
69 (soulfully)
& œœ œ œœ œ
œ œ œ
group! Oh, I be - lieve we can!
S C R IP T
###
NEMO:
˙ Ó ¿ ¿ ¿ ¿ ¿ ¿
72
&
Yeah, but what’s the plan?
### GILL:
Ó ‰ K K
74
& ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
We’re gon - na jam the fil - ter, and
###
ALL (except GILL):
Œ Ó ¿ Œ Ó
76
& ¿ ¿ ¿ ¿ ¿
fill this tank with poop! Huh?
GILL: (pointing to an offstage filter) Nemo is small enough to jam the

filter. The tank will get filthy and the staff will have to clean it!
ALL (except GILL): (relieved) Ohhhhh.
BLOAT: The whole "poop" thing threw me.
GILL: They’ll turn off the pump, we’ll remove the grate,
and swim through the intake pipe into the ocean!
### 4 7
& ∑ bbbb
79-82 84-90
b
GILL:
& b bb ¿ ¿ ¿ Ó ¿ ¿ ¿ Ó Ó ¿ ¿ ¿
91
Take the rock, jam the gears, fill the tank
b
& b bb Œ ¿ ¿ Œ ¿ ¿ ¿ Ó ¿ ¿ ¿ Ó
94
with poo! Yank the grate, swim the pipe
bbb Ó K K K
b ¿ ¿ ¿ ¿ ¿. ¿ Œ bbb
97
&
in - to the big ol’ blue!
43

SC R IP T
NOTES
CHOREOGRAPHY TIP
This chant is a great place to have an assembly line,
where each fish in the Tank passes on the rock to
the next.
MUSIC TIP
Bubbles and Peach are singing a different melodic
line at the same time as the rest of the Tank Gang
are singing the verse. Work with them individually
with the track to ensure that they are confident in
their part and then add in the rest of the singers.

S C R IP T
(As they chant, the TANK GANG passes the rock
GILL, NEMO, to NEMO and helps build up NEMO’s courage
b
BLOAT, GURGLE: to jam the filter.)
&bb ¿ ¿ ¿ Ó ¿ Ó
99
¿ ¿
Take the rock, jam the gears,
bb Ó P
BUBBLES, PEACH:
K
& b ˙ œ bœ œ bœ.
>
Whoa
b bb Ó Œ Œ
101
& ¿ ¿ ¿ ¿ ¿
fill the tank with poo!
b bb ^ Œ Ó ∑
& œ
o!
b bb
¿ Ó ¿ ¿ Ó
103
& ¿ ¿ ¿
Yank the grate, swim the pipe
b K
&bb Ó ˙ œ bœ œ bœ.
>
Whoa
b K K K
&bb Ó Œ
105
¿ ¿ ¿ ¿ ¿. ¿
in - to the big ol’ blue!
b
&bb w ˙ Ó
o!
44

SC R IP T
NOTES
BLOCKING TIP
The Tank Gang’s reactions are key to helping the
audience track Nemo’s successful jamming of the
filter! Choose various points offstage for the Tank
Gang to look at as if they are closely following
Nemo’s activity.

S C R IP T
b K K K
&bb ¿ ¿ ¥ Œ
107
¿ ¿ ¿. ¿
In - to the big ol’ blue!
b
&bb w w
Oh!
(Nemo takes the rock and swims offstage into the filter.
The TANK GANG watches.)
GILL: That’s it, kid! Now wedge the rock into the gears!
BLOAT: Come on, Nemo! You can do it!
PEACH: You’re so close!
GURGLE: Oh, I can’t look!
(NEMO swims back, out of breath but elated.)
NEMO: I did it, Gill! I actually jammed the filter!
(Everyone cheers!)
8 3
& bbb bb
109-116 117-119
b ALL:
œ. K
&b Ó Œ œœ
120
œ ˙ œœ œœ
˙
To - geth - er, we swim to -
bb K K
123
K Ó
GILL:
& œœ .. œœ ˙˙ œ œ œ œ œ
œ œ
geth - er! Lit - tle clown-fish, you’re our ti -
BUBBLES:
bb K K
Bubbles!! (Hooray!!) ALL:
Ó
126
& œ œ œ œ œ w ˙
- cket to break - ing free! And
45

SC R IP T
NOTES
SOUND CUE
Track #17 – WE SWIM TOGETHER (PLAYOFF)
Cue – Segue from #16 – We Swim Together.
SET TIP
This scene change should last no longer than the
provided underscoring. Consider how you might
intentionally choreograph the change, utilizing all
the actors or crew, dancing as they strike the tank.
LIGHTING TIP
A shift in lighting will quickly and clearly show
the transition from the bright aquarium tank
back to the darker open ocean.

S C R IP T
129
b K K
& b œœ œœ œœ œœ œœ œœ ˙˙ Ó
if we all join fins,
K
bb œ œ œœ œœ œœ œœ œœ Œ œ
131
& #œ œ œ
ì
ev - ‘ry bo - dy wins! And we’ll
b -̇ -̇
&b Œ ˙
133
-̇ œ- -̇ -̇
swim to - ge - ther in the
b 2
& b ˙-̇ ww ww
136
˙
-̇ 139-140
o - pen sea!
(#17 – WE SWIM TOGETHER – PLAYOFF. NEMO and the TANK

GANG exit.)
SCENE FIVE: JOURNEY THROUGH THE SEA

(Back in the open ocean. DORY enters gleefully. MARLIN follows in a
huff.)
MARLIN
I can’t believe we lost the mask!
DORY
The mask?
MARLIN
Yes, the diver’s mask! That mask was the only chance I had of finding
my kid!
DORY
Tivo?
46

SC R IP T
NOTES
SOUND CUE
Track #18 – JUST KEEP SWIMMING (PART 1)
Cue – MARLIN: Nemo! It’s Nemo! And I may never
see Nemo again!
ACTING TIP
This number should be a moment when we truly
see the difference in energy between Dory and
Marlin. Dory should be full of light, hope, and
longing, while Marlin grows snappier and more
frustrated…until he realizes he needs Dory’s help.
This should be reflected in the actors’ bodies as well
as their voices.

S C R IP T
MARLIN
Nemo! It’s Nemo! And I may never see Nemo again!
(#18 – JUST KEEP SWIMMING – PART 1.)
JUST KEEP SWIMMING

18
(PART
Just Keep Swimming
1) (Part 1)
bb 4
42
DORY:
b
& bb 4 ∑ œ œ œ œ œ-
1
œ
Hey, Mis - ter Grum - py Gills,
b
& b b b b 42 œ 44 œ
Œ œ œ œ œ 42
3
œ-
life’s full of lit - tle spills.
b
& b b b b 42 Œ 44 œ
5
Don’t throw your fins up in dis -
b bb n œ . œ .
& b bbb œ Œ Œ
7
œ- œ œ œ. œ œ
gust. Oh, what’s the use of floa - tin’ there,
b b
& œ œ. œ- œ
œ œ œ
not go - in’ a - ny - where?
b œ
&b œ 45
10
œ œ œ œ œ œ
Swish your tail and dive on in and
b
& b 45 œ Œ" 44
11
œ.
47 œ. œ.
trust… that… if… you…

SC R IP T
NOTES
CHOREOGRAPHY TIP
Use the ideas provided in the Choreography Video
for this song as a guide. This number can be as
simple or as complex as best suits your cast as you
explore the different ways the characters can swim
throughout the space. Just make sure the audience
can clearly see the key plot points unfold.
MUSIC TIP
Have fun with the surprise addition of the chorus
in this energetic musical entrance!

b œ
&b œ 45
10
œ œ œ œ œ œ
Swish your tail and dive on in and
S C R IP T
11
b b 5 Œ" 44
& 4œ œ. œ. œ.
trust… that… if… you…
b
& b 44 œ œ Œ œ œ Œ
12
œ nœ œ nœ
Just keep swim - ming, just keep swim - ming,
b ˙.
MARLIN: Ugh!
&b bœ œ œ Œ
14
bœ œ
life is - n’t all that grim!
b
&b œ œ Œ œ œ Œ
16
œ nœ œ nœ
Just keep swim - ming, just keep swim - ming,
(DORY’s cheery tune attracts other SEA
bb
(DORY): CHORUS creatures that begin to enter.)
Œ Ó ¿ Œ b
18
& œ œ œ œ
what do we do? Right!
b MARLIN:
‰ ì¿
&b Ó Œ ¿ Œ Ó b
We swim?
f>
MARLIN: No singing… MARLIN: No singing, please…
K
&b œ œ œ œ œ ‰Œ œ œ œ œ œK ‰ Œ œ œ œ œ œ œ
20
La la la la la la la la la la la la la la la la
f>
Œ œ
SEA CHORUS:
&b ∑ ∑ Ó
la
48

SC R IP T
NOTES
CHOREOGRAPHY TIP
Explore how the Scuba Mask Dancer might float
on with the “current” created by the dancing Sea
Chorus. Use the Chorus to place the focus on the
mask by having them dance by and then clear
away from the space around it, isolating the mask
onstage.
LIGHTING TIP
In addition to using choreography to highlight
the mask, you might also track the mask using a
spotlight to draw the audience’s attention to it.

S C R IP T
MARLIN: Now that song is going to be stuck in my head!
(The SCUBA MASK DANCER dances across the stage with the
diver's mask. DORY follows the SCUBA MASK DANCER.
MARLIN continues swimming in the opposite direction,
3
not seeing what DORY is following.)
&b ˙ Ó bbbbb
23
> 24-26
la!
3
&b ˙ Ó bbbbb
>
la!
bb b bDORY:
bœ bœ œ œ bœ œ œ œ œ œ
27
& b
bœ œ
Look, there's a shi - ny thing! Hey, that looks in - t’res-ting!
(DORY continues to follow

the SCUBA MASK DANCER. (DORY):
b bb
& b bbb
MARLIN continues to swim in his direction.) (reading the mask)
∑ Ó Œ
29
œ œ
It says:
b bb
& b bbb œ
MARLIN:
œ Œ Ó
œ œ œ œ œ œ
Please, Do - ry, try to stay on task!
bb
(DORY):
31
& nœ œ nœ œ œ œ œ œ œ œ œ
œ
“P. Sher - man, for - ty - two Wal - la - by Way, Syd - ney.”
49

SC R IP T
NOTES
ACTING TIP
Marlin is not making fun of Dory. He is incredibly
impressed by Dory, as he has never met a fish
who can read! Work with Marlin to showcase this
genuine reaction and how this moment builds
more trust between them.

S C R IP T
(MARLIN stops in his tracks and (The SCUBA MASK DANCER
turns toward DORY and the mask.) exits with the mask.)
MARLIN:
b ¿ ¿
&b Œ Œ
33
¿ ¿ ¿ ¿ #¿ ¿ ¿
Do - ry, you can read? Wait, that’s the mask!
bb DORY:
& ¿ ¿ ¿ b¿ Œ ∑
35
Yay! I can read!
bb ∑ ¿ ¿ ¿ ¿ ‰ ¿
MARLIN:
& ì
Yeah, but now what? We
b Ó ¿ ¿ ¿ ¿
&b Œ ¿ ¿ Œ
37
So we fol - low our gut!
b ¿ ¿ ¿ b¿ ¿ Œ ¿
&b ¿ Ó Œ
don’t know how to get there! But…
bb (DORY): œ
œ Œ œ œ Œ
39
& nœ nœ
œ œ
Just keep swim - ming, just keep swim - ming.
bb SEA CHORUS:
œ nœ
&
œ œ Œ œ
œ nœ œ Œ
Just keep swim - ming, just keep swim - ming.
50

SC R IP T
NOTES

S C R IP T
bb œ
(DORY):
bœ œ bœ œ œ Œ ¿ Œ
41
& œ
Ev’ - ry - thing will be o - kay! See?
DORY,
b
SEA CHORUS:
&b œ œ Œ œ
43
nœ nœ œ
œ œ
Just keep swim - ming, move your tail and
b œ
&b ˙ Œ
45
œ œ bœ œ œ œ
sure e - nough you’ll find your way! Oh,
b
&b ˙ Œ œ
47
œ œ œ œ
some - times things look bad. Then,
b K
&b ‰
49
œ œ œ œ œ
poof! The mo - ment is
50
bb (DORY):
˙ Œ œ œ œ œ œ ‰ œK
&
gone! And what do we do? We
bb ‰ œK
MARLIN:
& ∑ Ó Œ
We
b ˙ œ œ œ œœ œœ ‰ œK
(SEA CHORUS):
&b Œ œ œ
œ
gone! And what do we do? We
51

SC R IP T
NOTES

S C R IP T
b œ œ œ
&b œ w ˙ Œ ¿
52
just keep swim - ming on! To
b
&b œ œ œ œ
Ó
w ˙
just keep swim - ming on!
b œ œ œ
&b œ œ œ
w ˙ Ó
œ w ˙
just keep swim - ming on!
b
(DORY):
&b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
55
P. Sher - man, for - ty - two Wal - la - by Way, Syd - ney!
2
DORY: I remembered what it said!
& bb ¿ ¿ ¿ ¿ ¿ ¿
57-58
P. Sher - man, for - ty - two
MARLIN: Wait! Where is that?

DORY: I don’t know. But who cares?
2
I remembered it again!
b
&b ¿ ¿ ¿ ¿ ¿ ¿
60
61-62
Wal - la - by Way, Syd - ney!
b ¿
&b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
63
52

SC R IP T
NOTES
CHOREOGRAPHY TIP
Everyone on stage should get carried away as they
repeat the address. Allow the choreography to shift
from set movements to a big freestyle dance party
that is then interrupted by Marlin.
COSTUME TIP
Be sure to consider the size of your cast when
determining who will come on as Moonfish in the
next moment of the scene. For a small cast, you
may choose to have the Sea Chorus that sang “Just
Keep Swimming (Part 1)” double as Moonfish by
quickly adding an element to their costumes, or by
having them dressed as Moonfish from the start.
For a larger cast, you might designate other actors
to enter as the Moonfish. For more costume ideas,
see p. E10.

S C R IP T
b
(DORY):
&b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
65
b
SEA CHORUS:
&b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
(SEA CHORUS and DORY dance.

MARLIN tries and fails to get DORY’s
attention. He becomes frustrated.) MARLIN: Stop!!!
b ¿
&b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
67
b ¿
&b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
(The SEA CHORUS scatters and exits.)
(MARLIN)
Look, Dory, I think I’ve got it from here.
DORY
Huh?
MARLIN
I’d like to carry on alone.
DORY
You mean, you don’t want me to come with you?
(DORY begins to cry.)
MARLIN
Come on, don’t cry. Think of it as a favor. You’re off the hook.
53

SC R IP T
NOTES
BLOCKING TIP
Stage the Moonfish together in a tight clump
facing Dory so that when Marlin addresses them
we can clearly see that he is being ignored and
that their full attention is on Dory.
SOUND CUE
Track #19 – JUST KEEP SWIMMING (PART 2)
Cue – DORY: Any of you heard of P. Sherman 42
Wallaby Way Sydney?
MOONFISH: Sydney?!
BLOCKING TIP
Use the actors’ bodies, puppets, or multi-use props
such as pool noodles to create the iconic shape
of the Sydney Opera House and other shapes. As
a fun warm-up game, have your entire ensemble
create other shapes and items using only their
bodies. Increase the difficulty by attempting it
silently, or even competing in teams to see who
can create the shape first!

S C R IP T
(A school of MOONFISH enters and addresses DORY.)
MOONFISH 1
Excuse me, are you all right?
DORY
I don’t remember.
MARLIN
Hi there! Could you tell me how I can get to P. Sherman forty—
(The MOONFISH ignore MARLIN.)
MOONFISH 2
(to DORY)
Are you lost, ma’am?
DORY
Lost!! Oooh! I remember! He lost his kid, Fabio.
MARLIN
Nemo!
DORY
Any of you heard of P. Sherman 42 Wallaby Way Sydney?
MOONFISH
Sydney?!
(#19 – JUST KEEP SWIMMING – PART 2.)
JUST KEEP SWIMMING

(PART 2) 19
Just Keep Swimming (Part 2)
(The MOONFISH create the
ƒ
(MOONFISH): shape of the Sydney Opera House.)
# 4 www #### 4
∑ 42 ∑
1
& 4 4
Ahhhhh!
MOONFISH 3: What you wanna do is follow the E.A.C.!

That stands for East Australian Current.
(The MOONFISH create the shape of a flowing current.)
54
MOONFISH 4: It’s a big current. You can’t miss it! It’s in that direction!
(The MOONFISH make the shape of an arrow.)
MOONFISH 5: And that little baby is gonna float you right past Sydney!
#### 4 4 # 3 | B119
& 4
4-7 8-10
SC R IP T
NOTES

# 4 ƒ #### 4
www
∑ 42 ∑
1
& 4 4
Ahhhhh!
S C R IP T
MOONFISH 3: What you wanna do is follow the E.A.C.!
That stands for East Australian Current.
(The MOONFISH create the shape of a flowing current.)
MOONFISH 4: It’s a big current. You can’t miss it! It’s in that direction!
(The MOONFISH make the shape of an arrow.)
MOONFISH 5: And that little baby is gonna float you right past Sydney!
#### 4 4 # 3
& 4
4-7 8-10
#
MOONFISH GROUP 1:
& Ó Œ œ nœ
11
œ œ œ œ
It’s a big blue world out
#
MOONFISH GROUP 2:
& Ó Œ œ œ œ œ œ œ
It’s a big blue world out
# Œ œ œ
13
& ˙ œ œ œ œ
there that can make a fish feel
# b˙ Œ œ œ œ œ
& œ œ
there that can make a fish feel
#
˙ Œ œ œ œ œ œ ‰ K
15
& œ œ
small. But when friends point the way, it’s
# #˙ Œ œ nœ œ œ œ œ ‰ K
& œ
# œ œ
œ
17
& œ
55
not so big at
# œ œ
& œ
œ
not so big at
SC R IP T
NOTES
LIGHTING TIP
Rather than physically creating the trench, use
darker lighting to signify that Marlin and Dory have
swum into dangerous territory.
CHOREOGRAPHY TIP
If you do choose to physically create the trench,
have members of your Sea Chorus hold long strips
of silk to create the trench. This can also act as a
cover for the entrance of the Jellyfish, who can rise
up from behind the trench fabric. Refer to p. E3 for
more set ideas.

# #˙ Œ œ nœ œ œ œ œ ‰ K
& œ
S C R IP T
# œ œ œ
17
& œ
not so big at
# œ
& œ œ
œ
not so big at
# Œ MARLIN:
K K
‰ ∑
18
& ¿ ¿ ¿.
To Syd - ney!
# (MOONFISH GROUP 1):

www
& ˙ Ó
all! Ahhhhh!
# www
˙ Ó
(MOONFISH GROUP 2):
&
all! Ahhhhh!
(MARLIN begins to swim away toward the direction of the current.

The MOONFISH get DORY’s attention.)
MOONFISH 6: Oh, hey, ma’am, one more thing. When you come
to this trench, swim through it, not over it!
5
DORY: Through it, not over it. Got it!
#
& bbbbb
20-24
MARLIN:
b
& b bbb bœ
25
bœ œ œ œ
œ œ
I don’t like this trench one bit.
b bbb œ œ
26
& b œ œ œ
56 œ
We’re swim - ming o - ver it.
bbbb
DORY:
27 Music Theatre International • Broadway Junior® • Director’s Guide | B123
& b œ œ œ œ œ œ
œ œ
SC R IP T
NOTES

MARLIN:
25
b bbb bœ
& b bœ œ œ œ
œ œ
I don’t like this trench one bit.
S C R IP T
b
& b bbb œ œ
26
œ œ œ œ
We’re swim - ming o - ver it.
bbb
DORY:
b
27
& b œ œ œ œ œ œ œ œ
Some - thing’s tel - ling me we should swim
bbbb bb
(DORY):
Œ Ó ∑
28
& b œ
through.
bbbb bb n œ
MARLIN:
& b Ó Œ œ œ nœ œ œ œ
Oh, why do I waste my breath?
(MARLIN):
30
b b
& œ œ œ œ
œ œ œ
That way leads to cer - tain death.
DORY:
b ¿
&b ¿
31
¿ ¿ ¿ ¿ ¿ ¿
Come on part - ner, trust me on this,
b
(DORY):
&b ‰ ¿ Œ ∑
32
¿ #¿ ¿
it’s what friends do…
b Ó ‰ ¿K ¿ ‰ ¿K ¿
MARLIN:
&b Œ ‰ ¿
ì
O - kay, I guess, if
34
b b ∑
57
Ó Œ b¿
&
Where?
bb ¿ ‰ ¿ ¿ ¿ ¿ b¿ ¿ Œ
SC R IP T
NOTES
PROP TIP
Actors holding umbrellas with ribbons attached
can make a great swarm of Jellyfish! Use a small
umbrella for the baby Jellyfish and larger ones for
the rest of the swarm. See p. E10 for more ideas on
how to construct your Jellyfish costumes.

&b Ó Œ ‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿
ì
O - kay, I guess, if
b b¿
&b ∑ Ó Œ
34
S C R IP T
Where?
b ¿ b¿ ¿ Œ
&b ¿ ¿ ¿ ‰ ¿
ì
¿ ¿
you say so… Hey look! Some - thing shi - ny!
(MARLIN and DORY begin to swim over the trench. DORY

continues singing; MARLIN occasionally joins in under his breath.)
b Œ ‰ ¿K ¿ b œ œ œ œ œK ‰ Œ
&b Œ
36
Let’s go! La la la la la
b ¿ ¿ ¿ ¿
&b Ó b Ó ‰
œ œ
œ
3
O - ver the trench! la la la
(A baby JELLYFISH stings DORY.)
K >
42 X 44
&b œ œ œ œ œ ‰ Œ ¿
38
¿ ¿ ¿
> > > >
la la la la la ow ow ow ow owww!!
42 44
&b Ó ‰ œ ∑ ∑
œœ
la la la
MARLIN: Dory! That’s a jellyfish! You’ll be okay. Let’s be thankful it

was just a little one!
(MARLIN turns and gasps, noticing more JELLYFISH. Over the next few lines,
more and more JELLYFISH of all sizes appear.)
(MARLIN): Uh oh…
DORY: (beginning to panic) I don’t think these squishy things like me!
MARLIN: (thinking fast to distract DORY) Dory, I have an idea: a game!
DORY: A game? I like games!
MARLIN: First one out of the jellyfish without touching the tentacles wins.
Ready, set, go!
(MARLIN and DORY weave in and out of the JELLYFISH, avoiding the tentacles.
Music builds as they race.)
DORY: Better move fast if you wanna win!
4 # # # # 58 14 2
& b 44
41-44 45-58 59-60

SC R IP T
NOTES
CHOREOGRAPHY TIP
You can have the Jellyfish remain stationary or
choreograph an intricate combination for them as
a feature for your more advanced dancers.

424 444
&&b b Ó Ó ‰‰
œ œœ œ ∑∑ ∑∑
œ
œ la la la
la la la
S C R IP T
MARLIN:
MARLIN: Dory!
Dory! That’s
That’s a jellyfish!
a jellyfish! You’ll
You’ll bebe okay.
okay. Let’s
Let’s bebe thankful
thankful it it
was
was just
just a little
a little one!
one!
(MARLIN
(MARLIN turns
turns and
and gasps,
gasps, noticing
noticing more
more JELLYFISH.
JELLYFISH. Over
Over thethe next
next few
few lines,
lines,
more and more JELLYFISH of all
more and more JELLYFISH of all sizes appear.) sizes appear.)
(MARLIN):
(MARLIN): Uh Uh oh…
oh…
DORY:
DORY: (beginning toto
(beginning panic)
panic) I don’t
I don’t think
think these
these squishy
squishy things
things like
like me!
me!
MARLIN: (thinking fast to distract DORY) Dory, I have
MARLIN: (thinking fast to distract DORY) Dory, I have an idea: a game! an idea: a game!
DORY:
DORY: AA game?
game? I like
I like games!
games!
MARLIN:
MARLIN: First one out ofof
First one out the
the jellyfish
jellyfish without
without touching
touching thethe tentacles
tentacles wins.
wins.
Ready, set,
Ready, set, go!go!
(MARLIN
(MARLIN andand DORY
DORY weave
weave ininandand out
out of of
thethe JELLYFISH,
JELLYFISH, avoiding
avoiding thethe tentacles.
tentacles.
Music builds as they
Music builds as they race.)race.)
DORY:
DORY: Better
Better move
move fast
fast if if
youyou wanna
wanna win!
win!
4 44 # ## # # 1414 22
&&b b444 # ##
# # # # DORY:
41-44
41-44 45-58
45-58 59-60
59-60
& # DORY: œ œ œ œ ˙. Œ
61
## # œ œ
˙. Œ
61
& œ œ
œ - ming…
œ
Just keep swim
# # # # Just keep swim - ming…

∑ œ œ Œ
MARLIN:
& # œ
## # MARLIN:œ
∑
&
œ œ
Just keep swim œ Œ
œ - ming…
####
JELLYFISH GROUP 1:
œ
& # JELLYFISH GROUP œ 1:œ œ ˙.
Just keep swim - ming…
Œ
# œ œ
& # # Just keep œ œ œ ˙. Œ
œ
swim - ming…
# # # # Just keep JELLYFISH

∑ œ œ Œ
GROUP 2:
& #
swim - ming…
## # œ œ
∑ Œ
JELLYFISH GROUP 2:
& œ - ming…
œ œ œ
Just keep swim
# # # # (DORY):
˙. Œ
63
& # (DORY): œ œ
## # œ œ œ
˙. Œ
63
& œ
Life œ - n’tœ
is œ
al - œ
ways grim!
# # # # (MARLIN): Œ
Life is - n’t al - ways grim!
& # (MARLIN): nœ œ ˙.
## # n œ œ œ
Œ
& nœ
Life
œ œ
is - n’t
nalœ -
œ
ways ˙.
grim!
Life is - n’t al - ways grim!

59

SC R IP T
NOTES

S C R IP T
#### (DORY):
œ Œ
˙.
65
& œ œ œ
œ
#### (MARLIN):
∑
&
œ œ œ œ Œ
Just keep swim - ming!
#### JELLYFISH GROUP 1:

œ Œ
& œ œ œ ˙.
œ
####
∑ œ Œ
JELLYFISH GROUP 2:
& œ œ
œ
#### Í #
œ œ œ œ ‰ K Œ
67
& œ ˙.
What do we do? We swim!
#### Í #
& œ œ œ œ ‰ œK ˙ . Œ
Í
What do we do? We swim!
#### #
& Ó Œ ‰ œK ˙ . Œ
Í
We swim!
#### #
& Ó Œ ‰ œK ˙ . Œ
We swim!
60

SC R IP T
NOTES

S C R IP T
# œ œ œ œ ˙. Œ
69
& œ
# ∑
& œ œ œ œ Œ
# œ
& œ œ œ ˙. Œ
œ
#
& ∑ œ œ œ Œ
œ
#(DORY): œ œ œ œ
œ œ œ Œ
71
& œ œ œ œ
This fish was built for speed!
# (DORY): œ œ œ œ
73
& œ
# JELLYFISH GROUP
œ
1:
œ œ
& œ œ
61

SC R IP T
NOTES
CHOREOGRAPHY TIP
Carefully time the Jellyfish “zap” to the sound effect
on the Performance Accompaniment Track. Listen
to this moment first as a full ensemble so everyone
can hear where this moment falls, then run it in
time with the music.

S C R IP T
# (DORY):
& ˙. Œ
74
# MARLIN:
‰ ¿ ¿
& œ œ œ
œ
Just keep swim - ming… And the
# (JELLYFISH GROUP 1):
& ˙. Œ
# JELLYFISH GROUP 2:
Œ
& œ œ œ
œ
# ¿ ¿ ####
(MARLIN):
¿ ¿ ¿ ¿
75
&
clown - fish takes the lead!
(As MARLIN pulls ahead in the race, DORY darts behind a JELLYFISH.
There is a loud electrical zap as the JELLYFISH stings her.
MARLIN goes back to find DORY.)
MARLIN: Dory! Dory! Oh, no.
(DORY is tangled in the tentacles of a big JELLYFISH. She's fading.)
DORY: (weakly) Am I disqualified?
MARLIN: No… You’re actually winning… But you have to listen to me…
#### 2 4
&
76-77 78-81
# # # # MARLIN: Œ
82
& ˙ œ
œ œ œ œ
Some - times things look bad. Then,
#### 62
‰ Œ
84
& K ˙ œ
œ œ œ œ œ
poof! TheTheatre
Music mo - ment is • Broadway
International gone…Junior® • Director’s
And Guide | B135
86 DORY:
SC R IP T
NOTES
ACTING TIP
Dory is physically weak because of her injury, so
she will need Marlin’s help to stand up and walk
offstage. Encourage your actors to stay in character
as they exit until they are fully offstage.
SOUND CUE
Cue – Segue from #19 – Just Keep Swimming (Part
2).
COSTUME TIP
The actors playing Jellyfish cannot be double cast
as Seagulls. Use this moment to feature other
actors in your cast so your Jellyfish have time to get
in and out of their costumes.
LIGHTING TIP
If you choose to stage this scene in the audience,
be sure that it is clearly lit. Utilize a spotlight to
track the Vacationer as they move through the
house.

### ### MARLIN: ŒŒ
#
& # œ
82
&
MARLIN:
˙˙ œœ
82
œ œœ œœ œœ
S C R IP T
### ###
‰‰ ŒŒ
& ##
84
& K ˙˙ œœ
84
œœ œœK œœ œœ œœ
poof! The mo - ment is gone… And
poof! The mo - ment is gone… And
### ### Ó DORY:

ŒŒ ‰‰ K œœ
& ## Ó
86
& œœ
DORY:
œœ
86
œœK œœ
We just keep swim - ming…
We just keep swim - ming…
### ### (MARLIN): ŒŒ ∑∑
#
(MARLIN):
& # œœ œœ œœ œœ
&
what do we do?
what do we do?
(JELLYFISH take over the stage, obscuring MARLIN and DORY.)

(JELLYFISHStay
MARLIN: takewith
over me,
the stage,
Dory!obscuring MARLIN and DORY.)
MARLIN: Stay with me, Dory!
(Sounds of jellyfish zaps as MARLIN, DORY, and JELLYFISH exit.)
### ###
(Sounds of jellyfish zaps as MARLIN, DORY, and JELLYFISH exit.)
∑∑
& ##
88
&
88
SCENE SIX: BOARDWALK (PART 2)

(#20 – SEAGULLS 2. The following scenelet should be performed
during the scene change from the jellyfish to the aquarium tank. The
Sydney Harbour VACATIONER enters with another snack and surveys
the area for SEAGULLS. The coast seems clear and the VACATIONER
is relieved. In the middle of the first bite, there is a familiar sound.)
SEAGULLS
Mine! Mine! Mine! Mine! Mine! Mine! etc.
(Suddenly, the SEAGULLS swarm the VACATIONER and fly off with
the food. The VACATIONER exits, hungry and annoyed.)
63

SC R IP T
NOTES
SOUND CUE
Track #21 – MORNING IN THE TANK
ACTING TIP
Work with the actor playing Peach to
enthusiastically take stock of the tank so that they
can make a dramatic shift in tone when they realize
the pump is off and their plan worked!
SOUND CUE
Track #22 – IT’S GO TIME!
Cue – PEACH: (yawning and stretching) Good
morning, everyone! The sun is shining, the tank is
filthy, the pump is off—
(gasps) The pump is off?! Gill! Wake up!
LIGHTING TIP
To give the impression of a dirty tank, consider
incorporating more green into your lighting. You
might even add speckled patterned gobos (a small
stencil used in lights to project a pattern onto the
stage) to signify the floating muck.

S C R IP T
SCENE SEVEN: THE PUMP IS OFF
(#21 – MORNING IN THE TANK. The TANK GANG is sleeping.
PEACH is the first to wake up.)
PEACH
(yawning and stretching)
Good morning, everyone! The sun is shining, the tank is filthy, the pump
is off—
(gasps)
The pump is off?! Gill! Wake up!
(#22 – IT’S GO TIME!.)
BUBBLES
Bubbles?! (What’s happening?!)
PEACH
The pump! The staff turned it off! It’s go time!
GILL
Okay, gang, they’re getting ready to clean the tank, just like we planned.
GURGLE
Thank goodness! It’s filthy in here!
BLOAT
I’ll say! Way to poop, team!
GILL
We need to act fast before they scoop us out. Peach, you keep an eye out
for any nets.
PEACH
Roger that!
GILL
The rest of you, help me remove the grate from the intake pipe.
(BLOAT, GILL, NEMO, BUBBLES, and GURGLE head to the grate

and try to remove it. They pull on all sides, but the grate won’t come
off.)
BLOAT
It won’t budge!
64

SC R IP T
NOTES
SOUND CUE
Track #23 – NOT MY DAD
Cue – GURGLE: I bet your mom and dad are worried
sick about you, Nemo.
BUBBLES: Bubbles. (I agree.)
ACTING TIP
Rehearse this song as a spoken monologue with
no underscoring before having your actor sing it.
This will encourage your actor to discover and more
fully embody the emotional state of Nemo in this
scene.

S C R IP T
NEMO
Gill! What do we do?
GILL
We’re getting you out of here, Nemo. Let me think.
PEACH
It’s all right, little one. We’ll figure this out.
BLOAT
This is just a small setback. Don’t worry.
NEMO
(nervous and frightened)
It’s just… even if I do get back to the ocean, I’m still so far from home. I
don’t know how to get there, and even if I did, what if… What if my dad
doesn’t want me to come back?
GURGLE
I bet your mom and dad are worried sick about you, Nemo.
BUBBLES
Bubbles. (I agree.)
(#23 – NOT MY DAD.)
Not MY
NOT My Dad
DAD 23
NEMO: I don't have a mom. She died before I hatched.
4
PEACH: Well, your dad then! I bet he’s on his way here right now.
& 44
1-4
K
NEMO:
& œ. œ œ œ œ ‰ œ Œ
5
œ œ. œ œ œ œ
Not my dad. He's not brave e - nough.
‰ K
7
& œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ
He’s a - fraid of whales and sharks and stuff. He’s
65K
& œ. œ œ œ œ œ. ‰ œ œ ‰ ìœ
9
œ œ. œ œ
pro - b’ly an Music
- gryTheatre International
‘cause I• Broadway
was Junior® I’m | B141
bad. • Director’s Guide
11
SC R IP T
NOTES
SOUND CUE
Track #24 – TRANSITION TO TURTLES
Cue – Segue from #23 – Not My Dad.
SOUND CUE
Track #25 – GO WITH THE FLOW
Cue – Segue from #24 – Transition to Turtles.
CHOREOGRAPHY TIP
Watch the “Go With the Flow” Choreography Video
for a simple but energetic approach to staging this
sequence.
BLOCKING TIP
Have the other Sea Turtles crowd around Marlin to
conceal him from the audience before revealing
him asleep on the sea floor.
COSTUME TIP
Refer to p. E12 for tips on how to create your Sea
Turtle costumes. Be sure to distinguish Crush’s
costume in some way, such as using a differently
patterned shirt or a bright accessory, to signify that
Crush is the lead turtle.

‰ K
7
& œ œ œ œ œ œ
œ. œ œ. œ œ œ œ œ
He’s a - fraid of whales and sharks and stuff. He’s
S C R IP T
K œ œ ‰ œì
& œ. œ œ œ œ œ. ‰ œ
9
œ . œ œ
pro - b’ly an - gry ‘cause I was bad. I’m
˙
& œ. bœ œ œ bœ Œ ˙ ˙ Ó
11
œ
sure that he’s not co - ming… Not my dad.
(#24 – TRANSITION TO TURTLES. NEMO and the TANK GANG

exit.)
SCENE EIGHT: GO WITH THE FLOW
(#25 – GO WITH THE FLOW.)
GO WITH THE
Go With the FLOW
Flow 25
(A large colony of SEA TURTLES is moving quickly through the East
Australian Current. MARLIN is asleep. CRUSH, a large sea turtle, wakes him.)
## 4 SEA TURTLES:
˙˙˙ ~~~~~~~~~~~~ ˙˙ œœœ œœœ
∑ Ó
1
& 4 ~~~~~~~~~ ˙
Dude… Fo - cus,
#
& # ˙˙˙ ... Œ www
4
Dude… Dude…
CRUSH: Dude???
MARLIN: (woozy) Oooooh.
CRUSH: He lives!
MARLIN: What happened?
CRUSH: You took on the jellies, mini-man. Ya saved little blue!
MARLIN: Little blue?! Dory! Is she okay?
(DORY enters cheerfully with the SEA TURTLE KIDS.)
## 7
& 66
6-12
#
DORY: Music Theatre International • Broadway Junior® • Director’s Guide | B143
& # ¿
13
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
SC R IP T
NOTES
ACTING TIP
Encourage your actor playing Crush to tap into their
mellow side and lead with a calm and collected
coolness while still being able to let loose and
infuse “Go With the Flow” with incredible energy.

& # ˙˙ .. Œ ww
& ˙˙ . ww
Dude… Dude…
Dude… Dude…
CRUSH: Dude???
CRUSH:
MARLIN:Dude???
(woozy) Oooooh.
S C R IP T
MARLIN:
CRUSH: He(woozy)
lives! Oooooh.
CRUSH: He
MARLIN: Whatlives!
happened?
MARLIN: What
CRUSH: You took happened?
on the jellies, mini-man. Ya saved little blue!
CRUSH: You took on the
MARLIN: Little blue?! jellies,
Dory! mini-man.
Is she okay? Ya saved little blue!
MARLIN:
(DORY enters cheerfully with the SEA okay?
Little blue?! Dory! Is she TURTLE KIDS.)
## 7
(DORY enters cheerfully with the SEA TURTLE KIDS.)
7
& ##
& 6-12
6-12
# #DORY:
DORY:
#
13
& # ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
13
& ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
##
SEA TURTLE KIDS:
& ## ¿
15 SEA TURTLE KIDS:
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
15
& ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
DORY: Right! Hi, Crush!
(SEA TURTLE KIDS giggle. DORY and KIDS join the other SEA TURTLES.)
MARLIN: (swimming frantically in circles) Dory, wait! We have to get to
the East Australian Current!
CRUSH: You‘re riding it, Jellyman!
## 4 #
Ó. ‰ K
CRUSH:
& œ
17-20
Dude,
# Ó Œ K K Ó
22
& œœœ œ œ œ œ œ œœœ

you have tra - veled far.
# Ó Œ ‰ K K K
25
& œ œ œ œ œ œ
You must be swim - min‘ un
# K
K Ó
27
& œ œ œK œ n œ œ œ œ
œ . n œ ˙
der a luc - ky star.
#
œ 67œ œ . œK
30
& œ œ n˙
œ œ œ œ
You‘re ex - act - ly where you‘re meant to be,
| B145
#
Œ ‰ K œ bœ œ œ
33
&
SC R IP T
NOTES
PROP TIP
Consider utilizing blue flowing silks (fabric) to
create the EAC.
CHOREOGRAPHY TIP
Explore movement that compliments the 1960s
surf rock style of music in this song. From the swim
to the mash to the pony, you can incorporate
dances from the era that this music is inspired by.

## KK ÓÓ
& œœKK œœ œKK œœ nn œœ œœ
27
& œœ .. n œ œœ œœ
n œ ˙˙
27
œ
##
S C R IP T
œœ œœ .. œœKK
30
&
& œ œ œœ œœ œœ œœ œ nn ˙˙
30
œ
œ œ
## Œ ‰ bœ œ
& œœ œ œ Œ ‰ œKK b œ œ œœ nn œœ œœ b œ œœ œ
33
&
33
œœ œ
b œ some
œ grab
so shell and surf the E. A.
so grab some shell and surf the E. A.
(CRUSH and MARLIN hit a fast-moving part of the current.
(CRUSH
Groups of and
SEAMARLIN hitjoin
TURTLES a fast-moving
them as thepart of the
chorus current.
progresses.)
##
Groups of SEA TURTLES join them as the chorus progresses.)
3
˙˙ bb ww ÓÓ bb œœ œœ œ bb
36
&
& ˙˙
36 3
œ
C. with me! Go with the
C. with me! Go with the
K
& b œ. œ œ œ œ
39
œ œ. ì œ
flow!
(CRUSH):
K 3
&b œ œ Œ œ œ
41
œ œ
œ. œ
Go with the
DORY,
3
&b ∑ Ó œ
SEA TURTLES:
œ œ
Go with the
K
& b œ. œ œ œ œ
43
œ œ. ì œ
flow!
K K
& b œœ .. œœ œœ œœ œœ ..
œœ œœ œœ
flow!
K 68
&b œ œ œ Œ Ó
45
œ. œ
DORY,
SC R IP T
NOTES

& œ. œœ œœ œœ œ œ œœ
œœ ..
flow!
K
&b œ œ œ Œ Ó
S C R IP T
45
œ. œ
DORY,
SEA TURTLES GROUP 1:
K 3
& b œ .w œ œ œ œ
œ
Œ œ œ œ
Go with the
BREEZE:
& bb ŒŒ œ œ
47
œ œ œ œ œ
BREEZE:
œ bœ œ
47
& œ œ bœ œ œ œ
Don’t be a high - strung fel - low.
Don’t be
(DORY, a high - strung fel - low.
P
SEA TURTLES GROUP 1):
(DORY,
& bb Pw
& w b www
flow!
bw
flow!
P
& bb ∑ Ó
P 3
∑ Ó bœ œ œ
3
& bGo
œ œ the
with œ
Go with the
œ œ K
œK œ œ œKK ‰‰
KAI:
& bb ŒŒ œ
49
œ œ ìœ œ
KAI:
œ
49
& œ œ ì œ œ œ œ
Kick back and keep it mel - low.
Kick back and keep it mel - low.
& bb ÓÓ Œ
3
œ n œ œœ
3
˙. Œ
& n œ the
œ with ˙.
Go flow!
Go with the flow!
& bb w n˙.
Œ
Œ
& w n˙.
flow!
flow!
69

SC R IP T
NOTES

S C R IP T
CRUSH,
K
BREEZE, KAI: 3
& b œ. œ œ œ œ Œ œ œ
51
œ
Whoa whoa whoa… Go with the
K 3
& b œ. œ œ œ œ Œ œ œ œ
K 3
(DORY, SQUIRT, and SEA TURTLE KIDS approach
#
CRUSH and MARLIN. CRUSH introduces them.)
&b w Œ
53
˙.
flow!
#
&b w ˙. Œ
flow!
#
&b w ˙. Œ
flow!
70

SC R IP T
NOTES
ACTING TIP
Squirt should be the boldest and most energetic
turtle onstage. Play with how fast Squirt moves
compared to the other turtles to help this actor
stand out.
CHOREOGRAPHY TIP
Squirt is a great role to feature an actor with a
strong dance or gymnastics background. Squirt’s
trick could be as simple as a spin or as complex as
a cartwheel, launching them offstage. Find what
works best (and is safest) for your cast.

S C R IP T
CRUSH: Jellyman, offspring…
MARLIN: Hi.
CRUSH: Offspring, Jellyman…
SQUIRT: Jellies! Cool!
(SQUIRT does a spin in celebration.)
DORY: Hey, Squirt! Show ‘em your 360!
SQUIRT: Check this out! Whooooooaaaaaaa!
(SQUIRT flips out of the current, twirling offstage.)
MARLIN: (gasps) Your kid’s out of the current! Someone help!
8
(MARLIN moves to rescue SQUIRT, but CRUSH puts out a flipper to stop him.)
#
&
55-62
# CRUSH:
K
Œ K Ó
63
Kill the mo - tor, dude.
# ‰
K K Ó
65
& œ œ œ œ œ œ œ œ œ
Why don’t ya take it slow?
# ∑ Œ
67
& œ n œ
œ œ œ œ œ œ
Let us see how Squirt does fly - ing
(CRUSH, MARLIN, DORY, and

the SEA TURTLES watch SQUIRT’s trick.)
####
CRUSH, DORY,
# K ~ ~ ~
∑
SEA TURTLES:
~~ ~~~~ ~
70
& œ. nœ œ œ X ~~~
so - lo. Whoa…!
71

SC R IP T
NOTES
CHOREOGRAPHY TIP
Consider placement onstage for Kai and Breeze’s
solo moments. Ensure that these actors can be
clearly seen and heard, which may mean staging
them downstage near a microphone!

S C R IP T
(SQUIRT re-enters the current, twirling
back onstage. MARLIN is surprised.)
#### X Œ ¿
SQUIRT:
¿ ¿ ¿ Œ œ œ œ œ œœ œ Œ
73
&
Whoa! That was so cool! Did you see what I did?
76
#### ∑
CRUSH:
& ¿ ¿ ¿ ¿ ¿ ¿
You so to - tal - ly rock,
#### Œ ‰ œK K
œ œ œ œ œ œ K
78
& ¿ ¿ nœ
Squirt! You’re such an a - ma - zing kid.
(SQUIRT swims back to the other SEA TURTLES.

MARLIN and CRUSH watch SQUIRT leave.)
####
MARLIN: (having a deep moment) Children, huh?
KAI:
Ó Ó Œ
80
& œ œ œ œ
It’s
####
œ. K ‰
82
& œ œ K œ œ œ œ
œ œ
awe - some, they’re eggs on a beach, then
#### K œ Œ
(KAI): BREEZE:
œ ‰ œ ~~~ Ó. ‰ K
84
& œ
~ œ
coo - coo ca - choo… They
#### K
∑ œœ œœ ‰ œœ œœ ~~~~~~ Œ
DORY, SEA TURTLES:
&
coo - coo ca - choo…
72

SC R IP T
NOTES

S C R IP T
MARLIN: All
# # # # (BREEZE):
‰ œ œK œ œ œ
by themselves?
w
86
& œ œ
œ œ œ
find their own way back to the big ol’ blue.
#### Ó Œ œ ‰ œK œ
89 MARLIN:
& œ œ œ œ œ
œ œ
But, what if they’re not rea - dy? I mean
#### K #
(MARLIN):
KAI:
œ œ œ œ œ Œ Ó ‰ œ
92
& œ
how do you know? Well, you
#### DORY, SEA TURTLES:

K‰Œ #
& ∑ œ œ œ
œœ œ œœ œ œ ~~~~~~
How do you know?
# (KAI):
‰
BREEZE:
K
94
& œ œ K
œ œ œ œ œ œ œ œ œ
ne - ver real - ly know, but if they're
#
Ó
(BREEZE):
K
96
& œ œ K
œ œ œ œ œ œ
e - ver gon - na grow…
DORY,
#
∑ Ó Œ
SEA TURTLES:
&
œ œ
Then you've
73

SC R IP T
NOTES

S C R IP T
(DORY,
# Œ b œœ n œœ ww bbb
98 SEA TURTLES):
& b ˙˙
œ œ bœ nœ
got - ta let 'em go, ya know?
CRUSH: Totally
b
MARLIN: crushin' it, dude!
&bb Ó ¿ ¿ ¿ ¿ Œ Ó ∑
101
3
Go with the flow?

DORY,
b bb ∑
Œ œ
That's the on - ly way to do it.
(DORY,
b
&bb Œ œ œ œ ∑
104
œ
œ œ œ
Just give on o - ver to it.
bbb K K K
& ∑ ∑ ‰
œ œ œ œœ œ
Rip it, roll it, curl
74

SC R IP T
NOTES
CHOREOGRAPHY TIP
Create complementary choreography for these
differing musical sections. You can repeat the
previous movement for Group 2 and add new
choreography for Group 1. For a fun stage picture,
incorporate multiple moments of opposition to
make this number pop!

S C R IP T
CRUSH, MARLIN:
bbb
3
∑ ∑ Ó œ œ œ b
107
&
Go with the
(DORY,
bbb
3
∑ ∑ Ó œ œ œ b
&
Go with the
K
(SEA TURTLES GROUP 2):
b
&bb œœ ˙ Œ œ œ‰œ œœ œ
ì ì œœŒ Ó b
it… Ride it, slide it, swirl it!
K
& b œ. œ œ œ œ
110
œ œ. ì œ
flow!
K K
œœ œœ œœ
flow!
&b Œ œ œ œ œ œ œ œ œ
That’s the on - ly way to do it.
75

SC R IP T
NOTES

S C R IP T
K
&b œ œ Œ œ œ
112
3
œ œ
œ. œ
Go with the
K
&b œ œ Œ œ œ
3
œ .w œ œœ œ
Go with the
&b Œ œ œ œ œ œ œ
œ
Just give on o - ver to it.
K
& b œ. œ œ œ œ
114
œ œ. ì œ
flow!
K K
œœ œœ œœ
flow!
b K K K
& œ œ ‰ œ œ œ œ œ œ ˙ Œ
Rip it, roll it, curl it…
76

SC R IP T
NOTES
MUSIC TIP
Save time and have your full cast learn the final
section of this song. It is reprised in the Bows at the
end of the show!

S C R IP T
K
& b œ. œ œ œ Œ Ó
116
K
&b œ œ œ Œ œ œ œ
3
œ .w œ œ P
Go with the
& b œ œ ‰ ìœ œì œ œ
ì
œ œ Œ Ó
Ride it, slide it, swirl it!
K
CRUSH:
&b ‰ œ œ œ œ
118
œ bœ œ œ
When you’re rai - sin’ sons and daugh - ters,
&b w b ww
flow!
&b ∑ Ó
3
P bœ œ œ
Go with the
77

SC R IP T
NOTES

S C R IP T
K K œ œ K K
& b ‰ œK œ œ œ œ œ ‰
120
œ œ œ ì
it’s like sur - fin’ the migh - ty wa - ters.
&b Ó Œ
3
œ nœ œ ˙.
Go with the flow!
&b w n˙.
Œ
flow!
CRUSH,
K
MARLIN: 3
& b œ. œ œ Œ œ
122
œ œ œ œ
K 3
K 3
œ . b œK œ œ
ALL:
&b w Œ
124
˙. œ . œK œ œ
flow! Go with the flow!
78

SC R IP T
NOTES
SOUND CUE
Track #26 – GO WITH THE FLOW (PLAYOFF)
Cue – Segue from #25 – Go With the Flow.
ACTING TIP
Let your actor playing Marlin go big with the
delivery of “Cowabunga!” since this is the first time
we see Marlin enjoy himself.

S C R IP T
K
& b œœ .. K
128
b œœ œœ œœ b œœ .. œœ œœ œœ
Go with the flow!
K bœ œ œœ .. ˙˙
& b b œœ .. œœ œœ
130
œ œ ˙
ì
Baa Baa Baa Baa Baa
CRUSH:
Righteous! Righteous!
b ww CRUSH:
Œ Ó
132
& w ¿
Yeah!
(#26 – GO WITH THE FLOW – PLAYOFF. SEA TURTLES begin

to exit, still dancing. CRUSH points MARLIN and DORY toward their
exit.)
CRUSH
Get ready for Sydney! Your exit’s comin’ up!
MARLIN
Cowabunga!
CRUSH
Nice lingo, Jellyman!
(MARLIN and DORY head toward the exit. MARLIN remembers

something.)
MARLIN
Crush! I almost forgot! How old are you?
CRUSH
Hundred and fifty, dude! And still young!
(CRUSH and SEA TURTLES exit.)
79

SC R IP T
NOTES
BLOCKING TIP
Have Dory and Marlin meander around the stage
to show that they’re traveling through the water
without adding in any unnecessary set or prop
pieces.

S C R IP T
SCENE NINE: THE GAME, THE GOSSIP, THE ESCAPE
MARLIN
Wow! I gotta say, that was…
DORY
Epic? Far-out? Totally tubular?
MARLIN
Fun! That was really fun. I actually enjoyed that!
(with resolve)
Now. On to Sydney to find Nemo! We’re close, I can feel it!
DORY
42 Wallaby Way, right?
MARLIN
Yup. Which is… which way?
DORY
This way! We’re just gonna keep swimming straight.
MARLIN
(points in the opposite direction)
Are you sure? I feel like it might be this way…
(DORY pauses and turns to MARLIN.)
DORY
Come on, trust me on this!
MARLIN
Yes. Okay. We’re gonna swim straight.
DORY
Oooh, I know, how ‘bout we play a game?
MARLIN
A game. Sure, why not?
DORY
Okay! I’m thinking of something, uh, orange… and small…
MARLIN
It’s me.
80

SC R IP T
NOTES
ACTING TIP
Even though Marlin is teasing Dory, it should be
clear that he really does care for his friend.
SOUND CUE
Track #27 – ONE DEDICATED FATHER
Cue – MARLIN: Me. And the next one’s just a guess:
me.
DORY: Okay, that’s just scary.
(MARLIN and DORY exit as a GROUPER and TWO
SEA TURTLES enter.)
BLOCKING TIP
Simple blocking will serve the story best in this
number. Isolate different areas of the stage for
each of the pairs as they spread the news about
Marlin’s trek. Have each pair stand still while they
are speaking so their lines can be delivered clearly!
MUSIC TIP
Each of these moments could be sung by a soloist
or a small group of actors. No matter who is
singing, encourage clear articulation of the lyrics
so that the audience understands every word.

S C R IP T
DORY
Right! Okay… next one… it’s orange, and uh… small.
MARLIN
It’s me.
DORY
All righty, Mr. Smarty Pants. Here’s a tough one! It’s orange and small,
with white stripes…
MARLIN
Me. And the next one’s just a guess: me.
DORY
Okay, that’s just scary.
(MARLIN and DORY exit as a GROUPER and TWO SEA TURTLES

enter. #27 – ONE DEDICATED FATHER.)
ONE DEDICATED FATHER 27

One Dedicated Father
(The GROUPER watches MARLIN exit.)
GROUPER: (to the SEA TURLES) I say. What’s
3
that little clownfish doing so far from the reef?
#### 4
Ó Œ ‰
SEA TURTLE 1:
& 4 K
1-3 œ
We
#### K
‰
5
&
œ œ œ. œ œ œ œ œ
call that dude the Jel - ly - man. He's
#### ‰ K œ œ . œ œ œ ‰ œK
nœ œ œ œ œ
6
& œ œ
Syd - ney Har - bour bound. The fish is on a mis - sion un -
####
œ œ œ œ œ ‰ œK œ œ œ K
SEA TURTLE 2:
K
8
& œ œ œ œ
til his kid is found. A di - ver kid - napped Ne - mo, but
#### K
‰
10
& œ œ œ œ 81œ œ œ
Jel - ly - man pur - sued, and
| B173
####
œ œ
11
SC R IP T
NOTES
LIGHTING TIP
Utilizing a spotlight is a useful way to help the
audience quickly shift focus from one group to the
next in this song.

####
œ œ œ œ œ ‰ œK œ œ œ K
SEA TURTLE 2:
K
8
& œ œ œ œ
til his kid is found. A di - ver kid - napped Ne - mo, but
####
S C R IP T
‰ K
10
Jel - ly - man pur - sued, and
####
œ œ
11
& œ œ œ œ œ ≈ œ
chased the boat right out to sea. Can
#### œ ‰
SEA TURTLES:
œ
12
& œ œ œ K
œ
you be - lieve it, dude? That’s
#### ‰
(SEA TURTLES):
œ
13
& K
œ œ œ œ œ œ
one ded - i - cat - ed fath - er.
####
Ó Œ ‰
GROUPER:
& K
œ
That’s
(GROUPER and SEA TURTLES exit.

#### Ó Focus shifts to two LOBSTERS.)
Œ ‰
14 LOBSTER 1:
& K
œ
That’s
####
Œ
(GROUPER):
& œ
œ œ œ œ œ œ
one ded - i - cat - ed fath - er.
#### (LOBSTER 1):

Œ
15
& œ
œ œ œ œ œ œ
one ded - i - ca - ted fath - er.
####
œ œ ‰ K
16
& nœ œ œ œ
Here’s how much he cared: He
82
17
#### œ
& œ œMusic Theatre
œ International
œ œ œ œ
• Broadway Junior® • Director’s Guide | B175
ran in - to three hun - gry sharks and
LOBSTER 2:
SC R IP T
NOTES

#### (LOBSTER 1):
Œ
15
& œ
œ œ œ œ œ œ
one ded - i - ca - ted fath - er.
####
S C R IP T
œ œ ‰ K
16
& nœ œ œ œ
Here’s how much he cared: He
####
œ
17
ran in - to three hun - gry sharks and
#### LOBSTER 2:
K
œ ‰
18
& œ œ œ œ œ
he was wick - ed scared. This
#### K
‰
19
great white star - ted chas - in’ him. The
#### K
‰
20
fish said, “See ya la - ter.” With
####
œ œ
21
& œ œ œ œ œ œ
light - ning speed, he swam a - way and
#### œ ‰
LOBSTERS:
œ œ
22
& œ œ œ K
œ
proved that he was great - er! That’s
(The LOBSTERS exit while two OCTOPI

enter from the same side. The OCTOPI
####
perform operatically with grand gestures.) OCTOPUS 1:
K œ. Ó Œ œ b
23
&
œ œœœ œ œ
one ded-i - cat - ed fath - er. And
&b œ œ œ œ Œ
25
œ œ 83 œ œ œ œ œ œ
then in a fo - rest of jel - ly - fish, dread - ed
OCTOPUS 2:
b Œ
27
SC R IP T
NOTES

#### Ó Œ
K œ. œ b
23
&
œ œœœ œ œ
one ded-i - cat - ed fath - er. And
S C R IP T
&b œ œ œ œ Œ
25
œ œ œ œœ œ œ œ
then in a fo - rest of jel - ly - fish, dread - ed
OCTOPUS 2:
& b œ. Œ
27
œ œ œ œ œ œ ˙ œ
ten - ta - cles in - va - ded his path. He
& b bœ œ œ. œ Œ
29
œ œ bœ œ œ œ œ œ
braved ma - ny hun - dreds of jel - ly - fish, and sur -
#### #
BOTH OCTOPI:
K ‰ ‰ ¿K ¿
& b #œ Œ
3
#
31
œ œ œ #œ œ #œ
vived their e - lec - tri - cal wrath. Bra - vo!
# ## #
#
ELECTRIC EEL 1:
&b ∑ Ó Œ ‰ K #
#œ
The
(The OCTOPI exit. Two ELECTRIC EELS swim across the stage.)
# # # # (ELECTRIC
# K ≈ œr
EEL 1):
& #
33
#œ œ œ œ ¿ ¿
jel - lies got him. Zap! Zap! And
#### # ELECTRIC EEL 2:

K
& # nœ œ œ ‰
34
œ œ œ
ev - ’ry - thing went black. He
#### #
& # œ œ œ
35
œ œ. œ œ œ
woke up dazed
84and woo - zy on a

SC R IP T
NOTES
SET TIP
Use pool noodles, fabric, or cut hula hoops to build
the ribs of the whale’s belly. Utilize members of the
Sea Chorus to hold the whale’s “ribs” on either side
of Marlin and Dory to create the effect that they
are inside the whale.
ACTING TIP
Practice developing a distinct “whale talk” voice
with the actor playing Dory so that they are
comfortable and confident in the scene.
MUSIC TIP
Be sure to practice this song with the Performance
Accompaniment Track to time Marlin and Dory’s
dialogue so that it occurs before the sound effect
of the whale’s response.

#### # K
& # nœ œ œ ‰
34
œ œ œ
ev - ’ry - thing went black. He
#### #
S C R IP T
& # œ œ
35
œ œ. œ œ œ œ
woke up dazed and woo - zy on a
(Two posh SEAHORSES gallop in

from where the EELS have just exited.)
#### # SEAHORSE 1:
& # œ œ ‰
36
œ œ œ œ œ
big sea tur - tle’s back. But he
#### # K K
& # œ œ œ œ
37
œ œ œ
could - n’t find the har - bour. His
#### # K
SEAHORSE 2:
& # œ œ œ ‰
38
œ œ. œ
quest seemed doomed to fail. I
#### # œ
& # œ œ œ
39
œ œ œ œ
heard he stowed a - way in - side the
#### # ˙
& # œ œ
40
œ œ
bel - ly of a whale.
(SEAHORSES exit. Any creatures onstage freeze.

MARLIN and DORY are together in the belly of a WHALE.)
DORY: (speaking "whale" to the WHALE) How much farther?
MARLIN: Dory, you can’t speak whale.
(The WHALE responds).
DORY: He either said, “Go to the back of the throat…”
# # # # # . 5x ..
& # . ∑
41
85

SC R IP T
NOTES
BLOCKING TIP
Isolate three separate playing spaces for this
moment to distinguish between Nemo and the
Tank Gang in the tank, Nigel at the window, and
Dory and Marlin swimming offstage.
BLOCKING TIP
Create an energetic entrance for Nigel as he is
thrust into the scene with exciting news for Nemo.
SOUND CUE
Track #28 – THAT’S MY DAD
Cue – NEMO: Sharks? That can’t be him.
NIGEL: Sure it is! It’s Marlin! The little clownfish
from the reef!…

S C R IP T
(DORY): or he wants
#### #
a root beer float.
42 Œ ‰ œK 44 œ œ œ œ œ œK œœ ..
ALL:
& # ∑
42
That’s one ded - i - cat - ed fath - er!

(NEMO and the
#### #
TANK GANG enter.)
& # ∑ Ó Œ‰ K K n n œœ ..
45
œ nœ œ œ œ œ œ
(NIGEL flies in.)
NIGEL: Nemo! Nemo!!
Your Dad’s been fightin’ the
entire ocean lookin’ for you!
#### # Ó Œ ‰ n œK K .
n œ œ œ œ œ œ n n œœ .
(ALL):
& # ∑
48
NEMO: My father? Really?

NIGEL: He’s traveled day and night! And he’s battled
#### #
sharks and jellyfish!
2
& #
51-52
NEMO
(incredulous)
Sharks? That can’t be him.
NIGEL
(maintaining the energy from before)
Sure, it is! It’s Marlin! The little clownfish from the reef!
(#28 – THAT’S MY DAD.)
86

SC R IP T
NOTES
MUSIC TIP
For the first time, Nemo is proud of Marlin, so
encourage your actor to discover how this affects
their voice as they sing this familiar melody. Work
with your actor to confidently deliver this song
with delight and resolve.
ACTING TIP
Direct your actors to pick up their cues to energize
this fast-paced scene.

That's My Dad 28
S C R IP T
THAT’S MY DAD
(NIGEL): And he’s in Sydney Harbour right now!
(NIGEL flies away.)
#### 4 nnnn
NEMO: (with excitement) Woah!
& # 4 ∑ n ∑
1
K
NEMO:
œ œ œ œ ‰ œ Œ
3
& œ.
œ œ. œ œ œ œ
That’s my dad, I knew all a - long.
‰ K
5
& œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ
Un - der - neath he’s real - ly brave and strong. He’s
œ œ œ ‰ œK œ œ ‰ ìœ
7
& œ œ œ . œ œ
œ.
on his way now, and I’m so glad, of
˙
3
& œ b œ œ œ œ bœ œ Œ ˙ ˙ Ó
9
all the fish in the o - cean, that’s my dad.
BLOAT
(checking the intake pipe to make sure it’s off)
We’ve gotta get you out of here, Nemo! The pump is still off.
GURGLE
They’ll be coming to scoop us out with that evil net to clean the tank any
moment now!
87

SC R IP T
NOTES
SOUND CUE
Track #29 – NO TIME TO WASTE
Cue – PEACH: You’re the only one that can fit.
BUBBLES: Bubbles! (It’s true!)
GILL: No time to waste!…
SOUND CUE
Track #30 – WE SWIM TOGETHER (REPRISE)
Cue – PEACH: Nemo! There’s a net! Look out!

S C R IP T
NEMO
But the grate won’t come off!
GILL
Nemo, listen to me. You’re just small enough to squeeze through those
bars.
NEMO
You mean, swim through the pipe into the big ol’ blue all by myself?
PEACH
You’re the only one that can fit.
BUBBLES
Bubbles! (It’s true!)
GILL
No time to waste!
(#29 – NO TIME TO WASTE.)
(GILL)
Once you’re in, swim straight and don’t stop until you hit the ocean, you
understand me?
NEMO
Gill, I’m scared. What if something goes wrong?
GILL
You jammed the filter on your first day here in the tank. That took guts,
kid.
NEMO
I guess that was pretty brave.
GURGLE
It sure was! You’re way braver than you think, Nemo!
NEMO
(with resolve)
Okay, Gill. I’m ready.
PEACH
Nemo! There’s a net! Look out!
(#30 – WE SWIM TOGETHER – REPRISE.)
88

SC R IP T
NOTES
PROP TIP
Create the illusion of a net by attaching netting
to a stick that can be held by an actor or crew
member offstage. The Tank Gang can swim
upstage of the net and stretch it, making it look
like they are pushing against it with force. Finally,
the net can be dropped to the ground as the fish
break free. See p. E5 for more ideas on how to
construct your prop net.
BLOCKING TIP
Time each push against the net carefully to the
music. It is important that the Tank Gang moves as
a unit and gives the impression that there is some
resistance from the holder of the net.

S C R IP T
WE SWIM TOGETHER
(REPRISE)
We Swim Together (Reprise) 30
(An aquarium net appears and captures NEMO.)
NEMO: Help!!!
GILL: Everyone, jump in the net and start swimming!
(One by one, the TANK GANG jumps in the net and swims against it.)
#### 4 2 TANK GANG:
& # 4 Ó Œ
1-2 œ
To -
#### K
# œ. Œ œœ œœ œœ K
4
& œ ˙ œœ .. œœ ˙˙
geth - er, we swim to - geth - er!
GILL: Keep swimming!
#### K
œ.
+ NEMO:
# Ó Œ Œ œœ œ œœ
7
& œ ˙ œ
œ
(The net gets pulled into the tank (The TANK

and falls to the bottom, freeing NEMO.) GANG celebrates.)
####
# w ww ¿ Œ Ó
10
&
geth - er! Yay!
GILL
Nemo! Get to the grate!
(NEMO swims over to the grate and pauses. NEMO looks back at the
TANK GANG.)
NEMO
Will I ever see you again?
89

SC R IP T
NOTES
SOUND CUE
Track #31 – NEMO ESCAPES
Cue – GILL: Nemo! Get to the grate!
(NEMO swims over to the grate and pauses. NEMO
looks back at the TANK GANG.)
NEMO: Will I ever see you again?
BLOCKING TIP
Make sure Nemo says farewell to the Tank Gang
before turning to exit. It is important for the
audience to see Nemo’s face and hear these lines
as this is the final moment with our beloved Tank
Gang friends.
SET TIP
For ideas on how to create the grate simply and
theatrically, refer to pp. E2-3 of the Design section.
ACTING TIP
Brainstorm with your actors what their character
might say in this celebratory moment! The writer
is giving permission to the actors here to ad-lib
a phrase that they feel would be right for their
specific character.
SOUND CUE
Cue – Segue from #31 – Nemo Escapes.

S C R IP T
(#31 – NEMO ESCAPES.)
GILL
Sure, kid. We’ll see you out there. I’m already cookin’ up a brand-new
plan.
NEMO
Thank you all so much. For everything.
GURGLE
Say “hi” to your dad for us!
PEACH
Tell him he raised one brave kid.
BLOAT
Go get ‘em!
GILL
You can do this, Nemo. I know you can.
NEMO
Goodbye, everyone! I’ll see you in the big ol’ blue!
(NEMO squeezes through the grate and disappears offstage.)
TANK GANG
Woohoo!; Hooray!; All right!; Bubbles! etc.
(The TANK GANG exits.)
SCENE TEN: BOARDWALK (PART 3)

(#32 – SEAGULLS 3. The following scenelet should be performed
during the scene change from the aquarium tank to the Sydney Harbour
fishing grounds. The VACATIONER enters with a snack in hand. There
are SEAGULLS out and about, but this time the VACATIONER has a
plan to outsmart them. The SEAGULLS begin to swarm and again steal
the snack.)
SEAGULLS
Mine! Mine! Mine! Mine! Mine! Mine! etc.
(Once all of the SEAGULLS have exited, the VACATIONER removes

their hat, revealing a second snack. The VACATIONER looks around
and smiles.)
90

SC R IP T
NOTES
ACTING TIP
The Vacationer should ecstatically celebrate this
victory, so encourage your actor to explore big
physical gestures in playing the scene. Timing is
everything for this comedic moment, so be sure to
practice with the underscoring.
SOUND CUE
Track #33 – SYDNEY HARBOUR FISHING
GROUNDS
ACTING TIP
Work with Marlin to grow increasingly disappointed
throughout this scene, finding different emotional
levels as the scene progresses.
SOUND CUE
Track #34 – A FUNNY THING TO PROMISE
Cue – MARLIN: Am I invisible? Why will no one help
me?? I have to tell Nemo how old sea turtles are!
(Marlin buries his head in his fins.)

S C R IP T
VACATIONER
Mine.
(The VACATIONER takes a big bite, sighs with content, and exits.)
SCENE ELEVEN: SYDNEY HARBOUR FISHING

GROUNDS
(#33 – SYDNEY HARBOUR FISHING GROUNDS. The mostly
deserted Sydney Harbour fishing grounds. MARLIN and DORY enter
and attempt to ask a passing CRAB for directions. They are ignored.
MARLIN is becoming frustrated.)
MARLIN
Hi there, can you tell me how to get to 42 Wallaby Way? It’s here in
Sydney… Hello?
(The CRAB exits. TWO FISH enter and swim past hurriedly. They too
ignore MARLIN.)
Excuse me, do you happen to know where 42 Wallaby Way is? Please?
(The FISH exit. MARLIN and DORY are alone again.)
Am I invisible? Why will no one help me?? I have to tell Nemo how old
sea turtles are!
(MARLIN buries his head in his fins. #34 – A FUNNY THING TO

PROMISE.)
DORY
There, there. It’s all right. It’ll be okay.
MARLIN
No! I promised I’d never let anything happen to Nemo.
DORY
Well, that’s a funny thing to promise.
MARLIN
What?
DORY
You can’t never let anything happen. Then nothing would ever happen.
Not much fun for little Harpo.
91

SC R IP T
NOTES
BLOCKING TIP
To make it look like Nemo is emerging from a
flowing pipe into the ocean, have your actor spin
or run onto the stage.
SOUND CUE
Track #35 – JUST KEEP SWIMMING TOGETHER
Cue – NEMO: Whooooooooooa!…
ACTING TIP
Find an embrace that feels comfortable for both
actors playing Marlin and Nemo and can convey
their joy and relief at being reunited. Let this
moment between them settle before Dory gets
introduced to Nemo.

S C R IP T
MARLIN
(wallowing in self-pity)
Coral would have known what to do. It wasn’t supposed to be like this! I
wasn’t supposed to be doing this alone!
(MARLIN plops down, defeated.)
DORY
But you’re not alone. I’m here too. We’re a team, you and me.
MARLIN
I know. I’m sorry.
DORY
Look, no one’s ever stuck with me for so long before. And I remember
things better with you. Because, when I look at you, I feel… home.
(Suddenly, NEMO careens onstage, exiting the pipe.)
NEMO
Whoooooooooooooooooooooa!
(#35 – JUST KEEP SWIMMING TOGETHER.)
JUST KEEP SWIMMING

Just TOGETHER
JustKeep
Keep SwimmingTogether
Swimming Together 35
35
(NEMO): (calling blindly) Dad? Dad!
(NEMO):
MARLIN:(calling blindly)
(stunned) Nemo?!Dad? Dad!
MARLIN: (stunned)
NEMO: Dad! Nemo?!
NEMO: Dad!
MARLIN: Nemo!
MARLIN:
(MARLIN Nemo!
and NEMO embrace.)
(MARLIN and NEMO
DORY: Nemo? Nemo?!embrace.)
(beat) I’m Dory.
DORY: Nemo? Nemo?!
MARLIN: She helped me (beat)
findI’m Dory.Thank goodness you’re safe.
you…
# ## # 4 55 22 n nn n nn n
MARLIN: She helped me find you… Thank goodness you’re safe.
#
&& # # 444 ŒŒ ∑∑
1-5 7-8
1-5 7-8
(Suddenly, a huge mass of MOONFISH sweeps DORY away.)

(Suddenly,
MOONFISH: a hugeWatch
mass of MOONFISH
out! sweeps
There’s a net! SwimDORY away.)
away! Swim away!
MOONFISH: Watch out! There’s a net! Swim
(DORY and the MOONFISH are caught in a giant fishingaway! Swim
net.)away!
(DORY and the MOONFISH
DORY: Help! Help! Get us out! are caught in a giant fishing net.)
DORY:
(NEMOHelp! Help!
studies Getswims
the net, us out!towards it, and looks for a way in.
44
(NEMO studies the
MARLIN grabs NEMO.)net, swims towards it, and looks for a way in.
MARLIN grabs NEMO.)
&& 92
9-12
9-12
| B195
∑∑ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ŒŒ ‰‰ ¿¿ì
13 NEMO: • Broadway Junior® • Director’s Guide
Music Theatre International
&&
13 NEMO:
ì
SC R IP T
NOTES
BLOCKING TIP
The mass of Moonfish should enter swiftly,
as if being chased. Experiment with different
movement patterns to quickly sweep both Dory
and the Moonfish into the net. Dory should stand
in front of the others so the audience can clearly
see her being captured.
PROP TIP
There are many ways to create the fishing net.
An actor can run a net across the stage and the
fish can grab onto it and spread it open wide as
if they have swum into it. Or, you can have other
actors interlace their arms around the fish to create
a human net. See p. E5 for more tips on how to
create the net, or check out the Net Demonstration
on the provided Choreography Videos to see an
idea in action.
ACTING TIP
Regardless of the method you use to create the
fishing net, it is important that the actors use their
bodies and reactions to create the illusion that
they are trapped. Their fighting the net will help
convince the audience that they really are stuck.
ACTING TIP
This is a huge moment for Marlin and Nemo,
reflecting how much they’ve changed since the
beginning of the story. Marlin trusts Nemo to
take charge of the crisis, and Nemo steps up to
the challenge to save the other fish. Work with
your actors to highlight how Marlin and Nemo’s
confidence in one another has grown.

MARLIN: She helped me find you… Thank goodness you’re safe.
#### 4 5 2 nnnn
& 4 Œ ∑
1-5 7-8
S C R IP T
(Suddenly, a huge mass of MOONFISH sweeps DORY away.)
MOONFISH: Watch out! There’s a net! Swim away! Swim away!
(DORY and the MOONFISH are caught in a giant fishing net.)
DORY: Help! Help! Get us out!
(NEMO studies the net, swims towards it, and looks for a way in.
MARLIN grabs NEMO.)
4
&
9-12
∑ ¿ ¿ ¿ ¿¿ Œ ‰ ¿
13 NEMO:
& ì
I know what to do! We
& ¿ ¿ ¿ ¿ ¿ ¿ Œ
MARLIN:
∑
Ne - mo, you get back here!
& ¿ ¿ ¿ ¿ ¿ ¿ì ‰ Œ Ó Œ ¿ ¿
15
have to save Do - ry! But I’m
& Ó Œ ‰ ¿ì ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ
I have to think of you!
& ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ ¿ ¿ ¿ ¿ ¿ Ó
17
small e - nough to get in there! Dad, I have a plan!
& ∑ Ó Œ ‰ ì¿
You
(MARLIN):
(catches himself)
2
I know you can.
¿ "
(MARLIN):
& ¿ ¿ ¿ ¿ ¿ ¿ ¿
19
20-21
think that you can do these things, but…
NEMO: We have to break the net!
2
Tell everybody to swim down!
93
Ó Œ
NEMO:
œ. K
& œ ˙
22-23
œ
To - geth - er,
26
SC R IP T
NOTES

2
I know you can.
¿ "
(MARLIN):
& ¿ ¿ ¿ ¿ ¿ ¿ ¿
19
20-21
think that you can do these things, but…
S C R IP T
NEMO: We have to break the net!
2
Tell everybody to swim down!
Ó Œ
NEMO:
œ. K
& œ ˙
22-23
œ
To - geth - er,
& Œ œ œ œ œ. K
26
œ ˙
swim down to - geth - er.
(NEMO swims into the net.)

MARLIN: You heard my kid!
œ. K œ
& Ó Œ Œ œ
(NEMO):
œ ˙ œ
28
œ
œ. K œ
& Ó Œ Œ œ
MARLIN:
œ ˙ œ
œ
& œ . œK ˙ œ . œK ˙
(NEMO):
Ó Œ
31
œ
geth - er. To - geth - er,
& œ . œK ˙ œ . œK ˙
(MARLIN):
Ó Œ
œ
geth - er. To - geth - er,
DORY, MOONFISH GROUP 1:
& œ œ œ Œ œ œ œŒ ˙
œ œ ˙
Just keep swim - ming, just keep swim-ming. Swim to -
œ . œK ˙
MOONFISH GROUP 2:
& ∑ Ó Œ
œ
To - geth - er,
& Œ œ œ œ K 94
MARLIN: Keep stretching that net!
œ. œ ∑
34
˙
we swim to Music
- geth - er.International • Broadway Junior® • Director’s Guide | B199
Theatre
Œ œ œ œ . K ∑
SC R IP T
NOTES
CHOREOGRAPHY TIP
To keep the intensity of the song growing, find a
way to incorporate choreography as the fish swim
and push the net to expand. Ensure that Nemo
comes to the front of the net so the audience can
see this heroic act. Once the fish are freed, stage a
member of the school of fish to take the net off so
it is safely out of the way for the remainder of the
scene.

œ . œK ˙
MOONFISH GROUP 2:
& ∑ Ó Œ
œ
To - geth - er,
S C R IP T
& Œ œ œ œ œ . œK ˙
MARLIN: Keep stretching that net!
∑
34
we swim to - geth - er.
& Œ œ œ œ œ . œK ˙ ∑
we swim to - geth - er.
Œ
& ˙ œ œ œ Œ œ œ œ Œ
œ œ œ
p
geth - er! Just keep swim - ming, just keep swim-ming…
& Œ œ œ œ œ . œK ˙ Ó Œ
œ
we swim to - geth - er. To-
K f
˙. Œ ∑
37
& œ. œ œ œ
That’s my dad!
f K
& ∑ ∑ œ
œ. œ œ
p
That’s my Ne -
& Œ œ œ Œ
˙ ˙ ˙ œ œ œ
Swim to - geth - er! Just keep swim - ming,
œ K
& . œ ˙ Œ œ œ œ œ . œK ˙
& Ó Œ œ . œK ˙ Œ œ œ œ
40
œ
To - geth - er! We swim to -
& œ œ Œ œ . 95œK ˙ Œ œ œ œ
œ
- mo! To - geth - er! We• Director’s
swim Guide
to - | B201
F ,
Music Theatre International • Broadway Junior®
Œ K K
SC R IP T
NOTES

œ K Œ œ œ œ
& . œ ˙ œ . œK ˙
S C R IP T
40
œ
& œ œ Œ œ . œK ˙ Œ œ œ œ
œ
- mo! To - geth - er! We swim to -
F ,
& œ œ œ Œ œ
K
œ œ
K
œ œ œ
œ œ. œ.
F
just keep swim-ming… Swim to - geth - er! Swim to - geth - er!
œ
w
43
& w
geth - er!
& w w
geth - er!
& K K
œ œ œ. bœ œ œ
œ. œ
Swim to - geth - er! Swim to - geth - er!
& w w
geth - er!
(The net breaks and MOONFISH pour out and exit in every direction.
MARLIN and DORY reunite.)
ALL MOONFISH: 96
f p
ww ww ∑ ∑
45
& n ww ww
Ah…
SC R IP T
NOTES
SOUND CUE
Track #36 – FINALE (PART 1)
Cue – MARLIN: Nemo? It’s okay, I’m here. I’ve got
you.
MUSIC TIP
Work on the timing of this spoken dialogue so the
moment when Nemo begins to sing feels natural.
Instruct this actor to keep an ear open for their
cue within the music so they know when to start
singing.

geth - er!
S C R IP T
(The net breaks and MOONFISH pour out and exit in every direction.
MARLIN and DORY reunite.)
ALL MOONFISH:
f p
w ww ∑ ∑
45
& n www ww
Ah…
MARLIN
Dory! Are you okay?!
DORY
(looking at him like he’s got eight heads)
Yeah, why wouldn’t I be?
(MARLIN spots NEMO lying on the sea floor, tangled in the net.)
MARLIN
Nemo!
(MARLIN runs to Nemo’s side.)
Nemo? It’s okay, I’m here. I’ve got you.
(#36 – FINALE – PART 1.)
FINALE
Finale (PART
(Part 1) 1) 36
NEMO: (weakly) Dad… I don’t hate you.
MARLIN: No. I’m so sorry, Nemo. Hey, guess what?
I met a sea turtle who was a hundred and fifty years old!
NEMO: A hundred and fifty? But Sandy Plankton said…
MARLIN: Sandy Plankton. Do you think after what I’ve been through,
I don’t know as much as Sandy Plankton?
### 4 6
Ó Œ ‰
NEMO:
& 4 K
1-6 œ
So,
8
### 3 3
& K K œ œ œ œ œ œ
œ œ œ œ œ 97œ
tell me, Dad, what it’s like to cross an en -
| B205
###
K
MARLIN:
K K ‰ K ‰
10
&
SC R IP T
NOTES
BLOCKING TIP
The Reef Kids should explode into the scene with
an abundance of energy and excitement. You may
also choose to add in members of the Sea Chorus
so they are present for this final scene.

I don’t know as much as Sandy Plankton?
### 4 6
Ó Œ ‰
NEMO:
& 4 K
1-6 œ
S C R IP T
So,
8
### 3 3
& K K œ œ œ œ œ œ
œ œ œ œ œ œ
tell me, Dad, what it’s like to cross an en -
### MARLIN:
‰ œK ‰ œK
K K
10
& œ œ œ œ œ œ œ œ œ
ti - re sea? Well, kid, I don't know. Let's
### K
. œ œ. œ œ œ œ Œ
12
& nœ œ œ œ œ œ ì
go home to - geth - er, then you’ll tell me!
MARLIN: (to DORY) (DORY gives MARLIN a huge hug.
8
Wanna make it three? DORY, MARLIN, and NEMO exit.)
### ####
∑
14
&
15-22
SCENE TWELVE: FINALE

(NEMO, MARLIN, and DORY step into the schoolyard from the
beginning. TAD, PEARL and SHELDON swim centerstage, yelling.
MARLIN is joking with the other parents.)
TAD, PEARL, SHELDON

Time for school! Time for school!
DORY
I go to school?
NEMO
Not really.
98

SC R IP T
NOTES
ACTING TIP
Work with Marlin to really relish in his newfound
confidence when he tells this “dad joke.”
SOUND CUE
Track #37 – FINALE (PART 2)
Cue – MARLIN: So then, the sea cucumber looks at
the mollusk and says, “With fronds like these, who
needs anemones?”
ACTING TIP
Talk with your actors about this moment and
compare it to Marlin and Nemo’s relationship at
the top of the play. What is different about their
dynamic? What has each character learned on their
journey? How is this day different from Nemo’s first
day of school? How can the performers use their
voices and bodies to show that change?

S C R IP T
MARLIN
(to REEF PARENTS)
So then, the sea cucumber looks at the mollusk and says, “With fronds
37
like these, who needs anemones?”
(#37 – FINALE – PART 2.)
FINALE
Finale (PART
(Part 2) 2) 37
REEF
REEF PARENTS:
PARENTS: Ha, Ha, ha,
ha, ha,
ha, ha,
ha, ha!
ha!
NEMO:
NEMO: (laughing)
(laughing) Oh,
Oh, Dad…
Dad…
(PROFESSOR
(PROFESSOR RAY RAY enters.)
enters.)
PROFESSOR
PROFESSOR RAY: RAY: Climb
Climb aboard,
aboard, explorers!
explorers!
(REEF
(REEF KIDS
KIDS follow
follow PROFESSOR
PROFESSOR RAY. RAY.
3
MARLIN
MARLIN nudges
nudges NEMO
NEMO toward
toward the
the class.)
class.)
b
& b b 44
K
MARLIN:
MARLIN:
Ó Œ ‰ œ
1-3
1-3
Now,
Now,
b
DORY:
DORY:
&bb œ ‰ K
55
go
go and
and get
get some
some know
know -- ledge…
ledge… And
And
b NEMO:
NEMO:
K
&bb œ ‰
66
œ œ œ œ œ œ
come
come home
home when
when you’re
you’re done.
done. Don’t
Don’t
(NEMO
(NEMO moves
moves away
away from
from MARLIN.)
MARLIN.) MARLIN:
MARLIN:
b
& b b œ œ. ‰
77 (shouting
(shouting after
after NEMO)
NEMO)
œ œ œ œ œ ¿ ¿
wor
wor -- ry!
ry! I’ll
I’ll be
be care
care -- ful!
ful! But
But re
re --
b
PROFESSOR
PROFESSOR RAY:
RAY:
&bb ¿ ¿ ¿ ¿ ¿ Œ œ œ œ œ. œ. œ œ œ. Œ
88
mem
mem--ber
ber to
to have
have fun!
fun! Ev
Ev--’ry
’ry -- bo
bo--dy,
dy, find
find aa bud
bud--dy.
dy.
b
&bb œ Œ
10
10
99
œ œ œ œ
Ne
Ne -- mo, that
mo,Music Theatre means
means you!
that International • Broadway Junior® • Director’s Guide | B209
you!
SC R IP T
NOTES
BLOCKING TIP
Bring the entire cast onstage for this final number,
including the Tank Gang.
CHOREOGRAPHY TIP
This is a good place to reprise choreography used
in the opening number. It should be a colorful
collage of sea life in motion!

b
&bb ¿ ¿ ¿ Œ œ œ œ œ. œ. œ œ œ. Œ
8
¿ ¿
mem - ber to have fun! Ev - ’ry - bo - dy, find a bud - dy.
S C R IP T
b
&bb œ Œ
10
œ œ œ œ
Ne - mo, that means you!
(NEMO starts to follow PROFESSOR RAY,

then remembers something.)
K
bbb K
NEMO:
‰ œK œ ˙
11
Wait! There’s some - thing I for - got to do…
(NEMO races back to MARLIN and gives him a big hug.)

NEMO: Love ya, Dad.
4
MARLIN: I love you too… Now go have an adventure!
& bbb
13-16
(NEMO swims back to PROFESSOR RAY, who takes off like in

the beginning of the show. The various characters introduced along
the way enter to sing the finale.)
b
&bb Œ ‰ œ ˙
17 ALL:
K K ˙
œ œ œ ì
In the big blue
b bb Œ œ
19
& œ œ ˙ bœ bœ œ œ œ œ
world, we’re gon - na go ex - plore.
b K
&bb Œ ‰ œ ˙ ˙
21
K K
œ œ œ œ ˙ ˙
In the big blue
23
b bb Œ
& ˙œ . œ ˙ œ œ œ œ œ œ œ
world we’ve ne - ver seen be - fore.
100

SC R IP T
NOTES

S C R IP T
25
b bb Œ K K Œ
What’s wait - ing out there?
K
b K b wœœ .. b œœ œœ b œœ
&bb Œ
27
œ œ œ œ.
We can ne - ver know…
b ww
& b b Œ ‰ K K œ. ww
29
w w œw œ ˙ .
œ œ
NEMO, REEF KIDS,
f
SEA CHORUS GROUP 1:
b
&bb Œ ww
33
œ œ œ œ œ
we’re read - y to go.
f
PROF. RAY, PARENTS,
bbb
SEA CHORUS GROUP 2:
& ∑ Œ ‰ K K œ
œ œ œ ì
In the big
35
b bb w Œ b œ œ œì œ . Œ œ œ œ œ œ
& w
We’re read - y! We’re read - y to
b bb ˙ ∑
& ˙ œ œ ˙.
blue world…
101

SC R IP T
NOTES
SOUND CUE
Track #38 – BOWS
Cue – Segue from #37 – Finale (Part 2).

S C R IP T
b b w w Œ bœ œ œ œ.
& b w
38
w ì
go. We’re read - y!
b bb Œ ‰
& K K œ ìœ ˙ ˙ œ œ ˙.
œ œ
(NEMO, REEF KIDS,
b
SEA CHORUS GROUP 1):
K ALL: K
&bb Œ œœ ‰ ‰ K K œ
41
œ œ œ œ œ
œ œ œ œ
We’re read - y to go! In the big
DORY: Bye, Elmo!

MARLIN: Nemo.
b ˙˙
& b b ˙˙ www www
43
˙
blue world…
NEMO: Bye, Dory! Bye, Dad! MARLIN: (softly) Bye, Nemo.

(MARLIN watches as NEMO departs with
2 2
PROFESSOR RAY and the REEF KIDS.)
& bbb
46-47 48-49
(End of play. #38 – BOWS.)
102

SC R IP T
NOTES
CHOREOGRAPHY TIP
Be sure to take the time to choreograph the Bows
to the music. Once everyone has bowed, you can
reprise the chorus choreography from “Go With the
Flow” and have everyone dance in unison!

Bows 38
S C R IP T
BOWS
b 4 8
& b b 44 b
1-4 5-12
10
GROUP 1:
3
&b Ó œ œ œ
13-22
Go with the
K
(GROUP 1):
K K
& b œœ .. œœ œœ œ œœ œœ œœ œ œ œ
24
œ œœ .. œ .w
flow!
GROUP 2:
&b Œ œ œ œ œ œ œ œ œ Œ œ œ œ
That’s the on - ly way to do it. Just give on
3
K K
&b Œ œ œ œ œœ .. œœ œœ œ œœ œœ œœ
27
œœ œ œœ ..
Go with the flow!
K K
&b œ œ œ ‰ œ œ œ œK œœ ˙ Œ
œ œ œ
o - ver to it. Rip it, roll it, curl it…
103

SC R IP T
NOTES

S C R IP T
K 3
& b œ .w œ œ œ Œ œ œ œ
30
œ œ
Go with the
& b œ œ ‰ ìœ œì œ œ
ì
œ œ Œ Ó
Ride it, slide it, swirl it!
K
CRUSH:
&b ‰ œ œ œ œ
32
œ bœ œ œ
When you’re rai - sin’ sons and daugh - ters,
P (GROUP 1):
&b w b ww
flow!
(GROUP 2):
P
&b ∑ Ó
3
bœ œ œ
Go with the
K K œ œ K
& b ‰ œK œ œ œ œ œK ‰
34
œ œ œ ì
it’s like sur - fin’ the migh - ty wa - ters.
&b Ó Œ
3
œ nœ œ ˙.
Go with the flow!
&b n˙.
Œ
w
flow!
104

SC R IP T
NOTES
SOUND CUE
Track #39 – EXIT MUSIC
Cue – Segue from #38 – Bows.

S C R IP T
K 3
& b œ. œ œ œ œ Œ œ œ
36
œ
K 3
K 3
&b w Œ œ . b œK œ œ
38 ALL:
˙. œ . œK œ œ
flow! Go with the flow!
K
& b œœ .. K
42
b œ œœ
œ œœ b œœ .. œœ œœ œœ
Go with the flow!
K ˙˙ ww
& b b œœ .. œœ œœ b œœ œ œœ .. ˙ w ∑
44
œ
ì
Baa Baa Baa Baa Baa!
(#39 – EXIT MUSIC.)
105

SC R IP T
ACTOR’S GLOSSARY
actor: A person who performs as a character in a play or musical.
antagonist: A person who actively opposes the protagonist.
author: A writer of a play; also known as a playwright. A musical’s authors
include a book writer, a composer, and a lyricist.
blocking: The actors’ movements around the stage in a play or musical, not
including the choreography. The director usually “blocks” the show (or
assigns blocking) during rehearsals.
book writer: One of the authors of a musical. The book writer writes the lines
of dialogue and the stage directions. A book writer can be called a librettist
if they write the lyrics as well.
cast: The performers in a show.
cheating out: Turning slightly toward the house when performing so the
audience can better see one’s face and hear one’s lines.
choreographer: A person who creates and teaches the dance numbers in a
musical.
choreography: The dances in a musical that are often used to help tell the
story.
composer: A person who writes music for a musical.
creative team: The director, choreographer, music director, and designers
working on a production. The original creative team for a musical also
includes the author(s) and orchestrator.
cross: An actor’s movement to a new position onstage.
dialogue: A conversation between two or more characters.
director: A person who provides the artistic vision, coordinates the creative
elements, and stages the play.
downstage: The portion of the stage closest to the audience; the opposite of
upstage.
fourth wall: an invisible, imaginary wall separating the performers
onstage from the audience; to “break” the fourth wall means a character
has become aware of the audience’s presence and addresses them directly.
house: The area of the theater where the audience sits to watch the show.
house left: The left side of the theater from the audience’s perspective.
house right: The right side of the theater from the audience’s perspective.
librettist: The person who writes both dialogue and lyrics for a musical. Can
also be referred to separately as the book writer and lyricist.
libretto: A term referring to the script (dialogue and stage directions) and
lyrics together.
106
lines: The dialogue spoken by the actors.
S C R IP T
lyricist: A person who writes the lyrics, or sung words, of a musical. The
lyricist works with a composer to create songs.
lyrics: The words of a song.
monologue: A large block of lines spoken by a single character.
music director: A person in charge of teaching the songs to the cast and
orchestra and maintaining the quality of the performed score. The music
director may also conduct a live orchestra during performances.
musical: A play that incorporates music and choreography to tell a story.
objective: What a character wants to do or achieve.
off-book: An actor’s ability to perform memorized lines without holding the
script.
offstage: Any area out of view of the audience; also called backstage.
onstage: Anything on the stage within view of the audience.
opening night: The first official performance of a production, after which the
show is frozen, meaning no further changes are made.
play: A type of dramatic writing meant to be performed live on a stage. A
musical is one kind of play.
protagonist: The main character of a story on which the action is centered.
raked stage: A stage that is raised slightly upstage so that it slants toward the
audience.
read-through: An early rehearsal of a play at which actors read their dialogue
from scripts without blocking or memorized lines.
rehearsal: A meeting during which the cast learns and practices the show.
score: All musical elements of a show, including songs and underscoring.
script: 1) The written words that make up a show, including dialogue, stage
directions, and lyrics. 2) The book that contains those words.
speed-through: To perform the dialogue of a scene as quickly as possible.
A speed-through rehearsal helps actors memorize their lines and infuses
energy into the pacing of a scene.
stage directions: Words in the script that describe character actions that are
not part of the dialogue.
stage left: The left side of the stage, from the actor’s perspective.
stage manager: A person responsible for keeping all rehearsals and
performances organized and on schedule.
stage right: The right side of the stage, from the actor’s perspective.
upstage: The part of the stage farthest from the audience; the opposite of
downstage.
warm-ups: Exercises at the beginning of a rehearsal or before a performance
that prepare actors’ voices and bodies.
107
SC R IP T
SHOW GLOSSARY
360: Making a full turn, aka a 360-degree turn.
anemone: A small, brightly colored sea animal with many tentacles that
provides certain types of fish with shelter and protection.
angelfish: A tropical freshwater fish known for its graceful swimming.
Anthozoa: A class of marine invertebrates (animals without spinal cords) that
includes sea anemones, a variety of corals, sea fans, and sea pens.
barnacles: Marine crustaceans (animals with hard shells that live in fresh or
salt water) that attach themselves to hard surfaces in shallow waters.
barracuda: A tropical predatory fish with a long, slender body and sharp
teeth.
blowfish: Any number of fish that are able to inflate their bodies with water
or air to form a globe when alarmed.
blue tang: Small fish native to coral reefs in the Indo-Pacific known for their
bright blue coloring, oval bodies, and yellow, flag-shaped tails.
boardwalk: A wooden walkway along a beach or waterfront.
butterflyfish: Any of a number of brightly colored tropical marine fish with
deep, narrow bodies that exhibit darting movements suggestive of a
butterfly.
clownfish: A small tropical marine fish that is usually red, orange, or yellow
with white stripes and typically lives in close association with anemones.
coax: To persistently try to get someone to do something.
Coelenterata: A group of invertebrate animals including jellyfish, hydras, sea
anemones, and corals.
colony: A group of organisms of one species that live and interact closely
with each other.
content: A state of satisfaction.
cowabunga: A word shouted by surfers as they ride a wave.
cowering: Crouching down in fear.
damselfish: A small brightly colored tropical fish that lives in or near coral
reefs.
deserted: Empty.
disqualified: Eliminated from a competition or activity for breaking the rules.
dreaded: Feared or disliked.
drop-off: The point in a body of water when the shore ends and the open
waters begin.
East Australian Current: A large, rapidly flowing current that moves warm
water down the east coast of Australia.
108
S C R IP T
epic: Awesome, incredible, or amazing.
far-out: Cool or great.
fillet: A strip of fish that is prepared for cooking.
flapjack octopus: A small deep-sea octopus with a pinkish-orange body that
resembles a flat, fluffy pancake.
frantic: Anxious, hurried.
fronds: Leaves or leaf-like shoots.
gears: Mechanical parts that increase the force or speed of a machine.
grate: A metal structure that blocks debris as it filters water entering the pipe.
Great Barrier Reef: The world’s largest coral reef system located in the Pacific
Ocean on the northeastern coast of Australia.
grouper: A large heavy-bodied fish of the sea bass family with a big head and
wide mouth that is found in warm seas.
H2O: The chemical formula for water.
high-strung: Nervous or easily upset.
Hydrozoa: A class of carnivorous invertebrates containing over 3700 species.
in a huff: In an annoyed or frustrated state.
intake pipe: The pipe that pumps clean water into a fish tank.
intervention: An action taken to improve a situation or address a conflict,
usually by friends or family members.
lingo: The vocabulary or jargon of a particular group of people, in this case,
surfers.
lucky fin: A colloquial term for “limb difference” that has now been adopted
by the disability community since the release of Finding Nemo.
kelp: Large, brown seaweed that grows underwater.
kilometers: Units of length in the metric system. 1 kilometer is equal to
about 0.621 miles.
mates: An Australian term meaning “friends.”
mellow: Relaxed or peaceful.
mollusk: A classification of invertebrates including snails, slugs, and mussels.
moonfish: Officially known as “opahs,” moonfish are large disc-shaped fish
with silvery-gray bodies and crimson fins.
Moorish idol: A black, white, and yellow tropical fish that is common around
coral reefs.
operatically: In the style of opera.
organism: An individual animal, plant, or single-celled life form.
Porifera: This group of animals comprises all sponges, which are simple
invertebrates found in oceans as well as in freshwater lakes and streams.
109
SC R IP T
pursued: Followed or went after.
righteous: Surfer lingo meaning awesome, amazing, or cool.
royal gramma: A small bright purple-and-yellow fish native to reefs in the
Caribbean.
Scyphozoa: A class of marine invertebrates referred to as the “true jellyfish.”
sea cucumber: Tube-shaped marine animals that live on the ocean floor.
sea turtles: Large air-breathing reptiles with thick shells that inhabit tropical
and subtropical seas throughout the world.
short-term memory: The memory system that stores a small amount of
information in the brain for a limited time.
species: A group of similar organisms that can reproduce with one another.
starfish: A star-shaped echinoderm (an animal with a spiny body that lives in
the ocean) with tube feet on its underside that lives in the sea.
stingray: A bottom-dwelling marine ray with a flattened diamond-shaped
body with one or more sharp, poisonous dorsal spines near the base of the
tail.
supraesophageal ganglion: The brain of an insect or other invertebrate,
such as a fish, located in the head.
Sydney Harbour: One of the world’s biggest harbours, this waterway is
surrounded by many beautiful sites including the famous Sydney Opera
House and the Sydney Harbour Bridge.
Sydney Opera House: Known for its striking and distinctive architecture, this
performing arts center hosts over a thousand performances a year.
totally tubular: Really awesome.
trench: A long, deep chasm in the ocean floor.
unbeknownst: Without knowing or realizing.
wallowing in self-pity: Indulging in sadness or disappointment in oneself.
yellow tang: A bright yellow saltwater fish that lives in coral reefs.
110
CREDITS & COPYRIGHTS
S C R IP T
Music and lyrics by Kristen Anderson-Lopez and Robert Lopez
All music adapted and arranged by Myrna Conn
1. Prologue
2. Barracuda Attack
3. I’ve Got You
4. Big Blue World (Part 1)
6. First-Timer
7. The Drop-Off
8. The Boat
9. Abduction / Big Blue World (Reprise)
10. Dory’s Ditty
11. Shark Territory
12. Fish Are Friends Not Food
13. Seagulls 1
14. Where’s My Dad?
15. How Am I Going to Get Out of Here?
16. We Swim Together
17. We Swim Together (Playoff )
18. Just Keep Swimming (Part 1)
19. Just Keep Swimming (Part 2)
20. Seagulls 2
21. Morning in the Tank
22. It’s Go Time!
23. Not My Dad
24. Transition to Turtles
25. Go With the Flow
26. Go With the Flow (Playoff )
27. One Dedicated Father
28. That’s My Dad
29. No Time to Waste
30. We Swim Together (Reprise)
31. Nemo Escapes
32. Seagulls 3
33. Sydney Harbour Fishing Grounds
34. A Funny Thing to Promise
35. Just Keep Swimming Together
36. Finale (Part 1)
37. Finale (Part 2)
38. Bows
39. Exit Music
Music and Lyrics © 2007 Wonderland Music Company, Inc. (BMI)

Additional Lyrics and Arrangements © 2023 Wonderland Music Company, Inc. (BMI)
111
SC R IP T
ShowKit® Content
Alexa Aquino, Caley Beretta, Erin Breznitsky, Clayton Daniel Briggs, Kiara Brown-Clark,
James Bruenger-Arreguin, Kerry Candeloro, Lauren Chapman, Sofiya Cheyenne,
Andrew Hanley, Pearl Hodiwala, Sarah Kenny, Rachel Lee, Natalie Lall,
Colleen McCormack, Lisa Mitchell, David Redman Scott
Designers
Eric Emch, Erica Scalogna
Consulting Services provided by

iTheatrics
Special Thanks
Harlem School of the Arts, Tavia Odinak
The Broadway Junior® Concept and Format

created by Music Theatre International (MTI)
Find a complete list of Broadway Junior® musicals at mtishows.com/broadway-junior.
School Edition and full-length musicals may be found at mtishows.com.
Disney stage titles may be found at DisneyTheatricalLicensing.com.
Disney’s Finding Nemo JR. Actor’s Script © 2023

Script and all other material © Disney/Pixar. Unauthorized duplication is prohibited by law.
Finding Nemo JR. and Disney’s Finding Nemo JR. are trademarks of Disney Enterprises, Inc. All rights
reserved.
112
Casting Your Show
C AS T IN G
C asting is one of the key responsibilities of a
director. Good casting decisions can reward
you with a motivated company that works
breakdown (pp. C4-6), and audition forms
(see Downloadable Resources) in advance of
auditions. Listen carefully to your colleagues
as a team throughout rehearsals to deliver a throughout the process and take their insights
wonderful performance. Casting performers in and opinions into consideration as you prepare
parts not right for them can make rehearsals to make final casting decisions.
difficult. There’s a fine line between challenging
a student with a role that is slightly beyond their Schedule Auditions
current skill level and overwhelming a child who Coordinate your auditions with school and
is not ready for such a growth opportunity. The community calendars to maximize access for
practices below will help you determine that line potential performers. You’ll want to schedule
and ensure a successful audition and rehearsal enough sessions to see all the kids once and
process. some kids again (callbacks). Once you settle on
dates and times, advertise auditions via flyers,
Form an Audition Committee homeroom announcements, the local paper,
An audition committee usually consists and social media. Putting effort into audition
of the show’s director, music director, and publicity gets more students to show up, offers
choreographer, who will evaluate acting, singing, you more casting choices, improves the quality
and dancing abilities, respectively. To maintain of your production, and creates excitement
a fair and transparent process, and to curb about the show far in advance of performances.
any appearance of bias or favoritism, consider
including an additional colleague, such as an Prepare for Auditions
assistant principal, a board member, or a donor, Print out extra audition forms, the character
who can oversee proceedings in the audition breakdown, and extra copies of the selected
room or, if comfortable, even contribute to the audition material for your audition committee
casting process. and be sure to provide them with sharpened
Share your artistic vision and production pencils, notepads, and any other materials they
expectations with your committee and supply might need during the audition process.
them with copies of the script, a character
Recruiting Kids for Musical Theater

Get the word out: there’s a role for everyone in the theater! Take time to build your musical
theater program through active recruitment. Here are a few ideas:
• Have your students perform a number from last year’s production at an assembly, the mall,
or any place families gather. Hand out flyers announcing your auditions for this year’s show.
• Hold a pre-audition workshop where you teach everyone an audition song and some fun
choreography. This is a great way to introduce kids to the audition process without all the
pressure of an actual audition.
• Offer a backstage tour and a technical theater workshop, then recruit your stage crew from
the kids who show interest.
• There’s nothing like a personal invitation. Simply approaching a student and saying, “I really
think you’d have a great time in our upcoming musical – will you audition?” can really make
a difference.
Music Theatre International • Broadway Junior® • Director’s Guide | C1

For a traditional casting approach, use audition Keep Auditions Positive
CAS T IN G
sides – excerpts of dialogue from the show that
Ensure that your audition space is clean, calm,
you can use to gauge an auditionee’s personality
and organized. A relaxed atmosphere is vital
and performing skills. You can also provide actors
because auditioning can be scary at any age, and
with excerpts from the score to sing. Be sure to
you want this to be a positive experience for your
download the audition materials included with
young performers. Your stage manager should
this ShowKit®. You may provide these in advance
keep things moving on schedule. Make sure
so students have time to familiarize themselves
every child has the same amount of time to sing,
with the material.
act, and dance. Fairness is key. After auditions,
Have the auditionees take turns presenting their use the audition forms to evaluate each
excerpts. Consider using the show’s Performance performer. Compare notes with your committee
Accompaniment Tracks or a separate and identify at least two candidates for each role.
accompanist playing from the Piano/Vocal Score
so the music director can listen instead of play. Hold Group Callbacks
Depending on their experience, you may also ask
Invite promising actors to a second round
auditionees to prepare 16 measures (about 45
of auditions known as “callbacks.” Encourage
seconds) from an upbeat Broadway song of their
students to research potential roles to improve
choice. If actors are tentative, or were not able to
the quality of their auditions. (Character
prepare something for the audition, use a well-
breakdown, sides, and songs can be found at
known song like “Happy Birthday” or “Twinkle,
mtishows.com/broadway-junior.) If auditionees
Twinkle, Little Star” to get them singing. Once
do not read and sing for specific characters at
everyone has sung and/or read, teach a small
your initial auditions, they can do so at callbacks.
section of choreography to your auditionees so
that you can assess their movement skills. It is helpful at this stage to audition those called
back as a group so you can get a sense of how
For an alternate approach to auditions,
everyone works together. (Group chemistry is
experiment with using call and response to
just as important as individual talent!) This also
explore lines from the show without having
allows kids to experience more of the process,
scripts in hand. You might also learn a section
witness their peers, and self-evaluate along
of music as a large group and then have
the way. The actors capable of performing the
auditionees sing it back alone or in small groups.
principal roles will usually be clear – not only to
Finally, use theater games to introduce various
you but to the other kids auditioning as well.
characters in the show and encourage actors
to take on the characters using their voice and
body.
A Note on the Sensitivity of Casting

When producing theater with young performers, it is best to cast actors whose strengths
will allow them to excel at the role they are assigned. In an educational setting, talent, need,
capacity, and representation are all important considerations when casting your show. Some
roles require a great deal of personality (such as when an actor is asked to play a comedic
sidekick) and others require a level of gravitas best expressed by more mature performers
(such as a parent figure). Avoid casting young performers based on their appearance alone and
consider the message you might send by doing so. Your production will benefit from a variety
of races, genders, abilities, body types, and sizes, so approach your casting process with care
and an open mind.
C2 | D isney’s Finding Nemo JR.

Cast Your Show with Confidence Once you have made your casting decisions, be
C AS T IN G
confident sharing your choices. Encourage your
The first step to successfully casting your
students to take full ownership of whichever role
production is presenting a positive attitude to
they play, onstage or off. A great way to achieve
your potential cast during the audition process.
this is to announce specific casting choices at
Emphasize the importance of each role in
the first read-through, rather than posting it on
the production; downplay the importance of
a bulletin board or online without explanation.
“principals” or “leads.” This show is designed for
Immediately read the show aloud from
an ensemble – so every part is essential. Make it
beginning to end so cast members can see how
a goal to find a role or activity for everyone who
their roles fit into the show as a whole. This also
is interested in participating.
allows the actors to discuss their assigned role
After callbacks, spend time with your committee with the director if they need further clarification
to make sure you cast students in the best roles and works to counteract disappointment.
for them and for the production as a whole.
Creative Casting Options

In some cases, traditional casting isn’t the best option due to your cast size (large or small).
There are many ways to embrace any number of interested performers.
Double Casting
If you have a large group of kids, consider double casting – casting two actors to perform
the same role at different performances. Double casting offers more kids an opportunity to
perform, which is a wonderful thing. It also ensures that the show goes on should someone
have to miss a performance. Double casting puts more pressure on rehearsal scheduling since
you have to rehearse two people for one role. However, if you have a large number of kids, the
extra work is absolutely worth the benefits!
Split Casting
Another way to feature more actors would be to split the roles within a single performance. For
example, one actor may play a role for the first half of the show, then another actor would step
into that role for the second half. Use duplicate costumes or variations on a theme to support
this concept so the audience can easily follow the storytelling. This modification is also great
for actors who might not be ready to handle a large role on their own.
Consolidating Roles
Conversely, if you find yourself with a small but enthusiastic bunch, experiment with assigning
multiple ensemble or featured roles to one performer. This is a great way to create a larger part
out of several smaller roles. Audiences will love watching your performers embody multiple
characters!

Character Breakdown
CAS T IN G
F inding Nemo JR. calls for a large cast of

primary, featured, and ensemble storytellers
– and each has a unique personality and special
on challenges big and small. Cast an energetic
performer who can capture Nemo’s innocence
and sense of wonder.
role to play in this underwater world. Cast actors MARLIN, an anxious clownfish and Nemo’s
who can find ways to bring these beloved overprotective father, who, after the tragic
characters to life with strong, clear choices. The death of his wife Coral, prefers the safety of his
more specific you are with your casting, the anemone to the frightening unknowns of the
stronger your show will be. open ocean. Forced to travel across the sea in
search of Nemo, Marlin develops the courage
Remember, it’s important to empower your to face the unpredictable ocean and the
performers portraying the Sea Chorus, Reef wisdom to trust others – including his own kid.
Kids & Parents, Tank Gang, Sharks, Sea Turtles, Consider casting an older, mature actor to play
and members of the other various ensembles. this helicopter parent who eventually learns to
Activate their imaginations and encourage them lighten up and embrace the clown in “clownfish.”
to develop a specific movement vocabulary that
corresponds with their characters as they move DORY, an optimistic and bubbly blue tang,
throughout their different environments. This is experiences frequent short-term memory loss
especially important for Finding Nemo JR., which and finds herself wandering through the ocean
relies on various ensemble groups in multiple with no place to call home. Sparking friendships
locations to relay key parts of the story. with whomever she meets, Dory immediately
offers to help Marlin find his lost child, and the
Below is a character breakdown for Finding two set out on an adventurous journey through
Nemo JR. Performers playing leading roles – the the ocean. Along the way, Dory’s kindness and
Primary Storytellers – should remain those bright spirit ease Marlin’s fears, and the unlikely
same, single characters from the beginning to duo finds comfort and family in each other. Look
the end of the show. Ensemble Groups are for a performer with great charisma and a stage
selected performers chosen from the larger presence that can light up a room. Consider
general ensemble. Your ensemble can participate auditioning several Marlins and Dorys together,
in multiple or all groups, but keep costuming as the two should be able to playfully banter
(the number of costumes and changes per with great comic timing.
performer) in mind when casting these featured
ensembles. Actors cast in Featured Roles can Featured Roles & Ensemble Groups
also be members of various ensemble groups CORAL, a loving mother-to-be clownfish,
in scenes where they aren’t featured. All roles married to Marlin, who will stop at nothing to
in Finding Nemo JR. require singing, whether as protect her eggs. After your actor has finished
a solo or in a group. Refer to the charts on pp. with this role, have them join the Sea Chorus or
C7-8 for the Actor’s Script pages showcasing the other ensemble group for the rest of the show.
characters’ featured lines or vocals as well as their The SEA CHORUS functions as the general
gender (flexibility). ensemble, creating the environment of the play
and becoming the characters that Marlin and
Primary Storytellers Dory interact with on their journey to Sydney.
NEMO, a curious young clownfish who brims They will also help with the transitions from the
with excitement to explore the wonders that Ocean to the Aquarium Tank. Your Sea Chorus
lie beyond the Great Barrier Reef. Born with a can be filled with any species of sea creatures
“lucky fin” – or what humans would call a limb you would like, but below are the featured roles
difference – Nemo quickly learns that the world that can emerge from this Ensemble. Feel free
possesses incredible dangers in addition to to assign actors to the following groups as best
the promise of big adventures. By making new suits your production:
friends, finding strength within, and practicing • ANGELFISH, DAMSELFISH, and
teamwork, Nemo transforms into a capable and BARRACUDA are all featured fish in the
brave leader, able to self-advocate and take “Prologue” and can be assigned to any
members of your Sea Chorus. While Angelfish actor’s dance level and experience. If you
C AS T IN G
and Damselfish can return throughout the design a diver’s mask that is oversized, it may be
play, it is recommended that Barracuda not operated by a small group of students moving
appear anywhere but the prologue. together.
• The MOONFISH (1–6) are a shapeshifting The chorus of SHARKS try to reform their
school of fish who offer helpful directions carnivorous eating habits and are featured
to Dory and Marlin on their journey to in “Fish Are Friends Not Food,” while one or
find Nemo. While there are six speaking two might make an appearance in your Sea
roles, your production can utilize as many Chorus during large group numbers. Their
Moonfish as desired to create fun, extra- corresponding FISH “FRIENDS” are forced
choreographed stage pictures. to attend the sharks’ party but aren’t quite so
• JELLYFISH of all shapes and sizes swarm convinced that their hosts will be satisfied with a
Marlin and Dory, stinging them with their kelp-only diet. Look for actors who are expressive
charged and dangerous tentacles. Many and animated movers to make “Fish Are Friends
Jellyfish are needed in “Just Keep Swimming Not Food” a larger-than-life dance number. For a
(Part 2)” to create the treacherous minefield comedic casting choice, consider differentiating
that Marlin and Dory traverse. As the arrival your Sharks from their Fish “Friends” by making
of the Jellyfish is an important plot point, all the Sharks taller/older actors and the Fish
you should not have more than one or two “Friends” shorter/younger actors. You might even
Jellyfish in your general Sea Chorus. consider defying expectations by making the
menacing Bruce a smaller, younger student who
• SEA TURTLES (1 & 2), GROUPER, LOBSTERS can still command the stage and scare Dory/
(1 & 2), OCTOPUSES (1 & 2), ELECTRIC EELS Marlin despite their size.
(1 & 2), and SEAHORSES (1 & 2) spread the
news of Marlin’s journey across the ocean. • BRUCE, an intimidating great white shark, is
the sharks’ ringleader. Despite Bruce’s best
At school, Nemo joins class with the REEF KIDS efforts to adopt a vegetarian diet, Bruce loses
while Marlin makes small talk with the seasoned control and is sent into a frenzy, threatening
group of REEF PARENTS, including SHELDON’S to devour every fish in sight. Cast a confident
PARENT, PEARL’S PARENT, and TAD’S PARENT. singer who isn’t afraid to own the stage and
Your production may cast as many REEF KIDS rock on during “Fish Are Friends Not Food.”
and REEF PARENTS as you want, but Nemo’s
featured friends are: • CHUM and ANCHOR, two of Bruce’s shark
friends, try to live vegetarian lifestyles but
• PEARL, a friendly flapjack octopus who is are eventually forced to restrain an out-of-
quick to befriend Nemo. control Bruce from eating innocent fish. Look
• SHELDON, an H2O-intolerant seahorse with for actors who have big voices and a knack
an appetite for trouble who taunts Nemo to for comedy to play this pair of cronies who
swim beyond the reef. help lead “Fish Are Friends Not Food.”
• TAD, a self-admittedly obnoxious butterflyfish TANK GANG, a friendly and resilient group of
who joins Sheldon in encouraging Nemo to fish who help Nemo escape the Sydney Harbour
swim past the Drop-Off. Aquarium and return to the ocean.
PROFESSOR RAY, a stingray and Nemo’s • BUBBLES, a yellow tang who is captivated
enthusiastic teacher, takes pride in sharing the by bubbles, is the first to welcome Nemo to
curiosities and marvels of the world with the the tank. This friendly fish exclusively uses
class and encourages every student to be a the word “bubbles” to communicate, so look
brave explorer. Cast a performer with excellent for an actor who can communicate using
diction to handle the large scientific words in this inflection, physical gestures, and big facial
professor’s advanced vocabulary. expressions to make this fish fun and full of
energy.
SCUBA MASK DANCER is a performer
responsible for floating the diver’s mask through • BLOAT, an open-minded and supportive
the water whenever it appears onstage. You can blowfish, is proud to be part of the Tank
make this role’s choreography as complex or as Gang family and helps keep everyone’s
simple as you like depending on your selected spirits up, even when things seem bleak. Cast

a strong actor who can portray the warmth of NIGEL, a sharp-eyed pelican, is the Tank Gang’s
CAS T IN G
this fish who’s always cheering the team on. feathered friend and only connection to the
• GURGLE, frightened of strangers and the outside world. This bird is someone you can count
germs they carry with them, is a royal on to know all the latest news on the happenings
gramma who enjoys the safety and regulated of Sydney Harbour.
cleanliness of the tank. Look for a performer The SEAGULLS are a pesky group of birds
who can capture Gurgle’s usually justifiable who persistently try to snatch an unlucky
nervousness, but also their deep appreciation VACATIONER’s snack on the boardwalk. Cast
for the Tank Gang. these roles from members of your Sea Chorus
• PEACH, a mature and down-to-earth starfish, who are not aiding in the scene transitions.
offers guidance and reassurance to all those The SEA TURTLES and SEA TURTLE KIDS are
who need it. Cast an actor who can warmly righteously mellow creatures featured in “Go With
play this supportive and seasoned aquarium- the Flow.”
dweller. • CRUSH, a 150-year-old sea turtle who knows
• GILL, a relentless and inspiring leader who how to hang loose, teaches Marlin a thing or
will stop at nothing to return to the freedom two about being a good parent. Look for a
of the ocean. This Moorish idol fish believes in strong singer who can confidently belt “Go
the Tank Gang and concocts countless plans With the Flow” to make it a truly radical jam.
to bust them out of the aquarium. Gill is the • SQUIRT, offspring of CRUSH, fearlessly twirls
first fish Nemo has ever met with a similar “fin through turbulent waters of the ocean and
difference,” quickly becoming a mentor and enjoys trying out cool new moves in the high-
inspiration for the young clownfish. Look for speed EAC.
a performer who can reel others in with their
enthusiasm and unshakeable drive. • KAI and BREEZE each have individual singing
solos in “Go With the Flow”.
Gender Inclusivity in Casting

When thinking about casting, consider which roles are gender specific and which are gender
flexible.
For casting Gender Specific roles, it can be helpful to separate the gender of
the character from the gender of the performer. Although gender specific parts can be
performed by anyone, the character’s gender may not be changed, so be sure not to change
pronouns or other aspects of the script for these roles. For Gender Flexible characters,
you may adapt the character’s pronouns (such as he/him, she/her, they/them, etc.) in the script
to align with the gender identity of the actor cast in the role.
In Finding Nemo JR., every role can be played by an actor of any gender. Strive to cast your show
with performers who are the best fit for the part, even if their gender identity doesn’t match
their character’s. It’s also important to remember that biological sex does not equal gender,
so keep an open mind while casting to ensure that your entire community feels included. On
that note, we are aware that the “male” and “female” indicators provided are not aligned with
gender, but given the many animals, ages, and magical beings represented in Disney shows,
these categories were our best labels at the time of publication.
To help guide you in this process, the Character Breakdown Chart on pp. C7-8 lists each
character as either “Female,” “Male,” or “Gender Flexible.” If you have questions about gender in
your production, you can always contact your MTI Representative for assistance.

C AS T IN G
Primary Storytellers
Character Female Male Gender Featured Songs Vocal Range
Flexible*
“Big Blue World (Parts 1 & 2)”
“Abduction / Big Blue World
(Reprise)” Nemo
œ
“Where’s My Dad?”
P “We Swim Together” &

œ
Nemo
“Not My Dad”
“That’s My Dad”
“We Swim Together (Reprise)”
“Just Keep Swimming Together” &
“Finale (Parts 1 & 2)”
“Big Blue World (Parts 1 & 2)”
“Abduction / Big Blue World Marlin
bœ
(Reprise)”
P “Just Keep Swimming (Parts 1

&
œ
Marlin
& 2)”
“Go With the Flow”
“Just Keep Swimming Together”
“Finale (Parts 1 & 2)”
&
“Dory’s Ditty” Dory
“Just Keep Swimming (Parts 1

œ
P & 2)”
&
œ
Dory
“Go With the Flow”
“Just Keep Swimming Together”
“Finale (Part 2)”
&
Featured Roles
Character Female Male Gender Singing Speaking Featured Page(s) in
Flexible* Role Role Actor’s Script
Anchor P P P pp. 24-26, 29-30, 32, 34
Angelfish P P p. 3
Barracuda P p. 3-4
pp. 36, 38-39, 41-45, 64-
Bloat P P P 65, 87, 90
Breeze P P pp. 69-70, 72-73
Bruce P P P pp. 24-26, 28, 30-34

pp. 36, 38, 40, 44-45, 64-
Bubbles P P P 65, 88
Chum P P P pp. 24-30, 32
Coral P P pp. 2-4

CAS T IN G
Featured Roles
Character Female Male Gender Singing Speaking Featured Page(s) in
Flexible* Role Role Actor’s Script
pp. 66-72, 74-79, 104-
Crush P P P 105
Damselfish P P p. 3
Electric Eel 1 & 2 P P pp. 84-85
Gill P P P pp. 38-45, 64-65, 88-90
Grouper P P P pp. 81-82

pp. 36-39, 41, 44-45, 64-
Gurgle P P P 65, 87-88, 90
Kai P P pp. 69-70, 72-73
Lobster 1 & 2 P P pp. 82-83
Moonfish 1–6 P P P pp. 54-56, 93-97
Nigel P P pp. 37, 86-87
Octopus 1 & 2 P P pp. 83-84

pp. 36-40, 42, 44-45, 64-
Peach P P P 65, 88, 90
Pearl P P P pp. 7-9, 17-18, 98
Pearl’s Parent P P pp. 7, 15
Professor Ray P P P pp. 10-14, 16-17, 99-100
Sea Turtle 1 & 2 P P pp. 81-82
Seahorse 1 & 2 P P p. 85
Sheldon P P P pp. 7-9, 18, 20, 98
Sheldon’s Parent P P pp. 7, 15
Squirt P P P pp. 71-72
Tad P P pp. 8, 17-18, 98
Tad’s Parent P P pp. 7-8
Vacationer P P p. 34, 63, 90-91
* For gender flexible characters, the gender of the character (including costuming) should align with
the gender identity of the actor cast in the role.

Rehearsal Strategies
R E H E AR SAL
W ith your show cast, you are now ready
to plan your rehearsals. While your own
teaching style and rehearsal parameters will
this manner to teach the desired content for
the rehearsal. This method allows performers
with varying skill sets to engage in every
influence your approach, the guidelines below rehearsal. The natural volley between director,
will help you prepare for opening night. choreographer, and music director also provides
the students with an excellent example of artist
Rehearsal Schedules collaboration in process.
Everything from your creative team’s availability By learning the show in more or less sequential
to the age and experience of your cast will order, your performers will track the story and
inform your rehearsal schedule and approach. develop their characters over time. With that
Careful planning at this stage of the process is in mind, it is important to realize that some
essential for your success. Two sample rehearsal content – especially complicated musical
schedules – sequential and traditional – are numbers – will require more time than others.
provided as Downloadable Resources to get You can always chip away at these larger
you started. They approach early rehearsals numbers in rehearsals before you naturally
differently but ultimately sync up with the same arrive there in the storytelling. Try not to teach
goal: putting on a well-rehearsed production. more than half of a large musical number in any
one rehearsal so that your performers can feel
Sequential successful in what they have learned. You can
The sequential approach can bolster spend the remaining rehearsal time blocking
engagement and retention when working with your way through the story or polishing another
your performers. This multi-disciplinary approach number. Resist the urge to over-rehearse early
to rehearsing is highly effective, as young in the process; young performers often need
performers respond well to a sequential, chunk- time to self-correct and master content. Push
by-chunk approach when learning content. By yourself to move forward and get the foundation
tracking the narrative of the story in show order, of your show in place. You can always polish and
students act, dance, and sing at each rehearsal to rework trouble spots once you have framed your
get the show in their minds, bodies, and voices story. Be sure to budget your time so you can
concurrently. rehearse the end of the show as thoroughly as
the beginning.
With the multi-disciplinary approach, your
director, music director, and choreographer Traditional
will work together to teach the content of your
show in small, manageable pieces. By chunking For a more traditional approach, which is
your way through the show, students will feel utilized in most high schools, colleges, and
successful more often. In rehearsals, this might professional theaters, rehearse by learning all
mean that the music director teaches 16 bars of the show’s music first, choreography second,
the music and then hands the rehearsal over to and scenes last. Once the music is learned
the choreographer to layer on the choreography reasonably well, start by teaching choreography
for those 16 bars. The music director and for the biggest group numbers first, working
choreographer will volley back and forth in your way through to the numbers with the
Warming Up
Regardless of your agenda for a given rehearsal, always begin in the same way: by leading your
cast through a physical warm-up, a vocal warm-up, and an opening ritual (examples are available
as Downloadable Resources). This consistent practice establishes focus, encourages discipline,
builds ensemble, and prepares everyone to work safely.
Music Theatre International • Broadway Junior® • Director’s Guide | D1

least amount of performers. Once a number and creative team will be full of energy and even
R E H E AR S AL
has been choreographed, you can review it a little nervous, which is completely normal.
at the beginning of each rehearsal as a warm- Keep the mood light and fun as you introduce
up, which will help to keep the big, important your company to one another. This is a great time
musical numbers fresh in your cast’s memory. to facilitate an ensemble building exercise. See
With the music taught and the large numbers pp. D9-13 for suggestions of these and other
choreographed, you can focus on staging the relevant rehearsal activities.
show. Block the show in chronological order, With everyone now focused, outline your
which will help reinforce the running order of the expectations for the rehearsal process. Review the
show with your students. Actor’s Script introduction and glossaries to get
Following this technique will allow you to get everyone on the same page with basic musical
a head start on some of the more challenging theater concepts and terms. If you plan to have a
components of the show and has proven very company contract (see Downloadable Resources),
successful for theater-makers for years. If you create or discuss it at this first rehearsal.
choose to follow the traditional schedule, be sure Now it’s time for your first read-through, where
to keep your young performers actively engaged your cast will read the show aloud for the entire
and allow plenty of time to rehearse dialogue company. Assign additional readers for stage
and blocking as thoroughly as music and dance. directions. When you get to the bolded music
cues, play the corresponding Guide Vocal Tracks
Budgeting Time and encourage everyone to sing along. This
With either rehearsal method, during moments is a great way to introduce the story and get
in which the full cast is not learning new content, everyone excited about your production.
your creative team can pull groups into separate With introductions made, expectations in place,
rooms to efficiently work through the show. The and a first read-through accomplished, the hard
amount of rehearsal time you need depends on work of rehearsals begins.
many factors, but for a JR. (60-minute) musical,
you should budget between 75 to 100 hours, Rehearsing Music
including technical and dress rehearsals. For a
KIDS (30-minute) musical, you should budget Because this is a musical, it is usually appropriate
between 45 to 60 hours. When creating your to start each rehearsal with music! If using the
rehearsal schedule, have a list of approved sequential schedule, your cast will learn the
cast and creative team conflicts (vacations, songs, more or less in show order, interspersed
recitals, soccer games, etc.) nearby to guide your with corresponding choreography and scenes.
planning. Since the unexpected does occur and Work with your choreographer to determine the
rehearsals do get canceled, you will want to small, manageable chunks that you will alternate
include a few days marked “TBD.” You can use back and forth to teach together. If using a
these rehearsals to catch up, go over tricky spots, traditional schedule, your first several rehearsals
or work your scene transitions. will be dedicated to learning the music for the
whole show, often beginning with the largest
First Rehearsal numbers.
The first rehearsal is one of the most exciting Encourage students to use the music to tell
days of the production process. Your cast, crew, the story – character and objective are just
as important as diction and projection. Your
Consistent Engagement
You may find yourself at times working with a handful of performers while the rest sit idle. To
keep everyone consistently engaged in the process, encourage performers not rehearsing to
observe carefully and record the blocking of their peers or use headphones to listen to the
Guide Vocal Tracks you forwarded to them. In addition, set up nearby activity stations, such as a
publicity station for creating show flyers and posters or a memorization station where they can
run lines with one another.
D2 | Disney’s Finding Nemo JR.

R E H E AR SAL
Divide and Conquer
Make the most of your time by dividing and conquering material whenever possible. If the
music director and choreographer are working on a dance number that does not involve the
whole cast, the director could be in another space rehearsing a scene, doing character work, or
helping run lines.
students should connect to the story as actors the scene work after the cast knows the music
while learning the songs. Also consider how and dance elements of the show.
different characters might sound differently Begin each scene rehearsal by having your
when they sing. (See p. D6 and the Piano/Vocal students read their lines to themselves. Answer
Score for an introduction to musical direction for any questions about vocabulary or punctuation.
young performers and suggestions for teaching Next, have the actors read the scene aloud.
the show’s score.) Inquire about character intentions. For example,
“What do you think your character is feeling,
Rehearsing Choreography wanting, or thinking right now?” Make sure the
Using the sequential schedule, the performers understand the scene, the action that
choreographer should work with the music is taking place, and why the scene is in the play.
director to layer the choreography onto the (Note: Go through this same process with lyrics,
music as it is taught in sections. In the traditional both in music and in staging rehearsals. Your cast
schedule, once the music is learned reasonably needs to act during songs as well as scenes!)
well, it’s time to add the choreography. Start Now, place the actors onstage and have them
with the biggest group numbers since your cast walk through their blocking for the scene as
already knows the whole score. No matter which you give it to them, including their entrances
schedule you follow, the choreographer should and exits, encouraging them to notate their
collaborate with the director to establish who is blocking with a pencil in their script (point out
taking the lead on scenes that take place during the abbreviations on p. iv of their Actor’s Scripts).
songs and on smaller numbers that might not Next, have them rehearse the scene without
require dance steps. interruption, allowing them to internalize their
Choreography doesn’t require elaborate dance blocking and further explore their characters
moves to be compelling. Even the simplest head within the scene.
nod, step, or gesture is effective when large If time allows, run the scene again, this time
groups perform with precision. You can also offering notes on character and relationship to
use different positions or stage pictures to add help enrich the staging of the scene. When the
texture and variety to your choreography. (See blocking has been finalized, have the actors
the Choreography Videos for examples.) Assign adjust the notes in their script (this is why they’re
your stronger dancers to be dance captains to using pencils). Once you have a few scenes and
help teach, review, and polish your choreography songs staged, run them in order so you can get a
with fellow cast members. Build excitement by feeling of the through line of the show.
having your cast perform a recently learned
number for parents or for each other at the end Each rehearsal should culminate with a brief
of a rehearsal. (See p. D7 for more information.) company meeting during which you, as
director, can give further performance notes
Rehearsing Scenes and reminders. Make sure to provide the other
creative team members an opportunity to
Effective staging keeps your story moving
share notes in their respective disciplines as
forward. Both types of schedule allow time for
well. Whether they funnel their notes through
rehearsing the dialogue scenes in show order. In
you in order to avoid too many voices in the
the sequential schedule, you’ll work on scenes
room, or each take a turn to share thoughts
interspersed with music and choreography,
on the rehearsal, find the way that works best
whereas in the traditional schedule, you’ll tackle
for your team. Actors should bring their scripts

and pencils, be quiet and attentive, and hold • Rehearse with any costume pieces that may
R E H E AR S AL
questions and comments until the end. As you affect how the actors move, such as shoes,
share your constructive feedback, remember to hats, long skirts, or masks.
praise the hard work of the cast and crew, give • Block all set transitions (moving from one
equal attention to all performers, trumpet little scene to another) as carefully as you block
triumphs, and always end on a positive note. the scenes in the show. Assign cast and crew
specific tasks and rehearse everyone’s traffic
Putting It Together patterns for safety.
Be sure to build time in your rehearsal schedule • As you put all the pieces together during
to review material you have already covered. run-throughs, write any lighting cues into
Once you have made your way through the your script, create a technical to-do list, and
entire show, it’s time for a run-through! At a run- establish a schedule for tech rehearsals. It’s a
through, the entire show is rehearsed in order, good idea to schedule production meetings
with few or no stops. Do not expect perfection at following run-throughs so your whole team
your first run-through (often called a “stumble- can see what work is left to be done.
through”). Instead, think of it as an opportunity
for the actors to re-discover the arc of the show Technical (Tech) Rehearsals
that you introduced at the first rehearsal and to
see how all the pieces now fit together. Technical rehearsals focus on incorporating all
the technological elements into your show. Of
During this exercise, make a list of moments you all your rehearsals, tech rehearsals will demand
want to work on in focused rehearsals. As you the most patience and focus from your company,
attend to these “squeaky wheels” in your show, since they require a lot of stillness and silence
increase your expectations on subsequent run- while a few individuals work out technical
throughs. Working in phases, add props, set details, such as the timing of a lighting cue or the
pieces, and microphones (if you are using them) volume of a music cue.
to help prepare for upcoming technical (tech)
rehearsals. Here are some tips to guide you: During the company meeting after your final
run-through, talk everyone through expectations
• Make sure the show is completely staged for tech rehearsals. Establish guidelines for
(blocked and choreographed). procedures and behavior and set clear goals.
• Have your cast rehearse with props as much If you have been rehearsing in a rehearsal room,
as possible. If the actual props are not yet tech rehearsals will mark the first time your
available or are too fragile for constant use, cast will experience the actual performance
substitute with similar items, called rehearsal space. Make sure you build in time to make the
props (see the list on pp. E4-6). necessary spacing adjustments.
Rehearsal Pacing
To ensure that your show is evenly rehearsed and in excellent shape by opening night, attend
to all areas of musical theater performance (singing, dancing, and acting) as well as the
beginning, middle, and end of your musical.
Early in rehearsal, it is tempting to keep working a scene or a song until it is perfectly polished.
However, young performers often need time to stumble through the material before they fully
incorporate it. If you build in time to “polish” your show after the building blocks are in place,
you’ll keep the rehearsal momentum moving forward, and your cast will have time to discover
and refine each moment of the musical at their own pace. Employ theater games and rehearsal
exercises (see pp. D9-13) to foster insight and growth through play.
Your rehearsal schedule should be flexible enough to accommodate changes as you jump into
your show and respond to your cast’s needs. Despite your best efforts to stay on track, it is not
unusual to fall behind. When you do, be sure to update your schedule and fill in those “TBD”
dates as needed.

As you work your way through tech, keep these • Rehearse any quick costume changes (called
R E H E AR SAL
best practices in mind: “quick changes”) prior to running the show.
• Make sure all set pieces are fully constructed Run the show, stopping only to address
and painted so you can practice transitions safety issues or costume problems.
with those that move. • Since tech rehearsals involve a lot of
• Establish clear communication with your stopping and starting, your performers may
creative team and backstage crew. be a little rusty with pace and cues. Take
notes during the run and share them with
• Designate a prop table on either side of your performers at the company meeting at the
stage and make sure all props are always end of rehearsal.
returned to their designated places.
• Invite a few special guests to attend dress
• Call actors who wear wireless mics (if you use rehearsals so your company can get used to
them) a few minutes early to get them wired. a little audience response before your official
Do a sound check to make sure everyone performances.
can be heard and set playback levels for the
Performance Accompaniment Tracks. • Try to build two or three dress rehearsals into
your master schedule, knowing that your first
• Actors should wear any costume pieces they dress rehearsal will be a little rough and that
have been using in rehearsals, but you can your final dress rehearsal should be as good
hold off on full costumes for now. as opening night.
• Work through the show from the beginning,
focusing mainly on sound and lights. Stop to Opening Night
fix any tech-related performance issues, such After your careful preparation and attention to
as an actor not being in their light. all aspects of rehearsals, you’re ready to share
• Use a handheld mic to communicate clearly your show with those who make it complete –
from the house without having to raise your your audience! In preparation for the big night,
voice. Unless there is an emergency, only you coordinate with your front-of-house team
as director should stop rehearsal, usually via (box office workers, greeters, ushers) to be
a simple “Hold, please!” into your mic. sure everyone knows their duties and has the
• Depending upon the amount of time you appropriate information to answer questions
allocate, you may not get through the entire from the audience (the show’s run time, restroom
show in one tech rehearsal. If this is the case, locations, etc.).
at the next rehearsal, simply start where you Backstage, lead the cast through one last warm-
left off. up exercise. Pile extra heaps of praise on all
company members, thank everyone profusely,
Dress Rehearsals and tell them to relax and have fun. They know
Once you have set and practiced all technical the show inside and out – now it’s time to
cues, determined your final spacing on the stage, celebrate. Break a leg!
and worked through all transitions with actual You may wish to give a curtain speech before
set pieces, you are ready for dress rehearsals. You the show to thank important contributors and
can think of dress rehearsals as run-throughs in volunteers who helped you along the way. Avoid
full costume with complete technical support! repeating information found in your program
Your goal is to run the show as you would with and keep any speeches short (under a minute
an audience, but you have an opportunity is best) and positive, beginning with a reminder
to stop and work out any last-minute kinks if to silence any cell phones or noise-making
needed. devices and ending by thanking the audience for
Here are a few tips for putting the finishing supporting your theater program. On with the
touches on your show: show!
• Budget your rehearsal time realistically. It can

take a full hour or longer just to get everyone
warmed up, in their costumes, and ready to
perform.

Music Direction
R E H E AR S AL
A s the show’s music director, you are

responsible for teaching the show’s songs
to the cast and making certain decisions about
Prior to teaching each song, have the cast study
the Guide Vocal Track and answer these questions:
• What is happening during this song?
how the score is represented in your production.
Whether you are a seasoned veteran or taking • Do I know what all the lyrics mean and how
on this function for the first time, see the Piano/ to pronounce them?
Vocal Score for an overview of the role, as well as • What is my part in the storytelling?
specific notes on the show’s score. • Is the music fast or slow, loud or soft, joyful
or sad?
Guide Vocal & Performance
• What happens in the music right before I’m
Accompaniment Tracks supposed to sing?
The tracks included your ShowKit® feature
Begin each rehearsal with both a physical and
professional musical accompaniment for all
vocal warm-up. You can use repeated syllables,
the tracks listed in the script, including musical
scales, or melodies from the show. A pre-
numbers and underscoring for transitions and
rehearsal warm-up is a great opportunity to
dialogue (see p. H1 for contents).
introduce rhythms or melodic patterns you will
The Guide Vocal Tracks include age-appropriate be teaching that day. Some universal warm-ups
voices to help teach the lyrics, serve as an are available as Downloadable Resources.
example for vocal characterization, and
Whether singing a cappella, playing a keyboard,
demonstrate the timing of entrances and
or using the tracks, teach each number one
dialogue over underscoring.
section at a time through call and response. Have
The Performance Accompaniment Tracks contain your performers follow along in their Actor’s
the same music without vocals and are provided Scripts, which include musical notation for all
for use in final rehearsals and performances. songs. Go over basic musical terms, such as note
values, dynamics, and tempo markings. Common
Teaching the Score musical terms are listed in the Director’s Glossary
Your cast will have heard the Guide Vocal Tracks (see pp. G9-15). Once each song is taught, have
during the read-through at your first rehearsal, the cast sing along with the Guide Vocal Track,
but repeated listening is valuable. Consider especially when choreographing new numbers.
sharing the Guide Vocal Tracks with your cast to This will reinforce pitches and help students
allow them to rehearse at home. memorize the lyrics.
Setting Volume Levels

Think of the tracks as an instrument that must be played – sometimes louder, sometimes
softer. Your goal is to ensure that the music is audible without overwhelming your performers’
voices, especially during solos. Conversely, if the volume is too low during group numbers,
your performances might lack energy. Experiment during rehearsals to find the perfect balance
between your tracks and actors’ voices (see “Sound Basics” on pp. E13-15).
During technical rehearsals, determine the best volume for each track so that you can hear
your performers well in your actual performance space. Have your sound operator (a great
job for a responsible student) input the correct level on the Sound Cue Sheet (see pp. G6-8). If
playing the tracks off of a phone, tablet, or computer, be sure to switch the device to airplane
mode so other notification sounds are disabled during the performance. It’s always more
reliable to use a cable to connect your playback device to your sound system rather than a
wireless connection. Be conscious of any lag time that may occur between pressing “play” and
the actual playback and notate any learnings on the Sound Cue Sheet.

Choreography
R E H E AR SAL
A s the show’s choreographer, your job is to
create, teach, shape, and polish the dance
and musical staging in the show.
“Creating Choreography” in your Downloadable
Resources.) Consider how researching your
show’s location, musical styles, and cultural
influences might inspire your choreography as
Preparation well. When in doubt, just get up on your feet and
At creative team meetings, discuss storytelling improvise. You may be surprised at what comes
objectives for each musical number along with out!
any significant set, costume, or stage limitations. Musicals use movement to enrich storytelling
Then, begin outlining your choreography. and to clearly convey important dramatic
Planning is essential. Once you have devised it, moments. Remember to always consider
be sure to notate your choreography and dance these concepts when you are creating your
positions in a method that works best for you. choreography. Decide where you want the
Relying only on your memory can often lead audience’s focus to be during each moment of
to some stressful rehearsals. Once you are in a song. Use movement to guide focus toward
rehearsals, encourage your cast to do the same. important dramatic moments or to pull away
from scene changes or transitions.
At auditions, teach a small piece of choreography
from the show to the students. This will help you Many songs in musical theater lend themselves
to see how best to utilize each student. Also, ask to character-driven movement. Because of this,
them if they have any special skills – tap dancing, student-devised choreography can be incredibly
ballet, and gymnastics can add excitement to successful. Use students’ ideas to create stylized
your choreography, especially during dance movements for the different characters. When
breaks. using student-created choreography, it is
important to ultimately set the choreography so
Devising Choreography it is the same each time. Also, giving the students
a basic framework for their ideas can prove
No artist is expected to invent purely from their very successful. For example, you might have
own experience and imagination – research is one group create a traveling movement before
essential! With the purchase of your license, you walking the students through their assigned
have permission to replicate the choreography traffic patterns for the number.
found on the streaming Choreography Videos.
You may also choose to use the videos to Finally, there are many design elements you
inspire your own creative choreography. In can use to enhance the storytelling of your
addition, you can draw inspiration from (but movement. Remember to work closely with your
may not replicate without permission) a variety design team to incorporate costumes into your
of resources such as mtishows.com, music choreography, and brainstorm about movement-
videos, visual art, classical dance, and excerpts specific props that you might like to use in
from Broadway and movie musicals. (Also see various numbers.
Using the Choreography Videos

The Choreography Videos included in this ShowKit® offer choreography for selected numbers
in the show with an emphasis on storytelling for inexperienced dancers (see p. H2 for
contents). Each number includes a wide-angle shot with instructive narration. For some
numbers, individual dance steps are broken down in a separate demonstration video. Replicate
these examples entirely, employ only sections, or use as inspiration to create your own exciting
choreography!

Rehearsals • Teach in achievable phrases – usually eight
R E H E AR S AL
counts at a time is attainable. After you teach
Arrive at rehearsal with your choreography
each phrase, review and then continue on.
mapped out, but know that you may need to
make accommodations for your students’ skills • When the first section of music has been
and comfort levels. Find a balance between choreographed, learn more of the music and
challenging your cast and ensuring each repeat the process with the newly learned
student’s success. A simple movement done well section of music. Remember, you may want
is more effective than a complicated movement to divide larger numbers up over multiple
poorly executed. It’s most important to go in rehearsals to give students time to absorb
with a plan that can change if necessary but will the information before moving on. If your
then be set for the remainder of the rehearsals. music director plays the piano, it’s helpful
This flexibility will allow the students to fully to play under tempo while you teach the
absorb the movement into their bodies and choreography. If you are not rehearsing
minds. with a pianist, work through the number a
cappella (with no accompaniment). Also, be
Begin each rehearsal with a physical warm-
sure everyone is singing while they dance!
up to avoid injury and get the cast focused
(find examples of physical warm-ups in your • As soon as each section is learned, have the
Downloadable Resources). If you are replicating cast dance at tempo while accompanied by
choreography from a Choreography Video, the Guide Vocal Track so the students can
consider showing the number to your cast focus on the movement.
prior to teaching it. This will excite your cast as • Once the cast has learned the entire number
well as offer a sense of the big picture. Some and is comfortable with the choreography,
choreographers prefer to teach on counts, add any final movement details and set the
calling out the beats as they match with the number. Make sure the dance is telling the
movements. Other choreographers prefer to story just as strongly as the music, lyrics, and
align the choreography to the lyrics, assigning dialogue.
movements to a specific lyric or phrase.
• Alternate between the Guide Vocal Tracks
Whichever you prefer, consider employing the
and the Performance Accompaniment
following teaching process:
Tracks (without vocals) to build the students’
• Ideally, the music director and confidence.
choreographer attend rehearsals together to
• Working exclusively with the Performance
reinforce music and dance skills throughout
Accompaniment Tracks (and utilizing your
the process. If you are using the sequential
student dance captains when possible),
method, begin by teaching a small section
polish the number, balancing energy and
of the music, adding the choreography, and
precision with diction and storytelling.
then putting the two together. If you are
using the traditional rehearsal method, you
can focus on layering the dance on top of the
music the students already know.

Theater Games &
R E H E AR SAL
Rehearsal Exercises
A s director, your job is not only to helm the vision of the show, but also to assist your actors in
developing a bond as an ensemble and guide them into the world of Finding Nemo JR. Below you
will find a wide variety of exercises that will help you do just that.
The following activities from the Ensemble Building section can be facilitated before the show is cast
and rehearsals begin; those outlined in the Connecting to the Story and Creating Character and
Environment sections are designed to be used during the rehearsal process after the show is cast.
Feel free to pick and choose from the suggestions below, selecting the activities that best suit your
cast’s needs by referencing the “use this activity to” note.
Ensemble Building
Bonds of Tankhood
USE THIS ACTIVITY TO: develop community agreements for rehearsal.
1. Talk to the cast about the tight-knit community formed by the characters within the tank.
2. Invite the cast to consider what makes that community of fish work so well together toward their
common goal of escape.
3. Ask the cast what they think the “rules of the tank” might be that allows the group to work so well
together? Why might such community agreements be important?
4. Next, create a list of agreements for your cast to agree to throughout the rehearsal process. Side
coach as needed with questions such as: What do we need to do to have a successful rehearsal
process? How can we create a safe environment for taking risks and creating art together?
APPLY TO REHEARSAL: by posting the agreements in your rehearsal space and referring to them
throughout the process, adding to them as needed.
Celebrating the Diversity of Marine Life

USE THIS ACTIVITY TO: help the cast to get to know one another.
1. Remind the cast that each of the fish and underwater animals we meet in the show brings a
unique strength that helps further the story. For example, Dory can read! Ask the cast to share
other character strengths they noticed from the story.
2. Next, invite the cast to consider the individual strengths that they might bring to the rehearsal
process. Share an example, such as: “I’m great at bringing people together.”
3. Invite the cast to select a strength of theirs that they’d like to share and to pair a movement or
pose that embodies that strength. Explain that they will each introduce themselves and share
their strength and movement.
4. Once the cast members have each had a chance to share, invite them to consider how the variety
of strengths shared might be combined to create a powerful community united with a shared
goal.
APPLY TO REHEARSAL: by inviting cast members to identify the unique strength of their character in
the show.

We Swim Together
R E H E AR S AL
USE THIS ACTIVITY TO: develop an understanding of interdependence and how a community can
support one another.
1. Building off the previous activity, invite the cast to consider how the characters within the story
rely on each other to achieve their shared goals.
2. Introduce the concept of interdependence:
• You’ve heard of independence (autonomy) and dependence (relying on another), but have
you heard of interdependence? What might you think it means?
• Interdependence is a key element of disability justice and a more inclusive world. It
emphasizes that we all need each other and that we should work to meet each other’s needs
so that we can all thrive.
3. Ask the cast to share what they think interdependence in action might look like? What are
some real-life examples? (Side coach as necessary: theater-making is a great example of
interdependence in action!)
4. Next, use one of the real-life examples (e.g., planting a community garden) as a starting place for
an improvised pantomime:
• One actor should begin by entering the playing space and pantomiming an action that
would happen in the environment or context given. This actor should repeat this action over
and over (e.g., planting a seed).
• One by one, more actors should join the pantomime, adding on another repetitive
movement that helps complete the environment.
• Side coach as needed to help actors consider how their actions might help complete the
puzzle.
APPLY TO REHEARSAL: by considering how you could incorporate interdependence into your
community agreements and rehearsal rituals.
Connecting to the Story

Disability in Finding Nemo JR.
USE THIS ACTIVITY TO: learn about how disability is represented in Finding Nemo JR. and its
importance to the disability community.
1. Share the “Disability in the Big Blue World” video (available as a Downloadable Resource) with your
cast. The video will discuss disability culture, the importance of disability representation in media,
and how disability shows up in the musical. Although you can use this video whenever best fits
your process, we recommend sharing after your first cast read through of the show. After viewing
the video together, facilitate a discussion using the provided prompts in the video.
APPLY TO REHEARSAL: by deepening your cast’s understanding of the show’s underlying themes.

R E H E AR SAL
“Disabled people” vs “People with disabilities”
There are two ways to refer to members of the disabled community. Person-first language
(“people with disabilities”) was developed as a way to put the person before the diagnosis.
Identity-first language (“disabled people”) became preferred during the disability rights
movement. Activists recognize that this terminology acknowledges disability as an inherent
part of a person’s identity and doesn’t distance the person from their disability. Both person-
first and identity-first language are used in the disabled community.
Personally, I use identity-first language because I want to celebrate being a part of the disabled
community and help de-stigmatize the use of the word “disabled.” As such, that is the language
you’ll see reflected throughout the Finding Nemo JR. show materials.
Kerry Candeloro
Disability Advocate
What’s Wrong With Your Fin?

USE THIS ACTIVITY TO: deepen understanding of the impact of questions like “What’s wrong with
your fin?” on disabled people.
Director Tip: complete the Disability in Finding Nemo JR. activity prior to engaging with this activity.
1. Remind your cast that Nemo was born with one fin that is smaller than the other. This mirrors an
experience some people have in being born with a limb difference.
2. Share that disabled people or people with disabilities are sometimes asked invasive questions
about their bodies and minds. Explain that while curiosity should be encouraged, it’s helpful to
keep in mind how a person may feel when being asked questions.
3. Begin by reading the relevant scene aloud (pp. 7-8 in the Actor’s Script.)
4. Afterward, facilitate a brief discussion using these prompts:
• What is happening in the scene?
• How do you think Nemo feels about it?
• How might you feel if the first question you heard on your first day of school was about what
was wrong with you?
5. Next, invite your cast to share different ways to have this conversation. You can write these ideas
down or just discuss them.
6. Explain that now you are going to explore bringing these ideas to life. Share that you’re going to
read the scene again, and invite the cast to shout “Freeze!” when they think there’s an opportunity
to change a character’s words or behavior. The person to shout “freeze” can suggest the change
and the actors can improvise the scene but with a different outcome.
Director Tip: for emotional safety, you may want to conduct this activity with the adults doing the
improvising instead of the young people.
7. With each improvisation, ask the cast how they think the characters may feel about the adjusted
outcome.
APPLY TO REHEARSAL: by incorporating these understandings into the character work.

You Think That You Can Do These Things!
R E H E AR S AL
USE THIS ACTIVITY TO: create well-developed ensemble characters.
1. Consider facilitating the English Language Arts workshop found on p. F5-7. Otherwise, facilitate
this shortened version of the activity.
2. Facilitate a brief discussion about the characters of Marlin and Nemo:
• What do we know about Marlin? What do we know about Nemo?
• What do we know about their relationship? What is the conflict?
• How do you think Nemo’s fin difference impacts their conflict?
3. Divide the cast into small groups and explain that within their groups, their task is to create a
tableau (a frozen picture that tells a story) that represents Marlin and Nemo’s relationship at the
beginning of the show and a second tableau that represents their relationship at the end of the
show.
4. If time allows, encourage the groups to choreograph a transition between the two tableaus that
illustrates the changes.
5. Facilitate a discussion with the cast about how Marlin and Nemo’s relationship arc is relevant to
their lives or to their work on the show.
APPLY TO REHEARSAL: by utilizing tableaus in staging and choreography.
Creating Character and Environment

Under the Sea
USE THIS ACTIVITY TO: build a movement vocabulary for undersea creatures in the show.
1. In advance of conducting this exercise, ask your cast to research the marine animal they will be
portraying in the show. Ask them to come prepared with the following information:
• Where does your animal live?
• How does your animal move? What parts of its body does it move? How would you describe
its movements?
• What does your animal eat and how does it find its food?
2. Begin by asking your cast to silently move about the space as themselves.
3. Challenge the cast to think about the way they’re moving and observe that they are presently
moving as humans would.
4. Now, invite them to think of their animal character in the show and everything they learned about
that animal. Invite them to move as 75% human and 25% their animal.
5. Next, invite your cast to dial up their animal movement until they are 50% human and 50% animal,
then 25% human and 75% animal.
6. Engage the cast in discussion about how it felt to incorporate their own movements with the
movement qualities of their character’s animal.
APPLY TO REHEARSAL: by establishing the appropriate balance of sea animal movement qualities
into the cast’s character movement and choreography.
Communicating Bubbles
USE THIS ACTIVITY TO: explore how facial expression, posture, and movement can communicate
intention.
1. Remind the cast of the character Bubbles and their unique communication method of using only
the word “bubbles.” Explain that while speech may be the form of communication many people

are most familiar with, there are a lot of different ways that people in the world communicate:
R E H E AR SAL
some people communicate through sign language, some people communicate through AAC
(augmentative and alternative communication) devices, and some people communicate using a
few words or any combination of these methods. Emphasize that all forms of communication are
valid and Bubbles’ communication method is not meant to be funny… although their timing and
intention are often hilarious!
2. Invite the cast to explore how they might communicate using just the word “bubbles.”
3. Ask the cast to find a partner to work with and ask them to determine who will be Person A and
who will be Person B. To begin, Person A will communicate with spoken English and Person B
will communicate with the word “bubbles” as well as facial expression, body movement, and
intonation.
4. Explain that Person A will begin by saying “Hi! How are you?” and they should improvise a brief
scene with Person B only using “bubbles.”
5. Pause the pairs and invite them to switch so that Person B communicates with spoken English and
Person B communicates with the word “bubbles”.
6. Once the pairs have had the opportunity to thoroughly explore being in both roles, facilitate a
brief reflection on the activity using the following prompts:
• What was that experience like for you?
• When you were communicating with the word “bubbles,” what tools did you engage in order
to convey meaning?
• When you were on the side, what did your partner do that helped you understand their
meaning?
APPLY TO REHEARSAL: by encouraging the actor playing Bubbles to experiment with their vocal
intonation and physical expression to convey meaning. Return to this activity to remind the cast that
Bubbles embodies a valid way of being and interacting with the world and that the other characters
are not meant to laugh at Bubbles.
Role Model Reflections

USE THIS ACTIVITY TO: discuss the importance of representative role models.
1. Facilitate a discussion with your cast about role models using the following prompts:
• Why is it important for young people to see their identities reflected in people who hold
power?
• Can you think of a time when you met such a role model? How did it make you feel?
• With all this in mind, why is representation in stories, art, and media so important?
2. Now, turn the discussion to the significance of Nemo and Gill’s relationship. Refer back to the script
as needed.
• Why do you think Gill is important to Nemo?
• Side coach as necessary to remind your cast that Nemo and Gill share the same disability.
• Consider the moment in Nemo’s life that he meets Gill. Why might this be significant?
• Gill is instrumental in Nemo regaining their confidence. Why might Gill have unique
influence on Nemo?
APPLY TO REHEARSAL: by encouraging the actors playing Nemo and Gill to keep these ideas in mind
when performing their scenes together. For more on this topic, check out the “Disability in the Big Blue
World” video in your Downloadable Resources.

Sets
D E S IG N
W hen creating sets for your production,
remember to think theatrically. While
literal replications of setting and environment
Design Elements
The following design elements are commonly
employed by many scenic designers for their
are sometimes appropriate, simpler and more
versatility and functionality. Use any combination
stylized approaches to design can help to unify
of elements from this list to help tell your story.
your show’s concept and aid in telling your story
more beautifully. Below are some tips and tricks • Unit Set – Many shows work well with this
to keep in mind when creating your set design. type of set, which is static and can be used
throughout the entire show. With a unit set,
Developing a Concept smaller pieces can be added to represent
different locations within your story.
Taking into consideration any initial concept
decisions made at your first production meeting • Backdrop – This muslin cloth features a
(see the call-out box on p. A5), conduct research painted image and hangs at the back of the
to inspire the visual characteristics of the world stage, establishing the world of the play.
you are creating onstage. There are thousands Backdrops can also be created using butcher
of visual references available, including books, paper or bedsheets.
illustrations, and online image searches. Be • Flats – Traditionally made of muslin
sure to bring an overarching design concept stretched across a wooden frame, these flat
into your set design. For example, you might pieces of scenery are painted and arranged
want to explore a specific color palette or base onstage to give the appearance of walls,
your design on a certain type of architecture. buildings, or other locations. PVC pipe and
Whatever your concept, it’s important to be butcher paper can achieve a similar effect.
original. While all artists draw inspiration from
• Periaktoi – These three-sided scenic
other sources, replicating another’s design –
elements typically have a different location
whether from your memory of a Broadway
painted on each side. When rotated during
production or from an online video clip – is
a production, the audience is shown various
unethical and an infringement of copyright.
locations.
Make your production your own.
• Levels – If possible, incorporate different
Think of ways that you can create the world of
levels into your set design. Simple platforms,
the play using the resources you have available
choral risers, and rehearsal blocks are all
to you. Often, resources can help shape a
great ways to easily create depth and
concept. For instance, if you have bolts of fabric
dynamic staging.
at your disposal, perhaps you can incorporate
fabric into the set design. If you have wonderful • Set Dressing – Think about ways to add
student artists (or parents), a custom-painted signs or other simple decorative items to
backdrop might be the centerpiece of your sections of the set to easily communicate
design. And remember that you can incorporate to the audience where the action is taking
ideas from your actors! You never know what place.
creative ideas they might come up with that can • Creative Blocking – You can also use your
lead to an innovative design for your show. actors as the set; costumed ensembles can
Lastly, think about how the set design will work serve as environmental elements (like trees
alongside other technical design elements or the sun).
like costume and lighting designs. Consider Once you have a set design, ensure that you (and
the colors, textures, and patterns you want to your actors) know where the set pieces will live
incorporate into your design and be sure that onstage. Create a ground plan that shows each
all designers are communicating with you, the set piece’s footprint onstage from a bird’s eye
director, so that all production elements work view. Tape out those footprints on the rehearsal
in concert and support your directorial vision. room floor to help your actors gain a sense of the
Don’t forget to consider how your actors will be scenery early on in the rehearsal process.
integrated into the set itself while onstage.
Music Theatre International • Broadway Junior® • Director’s Guide | E1
Set Design for Finding Nemo JR. the stage during some of your most theatrical
D E S IG N
moments, such as “Big Blue World,” “Go With the
Finding Nemo JR. features four main settings
Flow,” or the Finale. You might utilize puppetry or
along the Australian coast: the Great Barrier Reef
other actor-held items that can “swim by,” so that
(including Marlin and Coral’s anemone home and
the reef is always in constant motion.
the Drop-Off), the Sydney Harbour Aquarium
tank, the open ocean, and the Boardwalk. Rather THE DROP-OFF – There is no need to create
than constructing elaborate scenery to create an entirely different set for the moment where
these locations realistically, use simple set pieces Nemo gets captured, but you can use your actors,
or creative staging to suggest each location. lighting, or backdrops/projections to make clear
This show can even be staged with no set at all, that the school children have ventured further
establishing location by designating various areas out than they are supposed to be. For example,
of the stage for specific scenes. You can achieve try making the Drop-Off less populated than the
a lot in this show with backdrops and a bare anemone or the neighboring reef by having your
stage. This will also keep the focus on your young Sea Chorus exit. Consider adjusting the lighting
performers, and transitions will be quick and to darker blues. If you are using backdrops or
seamless with your actors helping to carry on any projections, you might show the boat in the
necessary set pieces. Note that, ideally, transitions distance. If possible, you could also have the Drop-
should take no longer than the underscoring Off be beyond the audience, so that Nemo truly
provided. leaves the stage after swimming out.
For clear staging, consider incorporating various
levels (perhaps using platforms or stacked
rehearsal blocks) that will allow you to create
striking stage pictures. Below are some ideas to
get you started on your design.
ANEMONE HOME – Coral and Marlin’s anemone
sits just at the edge of the Drop-Off, with
a spectacular view of the open ocean. Sea
anemones are tubular and colorful, often with
white or pastel bodies with brightly colored
disks and tentacles in shades of pink and orange.
Consider using pool noodles, balloons, or foam Anemone home
tubes to construct the anemone, which you Weston Drama Workshop; Weston, MA
might decide to place on wheels to ease the quick
transition out of this location. Another option is to
designate actors to hold the pieces that create the
anemone, allowing them to swiftly disassemble it
during the transition by peeling away and exiting
offstage.
THE GREAT BARRIER REEF – To build the coral
reef around Coral and Marlin’s home, consider
using members of the Sea Chorus to create the
hustle and bustle of their neighboring aquatic
life. Explore using tableaus to shape actors into
coral, plant life, and fish groups. Try using raised Sydney Harbour Aquarium Tank
platforms or rehearsal blocks to create different Melody Lane Performing Arts Center; Cape Coral, FL
levels for these tableaus to really fill the stage
and make it swim with life. If you have access to SYDNEY HARBOUR AQUARIUM TANK – To
theatrical stage lighting fixtures, you might use a ease the quick transitions in and out of the tank,
textured template or gobo (a small stencil used consider setting up your tank behind a curtain to
in lights to project a pattern onto the stage) to hide it during other scenes. You might construct
create an underwater lighting effect. To make a simple tank using an easy-to-maneuver
your audience really marvel at the waters of the structure, such as a portable coat rack or a
Australian coast, consider using bubbles to fill rectangular frame made from pool noodles that
E2 | Disney’s Finding Nemo JR.

can be brought on and offstage quickly during
D E S IG N
transitions. To distinguish the tank from the look
of the open ocean, populate it with artificial-
looking plants and other typical fish tank decor
such as colorful rocks, a plastic volcano, a treasure
chest, a two-dimensional castle, etc. In addition
to the decor, the grate that leads to the intake
pipe is an essential element of the tank. Consider
constructing your grate out of wood or PVC pipes,
or painting a grate on a small muslin backdrop.
Your actors can help you make your grate seem
more realistic by miming tugging and pulling at The Great Barrier Reef
Spark of Creation; South San Francisco, CA
it, even if there are no actual bars. The final piece
of the tank is the window at which Nigel appears,
which can be built by using a raised platform to
create the effect that Nigel is looking down on the
Gang from above their tank.
OPEN OCEAN – The remainder of the scenes
throughout the show take place out in the ocean
and can all be played on an empty stage. These
locations include Shark Territory, the trench
containing the jellyfish swarm, the East Australian
Current (EAC) filled with traveling sea turtles,
and the Sydney Harbour Fishing Grounds. To
differentiate these different parts of the ocean, Sydney Harbour Aquarium Tank
consider rearranging rehearsal blocks or other Gill Saint Bernard School; Gladstone, NJ
levels and adjusting your lighting to create
unique looks for each underwater pit stop along
Marlin and Dory’s journey. You might also have
crew members or actors hold up and ripple
different shades of blue fabric at the start of each
ocean scene or during transitions to distinguish
location, perhaps making the colors darker
for more dangerous locations. If you are using
projections or backdrops, you could develop one
or two different ocean looks, so that it appears as
if Dory and Marlin have covered some distance.
Consider how lighting can help distinguish your The Drop-Off
locations: for example, a darker, more ominous feel Aspire Performing Arts Company; Bloomfield, NJ
in Shark Territory, or a light pink hue in the land
to isolate the Boardwalk from the changes
of the jellyfish. Utilize different members of your
happening in the background. You may want
Sea Chorus to give each ocean scene a slightly
to clarify that this is a different setting from the
different feel.
ocean floor, but avoid adding a bench, umbrellas,
BOARDWALK – The hilarious hijinks of a flock of or other set pieces that will be difficult to get on
greedy Seagulls and their unassuming victim – an and off for these very short transition moments.
unlucky Vacationer trying to enjoy a snack – is Instead, use actors to convey this location, such
meant to cover scenic transitions from the tank as a person riding by on a skateboard, a tourist
back to the ocean. This means that the Boardwalk carrying a pool float, etc. Feel free to get creative
should not be a fully realized set; it should be a with these moments. You could even move the
blank stage! It can be placed downstage to distract Vacationer to a different spot in the house for each
the audience from the set changes taking place Boardwalk scene, having your seagulls flock to
upstage. You might even bring down a curtain the Vacationer’s location and using spotlights to
and have the Boardwalk scenes take place in front illuminate them.
of it, or you might use lighting such as a spotlight

Props
D E S IG N
A ny object used by an actor onstage (or used

to decorate the set) is called a prop, which
is short for “property.” The purpose of a prop is
Proper Props Handling
Starting on the first day of rehearsal, the stage
manager should maintain a comprehensive,
to enhance the storytelling, so any props used
organized list of all the props for your production.
in your production will need to be visible from
This list should notate if any rehearsal props are
the audience, durable, and functional. A carefully
needed, whether the props are being acquired
chosen prop can add just the right touch of
or built, which actors bring each prop on- and
authenticity and a sense of professionalism to
offstage, and where each prop lives backstage
your production.
(stage left props table, stage right props table, etc.).
Acquiring or Creating Props It’s also wise to encourage your actors to keep
track of their own props. They should notate in
Be resourceful when collecting required pieces, for
their scripts when they bring props on- or offstage.
budgetary as well as practical reasons. Scour thrift
They should also always check their props prior
stores, attics, storage units, and basements to find
to using them, return them to the proper storage
the necessary items. Many local businesses may
area, and never touch any that aren’t assigned to
even lend props in exchange for mentions in your
them. Set up a prop table backstage where actors
program. Send a list of the props you are looking
can store their props when they are not being
for to parents or the local community. Having a
used. The stage manager should check to be
“prop drive” can help you get a great head start on
sure that each prop is accounted for before every
gathering the props you need.
rehearsal and performance. Many stage managers
When you can’t find the necessary prop, get cover the props table in butcher paper and outline
creative and consider how you can make the prop each prop so that they can quickly identify any
yourself (with the help of your cast and crew, of that are missing.
course). The design concept for your production
might inform the prop’s creation – use colors and Props for Finding Nemo JR.
materials that tie into the overarching design There are only a few props that are vital to the
concept to support your storytelling. With a glue storytelling of Finding Nemo JR. These props, as
gun and some cardboard, you can create many well as those you might elect to use to further
different props that will look great onstage. This indicate setting and character, are listed below
is a great way for a visual arts class to become along with the page numbers where they appear
involved in your musical production! in the Actor’s Script. If your props designer is
adept at finding or creating props – and your
Rehearsal Props performers skilled at handling them – you may
Props can influence the way an actor says a line, discover others that you want to add into your
sings a song, or moves in a scene. Therefore, it is show.
important to provide your actors with props early
in the rehearsal process. If the props you’ll use for
performance are not ready or are too delicate to
survive the rigors of rehearsal, use rehearsal props
(close approximations of the final props that
aren’t painted or adorned). These props should
be incorporated into your rehearsals as soon as
you begin blocking. Just beware of having too
many props, as incorporating them can clutter
the production and may become unmanageable
for the cast and crew. Prioritize the items that are
essential to your storytelling.
Marlin and Coral’s Eggs (made out of balloons)

Essential Props:
D E S IG N
• Eggs (pp. 2-4) – Balls, balloons, papier-mâché
orbs, etc. could all be used to create Coral
and Marlin’s eggs. To make it easier for the
Barracuda to snatch them away, consider
linking them together in some way, or placing
them in some sort of container, bag, or basket,
leaving just one behind as Nemo’s egg. Make
the eggs visible to the audience (larger than a
tennis ball).
• Diver’s Mask (pp. 21, 24-25, 31, 49-50) – To Diver’s Mask
help your Scuba Mask Dancer lift the mask Melody Lane Performing Arts Center; Cape Coral, FL
with ease, you might construct this prop out of
lightweight material such as foam, cardboard,
or plastic that can be attached to a stick for
ease of carrying. The mask should be “human-
sized” compared to your fish, so it should be
larger than an actual scuba-diving mask. Print
the iconic address (P. Sherman, 42 Wallaby Way,
Sydney) on the mask in large letters that can be
read by the audience.
• Scuba Diver’s Net, Aquarium Net, Fishing
Net (pp. 20, 89, 93-97) – Select members of
your Sea Chorus to operate each net or have
the net appear from the wings, operated by Fishing Net (can be used as the Scuba Diver’s Net, Aquarium
an off-stage crew member at the end of a Net, and Fishing Net)
large pole or rod. For the Aquarium Net and Aspire Performing Arts Company; Bloomfield, NJ
Fishing Net, consider a net that is pre-cut
into two pieces and attached together with
Velcro, so that the fish can successfully escape
its clutches when needed. Consider using a
volleyball net or golf net, which may be easier
to manipulate. Note: If you are planning to use
fishing nets with children, please be mindful of
the safety and comfort of the actors involved.
Before putting props into the show, remind
your actors that fishing nets are real tools, and
always put safety first throughout the process
of your production.
• Dory’s Blood (p. 31) – A piece of red fabric or
silk (also known as China silk) can be run across
the stage by the Scuba Mask Dancer or another
member of the Sea Chorus to demonstrate
Dory’s nosebleed, reaching Bruce and sparking
an intense craving for fish. The fabric can also
be hidden in Dory’s pocket or passed to her by
another actor so she can bring it out for this
moment.
Diver’s Mask
St. Andrew’s School the Priory; Honolulu, HI

• Vacationer’s Snacks (x3) (pp. 34, 63, 90-91)
D E S IG N
– A sandwich, ice cream cone, bag of chips,
candy, etc. can all work as delicious snacks
for your Vacationer. You can opt to use the
same snack for each scene or switch it up
throughout the show. Make these snacks
visible to the audience (i.e., opt for a three-
scoop ice cream cone over a granola bar.)
• Bubbles (pp. 36, etc.) – To create the stream of
bubbles in the aquarium tank, consider using
a toy bubble machine or handheld bubble
blowers. This can be placed offstage, in the Bubbles (using a toy bubble machine)
house, or onstage masked by scenery such
as plants or rocks. You may choose to use
bubbles outside of the aquarium tank as well!
Note: To ensure the safety of your actors, be
mindful of the slippery residue left by soap
bubbles.
• Rock (pp. 43-45) – To jam the filter in the
Aquarium Tank, Nemo uses a large rock.
Consider crafting one out of papier-mâché,
cardboard, or a large exercise ball covered in
paint. This rock can resemble brightly colored
aquarium gravel or simply a standard gray
rock, but it should be large enough to be Fishing Net
visible to the audience. Ensure that the size Spark of Creation; South San Francisco, CA
and weight is such that the actor playing Nemo
can confidently carry it.
Optional Props:
• Boat (pp. 18-20) – You need not create a boat
onstage for Nemo’s abduction. Instead, your
actors can imagine a boat out in the audience,
pointing past the fourth wall. If you would like
to realize the boat on stage, consider using
a flat that looks like a sail, or a very small toy
boat on a stick. See the Choreography Video
Demonstration for an example of how to
stage Nemo’s abduction using an onstage Vacationer’s Snacks
prop boat. Riverdale Children’s Theatre; Riverdale, NY
• Boardwalk Props (pp. 34, 63, 90-91) – To

create the setting of a Boardwalk with no
set pieces, you may choose to add other
vacationers to cross during these quick
transition scenes. They may need beach
towels, floaties, beach totes, or other personal
beach props.

Costumes
D E S IG N
C ostumes communicate character to both
the actors who wear them and the
audience who sees them. Consider how your
Most importantly, all your costumes need to
be functional for the actors wearing them.
Remember that the actors need to be able to
overarching design concept can be reflected in act, move, and breathe in their costumes. Lights
the garments each character wears, while still add shadows, hats will inevitably fall off, and an
communicating important details of your understudy may have to wear another actor’s
storytelling. As with other design elements, costumes. Keep your wardrobe simple to get
inspiration is a natural part of the creative into (Velcro and snaps work wonders for quick
process, but replication of another’s designs changes), yet sturdy enough to hold up during
without proper compensation – whether a the performances.
professional production’s or another school’s –
is never acceptable. Acquiring or Creating Costumes
As with all aspects of your production, the
Costume Designs focus of costume design is on storytelling. Keep
Research the time period and location of the this in mind as you begin to build a costume
show, as well as the types of characters in it closet for your school by sourcing commonly
(for example, sea witches or hyenas) to help used wardrobe pieces. Clothing staples like suit
you develop your costume designs. Consider jackets, slacks, dress shirts, blouses, and footwear
how you might create a costume concept that will be useful for many musicals. Consider
informs all your designs. For example, actors holding a costume drive for your production to
could use hats or headbands to signify their jumpstart a costume collection for your school.
characters, or they could simply wear t-shirts Students outgrow clothing quickly – help
that are character-themed. Remember, simpler them clear out their closets by asking students,
is often better. Base costumes are extremely parents, and fellow teachers to donate specific
useful when costuming a large ensemble, and items of clothing that they no longer use.
can easily suggest a character with the addition Secondhand stores are another great place to
of one or two detailed accessories. Consider look for costume pieces. You can always alter
asking cast members to provide their own base items to fit young actors. Even if you can’t use
costumes, which could consist of black pants, a particular piece for this production, chances
black t-shirts, and black shoes and socks. Your are you’ll be able to use it in the next show you
costume committee can create, acquire, or produce!
borrow additional pieces that can be added over Remember that your costumes need to look
the base costume as appropriate for each scene. good from afar, but don’t need extensive details
Another way to help your audience identify that can only be seen up close. Start with broad
characters is by using a specific color palette. strokes when building your costumes and fill
Costume groups of characters in similar colors in the details later. You can even lean on your
to immediately unify them. You can also community to get involved in the costume
provide clues as to which characters belong creation. Perhaps there is a sewing circle at the
together by costuming them similarly from community center or crafty parents who might
the beginning of the show, long before their be eager to help. If you can’t find volunteers who
relationships appear in the text. Purchase a know how to sew, glue guns and safety pins can
bolt of fabric and incorporate lengths of it onto be your key to creating exciting designs.
each character’s base costume to create an Once you’ve gathered and created all of your
inexpensive but cohesive design. Don’t forget costumes, it’s time for a “costume parade,” or
to consider the colors of the theater’s curtains a moment for you to see all of your actors in
and any backdrops or scenery being used in the costume well before opening night. Be sure to
production when creating your designs. Try to build this time into your schedule and have your
avoid costumes that blend into the scenery as costume designer on hand to take notes and
doing so can make it difficult for the audience to make any necessary changes or alterations.
see the actors from the house.

Costumes for Finding Nemo JR.
D E S IG N
There is great flexibility in costuming this vast
world of underwater creatures, leaving room to
make these characters as realistic or stylized as
your resources and design choices allow. Use color
to distinguish between each different species to
make your storytelling clear and to illustrate the
beauty of the Great Barrier Reef. In addition to
various colors, think of the way that your costumes
can help illustrate the many shapes and sizes
of creatures living under the sea. For all your
Nemo and Marlin
characters, you might consider using makeup
to give a little extra sparkle to the faces of your
aquatic creatures.
To start, give each actor a “base costume” in a
solid color, which you can adorn with fins, shells,
tentacles, claws, and tails. Having a simple base
made up of solid color pants, tights, t-shirts, or
leotards allows your actors to transform into
multiple characters by changing their accessories,
without having to complete a full costume change
every time they play a different character. For a
more abstract approach, think of the essences
of each animal character and create inspired
costumes with “human” clothing, such as overalls,
sundresses, jean jackets, sweater vests, etc.
When it comes to costuming the many varieties
of fish, remember that most fish have a gleam and
shimmer to their scales. Consider using metallic or
other shiny fabrics for your fish base layer and their
fins. Tulle can also be a great fabric to create flowy
fins or billowing tutus. You might also experiment
with using armbands, belts, or hats to attach the
fins in different places, making them easier for your
performers to manipulate.
The more you can repurpose, reuse, and recycle
your costumes, the less waste you’ll generate,
reducing your production’s impact on the Earth Dory
and its oceans (which helps our fish friends like
Nemo!) Sustainable costuming is better for your
budget and the environment, so it’s important to
weigh all your options before deciding to buy or
build a new costume. For more tips on costuming
your show in an eco-conscious way, visit Broadway
Green Alliance (www.broadwaygreen.com.)
Below is a list of specific costume suggestions
for each character in Finding Nemo JR. Feel free
to follow or adapt these suggestions to best fit
the needs of your production and resources, and,
as always, involve your performers in driving the
creative design of the show.
Sea Chorus

NEMO, MARLIN, and CORAL – For these bright
D E S IG N
clownfish, consider using an orange base —
perhaps a t-shirt, hoodie, or leotard — that you
can adorn with the signature white stripes and
fins. For Coral, you could employ an orange
sundress, romper, or overalls. You might want
to give these clownfish a headpiece or hat to
attach an additional fin or two. To distinguish
between father and child, feel free to play with
giving Marlin a bowtie or other sort of “fatherly”
accessory. Nemo will also need one fin that is
smaller than the other to create a “lucky fin.” Professor Ray and Reef Kids
Overall, these fish are simple and sleek, so Spark of Creation; South San Francisco, CA
comfort and movability are priority number one.
DORY – For this chatty and ever-optimistic fish,
allow Dory’s shining personality to inspire your
costume choices. To represent a blue tang fish,
incorporate royal blue and bright yellow, with
fabric that is flexible and flowy. You might even
use fabric that has a little shine or glitter to it. A
fluffy tutu, bell bottoms, a blue dress with yellow
tights, or ruffled pants could all be fun options
for Dory. It is important that no matter what Dory
wears, she is comfortable and able to freely float
about without restriction.
Barracuda
The SEA CHORUS, including ANGELFISH, Weston Drama Workshop; Weston, MA
DAMSELFISH, FISH “FRIENDS,” GROUPER
– If you have designated a specific group of
actors to comprise the Sea Chorus ensemble,
costume them all as various fish and underwater
creatures so the stage is alive with animals of
all colors and shapes. Alternatively, this chorus
can be comprised of actors who double as other
featured roles. In that case, they can remain
in their featured role costume, populating the
Sea Chorus with Sea Turtles, Sharks, Moonfish,
Seahorses, Octopuses, etc. However, it is
suggested that Jellyfish, Barracuda, Bruce, and
Crush do not appear in the Sea Chorus and
that actors portraying these characters receive
different sea creature costumes for chorus
moments so as not to confuse the storytelling.
BARRACUDA – To capture the size of this fish,
consider using a Chinese Dragon-style puppet
manipulated by either a single actor or a group
of actors to sweep in and swipe away Coral and
the eggs. Creating a bold, villainous headpiece
with a long trailing cape can also be another
option for costuming your Barracuda. You might
also use shimmery, metallic fabric in a dark
hue that resembles the shine of this menacing
predator. Nemo
Weston Drama Workshop; Weston, MA

SHARKS – For this group, including BRUCE,
D E S IG N
CHUM, and ANCHOR, consider dressing
your performers in a gray base and adding a
headpiece to create a dorsal fin. Backpack straps
or suspenders could securely and comfortably
fasten a shark tail that can be made from
cardboard, papier-mâché, or fabric. You might
choose to make your sharks identical or opt to
differentiate them — perhaps making Bruce the
biggest to signify leadership status.
MOONFISH – For this organized school of
shapeshifters, consider using puppets to allow Dory and Marlin
your performers to create the various shapes
that direct Marlin and Dory towards Sydney. You
could attach your puppet fish to dowels or sticks
to allow your actors to hold one in each hand,
or you could build hand puppets out of oven
mitts to facilitate easy movement. Alternatively, if
puppets are not used, you may create any sort of
glimmering fish look using shiny fabric, as long
as it is uniform.
JELLYFISH – Consider repurposing umbrellas or
wide-brimmed sun hats to create a larger-than-
life swarm of jellyfish. Paint the umbrellas or
hats in silvery-pink tones and add long tendrils Moonfish
of ruffled fabric to create their many tentacles. Aspire Performing Arts Company; Bloomfield, NJ
To resemble these often vibrant, luminescent
creatures, try using metallic or iridescent fabric.
You might make each costume identical or opt to
create jellyfish of varying sizes and colors. Note
that if you opt to use umbrellas, this costume
feature will double as a prop, so the earlier actors
have access to these props in the rehearsal room,
the more comfortable they’ll be with them on
stage. If you opt to use hats, ensure that the
actors’ faces are still visible even under stage
lights!
REEF KIDS and REEF PARENTS – Consider ways
in which the parents and their children can look Sharks
alike, whether in the color and shape of their Weston Drama Workshop; Weston, MA
costumes or in similar unifying elements. To
show their age difference, consider giving the
parents glasses, bowties, a string of pearls, etc.
PEARL and PEARL’S PARENT – These octopuses
have gelatinous bodies that fan out around
them as they move through water. Consider
using a purple base and fluffy tulle to mimic
these creatures’ parachute-like movements, or
creating long tubes made from stuffed socks or
stockings adhered to a belt to represent their
eight tentacles. A similar design should be used
for Octopus 1 and 2 in “One Dedicated Father.”

SHELDON and SHELDON’S PARENT – For
D E S IG N
these seahorses, you might use a brown base
and create a headpiece and tail made of tulle,
cardboard, or another type of fabric to create a
signature seahorse s-curve shape that attaches
to your actors’ backs using backpacks. A similar
design should be used for Seahorse 1 and 2 in
“One Dedicated Father.”
TAD and TAD’S PARENT – Consider using
a yellow base for these bright butterflyfish
adorned with white and black stripes. A bright
baseball cap or headpiece could also be used to The Tank Gang
resemble these creatures’ sword-like mouths. Riverdale Children’s Theatre; Riverdale, NY
PROFESSOR RAY – This giant stingray instructor

glides through the water, guiding students on
adventures throughout the ocean. Give this
professor a large, dark cape that the Reef Kids
can hold onto when setting off to explore the big
blue world. Alternatively, you could attach a kite
with long tails to your actor’s back to mimic the
rippling movement of a stingray gliding through
the water. You might explore giving this educator
a professorial accessory, such as a sweater vest or
pair of glasses.
SCUBA MASK DANCER – Comfort and flexibility
are essential for this free-flowing dancer.
Consider using a leotard adorned with flowing
fabrics to make your performer seem like they
are floating through water. To highlight the
mask prop, you might dress the Scuba Mask
Dancer in blues so they seem one with the water.
Remember that the mask prop can be worn by
your dancer, or an oversized version can be held Nemo and Gill
while dancing.
BUBBLES – Consider costuming this bright and
bubbly yellow tang with a flowing, loose-fitting PEACH – Depending on your resources, you
top or perhaps a dress over yellow leggings. might choose to create this compassionate
starfish by sewing pink fabric into a star shape
BLOAT – For this blowfish, consider using fluffy or using cardboard cut in the shape of a star that
brown and cream-colored fabrics and perhaps hangs from your actor using shoulder straps.
even a hoop skirt to create Bloat’s signature Your performer could also create the star shape
round shape. You might build a hoop skirt by using their body, with a cone-shaped headpiece
sewing different-sized hoops made of plastic added to create the fifth starfish appendage.
boning into your skirt fabric. If you don’t have
access to boning, small hula hoops could also GILL – Consider giving this tough fish a black
create the same effect. base, perhaps incorporating leather-like fabric or
a black jean jacket to represent Gill’s tenacity and
GURGLE – Gramma fish are primarily purple grit. Like Nemo, Gill will also need one fin that
with yellow tails, so consider layering a purple is smaller than the other. Gill’s fin difference is
dress or flowy shirt over a pair of yellow leggings. acquired through injury rather than birth, so try
A bright yellow tutu or a purple top could also reflecting that through fraying and distressing
create fun combinations to outfit this germ-wary the costume materials. Yellow accents and
gramma. accessories such as belts, headbands, hats,
or other pieces might be used to honor this
Moorish idol’s bright stripes.
NIGEL – For this well-informed bird, consider
D E S IG N
creating feathers attached to arm straps out of
layered black, white, and gray paper or ruffled
fabric. An orange hat could top off this look to
resemble a pelican’s large, stretchy beak. You
might also make Nigel a puppet to allow them to
“fly” in and out of the aquarium.
SEAGULLS – Create a uniform look for your
pesky group of seagulls. Consider using orange
or yellow baseball caps to create your birds’
beaks and a vest of fluffy white and gray feathers.
Orange tights and white or grey tutus could all Sea Turtles
also make great additions to these squawking
birds. To create the effect of a large flock with
a small group of actors, you might attach small
origami seagulls to your actors’ baseball caps
with pipe cleaners or wire to make it seem like
additional birds are perched on your actors’ hats.
VACATIONER – The Vacationer provides comic
relief throughout the story, so feel free to make
this tourist as quirky as you please. Consider
using staple tourist attire such as an “I Heart
Sydney” shirt, floral button-ups, khaki shorts, a
bathing suit and cover-up, sunglasses, etc. Be
sure to include a hat where this clever Sydney
visitor can triumphantly hide their snack for the Vacationer and Seagulls
final Boardwalk scene. Aspire Performing Arts Company; Bloomfield, NJ
SEA TURTLES – For this group of righteous

green sea turtles, including the SEA TURTLE
KIDS, CRUSH, SQUIRT, BREEZE, KAI, and SEA
TURTLES 1 & 2, let the laid-back style of surfers
inspire you. Think green board shorts, graphic
tees, or hoodies for this chill bunch. Beanies,
backwards baseball caps, or bucket hats could
all make great headpieces for these easy-going
turtles. If you choose to create shells, consider
using cardboard or spray-painted foil pans to
shape your turtle backs. Stuffed and decorated
backpacks could also make excellent shells.
LOBSTERS 1 & 2 – Consider using a red base Sea Turtles
and creating claws using gloves, oven mitts,
or cardboard for these flaming red lobsters. A
headband with antennae and a red outer layer
such as a coat, shawl, or sweater over a neutral
base would make quick changes a little easier on
these performers if they are needed for roles in
preceding or following scenes.
ELECTRIC EELS 1 & 2 – Consider using black
unitards or puppets to make your slithery eels.
Shimmering or metallic fabric could make
fun additions to these electricity-generating
creatures.

Lighting & Sound
D E S IG N
L ighting and sound can enhance storytelling,
should you have the resources and the desire.
Below are approaches to these aspects of design
• Portable stands (if your theater has no
lighting positions)
Your first goal is to light the stage as evenly as
that can apply to a variety of budgets and possible so everyone can be seen. Depending
performance venues. on the size of your stage, eight lighting fixtures
should do the job. Your lighting designer should
Lighting Basics add color gels to provide you with a variety of
If your performance space has absolutely no looks (for example, night and day).
theatrical lighting, and you have little or no If you are using twelve lights, ask for three
budget for a lighting rental package, here are lighting specials: center stage, stage right,
some tips on how to approach lighting for your and stage left. Use these specials to isolate
production: actors during solos, duets, or other appropriate
• If you are in a classroom or multipurpose moments. Use the final light fixture to project
room, try to delineate your theater space an appropriate textured pattern, like the leafy
from the audience space. Most rooms allow underbrush of a forest, upon the stage to add
for certain lights to be turned on while atmosphere. Finally, incorporate the spotlight at
others remain off. Find a configuration in times when you want to feature a performer or
which the audience lighting is darker than create a special effect.
the stage. Always remember to discuss your power source
• A spotlight can serve a multitude of lighting with your lighting technician or rental company
purposes and usually requires nothing more to ensure you have enough power supply to
than a power outlet and an operator. If your operate the addition of theatrical lights.
school doesn’t have a spotlight, ask around.
Often another school or community theater Sound Basics
will loan its spotlights. If your performance space has no built-in sound
• If you have no control over the lights system and your budget does not allow for a
whatsoever, the show can easily be rental package, try this approach:
performed under full room lights. • Secure at least one powered speaker that has
a built-in amplifier to ensure loud and clear
Lighting Rental Package sound.
If your budget allows for renting a lighting • Connect the playback device to the
package, secure the services of a reputable speaker with appropriate cables and place
lighting company with experience in theatrical the speaker upstage center, behind the
lighting and a lighting designer/operator who performers.
will install or supervise the installation of the
system in your performance venue. A minimal • Place the playback device and the sound
rental package should include: operator in the house, allowing them to hear
exactly what the audience does and adjust
• A light board to control cues (sometimes this volume as needed. Try the area directly in
is a computer with a lighting program) front of the stage but not blocking the view
• 12 lights (eight general wash lights, three of the audience, where the conductor of a
lights for specials, one pattern projector) live orchestra would be. (See diagram on
• Appropriate cables p. E14.)
• Gels (transparent colored material used to In this basic sound configuration, the actors’
color light) and gel frames voices will be supported by the musical
accompaniment but not overwhelmed.
• Appropriate dimmer packs Encourage your sound operator to actively
• Spotlight and a platform for the spotlight control the playback volume. Increase the
and the operator volume during songs featuring the chorus or

when the music drives the energy on stage, such Place the audience speakers (or “mains”) on
D E S IG N
as during dance breaks. Lower the volume during either side of the stage pointing toward the
solos or duets and when dialogue is spoken over audience and the performers’ speaker (or stage
the music. monitor) downstage facing upstage toward the
actors. Place the two foot mics on the downstage
Sound Rental Package edge of the stage to pick up the general sounds
If your budget allows for additional sound of the chorus. (See diagram on p. E15.)
reinforcement, be sure to contact a reputable Working with your music director, assign the
sound person in your area who has theatrical wireless microphones to your actors who
sound experience. A basic sound package should would most benefit from amplification. For
include: example, if your show has a main character
• A playback device present throughout its entirety, dedicate one
microphone to the actor playing that role. Other
• An amplifier mics can be switched mid-show if necessary.
• Sound board to control cues (sometimes this Create a microphone chart tracking who will
is a computer with a sound program) wear each mic at which time and designate
• At least two speakers for the audience someone on the backstage crew to facilitate
mic changes. Try to keep one wireless mic
• At least one speaker for the performers unassigned as a backup in case another fails.
(three are ideal)
Since microphones can often be turned on and
• Appropriate cables off from the sound board, make sure to dedicate
• Two foot mics (floor and shotgun mics are ample time during technical rehearsals to go
common) through all the music and microphone cues to
• Eight wireless microphones for the actors establish perfect timing and volume levels.
Place the playback device and sound board in

the house (usually at the back) so the sound
operator can hear exactly what the audience
does and adjust volume as needed.
Basic Sound Set-up in a Non-Traditional Theater Space
Speaker
Stage
Sound Operator
House

Full Sound Set-up in a Traditional Theater Space
D E S IG N
Stage
Stage Stage
Monitor Monitor
Stage
Monitor
Main Left Main Right
Seating Seating
Sound
Board
House

Source Material
CON N E CTION S
A fter meeting great success with films
imagining the exciting adventures of toys,
bugs, and monsters, Pixar Animation Studios was
ready to dive underwater and explore the big
blue world of a new set of creatures: fish. Thus,
Finding Nemo was released in 2003, telling the
heart-warming tale of a nervous clownfish on
an adventure across the ocean to find his son.
Veteran Pixar creator Andrew Stanton directed
the film and wrote it alongside Bob Peterson
and David Reynolds. To replicate the complex
textures and bright colors of underwater life Disney and Pixar’s Finding Nemo (2003)
more realistically, the expert set of storytellers © Disney/Pixar
became certified scuba divers to experience
ocean life firsthand. The groundbreaking digital Now Oscar® winners for their songs in the films
lighting technology, rigorous research, and Frozen and Coco, Robert and Kristen knew
careful attention to detail earned this film the exactly who should adapt Finding Nemo –
Academy Award® for Best Animated Feature in The Musical for licensing, turning to Kristen’s
2004. sister Lindsay Anderson and her collaborator
Myrna Conn to create the 60-minute (JR.) and
Finding Nemo quickly became a beloved 30-minute (KIDS) adaptations.
animated classic, leading Walt Disney World to
create “Turtle Talk with Crush,” an interactive But even Pixar couldn’t get enough Nemo! In
attraction that opened in 2004 at EPCOT and in 2016, Andrew Stanton returned to direct the
2005 at Disney California Adventure Park. This movie’s sequel Finding Dory, with a screenplay
totally tubular experience allows guests from all by Victoria Strouse and the return of comedian
over the world to chat in real-time with the well- and talk show host Ellen DeGeneres as the voice
traveled sea turtle. In 2007, Walt Disney World of Dory. Fans of the original story were thrilled
brought the realm of Finding Nemo to life further to see some of their favorite fishy characters
by transforming the EPCOT ride “The Living return to the big screen and fell in love with
Seas” into a new attraction called “The Seas with new characters who were just as funny and
Nemo & Friends,” where guests ride in a seashell endearing. After waiting 13 years for the next
alongside the movie’s cherished characters. chapter of this story, audiences came out in
droves to support the film, making Finding Dory
Because fans just couldn’t get enough of one of the top Pixar movies of all time.
Nemo and his pals, Disney set out to create
Finding Nemo – The Musical for Disney’s Animal
Kingdom, hiring husband-and-wife team Kristen Further Reading
Anderson-Lopez and Robert Lopez to write the • The Art of Finding Nemo by Mark Cotta Vaz
book, music, and lyrics. The 40-minute stage (Chronicle Books, 2003)
adaptation features memorable songs like “Go • The Art of Finding Dory by John Lasseter, Steve
With the Flow” and “Big Blue World” by Robert Pilcher, and Andrew Stanton (Chronicle Books,
and Kristen and incredible puppetry by Michael 2016)
Curry, also known for The Lion King on Broadway.
Debuting at Disney World in 2007, the musical
has been enjoyed by audiences up to six times
a day for 13 years and counting — with a new
reimagined version titled Finding Nemo: The Big
Blue… and Beyond!, which debuted in 2022.
Music Theatre International • Broadway Junior® • Director’s Guide | F1

About the Authors
CON N E CT ION S
KRISTEN ANDERSON-LOPEZ (Music & Lyrics) LINDSAY ANDERSON (Script Adaptation) is a

Co-writer of Frozen, co-creator/ writer of In Transit New York City-based lyricist and book writer.
(Broadway’s first a cappella musical). Regional: Off-Broadway: co-writer/creator of A Never-
Frozen (Denver Center); Up Here (La Jolla Ending Line (Players Theatre). Other writing
Playhouse); Finding Nemo: The Musical (Disney credits include Down Under Rescue Sanctuary and
World, running since 2006). Film: Frozen 2, Pixar’s The Game Room (Brooklyn Children’s Theatre);
Coco (Oscar® win, Best Original Song “Remember The Jane Goodall: Experience, and Branded
Me”), Frozen (Oscar and Grammy® Award wins, (Philadelphia Fringe Festival). Graduate of
“Let It Go”), Winnie the Pooh. TV: songs for the Dickinson College and Headlong Performance
87th Academy Awards® (Emmy® nomination), Institute. Lindsay is a proud member of Maestra
“The Comedians” (Emmy nomination), “The Music Inc. and the Tony-honored BMI Lehman
Wonder Pets.” 2014 recipient (and proud board Engel Musical Theatre Workshop. Recipient of the
member) of Lilly Awards. Williams College grad, 2018 BMI Foundation Jean Banks Award for her
BMI Workshop, Dramatists Guild Council. She musical, One Swipe Away.
lives in Brooklyn with husband Robert Lopez and MYRNA CONN (Music Adaptation) is a composer,
their two daughters. music director, and teaching artist based in
ROBERT LOPEZ (Music & Lyrics) Co-writer of New York City. Broadway: Pretty Woman (Key 1/
Frozen, co-creator/writer of The Book of Mormon Conductor & Key 2 sub). National Tour: Come
(9 Tony® Awards), co-creator/songwriter of From Away (Associate Conductor). New York
Avenue Q (3 Tony Awards). Regional: Frozen music directing credits include Bagels from
(Denver Center), Up Here (La Jolla Playhouse), Benny (92nd Street Y), Fountain (New Victory
1001 Nights (Atlantic Theatre). Film: Frozen 2, LabWorks), and National Lampoon Presents: SHIZ
Pixar’s Coco (Oscar® nomination, Best Original (Feinstein’s/54 Below & UCB Theatre). Myrna
Song “Remember Me”), Frozen (Oscar and is a songwriter and pianist for Story Pirates, a
Grammy® Award wins, “Let It Go”). TV: songs for group of actors, comedians, improvisers, and
the 87th Academy Awards®, “The Simpsons,” musicians who adapt stories written by kids into
“South Park,” “Scrubs,” “The Wonder Pets.” One of sketch comedy and musical theatre. Graduate of
only fifteen artists to win Emmy®, Grammy, Oscar, Northwestern University, where she was awarded
and Tony Awards (EGOT). Yale University grad, the Craig Carnelia Songwriting Award and the
BMI Workshop, Dramatists Guild Council. He lives Sarah Siddons Society Scholarship. Myrna is
in Brooklyn with wife and collaborator Kristen also a member of the advanced class of the BMI
Anderson-Lopez and their two daughters. Lehman Engel Musical Theatre Workshop, Local
802 AFM, and Maestra Music, Inc.
F2 | D isney’s Finding Nemo JR.

A Part for Everyone
CON N E CTION S
I n the collaborative art of musical theater,
there truly is a part for everyone! While not
every student enjoys tap dancing and singing
Marketing & Publicity
Drum up excitement for your production by
engaging a group of students as the marketing
solos, theater can appeal to all types of learners
team. Students can work in groups to create
and engage a variety of skills. Because of its
posters, promotional videos, online blogs, and
collaborative nature, your musical is a fantastic
social media posts to promote your show. Share
way to bring a community together. Review
some of the tools included as Downloadable
these tips to increase participation in every
Resources – like the poster and press release
aspect of your production.
templates – to encourage your students to think
big.
Student Designers
Involve more students in your production by Stage Crew
engaging a class of students, an after-school Many students prefer the challenge and
program, or a community group as your responsibilities backstage to performing.
show’s design team. Get creative with how you Capitalize on this enthusiasm by creating a
distribute the work. For example, if a seventh- student stage crew. The crew reports to the stage
grade art class is responsible for designing the manager and is responsible for the technical
costumes for your production, why not assign execution of your show. Tasks include operating
one character to each art student? If an after- the curtain, orchestrating scene changes,
school program is creating your set, consider managing props and costumes, and operating
having small groups of designers assigned to lights and sound. When working with a student
each setting in the play. Just like you would in stage crew, be sure everyone has a specific job
any production, be sure you communicate your and knows how to collaborate with your stage
directorial concept to your young designers and manager. Involve your stage crew early in the
provide feedback along the way. rehearsal process so that they can rehearse and
troubleshoot their responsibilities, just as your
Community Night actors do.
Many hands make light work! With sets to build,
costumes to sew, and programs to fold, there is House Staff
no shortage of work when producing a school You’re in the entertainment business, so
play. Host a community night to help check it all hospitality is a must! Recruit students to
off your to-do list. Invite parents and community serve as ushers, ticket takers, and box office
members to paint the set, fit costumes, and enjoy representatives for your show. This group of
a sneak peek of a song from your show. students is responsible for ensuring a smooth
audience experience at each performance and
General Management & Fundraising can additionally be responsible for creating your
Create a sustainable theater program by show’s program and tickets.
enlisting the help of a math class or another
group of students to create and maintain your
show’s budget. Students can track and organize
expenses, set ticket prices and sell them, and
determine how much fundraising is needed to
sustain your musical theater program. Students
can sell ads in the program, organize bake sales,
and sell concessions to help fundraise for future
theatrical productions.

Curriculum Connections
CON N E CT ION S
A teaching approach that employs the arts

as a vehicle for teaching other subjects,
arts integration offers a chance for students to
• Music is studied and sung to tell a story.
Aural learners will connect with the rhythms
and melodies inherent to this project-based
engage in the creative process while furthering learning.
their understanding of a featured subject. This • Dance is brought to life through the show’s
method – an effective tool for engaging all choreography. Kinesthetic learners will
learners and a model for educators to collaborate embrace the movement of your show.
across disciplines – is utilized in the following
Curriculum Connections, which combine theater • Drama is investigated through character
with subjects like science, social studies, English work and storytelling. Linguistic and
language arts, and music. interpersonal learners will engage with the
written word and collaborative process.
The step-by-step instructions provided in the
following pages are ideal for educators new Explore Other Academic Areas
to arts integration. These lessons can be used
with students involved in the production as an Your musical production and these lessons will
opportunity to enhance their understanding of fulfill many of the Common Core State Standards
the musical. Alternatively, these lessons can be that have been adopted by many schools.
given to each subject area teacher to reach more Through these lessons and your rehearsal
kids and build excitement for your show. process, students will explore:
For cross-grade learning, have the students • Literature: Students will read, comprehend,
from your production team up with teachers to and analyze their scripts throughout the
facilitate these lessons for younger students. This rehearsal process. As young actors progress,
is a great way for your actors to gain leadership they will develop a deep understanding of
experience and for younger students to get the story and character.
excited for your upcoming production. • Informational Texts: Your students’ scripts
By producing a musical, you’re meeting many include an introduction to theater and a
arts requirements and academic standards, comprehensive glossary of discipline-specific
which are outlined below. Additionally, the terms.
lessons on the following pages fulfill many of • Writing: The lesson plans in this section
the standards set forth in the Common Core and include many opportunities for narrative and
National Core Arts Standards, through which informative writing. Journaling is an effective
students create, perform, respond, and connect way to encourage reflection and assess
using theater. student progress.
• Speaking & Listening: Throughout the
Achieve Your Arts Requirements rehearsal process, students will converse
Many states and districts have requirements and collaborate with both peers and
for arts instruction, and for good reason! The adults, building on one another’s ideas and
arts have been proven to nurture student communicating their own.
engagement, bolster confidence, and promote • Language: Through dialogue and song,
creativity. A musical theater production brings students will acquire new vocabulary and
all of the arts together and provides a unique explore figurative language while building
opportunity for addressing standards across domain-specific literacy in music, visual arts,
multiple disciplines at once: dance, and drama.
• Visual Arts are explored through set and • Mathematics: Many standards will be
costume design, poster creation, and more. fulfilled through the exploration of designing
Visual learners will delight in constructing and building sets, lights, costumes, and
the world of the play. props. In rehearsals, counting and timing are
vital to musical success.

You Think That You Can Do
CON N E CTION S
These Things
ENGLISH LANGUAGE ARTS & SCRIPT ANALYSIS
USE THIS LESSON TO: conduct script analysis for a few scenes from Finding Nemo JR.
TIME: 45 minutes
MATERIALS:
• Copies of Script Excerpts (provided as a Downloadable Resource)
• Paper and pencils
OBJECTIVES: Students will:

• Explore the parent-child relationship of Marlin and Nemo.
• Learn how to break down a scene and conduct script analysis.
• Create tableaus to embody character relationships.
READ ALOUD: (1 minute)

In Finding Nemo JR., we meet a father and child pair named Marlin and Nemo. For much of the musical,
they cannot see eye to eye. It’s only after they are separated and each have their own underwater
adventure that they understand each other a bit better. Today, we’ll conduct script analysis to foster a
greater understanding of how their relationship evolves.
WARM-UP: (9 minutes)
1. To introduce your students to the themes present in Finding Nemo JR. and begin developing a
movement vocabulary, lead your students through the following “personal statues” game.
2. Share with students that you are going to call out a word or phrase and they should strike a pose
that embodies that word or the feeling they associate with it. Your facilitation could sound like
this:
• When you think of the word “love,” how does it make you feel?
• Strike a pose that embodies “love” in 3…2…1…
3. Repeat the above prompt using the following words:
• Home
• Friendship
• Independence
• Trust
• Fear
• Disagreement
• Understanding
4. As you complete the warm-up, observe what you see (e.g., “I see a lot of smiles”, “I notice
everyone’s posture turned inward”).
5. Invite students to keep these ideas and associated poses in mind throughout the lesson.
HOOK: (15 minutes)

1. Distribute copies of the Script Excerpts.

2. Begin by reading aloud the character descriptions for Marlin and Nemo and facilitating a brief
CON N E CT ION S
discussion:
• What do we know about Marlin?
• What do we know about Nemo?
• What do we know about their relationship?
• Based on what we know, what conflicts do you think may come up in this parent-child
relationship?
3. Next, explain that you’ll be reading two scenes from Finding Nemo JR. and conducting script
analysis. Explain that one scene is near the beginning of the story and the other is near the end of
the story. You’ll need readers for the following characters/roles:
• First scene – “You Can’t!”: Marlin, Nemo, stage directions (these are notes from the author to
the actors, written in italics)
• Second scene – “You Can!”: Moonfish, Dory, Marlin, Nemo
4. Explain that the text written in all caps is lyrics to a song but that students can simply read it like
dialogue for this activity.
5. After reading the first scene, guide students through the prompts in the callout box at the top of
the scene:
• WHO: (who is in the scene?) You can share that while we only see dialogue between Marlin
and Nemo, Nemo’s classmates and teacher are also in the scene observing the interaction
between Marlin and Nemo.
• WHAT: (what is going on in the scene?)
• WHERE: (where do we think this scene is happening?)
• WHEN: (when do we think this scene is happening?) After hearing some guesses, you can
share that this scene is happening at the beginning of Nemo’s first day of school.
• WHY: (why do we think this scene is happening?) You can encourage students to think more
deeply by asking what the conflict between Marlin and Nemo is and why this might be
important to the story.
6. Next, read the second scene and then guide students through the prompts in the callout box at
the top of the scene:
• For the WHY prompt, encourage students to dig even deeper by asking what changes
students notice between Marlin and Nemo.
MAIN ACTIVITY: (15 minutes)

1. Divide the class into groups of 5 and explain that now students will have the opportunity to
bring their script analysis to life.
2. Remind students of the warm-up and how they used their bodies to communicate a feeling.
Share that now students are going to build on their work of creating personal statues to
create tableaus, which are frozen group pictures that tell a story.
3. Invite the groups to select who from their group will portray Marlin and Nemo. The remaining
students will make up the other characters present within the scenes. For the first scene,
that’s Nemo’s classmates. For the second scene, that’s Dory and the Moonfish.
4. Explain that the groups will create two tableaus, one for each scene. The goal of the tableau
is to communicate what’s happening in the scenes and, specifically, the relationship between
Marlin and Nemo.
5. Give students time to work on their creations, and float about the room to provide
encouragement and guidance. Encourage groups to consider how they can make it clear
to an audience who each of the characters in the tableau is and how they feel about what’s
happening.

6. Once groups have developed their tableaus, pause the group and add one additional
CON N E CTION S
challenge. Ask students to consider once more what changed in Marlin and Nemo’s
relationship between the two scenes. Invite the groups to develop a transition from the
first tableau to the second tableau that illustrates that change. Students can use sound and
movement to communicate this change as they move from the first tableau to the second.
7. Next, invite each group to share their tableaus with the transition with the class.
8. Always encourage the rest of the class to support their classmates with applause and praise
after they share their work.
Access Check
While your students are creating their tableaus together, be sure to encourage respect and
consent in any physical touch between students.
REFLECTION: (5 minutes)
Facilitate a brief discussion using the following prompts:
1. What are some differences you noticed between each group’s performances? What might this
tell us about theatrical interpretation?
2. What did you learn about script analysis today?
3. Does anyone relate to the scenes or themes we explored? How and why?

Go With the Flow
CON N E CT ION S
SCIENCE & CHOREOGRAPHY

USE THIS LESSON TO: explore and understand the relevance and importance of ocean currents
through movement.
TIME: 45 minutes
MATERIALS:
• Video or other resources to learn about ocean currents (example provided)
OBJECTIVES: Students will:
• Learn about oceanic currents and how they stitch together all the oceans of the world into a single
global fabric.
• Translate the concepts of oceanic currents into movement.
• Work as team to achieve a goal.
READ ALOUD: (1 minute)
Finding Nemo JR. takes place in the ocean, and the characters rely on oceanic currents to travel great
distances throughout the show. Today, we’ll explore currents and translate them into movement.
WARM-UP: (5 minutes)
1. Find or clear an open space in the room and invite students to join you in the open space.
2. Facilitate a very brief discussion using these prompts:
• What do you know about oceans?
• How does the water in the ocean move?
• What words would you use to describe those movements?
3. Next, ask students to find a partner and then determine who will be person A and who will be
person B.
4. Explain that in pairs, they will now do a mirroring exercise. Person A will lead first and initiate
movement that Person B will mirror. Remind students of the words they used to describe ocean
movement and encourage students to embody those oceanic qualities in their movement.
5. After about a minute, encourage students to switch so that Person B is leading.
6. Allow the pairs to switch a couple of times and then encourage the pair to try moving as one
without either of the pair leading.
HOOK: (9 minutes)
1. Invite students to return to their seats as you transition into learning about ocean currents.
2. Ask students to share anything they may know about currents. If necessary, you can describe
currents as the motion of the ocean.
3. Share a short video (approximately 4 minutes) on ocean currents with your class. You may use a
preferred video that you research on your own, or you can use this video that was available to the
public at the time of this publication: https://education.nationalgeographic.org/resource/ocean-
currents-and-climate
4. Reiterate a few main points about currents for your students:
• Currents are driven by three global forces: 1. Tides, 2. Wind, 3. Heat & salinity (sea salt).
• Changes in heat and salt content change the density of ocean water, which then shifts the
movement of the water.
• Some examples of major currents in our oceans: The Gulf Stream (south of Florida) and the
Kuroshio Current (east coast of Japan).

5. Invite students back into the open space and share that you’re now going to explore those
CON N E CTION S
changes in ocean density through movement.
6. Explain that to do this, you will play a call-and-response game using the following prompts:
• When I say “cold,” you say “low” and move your body low toward the ground.
• When I say “warm,” you say “high” and move your body high into the air.
7. Practice the prompts a few times until students have mastered the prompts. Encourage them to
incorporate the oceanic movement qualities they explored before.
8. Now, ask students to raise their hands if they were Person A in the warm-up. Do the same for
Person B. Explain that when you say “go,” the As will sink low to the ground and then rise high
while the Bs will rise high first and then sink low to the ground.
9. Say “go” and watch as the group begins to embody the rise and fall of ocean water. Encourage
them to keep those waterlike movement qualities and even add ocean sounds if they’d like.
Access Check
In the warm-up and hook, encourage students to participate in the way that is most
comfortable for their bodies. If needed, encourage them to have conversations with their
partner about any necessary boundaries (e.g., “I’d prefer to not squat to the ground.”).
MAIN ACTIVITY: (20 minutes)

1. As your students rest from the previous activity, share a few more facts about currents:
• Ocean currents are pathways in the sea that help move migrating species from habitat
to habitat. Many larger sea creatures, like sharks, whales, and sea turtles, travel the ocean
currents in order to feed and reproduce.
• Smaller creatures sometimes follow these bigger creatures to hitch a ride on these sea
highways. They do this for protection but also for food! Smaller animals cling to the skin
of larger creatures in order to gobble up food scraps and dead skin. This is a symbiotic
relationship from which both animals benefit.
2. Share that in Finding Nemo JR., some of the characters travel along the East Australian Current
(EAC):
• The EAC is a real ocean current on the east side of the Australian coast that flows in a
southward direction from the Great Barrier Reef.
• Relevant to Finding Nemo JR., the EAC is used to transport turtles between habitats.
• In Finding Nemo JR., the characters of Marlin and Dory hitch a ride along the EAC with the sea
turtle Crush’s family.
3. Next, invite your students back into the open space and explain that as a group, they are going to
create a moving current.
4. Invite or select 10 students to participate in the activity first. The remainder can watch until it is
their turn. Gather the 10 students into a clump, all facing one direction, within the open space.
5. Invite the group of students to imagine they are an ocean current, ebbing and flowing together.
The goal of the current is to move together as one, just as we did in the warm-up mirroring
activity. This group activity is called flocking:
• Identify one member of group, or yourself, as the leader.
• The leader should move slowly, experimenting with all of the movements previously
explored, including rising high and sinking low. The rest of the group should mimic the
leader’s movements exactly.

• When the leader is ready, they should change the direction of the group to face a different
CON N E CT ION S
side of the room. Whoever is at the front of the clump is now the leader of the “flock.”
• Encourage the group to imagine these changes in direction as the moving pathways of the
current.
Access Check
Always remind your students that the goal of flocking is to move as ONE. Not one student
should be left behind, which means that the leader of the flock should not intentionally
perform movements that would be uncomfortable for other students.
6. Once the group has successfully changed directions multiple times, share that it’s now time for
a challenge. Ask for three volunteers who are comfortable dancing or moving separately from
the flock. Once identified, assign the volunteers the characters of Marlin, Dory, and Crush. Crush
should be moving within the flock, “riding” the current. Marlin and Dory should start outside of the
flock and join Crush in “riding” the current. Encourage them to be creative and keep in mind that
there is no wrong answer.
7. Repeat the activity a few times until everyone in the class has a turn being a part of the current or
one of the solo characters.
REFLECTION: (5 minutes)
Facilitate a brief discussion using the following prompts:
• What have you learned about ocean currents today?
• How might a choreographer use research into currents to create the dances for a show?
• How did it feel to move together as a team?

Community Connections
CON N E CTION S
Don’t Trash Where You Splash Just Keep Learning
The ocean contains rich and vital ecosystems. Whether Nemo, Gill, Dory, or Bubbles, disability
Around the world, entire communities live off the and neurodiversity are deeply embedded within
bounty of the sea, and close to one billion people Finding Nemo JR. In fact, the inciting incident
depend on the ocean for nutrition. Yet the in the show — the moment in which Nemo
oceans are not an inexhaustible resource, and attempts to touch the boat after their dad
despite their importance to us, marine resources suggests they can’t hold their own with the other
are being abused. But you can help — even if kids at school — is what sets off a voyage across
you don’t live near an ocean, your cast of Finding the ocean. Research organizations within your
Nemo JR. can raise awareness about keeping own community that advocate for and support
our waterways clean and healthy. Create an people with disabilities and/or neurodivergent
information sheet to insert into your programs people. Organizations run by members of the
— and distribute to parents and the broader community they serve may be particularly
community — regarding steps that individuals valuable to your cast. Invite the organization to
can take to keep our oceans safe. If your school your show and welcome any input from people
or community has a recycling program, your who share lived experience with our fictional
students can create a 3-D informational board characters. If the organization is open to it,
in the lobby that details what can be recycled consider amplifying their work through your
— using samples of actual materials — and program or fundraising to support their mission.
how. Even if you are landlocked, inform your Consider how your cast might engage in a
community that pollutants put down the drain, service project aimed at increasing accessibility
poured into the earth, or let loose in the air in your community with that organization.
eventually reach the open sea and can harm
marine life, sea birds, and human beings. Plastic Nemo and Gill share a special relationship
waste such as empty bottles or grocery bags that in the show. In addition to being a helpful
are not properly recycled will also make their adult in Nemo’s time of crisis, Gill also shares a
way to the sea and cause damage. If you are near disability with Nemo. Both characters have a
an open waterway, consider arranging a visit to a fin difference, and, in Gill, Nemo realizes their
water purification plant or wildlife rescue where own potential. Students in your cast may also
your students can learn more about the dangers benefit from a disabled mentor as they learn
of pollutants and what they can do to help the more about the world around them. Ask your
local ecosystems firsthand. Consider researching partner organization if they offer any mentoring
and supporting nonprofit organizations that programs that may be a good fit for your cast.
help bring clean, safe, and reliable water sources
and sanitation solutions to people around the
world. Empower your cast to spread the word.
We are the stewards of our natural resources,
and it’s up to us to protect the ocean and its
inhabitants.

Connect with…
CON N E CT ION S
Music Theatre International (MTI) is one of the world’s leading theatrical

licensing agencies, granting theatres from around the world the rights
to perform the greatest selection of musicals from Broadway and
beyond. Founded in 1952 by composer Frank Loesser and orchestrator
Don Walker, MTI is a driving force in advancing musical theatre as a
vibrant and engaging art form.
MTI works directly with the composers, lyricists, and book writers of these musicals to provide official
scripts, musical materials, and dynamic theatrical resources to over 70,000 professional, community
and school theatres in the US and in over 60 countries worldwide.
MTI is particularly dedicated to educational theatre and has created special collections to meet
the needs of various types of performers and audiences. MTI’s Broadway Junior® shows are 30- and
60-minute musicals for performance by elementary- and middle school-aged performers, while MTI’s
School Editions are musicals annotated for performance by high school students.
Disney Theatrical Group (DTG) operates under the direction of

Thomas Schumacher and is among the world’s most successful
commercial theater producers, bringing live entertainment
events to a global annual audience of more than 20 million
people in more than 50 countries. Under the Disney Theatrical Productions (DTP) banner, the group
produces and licenses Broadway musicals around the world, including Beauty and the Beast; The
Lion King; Elton John & Tim Rice’s Aida; TARZAN®; Mary Poppins, a co-production with Cameron
Mackintosh; The Little Mermaid; Peter and the Starcatcher; Newsies; Aladdin; and Frozen. Other successful
stage musical ventures have included the Olivier-nominated London hit Shakespeare in Love, stage
productions of Disney’s High School Musical, Der Glöckner Von Notre Dame in Berlin, and King David
in concert. DTP has collaborated with the nation’s preeminent theaters to develop new stage titles,
including The Jungle Book, The Hunchback of Notre Dame, Freaky Friday, and Hercules. In addition, DTG
licenses musical titles for local, school, and community theater productions through Music Theatre
International.
iTheatrics was founded in 2006 by educator and author Timothy Allen

McDonald. Headquartered in New York City, iTheatrics is the world’s
leading authority on musical theater for young people.
iTheatrics develops collections of musicals for young people with leading
musical theater licensing agencies, including MTI’s Broadway Junior® and School Edition musicals (for
Music Theatre International and Disney Theatrical Group).
Working with esteemed partners such as the President’s Committee on Arts and the Humanities, New
York City’s Department of Education, The Kennedy Center for the Performing Arts, Turnaround Arts,
Educational Theatre Association, McGraw-Hill Education, and NBC Universal, iTheatrics develops and
implements dynamic programs to build cost-effective and sustainable musical theater programs in
under-served schools.
As arts advocates, iTheatrics produces Junior Theater Celebrations throughout the world and the
annual Junior Theater Festival has become the world’s largest festival exclusively dedicated to
celebrating young people and student-driven musical theater. Find out how you can make the world a
better place – one musical at a time – at iTheatrics.com.
F12 | Disney’s Finding Nemo JR.

Resources & Organization
R E S OUR CE S
Y our objective is to put on the best show
possible – and in the process infuse and
enrich young minds with the arts. But we know
• The Sample Program and Sample Poster
demonstrate how to format the required
billing and copyright information for the
everyone’s time and resources are limited, so show. Regardless of how you create your
take advantage of our legwork to make your job program and posters, they must display the
a little easier! Trust these tools to set you on the show logo, authors’ credits, and copyright
right path as you work to establish your own best information in the manner demonstrated.
practices. • The Black & White Logo can be reproduced
free of charge.
Forms & Organization
• The Sound Cue Sheet includes all of the
A wise director of a prominent musical theater music cues for your show with space to jot
program once was asked what her legacy would down volume levels and other notes.
be. Her spontaneous reply was, “My forms!”
Indeed, an essential ingredient for theatrical • The Director’s Glossary expands upon the list
success is organization. Theater makers’ forms of terms found in the Actor’s Script.
and procedures create the structure necessary
for art to thrive. Downloadable Resources
If you ever have the opportunity to hold a This ShowKit® comes complete with links to
Broadway production book (sometimes called Downloadable Resources that include many
a “show bible”), you will see an exhaustively more documents designed to save you time,
detailed and extremely valuable tome – so full energy, and money. Need sides for an audition?
of forms and charts that it can comprise several Download them already organized and ready to
large binders! print. Need an audition form? A press release?
A budget? A flyer? A program? Start with the
Documents in This Section included forms and templates. (See p. H3 for a
full list of Downloadable Resources available at
All of your show’s resources are available in your "My MTI" page.)
downloadable formats, but the following
documents are also printed in this section for
easy reference:
Music Theatre International • Broadway Junior® • Director’s Guide | G1

Sample Program
R E SOUR C E S
PRODUCTION TEAM Pacific Middle School’s

Producer ..........................................................................................................Aidan O’Hara production of
Director ............................................................................................................Derek Woods
Music Director .................................................................................................. Jim Merillat
Choreographer .............................................................................................Justina Ercole
Set Designer ................................................................................................Nick Oberstein
Costume Designer ............................................................................ Suzanne Beaubien
Lighting Designer....................................................................................... Chris Fournier
Stage Manager .......................................................................................John J. Llewellyn
Props Master ...............................................................................................Emma Pittman
Sound Designer ...........................................................................................Mark DeLuzio

KRISTEN ANDERSON-LOPEZ and ROBERT LOPEZ
Book Adapted by
LINDSAY ANDERSON

MYRNA CONN

Disney’s Finding Nemo JR. is presented through special arrangement with and all authorized
materials are supplied by Music Theatre International, New York, NY
(212) 541-4684 mtishows.com
Author billing and MTI/Broadway Junior® credits must be

included on all programs and advertising!
Please note: Author billing requirements were accurate at the time
of printing but are subject to change. For the most up-to-date
requirements, please check the billing section of your production
contract and the Finding Nemo JR. show page at mtishows.com prior
to creating your publicity material and printing your program.
G2 | Disney’s Finding Nemo JR.

R E S OUR CE S
SCENES & MUSICAL NUMBERS CAST
(in order of appearance)
PROLOGUE: A NEW HOME
Prologue ............................................................................................................. Sea Chorus Marlin .................................................................................................................... Karl Larson
Coral .......................................................................................................................Anna Birch
SCENE 1: FIRST DAY OF SCHOOL Nemo .........................................................................................................Jessica Sorenson
Big Blue World (Part 1) ...............................................................................Marlin, Nemo Sheldon’s Parent .............................................................................................. Lynda Ryan
Big Blue World (Part 2) .............................Nemo, Reef Kids, Professor Ray, Marlin, Pearl’s Parent ....................................................................................................... Amy Kulak
Reef Parents, Sea Chorus Tad’s Parent ....................................................................................................Derek Sastow
SCENE 2: ABDUCTION TO SHARKS Pearl...................................................................................................................Erica Zeitchik
The Drop-Off .............................................................................Professor Ray, Reef Kids Sheldon ............................................................................................................Rachel Marks
Abduction / Big Blue World (Reprise) ..................................................Marlin, Nemo Tad ......................................................................................................................Julianna Kim
Dory’s Ditty ....................................................................................................................Dory Professor Ray ............................................................................................. Laurie Gavagan
Fish Are Friends Not Food .........................................Bruce, Chum, Anchor, Sharks Scuba Mask Dancer ................................................................................ Olivia Gonzalez
Dory............................................................................................................ Laura Cangialosi
SCENE 3: BOARDWALK (PART 1) Bruce ................................................................................................................Derek Sastow
Seagulls 1 ................................................................................................................. Seagulls Chum ................................................................................................................Gina Kavinski
SCENE 4: MEET THE TANK GANG Anchor .................................................................................................................Henry Miles
Where’s My Dad?.........................................................................................................Nemo Bubbles ............................................................................................................Erica Zeitchik
We Swim Together ................................Gill, Gurgle, Peach, Bubbles, Bloat, Nemo Peach............................................................................................................ Laurie Gavagan
Gurgle ....................................................................................................................Anna Birch
SCENE 5: JOURNEY THROUGH THE SEA Bloat ..................................................................................................................... Lynda Ryan
Just Keep Swimming (Part 1) ............................................Dory, Marlin, Sea Chorus
Nigel ................................................................................................................. Billie Hildreth
Just Keep Swimming (Part 2) ............................. Moonfish, Marlin, Dory, Jellyfish
Gill .............................................................................................................Thomas J. Patlove
SCENE 6: BOARDWALK (PART 2) Crush .................................................................................................................Gina Kavinski
Squirt .........................................................................................................Gwenyth Everett
SCENE 7: THE PUMP IS OFF Kai ................................................................................................................. Olivia Gonzalez
Not My Dad...................................................................................................................Nemo
Breeze ...............................................................................................................Rachel Marks
SCENE 8: GO WITH THE FLOW
Go With the Flow ..............................Dory, Crush, Breeze, Kai, Marlin, Sea Turtles,
Ensemble
Sea Turtle Kids
Sea Chorus ....... Anna Birch, Olivia Gonzalez, Gwenyth Everett, Billie Hildreth,
SCENE 9: THE GAME, THE GOSSIP, THE ESCAPE Thomas J. Patlove, Julianna Kim, Rachel Marks, Henry Miles, Erica Zeitchik,
One Dedicated Father ............................ Sea Turtles 1 & 2, Grouper, Lobsters 1 & 2, Laurie Gavagan, Derek Sastow, Gina Kavinski, Lynda Ryan, Amy Kulak
Octopus 1 & 2, Electric Eels 1 & 2, Seahorses 1 & 2 Sharks .............. Anna Birch, Gwenyth Everett, Thomas J. Patlove, Rachel Marks
That’s My Dad ..............................................................................................................Nemo Sea Turtles & Sea Turtle Kids .......................................Billie Hildreth, Derek Sastow,
We Swim Together (Reprise)............................................................Nemo, Tank Gang Julianna Kim, Henry Miles
SCENE 10: BOARDWALK (PART 3)
SCENE 11: SYDNEY HARBOUR FISHING GROUNDS
Just Keep Swimming Together .............................. Marlin, Nemo, Dory, Moonfish
Finale (Part 1) ................................................................................................Marlin, Nemo
SCENE 12: FINALE
Finale (Part 2) .................................. Marlin, Nemo, Dory, Professor Ray, Reef Kids,
Reef Parents, Sea Chorus
A Program Template is available as a Downloadable Resource.

Sample Poster
R E SOUR C E S
Pacific Middle School’s

production of

KRISTEN ANDERSON-LOPEZ and ROBERT LOPEZ
Book Adapted by
LINDSAY ANDERSON

MYRNA CONN
Director Music Director

Robbie Steiner Angela Hampton
Choreographer Stage Manager
Megan Bliss Makenna Baughman
Disney’s Finding Nemo JR. is presented through special arrangement with and all authorized materials are supplied by
Music Theatre International, New York, NY (212) 541-4684 mtishows.com
A Poster Template is available as a Downloadable Resource.
Author billing and MTI/Broadway Junior® credits must be

included on all programs and advertising!
Please note: Author billing requirements were accurate at the time
of printing but are subject to change. For the most up-to-date
requirements, please check the billing section of your production
contract and Finding Nemo JR. show page at mtishows.com prior to
creating your publicity material and printing your program.

Black & White Logo
R E S OUR CE S
The Black-and-White Logo is also available as a Downloadable Resource.
Please note: Full-color logos in multiple formats are available from

Music Theatre International. Check out Production Resources at
mtishows.com or contact your licensing representative.

Sound Cue Sheet
R E SOUR C E S
The Sound Cue Sheet is also available as a Downloadable Resource.
Track Song Title Cue Notes

When cues are taken from dialogue,
press “play” on the bold, underlined words.
1 Prologue (House lights down.)
2 Barracuda Attack CORAL: Funny dancers. Just like their dad.

ANGELFISH: Look out!
3 I've Got You MARLIN: Coral?! Coral!!

(MARLIN): Oh! Oh no, you’re cracked!…
4 Big Blue World (Part 1) MARLIN: The anemone. All right, I’m up!
It’s your first day of school, Nemo…
5 Big Blue World (Part 2) MARLIN: You know, this is actually Nemo’s
very first day of school.
NEMO: Dad…
PEARL: On my first day of school, I saw a sea
cucumber! It was awesome.
6 First-Timer Segue from #5 – BIG BLUE WORLD (PART 2).
7 The Drop-Off Segue from #6 – FIRST-TIMER.
8 The Boat PEARL: Aww, you made me ink!

(TAD and SHELDON laugh.)
9 Abduction / Big Blue TAD: Oh! Sandy Plankton said it’s called a
World (Reprise) “boat.”
SHELDON: Actually, it’s pronounced “butt.”
PEARL: (in awe) That’s a pretty big butt.
10 Dory's Ditty MARLIN: Coral, I’ve lost Nemo. I don’t know

what to do. I need your help, Coral. Please!
Anyone!
11 Shark Territory MARLIN: No! Look, are you going to help
me or not? I have to find my—

12 Fish Are Friends Not Food BRUCE: Let’s all say the pledge.
R E S OUR CE S
13 Seagulls 1 Segue from #12 – FISH ARE FRIENDS NOT
FOOD.
14 Where's My Dad? Segue from #13 – SEAGULLS 1.
15 How am I Going to Get TANK GANG: Bye, Nigel!

Out of Here? NEMO: How am I going to get out of here?
(GILL emerges from behind a rock.)
16 We Swim Together GURGLE: But that pipe pumps water into

the tank. There’s no way we can swim
against that current!
PEACH: Unless the pump was off.
17 We Swim Together Segue from #16 – WE SWIM TOGETHER.

(Playoff)
18 Just Keep Swimming MARLIN: Nemo! It’s Nemo! And I may never
(Part 1) see Nemo again!
19 Just Keep Swimming DORY: Any of you heard of P. Sherman 42

(Part 2) Wallaby Way Sydney?
MOONFISH: Sydney?!
20 Seagulls 2 Segue from #19 – JUST KEEP SWIMMING

(PART 2).
21 Morning in the Tank Segue from #20 – SEAGULLS 2.
22 It’s Go Time! PEACH: (yawning and stretching) Good

morning, everyone! The sun is shining, the
tank is filthy, the pump is off—
(gasps) The pump is off?! Gill! Wake up!
23 Not My Dad GURGLE: I bet your mom and dad are

worried sick about you, Nemo.
BUBBLES: Bubbles. (I agree.)
24 Transition to Turtles Segue from #23 – NOT MY DAD.
25 Go With the Flow Segue from #24 – TRANSITION TO

TURTLES.
26 Go With the Flow (Playoff) Segue from #25 – GO WITH THE FLOW.

R E SOUR C E S
27 One Dedicated Father MARLIN: Me. And the next one’s just a
guess: me.
DORY: Okay, that’s just scary.
(MARLIN and DORY exit as a GROUPER and
TWO SEA TURTLES enter.)
28 That’s My Dad NEMO: Sharks? That can’t be him.

NIGEL: Sure it is! It’s Marlin! The little
clownfish from the reef!…
29 No Time to Waste PEACH: You’re the only one that can fit.
BUBBLES: Bubbles! (It’s true!)
GILL: No time to waste!…
30 We Swim Together PEACH: Nemo! There’s a net! Look out!

(Reprise)
31 Nemo Escapes GILL: Nemo! Get to the grate!

(NEMO swims over to the grate and pauses.
NEMO looks back at the TANK GANG.)
NEMO: Will I ever see you again?
32 Seagulls 3 Segue from #31 – NEMO ESCAPES.
33 Sydney Harbour Fishing Segue from #32 – SEAGULLS 3.

Grounds
34 A Funny Thing to Promise MARLIN: Am I invisible? Why will no one

help me??
I have to tell Nemo how old sea turtles are!
(Marlin buries his head in his fins.)
35 Just Keep Swimming NEMO: Whooooooooooa!…

Together
36 Finale (Part 1) MARLIN: Nemo? It’s okay, I’m here. I’ve got
you.
37 Finale (Part 2) MARLIN: So then, the sea cucumber looks

at the mollusk and says, “With fronds like
these, who needs anemones?”
38 Bows Segue from #37 – FINALE (PART 2).
39 Exit Music Segue from #38 – BOWS.

Director’s Glossary
R E S OUR CE S
a tempo: A musical marking meaning that the music has returned to the original speed of the song;
generally occurs after the music has slowed down for dramatic effect.
act: 1) The process of performing as a character. 2) A main section of a play. Your musical has one act,
which includes many scenes. Some shows have two or more acts that are divided by one or more
intermissions.
accent: 1) A note that is emphasized or stressed to make it stand out from the other notes in the
phrase. An accent can be represented in the score as “>” over the note. 2) A variation on word
pronunciation based on where a character is from.
actor: A person who performs as a character in a play or musical.
antagonist: A person who actively opposes the protagonist.
apron: A section of the stage that extends in front of the main curtain and the proscenium arch.
assistant director: A person who helps the director stage and rehearse a play.
attacca: A music term indicating there should be no pause between songs.
audience: The people who gather to watch your show. The audience sits in the house.
auditions: Tryouts held for actors who want to perform in a show. Actors auditioning for a musical
may be asked to sing and read a particular character’s lines from a scene.
author: A writer of a play or musical; also known as a playwright. A musical’s authors include the book
writer, the composer, and the lyricist.
backdrop: A large piece of paper or cloth that hangs behind the actors on the stage. Backdrops are
painted to represent different locations.
backstage: The area out of view of the audience that includes the wings and dressing rooms.
balcony: The third level of seating in the house; the first level is the orchestra, and the second level is
the mezzanine. Some theaters only have an orchestra.
ballad: A song with a slow tempo that expresses how a character is feeling.
battens: Metal pipes from which backdrops and lights hang.
beat: 1) A small moment of action within a scene. 2) A moment of silence and stillness during which a
character reacts to something that has been said or done.
blocking: The actors’ movements around the stage in a play or musical, not including the
choreography. The director usually assigns blocking during rehearsals.
body mics: Portable mics that are strapped to the actors’ bodies. Also called lavaliers.
book: The script of a musical; also called the libretto.
book writer: One of the authors of a musical. The book writer writes the lines of dialogue and the
stage directions. Also called the librettist if they write the lyrics as well.
box office: The place where tickets to a performance are sold.
break a leg: A wish of “good luck” in the theater, which comes from a superstition that saying “good
luck” is actually bad luck!
Broadway: The theater district in New York City that is home to 41 professional theaters. One of the
world’s great capitals of live theater.
callbacks: A second round of auditions. A director will “call back” actors for an additional audition
when they have narrowed casting for a role to a few candidates.
call time: The time at which the company is asked to arrive at the theater before a performance or
rehearsal. It is very important that everyone sticks to their call time!

calling a show: During each performance, the stage manager follows along in the script and cues
R E SOUR C E S
lights, sounds, and other technical components of the show at the appropriate time.
cast: The performers in a show.
casting: The process of assigning roles to the actors in a show. Casting is usually done by the director
and the production team after auditions.
center stage: The middle of the stage.
character: A human (or animal) represented in a play. Each actor plays a character, even if that
character doesn’t have a name in the script. An actor may play many characters.
cheating out: Turning slightly toward the house when performing so the audience may better see
one’s face and hear one’s lines.
choreographer: A person who creates and teaches the dance numbers in a musical.
choreography: The dances in a musical that are often used to help tell the story.
chorus: 1) The ensemble; all the cast members other than the principals. 2) A refrain in a song.
climax: The height of the dramatic action in a play.
closing: The last performance of a production.
cold reading: Reading a script aloud without having read it before.
company: All of the people who make a show happen: actors, musicians, creative team, crew,
producers, etc.
composer: A person who writes music for a musical.
costume: A garment worn by an actor during a play.
costume designer: A person who designs or selects the garments worn by the actors during a show.
counter: When an actor fills the space on the stage left by another actor when they cross to a new
location.
creative team: The director, choreographer, music director, and designers working on a production.
The original creative team for a musical also includes the author(s) and orchestrator.
crescendo: A dynamic marking that indicates the song should get gradually louder. A crescendo is
represented in the score by the symbol “ .”
crew: A team of people who move the set, handle props, or work backstage during a production.
cross: An actor’s movement to a new position onstage.
cue: A signal that tells the cast or crew what to do next.
curtain call: The entrance of the company at the end of the show to bow and acknowledge the
audience’s applause.
curtain time: The time at which the show is scheduled to begin.
dance captain: A member of the company selected to help the choreographer teach and maintain
the dances.
debut: A company member’s first appearance on a stage or in a theater.
decrescendo: A dynamic marking that indicates the song should get gradually softer. A decrescendo is
represented in the score by the symbol “ .”
delivery: The way in which an actor says their lines.
designers: The people who create the sets, costumes, makeup, lighting, and sound for a production.
dialect: The sound of a language that is specific to a particular region or social group.
dialogue: A conversation between two or more characters.
diction: The articulation, or clearness of speech, while delivering one’s lines. Also known as
“enunciation.”

director: A person who provides the artistic vision, coordinates the creative elements, and stages the
R E S OUR CE S
play.
double casting: When two or more actors are cast in the same role and then alternate performances.
downstage: The portion of the stage closest to the audience; the opposite of upstage.
dramaturg: The detective of the theater; a person who looks for important information to help the
playwright, actors, director, and designers better understand the play.
dramaturgy: The practice and study of theatrical composition, often to help the creative team as a
production is developed.
dress rehearsal: One of the final run-throughs of a show that usually includes full costumes, props,
and technical elements.
dressing room: The room where the performers get ready for the show.
dynamics: How loud or soft the music should be performed.
ensemble: 1) A group of people who work together to create a production. 2) The chorus, or members
of the cast other than the principals.
entrance: When a character steps onto the stage from the wings or other offstage area.
exit: When or where a character leaves the stage.
final dress: The last dress rehearsal before the show that is performed for an audience.
finale: The last song of a musical that usually includes the entire cast.
flat: A large canvas or board that stands on the stage and is painted to become part of the scenery.
fly space: The area above the stage where set pieces and backdrops are often stored and can be
lowered onto the stage. Not all theaters have a fly space.
focus: The part of the stage where the audience is meant to look at any given time. The director
manipulates the focus using lighting, sound, sets, and blocking.
follow spot: Large, movable light at the back of the house that follows an actor as they cross the
stage. Also called a spotlight.
forte: A dynamic marking meaning “loud.” Forte is represented in the score by the symbol “ .”
fortissimo: A dynamic marking that means “very loud.” Fortissimo is represented in the score by the
symbol “ .”
front of house: Any part of the theater that is open to the audience, including the box office, lobby,
restrooms, and concession area.
full house: A sold-out performance.
green room: A backstage room where the actors can rest and wait for their entrances.
hit: A successful production, either financially, critically, or both.
house: The area of the theater where the audience sits to watch the show.
house left: The left side of the theater from the audience’s perspective.
house manager: The person who manages the front of house and makes sure the audience is ready
for the show.
house right: The right side of the theater from the audience’s perspective.
improvisation: Performing extemporaneously, without a script. Improvisation is a useful tool for
developing character, staying “in the moment,” and remaining in character should something go
wrong onstage.
intermission: An interval between acts of a play. In musical theater there is usually one intermission,
although some shows (like this one) are written in one act and have no intermission at all.

librettist: The person who writes both dialogue and lyrics for a musical. Can also be referred to
R E SOUR C E S
separately as the book writer and lyricist.
libretto: A term referring to the script (dialogue and stage directions) and lyrics together.
license: Permission, or the rights, to produce a play in exchange for a fee, which covers script copies
and royalties for the authors.
lighting board: A board that controls all of the theatrical lights for a show.
lighting designer: A person who helps create atmosphere and setting through various lighting
techniques and palettes.
lines: The dialogue spoken by the actors.
lyricist: A person who writes the lyrics, or sung words, for a musical. The lyricist works with a composer
to create songs.
lyrics: The words of a song.
matinee: A performance of a show held during the day, often followed by another performance at
night.
melody: A series of notes that form one complete musical idea. The melody of a song is sometimes
referred to as the “tune.”
mezzanine: The second level of seating in the house, above the orchestra and below the balcony.
mezzo forte: A dynamic marking meaning “medium loud.” Represented in the score by the symbol ” ”
and performed slightly softer than forte.
mezzo piano: A dynamic marking meaning “medium soft.” Represented in the score by the symbol “ ”
and performed slightly louder than piano.
mic: Short for “microphone,” a device that electronically amplifies the voices of the actors. A mic may
be placed on the floor, hung from the ceiling, or attached to an actor’s body.
monologue: A large block of lines spoken by a single character. When spoken alone onstage or
directly to an audience, a monologue reveals the inner thoughts of a character and can be referred
to as a “soliloquy.”
motivation: The reasons behind a character’s actions.
music director: A person who is in charge of teaching the songs to the cast and orchestra and
maintaining the quality of the performed score. The music director may also conduct a live
orchestra during performances.
musical: A play that incorporates music and choreography to tell a story.
note: 1) A musical sound with a particular pitch. 2) A suggestion given by the director to an actor.
objective: What a character wants to do or achieve.
off-book: An actor’s ability to perform memorized lines without holding the script.
offstage: Any area out of view of the audience; also called “backstage.”
on-book: Rehearsing a play while holding the script because the lines are not yet memorized.
onstage: Anything on the stage and within view of the audience.
opening night: The first official performance of a production, after which the show is frozen, meaning
no further changes are made.
orchestra: 1) The first level of the house. 2) The musicians who accompany the cast during songs
and play underscoring during scenes and set changes. Your Performance Accompaniment Tracks
feature a recorded orchestra.
orchestra pit: A sunken area under or slightly in front of the stage where the orchestra sits.
overture: A piece of music that may be played at the very beginning of the show before the play
begins to set the tone.

pantomime: To act something out without words.
R E S OUR CE S
part: 1) An actor’s role or character in a play. 2) A musical note or series of notes that create harmonies
when produced together with others.
performance: 1) A single showing of a production. 2) An actor’s interpretation of a character in front
of an audience.
piano: 1) A musical instrument that often accompanies a musical theater rehearsal or performance. 2)
A dynamic marking that means “soft,” represented by the symbol “ ” in the score.
pianissimo: A dynamic marking that means “very soft.” Represented in the score by the symbol “ .”
play: A type of dramatic writing meant to be performed live on a stage. A musical is one kind of play.
playback: Any source used for theater that is pre-taped and then used during the performance or
“played back.”
plot: The chain of events that occurs during a play.
presto: A tempo marking meaning that the music should be played fast.
preview: A public performance of a show before opening. Adjustments to a production occur during
previews based on audience response.
principal: An actor who performs a main character in a play.
proscenium: 1) A type of theater in which a large frame, or arch, divides the stage from the house. 2)
The frame or arch itself.
producer: The person in charge of a production who oversees budget, calendar, marketing, and the
hiring of the creative team, cast, and crew.
production: This term refers to everything about your show onstage and off, every given night. A
production includes the performing and technical aspects of your show, which means that each
group that presents a show will have a unique production.
production number: A song in a musical that typically involves the entire cast and elaborate
choreography.
program: A booklet that lists the entire company of a production and may include other information
about the play, such as song and scene titles, setting, and a director or dramaturg’s note.
projection: 1) The act of speaking and singing loudly enough to be understood by the audience. 2) An
image that is projected onto a surface, which can be part of the set for a show.
prompt: To give an actor their next line or stage direction during a rehearsal if they have forgotten
what comes next.
pronunciation: The correct sound of a spoken word.
prop: Anything an actor holds or carries during a performance. Short for “property.”
prop master: The person who makes sure all the props are ready before the show and are safely put
away afterwards.
protagonist: The main character of a story on which the action is centered.
quick change: When an actor changes their costume extremely fast.
raked stage: A stage that is raised slightly upstage so that it slants toward the audience.
read-through: An early rehearsal of a play at which the actors read their dialogue from the script
without blocking or memorized lines.
refrain: The recurring verse of a song. Also called the chorus.
rehearsal: A meeting during which the cast learns and practices the show.
rehearsal prop: An object used in rehearsal to represent a prop that will be used in the show.
Rehearsal props are typically used so that performance props are in perfect shape for opening
night.

reprise: A repetition of a part of a song from earlier in the show.
R E SOUR C E S
rest: A beat of silence in music when no sound is made.
rights: Permission to perform a show that is obtained through a license and payment of a fee.
ritard: A tempo marking that indicates a song should slow down. Represented by “rit” in the score.
role: The character that an actor plays.
run-through: A rehearsal in which the whole show is performed from beginning to end without
stopping.
scene: A section of a play in one particular location and time.
script: 1) The written words that make up a show, including dialogue, stage directions, and lyrics.
2) The book that contains those words.
score: All musical elements of a show, including songs and underscoring.
segue: A musical term indicating that the next song should directly follow the previous song without
any breaks.
set: The entire physical environment onstage, which may include backdrops, flats, furniture, props, and
projections.
set change: A change in scenery, often between scenes or acts.
set designer: A person who designs the set.
setting: The location, environment, and time period of a play.
sforzando: A dynamic marking that means “suddenly loud.” Represented by the symbol “ ” in the
score.
sheet music: Printed musical notation, including lyrics and musical notes, that gives instructions for
singing or playing live.
side: A portion of a script that an actor reads during auditions.
solo: A song or part of a song that is sung by one person.
sound board: An electronic board or computer that controls the mics, sound cues, and any other
audio in a production. Also called a sound console.
sound check: Testing and balancing the sound levels of microphones, speakers, and performers
before a performance to ensure that the audience will hear everything clearly.
speed-through: To perform the dialogue of a scene as quickly as possible. A speed-through rehearsal
helps actors memorize their lines and infuses energy into the pacing of a scene.
spike: A tape mark on the stage that shows where an actor is supposed to stand or where a set piece
should be placed.
spotlights: Movable lights that can follow actors crossing the stage. Also called follow spots.
stage: The area where the actors perform in a theater.
stage business: Small actions performed by actors that make a play more realistic and believable.
stage directions: Words in the script that describe character actions that are not part of the dialogue.
stage left: The left side of the stage, from the actor’s perspective.
stage manager: A person responsible for keeping all rehearsals and performances organized and on
schedule and for calling sound and light cues during the show.
stage right: The right side of the stage, from the actor’s perspective.
strike: 1) To remove a prop or set piece from the stage. 2) To clean up the stage and theater after
closing.
stumble-through: The first complete run-through of the show after staging and choreography is
complete. This rehearsal has plenty of stops and starts as the actors discover the flow of the show.

tableau: A frozen image made up of actors, usually showing a specific mood or idea.
R E S OUR CE S
technical director: A person who coordinates the construction and painting of the sets, the hanging
of the lights, and the setup of the sound system.
technical rehearsal: A rehearsal when the crew begins adding sets, lights, sound, etc., to the show
once the performers know the lines, songs, and blocking. Also called “tech.”
tempo: The pace at which music should be performed. Often the composer will write suggestions, or
tempo markings, at the beginning of a piece, such as “Excitedly” or “Slowly.”
theater: 1) The art of producing plays and musicals for a live audience. Sometimes spelled “theatre.”
2) A building in which a show is performed, including a stage, backstage, and house. Another
building or room, like a cafeteria, can be turned into a theater.
theatrical lights: Lights that hang from the ceiling of a theater or on poles, or “booms,” above or on
the side of the stage. These lights illuminate the actors and convey time of day and specific moods.
traveler curtain: A curtain that hangs on a track upstage of the proscenium. The curtain opens in the
center and can be pulled offstage into the wings. Traveler curtains are often closed to hide scene
changes.
underscore: Music that plays under dialogue or during a scene change.
understudy: An actor who learns a role other than their own and is able to perform it in the event the
cast actor is sick or otherwise unavailable for the performance.
upstage: The part of the stage farthest from the audience; the opposite of downstage.
usher: A person who shows the audience to their seats and distributes programs.
warm-ups: Exercises at the beginning of a rehearsal or before a performance that prepare actors’
voices and bodies.
wings: The area to the side of the stage just out of the audience’s view.

Performance Accompaniment
D OWN LOAD S & D IGITAL MEDIA

& Guide Vocal Tracks
Audio tracks can be downloaded on your “My MTI” page at mtishows.com.
Track Listings Recording Credits

1. Prologue Produced by
2. Barracuda Attack Dan Rudin
3. I’ve Got You
Recorded and Mixed by
Dan Rudin
6. First-Timer Arranged and Orchestrated by
7. The Drop-Off Myrna Conn
8. The Boat Assistant Engineer
9. Abduction / Big Blue World (Reprise) Shane Burgess
10. Dory’s Ditty
Orchestra Contractor
11. Shark Territory
Chris McDonald
12. Fish Are Friends Not Food
13. Seagulls 1
Vocal Contractor
14. Where’s My Dad?
Lori Casteel
15. How Am I Going to Get Out of Here? Copyist
16. We Swim Together Casteel Music Services
17. We Swim Together (Playoff ) Recorded at
18. Just Keep Swimming (Part 1) Dan Rudin Recording & Production;
19. Just Keep Swimming (Part 2) Nashville, TN
20. Seagulls 2
Orchestra Conducted by
21. Morning in the Tank
Myrna Conn
22. It’s Go Time!
23. Not My Dad
24. Transition to Turtles
25. Go With the Flow
26. Go With the Flow (Playoff )
27. One Dedicated Father
28. That’s My Dad
29. No Time to Waste
30. We Swim Together (Reprise)
31. Nemo Escapes
32. Seagulls 3
33. Sydney Harbour Fishing Grounds
34. A Funny Thing to Promise
35. Just Keep Swimming Together
36. Finale (Part 1)
37. Finale (Part 2)
38. Bows
39. Exit Music
Disney’s Finding Nemo JR. Performance Accompaniment & Guide Vocal Tracks © + ℗ 2023 Disney/Pixar
Music Theatre International • Broadway Junior® • Director’s Guide | H1

Choreography Videos
DOWNLOAD S & D IG ITAL ME D IA
Streaming videos can be found at

www.mtishows.com/videos/findingnemojr
Video Listing iTheatrics Choreography Supervisor

Steven G. Kennedy
Fish Are Friends Not Food
Disney Production Stage Manager
• In Performance
MK Flynt
• Choreographer’s Comments
iTheatrics Production Stage Manager
Just Keep Swimming (Part 1) Blake Elliot
• In Performance
Production Assistants
• Choreographer’s Comments Kiana Holmes, Lauren Katz
Just Keep Swimming (Part 2) Music Director
• In Performance Daniel J. Mertzlufft
• Choreographer’s Comments Video Editor
Nicholas Guldner
Go With the Flow
• In Performance Camera Operator
HaiTao Wu
• Choreographer’s Comments
Video Production Assistants
Demonstrations
Sophie Candler, Leah Vicencio
• Net Demonstration
Dancers
Credits Feb Aba, Timothy Addie, Cassandra Booker,
Reina Caoili, Jackson Davis, Wil Eplett, Katrina
Produced by Gedmin, Elijah Grant, Angelina Hovey, Julia
iTheatrics Huggins, Erika Kessler, Elizabeth Mate, Caylin
in consultation with Disney Theatrical Group McCormick, Cooper Miller, Tyler Patterson,
Spencer Pottle, Michael Power, Avaa Ruffer,
Executive Producer
Maritza Sieders, Griffin Simmons, Reagan
Timothy Allen McDonald
Thomas, Kili Thompson, Aidan Walls, Caleb
Senior Project Managers Womack
Caley Beretta, Susan Fuller
Swings
Video Director Amisha Bhandari, Hannah Skokan
Scott Lupi
Filmed at
Choreographer The 52nd Street Project, New York, NY
Emily Maltby
Associate Choreographer
Ryland Marbutt
Disney’s Finding Nemo JR. Choreography Videos © + ℗ 2023 Disney/Pixar

H2 | Disney’s Finding Nemo JR.

Downloadable Resources
D OWN LOAD S & D IGITAL MEDIA

Resources can be downloaded on your “My MTI” page at mtishows.com.
Casting Publicity
• Audition Form • Poster Template
• Audition Music • Press Release Template
• Audition Sides • Program Template
• Theater Benefits Letter
Connections
• Black-and-White Logo
• English Language Arts & Script Analysis
• Science & Choreography Rehearsal
• Nemo and Disability in the Big Blue World • Company Contract
• Directing Disability • Creating Choreography
• Oceans: Further Reading • Vocal Warm-ups
• “Disability in the Big Blue World” Video • Physical Warm-ups
• Family Matters (English & Spanish) • Rehearsal Calendar – Traditional
• Rehearsal Calendar – Sequential
Production
• Show Glossary
• Budget Template
• Director’s Glossary
• Production Roles
• Welcome Letter
• Sound Cue Sheet
Disney’s Finding Nemo JR. Downloadable Resources © 2023 Disney/Pixar

Music Theatre International • Broadway Junior® • Director’s Guide | H3

LOGO T-SHIRTS
Our t-shirts feature full color, official show logos on black t-shirts and are
perfect for your actors and backstage crew. Our shirts ship in as few as three
days and make a great fundraiser or cast gift. Check out our website for more
information!
TURNAROUND ARTS
Music Theatre International’s Broadway Junior® musicals were selected to help
turn around the highest-poverty, lowest-performing elementary and middle
schools in the country through the collaborative experience of musical theatre.
Support arts education in schools: turnaroundarts.kennedy-center.org
JUNIOR THEATER FESTIVAL

If you’re looking for that perfect event to showcase your group’s talents, you
won’t want to miss the Junior Theater Festival! JTF is the biggest festival of
its kind dedicated to young people performing musical theater and features
adjudications, workshops for directors, teachers and students, technical theater
workshops for students, professional development opportunities, a showcase of
new works, and talk-backs with celebrities! Check out iTheatrics.com for more
information on dates and locations.
NEED HELP WITH YOUR BROADWAY JUNIOR® MUSICAL?

SHOW SUPPORT IS HERE!
Free to all customers working on a Broadway Junior® musical, Show Support
provides help and ideas on how to create a successful production by connecting
you with our theatrical experts. Pose a question and you’ll receive a prompt
answer (usually within 24 hours). Check out mtishows.com/broadway-junior to
get started.
Follow the Fun @mtishows
For more information about ShowKits®, visit mtishows.com/broadway-junior
These materials may be used only in conjunction with the licensed live stage performance of this play. You are prohibited under federal copyright law from using these materials
without a valid and current license from Music Theatre International, exclusive licensing agents, and from reproducing and/or disseminating any part of these materials by any means
whatsoever, including electronic transmission.
Disney’s Finding Nemo JR. Director’s Guide ©️ 2023

Music and Lyrics ©️ 2007 Wonderland Music Company, Inc. (BMI)
Additional Lyrics and Arrangements ©️ 2023 Wonderland Music Company, Inc. (BMI)
Finding Nemo JR. and Disney’s Finding Nemo JR. are trademarks of Disney Enterprises, Inc. All rights reserved.
00467206 All rights reserved. Unauthorized duplication and use is prohibited.

Directors Guide

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Directors Guide

Uploaded by

Copyright:

Available Formats

Book, Music and Lyrics by

Bobby and Kristen Lopez

Consulting Services provided by

The Broadway Junior® Concept and Format

Find a complete list of Broadway Junior® musicals at www.mtishows.com/broadway-junior.

Disney’s Finding Nemo JR. Director’s Guide © 2023

Director’s Guide Choreography Videos

Music Theatre International • Broadway Junior® • Director’s Guide | A1

B efore you received your ShowKit®, someone

A2 | Disney’s Finding Nemo JR.

Director’s Guide at a Glance Planning for Success

T he best place to start preparing for a musical

A4 | Disney’s Finding Nemo JR.

Your First Production Meeting

Music Theatre International • Broadway Junior® • Director’s Guide | A5

Music Theatre International • Broadway Junior® • Director’s Guide | B1

Congratulations! You’ll be working with your creative team and fellow

B2 | D isney’s Finding Nemo JR.

Music Theatre International • Broadway Junior® • Director’s Guide | B3

2 Mark your lines and lyrics with a bright-colored highlighter to make

3 Underline important stage directions, lines, lyrics, and individual

4 Save time and space by using the following standard abbreviations:

ON: onstage OFF: offstage US: upstage

DS: downstage SL: stage left SR: stage right

CS: center stage X: cross

You may use these abbreviations to modify other instructions (you

6 Draw stick figures to help you remember your choreography.

Mark your music with large commas to remind yourself where to

8 Although you should feel free to mark up your script, be careful it

B4 | D isney’s Finding Nemo JR.

Music Theatre International • Broadway Junior® • Director’s Guide | B5

Meanwhile, in a tank at the Sydney Harbour Aquarium, a scared Nemo longs

B6 | D isney’s Finding Nemo JR.

Music Theatre International • Broadway Junior® • Director’s Guide | B7

MARLIN – Nemo’s anxious and overprotective father, a clownfish who prefers

DORY – an optimistic, bubbly, and sociable blue tang who experiences

CORAL – Nemo’s brave mom and Marlin’s wife

PEARL – an excitable and friendly flapjack octopus

SHELDON – an H2O-intolerant seahorse with an appetite for trouble

TAD – a self-admittedly obnoxious butterflyfish

PROFESSOR RAY – Nemo’s enthusiastic, encyclopedic stingray teacher

BRUCE – the intimidating ringleader of the sharks who is dedicated to

CHUM and ANCHOR – two of Bruce’s loyal shark cronies

BUBBLES – a friendly yellow tang who is captivated by bubbles and

BLOAT – an open-minded and supportive blowfish who is proud to be part of

B8 | D isney’s Finding Nemo JR.

PEACH – a mature, down-to-earth starfish who offers guidance and

SQUIRT – the fearless, buoyant offspring of Crush

Music Theatre International • Broadway Junior® • Director’s Guide | B9

COSTUME TIP PROP TIP

Music Theatre International • Broadway Junior® • Director’s Guide | B11

B12 | Disney’s Finding Nemo JR.

(MARLIN emerges from MARLIN: Coral, look

Music Theatre International • Broadway Junior® • Director’s Guide | B13

B14 | D isney’s Finding Nemo JR.

MARLIN: (overly excited) Oh

(Music continues under dialogue.)

We still have to name them. I like Nemo.

Music Theatre International • Broadway Junior® • Director’s Guide | B15

B16 | D isney’s Finding Nemo JR.

(SEA CHORUS groans.)

(MARLIN busts a move and spins CORAL around.)

(MARLIN and CORAL laugh.)

(#2 – BARRACUDA ATTACK. A BARRACUDA enters quickly.)

B2 | D isney’s Finding Nemo JR.

B4 | D isney’s Finding Nemo JR.

B6 | D isney’s Finding Nemo JR.

B8 | D isney’s Finding Nemo JR.

B14 | D isney’s Finding Nemo JR.

B16 | D isney’s Finding Nemo JR.

B18 | D isney’s Finding Nemo JR.

B20 | D isney’s Finding Nemo JR.

B22 | D isney’s Finding Nemo JR.

B28 | D isney’s Finding Nemo JR.

B30 | D isney’s Finding Nemo JR.

B32 | D isney’s Finding Nemo JR.

B34 | D isney’s Finding Nemo JR.

B36 | D isney’s Finding Nemo JR.

B38 | D isney’s Finding Nemo JR.

B40 | D isney’s Finding Nemo JR.

B42 | D isney’s Finding Nemo JR.

B44 | D isney’s Finding Nemo JR.

B48 | D isney’s Finding Nemo JR.