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«ISBN: 978 1 84237 034 6 6/031013/3 Published by Musicline Publications P.O. Box 15632 Tamworth Staffordshire B77 5BY 01827 281 431 ...»

-- [ Page 1 ] --

Glint Of Gold

Junior Script

by

Gawen Robinson

ISBN: 978 1 84237 034 6

6/031013/3

Published by

Musicline Publications

P.O. Box 15632

Tamworth

Staffordshire

B77 5BY

01827 281 431

www.musiclinedirect.com

No part of this publication may be transmitted, stored in a retrieval system, or reproduced in

any form or by any means, electronic, mechanical, photocopying, manuscript, typesetting,

recording or otherwise, without the prior permission of the copyright owners.

It is an infringement of the copyright to give any public performance or reading of this show either in its entirety or in the form of excerpts, whether the audience is charged an admission or not, without the prior consent of the copyright owners.

Dramatic musical works do not fall under the licence of the Performing Rights Society.

Permission to perform this show from the publisher ‘MUSICLINE PUBLICATIONS’ is always required. An application form, for permission to perform, is supplied at the back of the script for this purpose. To perform this show without permission is strictly prohibited. It is a direct contravention of copyright legislation and deprives the writers of their livelihood.

Anyone intending to perform this show should, in their own interests, make application to the publisher for consent, prior to starting rehearsals.

All Rights Strictly Reserved.

Glint of Gold – Script 1

CONTENTS

Cast List

Speaking Roles by Number of Lines

Cast List in Alphabetical Order (With Line Count)

List of Properties

Production Notes

Scene: The Opening of the Tomb

Track 1: The March of the Kings

Track 2: The Storytellers

Track 3: The Boy King

Track 4: The Old God Counting Song

Track 5: The Egyptian Pyramid

Track 6: Queen of the Nile

Track 7: Osiris… King of the Dead

Track 8: Point to the Stars

Track 9: Tut Tut!

Photocopiable Lyrics

–  –  –

N.B. In the following list, the bracketed number shows the number of spoken lines each role has.

An asterisk (*) before the character’s name indicates that this character ALSO has solo or featured sung lines.

Howard Carter

Lord Carnarvon

Lady Evelyn Herbert

* Tutankhamen

Hatshepsut

Hieroglyph 1

Hieroglyph 2

Hieroglyph 3

Hieroglyph 4

Hieroglyph 5

Hieroglyph 6

Hieroglyph 7

* Hieroglyph 8

Guard 1

Guard 2

* Servant

* Farmer

* Metalworker

* Weaver

* Carpenter

* Merchant

* Scribe

* Politician

* Pharaoh

* Handmaiden 1

* Handmaiden 2

* Handmaiden 3

Anubis

* Osiris

Ammit

The 13 characters listed above that are asterisked but show “0” lines have NO spoken lines but DO sing as soloists or in small groups.

–  –  –

N.B. In the following list, the number shows how many spoken lines each role has.

An asterisk (*) before the character’s name indicates that this character ALSO has solo or featured sung lines.

* Tutankhamen

Howard Carter

Lord Carnarvon

Lady Evelyn Herbert

Hieroglyph 1

Hieroglyph 4

* Hieroglyph 8

* Hatshepsut

Hieroglyph 2

Hieroglyph 6

Hieroglyph 7

Hieroglyph 3

Hieroglyph 5

Anubis

* Osiris

–  –  –

N.B. In the following list, the number shows how many spoken lines each role has.

An asterisk (*) before the character’s name indicates that this character ALSO has solo or featured sung lines.

Anubis

* Hatshepsut

Hieroglyph 1

Hieroglyph 2

Hieroglyph 3

Hieroglyph 4

Hieroglyph 5

Hieroglyph 6

Hieroglyph 7

* Hieroglyph 8

Howard Carter

Lady Evelyn Herbert

Lord Carnarvon

* Osiris

* Tutankhamen

Non-speaking roles: Guard 1, Guard 2, and Ammit, all of whom are silent throughout.

The following characters have no spoken lines but sing as soloists or in small groups: Carpenter, Farmer, Handmaiden 1, Handmaiden 2, Handmaiden 3, Merchant, Metalworker, Pharaoh, Politician, Scribe, Servant, Weaver.

–  –  –

A gold bed

Ebony and ivory stools

Decorative vases, jars & model chariots (if obtainable)

Model boat

Linen robes

Bandage

A stick

Walking stick

Flail & Crook

Basket on head

Farming implement

Blow-pipe or hammer

Needle & cloth

Hammer & nails

Spices or cloth

Papyrus

Scroll & jewellery

Picture of a hat

Picture of a sheep dog

Picture of a sweep’s brush

Wooden flute

Large feather & plastic heart

Elvis Presley outfit

–  –  –

STAGING The story is set in 1922, with the discovery by Howard Carter, of Tutankhamen’s tomb.

Carter enters the tomb and is astounded by the treasures that he discovers, that have been buried for over 3,000 years. The story then follows the translation of the hieroglyphs on the wall as they come to life in the musical. King Tutankhamen is awakened from the dead in order to rejoin his father Osiris.





It is suggested that the acting area is set as the antechamber and, if possible, has steps up to it from the audience area. This gives the feeling that the audience are entering the tomb along with the explorers. There need to be two entrance points for the cast, in addition to the steps from the audience. One needs to be located stage left (on the actor’s left side when looking at the audience). This will be the doorway to the burial chamber through which Tutankhamen enters. The other needs to be located stage right (on the actor’s right side when looking at the audience). All of the Egyptian characters that enter the acting area will do so through this entrance, and the explorers will enter and exit via the steps and audience.

Over the acting area there could be a sign hanging with the name ‘Tutankhamen’ inscribed on it. On the acting area is set a gold bed, carved chariots, ebony and ivory stools, decorative vases and linen robes in disarray. A number of figures, portrayed by actors, are positioned around the action. They are hieroglyphs and stand close to the walls of the acting area. This setting remains throughout the show.

The scenery describes the moment in November 1922 when Carter and his team came across the undisturbed tomb. The team enter through the audience area and (if steps are used) climb the steps to the acting area, peering into it before entering. As the scene develops, Tutankhamen is awakened and he enters the acting area via the ‘doorway’ stage left as mentioned earlier. As the treasures are removed from the tomb, they are taken down the steps and out through the audience. This scene continues throughout the show, there being no other setting.

It could also be performed in the round and would be particularly effective if the acting area was raised on rostra with blocks up to it, so that it suggests a pyramid and the entrance steps into the tomb. In this style of setting, Tutankhamen would enter from one side of the acting area, the treasures being taken down steps on a different part of the acting area.

–  –  –

CHOREOGRAPHY

Track One – The March of The Kings describes the moment when the great stone doorway was removed from the tomb. The number starts with a very typical Egyptian reed solo before becoming very grand and regal for the actual opening of the tomb. The archaeological group enter the scene during the reed solo and approach the set. Howard Carter peers into the antechamber before the end of the number. Lord Carnarvon should deliver his opening line as the music finishes.

Track Two – The Storytellers is a slow number sung by the Hieroglyphs, to explain their function as pictorial storytellers. The Hieroglyphs slowly become more animated as the song develops through the first verse. If the skills and resources are available some simple ballet movements would be effective in this number. The Hieroglyphs may be accompanied by a choir, to give range and volume to the song.

As the explorers interact with the Hieroglyphs, Tutankhamen is awakened from his resting place and joins them. In answer to Carter’s request for more information about the boy king, Tutankhamen sings… Track Three – The Boy King, accompanied by the chorus. The number starts off with a slow, plodding solo section as Tutankhamen tells how he was entombed long ago and how tomb raiders pillaged all of the other graves around. This is interrupted as the pace quickens to a fast swing beat and the chorus join in. This is a lively section where plenty of simple movements will enhance the song. Finally the song’s tempo changes again to a fast Rock ‘n’ Roll section for eight bars to the end.

We then move to the most difficult song in the show, which needs plenty of rehearsal, just to remember the lyrics, let alone choreograph it!

Track Four – The Old God Counting Song is intended to be sung by two or three groups of singers. Ideally, the first two verses should be sung by everyone, whilst half of the choir would then sing verse three and the other half would repeat the original lyrics. During the fourth verse the group could split again, so that a small group sing verse four whilst the remainder sing their own previous verse. This would then create a three part song that would need to be very tightly conducted and taught. If this is too difficult, it is suggested that the song is simplified by singing the first two verses, twice only. The counter phrases can be sung by a small group of singers such as the Explorers and Tutankhamen. This song has a Ragtime feel to it and gives great opportunity for simple movements if so desired.

Verse four starts off slowly and increases in tempo until the end. It’s a great song but it needs plenty of work to do it justice!

The next section of the story explains the structure of ancient Egyptian Society and the pyramidical structure from slaves, peasants and servants up to The Pharaoh.

–  –  –

Track Five – The Egyptian Pyramid (a bouncy march) details this and is sung by characters from different parts of society. The verses could be sung by soloists or small groups, if sufficient numbers are available. The singers could be grouped at the start of the number and each individual singer could step forward from the group to sing their own verse(s). Whilst the CD does not slow down for the Politician’s verse, it would be completely appropriate to slow the tempo down for this verse. The rhythm changes to a more March-like style for the Pharaoh’s verse, which concludes the song.

Track Six – Queen of The Nile has a very regal feel about it and is sung by Hatshepsut and her Handmaidens. There is a nice dance break of seventeen bars at the end of the song where Hatshepsut plays her Egyptian flute solo and the Handmaidens dance to her music. The dance section is quite lively and is a nice opportunity to show off some of your dancers in a short, simple routine.

Track Seven – Osiris… King of The Dead is next. This is a big production number with involvement from chorus, backing singers, Anubis, Osiris and Tutankhamen. It starts off as a big band swing style number as the singers and backing group set the scene of the ‘Book of the Dead’. This is followed by a short flute section, underscoring Anubis’s dialogue. The tempo then switches to a lively Rock ‘n’ Roll for Osiris’ section before coming to a big ‘Elvis style’ flourish to end the number. Get your singers rocking and rolling on stage, in the audience, everywhere!

Track Eight – Point to the Stars is a slow but powerful number, sung by a group of Egyptians, emphasising the belief that the dead King’s soul will be elevated up to the stars.

It is a very descriptive number and needs movement to emphasise the lyrics of the song.

Track Nine – Tut Tut! starts with a dramatically slow build to a very Egyptian-sounding Jazz Trumpet solo before the lyrics commence. The song itself is a Swing style number sung by all of the Egyptians. This song closes the show and could be also used for the walk-down. It must get the cast moving on stage before the final punch line closes the show!

–  –  –

COSTUME Howard Carter has a large moustache and wears a trilby hat and suit with waistcoat and bow tie, suitable to the period of the 1920s.

Lord Carnarvon wears a similar outfit to Howard, with the addition of a walking stick.

Lady Evelyn Herbert has a long coat and a large, round-rimmed 1920s hat.

Hieroglyphs 1 to 8. Be creative with these. You might choose a letter relating to the initials of the actor. Some Hieroglyphs would simply wear masks, others could have a full costume.

If using masks, the rest of the costume could be tights and tunic or a suitable tight-fitting garment. The actor should pose sideways at the start, with their eyes facing the audience.

Tutankhamen wears a blue and yellow headdress, white loin-cloth, gold belt and sandals and is adorned with an impressive necklace, bracelets and false beard.

The Guards wear gold headdresses and loin-cloths. Each will be adorned with a necklace and hold spears.

The Servant wears a plain white loin-cloth and carries a basket on his/her head.

The Farmer is dressed the same as the servant and holds a suitable farming implement of the time.

The Metalworker again is dressed as above and holds a blow-pipe or hammer.

The Weaver and the Carpenter also wear white loin-cloths and hold relevant props: a needle and piece of cloth for the Weaver and a hammer and nails for the Carpenter.

The Merchant has a full-length white robe and holds jewellery, spices or fine cloth.

The Scribe wears a white cloth and remains seated, holding a papyrus sheet or book.

The Politician wears a white robe, some pieces of jewellery and holds a scroll.

Pharaoh is dressed the same as Tutankhamen.



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