Sie sind auf Seite 1von 98
Book and Lyrics by Steven Sater Music by Duncan Sheik Based on the play by Frank Wedekind NOTICE: DO NOT DEFACE! Should you find it necessary to mark cues or cuts, use a soft black lead pencil only. NOT FOR SALE This book is rented for the period specified in your contract. It remains the property of: PLEASE RETURN ALL MATERIALS TO: MTI MUSIC LIBRARY 31A INDUSTRIAL PARK ROAD. ‘Music Tenaras Ieruanarionat NEW HARTFORD, CT 06057 421 West S&th Steet New York, NY 10019 (212) 541-4684 Copyright © THE BOYS: THE ADULT WOMEN: (Played by one woman) THE ADULT MEN: (Played by one man) MELCHIOR MORITZ HANSCHEN / RUPERT ERNST / REINHOLD GEORG / DIETER OTTO / ULBRECHT FRAU BERGMAN (Wendla's Mother) FRAULEIN KNUPPELDICK FRAULEIN GROSSEBUSTENHALTER FRAU GABOR (Melchior’s Mother) FRAU BESSELL (Martha’s Mother) HERR SONNENSTICH HEADMASTER KNOCHENBRUCH HERR NEUMANN (llse’s Father) HERR RILOW (Hanschen’s Father) HERR STIEFEL (Moritz’s Father) FATHER KAULBACH DOCTOR VON BRAUSEPULVER HERR GABOR (Melchior’s Father) SCHMIDT TIME & PLACE The action of the play is set in a provincial German town in the late nineteenth-century. When singing, however, the boys and girls assume the ‘manner of contemporary teens. The lights shift with the songs, and we enter the private and timeless world of the character who is singing. That character ‘may be joined in his or her solitary song by other voices that fill out the chorus of longing. A FEW PRODUCTION NOTES From the inception of this project, Duncan, (our director) Michael Mayer, and | imagined that when the characters broke out of their 19th-Century confines, they would pull hand-mics from their pockets and rock out. ‘And indeed, that is just what they've done, to great effect, in both our New York productions. Seeing the characters step into a spotlight in period costume and sing mic-in-hand, or from behind a mic-stand, has been dynamic. It has given us a visual embodiment, a clear signal, of the break between our bourgeois German province and our altrock concert. While this script is divided into many scenes, I always imagined that the play ‘would unfold with great fluidity: a minimal amount of transition, as one ‘moment morphs into the next, Given that the show also shifts continually between scene and songworlds, it made real sense to play on a near-empty stage, with a non-representational set. Lighting, then, became the thing. (On that front too, we had a strong idea: our young characters live in the shadow of social convention, but their inner worlds are utterly electric. Honestly, the effect of a sudden break from a world lit by lanterns to one ignited by neon has been pretty spectaéular. Finally, in our staging, all of the characters have remained present and visible throughout the show. This has greatly facilitated the entrances and exits of the CHORUS (or BOYS and GIRLS) into and out of the songs. But I offer these thoughts only as notes from our journal. Iam genuinely excited to see how others choose to address the potentially tricky staging, issues raised by this most-particular, and long-begotten, text. -iv