PETER PAN A Musical Adventure

Transcription

1 PETER PAN A Musical Adventure Based on J M Barrie s original play with permission from Great Ormond Street Hospital for Children Music by George Stiles Lyrics by Anthony Drewe Book by Willis Hall LIBRETTO / VOCAL BOOK Josef Weinberger Mortimer Street London W1T 3JJ Tel: +44 (0) general.info@jwmail.co.uk

2 PETER PAN A Musical Adventure Copyright by The Music Trunk Publishing Company Edition Copyright 2011 by Josef Weinberger Ltd., London All Rights Reserved PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL Applications to perform this work must be made, BEFORE REHEARSALS COMMENCE, to: JOSEF WEINBERGER LIMITED Mortimer Street London W1T 3JJ United Kingdom Tel: +44 (0) Fax: +44 (0) April 2011

3 Cast (in order of appearance) 1. The Storyteller 2. Newspaper Boy 3. Mrs Darling (Mary) 4. Nana John 7. Michael 8. Mr Darling (George) 9. Liza Tinker Bell 12. Slightly 13. Tootles 14. Nibs 15. Curly 16. First Twin 17. Second Twin 18. Captain Jas. 19. Smee 20. Cecco 21. Mullins 22. Bill Jukes 23. Cookson 24. Gentleman Starkey 25. Skylights 26. Noodler 27. Tiger Lily 28. A Crocodile A Lamplighter, Londoners, Mermaids and Indian Braves Note: Prospective producers need not consider themselves outfaced by the seemingly substantial list of characters - with astute doubling, and a willing company, this musical can be performed in its entirety with a cast of 22. To allow for swings and understudies, 25 is a safer number. Synopsis of Scenes ACT ONE Scene One: A Bloomsbury Terrace Scene Two: The Nursery Scene Three: The Flight to Never Land Scene Four: The Never Land Scene Five: The Mermaids Lagoon ACT TWO Scene One: The Beach Scene Two: The Home Under the Ground Scene Three: The Deck of the Jolly Roger Scene Four: The Nursery

4 Musical Numbers ACT ONE 1. There s Something in the Air Tonight (Company) 1a. Nursery March / Face at the Window (Instrumental) 2. Just Beyond the Stars (Mrs Darling) 2a. Tink s Arrival (Instrumental) 2b. Peter s Arrival (Instrumental) 2c. Did You See Where They Put It? (Instrumental) 3. Tink and (Instrumental) 3a. Sound Asleep (Instrumental) 4. Never Land (Peter,, John, Michael) 5. The Lost Boys Gang (The Lost Boys) 6. Good Old Captain (Pirates) 6a. The (Instrumental) 6b. Crocodile and Tiger Lily (Instrumental / Tiger Lily and Braves) 6c. Tink s Instructions / Shooting (Instrumental) 7. Build a House (Peter, The Lost Boys) 7a. The Lost Boys Gang (Reprise) (The Lost Boys, ) 8. The Cleverness Of Me (Peter, ) 8a. Walking Backwards (Insrumental / Tiger Lily and Braves) 9. Siren Song (Mermaid) 9a. Marooner s Rock (Cecco, Cookson) 9b. The Fight at the Lagoon (Instrumental) 9c. Rescued by Kite (Instrumental) 10. When I Kill (, Peter, Pirates)

5 ACT TWO 10a. Entr acte (Instrumental) 11. Rose-Tinted Eyepatch (Smee,, Pirates) 11a. Indians to Port and Starboard (Instrumental / Tiger Lily) 11. Just Beyond the Stars (Reprise) () 12a. Sleeping Children (Instrumental / Peter / Tiger Lily) 12b. Tink Mock (Instrumental) 13. One Big Adventure (, Peter) 13a. Behind the Wardrobe (Instrumental) 13b. The Cleverness Of Me (Reprise) (Peter) 13c. Land the Mackerel (Instrumental) 14. When I Kill / Good Old Captain (Reprise) (, Pirates) 14a. Tink and the Poison (Instrumental) 14b. One Big Adventure (Reprise) (Peter) 15. A Pirate with a Conscience ( and Smee) 16. Never Land (Reprise) (The Lost Boys) 16a. The Deaths (Instrumental) 16b. The Doodle-Doo (Instrumental) 17. The Fight (Instrumental / Peter) 18. Just Home (Just Beyond the Stars Reprise) (Storyteller, Mrs Darling) 18a. Mrs Darling at the Piano (Instrumental) 18b. Reunion (Instrumental) 18c. Peter s Exit (Instrumental) 19. There s Always Tomorrow (Peter, Company) 20. Bows (Instrumental / Company) 21. Exit Music (Instrumental)

6

7 1 ACT ONE As the audience arrives and settles in the auditorium, it is confronted by a night sky glittering with stars. The near-oppressive stillness is punctuated, occasionally, by shooting stars which zap across the entire width of the stage. With a sudden chord the houselights snap off. Music No. 1: THERE S SOMETHING IN THE AIR TONIGHT SCENE ONE - A BLOOMSBURY TERRACE Which is in total darkness. A Lamplighter turns up the gas-lit street-lamps, illuminating the scene in pools of orange, slightly eerie light. As the Lamplighter goes on his way, there is a quiet passage of introductory music, during which and as the gaslight grows, we become aware of one particular house in Bloomsbury. Lights are on in the upstairs windows, and from the house we hear a voice calling... Mrs Darling (off ) John!... Michael!...! (But there is no answer, save for the happy sound of children s laughter. On the streets below, a group of Londoners are making their way home after a day at the offi ce, wrapped up against the unseasonal chill in the air... ) Londoners THERE S SOMETHING IN THE AIR TONIGHT SOMETHING IN THE BREEZE WHISTLING ROUND THE CHIMNEY STACKS RUSTLING THROUGH THE TREES THERE S SOMETHING IN THE AIR TONIGHT THAT DOESN T FEEL LIKE SPRING THE NIGHTINGALES ARE SILENT AS IF TOLD THEY SHOULDN T SING (A Newsboy has entered, a sheaf of hot-from-the-press papers under his arm.)

8 2 Act One Newsboy Londoners Paper! Evening paper! THERE S SOMETHING IN THE AIR TONIGHT SOMETHING IN EACH GUST SOMETHING LEAVES US SHIVERING SOMETHING WE DON T TRUST THERE S SOMETHING IN THE AIR TONIGHT THAT S QUICKENING OUR TREAD SOMETHING MAKES US WORRY SOMETHING MAKES US HURRY TO OUR CHILDREN AT HOME SAFELY IN BED... (From behind the crowd emerges an older woman. The rest of the group don t seem to notice her. This woman will have a separate purpose later in our story but, for the time being, she shall act as our Storyteller, which will keep her invisible to all.) Storyteller (to the audience) All children, except one, grow up. One day, when was two years old and she was playing in the garden, she plucked another flower and ran with it to her mother. Mrs Darling put her hand to her heart and cried out: Oh,, why can t you stay like this forever? That was all that passed between them on that subject but, from that moment on, knew that she must grow up. You always know after you are two. (who we cannot see, but whose voice echoes round the auditorium) Two is the beginning of the end. (Peter s words are followed by the sound of Tinker Bell s mocking laughter, then:) Storyteller THERE S SOMETHING IN THE AIR TONIGHT SOMETHING IN THE DARK SHADOWS IN AN ALLEY WAY VOICES IN THE PARK SOMETHING FEELS FAMILIAR SOMETHING WE ONCE KNEW A MEMORY IS STIRRING BUT IS STAYING OUT OF VIEW

9 3 Newsboy Evening paper! Read all about it! Baby vanishes from its perambulator! Little baby disappears! (The Bloomsbury-ites cluster round the Newsboy, eager to acquire his papers.) Storyteller London Town was strangely ill at ease that night. For Mr Darling though, hurrying home from work, his concerns were of a rather less sinister nature... (A bowler hat comes bowling along the street, closely followed by its bare-headed owner, Mr Darling.) Mr Darling Stop that hat! (The Storyteller catches the hat and hands it to Mr Darling, who seems confused as to who exactly managed to retrieve it for him.) Thank you. Storyteller Mr Darling Storyteller Mr Darling Storyteller Mr Darling Storyteller Mr Darling All THERE S SOMETHING IN THE AIR TONIGHT CHILLY FOR THE TIME OF YEAR SOMETHING IN THE BREEZE WIND HAS GOT A BITE WHISTLING ROUND THE CHIMNEY STACKS I DON T REMEMBER SEEING STARS RUSTLING THROUGH THE TREES BURNING QUITE SO BRIGHT SOMETHING IN THE AIR TONIGHT DOESN T FEEL LIKE SPRING THE NIGHTINGALES ARE SILENT AS IF TOLD THEY SHOULDN T SING

10 4 Act One (Mr Darling continues on his way home as the CROWD around the Newsboy disperse.) Londoners THERE S SOMETHING IN THE AIR TONIGHT SOMETHING IN EACH GUST SOMETHING LEAVES US SHIVERING SOMETHING WE DON T TRUST THERE S SOMETHING IN THE AIR TONIGHT THAT S QUICKENING OUR TREAD QUICKENING OUR TREAD QUICKENING OUR TREAD QUICKENING OUR TREAD... (As the stage clears, the Storyteller re-appears and addresses the audience:) Storyteller... Meanwhile, in the Darling family house, in a backwater in Bloomsbury, there were all the outward manifestations of domestic normality, if only from the children... (By which point, we have gone to:) SCENE TWO - THE NURSERY Music No. 1a: NURSERY MARCH / FACE AT THE WINDOW Which is the interior of the upstairs room previously observed from across the road. The large window is at the rear. A door opens onto the children s bathroom; a second door opens onto the day-nursery and the stairs. There are three beds and a large dog-kennel. A cosy fi re burns in the hearth and an oil lamp casts a comfortable circle of light. There are night-lights, as yet unlit, in china-houses over each bed. is sitting on one of the beds, so still that we may not even notice that she is there, all of her attention devoted to the contents of a story-book which she is reading. As the Lights come up, the MUSIC STARTS into a military march (based on the Lost Boys Gang theme) and a brief parade enters the nursery, as the Storyteller - who will come and go when and as required, but always on the perimeter of the action - continues from just outside the nursery:

11 5 Led by Michael playing a toy drum and followed by John, who is playing a fi fe, the parade is brought up by Nana who, with head held proudly erect, is lifting her paws with all the elegant precision of a show-horse in a dressage competition. John and Michael, both in their dressing-gowns, wear cocked hats fashioned from newspapers. Michael John Left! Right! Left, right, left! It s not so easy for Nana, she has two lefts and two rights. (Nana barks in agreement.) Michael Come on, bathroom inspection. ( lowers her book to watch as the parade circuits the nursery. Slipping a bookmark into the pages, puts down her book and follows her brothers as the parade disappears into the bathroom. A cuckoo clock strikes six. Mrs Darling enters, elegant in an evening gown. Although the nursery is a testament to tidiness, Mrs Darling tut-tuts and plumps a couple of pillows. As she does so, she glimpses something at the window.) Storyteller Mrs Darling Mrs Darling was sure that she had seen a boy s face hovering outside the window... (fumbling with the window catch) Who are you? Wait, child! Don t go! Please! (But both and the Storyteller are gone. Mrs Darling closes the window and turns back into the room, concerned:) Children? John? Michael?? (Michael, John, and enter, with Nana in attendance.)... Thank heaven you are safe! Why shouldn t we be safe, mother?

12 6 Act One Mrs Darling John Mrs Darling Mr Darling Mrs Darling Mr Darling (ignoring the question) Boys, have you taken your Collinson s Cure- All? (pulling a face) We haven t got anything to take it for, mother. (displaying a distinctive bottle of patent medicine and a spoon) Collinson s Cure-All does not only attend with efficacy on all ailments, dear, it is also a preventative. Tell him what else is printed on the bottle,? A teaspoonful at bed-time cossets contented children. (rushing in, wearing evening-dress, but minus jacket and brandishing his tie) I have been up and down those stairs so many times, Mary, I sadly fear we shall be required to renew the staircarpet. More expense. What is it this time, George? This tie - it will not tie. Not round my neck. Round the bedpost, yes. Twenty times and more I have tied it round the bedpost - perfectly. But round my neck? It begs to be excused in that particular. (He realises that his children are exchanging secretive giggles at his predicament and that even Mrs Darling is trying hard to suppress a smile.) Mrs Darling (hands the medicine and spoon to ) Let me try, dear. Mr Darling There s more. That dog... Mrs Darling Mr Darling Nana?... has to go. The wretched creature has brushed against me yet again and covered me in dog-hairs. Just look! How can I attend a dinner-party when, below the waist, I resemble a gorilla s lower quarters?

13 7 Mrs Darling Liza! (Liza, the housemaid, who has been hovering, bobs a frenetic curtsey. Mrs Darling continues, calmly and in complete control.) Liza Mrs Darling Yes, ma am? Clothes-brush, Liza. George - the tie. (As Mr Darling hands over his tie, Liza scuttles out to instantly return with a clothes-brush. Then, as Mrs Darling knots the tie and Liza brushes briskly at Mr Darling s trousers, the Storyteller, having entered softly, informs us:) Storyteller Mr Darling was one of those deep ones who know about stocks and shares. Of course, no one really knows, but he quite seemed to know, and he often said stocks were up and shares were down in a way that would have made any woman respect him. (And having made her observation, the Storyteller leaves, as discreetly as she entered.) Mrs Darling There! (The tie is tied; the dog-hairs have been brushed away. Everyone is hugely delighted. Liza bobs another curtsey and scuttles out. Mrs Darling realises that WENDY is still clutching the medicine bottle and spoon.) Collinson s next. (Michael and John pull faces at the prospect of the medicine. I ll fetch chocolates for the two of you to take away the taste.) Mr Darling (calling after her) Don t pamper them! (Then, to the boys.) Why, when I was your age, I took my medicine like a man. He still does - father s medicine tastes far worse than this. You could take some Collinson s too, father, to show how brave you are.

14 8 Act One (John and Michael voice their approval to this proposition noisily. Mr Darling watches,with increasing trepidation, as shakes the bottle, hands the cork to JOHN, then pours out a spoonful. Mr Darling seeks to delay the awful moment.) Mr Darling Youngest first - house rules. ( approaches Michael who takes the medicine. She refi lls the spoon and John also swallows it down with a minimum of fuss, then:) John Mr Darling John Mr Darling Michael Now you. I hardly think that my own participation is any longer necessary. You re afraid. Such nonsense! Father s a cowardy-custard! Father s a cowardy-custard! (Mr Darling glowers at both of his sons, summons his courage and his dignity and prepares himself for the ordeal as pours out another spoonful. She hands the bottle to John who replaces the cork and slips it into his dressing-gown pocket. Mr Darling swallows down the medicine but with more fuss, more noise and more facepulling than either of his sons. gives the spoon to John as Mrs Darling returns, holding a chocolate in either hand.) Mrs Darling Mr Darling Well - is the torment over? Chocolate! (He snatches both of the chocolates from his wife s hands and crams them into his mouth.) Mrs Darling George! Father took some Collinson s, mother.

15 9 Mrs Darling (a long-suff ering shake of her head, then briskly:) Now clean your teeth then into bed, all three of you. They are the dearest children in the world. George? Don t you agree? (Mrs Darling watches with motherly pride as the Children head towards the bathroom with Nana bringing up the rear.) Mr Darling And they are ours - ours! - each and every one... (He is forced to skip out of the way as Nana passes dangerously close to him.)... But I am not to be dissuaded, Mary, with regard to that disgraceful creature. The animal must go. It was a sad mistake in the first place to take on a Newfoundland dog as nursemaid. Mrs Darling Mr Darling Mrs Darling Mr Darling Mrs Darling Mr Darling Mrs Darling Mr Darling Mrs Darling George, we must keep Nana - and for one good reason. When I came into this room tonight, I saw a boy s face at the window. What? Three floors up? (nodding urgently) He was trying to get in, and not for the first time. A week ago. I had been drowsing here by the fire when I looked around and saw that same boy then - in this same room. Inside, you say? I screamed. Of course. The boy escaped - but his shadow did not have time to get out. The window swung shut sharply and cut it clean away from him. (crossing to the window) His shadow? Remained behind? Show it to me? It turned instantly to dust, George, and drifted to the floor.

16 10 Act One Mr Darling Mrs Darling Mr Darling Mrs Darling Mr Darling Mrs Darling Mr Darling Mrs Darling What did you do? I had Liza sweep it up, of course, with the dustpan and brush. Mary, Mary - if only you had had the good sense to have kept it! Do you think I would dispose of a child s God-given shadow? (She takes down a screw-top glass jar containing the glittering shadow dust from off a wardrobe.) I put it here for safety, out of the children s reach. I think that boy came back tonight to look for it. (She puts the jar in a drawer.) George, I haven t told you everything. I am afraid to. If there is more to tell - then speak. The boy was not alone that first time. He was accompanied by - how can I describe it? By a ball of light - no bigger than my thumbnail - it darted hither and thither about this room, like a living thing. That would be worth a small fortune. You did not succeed in capturing that, too, inside a jar? It left with the boy. George, what can all this mean? (Nana starts to bark off, insistently. As Mr Darling stalks out to take remedial action, the Children re-enter from the bathroom and climb into their beds.) Mrs Darling Michael Mrs Darling That s the bark that Nana gives when she smells danger. (looking out the window, fi rst one way, then the other) Oh, how I wish I did not have to go out tonight. Can anything harm us, mother, after the night-lights are lit? Nothing, my precious. (Mrs Darling s lighting of the night-lights is accompanied by three musical Pings! )

17 11 Michael John Michael The night-lights light the nursery, mother. But I m afraid of the dark outside. (mysteriously) The Great Unknown. Mmm! I don t think I d be half so afraid of it - if I only knew what it was? Nobody knows that, you goose! That s why it s called The Great Unknown. Because nobody knows what it is. Nobody. Not even father. (They all three look towards Mrs Darling, hopefully. She attempts to allay their fears as:) Music No. 2: Mrs Darling JUST BEYOND THE STARS JUST BEYOND THE STARS BEYOND THAT GREAT BLACK VELVET CURTAIN NO-ONE KNOWS FOR CERTAIN WHAT YOU LL FIND JUST BEYOND THE STARS ARE COUNTLESS MYSTERIES TO UNRAVEL JOURNEYS YOU CAN TRAVEL IN YOUR MIND CLOSE YOUR EYES AND IMAGINE CLOSE THEM TIGHT AND PRETEND THERE S A PLACE WHERE PRAYERS ARE ANSWERED AND YOUR DREAMS NEVER END NO YOUR DREAMS, YOUR DREAMS NEVER END JUST BEYOND THE STARS YOUR FLIGHTS OF FANCY WILL BE SOARING DAYS ARE NEVER BORING WHEN YOU RE THERE JUST BEYOND THE STARS THE ENDING S HAPPY EVER AFTER HEAR THE CHILDREN S LAUGHTER FILL THE AIR CLOSE YOUR EYES AND IMAGINE CLOSE THEM TIGHT AND PRETEND THERE S A PLACE WHERE PRAYERS ARE ANSWERED AND YOUR DREAMS NEVER END

18 12 Act One NO YOUR DREAMS YOUR DREAMS NEVER END MAYBE WE VE ALREADY BEEN THERE MAYBE WE RE NOT MEANT TO KNOW MAYBE WE LL FIND IN THE FUTURE IT S SOMEWHERE WE ALL HAVE TO GO BUT IT S NICE TO THINK THAT NO-ONE KNOWS FOR SURE PERHAPS THAT S WHAT BEYOND THE STARS IS FOR JUST BEYOND THE STARS ALL FEARS AND WORRIES WILL DESERT YOU NOBODY CAN HURT YOU WHEN YOU FLY JUST BEYOND THE STARS WHERE SHADOWS NEVER DARE TO WANDER SOMEWHERE WAY OFF YONDER IN THE SKY CLOSE YOUR EYES (The music surges.) AND PRETEND (She turns down the oil-lamp, crosses to the door, then pauses for a last look round, and:) Dear night-lights that protect my sleeping babes, burn clear and steadfast until the dawn. MAY YOUR DREAMS, YOUR DREAMS NEVER END (Mrs Darling goes out, leaving the door ajar.) Music No. 2a: TINK S ARRIVAL (A moment later, as the Children sleep, there are three musical Pings! - One! - Two! - Three! As, in turn the night-lights blink and then go out. Next we see another light, no bigger than a gentlewoman s fi st darting about excitedly, outside the window fi rst and then, having found it s way through a crack, inside the nursery - it is s helpmeet fairy, Tinker Bell. The fairy light darts

19 13 hither and thither, around the room, possibly opening and closing drawers, scattering the contents - searching for something... fi nally seeking refuge in a jug... and now there is a surge of MUSIC... ) Music No. 2b: PAN S ARRIVAL (The windows slowly open and fl ies in, landing lightly on the nursery fl oor.) Tinker Bell? Tink? Are you there? (The jug lights up.) Music No. 2b: PETER S ARRIVAL Oh, do come out of there! (Tinker Bell fl ashes this way, then that.) Did you see where they put it? (Peter makes a bee-line for the top of the wardrobe (or the high shelf ) where Mrs Darling had fi rst hidden his shadow, but Tinker Bell draws his attention to the drawer which now contains the glass jar. stirs in her sleep. Peter fl ies up onto the mantelpiece to hide, while Tinker Bell also fi nds somewhere to hide. Then, as settles back to sleep, Peter returns and ransacks the drawer, He fi nds the glass jar at last but, unable to unscrew the lid and gives way to petulant tears. Peter sits on the fl oor, sobbing loudly. The noise wakes who is not at all fazed at discovering a stranger in the nursery. She turns up the oil lamp.) Boy, why are you crying? (ignoring the question) What s your name? Moira Angela Darling. What s yours?. Where do you live? Second to the right and then straight on until morning.

20 14 Act One That s not an address! You couldn t get letters delivered there. Don t get any letters. But your mother gets letters, surely? Don t have a mother. (leaps out of bed to comfort him) Poor Peter! No wonder you were crying! I wasn t crying. (He backs away to avoid her embrace.) I can t open this. What is it? It was my shadow. But it turned to dust. (takes the jar) It s very glittery - for a shadow. (She opens the jar eff ortlessly.) You were screwing it the wrong way. (Peter snatches back the jar and holds it over his head.) Don t do that! What do you think you re doing? I m going to tip it over myself. That s no way to treat your shadow. Give it back. Now! (He hands back the jar, reluctantly.) You need to be careful. Can you colour in a colouring-in book without going over the edges? I don t know. I ve never coloured in a colouring-in book. Have you ever played at Statues? (He shakes his head.) Haven t you ever done anything? Stand still - like this. ( adopts a statue pose. Peter attempts to imitate her. She sprinkles the contents of the jar over him. As the jar appears to empty, we see Peter s shadow take shape on the wall behind him.)

21 15 That s how to do it. (Peter tests out his shadow, moving hesitantly at fi rst but growing in confi dence. Peter and his shadow dance together. He is showing off. He gives a cockcrow.), look, look; oh the cleverness of me! And I did nothing at all to help? You did a little. (, annoyed at Peter s conceit, jumps back into bed and pulls the sheet up over her head. Realising that he may have overstepped the mark, Peter addresses the hidden.)? I m sorry. Come out, - please! - one girl is worth more than twenty boys. (peering over the top of the sheet) Do you mean it? (He nods.) Very well, I forgive you. I shall give you a kiss and we can be friends again. (Peter holds out his hand.) You do know what a kiss is? Of course. ( doesn t wish to hurt his feelings and searches on a shelf and fi nds a thimble.) I think I have one... here you are. Thank you. And here s a kiss for you. (He plucks an acorn button from his pocket.) An... acorn kiss? My very favourite sort. I shall wear it on a chain around my neck.

22 16 Act One As you wish. Peter, how old are you? I don t know. I ran away on the day that I was born. Whatever for? I didn t want to grow up. I want to be a boy forever and to have fun. That s why I ran away to live with the fairies. I don t think I believe in fairies. If you don t believe in fairies,, fairies die. (There is an urgent concerned tinkling from Tinker Bell.) Music No. 3: Peter TINK AND WENDY What s that noise? Ouch! Somebody - some-thing - pulled my hair. That s a fairy. She s called Tinker Bell. She s jealous of you. Ask me about myself. Why did you choose our nursery window? To listen to your bedtime stories. Then I take them back to Never Land and tell them to the boys. Which boys? The Lost Boys, of course. They live in Never Land too - ever since they fell out of their prams. I m their Captain. Are there no girls? Oh no, girls are much too clever to fall out of their prams. Peter, it is perfectly lovely the way you talk about girls. You may give me another kiss if you wish.

23 17 (Tinker Bell intervenes with much to say on the subject.) Be polite, Tinker Bell. There is a lady present. (The moment has passed.) Ask me more about me. Which story did you like the best? The one about the prince who couldn t find the lady who had lost her slipper. Except I didn t hear the end of it. That s Cinderella. He does find her eventually and they live happily ever after. Goodbye. Where are you going? To tell the Lost Boys how Cinderella ends. Don t go yet, Peter. I know lots of other stories. (gleaming) Come with me,. I can t. Think of mother. Besides - how would we get there? I ll teach you how to fly. It s easy. We ll jump on the wind s back and away we ll go. We ll talk to the stars. John, wake up! There s a boy who s promised to teach us all to fly... I never said Michael! Come on! You re going to do it too. Music No. 3a: SOUND ASLEEP (Before they can pursue the matter, with them, we hear the sound of Nana s bark as she approaches. MUSIC behind, as:)

24 18 Act One John Quick! Hide! (The nursery is plunged into darkness and they all take cover. A moment later, Liza enters the room with a lamp in one hand and clutching, with the other, at Nana s chain. The small pool of light from Liza s lamp does little to illuminate the nursery.) Liza There! What did I say? Not so much as a whisper - all sound asleep, bless their little hearts, and in the land of dreams... (But Nana, sensing that all is not as it should be, tugs at the chain and barks again.)... Stop that - or I shall go straightway round and fetch the master and the missis from their dinner-party - and then there would be trouble! Come along! (Still whimpering, Nana allows herself to be led away. As Peter,, John and Michael emerge from their hiding-places, turns up the light. In their brief absence they have been prepared for wondrous things.) John John Michael Music No. 4: Is it true? Can you really fly? It s easy. How ripping! What luck! NEVER LAND YOU MUST THINK OF SOMETHING WONDERFUL A SIGHT, A SMELL, A SOUND A SHAKE OR TWO OF FAIRY DUST AND YOU LL BE SKYWARD BOUND THERE IS JUST ONE RULE WHEN FLYING WHICH IS NOT TOO HARD TO UNDERSTAND WHATEVER YOU DO

25 19 NEVER LAND (Peter majestically and nonchalantly rises into the air. As he does so, he plucks fairy dust from off his clothing and sprinkles it over them.) NEVER LAND THAT S THE SECRET OF FLYING NEVER LAND NOTHING EQUALS THE THRILL TAKE HER HAND THERE IS NO HARM IN TRYING JUST BELIEVE THAT YOU CAN AND YOU WILL NEVER LAND FEEL THE WIND THROUGH YOUR FINGERS NEVER LAND LET THE CLOUDS BRUSH YOUR HAIR AND TO STAY ON THE WING JUST REMEMBER ONE THING NEVER LAND (The three children tentatively rise from the bedroom fl oor.) The Three John John Look at me, look at me, look at me! I say! Why shouldn t we go outside? There are pirates. Pirates? (He grabs his Sunday tall hat.) We must go at once! And Indian braves - mermaids too. (slipping on a distinctive hooded cape) Mermaids! How spectacular! Follow me... SCENE THREE - THE FLIGHT TO NEVER LAND The children become rather more confi dent with their new-found fl ying ability within the nursery...

26 20 Act One All Mich. / John All John All Peter All Peter All Peter NEVER LAND WHY JUST SIT AROUND TALKING? NEVER LAND WE CAN SOAR THROUGH THE SKY WHO CAN STAND RUNNING, JUMPING OR WALKING WHEN IT S SO MUCH MORE FUN IF YOU FLY? NEVER LAND KEEP STRAIGHT ON UNTIL MORNING NEVER LAND SECOND STAR TO THE RIGHT NO-ONE CARES WHERE YOU ROAM WHEN THE SKIES ARE YOUR HOME NEVER LAND NEVER LAND (Big orchestral swell as the children fl y out of the nursery - the walls of which seem to almost blow apart. Peter and the Darling Children fl y through the night-sky above London.) John Michael ALL OF LONDON LOOKS SO MINIATURE BIG BEN IS NOT SO TALL AND WHO WOULD THINK THAT KENSINGTON COULD EVER SEEM SO SMALL? THERE S LORD NELSON ON A MATCHSTICK AND THOSE TINY PEOPLE IN THE STRAND

27 21 All All Michael IF ONLY THEY KNEW THEY D WANT TO FLY TOO AND... NEVER LAND SEE HOW TINKER BELL TEASES NEVER LAND TRY TO FOLLOW HER LIGHT IT S SO GRAND FLOATING OFF ON THE BREEZES THOUGH I FEEL I VE BEEN FLYING ALL NIGHT (But their energies are quickly restored as Never Land approaches.) All All All NEVER LAND NOT TILL WE RE ON MY ISLAND NEVER LAND NOT MUCH FURTHER TO GO THERE S THE BEAR THERE S THE PLOUGH WE SHOULD SOON BE THERE NOW NEVER LAND NO ONE CARES WHERE YOU ROAM WHEN THE SKIES ARE YOUR HOME Peter / NEVER NEVER LAND John All There it is! NEVER LAND NEVER LAND NEVER LAND...!

28 22 Act One (As the number ends,,, John and Michael disappear into a bank of cloud as the sky darkens and we go to:) SCENE FOUR - THE NEVER LAND An island where there are no tedious distances between one adventure and the next, but where things are crammed together nicely. The set then, should represent an Edwardian child s dream-world, indicative of rapscallion pirates, languorous mermaids, intrepid Indian braves - or whatever else might tease the childhood imagination. For the moment, we are in a semi-tropical location which is part hidden under an early morning mist which, together with the mysterious sounds of native rhythmic drumming, hints at strange goings-on in the undergrowth - perhaps a glimpse of an Indian brave or, perhaps, a quick sighting of a pirate peeping round a tree-trunk - as the music steals in, and: Music No. 5: Storyteller THE LOST BOYS GANG Whenever Peter was away, things were quiet in Never Land. The mermaids took an hour longer at their morning toilets; Tiger Lily s braves lay idle in their wigwams, twiddling their toes and, if the pirates and the Lost Boys crossed trails, they merely bit their thumbs at one another. But with Peter s imminent return, adventuring was once again underway. (As the MUSIC steals in, Boys heads appear, one by one, either over clumps of vegetation or around the trunks of palm trees. These are the Lost Boys and they are: Slightly, Tootles, Nibs, the First Twin and the Second Twin and, last but by no means least, Curly.) Lost Boys NOBODY DARES US NOTHING EVER SCARES US EVEN THE LOUDEST BANG IF YOU VE ANNOYED US BEST IF YOU AVOID US COS WE RE THE LOST BOYS GANG AND THOSE WHO FIGHT THE LOST BOYS DISCOVER TO THEIR COST THERE S BEEN NO FIGHT THAT THE LOST BOYS LOST

29 23 WE ARE NO STRANGERS TO THE DARKEST DANGERS YET WE DON T BUDGE AN INCH WE SHOW OUR METTLE GRASP A STINGING NETTLE AND YOU WON T SEE US FLINCH AND WHEN WE FIGHT IN COLD BLOOD WE RE COLDER THAN THE FROST THERE S BEEN NO FIGHT THAT THE LOST BOYS LOST NO-ONE MAKES US GO TO SCHOOL OUR BOOKS STAY ON THEIR SHELVES GOT NO USE FOR SUMS AND STUFF WE RE FENDING FOR OURSELVES ALL WE NEED S A CATAPULT SOME ARROWS AND A BOW READING, WRITING, RITHMETIC WON T SAVE YOU FROM YOUR FOE SO... WE STICK TOGETHER NEVER KNOWING WHETHER SOMEONE S ABOUT TO POUNCE IT MAY SOUND FRIGHT NING BUT AS QUICK AS LIGHTNING WE SETTLE THEIR ACCOUNTS FOR THOSE WHO CROSS THE LOST BOYS WILL SOON BE DOUBLE-CROSSED THERE S BEEN NO FIGHT THAT THE LOST BOYS LOST (Instrumental of the B-section, during which the Lost Boys go into a dance, then:) READING, WRITING, RITHMETIC WON T SAVE YOU FROM YOUR FOE SO NOBODY DARES US NOTHING EVER SCARES US

30 24 Act One EVEN THE LOUDEST BANG (AAH) IF YOU VE ANNOYED US BEST IF YOU AVOID US COS WE RE THE LOST BOYS GANG AND THOSE WHO FIGHT THE LOST BOYS DISCOVER TO THEIR COST THERE S BEEN NO FIGHT THERE S BEEN NO FIGHT THERE S BEEN NO FIGHT THAT THE LOST BOYS LOST Tootles Hey! Look! (A perpendicular length of fi ne, white rope, the top of which is hidden in the fl ies, drifts across the stage - apparently of its own free will. It is the be-ribboned tail of a giant kite and the Boys are intent on catching it. Curly is fi rst on his feet and off in pursuit of the rope, which seems to be leading him a dance.) Nibs Curly I ll bet you a catapult that you can t catch it, Curly. I ll bet you two pea-shooters that I can! (But the length of rope foils all of Curly s attempts and drifts off into the wings.) 1stTwin Slightly 2nd Twin Tootles Curly You lose, Curly. That s a pirate s pistol that you owe Nibs. It s true, Curly. One catapult times two pea-shooters equals a pirate s pistol. Didn t you ever learn your two-times table? I was far too busy learning fearlessness, fortitude and devotion to duty in the face of mortal danger, Tootles, to bother my brains with namby-pamby two-times tables. (The kite returns and this time it is Tootles who makes a successful grab at the tail. He tugs on the end, dragging down the giant-size kite.)

31 25 Tootles Nibs Tootles Hurrah! I ve won a kite! Unless somebody wants to fight you for it? Who dares to be first? (Eagerly seeking a challenger, Tootles puts up his fi sts - but in order to do so, he lets go of the kite which escapes and drifts off and out of sight again. The Lost Boys, all with their fi sts raised and glowering at each other, are left with nothing to fi ght over, unless... ) Slightly My mother was fonder of me than your mothers were of you. (It is a statement which is met by a loud and challenging denial from all of the others.) Oh yes she was. Peter had to make up names for you - but my mother wrote my name on the pinafore I was lost in. I m called Slightly Soiled. (The Lost Boys groan in unison - they have heard Slightly s claim a hundred times before and it is certainly not worth fi ghting over. They are suddenly bowed down with boredom.) Curly Slightly Tootles Nibs 1stTwin 2nd Twin Tootles (glancing up into the sky) I do hope Peter comes back soon. I wonder where he is? Perhaps he s gone to you-know-where? If he has gone to you-know-where perhaps, this time, he ll hear the ending to you-know-what? If you mean that bedtime story, Nibs, we ve already worked out the ending. Haven t we, Twin? They both live unhappily ever after - The End. I wish we had a fairy godmother.

32 26 Act One Nibs Curly Tootles Slightly Nibs Music No. 6: Curly Nibs Me too! She could wave her magic wand and grant us all three wishes. What would you choose, Tootles? I d wish that Peter was back for a start. I d use the second wish to wish for a mother. I d wish for a pair of magic moccasins. GOOD OLD CAPTAIN HOOK Magic moccasins? I d put them on and be off like the wind before the pirates get here. (At which point, we become aware of the Pirates, calling out in rhythmic unison:) Pirates (off ) YO-OH-HEAVE-HO...! YO-OH-HEAVE-HO...! Tootles Skedaddle, lads! Here they come! (The Lost Boys take to their heels, with the exception of Nibs who, in his panic, goes the wrong way but succeeds in concealing himself - in the nick of time!) Storyteller Lacking a leader s courage, the Lost Boys ran... (She draws her cloak up around her ears and rubs at her upper arms with her hands, as:) Enter the ruffian pirate crew... (The Pirates appear chanting their heave-ho s as they enter. First, with his great arms bare and with pieces of eight for ear-rings, strides the handsome Cecco. Heavier in tread and from the shores of

33 27 Africa, is Mullins, mountainous and muscular. Bill Jukes comes next, every inch of him tattooed. Following these come Cookson, Gentleman Starkey, Skylights, Noodler, and the bespectacled bosun, Smee, the only Non-conformist in the crew. As the Pirates chanting grows in volume, it segues into a diff erent rhythm, and:) Pirates WHO PUT THE JOLLY IN THE JOLLY ROGER? WHO PUT THE TREASURE IN OUR CHEST? WHO S MORE ARTFUL THAN THE ARTFUL DODGER? WHO S MORE SCARY THAN THE MARY CELESTE? WHO GOES A-PILLAGING AND SWABS THE DECK WITH BLOOD? WHO S THE VILEST MAN IN ANYONE S BOOK? WHO IS WORSE THAN ANY OTHER? WHO S A CREDIT TO HIS MOTHER? YES, IT S GOOD OLD CAPTAIN HOOK WHO IS THE TERROR OF THE TERRA FIRMA? WHO IS THE TYRANT OF THE SEAS? WHO CHILLS BLOOD AND CAUSES HEARTS TO MURMUR? WHO S MORE DEADLY THAN A DEADLY DISEASE? WHOSE LUCKY PRISONERS GO STRO-HO-HO-HO-HO- HOLLING DOWN THE PLANK? WHO CAN CURDLE MILK WITH BARELY A LOOK? WHO IS FEARED IN EVERY HARBOUR? CUTS MORE THROATS THAN ANY BARBER YES, IT S GOOD OLD CAPTAIN HOOK (At this point Captain James suddenly appears in their midst. Cadaverous in appearance, and with his hair dressed in long curls which look like black candle that are about to melt, HOOK has a glistering steel hook in place of his right hand. Never more sinister than when he is most polite, the elegance of the pirate captain s diction

34 28 Act One shows him to be one of a diff erent class from his crew - a solitary among uncultured companions. He primps and preens as the Pirates continue to sing his praises:) HOOK GOES A-PILLAGING AND HOOK HOOK HOOK HOOK SWABS THE DECK WITH BLOOD HE S THE VILEST MAN IN ANYONE S BOOK HE IS WORSE THAN ANY OTHER BUT A CREDIT TO HIS MOTHER HE IS GOOD OLD CAPTAIN HOOK HOOK HOOK GOOD OLD CAPTAIN HOOK (As the song ends, and basks in his men s admiration, there is a rustle in the undergrowth as Nibs attempts an escape and Starkey takes aim with his pistol.) Pull that trigger and you re shark s meat, Starkey. (Nibs makes good his escape through the trees.) Starkey I had him clean between the eyes. Twas one o they Lost Boy rapscallions. I could have dropped him, Captain. I don t want one Lost Boy - I want them all. Scatter and seek them out... Music No. 6a: THE HOOK (Smee pipes the order on his bosun s whistle and the Pirates disperse, leaving only himself and who continues confi dentially:)... Most of all, I want their Captain,. It was him that sliced off my good right arm. I have waited long to shake his hand with this. (He runs his forefi nger around his shiny hook and produces a musical hum, as if he were stroking the rim of a wineglass.) Oh, I ll tear him, Smee.

35 29 Smee Smee Smee Yes, captain, I ve often heard you say your hook was worth half a dozen hands - for taking the tops off pickle jars and suchlike trivial domestic tasks. Had I been born a mother, I would pray to have my children born with a sharp steel claw attached to their right wrist - and not a namby-pamby fleshy thing with wriggly fingers. (Then, peevishly.) Pan flung my arm to a passing crocodile. It has not gone unnoticed, Captain, your curious dread of crocodiles. That crocodile would have gobbled down the whole of me long since - except that, by a lucky chance, it had swallowed an alarm clock - which goes tick, tick, tick inside its innards and warns of its approach. Some day that clock will run down, Captain - and then that croc will be the death of you. That is the fear that haunts my days and fills my nights with dread. (He jumps up.) This seat is hot, Smee! Odds, bobs and hammer and tongs - my backside is burning! (On close inspection, discovers that the giant-size mushroom on which he has been sitting is not, in fact, a mushroom after all - and proof of this is supplied as smoke pours out.) Smee It s a camouflaged chimbley, Captain! (listening at the chimney) Hush! The Lost Boys! They re down below. (The other Pirates return, shamefaced and empty-handed and upbraids them.) While you ve been indulging in wild-goosey-gander chases, I have located their hiding-place. Smee You ve got a plan too, Captain, to attend on that good fortune. I can see it in your face.

36 30 Act One Smee Starkey Evil schemes invade my head, Smee, as regularly as rats infest a slovenly sea-cook s galley. (To Cookson.) Give me your jacket - I m going to seal up the chimney and smoke them out. It s the wickedest prettiest policy I ever came across. You allus was a rare one, Captain. (, having folded the coat, puts it over the chimney, then sits on it - but his smile fades as, with him, we hear an ominous ticking sound... ) Music No. 6b: CROCODILE AND TIGER LILY The crocodile! (The Pirates take to their heels and the Crocodile enters, ticking loudly, and exits in pursuit of the Pirates. A moment later, Tiger Lily enters to the beat of tom-toms, followed by her Braves.) Tiger Lily HEY-YAY-AY, HEY-AH-AH (Tiger Lily puts an ear to the ground, listens, then:) Tiger Lily Nibs Tiger Lily Nibs Tiger Lily Nibs The pirates were here. (entering from the opposite direction) It doesn t take an expert tracker to know that... I saw them with my own eyes. They run away from Tick-tock, tick-tock. If the pirates flee from the tick-tock, then the tick-tock shall lead us to the pirates. (unsure of the logic) Um, I suppose so, but I ll need to check that with Peter. Where is? In that Other Place.

37 31 Tiger Lily Nibs Tiger Lily He is always in that Other Place. We need him in Never Land for adventures to happen. He ll be back soon enough. Soon enough for what? (Tiger Lily gestures to her Braves, and leads them in a snaking dance off stage. Nibs calls down the mushroom chimney:) Tiger Lily Nibs HEY-YAY-YAY-HA! All clear, boys! (Much relieved, the Lost Boys come up from out of their underground home, as Nibs continues:) You ll never guess what I saw flying high above the lagoon - a big white bird. (He fl aps his arms, slowly.) It looked very weary - and it had this curious call. (Still fl apping his arms.) Poor! Poor! (The Lost Boys peer up into the sky.) 1st Twin 2nd Twin I see it! I see it too! Music No. 6c: TINK S INSTRUCTIONS / SHOOTING WENDY Tootles Curly There s Tinker Bell! If Tinker Bell s come back, then Peter can t be far away. (The Lost Boys raise a cheer.) Nibs (cups his hands and calls) Hey, Tink! Tinker Bell! (Tinker Bell calls down to the Lost Boys in her fairy tongue.)

38 32 Act One Tootles Curly Tootles Slightly She says that Peter wants the bird shot dead. I wonder why? If that s what Peter wants, Curly, we don t ask why. We carry out his orders without question. (Tootles looses an arrow from his bow and it whizzes through the air.) Nibs Good shot, Tootles! (The Lost Boys eyes follow the downward spiralling of the wounded bird which fi nally takes more solid shape as s body, in her white night-gown, crashes through branches and onto solid ground. The Boys cluster round her, pick her up and place her in full view. She is quite motionless - an arrow protrudes from her chest.) 1st Twin 2nd Twin It wasn t a bird after all. It was a flying lady. (From high up on a tree, where she has come to rest, we hear Tinker Bell s mocking laughter.) Slightly Curly Lost Boys You don t suppose, I don t suppose, that Peter was bringing this lady back to Never Land from you-know-where? To take care of us? Oh Tootles! (They all take a step away from Tootles, leaving him in isolation. Then, as if on cue, we hear a familiar cock-crow sound.) Peter! (They group themselves in front of s body, hiding it, as Peter skims round the tree-tops, before touching down.)

39 33 Greetings! (Their silence puzzles him.) I am back, and with great news. I ve brought someone who will be a mother to us all. She flew on ahead of me. Didn t any of you see her? (The Lost Boys exchange glances and, unable to keep their ghastly secret, separate.), with an arrow in her heart. She s dead. (He is not so much pained as puzzled). (The Lost Boys make a great show of looking everywhere except at Tootles until:) Nibs Curly It was Tinker Bell s doing, Peter. She told us to shoot down the bird. Tinker Bell! You are my friend no longer! (Tinker Bell replies with a cheeky sound, which seems to say, Who needs you? ) You re banished, Tinker Bell! Begone - for all eternity! (Tinker Bell fl ies off, sulking.) 1st Twin 2nd Twin Is she really dead? (exchanging a puzzled glance with his twin) We thought only flowers died? Whose arrow? (Plucking the arrow matter-of-factly from.) (Tootles kneels before.) Tootles Strike Peter; strike true. (trying to raise his arm) I... I can t... Something prevents me... ( s arm has risen and has Peter gripped around the wrist.)

40 34 Act One Nibs Lost Boys Lost Boys Tis the lady. She lives! See, the arrow struck my kiss. (Very pleased with himself.) The kiss I gave saved her life. (triumphant) Hurrah! But she is very poorly. (defeated) Aw! (At which point, John and Michael wander on, bemused, having landed elsewhere on the island. John still wears his tall Sunday hat. Peter motions the Boys to regroup, again hiding - this time with Peter taking central position. They try to look innocent as:) Michael Where are we, John? How did we get here? John We flew here - didn t we? (He flaps his arms unsurely) I think?... It s true! Here s Peter. And these must be the Lost Boys. I say! What fun! Michael Where s? (Peter shrugs. Michael tries to peer round the end of the line, but again the Lost Boys shuffl e, fi rst one way then the other, in their attempts to keep hidden, as:) John Is this Never Land, Peter? Are these really the Lost Boys? Haven t any of them got mothers? (Meanwhile, Michael, moving in one direction, darts back the other way and gets the better of the Lost Boys.) Michael John There s. She isn t moving. (More puzzled than concerned.) Is she dead? She better hadn t be dead! Or else there will be trouble!

41 35 Michael Tootles Curly Slightly Music No. 7: Lost Boys John Curly John John She is... asleep. Let s wake her up and get her to make supper. No one must touch her. It wouldn t be respectful. We can t leave her here or she will die. But if no one is to touch her, she can t be moved. Oh well, she ll die then - there s no help for it. Yes, there is - let s build a house around her. BUILD A HOUSE Hurrah! Build a house? For? But she s only a girl. And we are her servants. I m not sure I can agree to that. Curly, see that these boys help with the building. (as he is frog-marched away to help) But how? (The Lost Boys begin to construct a house around, with whatever materials come to hand:) FIRST WE LL BUILD EACH WALL WHEN IT S JUST SO TALL WE LL STOP WITH A HIGH-PITCHED ROOF WHICH IS WATERPROOF ON TOP WE SHOULD STRENGTHEN IT WITH CLAY TO KEEP BAYING WOLVES AT BAY BUILD A HOUSE FOR WENDY BUILD A HOME WHERE WENDY WILL STAY

42 36 Act One John John All Don t you think she should see a doctor? There isn t a doctor - perhaps there s something she could take for it? (producing the bottle from his dressing-gown pocket) I ve got this. It s Collinson s Cure-All. It attends to all juvenile ailments. It says so on the label. Hurrah! (taking charge of the bottle) I ll make sure that she takes this medicine every night. (Satisfi ed that s well-being is taken care of, they go back to the housebuilding, as:) Lost Boys Lost Boys Lost Boys Lost Boys IN THE WALLS OF WOOD MANY WINDOWS SHOULD BE CUT LOOKING OUT EACH WAY JUST AS LONG AS THEY DON T SHUT FROM EACH WINDOW COME WHAT MAY THERE S A DIFFERENT VIEW EACH DAY BUILD A HOUSE FOR WENDY BUILD A HOME WHERE WENDY WILL STAY CHOP AND SAW AND HAMMER NAILS FOR WENDY LAY THE FLOOR AND PICTURE RAILS FOR WENDY ADD THE KIND OF LOFT WHERE OLD TOYS ARE OFTEN FLUNG CHOP AND SAW AND HAMMER NAILS FOR WENDY AND WHERE PARENTS PLAY TO RECALL WHEN THEY WERE YOUNG LAY A FLOOR AND PICTURE RAILS FOR WENDY

43 37 MAKE IT NOW WITHOUT DELAY Lost Boys Lost Boys Lost Boys All ON A TIMBER FRAME MOTHERS LIKE THINGS DONE THAT WAY IT S A SIMPLE AIM BUILD A HOUSE FOR WENDY BUILD A HOME WHERE WENDY WILL STAY BUILD A HOUSE FOR WENDY, BUILD A HOME FOR WENDY WHEN IT S BUILT TO EASE OUR GUILT WE LL PATCH A FEATHER QUILT FOR WENDY WEAVE A RUG TO MAKE IT SNUG WITH COCOA IN A MUG FOR WENDY FOR WENDY, FOR WENDY, FOR WENDY (During this instrumental section, the house nears completion.) 1st Twin What else do we need? There isn t a door-knocker... Tootles, your shoe will do. (Tootles hangs up his shoe, with the sole as a knocker.) And it hasn t got a chimney... John, your Sunday hat will suit. (Peter retrieves John s hat, knocks off the top and places it on the roof - smoke immediately curls upwards.) Lost Boys PAPER, PASTE AND PAINT THE SILLS FOR WENDY CURTAINS LACED WITH BOWS AND FRILLS FOR WENDY PLACE A ROCKING CHAIR NEAR THE FIRE WHERE SHE LL REST

44 38 Act One WHEN WE HEAR HER CALL IT S THE TIME WE ALL LOVE BEST AS SHE TELLS IN HER OWN WAY DIFFERENT STORIES EVERY DAY All All THAT S THE JOY OF WENDY NO LOST BOY IS WENDY SHE S THE SUNSHINE S MOST HEAVENLY RAY AND WE PRAY AND WE ALL PRAY All look your best. AND WE PRAY All AND WE ALL PRAY First impressions are awfully important. AND WE PRAY All THAT WENDY WILL STAY (They all strike a pose and smile winningly out at the audience as the number ends. As the applause fades, Peter steps forward and knocks on the door.) Storyteller (having entered over the above) All of Never Land, it seemed, stood as still as those Lost Boys. Each one of them was wondering whether would answer the door - and, more important, if she did, would she fulfil their wildest dreams? (stepping out of the house) Where am I? Storyteller She was exactly what the boys had wanted - and their wildest dreams were all fulfilled.

45 39 (As the Lost Boys react with delight on seeing well again, the Storyteller exits.) Tootles Curly Slightly Lost Boys Lost Boys Tootles This is Never Land. We re the Lost Boys. We are your children. (aff ecting surprise) Goodness! (kneeling with outstretched arms) lady, be our mother. I m only a girl myself. I ve no experience on the subject. That doesn t matter. What we need is a motherly person. Oh dear. That s exactly the kind of person I feel I am. (A sudden change of mood.) Now get inside at once, you naughty, naughty children! (She claps her hands.) Music No. 7a: THE LOST BOYS GANG (Reprise) 6 Lost Boys NOBODY DARES US NOTHING EVER SCARES US EVEN THE LOUDEST BANG You re neglecting to wipe your feet. (Michael and John enter the House.) 6 Lost Boys IF YOU VE ANNOYED US BEST IF YOU AVOID US COS WE RE THE LOST BOYS GANG You ve all your toys to put away. (The Twins enter the House.)

46 40 Act One 4 Lost Boys AND THOSE WHO FIGHT THE LOST BOYS DISCOVER TO THEIR COST And don t leave the towel on the bathroom floor. (Tootles enters the House.) 3 Lost Boys THERE S BEEN NO FIGHT Bed - this instant! (Nibs enters the House.) 2 Lost Boys THERE S BEEN NO FIGHT Bed! (Curly enters the house.) Slightly THERE BEEN NO FIGHT THAT THE LOST BOYS Good night, Mother. LOST! (Peter and are now alone.) Come along, Peter - it s your bedtime too. I haven t got a bedtime. That s silly. Everyone has a bedtime. Come on, let me show you the island - (Playing the Father.) while our children are sleeping. As parents we have to set a good example, Peter. Rules are rules. Not for me they re not. No-one tells me what to do.