Made in Dagenham the Musical

MADE IN DAGENHAM Music by

DAVID ARNOLD Lyrics by

RICHARD THOMAS Book by

RICHARD BEAN

LIBRETTO / VOCAL BOOK

Josef Weinberger

MADE IN DAGENHAM Music © Copyright 2014 by David G Arnold Lyrics © Copyright 2014 by Richard Thomas Book © Copyright 2014 by Richard Bean Edition © Copyright 2015 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 12 - 14 Mortimer Street London W1T 3JJ United Kingdom Tel: +44 (0)20 7580 2827 Fax: +44 (0)20 7436 9616 www.josef-weinberger.com

Version Dagenham Previews 8.4 (04 Nov 2014) This edition: September 2015

MADE IN DAGENHAM Cast FORD FACTORY WORKERS: Rita O’Grady – Eddie’s wife Beryl Connie Riley – Shop Steward Sandra Beaumont Clare Cass Eddie O’Grady – Rita’s husband Sid & Bill – Union Shop Stewards Stan Barry – Apprentice Toolmaker Monty – NUVB Convenor FORD FACTORY MANAGEMENT: Mr Hopkins – Managing Director, Ford Dagenham Mr Tooley – Ford U.S. Executive Ron Macer – Production Manager Gregory Hubble – Personnel Director OTHERS: Harold Wilson – Prime Minister Barbara Castle – Minister of Transport 3 Civil Servants – Aides to the P.M. Lisa Hopkins – Wife of Mr Hopkins Graham O’Grady / Sharon O’Grady – Rita and Eddie’s son and daughter Mr Buckton (School teacher), Chubby Chuff (Comedian), Cortina Man (Singer) Club Singer, Adams, Press Reporters, Photographers, Factory Workers, etc., Others as required / Doublings as required The Musical is set in Essex in 1968.

Orchestra

Woodwind 1 (Flute, Alto Sax, Tenor Sax) Woodwind 2 (Clarinet in Bb, Soprano Sax, Tenor Sax, Baritone Sax) Trumpet (dbl. Cornet / Flugelhorn) Keyboard 1 (Musical Director) Keyboard 2 Keyboard 3 Guitar 1 (Electric, Steel Str. Acoustic, Ukelele in G) Guitar 2 (Electric, Steel Str. Acoustic, 12 Str. Acoustic) Bass Guitar (Electric, Double Bass) Drums Percussion Bongos, Cabasa, Castanets, Congas, Crash Cymbal, Egg Shaker (small), Finger Cymbals, Glockenspiel, Mark Tree, Mounted Tambourine, Piatti (small), Pin Chimes, Rainstick, Shaker, Sleigh Bells, Snare Drum, Studio Shaker, Suspended Cymbal, Tambourine, Timpani, Triangle, Typewriter, Woodblocks

Musical Numbers



ACT ONE

0.

Opening (Instrumental)

1.

Busy Woman (Rita, Sharon, Graham, Eddie, Women, Men)

2.

Made In Dagenham (Factory Workers)

3.

This Is What We Want (Sandra, Beryl, Rita, Cass, Clare, Factory Women)

4.

Union Song (Men)

5.

Wossname (Clare, Women)

5a.

Big Ben (Instrumental)

6.

Always A Problem (Harold Wilson, Aides)

6a.

Busy Woman (Barbara Castle) (Barbara Castle)

7.

Pay Day (Ensemble)

7a.

Club Music (Club Singer)

8.

I’m Sorry I Love You (Eddie, Rita, Men)

9.

School Song (Ensemble Men, Graham)

9a.

Into The Berni Inn (Instrumental)

10.

Same Old Story (The People)

11.

Union Song – Reprise (Ensemble)

11a.

Skilled Work (Instrumental)

12.

Everybody Out (Rita, Factory Workers)

12a.

Everybody Out – Play Out (Instrumental)





ACT TWO

12b.

Tooley’s Entrance (Instrumental)

13.

This Is America (Tooley, Ensemble)

13a.

This Is America – Tag (Instrumental)

13b.

This Is America – Reprise (Tooley, Two Men)

14.

Storm Clouds (Lisa, Tooley, Harold Wilson, Barbara Castle, Factory Men & Women)

14a.

Storm Clouds – Scene Change (Instrumental)

14b.

Car Showroom (Instrumental)

15.

Cortina! (Cortina Man, Five Girls)

15a.

Cortina – Play Out (Instrumental)

15b.

Tax Payer’s Bentley (Instrumental)

16.

The Letter (Eddie)

16a.

Into Parliament (Instrumental)

16b.

Press Music (Instrumental)

17.

Ideal World (Barbara Castle)

17a.

Into The Hospital (Instrumental)

17b.

Same Old Story – Scene Change (Instrumental)

18.

Nearly Had It All (Rita, Eddie, Women)

19.

Viva Eastbourne (Beryl, Cass, Sandra, Men & Women)

19a.

Into TUC (Instrumental)

20.

Stand Up (Rita, Eddie, Ensemble)

21.

Bows (Company)

22.

Play Out (Instrumental)

Made In Dagenham

1

MADE IN DAGENHAM ACT ONE SCENE ONE Music No. 0: OPENING Coming up to 7 a.m. in the bedroom of Eddie and Rita O’Grady. Spot on the alarm clock clicking down. A ticking beat of music. Rita is making a cup of tea in the kitchen whilst Eddie is asleep in bed. The alarm clock goes off. Music No. 1: BUSY WOMAN Rita HEY THERE SLEEPY DREAMER I JUST WANNA SAY I LOVE YOU LOADS, YA STUPID SOD WELL HERE GOES – ANOTHER DAY (Life begins. Rita is the hub, the source of all knowledge, the engine room, the everything.) Sharon MUM!! Graham MUM!! Eddie / Sharon / Graham WHERE’S MY, WHERE’S MY, CAN’T FIND MY THINGS CAN’T FIND MY, WHERE’S IT GONE? WHY’S IT ALWAYS ME? WHAT HAVE YOU DONE WITH ALL MY THINGS? MUM!!! MUM!!! MUM!!!

(Whatever they’re looking for, Rita finds it and hands it to them. She hangs out the washing, makes the breakfast, tidies the house, etc. The

2

Act One

family home, as a well organised machine, but entirely dependent on the knowledge and energy of one person.) Rita EVERY MORNING, SAME ROUTINE WE PLAY OUR LITTLE FAMILY GAME NO-ONE KNOWS WHERE NOTHING IS BUT GUESS WHO ALWAYS GETS THE BLAME Sharon MUM!! Graham MUM!! Rita TEETH!! Eddie

Rita! I can’t find my favourite underpants!

Rita

I had to shoot ’em.

Eddie

You shot my underpants.

Rita

I had to put them out of their misery.

Eddie What? Rita

In the airing cupboard!

Rita IF YOU WANT SOMETHING DONE YOU ASK A BUSY WOMAN COZ YOU’RE WASTING YOUR TIME ASKING A MAN SHE CAN DO IN ONE HOUR WHAT HE CAN’T DO IN TEN IT’S THE BASIC EFFIN’ DIFFERENCE BETWEEN US AND EFFIN’ THEM IF YOU WANT IT DONE THEN ASK A BUSY WOMAN

Made In Dagenham

Sharon

Mum, what do you want for Christmas?

Rita

An hour off.

3

Graham (To Sharon.) Biology homework? (Sharon hands it over.) Rita

What are you doing Graham’s homework for?

Sharon

A shilling. (To Graham.) For a shilling.

(Graham gives her a shilling.) Graham

She wants to be a doctor. Ha, ha!

Rita

Girls are nurses, Sharon. That’s why we got you that nurse’s outfit.

Sharon

I want to be a consultant gastroenterologist!

Rita

You’re just saying that.

Eddie WE LOVE YOU DAGENHAM DAGENHAM WITH YOUR PARKS AND WATERFRONTS OH DAGENHAM, DAGENHAM SO GOOD THEY NAMED IT ONCE Rita (Laughing.) Stop it, Eddie – you’re making us late. Eddie / Sharon / Graham OH DAGENHAM, DAGENHAM WITH YOUR ANCIENT BYLAWS Eddie ROME WASN'T BUILT IN A DAY Eddie / Sharon / Graham BUT DAGENHAM DEFINITELY WAS (On the last line of her song Rita puts a little present into Eddie’s snap tin. This is no ordinary present, but something wrapped, with a ribbon – special.)

4

Act One

Eddie

Cup of tea eh, doll?

Rita

Yes please, I’d love a cup of tea. Is life like this everywhere?!

(Chorus enter.) Mother Chorus (Women) IF WANT SOMETHING DONE YOU ASK A BUSY WOMAN COZ YOU’RE WASTING YOUR TIME ASKING A MAN SHE CAN DO IN ONE HOUR WHAT HE CAN’T DO IN TEN IT’S THE BASIC EFFIN’ DIFFERENCE BETWEEN US AND EFFIN THEM IF YOU WANT IT DONE THEN ASK A BUSY WOMAN (Rita spits on her hanky and wipes some grime off Sharon’s face.) Sharon (Fighting her off.) Uurgh! Rita Whatsamatter? Sharon

It’s spit!

Rita

This ain’t spit, this is mother’s spit

(The chorus line of mothers spit into hankies, and wipe their children’s faces.) Chorus MOTHER’S SPIT! MOTHER’S SALIVA! AIN’T NO GERMS THAT CAN SURVIVE HER! (With a kiss Sharon is out the door. Graham turns, is about to go.) Rita

Oi! Come here. Show me your hand.

Made In Dagenham

(Graham shows his hand.)

He’s hit you again ain’t he?!

Chorus (Sung.) BASTARD! Graham

Mum! It don’t hurt.

Chorus (Sung.) BASTARD! Rita (To Eddie) Eddie, Graham’s getting caned at school. Mister Buckton – Chorus (Sung.) BASTARD! Rita

He’s paid to teach him Latin, not attack him with a stick.

Eddie

He can’t treat him any different just cos he’s a scholarship boy.

Graham

Don’t come into school mum!

Rita (Overly dramatic.) Oh, you’re ashamed of me are you?! Graham Yes! Sharon

Watch out Dad, Mum’s gone into one.

(And Graham is gone with a slam of the door.) Rita

Alright, Eddie?

Eddie

Yeah. What?

Rita

What’s today?

Chorus THINK, WHIRR, CLICK, CLICK, WHIRR Eddie

Tuesday.

Rita Tuesday?

5

6

Act One

Chorus THINK AGAIN, WHIRR, CLICK, CLICK, DURR Eddie Innit? Rita

Is it a special Tuesday?

Chorus REMEMBER, YOU MEMBER Eddie (Beat.) Pancake day? Rita

Go to work, you big lump.

Eddie

Love you!

(Eddie moves in for a kiss. Rita kisses him lightly on the cheek, though he’ d offered his lips. He’s gone. Out the door.) Rita EVERY YEAR, THE SAME ROUTINE WE PLAY OUR ANNIVERSARY GAME Chorus / Rita HE FORGETS Rita AND I REMEMBER THE DAY I TOOK HIS Chorus / Rita STUPID NAME Chorus SHUT THE DOOR, WERE YOU BORN IN A BARN? WIPE THOSE BOOTS YOU DON’T LIVE ON A FARM HOW DID YOUR LAST SERVANT DIE? WHY? BECAUSE I SAID, THAT’S WHY EAT YOUR GREENS OR YOU WON’T GROW THERE’S KIDS STARVING IN AFRICA, YOU KNOW BEDS AIN’T MADE FOR JUMPING ON

Made In Dagenham

YOU’LL ALL MISS ME WHEN I’M GONE (Door opens and Graham stands there, hand out, and is given his bus pass.) Rita

Bus Pass!

All IF YOU WANT SOMETHING DONE ASK A BUSY WOMAN SHE’S GOT MORE ENERGY THAN THE SUN SHE’S ALWAYS THERE NO MATTER WHAT IF YOU LOSE YOUR KEY OR LOSE THE PLOT THE STRENGTH OF A RHINO THE PATIENCE OF A NUN IT AIN’T NO SPRINT IT’S A MAR ATHON EVERY LOVING MINUTE OF EVERY LOVING DAY TESTS OUR LOVING NATURE IN EVERY LOVING WAY MOTHERS, SISTERS, DAUGHTERS LOVINGLY WE SAY WE GOT THIS FEELING THIS WONDERFUL FEELING IT’S GONNA BE ANOTHER KIDDY HUGGING HEART TUGGING TEA SLUGGING EVER LOVING MOTHER LOVING WORKING DAY IF YOU WANT IT DONE THEN ASK A BUSY WOMAN (Rita is out the door and gone with a slam of the door.) (End of scene.)

7

8

Act One

Music No. 2: MADE IN DAGENHAM Men THE SMELL OF SUMP OIL FILLS THE AIR ONE WEEKS SWARFEGA IN MY HAIR I JUST CLOCK IN AND DO MY TIME AT FIVE O’CLOCK MY LIFE IS MINE A FANBELT, GEARBOX OR A CLUTCH WE’RE MEN WHO’VE GOT THE MIDAS TOUCH WE’RE PROUD OF WHAT GOES INTO IT GIVE IT A KICK IF IT DON’T FIT BLUE COLLAR CAR MEN THAT’S WHO WE ARE SHAME MOST OF US CAN’T AFFORD A CAR WHEY! MADE IN DAGENHAM LAID IN DAGENHAM SHAME WE’RE UNDERPAID IN DAGENHAM MADE IN DAGENHAM WE ARE DAGENHAM BOYS Solo 1 I LOVE MY JOB, IT IS A GIFT Solo 5 A LOVELY STINKING EIGHT HOUR SHIFT Eddie SEE HOW THE FAC-TO-RY DOTH SHINE Solo 2 FROM EUROPE’S LARGEST NEON SIGN Solo 6 WE’RE FAMOUS FOR MISTER HENRY FORD

Made In Dagenham

All Men FROM WHOM ALL GOODNESS STEMS Solo 7 APART FROM THE POLLUTION Solo 8 THAT HE DUMPS INTO THE THAMES Solo 3 AND OOOOH DUDLEY MOORE MAN, HE WAS SLICK Solo 4 BUT HE GOT A LITTLE FAMOUS All Men AND HE FUCKED OFF PRETTY QUICK. MADE IN DAGENHAM LAID IN DAGENHAM LAST YEAR WE HOLIDAYED IN DAGENHAM MADE IN DAGENHAM WE ARE DAGENHAM BOYS Solo 8 A HALF PINT THERMOS Solos 3, 7, 5 AND MY STEEL CAP BOOTS Solos 8, 2 OUR OVER ALLS PROTECTIVE All Men IT’S THE WORKING MAN’S SUIT STATE OF THE ART MACHINERY HEALTH AND SAFETY GUAR ANTEE MAINTAINED DAILY THROUGH AND THROUGH (Bang!) BY ENGINEERING EXPERTS AND SOME SUPER GLUE!

9

10

Act One

MADE IN DAGENHAM LAID IN DAGENHAM COME GET YOUR CAT SPAYED IN DAGENHAM. MADE IN DAGENHAM WE ARE DAGENHAM BOYS All (Men /Women) PLAYED IN DAGENHAM STR AYED IN DAGENHAM LIFE IS READY-MADE IN DAGENHAM GOD KNOWS WHY WE STAYED IN DAGENHAM TEMPERS GETTING FR AYED IN DAGENHAM COZ STILL WE’RE UNDERPAID IN DAGENHAM WE ARE DAGENHAM GIRLS BOYS GIRLS BOYS GIRLS OOOH WE ARE MADE IN DAGENHAM

SCENE TWO The River Plant. Beryl (front row) and other girls (back row). Enter Rita who takes a seat at her machine. Beryl

Alright Rita? Are you getting any?

Rita

Sex or loving?

Beryl

Oh! There’s a difference, is there?

(Enter Cass.) Beryl

Alright Cass?

Cass (Sarcastic.) Yeah, I love it here. Beryl

Are you getting any?

Made In Dagenham

Cass

Lord Jesus, Beryl!

(They laugh. Enter Clare.) Beryl

Hello Clare! Are you getting any?

Clare (Giggles.) Stop it! Rita

Gonna be hot in this shed today.

Clare

Yeah, and I got two hours whatsaname tonight.

Beryl

Overtime.

Clare

Yeah.

Cass

What are you saving up for, Clare?

Clare

A you know –

Beryl

Deposit.

Clare

– on a –

Beryl

– flat.

Clare

Yeah.

Emma

What’s he do, your Ken?

Clare

Mother’s Pride, he makes bread.

Beryl

So he’s a master baker is he?

Clare

No, he’s got me.

Cass

Are you gonna marry him?

Clare

I gotta save a bit up first.

Beryl

Bollocks, you’ve been giving it away!

Cass

In an ideal world where would you like to get married, Clare?

11

12

Act One

Clare

Er . . . Woodford Registry office.

Cass

C’mon, girl, I said in an ideal world.

Clare

I’ve always wanted to get married in the countrySide.

Beryl

Woodford ain’t the countrySide!

Clare

But it’s near Chigwell . . .

Beryl

Yeah, and Chigwell ain’t the Seren-fuckin’-geti!

Cass (Kisses her teeth.) You wanna get yourself some dreams, girl! Rita

Cass is gonna be an airline pilot aren’t you, Cass?

Cass

Before I’m thirty-five.

Beryl

Who’s gonna get on your plane? A black woman pilot?! Fuck off!

(Enter Sandra.) Cass

Here’s trouble!

Rita

Morning Sandra!

Sandra

Alright girls!

Beryl

Alright Sandra, are you getting any?

Sandra (Sung.) YEAH, YEAH, YEAH, YEAH, YEA A A A A AH. Beryl

Dirty cow.

Sandra

Oi Cass, what you got your dog teeth set on?!

Cass

Seven. For welts!

Clare

It’d be a lot easier if we had a whatsaname with a you know.

Jo

A transport system with a top feed?

Beryl

That’d be a bit too fucking twentieth century, that would!

Made In Dagenham

Sandra

I put it on seven and it’s still sticking.

Beryl

Drop the dog teeth lower then, you daft slapper!

Clare

Or use some, you know, fing.

Cass

Wax!

Beryl

You wanna try sleeping at nights, girl!

Rita

Who’s this one then, Sandra?

13

Sandra Richard. Cass

What’s he do?

Beryl

Everything by the sounds of it!

Sandra

He’s a driving instructor. At British School of Motoring.

Beryl

No! He’s not that British School of Motoring’s Richard?

Sandra

Yeah. What about him?

Beryl

I’ve had him!

(Cheers. Enter Barry, a young apprentice.) Girls

Woah! / Barry! / Woo!

Barry

Oh Jesus.

Rita

You look tired, Barry?

Barry

No, I’m not tired.

Beryl

Alright, Barry. Are you getting any?

Barry

Please don’t talk to me.

Rachel

Barry! My tension discs are rubbing together. They’re getting hot.

Cass

What’s your job title, Barry?

14

Act One

Barry

I’m an apprentice toolmaker.

Beryl

Does that involve a lot of grinding?

Barry

Yeah. If you want to make the tools hard.

(Laughter. Barry turns to go. But as a parting shot in revenge . . . ) Barry

At least it’s skilled work, not like sewing.

Rita

Oi! This is skilled work.

Barry

Not any more, it ain’t.

(Barry exits.) Beryl

He’s alright is Barry. I’d take me teeth out for him.

(Enter Connie and Monty, the NUVB, River Plant, Convenor.) Connie

Girls! You can machine off this is official union business.

Cass

It’s hot hot hot hot in here, Monty!

Beryl

Yeah, I’m sweating like a fucking kestrel.

Monty

Conditions in this shed have been minuted at the Health and Safety Committee.

Beryl

Oi Connie, could I get paid for sitting around in union meetings drinking tea?

Connie

Have you read the union rule book?

Beryl

Yeah I have, it was brilliant, I couldn’t put it down.

Rita

Put a sock in it, Beryl.

Connie

Me and Monty have been at the Pay Review Committee.



All along, I’ve been asking for a re-evaluation of our grading –

Monty

An I’m here cos Connie needs to sign off the new job evaluation scheme.

Made In Dagenham

15

Beryl

Are we getting a pay rise or not?

Monty

To cut a long story short you ladies have been evaluated as grade B.

Cass

That’s an upgrade then, we were grade C.

Connie

No, it ain’t. It’s an unskilled grade.

All

Unskilled? / We’re skilled! / That ain’t right / Wot!?

Rita

You can’t expect us to agree to that.

Sandra

Who else has signed up to this?

Monty

All the men. The TGWU, AEU, AUEW.

Beryl

I don’t care if the RAC, the IOU and the PMT have signed, we’re not signing!

Sandra

I ain’t working unskilled in this shitheap.

Connie

In my book this is indefensible.

Beryl

Why did you agree to it then!?

Connie

I was outvoted, by the men.

Monty

Look girls, I know what you want –

Rita

– no you don’t. We want templates for this leatherette.

Beryl

And new machines! I’m not saying this machine’s old, but the manual’s in fucking Latin.

Monty

Alright, what do you want?

Music No. 3: THIS IS WHAT WE WANT Sandra I WANT A CHAIR THAT JUST DON’T CREAK I WANT A ROOF THAT JUST DON’T LEAK I WANT A BOSS THAT AIN’T A . . .

16

Act One

All FREAK Beryl I WANT A BOG THAT DOESN’T REEK All DOESN’T REEK DOESN’T REEK Monty

Ladies, are you going to be serious or what?

All DOESN’T REEK DOESN’T REEK Rita WE WANT MACHINES THAT AREN’T SO LOUD YOU HAVE TO YELL Cass WE WANT TO WORK IN PLACES THAT AIN’T HOT AS HELL Solo (F4) WE WANT SOME CHOCOLATE THAT WON’T MAKE US FAT All JUST GIVE US LOADS OF THAT LOADS OF THAT LOADS OF THAT Solo (F2) I WANT THE CANTEEN RUN BY WIMPEY’S RESTAUR ANT Sandra I WANT MY OVER ALLS DESIGNED BY MARY QUANT

Made In Dagenham

Solo (F3) I WANT THE FACTORY MOVED TO SOUTHERN SPAIN Beryl I WANT MY DOORS BLOWN OFF BY MICHAEL CAINE All (MICHAEL CAINE) ALL I REALLY WANT TO SAY IS THROW A LITTLE CRUMB THIS WAY A TINY TEENY WEENY LITTLE TOUCH IT’S NOT AS IF WE’RE ASKING FOR MUCH SPREAD SOME JOY AROUND THE PLACE PUT A SMILE ON MY FACE DON’T MESS WITH US COS THIS IS WHAT WE WANT Beryl

Go on, Clare, you say something.

Clare A CHANGING ROOM THAT DOESN’T ALWAYS SMELL OF SHIT Beryl EGYPTIAN COTTON TOWELS TO WIPE MY SWEATY BITS Sandra CHANEL PERFUME ON TAP AND SERVED FOR FREE Beryl I WANT BARRY TO SERVICE ME All (SERVICE ME)

17

18

Act One

(All) ALL WE REALLY WANT TO SAY IS THROW A LITTLE CRUMB THIS WAY A TINY TEENY WEENY LITTLE TOUCH IT’S NOT AS IF WE’RE ASKING FOR MUCH SPREAD SOME JOY AROUND THE PLACE PUT A SMILE ON MY FACE DON’T MESS WITH US COS THIS IS WHAT WE WANT I’M I’M I’M I’M I’M I’M I’M

PINING FOR, WHINING FOR, YEARNING FOR, BURNING FOR, ACHING FOR, QUAKING FOR, SICK OF BLEEDIN’ WAITIN’ FOR

CHANGE, CHANGE, CHANGE BRING IT ON CHANGE, CHANGE, CHANGE I’M MOANIN’ FOR GROANIN’ FOR PR AYIN’ FOR BR AYIN’ FOR SCHEMIN’ FOR SCREAMIN’ FOR AND STILL WE’RE ONLY DREAMIN’ FOR CHANGE, CHANGE, CHANGE KEEP DREAMING OF CHANGE CHANGE, CHANGE, CHANGE SO WHY DON’T YOU GET ON THE CASE BEFORE WE SMACK YOU IN THE FACE DON’T MESS WITH US COS THIS IS WHAT WE WANT

Made In Dagenham

19

DON’T MESS WITH US COS THIS IS WHAT WE WANT Beryl

Did you get that, Monty?

Monty

Yeah, loud and clear. As I’ve always said if a job’s worth doing, it can wait until tomorrow.

(Exit Monty. Beryl starts clapping.) Beryl

Why didn’t we know about this, Connie?

Connie

I’ve only just found out myself.

Beryl

No! I think she goes swanning off to these here job evaluation meetings so you can see more of Monty.

Rita

Why are we fighting amongst ourselves?

Beryl

You want a fight? Alright! Outside!

Sandra

Beryl, shutup!

Clare

Yeah, and mind your whatsit –

Rita

– Language.

Beryl Bollocks. (They go back to work.) SCENE THREE (Union Convenors’ office at Ford. This is an office for the convenors and shop stewards to use, though it is within the suite of management offices. Present are Bill (TGWU) and Sid (AUEW). Music No. 4: UNION SONG Men BROTHERS AND SISTERS COMR ADES EVERY ONE

20

Act One

FIGHT FOR YOUR FUTURE AND THE UNION THE RIGHTS OF MAN ARE THE RIGHTS GOD GAVE WE WORK TOGETHER OR WE DIE AS SLAVES (Enter Monty. He picks up his Tupperware snack box.) Sid

What you got there comrade?

Monty

Jammy Dodgers.

Sid / Bill Phwoargh! (Sid and Bill take his Jammy Dodgers. Monty is unhappy.) Sid

All property is theft, Monty.

Monty

Listen, the girls are not happy.

Bill

What’s their problem? You’ve had her ain’t yer, that Connie?

Monty

None of your business, is it.

Sid

There can be no personal secrets in the revolution comrade.

Monty

Me and Connie was a long time back.

Bill

Who else you had in that shed, comrade? Beryl?

Sid

Urgh! Sandpaper.

Sid / Bill

Rough.

Sid

So, they won’t sign?

Bill

No, Connie’s not happy.

Sid

I’m not Sneezy.

Bill

And I’m not Doc.

Made In Dagenham

Sid

Comrade, I represent two thousand engineers. Bill here –

Bill

– One thousand fitters –

Sid

– and every one of them’s got a proper man’s hairy arse.

Bill

It’s only your two hundred effing women that are effing it up.

(Sid spots Mr Hopkins walking towards the Convenor’s office.) Sid

Management. Hopkins?

Bill

Wahey! Must’ve had the yanks on the blower, are we letting him in?

Monty

I don’t have a problem with Hopkins.

Bill

That’s because you’re a bourgeois revisionist running dog.

Monty

And what are you?

Bill

West Ham.

(Bill goes to let him in.) Sid

Wait! Anyone got any farts?

(They all try and fart, Sid succeeds. Enter Hopkins. They remain seated.) Hopkins

Alright lads. Jesus, phwo! . . . Sid, what’s this about the NUVB not signing off the new grades?

Sid

My boys have signed.

Bill

It’s the girls.

Hopkins Monty? Monty

Yeah, the girls are not happy about being downgraded.

Hopkins

Who wouldn’t be. It’s your job, Monty, to persuade them of the bigger picture. Management and Union. It’s a long game.

21

22

Act One

Sid

It’s test match cricket.

Hopkins

It’s a game of give and take. You scratch my back.

Bill

I scratch yours.

Sid

And what a beautiful back it is, Mr. Hopkins.

Hopkins

Thank you, Sid. Monty, it’s a done deal. The men are happy. The vote was overwhelming.

Bill

Five thousand men. Two hundred women.

Hopkins

You can’t win.

Bill / Sid Oooh! Hopkins

Monty, your hands are tied and I’ve got your balls in a Kenwood Chef.

Monty

But I represent these women. Look, can we do something procedural so things don’t come to a head?

Hopkins

Sid? Any ideas?

Sid

We could confuse the poor little darlings with some totally incomprehensible bollocks.

Hopkins

The grievance procedure?!

Bill

The grievance procedure was Connie’s idea.

Sid

She’ll have to comply.

Hopkins

That is brilliant! Tomorrow morning, head office, Warley.

Sid Afternoon. Bill

After lunch.

Monty

Berni Inn.

Sid / Bill Phwoargh.

Made In Dagenham

(Hopkins exits.) Bill

Go on then!

Sid

Fuck off, Monty!

Bill

Win ’em over.

Sid

If you’re not back in half an hour we’ll drag the river.

(Monty leaves.) SCENE FOUR In the factory, machines working, so they’re shouting at each other. Sandra

Who else is B grade?

Connie

The cleaners. Unskilled assembly.

Rita

My Eddie.

Cass

We ain’t unskilled.

Beryl

It ain’t just anyone who can freddle a needle!

Rita

You have to take three tests to get in here.

(Enter Monty.) Monty

Alright ladies, I’ve spoken to the management –

Beryl

– bastards!

Monty

– and we’re gonna insist on registering a formal grievance.

Rita

Hang on! I just thought, what about the girls at Dunton?

Cass

Yeah, they do the same job as us.

Monty

They have, anomalously, been given C grade. Skilled.

All (Uproar / Complaints.)

23

24

Act One

Monty

They work in a pressurised environment.

Sandra

We got our own environmental problems here.

Monty

Like what?

(A dead pigeon falls from the ceiling and lands at Monty’s feet.) Beryl

Like that!

Cass

I’ll betcha Ford’s American factories ain’t like this boy!

Monty

We go to Head Office tomorrow, me, Connie, and Sid.

Connie

I don’t want Sid. I want one of the girls.

Cass

Take Beryl.

Rita

Yeah, she can do the swearing for you.

(They laugh.) Clare

– Don’t take Beryl, she could start a –

Cass

– fight.

Clare

– in a –

Beryl

– plough field.

Rita

We want a fight!

Clare

I’ll go. I’ll tell ’em.

Beryl

What would you say, Clare?

Music No. 5: WOSSNAME Clare (Starts speaking, and ends up singing.) I’d say . . . er . . . er . . . hang on . . . er . . . WELL ’ERE IS THE FING THE FING ’ERE IS THIS

25

Made In Dagenham

AND DON’T NO-ONE START TAKING THE PISS COS WHEN SUMMINK AIN’T RIGHT THEN SUMMINK IS WRONG THERE'S A SMELL IN THE AIR AND THE PONG IS QUITE STRONG I BEEN AT THIS GAME SINCE I WAS FOURTEEN I KNOW MY WHATSISCALLED DYAKNOWHWATIMEAN? SO OUJAH K APIVUWAT LAH DEE DAH AND GOODBYE I AM WHAT I AM COS I’M ME, AIN’T I? Monty

Is this a wind up?

Clare Women I KNOW WHAT'S GOING ON (OO . . . ) YES I KNOW THE GAME (OO . . . ) AND I KNOW THE WHATSIT (OO . . . ) ABOUT THE WHATISNAME (OO . . . ) AND I KNOW WHAT'S RIGHT AND I KNOW WHAT'S FAIR BUT SUMMING IN THIS FING WELL, I DUNNO – AIN'T THERE THERE’S LOTSA – YA KNOW BLAH DEE BLAH DEE BLAH YEAH NO, YEAH NO, YEAH NO AND OUJAH OUJHA BUT I TALK IT STRAIGHT AND I TALK IT PLAIN WHAT YOU SEE IS WHAT YOU WOTSANAME

(OO . . . ) (OO . . . ) (OO . . . ) (OO . . . )

26

Act One

Clare Women LIFE HERE AIN’T FAIR (OOOH . . . ) AND PEOPLE GET THE BLAME, (OOOH . . . ) YEAH YEAH (YEAH YEAH) (YEAH, YEAH) BUT YOU STAY FIRM AND TRUE (OOOH . . . ) STICK TO THE WHATSITSNAME THAT’S DEEP INSIDE YOU OUJAH, OUJAH Clare (Huge, anthemic.) I'M ME Women SHE’S HER Clare AIN’T I Women NO D’UH Clare AND WE DON'T SEE EYE-TO-EYE Women SEE EYE . . . , GET HER! Clare AND YOU Women YOU WHO? Clare YOU’RE YOU Women US TOO! Clare AND WE AIN’T GOT A BLEEDIN’ CLUE

Made In Dagenham

All

27

Speak for yourself, love!

Clare THE PAST IS IN FRONT AND THE FUTURE’S BEHIND FANKS FOR HEARING ME OUT IT’S A WEIGHT OF MY CHEST WE’VE ALL BEEN THERE AND NOW WE’RE HERE THAT’S ALL I’VE GOT TO SAY DO I MAKE MYSELF CLEAR? Rita

Your heart’s in the right place, Clare.

Beryl

But they fucked everything else up.

Connie

It won’t work, love.

Clare

Why not?

Beryl

’Cause you couldn’t find your own arse wiv both ’ands!

(Clare goes back to work, machining.) Connie

What about you, Rita?

All

Rita! / Yeah Rita! / Rita O’Grady! / Good idea!

Rita

Me? No! I can’t talk union stuff.

Cass

It’s a day off, girl!

Beryl

Berni Inn. Free lunch.

Rita

Yeah?! Ooh, alright then.

Beryl

Machine off ! Everyone. We ain’t doing no more work today.

Monty

No! All workplace disputes have to be arbitrated in accordance with the grievance procedure. Or we’ll be up shit creek without a paddle.

28

Act One

Beryl

If all you want’s a paddle mate, I’ll fucking knit you one.

Sandra

You come in here, Monty, swinging your dick like you’re running the country, well you ain’t running the country.

Clare

Yeah. No. You ain’t running the country, that’s someone else.

(End of scene.) Music No. 5a: BIG BEN SCENE FIVE Big Ben chimes. Harold Wilson with three Civil Servants. Harold

How many strikes has the UK suffered this year?

Aide 1

Twenty-six thousand, Prime Minister.

Harold

We’re 66th for industrial productivity, behind Chad. Where is Chad?

Aide 2

65th, Sir.

Aide 1

Chad is a small African nation with seventeen goats, and a string farm.

Harold

Seventeen goats, and a string farm, and they’re ahead of Great Britain?

Aide 1

All their goats work.

Aide 2

Britain is currently top of the world league table for industrial unrest.

All Champeeeeons! Aide 3

You can take your coat off Prime Minister. You’re indoors.

Harold

Gannex pay me to wear it. At all times. It’s work. I’m trying to set an example . . .

Made In Dagenham

Music No. 6: ALWAYS A PROBLEM Harold WHAT WOULD YOU DO IF YOU WERE ME? WHAT’S YOUR POLITICAL STR ATEGY? YOU HAVE TO FAKE SINCERETY AND BRUSH UP YOUR MACHIAVELLI WHAT WOULD YOU DO IF YOU WERE ME? WHAT KIND OF LEADER WOULD YOU BE? EVERY DAY A CRISIS OR SURPRISE DO YOU STAND FIRM OR COMPROMISE? THERE’S ALWAYS A PROBLEM WAITING IN THE WINGS THAT’S ALWAYS BEEN THE PROBLEM FOR PRIME MINISTERS AND KINGS BUT WHAT KEEPS ME UP AT NIGHT AND MAKES ME VERY TENSE IS THE PROBLEM OF THE BALANCE OF PAYMENTS. Aides UPTIGHT, HIGHLY STRUNG MAKES HIM VERY TENSE WHEN IT COMES TO THE BALANCE OF PAYMENTS. Harold IMPORTS, EXPORTS DEFICIT OR SURPLUS Aides CAPITAL INFLOWS ECONOMIC CIRCUS Harold IN LAYMAN’S TERMS WHEN IT COMES DOWN TO IT IF YOU BUY MORE THAN YOU SELL THEN YOU ARE REALLY IN THE SHIT.

29

30

Aide 1

Act One

Actually, Prime Minister, the correct term is “visible trade deficit”.

Harold YOU CAN CALL IT WHAT YOU LIKE, SON WE’RE REALLY IN THE SHIT. Aides THERE’S ALWAYS A PROBLEM WAITING IN THE WINGS THAT’S ALWAYS BEEN THE PROBLEM FOR PRIME MINISTERS AND KINGS WE MAKE GREAT THINGS WHICH WE SELL WHEN WE CAN BUT THE WHOLE WORLD WANTS TO BUY GERMAN Harold ANOTHER LITTLE PROBLEM WITH WHICH All WE ARE BLESSED IS A GREAT DEAL OF INDUSTRIAL UNREST STRIKES HERE STRIKES THERE IT JUST AMAZES ME WHEN THE DAFFODILLS COME OUT THE MEN COME OUT IN SYMPATHY WE NEED IDEAS AND WE NEED A PLAN TO PUT THE GREAT INTO GREAT BRITAIN Aides UPTIGHT HIGHLY STRUNG BRINGS HIM OUT IN A SWEAT WHEN HE THINKS OF THE SIZE OF THE GREAT BRITISH DEBT Harold ARGHH

Made In Dagenham

Aides DEBT Harold ARGHH Aides DEBT Harold ARGHH Aides DEBT Harold ARGHHHHHHHHHHHHHH! (The Aides go into a huddle.) Aide 1

Sir, how do you feel about quantitative easing?

Harold

I don’t need it, I’m very regular.

Aide 3

But this is an emergency.

Harold

In an emergency I have two black coffees and a cigarette.

Aide 2

Printing money.

Harold

Printing money? Can we do that?! Brilliant!

All NO MORE BLOODY PROBLEMS IN THOSE BLOODY WINGS PRINTING CASH WILL MAKE US ALL MORE POWERFUL THAN KINGS THIS IS THE MASTER PLAN TO CURE OUR ECONOMY Harold IT HAD BETTER BLOODY WORK COS THERE AIN’T NO PLAN B

31

32

Act One

All WE LOVE OUR COUNTRY THE GREATEST ON THE EARTH WITH IT’S IMMORTAL INDUSTRIES FROM MINING TO WOOLWORTHS THEY’LL STILL BE AROUND WAY AFTER WE’RE GONE WHICH, JUDGING FROM STATE OF THINGS, WON’T . . . BE . . . VERY . . . LONG! Harold OH SHIT! Aide 3

Printing money never solved anyone’s problems. You’re going to have to take on the unions.

Harold

I’ll create a new cabinet post. Secretary of State for Taking on the Unions. Candidates?

Aide 1

Michael Foot.

Harold

Communist. He won’t be happy until we’re eating pickled beetroot, drinking petrol and shagging our sisters.

Aides 3

Barbara Castle!

Aide 2

But she’s Minister of Transport.

Harold

Is she busy?

Aide 1

She’s learning to drive.

Harold

Get her in here.

Aide 2

She’s a woman.

Harold

Good! She can do her own typing.

(Enter Barbara Castle.)

Made In Dagenham

33

Music No. 6a: BUSY WOMAN (BARBARA CASTLE) Barbara HERE I AM – WELL WHAT DO YOU WANT? I HAVEN’T GOT ALL DAY YOU KNOW JUST BROUGHT IN THE BREATHALYSER ALL YOU HAVE TO DO BLOW I’M FIGHTING FOR AN IDEAL WORLD AS WELL AS ALL THE HOUSEHOLD CHORES AND DON’T FORGET YOUR SEATBELT, PLEASE I JUST PASSED THE SEATBELT LAWS Barbara

What is it Prime Minister? Spit it out! I’m a busy woman.

All

(Audience aside.) FIERY! LIKE HER HAIR!

Harold

Barbara, you know when you’ve lent your lawn mower to a friend because you can see that the neighborhood would be improved if he mowed his lawn.

(Barbara and Aides look quizzically at the audience.)

He forgets to return it. He starts to think it’s his. He goes around mowing other people’s lawns, he’s out of control. Field mice and voles lose their habitats. Every green shoot is mowed down, until finally, a once green and pleasant land is brown and lifeless.

Barbara

If you want to talk about the union’s abuse of power, don’t use silly metaphors. I don’t beat around the bush.

All

(Audience aside.) FIERY! LIKE HER HAIR!

Harold

The Labour Party is dependent on the trade union movement.

Barbara

You can’t tell me anything about the trades unions. I paid my first union dues when they were still on the tit!

Harold

Barbara, Barbara! It’s easy being the opposition, it’s just a lot of eating and drinking, but we’re the Government now.

Barbara

I came into politics to improve the lot of the working classes.

34

Act One

Harold

Rome wasn’t built in a day. This is a crisis! Secretary of State for Taking on the Unions, have you got the balls for it?

Barbara

I know I have.

Harold

I’ve never seen them.

Barbara

I’ve been hiding them under a bushel.

Harold

Barbara, you’re the right man for the job, don’t let me down.

(Harold exits.) Barbara

Right! You! Jump to it! I want a working lunch with the TUC, in here, today. What do we need?

Aide 2

We’ll need six pork pies, twelve scotch eggs and a party can of Watneys Red Barrel.

Barbara Good. Aide 2

Anything for you ma’am?

Barbara

I’ll have a cup of tea and a chocolate finger.

(End of scene.) SCENE SIX Ford Social Club. Enter our ensemble and the place transforms. A Ford Machinist is there leading the dance in her blue overalls. Music No. 7: PAY DAY Ensemble PAY DAY OUR DAY CASH IN MY POCKET GUNNA DRINK IT ALL AWAY PAY DAY WHADYASAY?

Made In Dagenham

RUN TO THE BAR AND GET A ROUND IN STR AIGHT AWAY GET A LITTLE MERRY MAKE A LITTLE MESS CAN'T DO QUITE AS MUCH NOW WE'RE PAID A LITTLE LESS PAY DAY (HEY HEY) THE WEEK IS NEARLY DONE PAY DAY OUR DAY FORGET ALL YOUR TROUBLES AND KISS THEM ALL AWAY PAY DAY (PAY DAY) DEE JAY (DEE JAY) PLAY ANOTHER TUNE SO WE CAN DANCE THE NIGHT AWAY GET A LITTLE MERRY MAKE A LITTLE MESS CAN'T DO QUITE AS MUCH NOW WE'RE PAID A LITTLE LESS PAY DAY (HEY HEY) THE WEEK IS NEARLY DONE Stan WHAT YOU DRINKIN’? Ensemble CHERRY BR ANDY WHAT D’YA SAY? SHERRY WATNEYS DUBONNET DOUBLE DIAMOND

35

36

Act One

ROOT BEER SANGRIA OVER HERE! I THINK THEREFORE I DAGENHAM WE ALL DRINK BEER AND BABYCHAM BROWN ALE, BABYCHAM BROWN ALE, BABYCHAM BABY, BABY, BABY, BABY MC

The barman wants his glasses back at the bar. He can’t see a thing without them.

Rita

Oi Connie, what are you doing over there? Come here.

Connie

I’ve got to get this bloody speech done.

Rita Speech? Connie

TUC conference next month. Unless I write it all down I’ll never get through it.

Beryl

Give the revolution a break will ya. Get pissed and forget. We’re celebrating.

Sandra

Rita’s tenth wedding anniversary.

Connie

Rita! What did he get you?

Tracey Flowers? Rita

Flowers? You’d be lucky! Do you know what he got me for Christmas?

Sandra

A baby doll nightie?

Rita

A tartan shopping trolley.

(They laugh.)

Made In Dagenham

Beryl

37

Don’t let this put you off marrying Ken, Clare. I had seven happy years wiv my husband, and seven out of twenty-five ain’t bad.

(Eddie and Stan arrive with pints. They are greeted with silence.) Stan

Go on then, why ain’t B grade good enough for you, then?

Clare

Cos we’re, you know . . .

Connie

– skilled.

Eddie

Yeah, but you’re sitting down all day.

Beryl

Did Ford give you a test to see if you could stand up?

Eddie No. Beryl

Standing up ain’t a skill then is it!

Stan

None of you can lift three hundred Cortina wheels in a day.

Rita

You don’t get it, do you?

Stan

You can’t have six thousand hairy arsed blokes sweating away earning less than a woman.

(The MC takes the microphone. Rita refuses to look at Eddie. Eddie waves his hand in front of her face and gets no response.) MC

Ladies and Gentlemen, our first act of the evening, back by public transport – lovable, larger than life Chubby Chuff!

Music No. 7a: CLUB MUSIC (Chubby takes the stage. He is the archetypal fat bloke in suit.) Chubby

Took the mother-in-law on safari last year. She got attacked by three lions. My wife says “Aren’t you gonna help?” I said no, three should be enough.

(Some laughter.)

38

Chubby

Act One

She’s a big woman, the mother-in-law. She joined one of them gymnasiums, got on the rowing machine and the bloody thing sank.

(Reaction.)

She came round for dinner last night and I did one of them Freudian slips. I meant to say “could you pass the butter please” but what I actually said was “you fat ugly bastard you’ve ruined my life”.

Rita

You got any jokes about fat men?!

Chubby

Oh hello gorgeous, women’s libber, hey? Burn your bra – I’d pay to see that.

Beryl

Don’t you slag off our Rita or I’ll come up there and sit on your face!

Chubby

I’m serious, if I was her dad, love, I’d still be doing bath time.

All

Oi! / Watch it, you! / Whadyermean! / I can’t believe he said that.

(Beryl takes the mic and improvises a gag.) Beryl

There’s a fat bloke, and another really fat bloke. (To the girls.) Ha, ha. What!? I dunno! And another really fat ugly fat bloke in a pub on their own cos they’re all really fat and ugly and smelly and then the ceiling falls in and fucking kills them!

MC

Off the stage, off the stage. We’ve got another act coming.

Eddie

Alright Rite, that’s enough.

Rita

Don’t you tell me what to do, Eddie O’Grady.

Eddie

What’ve I done?

Rita

You don’t even know what you’ve not done, do you?

Connie

What’s today?

Eddie

Oh no. Is it?

Made In Dagenham

Beryl

It fucking is.

Eddie

I’m sorry love. What can I say?

39

HAPPY BIRTHDAY, TO YOU . . . Men / Eddie HAPPY BIRTHDAY TO YOU – Rita

I’m going home. It ain’t my birthday!

(Rita leaves the stage, exits the club.) Eddie

What? It ain’t her birthday?

Beryl

How long you been married, Eddie?

Eddie

Er . . . Millwall’s last season in Division 3 South, so that’s 1958. I been married about ten years.

Connie

Ten years exactly.

Eddie

Exactly. What? To the day? Oh shit!

Connie

Go after her, Eddie! All she needs is sorry.

(Eddie runs after her. Girls leave the club. The next act takes the stage and the mic.) Club Singer MOON OVER DAGENHAM SHINING UP ON HIGH FILL ME FULL OF LOVE AND JOY THEN PASS ME THAT PORK PIE (Outside the club. Rita has gone. Eddie comes out into the night air. During the next the girls exit the club. Rita is standing in the street, crying. She’s waiting for Eddie.) Eddie (Into the night air.) Rite! Rita! Wait! Rita

It’s our anniversary, Eddie, and you forgot!

40

Act One

Eddie

I remember every second of our honeymoon. I do. Test me.

Rita

Test you?! Piss off. I don’t need reminding that we loved each other ten years ago!

Music No. 8: I'M SORRY I LOVE YOU Eddie I KNOW I'M A GIT BUT YOU HAVE TO ADMIT WHEN IT COMES DOWN TO IT I ADMIT I'M A GIT . . . (Beat.) I AIN'T GOT A CLUE Rita WELL THAT MUCH IS TRUE Eddie ALL I CAN SAY IS . . . Rita

Here it comes . . .

Eddie I'M SORRY I LOVE YOU. I’M JUST A MAN WITH A FOOLISH BR AIN I PROMISE THAT I’LL NEVER, NEVER, NEVER, NEVER, NEVER, NEVER, NEVER, EVER, NEVER FORGET AGAIN WHEN YOU’RE NOT HERE I’M NOT ALL THERE THERE AIN’T A SINGLE THING I CAN DO I’M SORRY I LOVE YOU Rita EDDIE, I'M A SOFT TOUCH

Made In Dagenham

I DON’T ASK FOR MUCH AND THAT'S WHAT I GET IN RETURN BUT ONE DAY A YEAR I DON’T GET IT, ED WHY DON’T YOU LEARN?! Eddie LOOK IN MY EYES SEE THEY'RE REGRETFUL, BUT YET FULL OF JOY THAT'S GOTTA BE WORTH MORE THAN FLOWERS OR CHOCOLATES OR SOME STUPID CUDDLY TOY I’M JUST A MAN WITH A FOOLISH BR AIN I PROMISE THAT I’LL NEVER, NEVER, NEVER, NEVER, NEVER, NEVER, NEVER, EVER, NEVER FORGET AGAIN YOU SUCKER PUNCH MY SOUL WITHOUT YOU I’M NOT WHOLE THERE AIN’T A SINGLE THING I CAN DO I’M SORRY I LOVE YOU Rita I’M SICK OF IT Eddie SORRY Rita I’M TIRED OF IT Eddie SORRY Rita I’VE HAD ENOUGH Eddie I’M SORRY

41

42

Act One

Rita OH COME ON, ED Eddie I’M SORRY Rita I’M SICK OF . . . Eddie SORRY Rita SICK OF IT Eddie SORRY Rita SICK OF IT Eddie SORRY Rita I’M SICK OF . . . Eddie SORRY Rita S. I. C. K. Eddie S. O. R. R. Y. I'LL SHOUT IT FROM THE ROOFTOPS I'LL SCREAM IT TILL I'M HOARSE EVERYTHING THAT'S MINE IS YOURS APART FROM THE BIKE OF COURSE TELL ME JUST HOW MANY TIMES YOU WANT ME TO TELL YOU

Made In Dagenham

HOW MANY TIMES I'M SORRY I GOT LOST AT NINETY-TWO I’M SORRY I’M SORRY BUT I LOVE YOU Men (& Eddie ad lib.) HE’S JUST A MAN WITH A FOOLISH BR AIN HE PROMISES THAT HE’LL NEVER, NEVER, NEVER, NEVER, NEVER, NEVER, NEVER, EVER, NEVER FORGET AGAIN YOU SUCKER PUNCHED HIS SOUL WITHOUT YOU HE’S A RIGHT ARSEHOLE THERE AIN’T A SINGLE THING HE CAN DO Eddie I’M SORRY I LOVE YOU Men IF YOU WANT HE’LL BEG LOOK HE’S DOWN ON ONE LEG NOW HE’S DOWN ON ALL FOURS Eddie WHATEVER THE WEATHER, WHEREVER, FOREVER WHATEVER THE WEATHER, WHEREVER, FOREVER Men WHATEVER THE WEATHER, WHEREVER, FOREVER Eddie I’M SORRY, I’M ALWAYS YOURS Men ALWAYS YOURS

43

44

Act One

HE’S SORRY, HE’S ALWAYS YOURS HE’S SORRY, HE’S ALWAYS YOURS (Repeat 6 times to fade.)

(Huge, lush orchestral sweep as they exit into the sunset.)

Eddie Enough! (During the song they sit on a park bench.) Rita

We’re alright, ain’t we?

Eddie

Yeah we’re alright. Course we’re alright.

(Eddie gives Rita a kiss.) Rita

Mr Buckton, is caning our Graham. It ain’t right.

Eddie

Remember Mr Perkins?

Rita

Virgin Perkins?

Eddie

Yeah. Woodwork. He used to put me head in a vice and burn me with cigarettes.

Rita

What’s your point?

Eddie

It didn’t do me any harm.

(Rita falls asleep on Eddie.) Rita

I think he canes him ’cause he’s a scholarship boy. I’m gonna go into the school to complain. (Beat.) I love you, Eddie.

Eddie HEY THERE SLEEPY DREAMER I JUST WANNA SAY I LOVE YOU LOADS Rita YOU STUPID SOD (They both fall asleep. End of scene.)

Made In Dagenham

45

SCENE SEVEN The Hopkins house, breakfast. Hopkins Snuggles? Lisa

Yes, darling.

Hopkins

These eggs taste funny.

Lisa

They’re duck eggs.

Hopkins

Why am I eating duck eggs? I’m not Albanian.

Lisa

For a change, I’ve started buying whatever is one to the left of what I usually buy. That’s why we’ve got no coffee but lots of Domestos.

Hopkins

Let’s go out for dinner tonight and we can talk then. I’m sorry, I have to go. I’m at head office today.

Lisa

Mr. Buckton caned Perry yesterday. He can hardly sit down.

Hopkins

What had he done?

Lisa

He’d farted. In Latin.

Hopkins

Impressive! Most people can’t even speak Latin.

Lisa

So you’re quite happy for your son to be physically abused by a sadist?

Hopkins

It’s an expensive public school. I’d be disappointed if he wasn’t getting abused. I remember one time we were playing Rugby at Rugby in Rugby. We lost seventy-three nil. To be honest, we were lucky to get nil. We were all given six of the best on the hand. On the hand. Now that does hurt. Bottoms are for girls. Now what have you got today darling? Tupperware Party?

Lisa

I thought I’d wash up, do the ironing, polish off a couple of bottles of vodka and then set fire to the Women’s Institute.

Hopkins

Sorry darling, I’ve got to rush.

46

Act One

Lisa

You weren’t listening, were you?!

Hopkins

Oh look, Snuggles, I’m sorry –

Lisa

I just want to know what I’m supposed to do all day long in the middle of the Essex countryside.

Hopkins

Don’t start. Not now.

Lisa

When is a good time to start?

Hopkins

Look! I bought you a horse.

Lisa

It doesn’t like me!

Hopkins

Listen, I’m under a lot of pressure at the moment. And I need you to stand by me. Got to go! “Trouble at mill”.

(He’s gone. Lisa stabs the carving knife into the chopping block.)

SCENE EIGHT The school. Music No. 9: SCHOOL SONG Ensemble Men WHERE THE IRON HEART OF ENGLAND BLEEDS BENEATH ITS NOBLE GOWN STANDS A SCHOOL WHOSE SONS ALL FIGHT WITH MIGHT TO FURTHER IT’S RENOWN Graham ONWARD THROUGH ALL KNOCKS AND HARDSHIP DO NOT FEAR WHEN DEATH STOMPS BY HOLD YOUR NERVE AND THINK OF ALBION WHATEVER HAPPENS – DO NOT CRY. (Rita finds herself alone with Mr. Buckton.) Rita

Mr. Buckton?

Made In Dagenham

Buckton

Ah! Let me guess. Mrs. O’Grady.

Rita

Yeah. Well done.

Buckton

How can I help?

Rita

I’m not . . . what I want to say is . . . you bin caning my son?

47

Buckton Yes. Rita

Oh. You admit it then.

Buckton

An integral element of an elite education is discipline. Ergo,

Rita

– Ergo? That’s Latin, is it?

Buckton

Yes, it means therefore. Ergo, it is incumbent on me to cane your son, and constrain his natural recalcitrance.

Rita

I dunno what that word means either.

Buckton

He’s insolent, he kicks against tradition. Like most of the scholarship boys he conforms to the current fashion of individualism, which is antithetical to the core values of the school.

Rita

I don’t want you caning him. He’s a child, ergo, it ain’t right.

Buckton

I’m afraid your outrage is misplaced.

Rita

My outrage?

Buckton

Do you want your boy to do A levels, sixth form, to go to university? I do. Are you saying you’d be happier if he left at sixteen and got a job in a factory? I don’t know if you’ve ever been in a factory but –

Rita

– I work in a factory!

Buckton

Then you should know better. Is there anything else I can help with?

Rita No.

48

Act One

(Rita is defeated. The teacher turns his back on her. Rita leaves. She bumps into Lisa Hopkins. Lisa is wearing a red Biba dress.) Lisa

Excuse me!

Rita

Oh piss off!

Lisa

I beg your pardon!

Rita

Sorry, I thought you were a teacher. I’m in a mood. Mister Buckton’s caning my boy.

Lisa

Mine too. That’s why I’m here.

Rita

Rita O’Grady.

(Handshake.) Lisa

Lisa Hopkins.

Rita

I like that dress.

Lisa

It’s Biba.

Rita

Someone should do summat about it. The caning, not the dress. The dress is fab. Don’t do anything about that. Leave the dress alone! It’s perfect! I love it! Don’t touch the dress! Ha! Sorry, I go weird when I’ve got the hump.

Lisa

We should start a petition. What do you think? Shall we?

Rita

Oh God, I dunno. I’m not political.

Lisa

It’s not politics, I’m not asking you to stand for Parliament. This is cruelty, we parents have to stand up to him.

Rita

Yeah, good luck. I gotta go.

Men DO NOT CRY, DO NOT CRY DO NOT BAWL, DO NOT WEEP DO NOT HOWL FOR YOUR MAMMY OR YOUR GR ANNY WHEN YOU SLEEP

Made In Dagenham

49

CRUSH ALL FEELING AND NEVER EVER COWER PREPARE FOR A CAREER IN THE CORRIDORS OF POWER (End of scene.) SCENE NINE Barbara Castle and Harold Wilson and Aides. Harold is smoking a pipe with a cup of tea in his hand. Barbara has a cup of tea and a Cadbury’s chocolate finger. Harold

So Barbara, you’ve had those lovely legs of yours under the desk for a week now. Who do you blame for this country’s pitiful record of industrial productivity?

Barbara

The problem as I see it is we have to get our people to go to work and stay there. We need a no-strike agreement with the TUC.

Harold

Are you mad, woman? I told you the Labour Party is dependent on the TUC.

Barbara

This is not easy for me either, it’s tearing me apart. This is my draft white paper, ‘In Place of Strife’. We have to ban strikes.

(Harold stands in a huff.) Harold

We can’t ban strikes! The TUC have six million block votes at the Labour Party conference. They bought me this pipe. They pay for my holidays in the Scilly Isles. They underlay in my bathroom!

Barbara

But Harold . . .

Harold

No, Barbara, you’ve got this all wrong. I’m going. And I’m not coming back until you’ve got a solution.

(Harold opens a door, goes in, closes the door. He opens the door, comes back in.)

So that’s a cupboard is it?

Aide 3

I think it’s a stationery cupboard, Sir.

50

Act One

Harold (Looks at cupboard.) It’s certainly not moving. Barbara

Dockers, miners, train drivers, dinner ladies. I don’t mind the TUC striking when the Tories are in, but we’re Labour, they’re pissing on their own doorstep!

Harold

What about management? They have to take responsibility. It takes two to tango.

Barbara

Don’t try and bamboozle me with choreography! I don’t care that you’re Prime Minister, Prime Minister. You’ve given me this job, you have to let me do it my way, or I’ll turn on you, and you don’t want that because I’m like a she-lion. And have you ever seen a she-lion drag down a wildebeest?

Harold

I’m from Huddersfield.

Barbara

Get out.

Harold

I would if I could.

Barbara

That door there! Men!

(End of scene.) Music No. 9a: INTO THE BERNI INN

SCENE TEN A Berni Inn. Rita and Connie sat at the table reading menus. Monty is in the background laughing and drinking. Rita

This menu’s like reading the Karma Sutra. Everything sounds nice, but I can’t picture any of it.

(They laugh. Connie takes a couple of pills from a pot and washes them down with water. Rita sees this.) Rita

Headache?

Connie

Yeah.

Made In Dagenham

Rita

You’re lying.

Connie

Yeah.

Monty

(Shouting.) Oi! Garçon!

51

(Waiter goes over to Monty.) Rita

Why’s Monty not sitting with us?

Connie

He stays at the hotel next door.

Rita

Hotel?! He only lives in Barking.

Connie

You don’t understand expenses, do you?

Rita

So come on did you and Monty ever?

Connie

Once. Scarborough, 1953, Labour Party conference.

Rita

But only once. You learned your lesson, eh?!

Connie

Yeah, don’t drink and operate heavy machinery.

Rita

Woo! It’s all going off behind the curtains! Why didn’t you ever marry?

Connie

Monty?

Rita

I dunno, he can’t have been the only single fella in Essex.

Connie

He was a good dancer, but I didn’t love him and I’d already married the Labour Party, and a lousy husband he turned out to be.

Rita

You was tryna change the world.

Connie

I didn’t want to be my mum. The drudge, the grind, low wages, factory work.

Rita

Cheer up, Con, you can’t be miserable in the Berni Inn! You done a lot. You got us a grievance procedure.

52

Act One

Music No. 10: SAME OLD STORY Connie

A grievance procedure is not changing the world.

Connie YESTERDAY WHEN I STARTED OUT I KNEW IT ALL, I HAD NO DOUBT LIFE WAS THERE IN FRONT OF ME “JUST BE WHO YOU WANT TO BE” STARTED WORK WAY TOO YOUNG SAME AS ALL THE BLOKES WORKED OUR FINGERS TO THE BONE MAKING DO BY MAKING JOKES BUT NOW I’M OLDER, LOOKING BACK IT DOESN’T SEEM SO FUNNY SAME WORK, SAME HOURS BUT HALF THE MONEY IT’S AN AGE-OLD STORY IT’S AN AGE-OLD TALE STILL THE SAME OLD REASONS THAT ARE THERE TO MAKE US FAIL SECOND AT THE TABLE PICKING UP THE CRUMBS CHANGE IS ALWAYS PROMISED BUT SOMEHOW NEVER COMES I JOINED THE LABOUR PARTY ON THE SHOULDERS OF THE GREAT EMANCIPATED TEENAGER WHO DIDN’T HAVE TIME TO WAIT FIERCE, FEISTY, FULL OF FIGHT A WARRIOR A DREAMER THIRTY YEARS ON, I’M STILL A UNION CONVENOR

Made In Dagenham

53

YOU ALL SAID TO ME “STICK WITH IT, WE NEED YA” WHAT DID I ACHIEVE? THE GRIEVANCE PROCEDURE IT’S AN AGE-OLD STORY IT’S AN AGE-OLD TALE STILL THE SAME OLD REASONS THAT ARE THERE TO MAKE US FAIL ALWAYS ON THE OUTSIDE KICKING AT THE DOOR LOOKS LIKE A GLASS CEILING FROM DOWN HERE ON THE FLOOR Connie Women IT’S ALWAYS BEEN A WHISPER A AHH . . . (etc.) BUT CAN’T IT BE A ROAR ALL THOSE UNHEARD VOICES THAT WON’T TAKE NO MORE OH, RITA, PLEASE WAKE UP I NEED YOU TO SEE IT AIN’T ABOUT THE MONEY IT’S EQUALITY Connie

This doesn’t have to be just about C grade.

Rita

What do you mean?

Connie

If we got C grade tomorrow, we’d still be earning less than a man on C grade.

Rita

Eighty-seven per cent. That ain’t too bad.

Connie

Did Martin Luther King ask for eighty-seven per cent of rights for black people?

Rita

You know they shot him? I’m here to get C grade back, nothing else. Women have never had equal pay.

54

Act One

Connie

What about your Sharon?

Rita

She’s six.

Connie

And when she’s twenty-six do you want her to be on eighty-seven per cent?

Rita

She wants to be a doctor. Ha!

Connie

She could be. Nothing changes if it isn’t challenged.

Connie YOU CAN THE CHANGE THE STORY YOU CAN CHANGE THE TALE DON’T FALL FOR ALL THOSE REASONS THAT ARE THERE TO MAKE US FAIL WE HAVE TO MAKE IT OUR TIME CAN’T OUR TIME BE NOW? AIN’T GOT TIME FOR WAITING RITA MAKE IT NOW (End of scene.)

SCENE ELEVEN The management offices at Warley. Initially there are the three managers sat at a table. One of these is Mr Hopkins. Monty, Connie and Rita arrive in the corridor outside this office. Music No. 11: UNION SONG – Reprise Men / Women BROTHERS AND SISTERS, COMR ADES EVERYONE FIGHT FOR YOUR FUTURE AND THE UNION WHEN IT COMES DOWN TO MANAGEMENT (manage-munt) EACH AND EVERY ONE OF THEM’S A TOTAL . . .

Made In Dagenham

Hopkins

Come in, come in.

(Enter Monty.) Monty

Afternoon, gentlemen.

All

Afternoon. / Monty. / Alright? etc.

Monty

Right, today we’ve got the ladies.

Hubble Woooo! Monty

One shop steward, Connie, she’s alright, she knows and respects the procedures, and er . . . one of the trouble makers.

Hubble

Are they fit?

Hopkins

Hubble, please!

Hubble

Just a joke.

Hopkins

They threatened to walk out yesterday, that is not a joke.

Macer

I’ll have to lay off five thousand men if I don’t get a continuous supply of Cortina seats.

Monty

We can park this in the grievance procedure. Connie was instrumental in setting up the grievance procedure, so she ain’t gonna argue against it.

Hopkins

We can do what we like, then? They’re under our thumbs.

Hubble

Ooh, Mucky.

Hopkins

Hubble! That remark is not worthy of a Personnel Director.

Hubble

Sorry, just a joke.

Monty

You’re management, I’m union, but we’re all men, and this is our world, the world of work. It’s when we go home that we’re in the dog house.

Macer

I hate going home.

55

56

Act One

(A beat of time. All three men drop their heads in a moment of tragic introspection.) Monty

I’ll go round them up.

Hubble

Woof! Woof!

(In the corridor, Connie and Rita are waiting for Monty.) Monty

Now there’s three of them and three of us, so it’s a fair fight. Connie’s done these meetings before. It’s all collective agreements and procedures, so leave the talking to us, eh Rita?

Rita

I’ll keep me mouth shut, I’m just making up the numbers.

Monty

Terrific!

(Monty turns and enters the room. This time the management stand.) Monty

You know Connie Riley, shop steward, River Plant. This is Rita O’Grady, er . . . machinist. Rita, this is, Gregory Hubble, Personnel Director, Ron Macer, Production Manager and Jeremy Hopkins, Managing Director, Ford Dagenham.

Rita

Oh! Never met you before. Hello. Sorry. I’ll shut up now!

Macer

The NUVB executive supported the job evaluation exercise.

Monty

True, but my members at the River Plant –

Hubble

– the girls.

Connie

Yes, the girls, are reluctant to sign it off.

Rita

Yeah. Sorry.

Hopkins

Fortunately, we have a grievance procedure now, partly due to your efforts in the past, Connie.

Connie

Yes. We do wish to register a formal grievance.

Made In Dagenham

57

Hubble

We have no objections to grading grievance hearings being granted under the formerly agreed formal grievance procedure.

Monty

So you agree to grant the girls their grading grievance before the grading committee on the grounds that their grading grievance gripes can be grieved in the grievance procedure if they’re grave enough.

Hubble Granted. Monty

Great. Grand. We’re very grateful. Gregory.

Hopkins

When is the next Grievance Committee?

Hubble September? Monty Agreed. Rita

Hang on! I ain’t working on a grade B for three months. We’re skilled workers.

Hopkins

That is to be discussed in September.

Rita

You have to take three tests before you get in the door. Ergo we must be skilled.

Hopkins Ergo? Rita

Yes, bloody ergo.

Hopkins

Do they take three tests?

Macer

Of course we test them.

Rita

He tests us cos he can’t afford to let just anybody loose on his expensive leatherette. And what about the girls at Dunton? They got C grade.

Hubble

– there are only two girls at Dunton.

Rita

– what’s that gotta do wiv anyfing?

Macer

Now come on, you’re –

58

Act One

Rita

– don’t you dare tell me my outrage is misplaced. It’s the principle.

Macer

The girls at Dunton have to work under pressure.

Rita

– I have to make three hundred pieces a day. You try working with that monkey on your back!

Macer

Dunton is a Research and Development facility, there are no drawings –

Rita

We ain’t working from drawings neiver! Go through that shed, you won’t find a single template.

Monty

Rita –

Rita (To Monty.) – Don’t you “Rita” me, Monty. Alright, so if we ain’t skilled, yeah, you could do our jobs, yeah? That’s what you’re saying innit? (Beat.) So – what kind of needle would you use for leatherette? (Silence.)

Ballpoint, or a crewel?

(Silence.) Macer

Look –

Rita

– What would you set the dog teeth on for real leather? (Beat.) D’yer know what the dog teeth are? Alright. Last question. What kind of brush would you use to sweep the yard?

Hubble

A yard brush?

Rita

Correct! Well done, Mister Hubble, you could be a cleaner.

Hopkins

Every job has been analysed across twenty-eight characteristics.

Rita

Twenty-eight characteristics and the sex of whoever does it.

Macer

£17 for a forty-hour week is not –

Made In Dagenham

Rita

– Don’t insult me, alright? You know what we want. Are you gonna give us equal pay or not?

Hopkins

Equal pay?!

Macer

This isn’t about equal pay?!

Monty Connie? Connie

Why isn’t this about equal pay?

Hopkins

This is not an equal pay issue.

Rita

It wasn’t, but it is now.

Connie

You’ve made it one.

Hopkins

But the grievance procedure was your idea.

Connie

Fifteen years ago. And you’ve been abusing ever since.

Rita

Come on, Connie, we’re going. You can stuff your grievance procedure where the sun don’t shine.

(Rita and Connie stand and make for the door.)

Good to meet you. A cup of tea would’ve been nice, but I guess that’s skilled work.

(Rita and Connie exit. End of scene.)

SCENE TWELVE Music No. 11a: SKILLED WORK Music underscore factory rhythm. All machines off. A tense silence. Rita stands on a box. Rita

So we met the management . . .

Beryl

– Bastards!

Sandra

What did you say?

59

60

Act One

Beryl

Machine off everyone! Rita wants to make a speech.

Rita

I said the girls at Dunton are on C grade.

All

Yeah! / (Supportive noises.)

Rita

I said we must be skilled, cos you test us.

All

Yeah! / (Supportive noises.)

Rita

I said, I’ve had it up to here!

All

Yeah! / (Supportive noises.)

Rita

I said, we’re sick of talking about it, we want summat done.

All

Yeah! / (Supportive noises.)

Rita

So we’ve got to vote now.

Beryl

What we voting for?

Rita

A strike. Hands up, all in favour?

Music No. 12: EVERYBODY OUT (It’s almost unanimous, but Clare is stalling.) Beryl Clare!?

SCENE THIRTEEN This scene segues out of Act 1 Scene 12 and is set across two weeks as a rapidly moving montage of events, the spine of which is the song “Everybody Out”. Locations switch quickly here, and there is musical underscoring throughout the whole scene. Rita SOMETIMES IN YOUR LIFE YOU GOTTA STAND UP FOR WHAT YOU KNOW IS RIGHT AND BE PREPARED TO FIGHT

Made In Dagenham

AND SOMETIMES IN YOUR LIFE YOU GOTTA GET UP AND LOOK THEM IN THE EYE AND SCREAM THE REASON WHY IT’S A LONG TIME COMING AND WE'RE READY FOR A SCR AP IT’S A LONG TIME COMING AND WE AIN’T TURNING BACK All Women EVERYBODY OUT! GET OUT ON THE STREET AND ONTO THE PICKET LINE EVERYBODY OUT! LET’S MAKE IT CLEAR WE’RE HERE TO SEND A SIGN EVERYBODY OUT! Clare IF THEY GET ANGRY, WELL I TELL YA WE’LL GET MEAN WE’LL CHAIN OURSELVES TO OUR SEWING MACHINES All Women EVERYBODY OUT! Bill

Oi, Monty! Your girls have gone mad.

Monty

What is it?

Sid Drugs. Bill

What are you gonna do about it, Monty? They’re your flock.

Sid

Yeah, what the flock are you gonna do about it?

Monty (Moves to tannoy.) Your union does not support independent industrial action!

61

62

Act One

Women THERE’S NO MORE TALKING NO CONVERSATION (NO CONVERSATION) DON’T TREAT US GIRLS LIKE A POOR RELATION EVERYBODY OUT (Phone rings chez Hopkins. Lisa answers, but Jeremy is frustrated that he didn’t get there first.) Lisa

Lisa Hopkins.

Hopkins

Give me the phone!

Monty

Monty here, N.U.V.B. from the River Plant.

(Lisa hands over the phone.) Hopkins Hopkins. Monty

It’s the girls. They’ve walked out.

Hopkins

Shit! Put Sid on.

(Monty hands phone to Sid.) Hopkins (To Lisa.) Hey! What time is it in America? Lisa

I’m not the speaking clock!

(Lisa walks off in a huff.) Sid

Sidney.

Hopkins

Is this a strike?

Sid

All the classic signs. There’s a brazier, a picket line, and a barricade. If we had an orchestra it could be a musical.

(Phone down.)

Made In Dagenham

63

Women IT’S ALWAYS BEEN THIS WAY NOW IT’S GOT TO STOP EVERYBODY OUT! YOU STARVE THOSE AT THE BOTTOM TO FEED THOSE AT THE TOP EVERYBODY OUT! WE’RE THE CAN OF WORMS THAT, YOU BETTER REALIZE THESE WORMS ARE TURNING INTO BUTTERFLIES EVERYBODY OUT! Barbara

Prime Minister, the Ford women have walked out.

Harold

But the war’s over, why are women working?

Barbara

They’re not working, they’re on strike.

Harold

No Labour government will be pushed around by a lot of women with dyed hair.

Barbara

They make the seats for the cars!

Harold

Fit the cars with sunroofs and we can all drive standing up! Do I have to think of everything!?

Women LADIES IF YOUR FELLA STARTS TO WHINGE OR STARTS TO MOAN Eddie

On strike?! We need the money?

Women TELL HIM THAT YOU’LL TAKE THE STRIKE RIGHT BACK INTO YOUR HOME (Eddie is trying to cook.) Eddie

How long do you cook an egg for?

64

Act One

Women LET HIM DO THE COOKING, LET HIM TRY TO MAKE THE MEALS Stan

Twenty-seven minutes.

Women AND MAKE HIM TO DO IT ALL DAY LONG IN A PAIR OF FIVE-INCH HEELS (Eddie looks quizzically at Stan.) Stan Women EVERYBODY EVERYBODY EVERYBODY EVERYBODY

Better safe than sorry. OUT OUT OUT OUT

Men GIRLS, YOU DONE THE RIGHT THING WE’RE BEHIND YOU ALL THE WAY MAKE YOUR POINT THEN BACK TO WORK BEFORE BANK HOLIDAY WE’RE PROUD OF YOU AND WHAT IT IS THAT YOU ALL GOT TO SAY BUT MAKE IT QUICK GET ON WITH IT COS WE’LL STRUGGLE ON STRIKER’S PAY All EVERYBODY EVERYBODY EVERYBODY EVERYBODY

OUT OUT OUT OUT

(On the picket line. Fleet Street Reporters and Photographers. One sleazy, Astro.) Reporter 1

This way, ladies. Smile for the camera.

Made In Dagenham

Rita

I’d have had me hair done if I’d known we were gonna be in the papers.

Beryl

I’d have had a shave.

Connie

Are you national press?

Reporter 2

The Guardian.

Beryl

That’s alright then, I don’t know anyone who reads that.

Astro

That’s beautiful! What’s your name?

Sandra

Sandra.

Astro

Gissa bit of leg then, Stella!

Beryl

Oi! She’s on strike, she’s not on the game!

Astro

My card, baby.

Rita

Let me see that.

(Rita snatches the card.)

Fiesta!?

Beryl

That’s a bleeding wank mag!

Astro

You don’t have to.

(Astro has gone.) Reporter 2

Ladies, is it your intention to halt production on the new Ford Cortina?

Connie

I know this management –

Beryl

– Bastards!

Connie

– they’ll just get their finished seats from Liverpool.

Sandra

What can we do then?

65

66

Act One

Connie

We need some working class solidarity.

Beryl

’Kinnel!

Connie

We need the girls in Liverpool to strike.

All EVERYBODY EVERYBODY EVERYBODY EVERYBODY

OUT OUT OUT OUT

Beryl

Hello Liverpool!

All

Hiya queen!

Rita WE’RE HERE TO ASK A FAVOUR WE NEED YOU ALL ABOARD WE WANT TO SHOVE A ROCKET UP THE ARSE OF HENRY FORD IF YOU STOP MAKING SEATS THEN YOU STOP OUR PRODUCTION LINE BUT IF YOU CARRY ON THE STRIKE IS JUST A WASTE OF TIME Rita, Sandra, Women IT AIN’T ABOUT THE MONEY IT’S ALL ABOUT RESPECT WOMEN ALWAYS COMING SECOND THAT’S WHAT WE REJECT All Women DAGENHAM AND LIVERPOOL TOGTHER WE GOT CLOUT LADIES LET ME HEAR YOU SAY EVERYBODY OUT! EVERYBODY OUT EVERYBODY OUT

Made In Dagenham

67

EVERYBODY OUT EVERYBODY OUT (Tooley is at the shooting range.) Tooley

Yeah? Tooley.

Hopkins

We’ve got a strike.

Tooley

Oh Lord Jesus!

Hopkins

Two strikes, actually.

Tooley

What? You only had one strike a minute ago.

Hopkins

Dagenham and Liverpool.

Tooley

What do the men want?

Hopkins Women. Tooley

Men always want women, tell me something I didn’t know.

Hopkins

The women are on strike. We have one week’s supply of car seats. One week before I have to shut down the whole Ford UK operation.

Tooley

Who’s the ring leader?

Hopkins

Rita O’Grady.

Tooley

Anarchist? Communist?

Hopkins

Housewife, and working mother.

Tooley

My God!? They’re the worst! Okay, I’m coming over. Put the kettle on.

All EVERYBODY EVERYBODY EVERYBODY EVERYBODY

OUT OUT OUT OUT

68

Act One

(Eddie at the end of a long hard day of domestic chores, holding a basket of washing.) Eddie

I fed the kids.

Rita

What did you cook for them?

Eddie

Chips on toast.

Rita

Why?

Eddie

Cos I can cook chips, and I can cook toast. We’re alright, you do what you have to do love.

All EVERYBODY OUT . . . EVERYBODY OUT . . . EVERYBODY OUT . . . EVERYBODY OUT, EVERYBODY OUT!

Rita We don’t want pin money we want proper money. Equal pay for equal work! What do we want? Equal Pay! When do we want it? Now!

GET OUT ON THE STREET AND ONTO THAT PICKET LINE EVERYBODY OUT! LET’S MAKE IT CLEAR WE’RE HERE TO SEND A SIGN EVERYBODY OUT! Men WE WON’T BE DISMISSED AND WE WON’T BE IGNORED Women WE’LL THROW OURSELVES UNDER THE LATEST MODEL FORD. Men EVERYBODY OUT! Solo Woman EVERYBODY OUT!

Made In Dagenham

All EVERYBODY OUT! Solo Woman EVERYBODY . . . All EVERYBODY . . . Solo Woman EVERYBODY OUT! All EVERYBODY OUT! EVERYBODY . . . EVERYBODY OUT! EVERYBODY . . . OUT! Music No. 12a: EVERYBODY OUT – Playout (End of Act One.)

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70

Act Two

ACT TWO SCENE ONE Music No. 12b: TOOLEY’S ENTRANCE Helicopter rotors getting louder, dry ice, chopper lands, Tooley stands in the hatchway, tall, besuited, shades, cowboy hat, cowboy boots. He is followed by an enforcer type, Adams, also in shades, besuited, but no cowboy hat. They’re into the management offices as music and chopper end. Tooley

Okay guys, the cavalry’s here!

Hopkins

Hello, would you like some tea?

Tooley

No! We’re not here to drink tea! We’re here to play hardball! You! What’s the name of this town?

Hubble Dagenham. Tooley

Incorrect! (He turns to his sidekick.) Adams!? What’s the name of this town?!

Adams

Sir! America! Sir!

Tooley (Banging the table.) Lesson one! This is America! And in America everything is American. Music No. 13: THIS IS AMERICA Tooley I’M THE GO-TO GUY WHEN THE GOING GETS TOUGH AND THE GOING’S GONE MAD AND I’VE KINDA HAD ENOUGH I SAY IT LIKE IT IS, I TELL IT TO YOUR FACE THE REASON I AM HERE’S TO PUT YOU IN YOUR PLACE AFTER DEATH, TAXES AND THE LORD

Made In Dagenham

THE ONLY OTHER CERTAINTY, MY FRIENDS, IS FORD WE GAVE THE WORLD THE VERY FIRST PRODUCTION LINE AND WE WILL BE RIGHT HERE UNTIL THE END OF TIME Tooley Two Men THIS IS AMERICA, (AMERICA) THE U. S. A. WE TELL YOU WHAT TO DO (WHAT TO DO) AND YOU DO AS WE SAY WE ARE THE TOP DOG (TOP DOG) YOU LOVE TO HATE AND YOU ARE OUR POODLE THE FIFTY-FIRST STATE. WE'RE SO MUCH BIGGER WE'RE SO MUCH BETTER AND OUR SUN IS HOTTER OUR WATER'S WETTER WE MOVE FASTER AND FURTHER TOO

(BIGGER) (SUN IS HOTTER)

Tooley / Solos BASICALLY WE'RE TOTALLY SUPERIOR TO YOU Tooley ANARCHISTS, COMMUNISTS, WE FOUGHT THEM TILL WE WON WE SAW OFF JIMMY HOFFA AND HIS TEAMSTER SCUM WE BOUGHT ALL THE PUBLIC TR ANSPORT, WE SHUT IT DOWN NOW THE CAR’S THE ONLY WAY YOU CAN GET AROUND TOWN

71

72

Act Two

WE’RE SO MUCH BETTER AND I'M NOT BEING MEAN WE’VE GOT ROUTE SIXTY-SIX YOU’VE GOT THE A-THIRTEEN WE GAVE YOU ROCK AND ROLL YOU GAVE US CILLA BLACK WELL THANKS A LOT FOR NOTHING YOU CAN HAVE HER BACK Tooley Two Men THIS IS AMERICA, (AMERICA) THE U. S. A. WE’RE ALL STR AIGHT (WE’RE ALL STR AIGHT) AND YOU’RE ALL GAY WE ARE THE TOP DOG (TOP DOG) YOU LOVE TO HATE AND YOU ARE OUR POODLE, THE FIFTY-FIRST STATE. GET OFF YOUR HIGH HORSE, PUT AWAY YOUR SERMON IF IT WEREN’T FOR US YOU'D BE SPEAKING GERMAN AND WHILE WE’RE HERE THERE’S ONE THING MORE YOU STILL OWE US MONEY FROM THE SECOND WORLD WAR Tooley ALUMINUM, BASEL, TOONA, OREGANO, PAY-TRONIZE, EDINBRO, JAGWAR, EYE-R AQ,

(HIGH HORSE) (WEREN’T FOR US) (WHILE WE’RE HERE) (STILL OWE US MONEY)

Made In Dagenham

KR ASSA ANT (CROISSANT), YOOOOHGURT, CARRIBEAN, ERB, PECAHN, CAMOMEEL, NOTA DAME, VAYSE, PAREESHUN, YOURINAL, VIE-TAMIN,, WOO-CEST-A-SHIRE SAUCE, YOU GUYS CAN’T EVEN SPEAK ENGLISH! (Women enter.) Tooley Women / Two Men THIS IS AMERICA, THIS IS AMERICA THE U. S. A. NOW DON’T FORGET THAT . . . GET THAT YOU DO AS WE SAY WE GOT THE T-SHIRT T-SHIRT AND YOU GOT THE VEST YOU’RE SIMPLY THE WORST, AND WE’RE SIMPLY THE BEST All WE GOT HOLLY WOOD AND VEGAS TOO, YOU GOT THAMES T.V. AND WHIPSNADE ZOO WE GOT A PRESIDENT, WE GOT SUPERMAN YOU GOT PRINCE CHARLES, AND DESPER ATE DAN (Guitar solo.)

SIMPLY THE BEST

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74

Act Two

All ANYTHING YOU CAN DO OR WANT TO DO, ANYTHING YOU CAN DO I HAVE TO REALISE EVERYTHING THAT YOU DO OR WANT TO DO, EVERYTHING THAT YOU DO WE HAVE TO SUBSIDIZE Tooley YOU CAN’T PICKET AND CHOOSE WITH FORD, THAT'S YOUR TICKET TO LOSE WITH FORD ONE THING’S CERTAIN, I’LL BUST THIS STRIKE GET READY, DAGENHAM, GET BACK TO WORK, GET ON YOUR BIKE All THIS IS AMERICA, THE U. S. A. WE GOT COPS WITH GUNS WHO WILL BLOW YOU AWAY WE GOT THE KENNEDYS AND SCOOBY DOO YOU'VE GOT TED HEATH AND DANNY LA RUE WE GOT THE WHITE HOUSE, YOU'VE GOT NUMBER TEN WE GOT THE EMPIRE STATE, WHICH PISSES ON BIG BEN WHEN IT COMES TO MUSIC, JUST REMEMBER THIS THERE’D BE NO FREAKING BEATLES WITHOUT ELVIS. Tooley YOU’RE DREARIER AND WEARIER

Made In Dagenham

75

YOU REMIND ME OF SIBERIA, YOU’RE BASICALLY INFERIOR, SO DAGENHAM, SCREW YOU All THIS IS AMERICA. Music No. 13a: THIS IS AMERICA – Tag Tooley

Okay. This Rita O’Grady, what’s she like, her?

Hubble

Put it this way, I wouldn’t climb over her to get to you.

Tooley

I’m pleased about that, faggot. Is she a commie?

Macer

We don’t think she’s a communist.

Tooley (To Macer.) Do you think I’m screwing your wife, right now? Macer

I know you’re not because you’re here.

Tooley

So you know more about your wife’s sex life than you do about your job, Mister Production Manager?! You faggot, gimme the facts.

Hubble

One hundred and eighty-seven Dagenham women are on strike, backed by the NUVB.

Tooley

What are they like?

Hubble

Normal English women. Irrational, moody –

Tooley

Are they local?

Macer

Dagenham, most are married to men working at Fords.

Tooley

Rita O’Grady, is she married to a Ford worker?

Macer

Yes. Edward O’Grady, he’s on the line, unskilled.

Tooley

They’ve got two Ford incomes, and one of them’s on strike. Faggot ass! What’s the finished unit stockpile situation?

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Act Two

Hubble

Ten thousand.

Tooley

So we got ten thousand new Cortinas going rusty on an old airfield. Okay. Stop the line. Lay the men off.

Music No. 13a: THIS IS AMERICA – Reprise Hopkins

You’re cutting off the O’Gradys’ money completely.

Tooley

If you wanna eat steak, you’ve gotta shoot the horse.

Macer

I can’t lay off five thousand men just because you want to stop Eddie O’Grady’s money.

Tooley

Maybe you can’t. Maybe you ain’t man enough. Maybe this is a job for an American.

Tooley / Two Men THIS IS AMERICA (End of scene.)

SCENE TWO The maisonette. A week later. Graham is playing with a football and Sharon is attempting to play the recorder. Rita is on the phone to a reporter. Rita

I’m not a Marxist, I’m not a Leninist, I’m a machinist. (Into phone.) I can’t hear you . . . hang on.

(Puts the phone down.)

Go on, get some fresh air! You’re not spending all half term in the house.

(Graham and Sharon exit with Eddie, who is going to work.) Rita

Eddie, remember Sharon’s got the dentist at –

Made In Dagenham

Eddie

77

Six o’clock, I’m on it, relax. (To Graham.) Graham, go to the park, don’t accept sweets from naked men.

(Door closed.

Doorbell. Rita opens the door to Lisa, dressed in an André Courrèges miniskirt.)

Rita

Oh, it’s you.

Lisa

Hello, I brought the petition against corporal punishment.

Rita

Come in.

Lisa

I just passed Graham in the street.

Rita

Yeah, they’ve been driving me mad. Hard work half term, innit.

Lisa

Oh gosh yes, I’ve had to send Perry up in a glider.

Rita

For a week?!

Lisa

Lessons. Now here’s the petition.

(She hands it over to Rita.) Rita (Reading.) “If a man attacked a child with a stick in the street, he’d face legal action. Why is the same act permissible in this school?”. That’s brilliant. I’ll sign that. (Rita signs.) Lisa

Rita? Do you know who I am?

Rita

You’re not Perry’s mum?

Lisa

I’m Jeremy Hopkins’s wife. Ford Dagenham’s general manager.

Rita (Beat.) Oh Jesus. You’d better go. I got the girls coming round for their strike pay in a minute. Lisa

I want to help.

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Act Two

Rita

How can you help?

Lisa

Did you know that women in America have had equal pay since 1963.

Rita Really? Lisa

History is my subject.

Rita

Are you a women’s libber?

Lisa

Yes. And so are you.

Rita

Me?! No, I’m not political.

Lisa

You’re fooling no-one but yourself.

(Enter Beryl wielding a paper. Connie, Cass, Clare and Sandra follow.) Beryl

Rita, have you seen this? I look like a fucking dinner lady!

All

Hi / Alright? / Hello / Hiya

Sandra

I seen that dress in Vogue.

Lisa

It’s an André Courrèges design.

Beryl

You’d need couregge to wear it.

Lisa

Rita, I’d better go. Good luck, girls. You’re fighting a battle for all women.

Beryl

Are we?

Lisa Tarra! All

Bye / See you / Thanks

(Lisa is gone. Connie starts distributing envelopes containing the strike money and ticks off names in her union book.) Connie

Your strike pay.

Made In Dagenham

79

Music No. 14: STORM CLOUDS Sandra

– How much is it?

Connie

Two pounds a week.

Sandra

Two quid?

Connie Each. Sandra

I thought strike pay was like a salary. I can’t live on two quid a week.

Women EVERYBODY OUT EVERYBODY OUT EVERYBODY OUT (End of scene.)

SCENE THREE Outside the factory. Thump, thump, thump of rhythmic industrial production – specifically the sound of the continuous production line. The girls on the picket line outside the River Plant. Suddenly the sound design cuts, the plant has stopped running. Cass Whappen? Beryl

It’s gone quiet.

Connie

They’ve stopped the assembly line.

[MONTAGE #1.] Women STORM CLOUDS ON THE HORIZON TENSION IN THE TOWN PRESSURE BUILDING UP RUMOURS GOING AROUND MONEY RUNNING SHORT

80

Act Two

DOWN TO OUR LAST POUND DON’T LET THE BASTARDS GRIND YOU DOWN (The men start filing past, some walking, some cycling.) Stan

You got some face, ain’tcha, after this?

Connie

What’s up?!

Stan

Five thousand men laid off, that’s what’s up.

Barry

You happy now?! Eh, eh!?

Clare

What’s going on?!

Ronnie

We ran out of seats, ain’t we.

Bill

Go back to work!

Barry

You’re only working for pin money! (Kisses teeth.)

Cass (Kisses teeth.) It ain’t pin money for me, boy! Barry

Wa?! You caannn’ get a man!

Connie

Bill!? You told me there was enough seats for another week.

Bill

There is.

Connie

Management’s fighting dirty.

Rita

Listen, this was always going to happen. No one said it would be easy, we’ve got to stick together.

Ronnie

If you’re a communist go and live in Russia!

Stan

You happy now, Connie Riley!? You’ve closed down Dagenham. You’ve put five thousand men out of work!

[MONTAGE #2.] Men WELCOME TO EQUALITY

Made In Dagenham

THIS IS WHAT IT'S LIKE THIS IS WHAT IT’S LIKE EQUAL SHIT FOR EVERYONE WHEN YOU GO ON STRIKE Women STORM CLOUDS ON THE HORIZON (Tooley and Hopkins. Tooley reading Monty’s file. Enter Monty.) Tooley

Your expense account. You’ve had more fish dinners than Moby Dick. Rail fares, dry cleaning. A Chinese massage?

Monty

That’s two separate items. A Chinese and a massage.

Tooley

I need you to bust this strike. Or I’ll bust you.

Monty

You can’t talk to me like that, mate.

Tooley

Mate, I’ll eat you for breakfast and blow you out my ass.

Monty (Aggressive.) Do that and I’ll register a grievance! Hopkins

What Mr Tooley wants to know is – which girls are feeling the pinch?

Monty

My job is to represent these women –

Tooley

– Men’s jobs are at stake.

Monty Sandra. Hopkins (To Tooley.) Sandra Beaumont. She’s a bit of a dolly bird. Tooley

So one of these broads is short of money and doesn’t look like Walter Matthau. Can we offer her promotions work?

Monty

So Ford America’s worried are they?

Tooley

Do you understand domino theory?

81

82

Act Two

Monty

Yeah. Get rid of your double six as soon as you can.

Tooley

If England falls to equal pay, the rest of Europe will follow.

[MONTAGE #3.] All Women STORM CLOUDS ON THE HORIZON Lisa PROBLEMS IN THE HOME (Domestic. Eddie washing up in his wife beater top. Enter Rita.) Sharon

Mum, some men came and took the television!

Eddie

We couldn’t pay the monthly.

Rita

There was ten quid in the kitchen pot.

Eddie (Raising his voice.) I had to get a new tyre for the motorbike. Rita

Ten quid on a motorbike tyre?! I don’t spend that on shoes!

Eddie

You’re not gonna come off your shoes at ninety mile an hour are you!

Rita

Don’t you ever ever raise your voice at me in front of my kids, Eddie O’Grady.

Eddie Whassamatter? Rita

I’m on strike! That’s what’s the matter!

[MONTAGE #4.] Harold Wilson HELP ME, THE ECONOMY IS SIMPLY IN FREEFALL Men CUTTING DOWN ON BOOZE AND FAGS AND EVEN ON FOOTBALL

Made In Dagenham

83

Tooley THE ECONOMIC INDICIES MAKE THE BLOOD CHILL WITHOUT FORD YOUR TR ADE FIGURES ARE SIMPLY ROADKILL (Tooley, Hopkins, Lisa have just finished a fondue at the Hopkins house.) Tooley

I never knew eating cheese could be both dangerous and exciting.

Hopkins

It’s a fondue, it’s a Swiss dish, like Lisa.

Tooley

Are you a Swiss dish, Lisa?

Lisa

No, I’m not.

(Tooley proposes a toast with cheese forks.) Tooley

Here’s to the great British dolly bird!

Lisa

Excuse me!?

Hopkins

Mr. Tooley doesn’t mean you, darling. One of the strikers, we offered her a cash contract with the promotions department.

Lisa

And she accepted?

Hopkins

Yes, the launch of the 1600E Cortina.

Lisa

What’s her name?

Hopkins

Why do you want to know her name?

Lisa

Because if I choose to join in this conversation I would like to use her name and not refer to her as the “dolly bird”.

Hopkins

Sandra Beaumont.

Lisa

And when does this promotion happen?

Tooley

Friday. You see, Lisa, breaking a strike is like breaking a horse. You gotta break its will.

84

Act Two

Lisa

I thought Ford was in the habit of simply shooting strikers.

Tooley

Michigan 1932 is history.

Lisa

Which is my subject. Five strikers dead, and sixty chained to their hospital beds with shotgun wounds.

Hopkins

Darling, that’s enough. Please, bring in the dessert.

Tooley

Oh, wow! What’s for dessert?

Lisa (Standing.) Cheese. [MONTAGE #5.] All STORM CLOUDS ON THE HORIZON TENSION IN THE TOWN PRESSURE BUILDING UP RUMOURS GOING ROUND Harold Wilson UNEASY LIES THE HEAD THAT WEARS THE CROWN Barbara Castle DON’T LET THAT BASTARD GRIND YOU DOWN (Domestic. Eddie opens the door to Lisa.) Lisa

Could I speak to Rita, please?

Eddie

Why? Who are you?

Rita

Don’t be like that, invite her in. She’s a friend.

(Enter Lisa.) Lisa

They’ve offered Sandra a Ford promotions contract.

Rita What?

Made In Dagenham

Lisa

They’re trying to crack your solidarity. The launch of the 1600 E Cortina on Friday.

[MONTAGE #6.] Tooley WE HAVE TO BUST THE STRIKE BE RUTHLESS GET IT DONE IF YOU DON’T WE’RE OUTA HERE WE’LL MOVE TO BELGIUM Harold THIS IS A ROUGH PATCH I READILY ADMIT BUT PLEASE DON’T GO TO BELGIUM All COS BELGIUM’S REALLY SHIT (Enter Beryl.) Beryl Rita! Eddie

Bloody hell, it’s like Piccadilly Circus here!

Beryl

It’s Connie. She fainted. Went unconscious. She’s in the Old Church Hospital. Acute Unit. Listen, she’s asking for you.

[MONTAGE #7.] All STORM CLOUDS ON THE HORIZON TENSION IN THE TOWN PRESSURE BUILDING UP RUMOURS GOING AROUND MONEY RUNNING SHORT DOWN TO OUR LAST POUND DON'T LET THE BASTARDS GRIND YOU DOWN DON’T LET THE BASTARDS GRIND YOU DOWN

85

86

Act Two

IT AIN’T ABOUT YOU IT AIN’T ABOUT THE LAW IT'S THREE THOUSAND FAMILIES UNEMPLOYED AND POOR DON’T LET THE BASTARDS GRIND YOU DOWN THE BASTARDS GRIND YOU DOWN THE BASTARDS GRIND YOU DOWN THE BASTARDS GRIND YOU DOWN Music No. 14a: STORM CLOUDS – Scene Change

SCENE FOUR Hospital. Rita and Eddie with flowers. Eddie is carrying motorbike helmets. Eddie

If you’re quick, we can be home by two.

Rita

Eddie?! Connie’s got breast cancer, I’m not “gonna be quick”.

Eddie

I din’t mean it like that, just that, you know, my mum’s got the kids until five, that’ll give us a bit of time.

Rita

On our own.

Eddie

Yeah. Go on. I’m alright. Exchange and Mart, and I’m on a promise!

(Rita kisses him, it feels like a promise. Eddie sits and reads. Rita moves on to the ward and finds Connie, who is in a bed with a typewriter on her lap, tapping away painfully slowly. Rita shows the flowers, triumphantly.) Rita

Da, da!

Connie

They’ll take them away. There’s bacteria in flower water.

Rita

Don’t drink it then!

Made In Dagenham

87

Connie

I feel alright now, but they won’t let me out.

Rita

You’re in no fit state to go nowhere.

Connie

I was going to Redbridge. They’ve got to Sandra. She’s been offered marketing work.

Rita

I was gonna tell you that.

Connie

Ford dealership Redbridge, today, three o’clock. Talk her out of it, Rita. I know solidarity sounds like a slogan. But it’s all we’ve got.

Rita

Oh no. Today is not a good day.

Connie

Sandra doing cash work for Ford is not solidarity.

Rita

Alright, alright, leave it with me.

Connie

You can get a 145 –

Rita

– Eddie’s here with the bike.

Connie

And The TUC conference. Saturday.

Rita

You can forget about that.

Connie

I want you to give my speech.

Rita

Piss off! The TUC?! I can’t. Saturday is Graham’s school concert, he’s singing.

Connie

There’ll be other concerts.

Rita

You’re not a mother, Connie, you don’t understand!

Connie

The reason women don’t have their rights is ’cos they always put the children first.

(Connie types slowly.)

This is the speech. I’ll have it finished by 1971 at this rate.

88

Act Two

Rita

You’re a bully, Connie Riley, but I love you. I’ll pick it up in the morning.

(Rita leaves. Eddie stands, seeing her coming.) Rita



Eddie

Eddie. Promise me you won’t go into one.

What is it?

Rita

I need to get to Redbridge for three. Sandra’s doing a promotion out there.

Eddie

What about the us?!

Rita

And I can’t do Saturday.



Eddie

It’s Graham’s concert day. He’s singing.

Rita

One of us gotta make a speech, at the TUC. Connie can’t.



Eddie

And you’re the only woman in the world who can?

Rita

Eddie. This is important to me! It’s about –



Eddie

– I know what it’s about, but you’re not listening to me! We need you. The kids need you.

Rita

Eddie, this isn’t the time.



Eddie

No, it is the time and it needs saying . . . I know you think I ain’t bothered about important things like wot you are, and that I’m only interested in the bike and Millwall, but I’m trying to support you in this. Rita, I ain’t out every night on the booze, I don’t sleep around . . .

Rita

Oh I married a bleeding saint, did I?

Eddie Rita



I never hit you or the kids. You want me to be grateful for that? That, Eddie, is how it should be.

(Rita storms off. End of scene.)

Made In Dagenham

89

Music No. 14b: CAR SHOWROOM

SCENE FIVE A Ford Dealership showroom in Redbridge. A Cortina covered in a glitzy drape. Petrolheads mull around, Press. Lighting for a show. Hopkins

Ladies and Gentlemen, welcome to the launch of the 1600E Cortina. The presence of the Minister today reflects the importance of Ford’s manufacturing base to the British economy. Please welcome the Secretary of State for Employment, Mrs Barbara Castle.

(Applause.) Barbara Castle Thank you. Ford may be American but the Cortina is British! Designed by Roy Haynes, this new model, the 1600E, has a G and T engine, and a lowered suspension, I know how it feels – (Laughter.)

Ford employs thirty thousand men in this country –

Rita

– And women!

Barbara

– Yes, and women.

Rita

And we women are paid less than the men!

Man

Shutup, will ya!

Barbara

We do have a dispute with the women at Ford, and we are losing nine thousand cars a week, that’s nine thousand cars we could be exporting to balance our trade figures.

Rita

Equal Pay and we go back to work!

Macer

Equal Pay for women, are you mad?!

Hubble

Go and live in Russia!

90

Act Two

Rita

I’m going nowhere mate!

Hubble

I’m not your bloody mate. Don’t mate me, mate!

Man

Can someone chuck her out!

Barbara

For Pete’s sake can we have a look at this bloody car!

Music No. 15: CORTINA! (Lights, music, dance, action. Think Pan’s People but with additional boys. The message of the dance is that if you buy a Mark II Cortina 1600E you’ ll get laid. Cue undressing dance moves, girls losing dresses, and a dance gag of every time a girl sits in the driving seat she is dragged out and the man replaces her. The comedy maths on this would be – girl sits in driving seat / is removed by boy taking over; girl sits in driving seat / is removed by boy taking over; girl sits in driving seat and boy removes steering wheel and takes it to passenger seat. Sandra could lead on this feminist agenda vis a vis the driving seat. Other gags would be reclining seats and legs in air. Could go very raunchy. Girls in the boot. Screen wash at climax of action. Post climax, suspension sinks and puffs of smoke come out of the engine.) Girls BAH BAH BAH BAH BAH BAH BAH BAH DA! BOO! Cortina Man Girls IT’S THE CAR FOR ME IT’S THE CAR FOR YOU AFTER THE MARK ONE COMES THE . . . OOH MARK TWO MARK TWO, OOH WELL YOU BUY A MARK TWO COS YOU KNOW YOU OUGHTA IT'S LIKE A MARK ONE, ONLY FR ACTIONALLY SHORTER FR ACTIONALLY SHORTER

Made In Dagenham

Cortina Man CORTINA, Girls OOH Cortina Man IT’S LEANER AND IT'S MEANER Girls OOH Cortina Man CORTINA Girls OOH Cortina Man COMES IN WHITE OR CREAM-ER Girls OOH Cortina Man + Girls TWO-DOOR FOUR-DOOR Cortina Man IF YOU CAN AFFORD MORE Cortina Man + Girls LEATHERETTE’S THE ONE TO GET Cortina Man WOODEN DASHBOARD? Cortina Man + Girls YEAH YOU BET!

91

92

Act Two

Girls DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A Cortina Man + Girls CORTINA OO WOO WOO WOO Rita

Sandra! What do you think you’re doing?!

Sandra

Earning a living!

Hubble

Oi! What’s your problem?

Rita

How long have you got?

Sandra

I can’t live on two pound a week strike pay!

Rita

No, Sandra! NO!

Cortina Man SELF-ADJUSTING BR AKES FOR THOSE TRICKY ROUNDABOUTS BUILT TO REALLY LAST . . . Girls THREE YEARS! Cortina Man OR THEREABOUTS Girls OOH . . . OOH . . .

Made In Dagenham

93

Cortina Man IT’S SLIGHTLY SHORTER BUT MORE ROOM INSIDE Girls WELL HOW THE HELL’S THAT POSSIBLE? Cortina Man IT’S NOW EXTR A WIDE!! CORTINA, Girls OOH Cortina Man IT’S LEANER AND IT'S MEANER Hopkins (To Security Guard.) That woman there, I want her thrown out. Girls OOH Cortina Man CORTINA Girls OOH Cortina Man COMES IN WHITE OR CREAM-ER Girls OOH Cortina Man + Girls UPHILL, DOWNHILL, Cortina Man IT WILL GIVE A BIG THRILL

94

Act Two

Cortina Man + Girls SEE THE WORLD SEE THE SIGHTS WITH TWILIGHT, NIGHT-SIGHT, SIDE HEADLIGHTS Girls DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A DUB-A-DUB-A-DUB-A-DUB-A

Rita

You’re letting us down Sandra, you’re letting yourself down!

Sandra

I’m getting fifty quid for an hour’s work!

Rita

You call this work? What about the other girls, where’s your solidarity, Sandra?

Cortina Man COME ON, ACCELERATE JUST DO IT, WHY WAIT? BEFORE IT GETS MUCH TOO LATE,

Sandra

Solidarity? That ain’t gonna pay the rent!

Rita

We woman are paid 87 per cent of the male rate –

Cortina Man + Girls SEIZE THE MOMENT, BABY, RIGHT . . . Girls WOW, WOW, WOW, WOW, WOW, WOW, WOW, WOW, WOW . . .

(Security Guard tries to grab Rita.)

Don’t you touch me, get your hands off me!

Sandra

Oi! Leave her alone! She built this car, yeah, a woman!

Cortina Man CORTINA, Girls DRIVING Cortina Man IT’S LEANER AND IT'S MEANER Girls MORE FUN THAN ARRIVING

Hopkins You’ve started now, have you!? Sandra

Yeah, I have. It ain’t right paying women less than men.

95

Made In Dagenham

Cortina Man CORTINA Girls THERE’S NO SENSE IN DEPRIVING Cortina Man COMES IN WHITE OR CREAM-ER

Hopkins Women don’t do the engineering. Sandra

Girls AFTER ALL THE NINE-TO-FIVING

What are you gonna sit on then, if there’s no seats? Your dick? You dick.

Cortina Man + Girls CORTINA Music No. 15a: CORTINA! – Play Out (Security guard makes a grab for Rita, but Rita gets away. End of scene.)

SCENE FIVE–A Front cloth. Sandra walking away from Rita. Rita

Sandra! Come here!

Sandra

You can't tell me what to do!

Rita

This is exactly what they want. Us to start fighting amongst ourselves.

Sandra

What is it you don’t understand. I can’t pay the rent.

Rita

We’re fighting for Equal Pay.

Sandra

If we get Equal Pay. It won’t change nothing. It’ll still be a shit job, only a shit job with Equal Pay.

Rita

That’s not the point.

96

Sandra

Act Two

It's all about you, innit. Little Miss bleeding Angry, but nice looking, all over the papers. You're loving it, ain’t ya.

Rita No! (Sandra exits. Enter Barbara Castle walking ahead of her Driver. Barbara is carrying a briefcase. Barbara, considers, but walks past.) Rita (Angry.) Oi Barbra, we’re not gonna get any help from you then? (Barbara stops.) Barbara

You’re Rita O’Grady, aren’t you?

Rita

I dunno. I don’t know who I am anymore.

Barbara

(To driver.) Go on, Ted, I’ll see you in a minute.

Barbara

I’m in a difficult position, Rita, I’ve got to balance the trade figures, so I want you back at work, but I’m also a woman.

Rita

Is that why you went into politics? To balance the trade figures?

Barbara (Beat.) Come to Westminster, tomorrow. Let’s talk it through. Rita

Can I bring some of the other girls?

Barbara

Yes, why not. One o’clock. Tomorrow.

(Barbara gives her a card.)

Do you want a lift? That’s my Bentley.

Rita

No it isn’t. It’s my Bentley. I paid for it. As a taxpayer.

Barbara

You’re right. Love. (Beat.) Can you give me a lift?

Rita

Oh, alright then.

(They exit. End of scene.)

Made In Dagenham

97

Music No. 15b: TAX PAYER’S BENTLEY

SCENE SIX Rita returns to the maisonette. She walks in the door, closes it, takes her coat off. A radio is playing, radio one, chart hits, quietly. Rita

Eddie, Eddie!?

(She looks at her watch. Goes to the foot of the stairs.)

Graham! Sharon! I’m gonna do fish fingers!

(Silence.)

Mash and peas! (Beat.) Alright! I’ll do chips! Graham!? Sharon?!

(Deadly silence. She runs upstairs and straight back down again.) (To herself.) Eddie!!!???? (She goes into the kitchen and then finds the letter on the table. She opens the letter. Eddie sings.) Music No. 16: THE LETTER Eddie I JUST CAN’T TAKE THIS ANY MORE I’M GONNA TAKE THE KIDS AWAY FOR A DAY OR TWO – I’M NOT SURE I KNOW I’M NOT ONE FOR TALKING BUT I THINK YOU KNOW WE SHOULD SO IF YOU’RE EVER AROUND YOU NEVER KNOW, MIGHT DO SOME GOOD COS I CAN’T DO THIS ON MY OWN, NO MORE I NEED YOU AROUND OR ELSE WHAT IS THIS ALL FOR?

98

Act Two

I NEED YOU TO STAND BESIDE ME I NEED YOU TO BE MY WIFE IT’S SUCH A SIMPLE THING I NEED YOU IN MY LIFE (Rita sits and starts to cry.) YOU KNOW WHAT THEY’RE SAYING AT WORK? I’D TELL YOU IF YOU WERE EVER HERE, “READ HER THE RIOT ACT, KEEP HER IN LINE GET HER IN THE HOUSE, AND YOU OUT FOR A BEER” YOU KNOW WHAT THEY'RE GONNA SAY BEHIND MY BACK? WELL I’D TELL YOU IF YOU WERE EVER HERE “WHO’S IN CHARGE? WHO WEARS THE TROUSERS? MAYBE HE’S, YOU KNOW, A QUEER” COS I CAN’T DO THIS ON MY OWN, NO MORE I NEED YOU AROUND OR ELSE WHAT IS THIS ALL FOR? I NEED YOU TO STAND BESIDE ME I NEED YOU TO BE MY WIFE IT’S SUCH A SIMPLE THING I NEED YOU IN MY LIFE WELL YOU SHOULD SEE THE STATE OF THE PLACE THE STATE OF YOUR SON AND DAUGHTER WE R AN OUT OF MILK LAST NIGHT SO BREAKFAST WAS CORNFLAKES AND WATER AND YES, I’VE BURNT THE TOAST AND THE SAUSAGE AND EGGS TOO AND THE STUPID WASHING MACHINE WELL IT ONLY EVER LISTENS TO YOU AND OH THAT LOVELY SHIRT WE BOUGHT FOR SHARON IN CANNING TOWN WELL IT USED TO PINK BUT I IRONED IT AND NOW IT’S MORE SHIT BROWN

Made In Dagenham

99

AND WHEN I HAD TO CLEAN THE BOG I TELL YOU, MAN, IT’S SCARY I COULDN’T FIND THE BLEEDING BLEACH I HAD TO USE THE FAIRY! AND I CAN’T DO THIS ON MY OWN, NO MORE AND I NEED YOU AROUND WHAT THE FUCK IS IT ALL FOR? AND I NEED YOU TO STAND BESIDE ME I NEED YOU TO BE MY WIFE I NEED YOU TO UNDERSTAND YOU’RE THE LIGHT THAT LIGHTS MY LIFE HOPE YOU DIDN’T GET IN TOO LATE, HOPE THE MEETING WENT ALRIGHT I HOPE YOU’VE DONE YOURSELF PROUD AND BY THE WAY, THE KIDS SAY GOODNIGHT. (Doorbell. She stands in hope that it’s Eddie, rushes to the door opens it. It’s Lisa.) Rita

Oh, it’s you.

Lisa

I’m sorry, is this a bad time?

(Rita is close to tears.) Rita

Eddie’s left me! He’s taken the kids!

Lisa

I’m sorry. That must be very painful, but –

Rita

– I’m a mother and I’ve lost my kids!

Lisa

You’re a brilliant mother and you have not lost your children.

Rita

This ain’t worth it.

(Rita hands Lisa the letter from Eddie.)

100

Act Two

Lisa

Rita, Rita. You’re caught up in something, and it’s taken over, for now. You have to be strong, and sacrifices have to be made.

Rita

Not my children!

Lisa

Eddie will come back, with the children. You’re making history, Rita.

Rita What? Lisa

Yes, history. Like Rosa Parks.

Rita Who? Lisa

Rosa Parks. She was a black woman, she refused to give her seat up to a white man on a bus.

Rita

Where? Stoke Newington?

Lisa

Alabama. 1955. What she started, Martin Luther King finished.

Rita

You know they shot him?

Lisa

Gandhi, Rosa Parks, Martin Luther King, they weren’t on their own. You know what Gandhi needed?

Rita

A sandwich.

(They laugh.) Lisa

A lot of women, not just working class women, they’ve seen you in the news, we want to support you.

Rita

I can’t do it. Anyway I don’t know how to talk this union stuff.

Lisa

Yes you do. Just be yourself and remember why you’re doing it.

Rita

Why am I doing it?

Lisa

You have a daughter. Now, what are you going to wear? For the TUC. It’s on TV.

Rita

I dunno.

Made In Dagenham

Lisa

101

You know my Biba dress? You can borrow that and you’ll look fantastic. You are not alone.

(They hug. End of scene.) Music No. 16a: INTO PARLIAMENT

SCENE SEVEN Outside Parliament, by the Oliver Cromwell statue. Clare, Beryl, Cass. Clare

Who’s that?

Cass

Oliver Cromwell.

Clare

I like her boots.

Beryl

Are we early or is Rita late?

Cass

One o’clock outside Parliament. Rita’s late.

Clare

I can’t wear thigh length leather boots on me wotsit.

Beryl

On your head?

Clare

On me wedding day.

Beryl

Depends on the dress, dunnit.

Cass

In and ideal world, what would be your dream wedding dress, Clare?

Clare

White o’ course.

Beryl

You can’t wear white, you daft slapper, you’ve already had it off!

Cass

You’ll have to have peach.

Beryl

Or salmon.

Clare

My Ken don’t like fish.

102

Beryl

Act Two

It’s a wedding dress. He don’t have to fucking eat it.

(Enter Rita.) Rita

Sorry I’m late.

Beryl

Are you alright?

Rita

Yeah, I’m fine, thanks.

Beryl

Don’t you lie to me, girl.

Rita

No, I’m alright.

(Enter Sandra.) Sandra

Am I late?

Beryl Yes! Rita

I don’t care about that, we’re just glad you’re here.

Beryl / Cass / Clare Hmmm! Sandra

Gimme a break, you lot! They give me fifty quid to wiggle my arse! Who can say no to that?

Cass

You’d do Playboy then, would you?

Sandra

Yeah! This strike is about fairness, equality, right and wrong. It’s got nuffin to do with feminism. Who’s that?

Clare Cromwell. Sandra

I like her boots.

Rita

Honestly, come on then girls! Beryl, no swearing!

Beryl

I can’t fucking promise.

Rita

Let’s do it!

Music No. 16b: PRESS MUSIC

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103

(They move towards the Parliament gates where there are press gathered.) Hack 1

Ladies, are you going to ask Barbara Castle for Equal Pay?

Rita

’Course we are, that’s what we’re striking for, innit?

Hack 2

And if she refuses, how will you cope with that?

Rita

How will we cope? We’re women! We always cope!

(They go into the building. End of scene.)

SCENE EIGHT Barbara Castle’s office. Tea Lady opens the doors and the girls come in. Barbara

Come in! Rita, welcome. Sit down, all the furniture’s old. And call me Barbara, not ma’am, I’m not the Queen, not yet. Ha, ha!

Rita

This is Beryl.

Beryl

Alright? That’s C & A, innit?

Barbara

This? Yes.

Beryl

I got one of them. The zip goes.

Barbara

It’s only for work. Now girls I don’t want to get your hopes up –

(Enter Harold Wilson. They all stand.) Harold

Don’t stand, I wouldn’t stand for you. I won’t stay because I realise that having a handsome powerful man sucking suggestively on a pipe might be a distraction! Westminster is a boys’ club, I’m afraid, the ladies’ loos are in Clapham. But you can use the gents’ if you don’t mind standing up. I was breast fed and I like women, I’ve known several intimately, and my mother was a woman, though I never slept with her after puberty, because that’s not normal, not yet, anyway. But I’ve also met countless women on the stairs during my lifetime up and down the length and great breasts of

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Act Two

this nation. Welcome, and I hope you have a good girly bitch about everything. (He leaves.) Barbara

Sherry anyone!?

All

Oh, nice. / Lovely. / Please.

Barbara

Now girls, I’m going to do something unusual for a politician. I’m not going to lie to you. I want you to go back to work. I’ve been talking to Ford American who are offering you ninety-two per cent of the male rate.

Clare

Oh, that’s great!

Rita

No, we ain’t going back wivout equal pay.

Barbara

When I was young, like you, I thought I could change the world overnight. I saw injustice all around me, lies, back-stabbing, nepotism, corruption – and that was just the Labour Party. But all my shouting, and banging tables, went for nothing. Real change takes time. How do you eat an elephant?

Beryl

In a bagel!

Barbara

One bite at a time, and an awful lot of mastication.

Clare

Ooh! (Giggles.)

Rita

We came here today because you’re a woman, and Labour.

Barbara

I can’t do anything without the backing of the TUC, the men, and men don’t see equal pay for women as a priority.

Cass

I’m an optimist –

Rita

– Cass wants to be an airline pilot.

Beryl

Before she’s thirty-five.

Barbara

That’s fantastic. And when are you thirty five, Cass?

Made In Dagenham

Cass

Tuesday. But I’m not giving up. Because, that’s not an option is it, giving up. Rita’s right, we should all be working towards our ideal world.

Music No. 17: IDEAL WORLD Barbara

105

Aye, the only problem with that, love, is that you don’t live in an ideal world – you live in the real world, where if you ask for everything you get nowt.

Barbara IN AN IDEAL WORLD EVERYTHING WOULD BE JUST GREAT IN AN IDEAL WORLD LOVE WOULD ALWAYS CONQUER HATE IN AN IDEAL WORLD THE WORKERS, BOSS OR STAFF IN AN IDEAL WORLD THEY’D SIT AND HAVE A LAUGH THE SUN WOULD ALWAYS RISE AND SHINE, THE SKIES WOULD BE DEEP BLUE THERE’D BE A CURE FOR CANCER AND THE COMMON COLD AND FLU THERE WOULD BE NO GUNS OR CRIME, THE STRONG WOULD HELP THE WEAK THE TR AINS WOULD ALWAYS RUN ON TIME, WE’D WORK A FOUR-DAY WEEK WE’D GET TO MEET THE PR AT WHO PUT THE VAT UPON THE TAMPON WE’D HAVE A CHAT AND AFTER THAT HIS FACE WE’D DULY STAMP ON IMAGINE A GREAT WORLD OF UNIMAGINABLE BLISS WHERE MEN KNOW HOW AND WHERE TO FIND A WOMAN’S CLITORIS

106

Act Two

IN AN IDEAL WORLD EVERYTHING WOULD BE JUST GREAT IN AN IDEAL WORLD LOVE WOULD ALWAYS CONQUER HATE IN AN IDEAL WORLD WE’D CARE AND SHARE AND HEAL, AND OUR DREAMS OF HAPPY ENDINGS WOULD BE REAL THE BERLIN WALL WOULD FALL AND SO WOULD TYR ANTS OVERSEAS CIVIL RIGHTS WOULD FLOURISH WELL IN ALL COMMUNITIES NO BOMBING IN CAMBODIA, NO WAR IN VIETNAM INSTEAD OF MARTIN LUTHER KING THEY’D SHOOT THE KU KLUX KLAN THE PLANET WOULD REVOLVE AROUND THE MEEKEST OF THE MEEK AND PROTESTANTS AND CATHOLICS WOULD KISS THE OTHER CHEEK APARTHEID WOULD BE DULY CRUSHED AND SO WOULD POVERTY THE EAST AND WEST WOULD DO THEIR BEST TO LIVE IN HARMONY BUT IN THE REAL WORLD IT’S A STRUGGLE EVERY DAY IN THE REAL WORLD YOU’RE LUCKY IF YOU MAKE OK AY IN THE REAL WORLD IT’S NOT ABOUT THE NICE IT’S ABOUT TOUGH COMPROMISE AND SACRIFICE

Made In Dagenham

107

LET ME TELL YOU; IT WAS SO MUCH TOUGHER WHEN I STARTED OUT WOMEN’S RIGHTS – MY GOD, YOU'LL HAVE TO BEG AND BLEED AND SCREAM AND SHOUT THE BOTTOM OF THE BOTTOM, AND THE LOWEST OF THE LOW MIRED IN MISOGYNY, NO CHANCE TO RISE AND GROW BUT YOU GOT TO KEEP ON GOING AND YOU GOT TO KEEP ON FIGHTING GOTTA PUNCH ABOVE YOUR WEIGHT, BELOW THE BELT AND DO SOME BITING I KNOW YOU ALL WANT SEXIST LAWS TO FALL AND BE REPEALED I KNOW ALL YOU’RE ASKING FOR IS JUST A LEVEL PLAYING FIELD, LEVEL PLAYING FIELD IN OUR IDEAL WORLD, IT WILL SURELY COME TO PASS AND OUR IDEAL WORLD IS SO NEARLY IN OUR GR ASP AND OUR IDEAL WORLD, IF YOU’RE BR AVE AND TAKE THIS DEAL, ONE DAY THOSE HAPPY ENDINGS COULD BE REAL SHOULD BE REAL, WILL BE REAL WE’LL MAKE OUR WORLD IDEAL Rita

No! Did Martin Luther King ask for ninety-two per cent of rights for black people?

Barbara (Beat.) You know they shot him. Rita

Yes, I do.

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Act Two

Barbara

You’re saying no to ninety-two per cent?

Rita

I’d say no to ninety-nine per cent.

Barbara

You’re tough, Rita, but you’ve got a real fight on your hands because you’ll never change Government policy without the backing of the TUC.

Rita

I’m going to Eastbourne, to the TUC.

Barbara

I’ll see you there, then.

Music No. 17a: INTO THE HOSPITAL Rita

Come on, girls.

Girls

See you, Barbara. / Bye. / Thanks, Barbara.

Beryl

I could murder a pint. Anyone?

Clare

What was all that in there about eating elephants?

Beryl

Oh Clare, for fuck sake.

(They’re out the door. End of scene.) SCENE NINE The hospital. The screens around Connie’s bed are open but there is no bed there. Monty is in the bedside chair, praying, in a secular kind of way. Enter Rita, carrying some fruit and a magazine. Rita

Where’s Connie? (Beat.) Monty?! Oh, no. No, no, no!

Monty

We was talking. She seemed quite chipper. She smiled at me, and I was talking, and I held her hand, and then I realised she’d gone. (Beat.) I loved her.

Rita

Yeah, we all loved her, Monty.

Monty

No, no. I loved her. I asked her to marry me, 1956. We had a thing, but it weren’t love, not for her it weren’t.

Made In Dagenham

109

Rita

I’m sorry. I didn’t know.



Monty

She was a very private woman. Bit old fashioned in some ways. And she wanted to marry for love, I guess, and she knew that she didn’t love me. So that’s was it for her. Some people get hitched just not to be lonely, but she was a very principled, you might say, idealistic woman. A dreamer.

Rita

That’s got my name on it.

(An envelope.) Monty

Yeah. That’s for you.

Rita

I think I know what it is.

Monty

I’ve read it. It’s bloody brilliant.

Rita

Is it? Oh Jeez.

(Rita takes the envelope.) Monty

She put her whole life into that speech. (Pause.) I let her down, you know.

Rita

No, Monty, no.

Monty

I’ve let all you girls down.

Rita

How’s that?

Monty

Rita, in a million ways.

(End of scene.) Music No. 17b: SAME OLD STORY – Scene Change

SCENE TEN A playground or park. Eddie, Stan and Barry are sat on the park bench. Barry

D’you remember Len Wilson? Red hair, freckles, glass eye.

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Act Two

Stan

No. What he look like?

Eddie

I know him. West Ham.

Barry

His wife becomes Lord Mayor of Hornchurch so Len starts calling himself Lady Mayoress.

Eddie Why? Stan

To get his expenses.

Barry

He gets himself a handbag to carry all her stuff around, and because he’s got a handbag, he gets himself matching high heels.

Eddie

This is about me, you’re having a go at me aren’t you.

Barry

What happened to Len?

Stan

He ended up having a sex change operation he didn’t want.

Eddie

Alright! Alright! What’s your point, Stan?

Stan

Behind every powerful woman, there’s a man waiting for surgery.

Barry

Sort her out, Eddie. We’ve all got mouths to feed.

(Enter Rita. She is carrying the speech envelope from the previous scene. Eddie is there, seemingly alone.) Rita

I’m sorry I’m late.

Eddie

I knew you’d be late.

Rita

Where are the kids? I’ll take them.

Eddie

They’re coming back to Mum’s.

Rita

The arrangement was that I’d pick them up from here.

Eddie

Yeah, but being a mother to my kids ain’t enough for you, is it? Saving the world –

Made In Dagenham

Rita

– Eddie, I’ve got to do this. I’ve got a lot on my plate at the moment, but that won’t last forever. I’ve got to do this.

Eddie

Kids need looking after, feeding, washing, I dunno.

Rita

No, I know you, Eddie, it’s cos you didn’t have a clean shirt. Ironed the way your mother does.

Eddie

Don’t blame me, you done this.

Rita

You stole my kids away in the middle of the night!

Eddie

It wasn’t the middle of the night. It was the middle of the night when you got home and first noticed them missing.

(A ball bounces across the stage, chased by Sharon.) Rita

Hiya m’love.

Eddie

We’re going back to Gran’s.

Sharon

I don’t want to go. Grandma licks her plate!

Eddie

If you’d been through the war, you’d lick your plate.

(Enter Graham.) Graham

Hiya mum.

Rita

Hi. Do you understand why I can’t be at your concert?

Graham

It’s alright.

Eddie

Come on, get your stuff, we’re going.

Rita

You’ve got to go with your dad, babe.

Eddie

Graham! Come on now!

Rita (To Sharon.) It’s just for this week, Sugar. I promise. Eddie

It’s broken.

Rita

What’s broken?

111

112

Act Two

Eddie

Our marriage.

Rita

You walked out.

Eddie

I didn’t walk out, you did.

Music No. 18: WE NEARLY HAD IT ALL Rita I’M SUPPOSED TO HATE YOU BUT I DON’T YOU WANT ME TO BEG YOU BUT I WON’T Eddie I’M AT A LOSS – Rita I’M AT A LOSS TOO Rita / Eddie SOMETHING WE AGREE ON Eddie IS THAT IT? ARE WE THROUGH? Rita

Looks like it, doesn't it.

(Eddie exits.) Rita I’M STILL HERE, I AIN’T GIVEN UP I’M STILL A MOTHER AND A WIFE BUT ALL THIS HAPPENED SUDDENLY IT JUST DROPPED INTO OUR LIFE I CAN’T LET ANYONE DOWN SO WHAT AM I SUPPOSED TO DO? DON’T TURN YOUR BACK ON ME NOW COS NOW’S THE TIME THAT I NEED YOU I THOUGHT I HAD THE FUTURE IN THE PALM OF MY HAND

Made In Dagenham

113

I THOUGHT YOU WERE BESIDE ME AND OUR DREAMS WERE ALL PLANNED THOUGHT WE WOULD WE STAY TOGETHER NOW THE WORLD’S COLD AND SMALL THOUGHT THAT WE’D GROW OLD AND GR AY TOGETHER; OH BABE, WE NEARLY HAD IT ALL AND WHAT ABOUT OUR DAUGHTER I WANT TO LOOK AT HER AND SEE THAT HER FUTURE’S FULL OF HOPE SO SHE DON’T END UP LIKE ME I’M FINDING A VOICE FOR THE FIRST TIME – I NEVER KNEW I HAD BEFORE WELL IT STARTED AS A WHISPER Rita / Women BUT IT’S GOT TO BE A ROAR WE THOUGHT WE HAD THE FUTURE IN THE PALM OF OUR HANDS WE THOUGHT YOU WERE BESIDE US AND WE HAD IT ALL PLANNED WE KNOW LIFE ISN’T EASY BUT WE COULD HAVE STOOD TALL INSTEAD WE SEE THE MOMENTS WHEN WE ALMOST HAD IT ALL Rita IT DON’T MEAN I DON’T LOVE YOU IT DON’T MEAN I DON’T CARE BUT I’LL SEE THIS THROUGH WITH OR WITHOUT YOU THERE (Eddie and the Kids are gone. Rita leaves. She takes the speech with her. End of scene.)

114

Act Two

SCENE ELEVEN Music No. 19: VIVA EASTBOURNE Eastbourne – on-the-road song. An entirely musical, song-based scene, but we do see Rita and the Girls and Monty and his Trade Union Friends with banners gathering for the bus; Tooley and Hopkins are travelling first class in the train or by helicopter. The Union Guys take the train; Castle and Wilson are limo driven by chauffeurs; Lisa drives her mini. Throughout, Rita hugs and protects Connie’s speech. Men VIVA EASTBOURNE THE T.U.C. BY THE SEA VIVA EASTBORNE BEER AND CHIPS IN QUANTITY WELL I PROMISE THAT YOU WON’T BE BORED INDISCRETION IS ASSURED BED AND BREAKFAST SUBSIDISED PROPHYLACTICS ARE ADVISED EASTBOURNE A WEEK BY THE SEA Male Solo WITH THE T.U.C. Women SHE'S ONLY GOT ONE CHANCE Sandra AND DON’T WE KNOW IT Women JUST THIS ONE LITTLE CHANCE Cass I HOPE SHE DOESN’T BLOW IT Women JUST SAY WHAT YOU GOT TO SAY

Made In Dagenham

Beryl WE'RE WITH YOU ALL THE WAY Women RITA, GIRL, GO ALL THE WAY! Men IN FIGHTING, OUT FIGHTING TALKING ALL THE LINGO IN BETWEEN THE UNION SCENE THE STRIPPERS AND BINGO! Women I’M PINING FOR, I’M WHINING FOR, I’M YEARING FOR, I’M BURNING FOR, I’M ACHING FOR, I’M QUAKING FOR, I’M SICK OF BLEEDIN’ WAITIN’ FOR . . . Men DONKEYS ON THE BEACH, SNOGGING ON THE PIER, A NOD, A WINK A PROPER DRINK, A-VOMITING ON BEER Women CHANGE, CHANGE, CHANGE BRING IT ON CHANGE, CHANGE, CHANGE Harold OH I DO LIKE TO BE BESIDE THE SEASIDE OH I DO LIKE TO BE BESIDE THE (SEA) All VIVA EASTBOURNE THE T.U.C. BY THE SEA VIVA EASTBOURNE

115

116

Act Two

Hopkins NOT EX ACTLY TUSCANY Men A WEEK IN WHICH TO Women AIR OUR VIEWS Men A WEEK IN WHICH TO BOOZE AND SCHMOOZE Women THE ONE THING TO DECIDE UP HERE WE’LL START THE REVOLUTION Men SOMETIME NEXT YEAR All VIVA EASTBOURNE (End of scene.)

SCENE TWELVE Barbara

In place of disagreements we need agreements, in place of disruption we need production, and in place of strife we need harmony! And I won’t take no for an answer!

All

Fiery like her hair!

(A green room situation, back stage at the TUC. Rita in a nervous state, she is holding Connie’s speech.) Rita (Reading.) “President, Congress, comrades, brothers and sisters” – (Knock on the door. Rita opens it and Monty comes in.) Monty!

Made In Dagenham

Monty

117

– Shhh! Can you hear that?

Rita What? Monty

That is the sound of nuns booing the Pope. Three thousand trade unionists booing a Labour Prime Minister.

Rita

Oh my gawd, Harold Wilson’s not here, is he?

Monty

Yeah, and that Bar bar bar bar barbara Castle.

Rita

I’m so nervous, Monty.

Monty

You’ll be great! You’re not gonna read it, are you?

Rita

Oh gawd. I can’t learn it!

Monty

It looks terrible though, dunnit.

Tannoy (Distort) Composite five speakers, this is your two minute call. Monty

That’s you, composite five is the Equal Pay Amendment.

(Enter Lisa wearing a press badge around her neck.) Lisa Rita. Rita

Lisa?! What you doin’ here?

Lisa

I brought the Biba dress.

Rita

Oh my gawd, it’s beautiful. How did you get back stage?

Lisa

I have a press pass! I’m working for The Spectator Magazine.

Rita

That’s brilliant!

Monty (To Rita.) You’ve obviously not read The Spectator. Anyway as they say in orthopaedics – break a leg! (Monty is gone. Now alone, Rita and Lisa hug.) Rita

So you’re working? What did your husband say?

118

Act Two

Lisa

He doesn’t know. I told him I was going to Monaco for the weekend.

Rita

Don’t walk out on him, Lisa, please, hating men isn’t what this is about.

Lisa

Absolutely, I don’t hate all men. I just happen to have made an exception for my husband. Look, I have a Double First from Cambridge and he can’t even imagine me working, never mind being any good. This isn’t just about working class women, you are doing this for all of us.

Rita

Would you mind listening to my speech?

Lisa

Of course.

Rita

President, Congress –

Lisa

– You’re not going to read it, are you?

Rita

Oh Jesus! I’ve tried to learn it but with everything, it’s doing my head in!

Lisa

You’re going to be brilliant.

Tannoy

Composite five speakers, Equal Pay Amendment, to the wings, please.

Lisa

You’d better get ready. Good luck.

(Rita dives into the loo to change into the Biba dress. Enter Tooley, he’s smoking a cigar. He finds the speech, looks at it, and tears it up. Rita comes out.) Tooley (Whistles, impressed with her looks.) I didn’t expect you to be a looker. Rita

You’re the yank, aintcha?

Tooley (Threatening / lecherous.) Yeah. And you’re the Brit. We could have a special relationship.

Made In Dagenham

119

(Rita goes to leave.) Tooley

I love the dress. Are you a Red? Ya know, I could create a position for you, baby.

Tannoy

Composite five speakers to the stage!

Tooley

You’re on.

(He blocks the door.)

Who’s looking after your kids today, Mommy? Daddy I guess, since he’s laid off. I guess a strike must test a relationship. I never married, I prefer horses.

Rita

Where’s my speech?

Tooley

Nervous, eh? I like a nervous broad. Frightened meat tastes better.

(Tooley edges towards Rita.) Rita

Don’t touch me!

Tooley

Bit of advice on public speaking, remember the three D’s. Drive, Diction and Don’t forget you’re just a little girl!

(Tooley is gone. Rita crashes around the room in panic to piece Connie’s speech back together. She collapses and starts to cry. Enter Beryl, Sandra, Clare, and Cass.) Beryl

What the fuck’s going on!?

Rita

He’s torn up Connie’s speech.

Beryl Who? Cass (Kisses teeth.) The bumbaclot American? Rita

I don’t know what I’m gonna say!

Beryl

Don’t panic, we can put it back together again.

Tannoy

Composite five speaker, Rita O’Grady to the stage now.

120

Act Two

Sandra

You didn’t need a speech in Liverpool.

Beryl

No, you made it up.

Clare

And you was you know, fing!

Cass

Come on girl, you’re on!

Rita

I can’t do it. I can’t . . .

Beryl

Rita O’Grady! Get your fucking arse up there. You’re letting Connie Riley down.

(Rita pauses.) Rita

Alright. I’m ready.

(They all leave. End of scene.) Music No. 19a: INTO T. U. C.

SCENE THIRTEEN The TUC. The auditorium. Tooley and Hopkins leave. Tannoy

Next composite number five, Equal Pay. Rita O’Grady of the NUVB.

(Rita amateurishly taps the microphone.) Rita

Hello. Is this thing on?

(Taps microphone. Whiney feedback.)

So yeah we went on strike because you know, you gotta do something, ain’t ya. What Connie woulda said was we are the working classes, men and women and we women have been earning less, sometimes, half – what you men earn, doing the same job, side by side. And that ain’t fair, is it?

Made In Dagenham

121



And none of us are working for pin money, I got enough pins, thank you very much. We women are working to pay the rent, and to feed and clothe our kids.



We’re not from out of space, you know. We’re your wives, your sisters, your daughters, in some cases your mothers, still working at sixty, sixty five. I saw a woman, she must’ve been seventy, waiting on tables at the Wimpy bar up the road here. Broke my heart, it did. Look, it started off with C grade, that’s all we wanted, but it turned into Equal Pay. We deserve that, and we’re not ashamed to ask for it.



I’m not perfect. Me own daughter, I bought her a nurse’s uniform and laughed at her when she said she wanted to be a doctor. That nurse’s uniform is the only thing in her wardrobe that ain’t pink. What’s that all about? Why can’t she be a bloody doctor?

Music No. 20a: STAND UP Rita EVER GET THE FEELING YOU'VE BEEN CHEATED FOR SO LONG? YOU KNOW WHAT’S RIGHT BUT YET THEY MAKE YOU FEEL IT'S WRONG SECOND AT THE TABLE PICKING UP THE CRUMBS CHANGE IS ALWAYS PROMISED BUT SOMEHOW NEVER COMES STAND UP STAND UP

In the war women worked as doctors, bus drivers, land girls. Ergo, we won that war together and yet women are still being asked to make do, to wait until tomorrow. Well when is tomorrow? Ten years? Twenty years? Fifty years?

STAND UP STAND UP IF YOU’RE WITH ME THEN PUT YOUR HAND UP

122



Act Two

We women have always supported you men, every time you needed us we’ve been there and you never had to ask. So we’ve come here to today because we need you to vote for this Equal Pay Amendment.

THE FIRST STEP IS THAT YOU PUT YOUR HAND UP THEN YOU CAN MAKE A STAND FOR EVERYONE

We’re a family, the TUC, Brothers and Sisters, Comrades, everyone. Them’s your words not mine. You men, are you happy that your daughters will grow up to be second class citizens? Your daughters. You can change this, you can, cos nothing changes if it isn’t challenged. So stand up for women’s rights because, you know, if not now, when?

STAND UP STAND UP STAND UP THE WORLD RIDES ON OUR SHOULDERS WHILE THEY TAKE US FOR A RIDE WE’RE IN THE HEART OF EVERYTHING BUT KEPT ON THE OUTSIDE Rita / Women SO I’M ASKING FOR YOUR HELP AND I KNOW THAT MONEY'S TIGHT Rita BUT WE NEED YOU STANDING BY OUR SIDE AND DOING WHAT IS RIGHT, OH . . . Rita / Women STAND UP STAND UP IF YOU'RE WITH ME THEN PUT YOUR HAND UP YOU GOT TO TURN AROUND AND FACE THE FIGHT GOT TO LEARN TO PUT THINGS RIGHT ONLY WAY TO LIVE YOUR LIFE COME ON,

Made In Dagenham

STAND UP STAND UP THE FIRST STEP IS THAT YOU PUT YOUR HAND UP AND THEN YOU MAKE A STAND FOR EVERYONE THEN THE BATTLE WILL BE WON STAND UP Rita Women WE WON’T RUN AND WE WON’T HIDE OOOH (etc.) SO DON’T PASS BY ON THE OTHER SIDE MEN, WOMEN WE ARE ONE WE ARE THE UNION Women / Men YOU MIGHT THINK OOOH (etc.) THAT WE JUST CAN’T WIN BUT I TELL YOU THIS FOR NOTHING WE AIN’T GIVING IN WHAT I WANT TO SAY IS THAT TODAY COULD BE THE DAY Rita / Men STAND UP STAND UP IF YOU’RE WITH ME THEN COME ON PUT YOUR HAND UP YOU’VE GOT TO TURN AROUND AND FACE THE FIGHT GOT TO LEARN TO PUT THINGS RIGHT ONLY WAY TO LIVE YOUR LIFE COME ON, STAND UP STAND UP THE FIRST STEP IS THAT YOU PUT YOUR HAND UP MAKE A STAND FOR EVERYONE THEN THE BATTLE WILL BE WON COME ON, Rita / Women / Men STAND UP STAND UP

123

124

Act Two

THE FIRST STEP IS THAT YOU PUT YOUR HAND UP AND THEN YOU MAKE A STAND FOR EVERYONE THEN THE BATTLE WILL BE WON STAND UP NOW President

Equal Pay Amendment is carried. Equal Pay is now TUC policy!

STAND UP NOW STAND UP Eddie STAND UP STAND UP I’M WITH YOU SO I CAN HOLD MY HAND UP I WAS WRONG AND YOU WERE RIGHT SHOULD HAVE BEEN THERE FOR YOUR FIGHT YOU'RE THE LIGHT THAT LIGHTS MY LIFE Eddie

Wow! You look amazing.

Rita

I only borrowed it.

Eddie

I’m sorry Rite. I let you down. I let myself down. I don’t suppose you’ll have me back, but I love you Rita O’Grady. It’s amazing what you’ve done. Amazing.

Rita

Eddie, you big lump.

Barbara

Emmeline Pankhurst won the vote for women, and is rightly esteemed by history. The women of Ford Dagenham have changed the world today, and history should place these ordinary working women alongside the suffragettes for having achieved Equal Pay, which is yet another step forward in the continuing story of women standing up for their rights.

Rita / Women / Men STAND UP STAND UP

Made In Dagenham

IF YOU'RE WITH ME THEN COME ON PUT YOUR HAND UP YOU’VE GOT TO TURN AROUND AND FACE THE FIGHT GOT TO LEARN TO PUT THINGS RIGHT ONLY WAY TO LIVE OUR LIVES COME ON, STAND UP STAND UP THE FIRST STEP IS THAT YOU PUT YOUR HAND UP WELL YOU CAN MAKE A STAND FOR EVERYONE THEN THE BATTLE WILL BE WON STAND UP NOW! WHY DON'T YOU JOIN US, COME ON STAND UP NOW! WE NEED YOUR HELP SO COME ON STAND UP NOW! NOW, NOW! NOW, NOW! (The End.) Music No. 21: BOWS Company MADE IN DAGENHAM LAID IN DAGENHAM NOW WE’RE EQUAL PAID IN DAGENHAM MADE IN DAGENHAM WE ARE DAGENHAM GIRLS / BOYS (etc.) WE ARE MADE IN DAGENHAM Music No. 22: PLAY OUT

125

MADE IN DAGENHAM Music by

DAVID ARNOLD Lyrics by

RICHARD THOMAS Book by

RICHARD BEAN

VOCAL BOOK

Josef Weinberger

MADE IN DAGENHAM Music © Copyright 2014 by David G Arnold Lyrics © Copyright 2014 by Richard Thomas Book © Copyright 2014 by Richard Bean Edition © Copyright 2015 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 12 - 14 Mortimer Street London W1T 3JJ United Kingdom Tel: +44 (0)20 7580 2827 Fax: +44 (0)20 7436 9616 www.josef-weinberger.com

Version Dagenham Previews 8.4 (04 Nov 2014) This edition: September 2015

Musical Numbers



ACT ONE

0.

Opening (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 1

1.

Busy Woman (Rita, Sharon, Graham, Eddie, Women, Men). .. .. .. .. .. .. .. .. .. 1

2.

Made In Dagenham (Factory Workers) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 8

3.

This Is What We Want (Sandra, Beryl, Rita, Cass, Clare, Factory Women) . .. . 11

4.

Union Song (Men). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

5.

Wossname (Clare, Women). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

5a.

Big Ben (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

6.

Always A Problem (Harold Wilson, Aides). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

6a.

Busy Woman (Barbara Castle) (Barbara Castle). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

7.

Pay Day (Ensemble) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 22

7a.

Club Music (Club Singer) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 26

8.

I’m Sorry I Love You (Eddie, Rita, Men). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 27

9.

School Song (Ensemble Men, Graham). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 32

9a.

Into The Berni Inn (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 32

10.

Same Old Story (The People) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

11.

Union Song – Reprise (Ensemble) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 35

11a.

Skilled Work (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 36

12.

Everybody Out (Rita, Factory Workers) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

12a.

Everybody Out – Play Out (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 43





ACT TWO

12b.

Tooley’s Entrance (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

13.

This Is America (Tooley, Ensemble). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 44

13a.

This Is America – Tag (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

13b.

This Is America – Reprise (Tooley, Two Men). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 51

14.

Storm Clouds (Lisa, Tooley, Harold Wilson, Barbara Castle, Men & Women). . . . . 52

14a.

Storm Clouds – Scene Change (Instrumental). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 58

14b.

Car Showroom (Instrumental). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 58

15.

Cortina! (Cortina Man, Five Girls) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

15a.

Cortina – Play Out (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

15b.

Tax Payer’s Bentley (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 62

16.

The Letter (Eddie) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

16a.

Into Parliament (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

16b.

Press Music (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

17.

Ideal World (Barbara Castle). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

17a.

Into The Hospital (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

17b.

Same Old Story – Scene Change (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

18.

Nearly Had It All (Rita, Eddie, Women). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

19.

Viva Eastbourne (Beryl, Cass, Sandra, Men & Women) . .. .. .. .. .. .. .. .. .. .. . 72

19a.

Into TUC (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

20.

Stand Up (Rita, Eddie, Ensemble). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

21.

Bows (Company). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

22.

Play Out (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 84

Vocal Book

MADE IN DAGENHAM ACT ONE Lyrics by

Music by

RICHARD THOMAS

DAVID ARNOLD

0

Opening (TACET)

CUE: Green light from SM

70's Rock (q = 162) æ ? #### 44 Uwææ æ ˙ œæ™

>œ &J

œ ‰ œJ nœ œ œ œ œ >

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(Timp roll)

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#### &

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6

20

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‰

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8

3

7–14

15–17

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j j œ ‰ nœœœ ‰ œœœ ‰ œœœ #œœ nœ œ œ J > > > rall. . . nœ nœ œ

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U œ œ nœ œ nœ # w w w w

1 CUE: Alarm clock stops

Busy Woman

Colla

b 4 & b bb 4

RITA

œ

Hey

b & b bb œ

5

love

œ you

œ

there

Ϫ

loads

j œ œj œ ™

Ϫ slee

py

-

j œ

ya

Ó

œ

drea - mer

œ

œ

stu - pid

I

œ

sod

Book © Copyright 2014 by Richard Bean Music and Lyrics © Copyright 2014 by David G Arnold Lyrics © Copyright 2014 by Richard Thomas Edition © Copyright 2015 by Josef Weinberger Ltd., London All Rights Reserved PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL

Œ

œ

well

œ

just

œ

here

Ϫ wa

-

2 4 ™ œ

goes,

œ J

nna

‰ œj

Œ

˙ say

j œ a

I

(3,4 in)

-

œ

no

œ

ther -

4 4

2

Made in Dagenham – Vocal Book

° bb b 4 & b4

(q = 166)

9

b 4 & b bb 4

œ

Œ

Ó

∑

day

∑

SHARON

Π
13

bb œ ¢& b b

¿

œ

œ

œ

œ

Mum

Œ

œ

œ

œ

Can't

find

my

œ

œ

œ

Can't

find

my

œ

œ

œ

œ

¿

Mum

Œ

Mum

¿

œ

œ

œ

Why

is

it

al - ways

me?

j œ ‰ œ

œ

œ

œ

you

done

wiv

all

œ

œ

œ

œ

mor - ning

same

bb &b b œ

œ

œ

œ

œ

œ

œ

œ

œ

my

œ

œ

œ

Œ

Mum

œ

œ

Œ

Mum

Œ

œ

bb &b b

¿

Mum

Œ

SHARON & GRAHAM

What

Œ

¿

Mum

GRAHAM

° bb b Œ & b

Œ

¿

Mum

b b4 ¢& b b 4 Œ

EDDIE

∑

∑

Where's my, Where's my,

b 4 & b bb 4 ¿

17

∑

˙

things

Mum Mum Mum Mum

and

œ

œ

Can't

find

my

things

Œ

œ

œ

œ

œ

Where's that

Œ

œ

gone?

œ

œ

Where's that

gone?

œ

œ

œ

œ

Mum Mum Mum Mum

œœ

œ

Mum Mum Mum Mum

œ

œœ

œœ

œœ

Mum Mum Mum Mum

RITA

Eve - ry 21

No - one

° bb b & b 25

knows where

œ is

Œ

Œ œ

Mum

œ

Œ

œ

Mum

Mum

Œ

Œ

œ

Mum

œ

we

œ

but

play

our

œ

œ

guess

who

6 27–32 RITA

¿

Teeth

Mum Mum GRAHAM

Mum

œ

no - thing

Ó

b SHARON & b bb œ Œ œ œ

œ

∑

∑

Œ

œ

rou - tine,

∑

b & b bb

bb ¢& b b Œ

œ

Œ Œ

6 6 6

œ

lit - tle

œ

œ

fam - 'ly

œ

œ

al - ways

gets

Œ

œ

œ

game

œ

the

˙

blame

RITA: In the airing cupboard!

Ó

Œ

‰

j nnbb œ

RITA

If

∑

nnbb

∑

nnbb

∑

nnbb

Made in Dagenham – Vocal Book

b &b œ œ œ œ

34

Œ

œ

you want some-thing done

b &b

œ ™ œj ˙

39

˙

ask - ing

a

˙

œ œ

Ask

Ó

a

Ó

œ œ œ Œ

˙

bu

-

Œ

3

sy

wo - man

œ œ œ œ ˙

œ

'Cause you're wast - ing your time

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

man.

She can do

in one hour

b &b œ œ œ œ œ œ œ œ œ œ œ œ œ

what he can't do in ten

44

bas - ic

eff - ing diff -'rence bet - ween

us

&

eff - ing them.

SHARON: Mum, what do you want for Christmas?

b &b

48

∑

œ œ ˙™

œ œ œ œ œ œ

bbb

If you want

it

b &b b

œ

œ

œ

œ

œ

Ϫ

œ

œ J

œ

bbbbb ˙

œ œ bœ

EDDIE

œ œ

We

b & b bbb œ

65

œ

œ

With your parks

b & b bbb œ

69

œ

and

œ œ œ

b & b bbb œ œ œ œ

74

With your an - cient

° bb b & bb œ bb ¢& b b b

wat - er - fronts.

EDDIE: Cup of tea, eh doll?

Œ

Ó

was.

∑

œ it

œ

Œ

œ 3œ œ

Oh,

Dag - en - ham,

Ó

œ ˙™

by - laws.

∑

w

Oh,

˙

œ œ

Rome

was - n't

RITA: Yes please, I’d love a cup of tea.

2

80–81

2

bu

-

sy

œ œ œ

œ œ œ

œ œ œ

Œ

Dag - en - ham—

EDDIE / SHARON / GRAHAM

once.

EDDIE:

a

love you, Dag - en - ham, Dag - en - ham,

˙

œ œ ˙

RIT (Laughing) Stop it, Eddie- you're making us late.

good they named

79

œ

ask

j œ

50–59

RITA: You're just saying that.

œ œ™ J

œ œ œ™

10

[Underscore]

wo - man 60

done then

it's the

œ œ œ

œ

So

œ œ œ

Dag - en - ham, Dag - en - ham EDDIE / SHARON / GRAHAM

3 œ œ œ œ ‰ œj œ œ œ œ œ œ 3

built

# nnnnn## # nnnnn##

in

a day,

But Dag - en - ham def' - nate -ly

RITA: Is life like this everywhere?

∑ ∑

Ó

n##

∑ Œ

WOMEN

œ

If

n##

4

Made in Dagenham – Vocal Book

# &#œ œ œ œ

84

[ARISTON]

œ Œ

you want some -thing done

Ϫ

# &#˙

89

ask

Ask

a

j œ w

ing

-

a

nn

98

˙

œ œ œ Œ

sy

wo - man

œœ œœ nœœ œœ œœ

do

œ œ

∑

œ

SHARON: Uurgh! RITA: Whatsamatter? SHARON: It’s spit!

œ

œ

us and eff - ing them. If you want

it

can't

œ

do in ten,

œ

done then

ask

2

4 4 œœ

WOMEN

101–102

2

Mo -ther's

œ

2

sa - li - va,

j ¢& œ œ ‰ œ œ Mo -ther's

œ

sa - li - va,

2

b6 & b b4

108–109

Ain't

no

germs

œ

œ

œ

Ain't

4 4

b w &b b w Ba

w w -

stard!

no

a

œœ

œœ

Mo - ther's

œ

that can

Œ

œ œ

germs

that can

3 4

˙˙ -

œ œ

sur - vive

her.

sur - vive

her.

‰ œj œ

4 4 ˙˙

∑

stard

œ œ

j œ -

sy

œ

Ba

spit,

˙™

œ œ

Ϫ

œ ˙ J

Œ

œ

œ

spit,

2 4

∑

bbb 46

2 4

∑

bbb 46

2

˙˙ -

Œ

RITA: (to Graham) Oi! Come 'ere. Show me your hand. He's hit you again, ain't he?

113–114

stard

RITA: He's paid to teach him Latin, not attack him with a stick. EDDIE: He can't treat him any different just 'cos he's a scholarship boy.

˙™

bu

GRAHAM: Mum! It don’t hurt. (WOMEN)

4 4˙ ˙

nnn

j œ œ ‰ œ œ œJ œ œ œ

Œ

WOMEN mp

Ba

(WOMEN) 115 f

œœ œœ

œœ

Ϫ

œ

Mo - ther's

104 j ° & œœ œœ ‰ œJ œ

it's the

RITA: This ain’t spit, this is mother’s spit

2

nn

'Cause you're was - ting your time

in one hour what he

99–100

wo - man

œ œ œ œ ˙

œ

œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœ œœ œœ

Œ

She can

eff - ing diff -rence bet -ween

° ## & œ œ ˙™ ¢

-

man.

# œ œ & # œ œ œœ #œœ œœ œœ œœ œœ

# &#

bu

Ó

94

bas - ic

˙

œ œ

Ϫ

œ œ œ œ œ b˙ ™ J

œ œ

Made in Dagenham – Vocal Book GRAHAM: Don’t come into school Mum! RITA: Oh, you’re ashamed of me, are you? GRAHAM: Yes! 122

&

b˙ ™

° & #œ.

bœ ™

œ

œ

RITA: Alright Eddie? 126 EDDIE: Yeah. What?

œ .

œ .

¢& 130

&

œ J

œ J

Ϫ

SHARON: Watch out, Dad - Mum's gone in to one.

bœ ™

œ J

RITA: What’s today?

. #œ. #œ

œ .

œ.

œ.

œ bœ

WOMEN

#œœ

Œ

2 4

4 4 #œœ nœœ #œœ (WOMEN)

∑

Think

EDDIE: Innit? 134 RITA: Is it a special Tuesday?

3 4Œ

∑

&

4 ##˙˙ 4

Œ ##œœ

Re EDDIE: 140 (Kiss) "Love you"

∑

&

Ϫ

Ev - 'ry

He

for - gets

year

and

I

Whirr,

∑

for - gets

& œ œ œ œ œ

œ >

you

mem

I

took his

∑

Click,

œ

œ

Œ

Whirr

Œ

œœ Durr

2

˙˙

play

138–139

ber

-

j œ œ

We

œ

EDDIE: (Beat) Pancake day? RITA: Go to work you big lump.

˙˙

Ϫ

œ

Click,

j œœ ‰ J

Click,

œœ

the same rou - tine

re - mem -ber the day

WOMEN

151 WOMEN

j œ œ

ber,

Click,

j nnœœJ ‰

Œ

j œ œ œ œj œ œj œ œ œ œ

### œœ œœ œœ Œ & ¢ He

-

œ

j j nœœ ‰ œœ ‰ œœ J J

Œ

Whirr,

œœ

##œœ

mem

-

In 2 - Slower

### CRITA œ œ

145 ° ### & œ œ œ™

a - gain

(WOMEN)

œ

∑

œœ

Think,

∑

nœ nœ >

∑

∑

EDDIE: Tuesday. RITA: Tuesday?

œ

œ

œ.

œ #œ . .

∑

5

3

œ

our

œ œ œ

œ

œ

˙

ann - i - ver - sary game

2

A Tempo (in 4)

U œ œ œ Œ

nnn 4 4

U Œ œ œ œ u

nnn 4 4

rit. . . . .

stu - pid name

149–150

2

Stu - pid name

œ œ œ ˙

Shut the door, were you born

in

a barn?

œ œ œ œ œ bœ œ œ ˙ Wipe those boots you don't live

on a farm.

œ œ œœ œ How did your last

6

Made in Dagenham – Vocal Book

156

& œœ

œ

ser - vant

161

& œœ

die?

There's kids

& œœœ You'll

œœ œ

œœœ

all

miss

b & b bbb œ Œ

b w w & b bbb w

said, that's why.

œœ œ

bœœ œ

˙˙˙

me

when

I'm

gone.

˙˙˙

a

bu

˙˙˙

-

œœ

œœ

lose

the

plot,

j œœ œœ ™™ œJ œ™

œœ

œœ

The strength

b & b b ˙™

188

day.

Œ

a

Tests our lov - ing

œœœ

Beds

ain't

made

for

œœ œ

œœ

jump - ing

Œ

œ ˙ na - ture

on.

bœ

you want some - thing

Ϫ

She's got more

en

œœ

œœ

œœ

mat - ter

what,

-

œœœ ™™ ™

j œJ ˙˙˙

er - gy

œœ œœ If you

œœ

than

œœ

The

the

œœ

lose your key

or

pa - tience of

rhi - no,

j œœ œJ

œœ

of

a

Œ

bbbbb œ œ œ œ

œ œ ˙

no

Œ

WOMEN (+ OFF-STAGE)

Ó

œœ

œœ œ

œœœ

œœ nœœ œœ œœ œœ a

nun,

œœj n ‰ J It

Half-time feel

nnbbb œ œ œ œ ALL WOMEN

mar - a - thon.

œ œ œ œ

œœ œ

œœ

you won't grow –

œœ œœ œœ œœ ‰ œjœ J

b œ & b bbb nœ nœœ œœ œœ œœ œœ œœ œœ Œ no sprint– it's

œœœ

Œ

al - ways there

183

ain't

your greens or

œœ œ

wo - man

j ‰ œœ œœ J

j ‰ œœJ

œœ œ

œœ

If

(with Ts)

Œ

œ œ

œœ

Eat

∑

sy

She's

bb & b b b œœ

˙˙

œ

RITA: Bus pass!

˙˙ ˙

sun

180

I

bœœœ

Ask

175

bœœ

Af - ri - ca, you know.

œ œ

done

œ œ

œ

œœ œœ bœœ œœ ˙˙

œœ œœ

star - ving in

170

œœ

œ

Why? Be - cause

œœ

œœ

165

œœ

˙˙

Ev - 'ry

œ

in

lov - ing

œ œ œ œ

eve - ry

lov - ing

˙

way

œ ˙

œ

mi - nute

of

Ó

œ œ œ œ

ev - 'ry

lov - ing

nnb œ œ œ œ

Moth - ers, sis - ters,

Made in Dagenham – Vocal Book

194

&b œ œ Ó daugh - ters,

° b ˙˙ & ˙

Lov - ing - ly

200

fee

&b

Ϫ -

ling

˙

œ œ œ œ

we

It's

go - nna be

∑

M1+2 / M3

Ó

say,

j œJ œ œ œ œ œ

7

˙˙

œ œ

˙˙

We've

got this

fee

∑

œ

œ œ -

ling, this

b

∑

ev - er lov - ing,

∑

go - nna be

° œ œ œ œ œ &b 204

œ

moth - er lov - ing wor - king

&b

œ œ œ œ Œ

moth - er lov - ing...

¢& b œ œ œ œ Œ moth - er lov - ing...

œ œ

Ó

œ

œ œ

œ œ œ œ Ó

œ

a - no - ther

œ œ œ œ œ œ

œ

slug - ging, ev - er lov - ing,

Ó

kid - dy hugg -ing

w

œ œ œ œ ev - er lov - ing,

w

w

∑

day

œ

If you want

œ œ

won - der - ful

œ œ œ œ

a - no - ther

œ œ œ œ œ

œ œ

RITA

Ó

Heart tug - ging, tea

¢&

˙˙˙

œ

If you want

œ it

œ it

œ

œ

done then

œ

œ

done then

œ ask

œ

ask

œ a

œ a

Ϫ bu

Ϫ

bu

-

-

j œ œ œ ˙™

∑

j œ œ œ ˙™

∑

sy

sy

wo - man

wo - man

SEGUE

8

Made in Dagenham – Vocal Book

2

Made In Dagenham

CUE: SEGUE CLICK

Med. Pop Beat (q = 132)

4 &4 6

&

Œ

10

& Œ

(Clicks)

(Drum fill)

¿

¿

V

V

œ^

b -œ œ. J

œ J

j œ

œ bœ œ J

MEN

& Œ

I 18

& Œ & Œ

sump

clock in

and

fan - belt,

gear

& Œ ‹

2 &4

30

œ Blue

∑

what

j œ œ bœJ

col - lar

car

fills

œ J

œ

^ ^ . œ œ b-œ œ ‰

j œ œ

œ bœ

the

j j œ œ œ

do

my

or

air,

œ

goes

time;

œ œ J

&b œ œ œ œ œ Made in

Da - gen - ham,

# j &#œ œ

j j œ œ œ is

a

At

it:

Œ

œ

in

w

œ nœ œ J

œ J

are

j œ œ

gift;

ga

in

my

life

it

got

A

love - ly

Mi

a

kick

us

if

it

œ Œ

ing

eight

das touch.

j œ bœ œ œ

œ œ J

can’t

af - ford a

Ó

hour shift.

2 4

car.

œ œ œ nœ œ

œ #œ œ

œ œ nœ œ œ œ J J -

-

don't fit.

n## Œ

in

Œ

Da - gen - ham.

œ nœ œ œj J

M1

I

stink

is mine.

j j j œ œ œ bœ œ œ œ

j œ œ bœJ

œ

the

Da - gen -ham boys. M5

my hair.

œ œ bœ œ œ œ J J

Da - gen - ham, Shame we're un - der - paid

œ œ œ œ œ œ

we

-

clock

Shame most of

œ œ œ œ œ laid

o'

j œ bœ œ

Give

men that’s who we are,

Da - gen - ham,

five

œ bœ œ œ œ œ

œ œ bœ œ œ œ J J

œ J

We're men who've

in

j œ œ œ œ

œ

w

j j œ bœj œ bœ œ œ bœj œ œ œ

Œ j œ œ

to

œ J

œ œ

œ bœ œ J

a clutch–

-

^ ^ - œ. ‰ œ œ œ bœ J

œ

One week's Swar - fe

j Œ œ

j j œ œ œ

(MEN)

35

it

box

b 44 œ œ œ œ œ Made in

40

-

j j œ œ

œ bœ nœ J We're proud of

26

^ ^ - œ. œ œ œ ‰ œJ

j j œ œ œ

oil

j œ œ

œ

j j œ bœj œ bœ œ œ bœj œ œ œ

A 22

just

j œ œ

œ œ

œ bœ

œ J

^ ^ - œ. œ œ œ ‰

œ

The smell of 14

Œ

œ^ b -œ œ. J

love my

œ nœ œ J

EDDIE

See

how the

job,

j œ fac -

Made in Dagenham – Vocal Book

# j j j &#œ œ œ œ œ

j œ nœ œ œ œ J

44

-

to - ry

# & # ¿J ¿

shine

Hen - ry

ALL

Ford

# j &#œ œ

From whom

j j œ œ œ™

52

œ

M8

- tion

That

he

# &#œ œ œ œ œ he

was

TEN / 59 BARI + BASS

#œ & œ

Made

68

#

& Ó # & Ó # & œ Health

#4 & 4Ó

81

he

got

a

lit - tle

fa - mous and

œœ œœ œœ œœ

œœ

in

Da - gen - ham,

laid

in

Da - gen - ham. Last

year

œœ œœ œœ œœ œ œœ œ we

are

steel

ALL MEN

œ

œ

and

œ

safe - ty

Œ

-

j œ œ

capped

œ

we

œ œ Ó

Œ

from

the pol - lu -

¿ ¿ ¿

ooh, Dud - ley Moore!

œœ

œœ

hol - i - dayed

Œ

ing man's suit.

j œ œ

j œ Ó

guar - an - tee.

œ

man

Œ

n#

j ‰ œœ œœ nœœ œ J in

Da - gen - ham.

‰ œj

j œ œ #œ œ™

My

half - pint ther -mos

M8

‰ œj œ œ œ œ #œ œ Œ ov - er - alls pro - tec - tive,

œ œ œ œ ‰ œj œj œ œj Ó

State

of the art

œ

œ

Main - tained

en - gin - eer - ing ex - perts and some

‰ nœJ

M8, M2

Our

∑

j œ

fucked off pret - ty quick.

˙

boots,

œ œ œ œ ˙ -

˙w

he

œœ #œœ

‰ œ 44 œ œ œ œ œ œ œ œ #œJ œ J By

¿

M3

Da -gen -ham boys.

Ϫ

j ‰ #œ œ œ

M3, M7, M5

It's the work

77

‰ ¿J

Œ

Mis - ter

œ nœ œ J

ALL

œœ

‰ #œJ œ œ

Œ

And

œœ

Da-gen - ham,

j œ œ

M7

‰

¿ ¿

fa -mous for

A - part

Thames.

œœ œœ œ œ

And my 72

œ

œœ

Made in

Œ

¿ Œ J

œ œ #œ œ œ œ œ œ œ œ nœ œ œ œ œ

But

TEN / BARI + BASS

on sign. We're

-

stems,

j œ

œ nœ œ J

ne

˙

M4

slick,

# & œœ œœ œœ œœ œœ

63

gest

-

j œ

good -ness

dumps in - to the

56

-

lar

j œ nœ œ

all

¿ ¿ J

M6

From Eu -rope's

‰ œj œ

¿ ¿ J

48

œ œ œ nœ œ œ œ ¿ J J J

M2

does

9

ma - chin - er - y,

3 4 #œJ

œ

dai - ly

œ œ J

su - per - glue!

œ

œ Œ J

4 4

through -and - through

Œ

2 84–85

#

10

Made in Dagenham – Vocal Book

° # œœ œœ ¢& ‹ Made in

TEN / BARI + BASS

86

{&

# Œ

œœ œœ

œœ œœ œœ

Da -gen - ham, laid in

Hand claps

¿ ¿ ‰ ¿ J

¿

91

∑

° # & œ

are

96

œ

strayed in

# #œ œ ¢& ‹ strayed in ° # #œ & 100

stayed

#œ

¢& ‹ stayed ° #œ & 104

paid

¢& ‹

#œ paid

Ó

œ œ œ

Ó

Ó

œ œ œ nœ œ œ

Life is

Da - gen - ham,

Life is

Da - gen - ham,

œ

œ œ #œ

in

Da - gen - ham,

œ

œ œ #œ

in

Da - gen - ham,

108 ° ## œ ™ œj ˙ & œ™ œ ˙

Tem -pers get - ting frayed

¿

Boys!

#œ œ œ œ

Ó

F6, F5+ SANDRA / F2, F3, F7

œ œ

œ œ

œ œ #œ œ œ œ

We

are

Da - gen -ham

¿ Œ

GIRLS

Girls!

BOYS

¿

Boys!

(BOYS)

Œ

Played in

Da -gen - ham,

Da - gen - ham,

in

Da - gen - ham,

in

œ #œ œ

we

Œ

‰ œ J we

œ œ œ œ œ œ #œ œ

Ó

Da - gen - ham,

œ #œ œ

‰ œj

Œ

God knows why we

œ #œ œ

œ œ

Ó

God knows why we

Œ

‰ œ œ œ œ œ J

'cos we're still un - der -

Œ

Da - gen - ham,

‰ œ œ œ œ œ J

'cos we're still un - der -

œ œ

girls,

œœ œ œœœ œœœ œ

ooh

Ó

Da -gen - ham,

## w w

w w girls,

œ œ œ œ œ

Played in (MEN)

in

in

Girls!

Da -gen -ham

Ó

œ œ œ

##GIRLS ¿ Œ

∑

œ Œ œœ œœ œ œ œ Œ

œ

Tem -pers get - ting frayed

girls,

BOYS

œ

œ œ œ œ œ

œ œ

read - y made

#œ œ œ œ

Ó

œ œ #œ

in

read - y made

3 œ œ œ œ #œ œ

Da - gen - ham,

in

##GIRLS ¿ Œ ¢& ‹ Girls!

j œ˙ œ ™

Da -gen - ham,

‘

WOMEN

3

Da - gen - ham,

œ œ œ

œœ œœ œœ œœ œœ

‘

∑

j œ œ œ

Ϫ w

œ #œ œ

œœ œœ œœ nœœ œ

‘

Da -gen -ham boys.

œ œ

¿

∑

#œ œ œ œ œ œ œ œ œ œ œ œ & ¢ ‹ we

œœ œœ #œœ œœ

TEN / BARI + BASS

Da -gen - ham. Come get your cat spayed in Dag -en - ham, Made in

¿ ¿ ‰ ¿ J

Œ

f

° # &

œœ œœ œœ

TEN + BARI / BASS

œ œ ‰ œ œ œœ œœ œœ J Da - gen - ham

BOYS

¿

Boys!

œœ Œ œ œ

Œ

¿

GIRLS

Girls!

Œ

BOYS

¿

Œ

Boys!

œ œ œ œ œ œ œ œ œ œ

∑

we are Made in Da -gen - ham.

œœ œ Œ œ œ

œœ œœ œœ œœ œ œ

we are Made in Da -gen - ham.

∑

Made in Dagenham – Vocal Book

11

3

This Is What We Want

CUE:

BERYL: . . . Latin! MONTY: Alright, want to you want?

Rubato Gospel feel

# # 4U & # #4 Œ

SANDRA

œ œ œ œ œ œ I

## &##œ

4

just

## &##œ

7

œ

a chair that

Œ

œ œ

Œ

j œ œ

œ that

does n't

just

I

Shuffle

j œ

reek .

œ

œœ œœ œœ œ œ œ

that

œ ain't

## & # # œj œ

17

give

## &##œ

hot

as

loads

œ

j œ

Wim - py's

of

j œ œ

res - tau

loud

‰

-

rant,

want the

ain't

a

MONTY: Ladies . . .

Œ

Ó

Load - sa

yell.

freak

load - sa

want

œœœ œœœ œœ œ

We want to work in

that.

ov - er - alls

j œ œ

j ‰ œ

Spain,

I

a

œœœ œœœ

œ œ œ™

œ make

you

fat

plac - es

RITA, CASS, F4:

j œ

Just

j F2j œœœ œ œ œ œ œ œ œ

want my

South - ern

œ œ œ

CASS

I

SANDRA

fac - t'ry moved to

BERYL

œ œ

Œ

roof that

‰ œj œ œ œ œ œ œ

j œ

j j œ œ œ œ œ œ œ œ I

a

Does - n't reek, does - n't

œœœ œœœ

that

want

ALL

reek.

have to

œœœ œœœ œœœ

œ

F3

I

you

ALL

## j & # # œj œ œ œ œ œ œ œ

23

œœ œ

œ

We want some choc' late that dont

that

j œ

boss that

œ

j œ œ œ œ œ œ œ

F4:

œ œ œ œ œ œ I

j œ œ

œ

œ

hell.

j j œ œ œ

us

20

j œ

j œ œ

œœ œœ œ œ

Does - n't reek, does - n't

reek. We want ma - chines that ain't so

# ## &# œ

a

SOP / MEZ / ALT

RITA #### œj j & œœ œ œ œ œ œ œ œ

Œ

don't creak,

want

11

14

Œ

œ œ

œ œ œ œ œ œ

don't leak,

A Tempo

bog

want

œ

œ

want the can - teen moved to

des - igned

BERYL

j œ œ œ I

œ

œ

want my

by

œ

j œ œ

Mar - y

œ

doors blown

œ

off

j œ

Quant,

œ

by

12

Made in Dagenham – Vocal Book

26 ° #### & œ

œ

œ

Mich - ael

œ

œ

Caine.

#### Ó & ¢

∑

œ ALL

œœœ

Œ

Mich - ael

#### ‰ &

is "Throw a

œœ œ

Caine.

lit - tle crumb this

œœ œ

All

j œœ œœ ™™ œ œ™

j œœ œœ œœ œœ œœ œœœ œœ œ œ œ œ œ œ

29

say

j œœœ ‰

œœœ

w w w

œœ œ

I

A

œœ œœ œœ œœj ‰ Œ

It's

# ## w &# w w

j œœ œœ œœ œœ œœ œœ œœ ™™ œ œ œ œ œ œ œ™

˙˙˙

touch,

36

Œ

place,

not

as

if

we're ask - ing

Put a smile on my

# ## j & # œœœ œœœ

41

this is

j œœ œ

what

j œœ œœ œ œ

j œœ œ

we

want.

Œ

for much.

Ó

Œ

co - ton towels to

wipe

œ

j œ œ

my

swea - ty

bits.

œœ œœ œœ œœ œœ œ œ œ œ œ

mess with us,

j œ œ al - ways

¢

## &##

I

want Ba - rry

∑

to

ser

∑

vice

-

Ó

me.

Œ

## &##w w w say

‰ œœj œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ is "Throw a

lit - tle crumb this

j œœ œœ ™™ œ œ™

way."

˙˙ ˙

j j œ œ œ

smell

of

j œ shit,

‰ œj œ œ œ œ œ œ Cha - nel

per - fume on

tap and

∑

j œœœ œœœ œœœ ‰ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ

ALL

Ser -vice me.

52

'Cos

SANDRA

48 BERYL 3 ° #### j j & œ œ œ œ ‰ œj œ œ œ œj œ œ œ œ œ œ œ œ ™

served for free.

wee - ny

j œœœ œœ œœ œœ ‰ œœ œ œ œ œ

œœ

A chang -ing room that does - n't

œ

œœ œ

Don't

j œ

tee - ny

Spread some joy a-round the

‰ œj œ œ œ œ œ œ

w w w

BERYL

E - gyp - tian

ti - ny

CLARE

## j &##‰ œ œ œ œ œ œ œ

45

face.

to

j œœ œœ œœ œœ œœ œœ œœ

‰

j œœ œœ œœ œœ œœ œœ œœ

lit - tle

want

SOP + MEZ / ALT

#### j j & œœ œœ œœ œœ ™™

32

∑

œœœ œœœ

real - ly

˙˙˙

way."

œœ œ

All we real - ly want to

‰ œœj œœ œœ œœ œœ œ œ œ œ

SOP + MEZ / ALT

A

ti - ny tee - ny wee - ny

Made in Dagenham – Vocal Book

## j & # # œœ œœ œœj œœ ™™

56

lit - tle

j œœ œœ œœ œœ œœ œœ œœ

touch,

## w &##w w

60

It's

j j ## j & # # œœœ œœœ œœœ œœœ œœœ #### &

j œœ œ

we're ask - ing

what

we

w w w

want.

ach - ing for,

## & # # ˙˙˙

74

˙˙ ˙

change,

# ## & # œ œ œj ‰

Œ

mess with us,

# ## & # œœ ™™ œ™

for,

‰

pi -ning for, whin -ing for,

˙˙ ˙

moan - in' for,

yearn -ing for, burn -ing for,

˙˙˙

Change,

change,

j œœœ œœœ

81

change,

pray - in' for,

case?

mess

## & # # œœœ

92

mess

of

œœ œ

˙˙ ˙

Change,

change,

Be - fore we smack you

œœ œœ œœ œ œ œ

with

us,

œœ œœ œœ œ œ œ

with

us,

j ‰ œœ œ

'Cos

‰

j œœ œ

'Cos

j œœ œœ œ œ

this

j œœ œœ ™™™ œ œ

the

˙˙ ˙

Change,

change,

is

what

is

we

want.

j œœœ œœœ œœœ œœœ

what

we

œœœ

œœœ

why don't you

˙˙˙

face.

j œœ œ

for

œœœ

So

j j œœ œœ œœ œ œ œ

j œœ œœ œ œ

this

in

œœœ

on

Ó

œœœ

get

œœœ œœœ

on

Œ

the

œœœ

Don't

Ó

w w w

bray - in' for,

˙˙ ˙

œ œ œ

still we're on - ly dream - in'

j ‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

## w &##w w ## & # # œœœ

and

˙˙ ˙

œœœ

Keep dream - ing

84

88

œœ œ

for

j œfi

Bring it

œ œ œj ‰ œ œ œj ‰

groan - in' for,

œ œ œ œ

œ œ œ œ

œœœ œœœ œœœ

˙˙˙

change,

œ œ œj ‰ œ œ œj ‰

j œ

I'm

scream - in'

'Cos

ALL

78

schem - in'

a -round the

j œœœ œœ œœ œœ ‰ œœ œ œ œ œ

œœ

Don't

sick of bleed - in' wait - in' for

change.

œœœ œœœ œœœ œœœ œœœ

Spread some joy

Ó

œ œ œ œ œfij œ œ œ

Œ

˙˙ ˙

œœœ

Œ ‰ j œ j‰ œ œ j‰ œ œ j‰ œ œ j‰ œ œ œ œ œ œ I'm

quak -ing for,

Œ

for much.

˙˙˙

face.

Ó

œ œ œj ‰ œ œ œj ‰

Change,

if

Put a smile on my

65

70

as

œœ œœ œœ œœ Œ

j œœ œœ œœ œœœ œœ œœ œœ ™™™ œ œ œ œ œ œ

Œ

place,

this is

not

13

Œ

œœ Don't

w w w want!

∑

14

Made in Dagenham

4

Union Song

CUE: CLARE: Yeah, and mind your whatsit. RITA: Language. BERYL: Bollocks.

TEN + BARI / BASS

2 CLICKS IN

4 & b4

f

œ œ.

œ œ œ. œ.

œ œ.

œœ

œœ

œœ

œœ

Ϫ Ϫ

for

your

fu

ture

and

4

& b œœ Fight

7

& b œœ rights

œœ

Ϫ

God

gave.

-

˙ ˙

j œJ

We

œœ œœ œœ

œœ

œ œ.

Broth - ers

œœ ™™

œ œ œ œ

and

œ œ

sis -

work

œœ

œœ

œœ

to - geth - er

or

œ œ œ ˙ œ œ œ ˙

ters, com - rades, ev - 'ry - one. TEN / BARI + BASS

j œ œJ

Ϫ Ϫ

the Un - i - on.

œœj J

Ϫ Ϫ

œœ œ œ

œ œ

œ œ

œœ

The

rights

of

man

are

œœ

œœ

œœ

œœ

die

as

slaves.

we

œœ the

Œ

5

Wossname

CUE: What would you say, Clare?

3,4 . . . Easy Shuffle

12 &8

3

Ó™

Œ

j œ œ œ œ

Well,'ere

& Ϫ

6

Ϊ

Œ

this, 9

& Ϫ & Ϫ

strong.

Ϊ

Ϊ

And don't no - one start

Ϊ

Œ

right, 12

j œ œ œ œ™ œ

j œ œ œ œ™ œ

Œ

j œ œ œ œ

Ϫ

I been at this game

the

Ϊ

‰

Ϊ

Œ

‰

œ œ

fing,

Ϊ

‰

piss,

œ œ

is

œ œ œ

'Cos when sum -mink ain't

œ œ œ œ™ œ œ

There's a smell in the

air

j œ œ œ œ

j œ œ

since I was four -

œ œ œ

And the fing 'ere

œ œ œ œ™ tak - ing the

Then sum -mink is wrong.

Ϊ

is

Ϊ

Ϫ

CLARE

teen.

Ϊ

‰

œ œ

œ œ œ

and the pong is quite

Ϊ

Œ

j œ œ œ œ I know what my

Made in Dagenham

j & œ œ œ™ whats - it - called –

18

& Ϫ

Ϊ

do you know what I

21

I am what I

Ϊ

on.

™ ¢& Œ ° & œ™ 24

œœœ ™™™

œœ ‰ Œ ™ œ

Oo -

Ϊ

Œ

j œ œ œ

œœ ™™ œ™

WOMEN

Ϊ

‰

œœœ ™™™

oo...

Ϊ

Œ

™ ¢& Œ

œœœ ™™™

fing

Oo -

‰ Œ™

j j j & œ œ œ œ œ œ œ œ œ

blah - de - blah - de - blah and lots of "Yeah,

& œ™ Œ ™

Œ

j Œ™ œ œ œ œ œ™

and I talk it plain.

I know what's

œœ ™™ œ™

œœ œ

wot - sit

Ϊ

Oo -

Œ

‰

Ϊ

œœœ ™™™

‰

œœ œ

Oo -

oo...

j œ œ Œ™

Œ

no"

Ϊ

Oo -

There's lots - a– ya

Ϫ

œ œ œ œ œ ‰ Œ™

oo...

Ϊ

Œ

know,

j 2 œ œ œ

and Ou - jah,

j œ œ

j œ

n' blah - de -

Ϊ

∑ ™ œ œ Œ 2

Œ

ou - jah.

œ œj œ œj œ œj œ ™ œ™

What you see

‰ Œ™

œœ ™™ œ œ ™ œœ

Ϊ

j œ œ œ œ

œ œ œ œ œ

But some fing in this

oo...

Ϊ

Ϫ

go - ing

oo...

Ϊ

œ œ™

œ œ

a - bout the whats -its -

Oo -

j œ œ œ

œ

œ œ ‰

œœ ™™ œ ‰ Œ ™ œ ™ œœ

oo...

30

‰

j Œ™ j œ œ œ œ œ œ

Well, I dun - no– ain't there.

œœ œ

Ϊ

And I know what's fair,

Ϊ

œ œ œ œ œ La - de - dah and good

I?

œœ ‰ Œ ™ œ

Oo -

œ œ™

œ œ œ œ œ

ain't

and I know the

Ϊ

œœ ‰ Œ ™ œ

° & œ™

straight,

Œ

And I know what's right,

oo...

33

Ϊ

oo...

Oo -

27

'cos I'm me,

Yes, I know the game,

name.

™ ¢& Œ

am,

‰

So, ou - jah kap - iv - u - wat,

j‰ ‰ j‰ ‰ œ œ œ œ œ™

‰

j œ œ œ œ™ œ

Œ

j œ œ œ œ œ œ Œ™ œ

Œ

mean?

j œ œ œ œ™ œ

Œ

bye.

° & œ™

Ϊ

‰ œ œ œ œ œ œ™

15

15

Ϫ

is what you whats - its - name

j œ œ œ œ

But I talk it

Ϊ

Ó™

bb 44

16

Made in Dagenham

° bb 4 & 4 nœ ™

Half-time feel

37

j œ ˙

œ

Life ain't fair WOMEN

Oooh...

° bb j & œ œ™ 41

b w ¢& b w w

Œ

œ

... ° bb nrit & ¿ ¿ ¿ ¿ Œ œ

¢&

bb

I'm

me,

bbbbb 12 8 Ϊ

∑

° bb b & b b ˙™ bb b Œ ™ ¢& b b

eye.

Ϊ

œœ ™™ bœœ ™™ Œ ™ œ™ œ™

get

b & b bbb œ ™

57

Œ

œœ ™™ n˙˙ ™™™ œ™ ˙

You

I?

Ϊ

her.

j œ œ œ œ Œ™

Ϊ

Ϊ

you're

you,

™ œ™ Œ

‰

front

2 4

œœœ ™™™ ˙˙˙ ™™™

side

4 4

∑

Ϊ

you.

∑

see

eye

See

eye,

œœ ™™™ œ™ œ ™ œ ˙˙ ™™

to

j œ œ œ ™ ‰ œ œ œ™ œ ™

And we ain't

got a bleed - in'

∑

too!

™ œ œ ≈ œr œ™ Œ œ œ

and the fut -ure's

∑

4 4w

And we don't

d'uh. (durr)

Ϊ

Us

Meno

Ó

j j œ œ œ™ œ™ œ™ œ œ

œœ ™™ ˙ ™ œ ™ ˙˙ ™™

No

who?

C.V.

¿ ¿ ¿ ¿ ¿ J

‰

be - hind.

œ œ

œ œ œ

Fanks for hear -ing me

∑

Speak for your - self, love!

Ϊ

b & b bbb œ ™ Œ ™ here.

Ϊ

you–

ain't

-

∑

˙™

‰ œ œ œ œ œ ˙™

The past is in

ad lib.

‰ œ œ œ œ œ ‰ œ Œ™

out,

60

2

œœ ™™ ˙˙ ™™™ œ™ ˙

Ϫ Ϊ

her!

54

clue.

Ϫ

And

° bb b & b b œ™ Œ ™ bb ™ ¢& b b b Œ

œ œ œ™

She's

50

in

Œ

A tempo

But you stay firm and

2 4˙

˙

to the whats -its -name that's deep

bbbbb 12 8 ˙™

46

Ou - jah, Ou - jah!

Stick

j nœ œ œ œ œ

Yeah, yeah.

˙

3

‰

j ‰ œœœ nœœœû Œ ûû

oooh...

3 j œ œ œ œ œ œ œ œ

˙˙ ™™ ˙™

Oooh...

yeah, yeah.

˙™ n˙˙ ™™

oo

Œ

j œ ˙

get the blame,

ùùùœœœ

‰

true,

3

and peo - ple

˙˙ ™™ ˙™

b4 w ¢& b 4 w w

j œ œ œ œ œ œ nœ ™

‰

it's a weight off my

‰

chest.

œ œ œ œ™ Œ ™ œ œ

That's all I got to

say.

Ϊ

Ϊ

œ œ œ œ™

Ϊ

Ϊ

œ œ œ

We've all been there

‰

œ œ œ™ œ™ ˙ ™

Do I make

my

self

and now we're

Ϫ

clear?

Ϊ

Ó™

Made in Dagenham – Vocal Book

17

5a

Big Ben (TACET)

CUE: CLARE: You ain't running the country, that's someone else.

6

Always A Problem CUE: HAROLD WILSON: I'm trying to set an example.

##C U Ó &

Colla voce

HAROLD WILSON

‰

j œ œ œ

What would you

# &#˙

5

‰

j œ œ œ

gy?

# &#œ

9

You need to

U ˙

ve - lli.

# &#˙

13

be?

#6 & #8 Œ ™

18

Ev -'ry

# &#œ

Ϫ

# &#œ

j œ œ

œ

˙

do

if

you

were

me?

a cri - sis

or

j œ

a

œ #œj œ

Prime Min - is - ters

j œ œ™

makes me ve - ry

tense,

œ is

j œ

the

‰

j œ œ œ

What kind of

œ

œ™ j œ œ

prob - lem of

œ

But

œ J

the

j œ œ™

Œ

the wings.

j œ

œ

œ

j œ

me

Ϫ

bal - ance of

stra - te -

œ

œ

œ

œ

your Mach - ia -

œ

œ

lead - er

would you

U 6 j Œ 8 œ œ

Ϫ

com - pro - mise?

j œ œ

j œ œ

That's al - ways been

œ œ J

what keeps

œ

œ

œ

up

Do you stand firm or

wait - ing in

and Kings.

j œ œ

œ œ

And brush

j œ œ

œ

prob - lem

œ œ œ

œ Œ ‰ œj œ œ œ œ

sur - prise —

Ϫ

Œ

ty.

-

œ œ œ

j œ œ œ

What's your po - li - ti - cal

˙

œ

j œ œ #œ

al - ways

me?

œ

œ #œj œ™

Ϫ

j œ œ

prob - lem for 29

sin - ce - ri

‰

˙

you were

A tempo (in 2)

There's 24

day

if

fake

œ œ

œ œ œ™

do

œ

œ

j œ œ #œ

What would you

Œ

œ

Ϫ

3

œ

œ

œ J

up

at

˙™

pay

-

Ϫ

œ

night,

and

Ϫ

ments.

Ϊ

j œ the

j œ it

18

Made in Dagenham – Vocal Book

° ## M2œ ™+ M6 œ ™ & 35

Up - tight,

## ¢& œ ™

œ

high - ly strung,

∑

# & # ˙™ pay

j œ œ

j œ œ™

makes him ve - ry

Ϫ

ments.

tense.

tense.

When

œ

j œ œ™

œ

j œ œ™

When

it

it

œ

comes

comes

œ J

to

the

œ

œ J

to

the

œ

œ

Im - ports,

C

œ

œ

ex - ports,

œ œ #œ œ œ

j œ

œ

Ϫ

bal - ance of

j œ œ™

œ

bal - ance of

Def - i - cit

∑

∑

œ

or sur - plus. M2 + M6

∑

#œ œ œ

Ca - pi - tal

Ϊ

C

∑

46

œ œ œ

Ca - pi - tal

Œ ‰ œj œ œ In

j œ œ œ

Ϫ

œ œ œ #œ œ œ œ œ #œ œ œ œ

œ

œ

œ

in - flows,

in - flows,

(in 4)

œ œ œ œ nœ #œ nœ #œ nœ #œ nœ #œ nœ

lay - man's terms, when it comes down to it,

M2 + M6 / M5

œ

M5

∑

ments.

-

° ## & Ó

HAROLD

Ϊ

Ϫ

pay

C

∑

-

## ˙™ & ¢

##

j œ œ™

Colla voce (in 2)

41

¢&

j œ œ

makes him ve - ry

j œ œ™

œ

Up - tight,

° ## &

œ

high - ly strung,

Ϫ

M5

j œ œ™

œ

∑

If you buy more than you sell then you are

∑

∑

e - co -nom-ic cir - cus.

# & # #œ

50

œ œ œ œ

real - ly

in

AIDE 1: Actually, Prime Minister, the correct term is "visible trade deficit".

54

in

##

Ó

Œ

œ œ #œ nœ #œ nœ #œ

You can

A tempo (in 2)

6 8

Œ

∑

call

∑

Œ

3 ‰ ‰ j 68 œ™ œ

œ #œj œ™

6 8 Ϫ

j œ nœ #œ ™

M6

There's

∑

al - ways

M2 + M5

al - ways

a

a

Ϫ

prob - lem

Ϫ

prob - lem

it

what you like,

∑

the shit!

# &#Ó ¢&

∑

the shit!

° ## & #œ œ œ œ œ real - ly

Œ

HAROLD

œ œ

j œ œ

wait - ing in

son, we're

∑

œ œ #œj œ ™ J

wait - ing in

œ nœ

Œ

the wings.

j œ œ™

the wings.

j nœ

That's

Œ

j œ

That's

Made in Dagenham – Vocal Book

° ## œ & 59

œ œ J

j #œ

j œ œ

j œ

al - ways been

¢&

## œ

the

al - ways been

° ## & œ™ 64

things

## œ™ & ¢

things

° ## & 69

Ger

## ¢& ˙ ™ Ger

## &# œ

prob - lem for

œ

j œ

œ

prob - lem for

Prime Min - is - ter's

j œ

Ϫ

j œ

œ

we

sell

when

we

œ

j œ

Ϫ

œ

j œ

Ϫ

sell

when

we

can,

Œ

HAROLD

we

Ϊ

-

man.

œ

man.

œ

œ

of

Ϫ

can,

### C

Ϫ

and

Kings.

and

Kings.

but

the

œ

j œ

the

noth - er

Ϫ

world

Ϫ

Ϫ

whole

j œ œ œ œ œ œ

lit - tle prob - lem

Ϫ

j œ

world

make

great

j œ

make

great

Ϫ

wants

to

œ

j œ

wants

to

with which we

all

### C

∑

∑

œ

œ œ œ œ

in - dus - tri - al

un - rest.

œ

œ

Ϫ

buy

Is

œ œ œ œ œ

œ œ

Strikes here, strikes there—it

œ œ

are blessed

‰ Œ™

œ

buy

j œ œ œ œ œ œ ∑

Œ

Ϫ

j œ œ™

œ

∑

œ

Ϫ

We

We

whole

Colla voce – Slower (in 2)

-

Œ

Ϫ

œ J

but

Œ

### C

73

great deal

A

‰ Œ™

œ

-

j œ

œ

j œ

j nœ #œ ™

j nœ #œ

the

œ

which

j #œ œ

Prime Min - is - ter's

j œ œ

œ

œ J

which

∑

# & # ˙™

œ œ J

œ

19

a

œ œ

just a - maz - es me; When the

## & # œ nœ #œ nœ #œ nœ #œ nœ #œ œ œ œ œ ‰ œj œ œ œ œ œ œ œ œ ‰ œj

77

daf - fo - dils come out the men come out in sym - pa - thy.

81 ° ### & œ

œ

œ

put

the

great

¢

## &#

∑

œ œ

œ

œ

œ

in - to "Great Bri - tain".

∑

Œ

We need

i - deas and we need

A tempo (in 2)

6 8

∑

6 œœ ™™ 8

M2 + M6 / M5

œœ ™™

Up - tight,

a

∑ œœ

œœ œ J œ

plan

To

∑ j œœ œœ

high - ly strung, brings him

œœ œœ J

out in

œœ J a

20

Made in Dagenham – Vocal Book

86 ° ### &

∑

∑

### œ ™ œ™ & ¢

œ

j œ

When

he

91 ° ### Œ ™ &

>¿ ™

sweat.

¢

Ϊ

## # & # ##

œ

œ J

Ϫ

of

the

size

>¿ ™

Ϊ

Ah

¿™

Debt!

94

thinks

Ϊ

Ah

## & # ¿™

Ϫ

∑

Ϊ

Debt!

HAROLD

¿™

Bril

## # & # ## œ

100

-

¿™ li

œ œ J

## # & # ## Ϫ

œ

plan

to

105

## # & # ## œ ™

110

no

b & b bb œœœ

116

it's

b œ™ & b bb œœ™™

121

round

Ϊ

will make

j œ œ our

Plan

Ϫ

Ϊ

B.

œœœ œœœ J

j œœ œ

œœœ

Ϫ

im - mor - tal

œœœ way

of

the

j j œ nœ #œ nœ #œ ™

œ œ J

us

all

j œ œ

Ϫ

œ J

Ϫ

e - con - o - my.

nnnn nbb b œ ™ n b œœ ™™

HAROLD

œ

It

œœœ œœœ J

in - dus - tries

œœ nœœœ œœœ œœœ J J

af - ter we've

œœœ J

from

œœ œ J

AIDE 2: Printing money? HW: Printing money? Can we do that?

œ

j œ œ

gone,

j œ œ™

œ œ J

in those blood - y

j œ œ

Œ

than kings.

This

j œ œ

œ J

is

œ

bet - ter blood - y

Œ

to

œœ ™™™ œ

j œœ œ

Œ

Wool- worths.

j œ bœœ

wings.

œ œ J

œ J

j œ œ

j œ

the mas - ter -

work 'cause there

love our coun - try, the great - est on

min - ing

Ϊ

j j j œœ œœ œœœ œœœ œœœ œœœ œœœ ™™™ œ œ

œœ nœœj œœ ™™™ œ nœ œ

œœ nœœj œœ œ nœ œ

œœ ™™ œ™

debt.

HW: I don't need it, I'm very regular. In an emergency I'll have two black coffees and a cigarette.

HW + M6 / M2 / M5

We

‰ Œ™

AIDE 1: Sir, how do you feel about quantitative easing?

Ϫ

had

œ.

Bri - tish

prob - lems

more pow - er - ful

j œ

œ

j j œ nœ #œ nœ #œ ™

œ J

>¿ ™

HAROLD

Ah

Great

fl # ## # # #

No more blood - y

j œ œ

cure

j œ

ALL

ant!

Print - ing cash

U™ Œ

œ

Debt!

¿™

-

Agghhhh..

¿™

∑

fl # ## # # #

U™ ¿

Ϊ

œœœ

j œœœ œœœ

which judg - ing from

Œ

the earth.

œœ œ

They'll still

be

j œœœ

the

œœ œ

state

j œœ

With

œœ ™™ œ™

j œ

ain't

œœj œœœ™™™ œ

of things

œœ œ J

a -

Made in Dagenham – Vocal Book

bbb ˙˙˙™™™ b &

œœ ™™ œ™

126

bbb ˙˙ ™™ b & bœ ™

133

ve

-

Ϫ

ry

˙ ™™ ˙

˙˙ ™™™ ˙

˙˙ ™™™ ˙

won't

be

ve

Œ™ ˙˙ ™™ œ™

Ϫ

Won't

be

˙˙ ™™ nœ ™ ve

-

Ϫ

ry

˙˙ ™™ b˙ ™

long!

21

œœ ™™™ œ

˙˙ ™™ ˙™

Ϊ

Ϫ

Won't

be

Ϊ

ry

-

˙˙ ™™ œ™

long!

HAROLD

¿™

¿

Oh

shit!

‰ Œ™

6a

Busy Woman (Barbara Castle) CUE: HW: Good. She can do her own typing.

(In 4) ˙ j fi b2 œ ˙

b & b bbb 4

4 ¿ ¿ ¿ ™ ¿ ¿ ¿ ¿ ‰ ≈ r 4 ¿

BARBARA CASTLE

Here I

b & b bbbb œ

4

am. Well, what d'ya want?

7

¿ ¿ ¿ ¿ œ

well as

hav - en't got

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰

Just brought in the breath - a - ly - ser,

b & b bbbb

I

j ‰ œ œ œ œ œ œ œ œ

œ

œ

all you have to do is blow

j œ™ œ œ œ œ œ œ ‰

all the house - hold chores. Don't for - get your seat - belt, please.

all day you

know

¿ ¿ ¿ ¿ ¿ ¿ ¿

‰ ≈ r ¿

Fight - ing for an i -deal world,

U j ≈ œr œ œ œ œ œ œ rit.

I

just passed

the seat - belt laws.

As

22

Made in Dagenham – Vocal Book

7

Pay Day CUE: BARBARA CASTLE: . . . cup of tea & a chocolate finger.

Northern Soul Vibe 2 CLICKS Drum fill

? bb 44 b b &b b

6

Œ

3

Ó

œœ .

œœœœ œ & œ œ

n ˙˙

° b EMMA (GIRLS) & b b œ œû Ó

œœ ™™

œ

‰

j œœ

œ

œ

œ

œ

Œ

n œœ ™™

n œœ .

œ œ œ nœ

œ

n ˙˙

œ

Œ

œ

œ

œ

œ

œ bœ

œ

œ œ œ nœ

œ

œ

œ

ENSEMBLE

10

Pay

day!

b &b b œ ‹

Ϟ

œ Our

œû Ó

day!

SANDRA (BOYS)

Pay

bb ¢& b œ

CASS

Pay

° bb œ & b 14

day!

œ

Our

Ϟ

Our

œ

œ œ œ

day!

day

b &b b œ ‹

œ

Pay

day

b ¢& b b nœ

œ day

Ó

œ

Cash

Ó

œ

day!

œû Ó

Pay

Pay

Ó

œ

Cash

œû Ó

œ

day!

Cash

Ó

whad ya say?

Ó

œ œ œ

Run

Ó

whad ya say?

Ó

nœ œ œ whad ya say?

œ

œ

Run

Ó

œ Run

œ œ œ nœ œ œ in

my pock - et gon - na

œ œ œ œ œ œ

in

my pock - et gon - na

œ œ œ œ œ nœ in

my pock - et gon - na

œ œ œ nœ œ œ to the bar and get

a

œ nœ œ œ œ

drink it

all

a - way.

œ nœ œ œ œ

drink it

all

all

œ nœ œ œ œ œ nœ œ œ œ

œ œ œ œ œ nœ

œ œ œ œ œ

to the bar and get

a

Œ

round in straight a - way.

round in straight a - way.

a

Œ

a - way.

œ œ œ œ œ œ

to the bar and get

Œ

a - way.

œ œ œ œ œ drink it

Œ

round in straight a - way.

Œ Œ

Made in Dagenham – Vocal Book

° bb & b #œ nœ œ œ œ bœ Œ 18

Get

a

lit - tle

make

b & b b # œ œ œ œ œ bœ Œ ‹ Get

a

lit - tle

a

mer - ry,

lit - tle

make

paid a

lit - tle less.

Pay

b Œ &b bnœ œ œ nœ œ ‹ paid a

° bb œ & b 26

lit - tle less.

Pay

Pay

day!

b &b b œ ‹

Ϟ

Pay

b &b b œ Pay

b ¢& b b Ó

Pay

œ Our

Ó

œ

day!

Our

œû Ó

œ

day!

nœœ œ Pay

Our

œœû œûû

day!

Ó

‰

Œ

day!

Œ

Œ

day!

nœœ œ Our

now we're

hey The week

hey The week

hey The week

is

is

is

near - ly

near - ly

near - ly

œ œ œ nœ œ œ

done.

done.

done.

œ nœ œ œ œ

For - get

all your troub -les and kiss

j œ œ

œ œ œ œ œ œ

œ nœ œ œ œ

œ œ œ œ œ nœ

œ œ œ œ œ

For - get

œœû ‰ œJûû

day!

can't do quite as much

∑

‰ œj œ

day!

we

œ bœ

‰ œj œj œ œj bœ œ œ œ ‰ nœ J

For - get

œû Œ

‰ œj #œ nœ œ œ œ

∑

‰ œj œ ‰

œ bœ

now we're

‰ j j ‰ j j œ b œ œ œ œ nœ œ œ œ

Hey

day!

can't do quite as much

now we're

∑

Hey

day!

Ϟ

we

œ bœ

‰ œj œj œ œj bœ œ œ œ ‰ nœ J Hey

Œ

can't do quite as much

j #œ œ œ œ œ œ

lit - tle mess.

day!

œû Œ

we

lit - tle mess.

a

œ ˙ ™û

lit - tle less.

œû Ó

make

œ ˙ ™û

bb Œ ¢& b nœ œ œ œ œ paid a

a

œ ˙ ™û

21

lit - tle mess.

nœ œ œ œ œ

mer - ry,

° bb & b nœ œ œ œ œ Œ

a

nœ nœ œ œ œ

b ¢& b b #œ nœ œ œ œ bœ Œ Get

‰ œj #œ nœ œ œ œ

nœ œ œ œ œ

mer - ry,

23

all your troub -les and kiss

all your troub -les and kiss

∑

them all

them all

them all

Œ

a - way.

Œ

a - way.

a - way.

∑

Œ

24

Made in Dagenham – Vocal Book

° bb œ & b 30

œ

Pay

day

b &b b œ ‹

œ

Pay

b & b b nœ

Pay

Ó Ó

day

œ

Ó

day

œœ œ

b ¢& b b Ó

Pay

œœû œûû

œ

œ

Dee

Jay

œ

œ

Dee

Jay

nœ

œ

Dee

Jay

day!

a

lit - tle mer - ry

a

b ¢& b b

Ó Ó

b &b b nœ nœ œ œ œ ‹

Œ

paid a

lit - tle less.

lit - tle less.

Œ

b nœ œ œ ¢& b b n œ œœ œ œœ œ

Œ

paid a

lit - tle less.

lit - tle less.

Œ

œœû œûû

Play a - no - ther tune so we can dance the night a - way.

∑

a

œ œ

a

lit - tle mess,

œ bœ

we

can't do quite as much

now we're

j œ

can't do quite as much

now we're

#œ nœ œ œ œ

œ bœ

can't do quite as much

now we're

we

#œ œ œ œ œ

‰ œj ##œœ nœœ œœ œœ œœ

˙ ™û

a

a

lit - tle mess,

˙ ™û ˙ ™û ˙˙ ™™û û

Pay - day!

we

lit - tle mess,

Œ

we

‰ œj œj œ Hey

Œ Œ

Pay - day!

œœ

‰

#œ nœ œ œ œ

nœœ œœ œœ œœ œœ

Pay - day!

œ

∑

‰ œj

lit - tle mess,

Pay - day!

b & b b nœ œ œ œ œ paid a

œ œ œ œ œ

‰ œj

make

paid a

œ œ œ œ œ œ œ nœ

nœ œ œ œ œ

make

∑

Œ

Œ

Jay

make

lit - tle mer - ry

37

œ nœ œ œ œ

nœ nœ œ œ œ

lit - tle mer - ry

° bb & b nœ œ œ œ œ

œ œ œ œ œ œ œ œ

Play a - no - ther tune so we can dance the night a - way.

make

b & b b œ nœ œ œ œ bœ Œ Get

Œ

nœ œ œ œ œ

b Œ &b b œ œ œ œ œ # œ ‹ Get

œ nœ œ œ œ

Play a - no - ther tune so we can dance the night a - way.

Dee

34

a

œ œ œ œ œ nœ œ œ

œœ œ

Ó

° b & b b œ nœ œ œ œ bœ Œ Get

Ó

Œ

‰

hey

j j œ œ œ

can't do quite as much

j œ bœ The

week

j œ bœ

Hey

hey

The

week

Hey

hey

The

week

‰ œj œj œ ‰ œj œj œ Hey

hey

j œ bœ j œ bœ

The

week

œ

œ bœ

œœ bbœœ now we're

œ œ ‰ nœ J

is

near - ly

œ

œ œ

is

near - ly

done.

is

near - ly

done.

œ œ is

done.

‰

j nœ

œ œ ‰ nœ J œ œ ‰ nœ J

near - ly

done.

Made in Dagenham – Vocal Book

° bb & b 41

∑

¿ ¿ ¿

Ó

Œ

Wha -d’ya - say?

b &b b ‹

¿ ¿ Œ

Cher -ry Bran -dy

b ¢& b b Œ ¿ ¿ ¿ ¿ Œ STAN

¿ ¿ Ó

¿ ¿ ¿ ¿ Ó

Wat -neys

¿ ¿ ¿ ¿ Ó

∑

25

¿ ¿ ¿

Sher-ry

∑

Dou -ble Dia -mond

¿ ¿

Ó

Du -bon -net

Root Beer

∑

∑

What you drink - in'?

° bb ¿ ¿ ¿ & b 45

Œ

‰ œj

San - gri - a

I

bb Ó ¢& b ‹ ° b &b b œ 48

think there - fore

O - ver here! I

œ

Ó

#œ

think there - fore

œ

Ó

Brown Ale,

œ œ œ œ œ œ

Ó

Ba - by -cham

I

Da - gen - ham

œ œ œ œ œ œ œj ‰ œ œ œ œ œ œ œ J

¿ ¿ ¿ œ œJ

Brown Ale,

b ¢& b b Ó ‹

œ œ œ œ œ œ œj ≈ œr œ œ œ ‰ Ó

I

We

all drink beer

Œ

Da - gen - ham

Œ n œ œ nœœ œœ n œ œ # œœ œœ œœ œœ œœ œœ ba - by ba - by ba - by ba - by

#œ œ œ #œ œ œ Ba - by - cham,

Œ n œ œ nœœ œœ n œ œ # œœ œœ œœ œœ œœ œœ

j ‰ œ œ œ œ œJ œ œ œ and Ba - by - cham

2 51–52

2

nb n nb n

ba - by ba - by ba - by ba - by

VAMP - CUT OFF ON CUE: CUE: You can't have 6000 hairy-arsed blokes earning less than a woman. MC: Ladies and Gentlemen . . .

° & b ¢™™

16

53–68

™™ ü †

26

Made in Dagenham – Vocal Book

7A

Club Music CUE: MC: . . . Loveable, larger than life, Chubby Chaff"

Fanfare

4 &4

œœ œ

. œœ œ

œœ œ

. œ œœ

U ∑

[DIALOGUE]

6

&

j bœfi bbœœ œ

œ œœœ

œœ œ

rall. œ œœœ

. œ. œœœ œœœ œ

œ bœœœ

œfij œœ œ

U ∑

[DIALOGUE]

U ww w w

CUE: Fanfare after each gag!

U ∑

[DIALOGUE]

> w ww w

j œfi œœ #œ

j œfi œœ œ

U ww w w

U ∑

[DIALOGUE]

U ww w w

CUE: CONNIE: Go after her Eddie. All she needs is sorry.

Cheesey crooner swing! 11

COUNT IN: 3..4..1..

&

Œ

œ

CLUB SINGER

œ

˙

œ

Moon

#œ

œ

œ œ ˙™

o - ver

Da - gen - ham,

œ

shin - ing

Fills

œ

œ

up

on

rit. . . .

16

& ˙

œ

#œ

œ

œ

me

with

joy

œ

and

˙

love,

œ

now

œ

pass

œ

me

œ

that

œ

pork

œ

high

U w

pie.

˙™

Made in Dagenham

27

8

I'm Sorry I Love You CUE: RITA: I don't need reminding that we loved each other ten years ago.

4 &4 Œ

EDDIE

‰

j œ œ œ œ I know I'm

4

& œ Œ œ œ œ Œ œ œ œ 3

it.

3

Ii ad -mit

8

RITA: Here it comes...

Œ Ó

3

& œ œ say

I'm a

Œ

13

‰

j œ

with a

fool - ish

I'm 26

œ œ œj J not all

j œ œ

& Ϫ &

for - get

œ

œ

œ œ œ œ œ œ

that's what

I

get

in

re - turn.

j œ œ œ œ

can

w

a

man

œ œ œ œ œ œ œ œ nev - er, nev - er, nev - er, nev - er,

œ

a - gain.

I

Triplet shuffle

œ œ œ œ just

3

But all

fl

pro - mise that I'll

j œ œ

œ J

When you're not

w

here

3

sin - gle thing

I can

do;

I'm sor - ry,

I

RITA

Ó

œ œ œ œ œ

Ed - die, I'm

˙

œ

true—

you. I'm

There ain't a

Œ

‰

EDDIE

Well that much is

j Œ œ

œ œ

‰ œj œ œ œ œ œ œj œ œj ‰ jœ œ œ œ œ

Ó

w

œ œ œ

3

When it comes down to

3

œ œ œ

j œ œ œ œ œ œ

nev - er

œ

j œ œ œ œ

‰ œj œ œ œ œ

Œ

there.

3

clue—

‰

ad - mit

RITA

love

you. 3

‰

œ

a

I

ev - er,

love 30

3

I ain't got

œ œ œ œ œ

But you have to

j œ œ œ œ

w

& œ œ œ œ œ œ œ œ ™ & ‰ œ

git

3

j œ œ œ œ œ ˙

17

21

a

brain,

nev - er, nev - er, nev - er,

‰

œ

I'm sor - ry but I

œ œ œ œ J

& Œ

‰

git...

is...

Colla

3

Œ Œ

3

œ

But

a

3

soft

œ touch. 3

œ œ œ œ œ œ

one day

a

year— I don't

œ

œ I

don't 3

œ œ œ œ

ask for much And 3

œ œ œ œ œ œ

get

it,

Ed, Why don't you

28

Made in Dagenham

34

3

& œ ˙

EDDIE

∑

˙

learn?!

39

Look

‰ œj œ œ œ œ

& Œ

That's got - ta

43

& Œ

œ

I'm

œ

œ

just

a

œ

in

my

œ

Œ

œ œ œ œ J

j œ

51

You suc - ker -punch my

56

& œ œ œ sin - gle thing

° 3 Œ & œ œ œ 60

A tempo

sick of

j œ œ

j œ œ

I

do;

can

Œ

‰

it.

¢& Ó

œ œ œ œ œ œ

œ œ ˙

With -out you I'm not

‰

3

j œ œ œ œ

I'm sor - ry,

j œ

I'm

Œ

3

œ œ œ

tired of

œ œ Œ ‰

come on Ed.

‰ ¿J ¿ ¿ Œ I'm sor - ry

Ϫ

œ

3

I'm

sick of it.

Œ

‰

j œ

I've

Sor - ry.

‰ j œ œ œ

œ

Œ

Œ

‰

RITA

j œ

I'm

œ œ œ Œ

Œ

3

‰

had e - nough.

Œ

j ¿

Oh,

‰ ¿j Œ ¿ ¿ I'm sor - ry.

3 œ œ œ Œ

Sick of it.

¿ ¿ Œ

a - gain.

you

Sor - ry.

Œ j œ œ œ œ

j œ

There ain't a

love

Œ

for - get

œ œ Ó

j œ œ

¿ ¿ Œ

Sor - ry.

63

I

nev - er

whole.

it.

Ó

EDDIE

° & ¿ ¿ ¿j ‰ Œ ¢& Œ

ev - er,

soul,

pro -mise that I'll

j œ œ œ œ œ œ

nev - er, nev - er, nev - er,

3

toy.

‰ œj œ œ œ œ I

œ œ œ œ œ œ œ œ

w

& ‰ œj œ œ œ œ

cud - d - ly

brain,

48

nev - er, nev - er, nev - er, nev - er,

œ œ œ ˙

Œ

w

full of joy.

3

3

choc -'lates or some stu - pid

with a fool - ish

& œ œ œ œ œ œ œ œ

yet

œ œ œ œ œ œ

or

œ œ ˙

Ϫ

See they're re - gret - ful, but

3

œ

man

3

œ œ œ œ œ œ

eyes,

œ

be worth more than flowers

w

œ

œ

œ

œ

3

¿ ¿

Sor - ry.

3 œ œ œ Œ

Sick of it.

Œ

3 œ œ œ Œ

Sick of it.

¿ ¿ Œ Sor - ry.

¿ ¿ Sor - ry.

Made in Dagenham

° & œ œ œ œ 66

S..

I..

¢&

C..

∑

∑

Ó

I'll

∑

œ œ œ #œ

w

S..

Y.

O..

R..

3 b & b bbbb œ œ œ œ œ

122

R..

till I'm hoarse.

3

œ œ œ œ œ œ

Tell me just how ma - ny times you want me

3

I'm

° bb b b œ œ & bb œ œ 133

MEN (+ EDDIE ad lib)

He's just

bbb ¢& b b b Œ

a

sor - ry,

w

Œ

man

a

Œ

man

138

nev - er, nev - er, nev - er, nev - er,

bbb ¢& b b b œ œ œ œ œ œ œ œ

nev - er, nev - er, nev - er, nev - er,

141

œ

œ

You suc - ker -punched his

bbb j ¢& b b b ‰ œ œ œ

œ

œ

You suc - ker -punched his

I'm

œ œ œ œ™ J œœ œœ œœj œ™ J œ™

soul,

How ma - ny times I'm sor - ry;

sor - ry

But

love

Œ

brain,

Œ

brain,

ev - er,

ev - er,

˙

you

you

œ J

nev - er

for - get

a - gain.

nev - er

for - get

a - gain.

j j œ œ œ œ œJ œœ bœœ J

he's

a

œœ œœ œœ œœ œœ œœ œœ With -out

j ‰ œ œ œ œ œ J

œ œ œ œ œ œ J

œ œ œ œ œ œ œ With -out

‰ œ œ œ œ œ J

He pro -mis - es he'll

œ œ œ œ œ œ œ œ

soul...

you.

He pro -mis - es he'll

œw œ ˙ ™

nev - er, nev - er, nev - er,

'cause I got

w

w

I

œ œ ˙™

nev - er, nev - er, nev - er,

soul,

Ów

3 3 j ‰ œ œ œ œ œ œ œ œ ≈ œ œ œ J

œ œ œ œ œ œ œ œ

w

Œ

a - part from the bike of course.

3

with a fool - ish

° bb b b œ œ œ œ œ œ œ œ & bb

° bb b b ‰ j & bb œ œ œ

∑

‰ œj œ œ œ Œ œ œ

with a fool - ish

w w

œ œœ œœ He's just

to tell you

‰ œj œ œ œ Œ

lost at nine -ty - two.

from the roof - tops, I'll

bbbbbb

∑

Ev - 'ry - thing that's mine is yours

3 bb & b b bb œ œ œ œ œ œ œ œ œ

bb & b b bb œ œ œ œ œ Œ

shout it

3 œ œ œ œ œ œ œj ≈ œr œ œ œ œ œ œ

Œ

125

128

121 (loose quavers)

3 3 Œ ‰ bœj bbbbbb œ œ ‰ œ œ œ œ œ

K.. (EDDIE)

scream it

29

he's

a

˙

n˙

right

arse

˙˙

˙˙

right

arse

-

30

Made in Dagenham

° bb b b ˙ & bb 145

‰ œ œ œ J

hole

There ain't a

j ‰ œœ œœ œœ J

bbb ¢& b b b ˙˙

hole

° bb b b & bb œ 149

There ain't a

Œ

œ œ œ sin - gle thing

œœ œœ œœ sin - gle thing

Ó

œ œ J

he can

œœj œœ J

he can

œ J

‰

œ

EDDIE

j œ œ œ œ

do;

3

I'm sor - ry,

œj œ œJ œ

Œ

I

œ œ J

Ϫ love

Ó

œ

∑

do;

∑

∑

∑

you.

bb b b ¢& b b

MEN

∑

œ

œ

œ œ œ

If you want he'll

° bbb &b b b Ó 153

EDDIE 3

Œ Œ œ

beg,

Look, he's down on one

3

3

the wea - ther, wher - ev - er, for - ev - er;

Ó

∑

leg.

3

3

Now he

is down on

œ œ œ œ œ œ

What - ev - er

What - ev - er

° bb b b œ 3œ œ œ œ3 ‰ œ œ œ ˙ & bb J 157

ev - er, for - ev - er,

3 bbb b œ 3œ b & b œ œ œ Œ

œ

I'm sor - ry,

I'm

∑

ev - er, for - ev - er,

∑

∑

œ

˙ al

all

-

˙

(MEN)

the wea - ther, wher -

3 3 3 Œ Œ ‰ œj œ œ œ œ œ œ

Ó

fours.

bbb ¢& b b b

œ

3 3 3 3 œ œ œ œ œ ‰ œj œ œ œ œ œ œ

œ œ œ œ œ œ

What - ev - er

bb b b ¢& b b ˙

œ œ œ œ œ

Œ

ways

œ Œ

al

-

ways

al

˙

-

ways

al

-

ways

œ Œ

the wea - ther, wher -

w

∑

yours.

w

w

yours. He's sor - ry, he's

Œ œ œ œ œ

œ œ œJ ˙ J

al -ways yours.

Made in Dagenham

° bb b b & bb

31

°™ EDDIE falsetto riff ad lib ¢™ V V V V V 6x to fade

162

∑

∑

bbb ¢& b b b Œ

°™ Œw œ œ œ œ ¢™

j œ œj ˙ œw

b Œ & b bbbb w œ œ œ œ

He's sor - ry, he's

al - ways

He's sor - ry, he's

al - ways

yours.

He's al -ways

V

al - ways

™™ ü †

V

j œ œj ˙ œw

He's sor - ry, he's

yours. He's sor - ry, he's j j ° œ œ œ ˙ ™Œ œ œ œ œ Ó ‰ œ œ œ ¢™ Œ Ó J œ

œŒ œÓ œ œ

V

™™ ü †

yours.

™™ ü †

yours. j j œ œ œ ˙ Ó ‰ œ œ œ J

al - ways

yours.

He's al - ways

Slow 4 (rubato)

bb & b b bb

166

œ yours

˙

œ

œ

3

œ

œ

3

œ

œ

œ

œ

˙™

œ

œ

Ϫ

˙

œ J

œ

3

œ

œ

œ

U w

œ

œ

œ

œ

œ

3

EDDIE

œ

Ϫ

œ

œ

œ

œ

b & b bbbb ˙ say

Œ

‰ œj œ ™ I

love

j œ œ™ you loads,

you

œ

œ

œ

œ

˙

Ϫ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

˙™

n˙

j œ œj œ™

fl

stu - pid sod!

Ó

drea -mer

Maestoso

Ó j œ œ œ œ

RITA

j œ œ

RITA: What’s your point? EDDIE: It didn’t do me any harm. RITA: I think e canes him ’cause he’s a scholarship boy.

Hey there slee - py

185

Ϫ

œ J

EDDIE: Remember Mr Perkins? RITA: Virgin Perkins? EDDIE: Yeah.Woodwork.

RITA: I’m gonna go into the school to complain. (Beat) I love you Eddie.

b & b bbbb

180

˙

œ

œ

œ

EDDIE: He used to put me head in a vice and burn me with cigarettes.

b & b bbbb

176

Œ

RITA: Mr. Buckton is caning our Graham. It ain't right. EDDIE: Remember Mr. Perkins? RITA: Virgin Perkins?

b & b bbbb

172

RITA: We’re alright ain’t we? EDDIE: Course we’re alright.

U Œ Ó

œ

œ I

∑

U ∑

œ

just

œ

Ϫ

j œ

wa - nna

∑

32

Made in Dagenham – Vocal Book

9

School Song

CUE: HOPKINS: Trouble at mill.

(TACET)

2 CLICKS IN

4 &4

∑

Ó

MEN

Œ

Where the 6

& ˙

gown

j œ œ œ

œ œ œ™

Œ

Stands a school whose sons

11

& Ϫ

œ œ J

through

œ

œ

all knocks and

œ œ œ œ œ

œ œ

œ

all

Œ

hard - ship.

iron heart of Eng - land bleeds

œ™ #œj œ œ

fight

with might to

fur - ther its

œ œ bœ ™ Do not

œ œ J

fear

& Ϫ

nerve

and think of

Al - bion.

What -ev - er

œ

when death stomps

n˙ ™

j ‰ ‰ j œ œ bœ œ œ œ œ œ œ

j œ œ œ

hap - pens

œ

do

not

j œ œ œ

Ϫ

Be - neath

œ™ nœj œ œ

rall. . . .

15

Œ

˙

its nob - le

˙

Œ

GRAHAM

œ œ

re - nown.

˙

On -ward

Œ

by.

Œ

œ nœ

Hold your

####

U ∑

(DIALOGUE)

cry.

CUE: LISA: . . . we parents have to stand up to him. RITA: Yeah, good luck, I gotta go.

## &##Ó

20

2 CLICKS IN

Œ

œ œ

ALL

Do not

e e œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

cry,

# ## &# œ œ œ œ œ

24

do not cry, Do not

Œ

gran - ny when you sleep.

## &##

27

a

ca - re - er

in

do not weep, Do not howl for your mam -my or your

œ

œ

œ œ ‰

Crush

all

fee - ling

œ œœ

œ œœ

œ œ œ œ œ œ œ œ

pare for

bawl,

the

cor

-

œ œ œ

ri - dors

j œ

and

#œ œ œ of

9a

Into The Berni Inn (TACET)

‰

œ œ œ œ œ

nev - er,

U w w w

pow'r.

ev - er cow'r.

j œ

Pre -

∑

Made in Dagenham – Vocal Book

33

10

Same Old Story CUE: RITA: You got us the grievance procedure (Go)

b4 &b 4

Slow Ó

Œ

‰

œ

œ œ

œ

œ

œ

U

CONNIE

j ≈ r œ œ œ œ œ œ œ œ œ œ œ

˙

Yes - ter - day

b &b

4

j ‰ j ≈ r œ œ œœ œœ œ œœ

knew it

b &b ‰

all,

I had no doubt.

7

œ œ œ

Start -ed work

b &b

10

mak - ing do

b &b

œ #œ ™

Same as all

Œ

fun - ny,

mak - ing

jokes,

Same work,

But now I'm

tale,

Still the same old rea -sons

b & b œ œ™ œ œ œ œ b &b Ó

Œ

up the crumbs.

Œ

‰

j œ I

‰

old - er,

3

œ œ œ™ œ œ œ œ

œ œ œ œ œ œ œ

œ

al - ways pro - mised

œ œ œ œ œ œ œ œ

‰

‰ œ œœ œ œ œ œ œ

It's an

Œ

age

old

sto - ry,

-

ty

It's an

Œ œ œ™ œ œ œ œ œ™

Se -cond at the ta - ble,

œ

But some - how

Ϫ

nev

-

j œ ˙™

er

On the shoul -ders of the

Œ

comes.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

joined the La - bour par

the bone

Look - ing back it does - n't seem so

that are there to make us fail.

œ œ œ œ œ œ œ ‰ œj œ

Change is

you want to be."

Worked our fin - gers to

same hours but half the mo - ney.

œ œ œ œ œ œ

20

24

Œ

‰ j ‰ j Œ œ œ œ œ™ œ œ ™ nœ œ œ ™ œ

b &b œ œ œ Œ

Pick -ing

"Just be who

j ® j œ œ œ œ œ œ™

16

age - old

the blokes.

œ

I

j ‰ œ œ œ œ œœœ œ œ

in front of me,

œ œ œ œ œ

way too young,

by

Œ

Life was there

‰

œ œ œ

j œ œ œ œ

œ œ œ

12

j ‰ œ œœœ œ œ œœ œ

when I start - ed out,

great

‰ ≈ r œ

E-

34

Made in Dagenham – Vocal Book

b &b

27

man - ci -pa - ted teen - age - er

b &b

30

b &b œ œ œ œ

Thir - ty years

on,

33

say to me,

b & b œj ™ œ

36

Œ

œ œ œ œ œ

"Stick with it,

‰

ce - dure?

b &b b &b

we

Œ

œ #œ ™

fail.

Œ

a

Un - i - on

What did I

‰

cei

-

ling

From down

j nœ

The Grie -vance

‰

Still the same old rea -sons

at

j œ

on

the

° bb b bPiu mosso ‰ ≈ r j ‰ Œ & b b œ™ œ œ œ œ œ œ œ œ œ œ œ™ œ œ

Pro -

3

œ œ

that are

Œ

the door,

accel....

Ϫ

œ

here

You all

j j œ œ œ

œ œ œ œ œ œ

Kick -ing

A

œ œ

œ œ™ œ œ œ œ

the out - side,

œ

‰

ac - hieve?

-

j œ

‰

con - ve - nor.

œ œ œ œ œ

need ya."

Al - ways on

œ œ œ œ œ a glass

am still

Œ œ œ œ œ œ œ œ™

43

Looks like

Œ

-

to make us

œ œ

I

fight,

œ œ œ œ œ œ œ

‰ œ œ Œ œœ œ œ œ œ œ œ œ It's an age old sto ry, It's an age old tale,

œ™ œ œ œ œ

there

Fierce, fei - sty, full of

œ œ œ œ œ œ œ œ œ

a dream - er.

œ œ œ œ œ œ œ

œ

Who did - n't have time to wait.

Œ

œ œ œ œ œ œ œ

war - ri - or,

40

Œ

œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ

‰

˙™

floor.

bbbbbb

j bœ It's

46

al - ways been a whis - per WOMEN

bbb ¢& b b b ˙™ w w

œ œ

Ahh

° bb b b & b b œ™ 49

take

bbb b b & b ˙™ ¢ ˙˙™™

but can't it be

j œj ‰ ‰ œj œ

no more.

Oh,

Œ

œ™ œ œ œ œ œ œ œ œ

a roar?

˙™ ˙˙™™

All those un -heard voic - es that won't

Œ

˙™ w w

Ahh,

œ œ œ œ œ œj ‰ œ œ

Ri - ta, please wake up,

I

w w˙ ™

œ œ

Ahh,

œ œ

need

Ϫ you

˙™ ˙˙™™

j œ œ

to

‰ œj

see

It

Œ

Made in Dagenham – Vocal Book

35

CONNIE: This doesn't have to be just about C-Grade.

° bb b b & bb œ œ œ œ œ œ ™ œ œ œ™

[UNDERSCORE]

rall.

52

bbb ¢& b b b

j œ œ™

˙˙ ™™ ˙™ œ œ

ain't a - bout the mo - ney, It's

w w ˙™

‰ nnnnbb

e - qual - i - ty.

A tempo

˙™

nnnnbb

Œ

w

œ œ

˙™

∑

œ œ

∑

∑

Ahh,

b &b

57

w ˙™

w

b & b bœ

64

œ

œ

œ œ

œ

w w

˙™

w ˙™

b Œ & b œ™ œ œ œ œ œ You can change the sto ry,

70

CONNIE

b &b

73

œ™ œ œ œ œ

there

to make us

‰

œ

˙

You

can change the tale.

fail.

We

have to

b Œ &b œ œ œ œ œ œ œ wait -

œ

˙

‰

make

it

ing,

œ

Ri

-

Ϫ

œ

ta,

make

œ

˙

j œ

œ nœ œ œ œ

Don't

it

˙

˙

œ œ œ œ œ œ™ œ œ œ

fall for

all those rea - sons

that are

Œ

œ œ œ œ œ

our time.

j œ

œ

3

Œ œ œ œ œ œ œ œ œ œ

76

Ain't got time for

œ

˙

œ

œ

œ™ œ œ œ œ

-

œ

RITA: No! What? CONNIE: Nothing changes if it isn't challenged.

œ

œ

w w

œ œ

Can't our time be now?

w

U

∑

now.

SEGUE

11

Union Song – Reprise 3, 4 . . . # 4 œ. œ. œ. œ. œ. ˙

& 4

# ™ ™ & œœ™ œœ œœ œœ œœ™

5

MEN / WOMEN

œœ

œœ œœ œœ

œœ

Broth - ers and sis - ters,

œ œ j œ œ œJ

œœ™™ œ œ œ ˙ œ œ œ ˙ com - rades, ev - 'ry - one.

œ œœ œœ œœ œ œ œ ˙

and the Un - i - on. When it comes down to

man - age - ment

œœ Fight

œœ œœ œœ

œœ

for your fu - ture

œœ œœ œœ œœ œœ œœ œ œ œœ œ Ó œ œ œ Each and ev -'ry - one of them's a

tot - al...

36

Made in Dagenham – Vocal Book

11

Skilled Work (TACET)

12 CUE:

Everybody Out

RITA: Hands up . . . All in favour?

70's rock (q = 162)

##4 & # #4 ## &##

6

1 2

Ó

œ

4

Œ

BERYL: Clare?

œ œ ‰ J nœ œ œ œ œ >

¿ ¿ ¿ ¿

(Drums:)

RITA

>j ‰ œ

3

œ œ ‰ J nœ œ œ œ œ >

‰ œj œ œ œ œ œ œ œ œ œ

œ œ ‰ J nœ œ œ œ œ >

your life

œ œ œ œ œ

You got - ta stand up for What you know

3 ## ‰ j œ œ œ &##œ œ œ œ œ œ œ œ

is right

10

some -times in

# ## &# Œ

14

your life

a

long

18 (RITA) ° #### Œ & œ œ œ

It's

## &##

j œ œ œ œ œ œ

com - ing and - a

we ain't

œ J

turn

the eye

for

a

œ œ J

ing

-

And scream the rea - son why

j œ œ

∑

j œ ˙

∑

œ

j œ œ œ œ

scrap.

œ ˙ J

back.

Ev - ry - bo

œ

Get

œ

œ œ œ œ

œ

œ

∑

out on the street

j œ œ

Let's make it

and

j j œ œ œ clear

we're

œ œ œ œ

œ œ ˙

on - to that pick

-

j j œ œ œ

œœ œ

here to

send

Œ

et line.

j œ œ œ ˙ a sign.

dy

-

j œœ œœ œœ œœ œ œ œJ œ

ALL WOMEN

Ev - 'ry - bo

ALL WOMEN

## &##Œ

26

a long time

com - ing And we're read - y

∑

## &##Œ

22

time

œ

j œ

œ œ œ œ œj œ

œ

And be pre -pared to fight And

‰ j œ œ œ œ œ œ œ

œ œ œ œ œ

You got - ta get up And look them in

œ œ œ It's

¢

‰ j œ œ œ œ œ œ œ

3

Some -times in

> > > ‰ nœJ ‰ œJ ‰ œJ Œ

œœ œ

j œœ œœ œœ œœ œ œ œJ œ

Ev - 'ry - bo

Œ

œœ œ

dy

-

-

dy

j œœœ œœœ œœœ œœœ J

Ev - 'ry - bo

-

dy

j œ>

out!

>j œœ œJ

out!

>j œœ œJ

out!

>j œœ œJ

out!

Made in Dagenham – Vocal Book

## &##Œ

30

CLARE

œ

If

## &##Œ

34

j œ œ

j œ

they get

j œ œ

ALL WOMEN

œ

j œ

4

46

&b

œœ

j œœ œœ

° MEZ. &b Œ œ

j œ œ

50

WOMEN

&b Œ

j œœ

There's no more

54

¢& b Œ

ALT.

œ œ

j œ œ

‰

ing,

-

j j œ œ œ

Don't treat us SOP.

j œ bœ œ œ œ œ > œ

‰

j œœ œœ

talk

girls

œj œ œJ œ

like

j j œœ œœ œœ J J

Don't treat us

ya

j œ œ

we'll

œ J

get

j œ ˙

∑

œœ œ

j œœ œœ œœ œœ œ œ œJ œ

mean.

œ œ ˙

Œ

ma - chines

Ev - 'ry - bo

-

>j œœ œJ

dy

out!

BILL: Look at this! Your girls have gone mad. MONTY: What Is it? SID: Drugs. BILL: What are you gonna do about it, Monty? They're your flock. SID: Yeah, what the flock are you gonna do about it? MONTY: (Monty moves to the tannoy.) Your union does not support unofficial industrial action!

œ >

œ

tell

to our sew - ing

38–41

œ nœ

I

j œ œ œ œ œ œ

nnnnb

j œ œ nœ

‰

gry, well

-

We'll chain our - selves

## &##

j œ

œ œ œ œ œj œ

an

37

girls

like

œ

‰

œ nœ

j œœ œœ

œ

j œ bœ œ œ œ œ > œ

œœ œœ

no con - ver - sa -

j œ œ

œ

j œ œ

‰

œ >

œ

œ

j ‰ j ‰ ™ bœ œ œ > > >

j ‰ œ >

‰

œ >

‰

j ‰ œ >

Ϫ >

j ‰ œj œœ œœ œœ œœ œœ œ œ

tion.

œ

j œ bœ œ œ œ b>œ œ

œ nœ

œœ œœ ˙˙

no

œ œ ˙

con - ver - sa

Œ

a poor (your)

re - la

-

œ œœ œ

œ œœ ˙™ ˙™ œ

a poor (your)

re - la

-

j œœ œ J œ

‰

Ev - ry - bo

j œ>

-

dy

out!

-

dy

out!

>j œ œJ >

j œ œ œ œ œ œ œJ œ

œ œ

tion,

tion

j œ œ œ œ

œ

tion,

-

‰

Ev - 'ry - bo

58

&b

‰

j œ bœ

œ

œ

œ

‰

j œ bœ

œ

œ

œ

œ

œ >

‘

‰

j œ bœ

œ >

‘

‰

j œ bœ

œ

œ

œ

œ

œ >

‰

j bœ >

‰

j œ >

‰

j œ >

j œ >

‰

62

&b

œ

œ

œ

œ

œ

œ >

‰

j bœ >

‰

j œ >

‰

j œ >

Œ

38

Made in Dagenham – Vocal Book HOPKINS: (to Lisa) Hey! What time is it in America? LISA: I'm not the speaking clock! (Lisa walks off in a huff.) SID: Sidney. HOPKINS: Is this a strike?

66

&b

œ.

œ.

° & b ¢™™

œ

œ

™™ ü †

SAFETY

72

œ

∑

& b œœœ

Ev - 'ry - bo

dy

-

& b œœœ

Ev - 'ry - bo

-

∑

Œ

85

&b

œ.

∑

WOMEN

Œ

out!

œ.

dy

œ

œ

j œ œ

It's

al - ways

œ

j j œ œ œ

been

œ œ œ

These worms are turn

œ.

this

way;

tom to

-

j œ œ

worms—

œ

œ

now it's got

feed

those

j œj œ œ

That, you bet - ter

œ J

in

to

-

but

Œ

to stop

at

Œ

the top.

j j œ œ œ

j œ œ

rea

lise.

-

Œ

>j j œœ œœ œœ œœ œœ œœ œ œ œ œJ œ œ J

ter - flies!

-

w

œ œ ˙

j j j œ œ œ œ œ œ œ J J œ œJ œ Œ - ing

œ

j œ œ œ œ œ œ œ ˙

j œ œ œ œ œ œ

j œ

We're the can of

œ.

w

œ œ œ œ

j œ œ œ œ

out!

œ

œ

You starve those at the bot

>j œœ Œ œJ

j œœ œœ œœ œœ œ œ œJ œ

81

w

>j œœ ‰ j œ œJ œ

j œœ œœ œœ œœ œ œ œJ œ

77

SID: All the classic signs. There's a brazier, a picket line, and a barricade. If we had an orchestra, it could be a musical. (Phone down)

Ev - 'ry - bo - dy

out!

VAMP - out any bar

°œ & b ¢™™

CUE to CONT: BARBARA: They make the seats for the cars!

>

90

94

&b

œ œ

œ >

>œ

œ

>œ

œ œ

œ œ

œ >

>œ

œ

>œ

œ œ

œ œ

œ >

WILSON: . . . and we can all drive standing up! Do I have to think of everything?

>œ

œ

## &# œ

97

œ œ

>œ

œ

WOMEN

œ

La - dies,

>œ

œ

œ

œ >

>œ

œ

‰ œj œj œ œ œ if your

fel

-

la

œ

œ

>œ

œ

j j œ œ œ

starts

to

œ

j œ whinge

œ >

œ

j œ œ or

‰

œ

#>œ

>œ

œ œ

>œ J

j j œ œ œ

starts

to

>œ

œ J

j œ moan

œ œ

>œ

œ >

œ

™™ ü †

# n##

#>œ J

EDDIE: On strike?! We need the money!

∑

Made in Dagenham – Vocal Book

## &# œ

101

Tell

œ him

## &# œ

105

Let

œ

## &# œ

do the

œ

make him

## &#

113

take

the

strike

œ œ J

cook

-

it

ing,

all

right

j j œ œ œ

Let

‰ œj œj œ œ œ

do

j j œ œ œ

j j œ œ œ

back

œ J

him

try

in - to

œ œ J

long

in

a

pair

STAN: Twenty-seven minutes.

œ J

Ó

‰ œj

Œ

the meals.

j œ œ

j œ œ œ œ œ

day

make

∑

your home.

j j œ œ œ

to

j œ

j j œ œ œ

j j œ œ œ

of

five

And

j œ

inch

STAN: Better safe than sorry.

∑

heels.

TUTTI

SOP + MEZ / ALT

SOP / MEZ / ALT

F6 / SOP / MEZ / ALT

Ev - 'ry - bo - dy out

Ev - 'ry - bo - dy out

Ev - 'ry - bo - dy out

Ev - 'ry - bo - dy out

œ œ œ œ œ œ œ # œœ œœ œœ œœ œœ œœ # œœœ œœœ œœœ œœœ œœœ œœœ # œœœ

b &b œ

117

that you'll

œ œ ‰ œJ

him

109

‰ œj œj œ œ œ

39

EDDIE: How long do you cook an egg for?

MEN

Girls

b &b œ

121

œ

‰ œj œ œ

you

done the

œ

‰ œj œj œ œ œ

Make your point then

b &b œ

125

proud

b &b œ

129

make

j œ œ

œ of

œ it

right

back

œ œ ‰ œJ

you and

what

thing,

to

œ œ J it

‰ œj œj œ œ œ

quick–get

on

with

j œ

j j œ œ œ

we're

j œ œ

be - hind

you

j j œ œ œ

j j œ œ œ

j j œ œ œ

œ J

work

is

be - fore

that

you

j j ‰ œ œ œ œ

it

bank

œ œ J

all

œœ œœ

j j œ œ œ

all

the

œœ œœ

j j œ œ œ

œ J

got

∑

Œ

‰ œj

i - day.

to

We're

Ó

Œ

‰ œj

say

œ œ œ œ œj œ

'cos we'll strug -gle on

nnnbb

œœ œœ

way.

j œ Ó

-

œœ œœ

j œ

j j œ œ œ

hol

œœ œœ

strik - er's

but

j œ ˙ pay.

Ó

40

Made in Dagenham – Vocal Book

b &b

133

TUTTI

SOP + MEZ / ALT

œ œ œ œ œ œ

Ev - 'ry - bo

dy out

-

dy out

-

#œœœœ

#œœœ œœœ œœœ œœœ œœœ œœœ

#œœ œœ œœ œœ œœ œœ Ev - 'ry - bo

F6 / SOP / MEZ / ALT

SOP / MEZ / ALT

Ev - 'ry - bo

dy out

-

œœœ œ

œœœ œ

œœœ œ

Ev - 'ry - bo

œœœ œ

nn#

œœœ œ

dy out

-

VAMP - OUT ANY BAR

#° & ¢™™ œ

CUE to CONT: JOURNALIST: Ladies, is it your intention to halt production on the new Ford Cortina?

137

141

&

#

‰

‰

œ

‰

Ó

#œ J

œ

Ó

j œ

j œ

Ó

‰

#œ J

‰

œ

Ó

#œ J

### TUTTI & œ œ œ œ œ œ

153

Ev - 'ry - bo

dy out

4

## &# b nœ. b &

-

œ

œœ

157–160

j œ

j œ

Ó

‰

‰

œ

Ó

œœœ

dy out

2

Ó

161–162

. . . . . . #œ. œ. œ œ #œ œ œ œ

œœœ œœœ œœœ œœœ œœœ

Ϫ

œ

œ

-

dy out

œ nœ #œ #œ

RITA: Hello Liverpool! ALL: Hiya queen!

j nœ #œ œ

bœ bœ

Ó

#œ J

™™ ü †

Ó

#œ J

F6 / SOP / MEZ / ALT

œœœ œ

œœœ œ

œœœ œ

Ev - 'ry - bo

nœ nœ nœ

œ

™™ ü ### †

Ó ‰

‰

œ

Ó

j œ

j œ

œ

Ó

#œ J

Ev - 'ry - bo

œ

‰

œ

#œ J

‰

œ

SOP / MEZ / ALT

œœ œœ œœ œœ œœ -

‰

œ

Ó

#œ J

Ev - 'ry - bo

‰

Ó

SOP + MEZ / ALT

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. . . . . . . œ œ œ nœ œ œ œ

‰

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SANDRA: What can we do then? CONNIE: We need some working class solidarity. BERYL: 'kinnel! CONNIE: We need the girls in Liverpool to strike.

## &#

165

‰

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VAMP - OUT ANY BAR

145

149

‰

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dy out

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b Œ &b j œ œ œ œ œ œ œ™ œ œ

170

- vour,

And we need you all

a - board.

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a fa -

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rock

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175

of Hen -ry

Ford.

If

you stop mak -ing

seats

then you

stop our

pro - duc - tion line.

Made in Dagenham – Vocal Book

b &b œ

180

Œ

Œ

‰

j bœ œ But

b &b

184

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189

if

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197

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202

on

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41

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VAMP - OUT ANY BAR HOPKINS: Housewife and working mother. TOOLEY: My God! They're the worst! OK, I'm coming over, put the kettle on.

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206

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42

Made in Dagenham – Vocal Book

ON CUE

b &b

214

TUTTI

SOP + MEZ / ALT

œ œ œ œ œ œ

œœ œœ œœ œœ œœ œœ

Ev - 'ry - bo - dy out

F6 / SOP / MEZ / ALT

SOP / MEZ / ALT

bœœœ œ

œœœ œœœ œœœ œœœ œœœ œœœ

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Ev - 'ry - bo - dy out

œœœ œ

œœœ œ

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# nn## #

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Ev - 'ry - bo - dy out

EDDIE: I fed the kids. (Eddie turns a romantic low lighting lamp on, and the main light off, he then swivels the pinny round to the back, getting ready for business.) RITA: What did you cook for them? KIDS: Chips on toast. RITA: Eddie, chips on toast! Why? EDDIE: Cos I can cook chips and I can cook toast. We're alright, you do what you have to do, love.

## &##

218

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224

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235

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240

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F1 & M1 / F2 & M2 / F3 / M3

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out!

FAST SEGUE

12a

Everybody Out – Play Out (TACET)

End of Act One

44

Made in Dagenham – Vocal Book

ACT TWO 12b

Tooley's Entrance (TACET)

13

CUE:

This Is America

TOOLEY: And in America everything is American.

Driving Rock (q = 132) 2 CLICKS IN

b4 &b 4

3

Ó

1–3

TOOLEY

Œ

œ

œ œ

I'm the

b &b œ œ œ œ œ

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go - to

7

go - ing's

b j &b œ œ

10

to

your

gone

mad

j œ œ

and I've

j nœ

‰

face

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and tax - es

rea - son

and the

Lord

20

end

b ¢& b Ó

of

ve - ry

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Œ

am here's to

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I

tell

it

like

is

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line

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say

it

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Af - ter

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j ¿ Œ Ford

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be right

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is,

place.

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œ œ J

œ œ

tough, And the

œ œ œ

j œ œ nœ œ œ nœj œ

first pro - duc - tion

œ œ œ œ œ œ time.

e - nough.

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b &b œ œ œ œ œ œ œ œ

° bb bœ œ & J

I

gets

j œ nœ œ œ œ œ œ œ œ

œ nœ œ œ œ œ œ œ bœJ œ

17

gave the world the

had

go - ing

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b & b œ ‰ œj œ ¿ Œ

13

death

kin - da

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guy when the

‰

œ œ œ #œ œ

œ œ

œ

here

-

un - til

the

œ ‰ œ œ œ J J

A.

We tell you

∑

Made in Dagenham – Vocal Book

° # œ™ &

j œ œ

23

what

¢

to do,

œœj œœ J

# Ϫ & Ϫ

what

œ œ

and you

top

to do,

are

j œ

‰

our poo - dle,

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the

fif - ty - first state.

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dog

you

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top

#

love to

so much

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sun

is

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∑

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fur - ther

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37

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hot - ter

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ster

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to

and his

TOOLEY

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su - pe - ri - or

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¿

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on - ly

nbb nb b ‰ ¿ J

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œ œ œ œ œ œ ‰ œj

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way you

‰

you.

¿ ¿ ¿ ¿

œ œ œ œ œ œ œ œ bœ œ œ Now the car's the

and

you.

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ster

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su - pe - ri - or

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to

b &b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ b & b œ œ œ œ œj ‰ Œ

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sic' - ly we're to - tal - ly

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ger,

sic' - ly we're to - tal - ly

38–40

it down.

wa - ter's

‰

œœ œœ œœ œœ œœj J ‰ Œ

43

shut

hot - ter and our

-

œ œ J

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Ó

46

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saw off Jim - my Hof - fa

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dog

∑

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hate,

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big

30

‰ œj

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‰

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∑

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∑

27

¢&

we say.

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° #œ œ œ œ œ & you

as

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Ϫ

œ œ œ œ ‰ œJ œ œ

do

45

get

œ œ

a - round town

we

‰ œj We're

46

Made in Dagenham – Vocal Book

b & b nœ

49

œ

so

much

œ œ œ nœ

bet - ter

œ œ œ œ ‰ œj nœ œ

and I'm

not

be - ing mean.

j œ œ ‰ ¿ ¿ ¿

œ

We've got Route

Six - ty

Six,

you've got

the

j j b j j & b ¿ ¿ ¿ Œ ‰ œj œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œj œ nœ œ œ œ œ œ œ

52

A thir - teen.

° bb bœ œ & J 56

have her

¢

We gave you rock 'n' roll, you gave us

œœœ œ œ œ

nn# Ϫ

back.

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b &b Ó

This is

Œ

60

you're all

œj œ™ ‰ nœJ nn# œ™

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∑

64

fif - ty - first state.

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top

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Get

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67

œ

weren't for

#œ & œ

œ œ œ œ œj œ

us you'd all be

œœ œ œœ

weren't for

us

Œ

spea -king

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œ

U - S - A.

Œ

dog

œ

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We're all straight,

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∑

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œœ

‰ œj

and

Œ

We're all straight.

‰ œj œj œ

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you love to

hate,

Œ

‰ œj œ œ œ œ œ

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∑

‰ œj the

∑

dog

Ϫ high

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high

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the

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ri - ca,

-

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off your

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ri - ca,

-

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top

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me

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me

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A

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¢

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horse,

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put a - way your

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ser

Œ

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mon. If

it

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horse,

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and while

while

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we're here,

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we're here,

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there's one thing more.

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You

Made in Dagenham – Vocal Book

° #œ œ œ œ œ & 71

still owe us

¢&

œ œ

mo - ney

from the

# œœ œœ œœ œœ œœ still owe us

œ

∑

Ó

‰ ™ ¿r

TOOLEY

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A-

nbb

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mo - ney

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b &b ¿ ¿ ¿ Œ 3

j j ¿ ¿ ¿ ¿ Œ

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rib - be - an,

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3

¿ ¿ Œ

¿ ¿

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° b & b ¿™ ¿ ¿ ¿™ ¿ ¿™ ¿ ¿ ¿ ¿ ¿ ¿ Œ 84

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b &b

Œ

œ

nbb

Se - cond World War.

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75

80

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47

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j ¿ ¿

j ¿ Ó

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‰ ™ ¿r ¿ ¿ Œ

¿

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j ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ‰ Ó 3

You guys can't ev-en speak Eng - lish!

∑

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Pa -ree - shun,

# ‰ œJ œ œ nn

TOOLEY

This is A -

Ó

j # ‰ nœœœ œœœ œœœ nn

WOMEN

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¢

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M6 / M1

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° # œ™ & 88

me

# & œœœ ™™™ me

¢&

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me

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œ œ ‰ œj œj œ œ ‰ œ œ œ œ ™ J J J

ri - ca,

the

U - S - A.

Now don't for - get

j œœ œœ Œ œ œ

∑

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∑

ri - ca,

ri - ca,

j œ œ ‰ œj œ œ œ œ ‰ œJ œ œ that

You

do as we say,

We have the

œœ ™™ ˙

j œœ œœœ Œ

∑

˙œ ™

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∑

...get

get

that,

that

48

Made in Dagenham – Vocal Book

° # œ™ & 92

T

# & œœ˙ ™™ T

¢&

# ˙œ™ T

-

Hol

# œœ™™ & ¢ Hol

Pres

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100

# & œœœ ™™™

and you have the vest.

shirt,

° # œ™ & Pres

shirt,

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96

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j œ œ œ œ œ Œ

j œœ œœœ Œ

° # œ™ & Hol

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And we're sim - ply the best.

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shirt,

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and

and

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too,

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too,

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too,

Su - per - man

j œœœ œœœ

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i - dent, We got

104–110

‰

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œœ

‰

You got Thames T. - V.

You got Thames T. - V.

œ œ œ

to re

-

a - lise.

œ Œ

You got Prince Charles,

j j œ œ œ

j œ ‰ œ œ œ J

j œj œœ œ œ œ

j j œœ ‰ œœ œœ œœ œ nœ #œ œ

j j œ œ œœ œ

j j œœ ‰ œœ #œœ œœ

and Whip -s'nade Zoo.

œœ œ

and Whip -s'nade Zoo.

and Whip -s'nade Zoo.

We got

We got

We got

and

Des - pe - rate Dan.

and

Des - pe - rate Dan.

œœ Œ œ

j ‰ œœœ œœœ œœœ œœœ œœœ Ó

œ œ œ

œ Œ

‰ œj œ œ œ œ Ó

You got Prince Charles,

a

a

a

‰ œj œ œ œ œ Ó

œœ œœ œœ œ œ œ

You got Prince Charles,

and

Des - pe - rate Dan.

‰ nbœœœ œœœ nbb œœœ œœœ œœœ œœœ œœœ œœœ ≈ œœœ œœœ ‰ œœœ œœœ

SOP / MEZ / ALT + M1 + M6

Œ

bœ œ œ œ w & b œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ w w thing you can do we have

‰

œœ œ

A - ny 113

œ

œœ œ

Su - per - man

Ó

œ

œœœ œœ

Su - per - man

7

œ

You got Thames T. - V.

œ Ó J

i - dent, We got

i - dent, We got

œ œ

Ó

-

thing you can do

or want

to do,

a - ny -

Œ ‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ≈ œœœ œœœ ‰ œœœ œœœ Ev' -ry thing that you do or want to do,

ev' -ry

Made in Dagenham – Vocal Book

rall.

#œ w bœ œ œ œ w & b œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ w

117

thing that you do

b & b œJ œ

121

with

b & b œJ œ

125

this

° bb Ó & 129

TOOLEY

we have

j œ œ

¢

tic - ket to

A tempo

Get

Slower

œ 3œ œ A

œœ 3œœ œœ

This is A M1 + M6 / M2 + M3 + HOPKINS

#œœ 3œœ œœ This is

œ œ œ œ

œ

‰ œj œ œ œ œ œ

SOP / MEZ + ALT

b &b Ó

œ

A

rea - dy Da - gen - ham,

# nn## œ ™

lose

œ œ J

with

me

-

## nn # œœ™™ -

me

# ™ nn## œœ ™

-

me

-

-

∑

j œ œ

get

ri - ca,

œ Œ J

j œœ œœ J

j j ‰ œ œœ œœ J J

j œœ Œ J

œœj œœ J

j j ‰ œœ œœ œœ J J

œœj Œ J

the

the

the

U - S - A.

U - S - A.

œ

U - S - A.

and Scoo -by

and Scoo -by

We got

Doo.

Doo.

Doo.

bike.

œœ œœ

œœj œœ ‰ œj œœj œœ œœj œœ Œ œ J J J J

and Scoo -by

choose

œ œ œ œ

œ

j œ œ™

We got

### œ œœ œœ œœ ‰ œœj #œœ œ œœ ™™ œ ¢& œ J

We got the Ken - ne - dys

accel.

œœ œ

j j œœ œœ ‰ œj œœj œœ œœ œœ Œ J J J J

blow you a - way.

pic - ket and

We got

accel.

We got the Ken - ne - dys

can't

œ œ

j ## ™ & # œ œ œ œ ‰ œœJ œœ œ œœ ™ blow you a - way.

You

One thing's cer - tain, I'll

œ œ ‰ œj œ œ œ œ Œ J J J

We got the Ken - ne - dys

œ œ œ œ

Œ

133 ° ### ™ & œ œ œ œ ‰ œJ œ œ œ

blow you a - way.

œ

back to work, get on your

‰ œj œ œ J

ri - ca,

œ

Ford.

œ œ J

ri - ca,

TOOLEY

‰ œj œ œ œ œ œ œ J

Steadier, quasi martial

-

Slow but insistent

sub - si - dise.

That's your

strike.

This is

b &b Ó

Œ

Ford,

j œ œ

to

49

œ

œ

bust

œ ˙ J

œ

œ œ

cops with guns who will

œœ

œœ

œœ

œ œ

cops with guns who will

œœ

œœ

œœ

œ œ œ œ

cops with guns who will

œ œ œ œ Œ You got Ted Heath

œœ œœ œœ œœ Œ You got Ted Heath

œœ œœ œœ œ Œ œ You got Ted Heath

‰ œj and

j ‰ œœ J

and

j ‰ œœ J

and

50

Made in Dagenham – Vocal Book

137 ° ### œ œ œ œ ‰ œJ œ œ &

Dan - ny

La

Rue.

We

got

Ϫ

A tempo

the

White

Dan - ny

La

Rue.

We

got

the

140 ° ### œ &

La

œ

Em - pire

## & # œœ ¢

œ œœ

143 ° ### & œJ œ

mem - ber

## j & # œœJ œœ

mem - ber

### œœj œœ ¢& J

mem - ber

got

œ œ œ œ œ œ

State, which pis - ses

œœ

Em - pire

We

State, which pis - ses

œœ

Em - pire

##œ &# œ

Rue.

œœ

œ œ œ œ œ œ

State, which pis - ses

œ œ

House, you've got

œœ ™™

the

œœj œœ J

White

j œ œ on

Big

j œ œ J

on

Big

œœj œœ J

on

Big

When it comes to

mu

Ben.

œœ œœ #œ œ œ #œ When it comes to

œœ œœ œœ œœ œœ

œœj ‰ œj œ œœ œ œ J J

œœ œœ œœ œ œ œ œ

this:

this:

There'd be

There'd be

no

no

no

## &# œ œ œ œ œ œ œ œ and wea - ri - er,

frea - king Bea - tles

frea - king Bea - tles

frea - king Bea - tles

œ

œ

with - out

œœ œœ with - out

œ œœ œ with - out

œ œ œ œ œ œ œ œ

re - mind me

of

Si - be - ri - a, you're

We

Ten.

mu

-

-

˙œ ™

We

œ œ J

sic

j œœ œœ J

sic

œ œœ J

mu

sic

-

œ œ œ œ Œ El

got

the

got

the

œœj ‰ œœj œœ œœ J J

œ™ œœ ™™

j œœ ‰ œj œ œœ J J

There'd be

œœj œœ J

œ œ œ #œ

œœj ‰ J

Ten.

Num - ber

œ œ œ #œ

We

j j œœ ‰ œœ œœ œ J J

Num - ber

j œ ‰ J

Ben.

Ten.

j œœ œœ J

When it comes to

Ben.

œ ‰ œ œ œ J J

Num - ber

œ ‰ J

œ œ œ œ œ

this:

œ œ J

œœ œœ

House, you've got

œ ‰ œj œ œ J

146

drea - ri - er

j œ œœ

White

### œœ œœ œœ œ ‰ œœj œœ œœ œ J ¢& Dan - ny

œ œ

House, you've got

œ˙ ™

### œ œ œ œ ‰ œj œ œ œ œ œ & œ œ œ œ J

œ œ J

-

vis.

got

the

œ œ just

re -

œœ œ just

re -

œœ œ œ just

re -

‰ œj

You're

œœj œœ œ œœj Ó El

-

vis.

El

-

vis.

œœj œœ œ œj Ó œ

œ œ œ œ œ œ œ œ

to - ta - lly

in - fe - ri - or,

so

Made in Dagenham – Vocal Book

149 ° ### œ œ œ Œ &

Ó

Œ

Dag - en - ham...

## &#

œ

œ œ™ J

Screw

∑

Ó

51

‰ œJ œ œ œ œ œ Ó

Ó

you.

∑

This is

∑

‰ œœ œœ œœ œœ œœ œœ Ó J

Ó

This is

### & ¢

∑

∑

∑

A - me - ri - ca!

A - me - ri - ca!

‰ œœJ œœ œœ œœ œœ œœ Ó

Ó

This is

A - me - ri - ca!

SEGUE

13a

This Is America – Tag 13b

This Is America – Reprise CUE: TOOLEY: Okay. Stop the line. Lay the men off.

3, 4 . . .

3

(q = 132)

4 &4

Ó

-œ œ J

‰

-œ œ

-œ œ

œœ

œœ.

˙˙™™

w w Ó

œœœj œœœ œœœ #œœœ œœ # n #œ ‰ J

M6 / M1 / TOOLEY 7

&

w

˙

Ó

∑

Ó

This

is

œ nœ . .

> œœ œ

A - me - ri - ca!

Ó

œ nœ . .

52

Made in Dagenham – Vocal Book

14

Storm Clouds

WARN: BERYL: Are we? ----------------------------------------CUE: CONNIE: Your strike pay.

6

q. = 76

6 &8

4

& ˙˙ ™™

Ev - 'ry - bo - dy out.

˙˙ ™™

26

& œ™ ‹ Ten

& Œ™ ‹

Ϊ

4

œ œ œ œ

on

Ϊ

#œ ™

œ œ œ Don't let

the

bas

Ϫ

tards,

-

˙™

˙™

œ œ œ œ œ

œ

‰ Œ™

Ϫ

#œ grind

you

Ϫ

Ϫ

Ϫ

˙™

Ϫ

Ϫ

Ϫ

Ϊ

œ œ œ œ 4

4

nœ œ œ œ Œ™

Ϫ pound

6 41–46

down.

j Ϫ

œ

out.

Ϊ

Ϫ

zon.

˙™ ‰™

- dy

Ru -mours go - ing

Ϊ

53

&

Ϫ

Down to our last

œ J

4

˙˙˙ ™™™

Pres -sure buil -ding up

˙™

˙™

-

‰ Œ™

4

47

&

Ϫ

the ho - ri

Mo - ney run - ning short

37

4

œœ œœ œœ œœ œœ œœ

˙˙˙ ™™™

œ™ œ œ

Ϫ

clouds

in the town.

Ϊ

& œ™ ‹ round

Storm

Ϫ

œ œ œ ˙™

Ϫ

- sion

32

Ϫ

out.

SOP + MEZ / ALT

Ev - 'ry - bo

˙˙˙ ™™™

4

dy

Ϊ

Ϫ

œœœ œœœ œœœ œœœ œœœ œœœ

TUTTI WOMEN

20–21

Ϫ

4

Ev - 'ry - bo -

2

U ∑

˙™

SOP / MEZ / ALT

Ϊ

œœ ™™

DIALOGUE

& ‹

˙™

4

œ œœœœ œ

1–6

12

19

WOMEN

Ϫ

2

œ

Ϫ

˙™

Ϫ

Ϫ

Ϫ

°™ VAMP ¢™ ˙ ™

Ϫ

™™ ü †

Made in Dagenham – Vocal Book

On Cue

& Ϫ

59

MEN

Wel

Ϫ

j bœ

œ

come

-

to

& Œ

(this

° œ™ & œ™

is what it’s

Ϊ

j œ œ œ bœ

Œ

This

œ œ œ œ

E - qual shit

∑

is

what it’s

œ bœ bœ Œ ™

4

like)

Ϊ

69

Ϊ

œ bœ œ

e - qua - li - ty

œœ™™

œœ œœ œœ œœ J

64

j bœ

œ

53

for

Œ

ev’ - ry - one

∑

Ϊ

Ϫ like

œ œœ bœœ bœœ J When you go

∑

∑

on

∑

strike

¢& ‹

∑

∑

Ϫ

Ϫ

Ϫ

83

&

91

&

Ϫ

Ϫ

Storm

75

&

ALL WOMEN

Ϫ

œœ

Ϫ

Ϫ

2

œœ

œœ™™

Ϫ

Ϫ

Ϫ

Ϫ

˙˙™™

clouds

on

˙™

Ϫ

V™

Ϫ

‰

2

œœ J

Ϫ

Ϫ

Ϫ

Ϫ

œœ

Ϫ

the ho - ri

Ϫ

˙™

Ϫ

V™

œ™ œ œ

Ϫ

2

Ϫ

zon.

-

Ϫ

Ϫ

Ϫ

Ϫ

Œ

Ϫ

Ϫ

Ϫ

‰

˙™

2

œœ

œœ

2

œœ

œœ™™

‰

œœ J

œœ

˙˙™™

2

œœ

∑

TOOLEY: Do you understand domino theory? MONTY: Yeah. Get rid of your double six as soon as you can. 98

&

‰

2

œœ J

œœ

2

œœ

œœ

2

œœ

œœ™™

VAMP ° (Out either bar)

2

˙˙™™

™ ¢™ œ

101–102

œ œ œ œ œ™

™™ ü †

˙™

TOOLEY: If England falls to equal pay, the rest of the world will follow. 105

& ‹

On Cue œ

œ œ œ œ œ

ALL WOMEN

œ œ œ œ

œ

œ œ œ œ œ œ œ œ œ œ

Ϫ

Storm

Ϫ

clouds

Ϫ

œ™ œ œ œ™

on the ho - ri

-

Ϫ

zon.

54

Made in Dagenham – Vocal Book

& œ™ ‹

110

Œ

‰

121

& ‹

Ϫ

Ϫ

Pro

115

& ‹

LISA

Ϊ

˙™

Ϊ

˙™

œ

œ œ œ

#œ ™

Ϫ

the

Ϊ

˙™

œ

œ

in

°™ ¢™ œ

œ

œ J

#œ

WILSON

Help me,

the e - co - no - my

° Ó & 131

Œ

‰

is

¢& œ œ œ œ œ œ ven on

-

œ

œ

™™ ü42 ¿ †

[Dr. fill]

Ϫ

Ϫ

Œ

4

œ

œ

¿

¿¿

¿

4 4

Ϫ

Ford

your trade

Ϫ

œœ

Ϫ

Ϫ

2

Ϫ

Ϫ

146

œœ

œœ™™

Cut -tin

down

in - di - cies

on booze and fags and e -

œ œ œ

œ Ó

make the blood chill

∑

foot - ball.

fi - gures

Tempo primo (in 2) (q. = 76)

6 &8

œ œ œ œ œ œ œ œ œ œ

∑

j & bœ œ œ œ œ œ œ nœ œ œ bœÓ œ ™ With -out

Œ

œ œ œ œ

e - co - no - mic

+ MEN

134

& ‹

Ϊ

MEN

sim - ply in free - fall.

3 j3 œ ‰ œ œ œ

j œ

TOOLEY

The

154

œ

œ

œ

On Cue Più Mosso

œ œ œ œ œ™

4 & 4 œ œ ‰ ≈ œ œ œ œ œ ‰ œj œ œ œ œ œ

&

˙™

œ

œ

VAMP (Out either bar)

Ϫ

4

œ

Pop Ballad (in 4) (q = 92)

128

138

Ϊ

home.

4

œ

Ϊ

Ϫ

œ œ œ

blems

-

4

œ

Ϫ

Ϫ

Ϫ

˙˙™™

Ϫ

Ϫ

are

˙˙ ˙

sim - ply

Ϫ

˙™

∑

‰

Ϫ

Ϫ

2

œœ J

œœ

w #nw w

road

˙™

Ϫ

-

œœ

œœ

2

6 8

∑

kill.

Ϫ

Ϫ

Ϫ

2

rit.

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

œœ

œœ™™

˙˙™™

Ϫ

Ϫ

‰

˙™

2

œœ J

œœ

2

2 160–161

œœ

Made in Dagenham – Vocal Book

TOOLEY: Michigan 1932 is history. LISA: Which is my subject. Five strikers dead, and sixty chained to their hospital beds with shotgun wounds. CUE to CONT HOPKINS: Darling, that's enough. Please, bring in the dessert.

° & ¢™™ ‹ œ

™™ ü †

VAMP

162

(Out either bar)

œ œ œ œ œ™

166 TUTTI

& œ™ ‹ Storm

Ϫ

& ˙™ ‹ town.

-

& #œ ™ ‹ grind

189

&

Ϫ

the ho - ri

4

œ œ œ œ œ

TOOLEY: Oh, wow! What’s for dessert? LISA: (Standing) Cheese.

On Cue œ œ œ œ œ

œ

Ϫ

Ϫ

zon.

-

‰ Œ™

Ϊ

j œ

j œ œ

sy

lies

œ

œ

the

œ J

you

head

Ϫ

that wears

Ϊ

œ

œ œ œ œ œ œ œ œ œ œ

Ϫ

Ϫ

Ten

-

Ϫ

œ œ œ

sion

in

Ϊ

4

Ϊ

j œ

WILSON

Œ

Ru -mours go - ing round

the

Ϊ

Ϊ

Ϫ

j œ

Ϊ

Un -

CASTLE

Don’t let that

Ϫ

∑

j œ œ™

œ œ œ #œ

crown.

Ϫ

Ϫ

the

œ

bas - tard

Ϫ

œ J

Ϫ

down.

Ϫ

˙™

j œ œ

œ œ œ œ

œ œ œ œ œ™

Pres -sure buil -ding up

178

183

on

Ϊ

Ϫ

œ™ œ œ

Ϫ

clouds

172

& œ ‹ ea

Ϫ

55

Ϫ

Ϫ

œ

œ J

On Cue Più Mosso

°™ ˙™ ¢™

™™ ü42 †

VAMP

˙™

[Dr. fill]

¿ ¿ ¿ ¿ ¿

4 4

In 4 - Pop Ballad (q = 92)

4 &4 Œ

195

TOOLEY

Œ

œ œ œ œ œ œ

We have to bust the strike.

198

& œ out

œ™ bœ bœ of here.

‰ nœ #œ 3

We will

‰ œj œ œ ‰ ‰ œ œ œ Be ruth - less–

˙

n˙

move

to

get it

œ

done.

#œ

Bel - gium.

‰ œj œ œ œ œ And

Œ

if

you don’t we’re

WILSON

3

œ œ œ

This

is

a

6 8

56

Made in Dagenham – Vocal Book

j ™ œ Œ

In 2

6 & 8 #œ

201

4

j œ #œ œ œ œ œ

Œ

rough patch,

& œ œ

212 WOMEN

Ϫ

œ

∑

Ϊ

on

Œ™ j œœœ œœœ J

ten - sion in

223

Ϊ

j œœœ œœ™™ J

the

‰ œ œ œ œ

‰ Œ™

Mo -ney run -ning short

b œœ ™™

Ϫ -

ding

° & #œ ™ œ ™ ‹ bas - tards 228

∑

pres

#œ ™

grind

-

Ϊ

-

Ϊ

-

sure

buil - ding

-

Ϊ

you down.

Ϊ

-

œœœ ™™™

œœ ™™

Ϫ

Ϊ

Ru -mours go - ing round

pres

Ϊ

Ϊ

n œœ

j œœ œœ J

j œœ œœ ™™ J

down

to our

last pound.

Ϫ

bas - tards

œœ ™™ œ™

in,

Ϫ

buil - ding

œ œ œ œ™

‰

œœœ

sion

4

sure

bas - tards

in the

œ œ œ œ

b œœ ™™

Don’t let the

œ œ œ œ™

‘cos

œ œ œ

sion

ten

b Ϫ Ϫ

œ ™™

j œ œ

Bel - gium

Ϫ

œœ ™™

zon

œœ ™™

Ϊ

to

Ϫ

Down to our last pound

b œœ ™™

Don't let the

Ϫ

4 œ œ œ œ œ™

b Ϫ Ϫ

œ œJ ˙™ ∑

œœ

‰

up

pres

œ

‰

Ten

‰ Œ™

œ b œœ ™™

town

4

¢& œ ™ œ™ buil

4

œ œ œ œ

i

-

go

œ

ALL

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Œ

Ϫ Ϫ

Ϫ Ϫ

don’t

j œ Œ

On Cue

TEN + BARI / BASS

Pres -sure buil -ding

œœ

° & Œ ‹

Ϫ

the ho - ri - zon,

Ϊ

™™ ü †

˙™

j œ œ™

hor

218

¢&

œ™ œ œ

∑

° & œ™ ‹ town. ¢&

Ϫ

œ œ œ œ J

But please

shit.

clouds

¢&

rea - di - ly ad - mit.

(Out either bar) j ° œ œ ™ ™ œ ‰ Œ ¢™ œ œ œ œ œ œ œ œ œ™

Bel - gium’s real - ly

° & œ™ ‹ Storm

‰ Œ

Tempo primo VAMP

j œ œ

206

I

j œ œ

œœœ ™™™

bas - tards

Ϫ grind

œœ ™™ œ™

grind

Ϫ Ϫ -

sure

œ œ œ Œ™

Don’t let the

œ œJ ˙™

you down.

œœ œ

j œœ ˙˙ ™™ œJ ˙™

you down.

Made in Dagenham – Vocal Book

° Œ & ‹

235 [MAKE LAST SUPPER]

œ œ œ œ J

¢& Œ ° œ & ‹ fam’

you,

j œ œ œ œ

œ

j œ œ

240

œ

It ain’t a - bout

It ain’t a - bout

‰

‰

j œ œ

‰

‰

bas

bas

# œœœ™™™

° œœ ™™ & bœ™ ‹ bas

∑

? ™ ¢ Œ

-

œ œ œ œ œ œ

Ϊ

tards

œ bœ

œj œ J

Ϫ Ϫ

grind

you

down

œœ

j œœ J

Ϫ Ϫ

grind

you

down

it ain’t a -bout the

law.

j œ œ œ œ œ

œ

and

poor.

j œ

˙˙™™

and

poor.

™ #˙˙˙ ™™

grind

you

# ˙˙˙™™™

# ˙˙˙™™™

grind

you

œœ ™™™ œ

the

bas

Ϊ

Ϊ Ϊ

œœœ ™™ ™

WOMEN

the EDDIE / TEN + BARI / BASS

œœœ™™™

Ϊ

down.

It’s three thou -sand

‰ Œ™

Œ

j œ œ œ œ

It’s three thou -sand

Ϊ

Ϊ

(WOMEN)

[G.P.]

Ϊ

œœœ œœœ œœœ

Don’t let

Ϊ

the

(MEN)

[G.P.]

œœ

œœj J

grind

you

œœ

j œœ J

grind

you

œœœ ™™ ™

œœœ œœœ œœœ

Ϊ

œœ

bas - tards EDDIE / TEN

Ϊ

U >˙ ™ ˙˙™™

tards

œœ ™™ œ™

U > ˙˙™™ > u

?

œœ

the

Ϊ

bœœœ™™™

œœj bœœ™™ J

the

Ϊ

grind you down

BARI / BASS

∑ œœœ™™™

-

œ œ œ œ J

Œ

Don’t let

∑

nœœ ™™™ œ

Ϊ

Ϊ Ϊ

∑

‰ Œ™

law.

Ϊ

j œ #˙™ ˙™

#˙˙˙ ™™™

∑ œœœ™™™

252

& Ϊ

œœ ™™ œ™

Ϊ

tards

-

¢&

Ϊ

tards

-

& œ™ # œœ™™

œœœ ™™ ™

œ

it ain’t a -bout the

un - em - ployed

#œœœ ™™™

245

Œ

un - em - ployed

fam’ - lies

° œ ™™ & #œœ ™ ‹

‰ Œ™

œ œ œ œ œ J

Œ

you,

- lies

¢& œ

‰ Œ™

6/8 Rock Feel

57

Ϊ

j œœ œ™ J œ™

grind you down

‰

‰

Ϊ

œœj J ‰

‰

Ϊ

œj ‰ œJ

‰

Ϊ

œœ œ J

down.

U > ˙™ ˙™ > u

down.

SEGUE

58

Made in Dagenham – Vocal Book

14a

Storm Clouds – Scene Change (TACET)

14b

Car Showroom (TACET)

15

Cortina! CUE: Barbara Castle: For Pete's sake, can we have a look at this bloody car!

Fanfaric!! (q = 132)

## 4 & # ## 4 Œ

2 CLICKS IN

GIRLS

œœ ˙˙˙ œ.

˙˙ ˙

Bah bah

° ## & 7

∑

Ó

° ## Ó & 12

¢&

da!

Œ nœ

F1 + F2 / F3 + F4 / F5

## Œ ˙˙˙

CORTINA MAN

Ooh

Mark

nn

Ó

Œ

œ œ

It's the

b Œ œœ ˙˙ œ. ˙

˙˙ ˙

Ó

# n#

Bah bah

Easy 4

Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

car for me, it's the car for you.

∑

∑

Af - ter

œ

the Mark One comes the...

∑

Boo!

w

Ó

Œ

Mark Two.

œœœ

˙˙ ˙

Bah bah

> j ## Œ b œ Œ ¿û Ó œœœ œœœ ™™™ œœ ¢& . . Bah bah

nn # n # Œ œœ ˙˙ œ. ˙

Ó

˙˙ w

Two

œ œ œ œ œ œ œ œ œ ‰ œj œ œ œ œ

Well, you buy a Mark Two 'cos you know you ough - ta.

n˙˙

Œ œœ nœœ Ó œ Ooh

∑

∑

It's

Made in Dagenham – Vocal Book

° ## & œ œ œ œ œ œ œ œ œ œ œ œ œ 17

like a Mark One, on - ly

¢

# &#

frac -tion -nal - ly short - er. "Cor

∑

j œ ˙

Ϫ ti

-

œœ œœ œœ œœ œœ œœ Œ œ œ œ œ œ œ

j œ

21

mean

## Ó & ¢ ° ## Ó & 24

-

Ó

˙

er.

‰

œ nœœœ

Ooh

œ œ œ œ Comes in white or

## ˙˙˙ & ¢ ˙

Ó

cream

-

er.

you can

af - ford

œ more

∑

Ó

Ooh

œ

Ó

j œ

Ϫ -

ti

˙

na.

-

Ó

˙˙ ˙˙

Ó

œ œ œ œ œ œ œ to

get.

œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ

Leath - er - ette's the one

œ

Two - door,

j ‰ nœœœ bœœœœ œ

Leath - er - ette's the one

œ

to

œœ œ

Two

door,

œ

œ

œ

four - door.

œœ œ

nœœœ

œ œ œ

Ooh

j nnœœœœ

œœœœ

‰

∑

Ooh

28

## & ¢

j œ ˙

Ó

° ## œ œ œ œ œ & If

Ϫ

It's lean - er and it's

‰ œœœ nœœœj ˙˙˙ œ nœ ˙

Ó

Cor

˙˙˙ ˙

‰ j nœ œ œ œ œ

F1 + F2 / F3 / F4 / F5

Œ

j bœœœ œ

Œ

na.

-

frac -tion -nal - ly short - er

° ## & œ™

59

œœœ

four - door

œ œ œ

Wood - en dash - board? Yeah, you bet!

œœ œœ œœœ œ œ

Ó

get

Yeah, you bet!

##GIRLS & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ

31

Dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,

° ## & 33

∑

dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,

Ó

Œ

œ

"Cor

¢&

-

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,

dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,

60

Made in Dagenham – Vocal Book RITA: Sandra! What do you think you're doing? SANDRA: Earning a living! PETROLHEAD 1: Oi! What's your problem? RITA: How long have you got? SANDRA: Can't live on two quid a week strike pay RITA: No, Sandra, NO!

° ## & œ™ 35

ti

¢&

## Ó

j œ ˙

na,

-

Œ

-

39

for those

œœœ œ

woo

woo

°™ w ¢™

1º only

°™ w w ¢™#w

woo." 1º only

™™ ü †

∑

woo

‰

œ œ œ œ œ

tric - ky round - a - bouts.

∑

™™ ü †

∑

j œ

It's

œ œ œ œ œ

Œ

Ó

¿

built

∑

to

real - ly

last–

Œ

Three

42

## ¿

‰

j œ œ

œ œ

w

Ó

Œ

Ó

n˙˙

Œ

Ooh

46

## Ó

Ó

## ˙˙˙ & ¢ ˙

œ œ œ œ

œ

short - er but more

œœ nœœ Ó œ

∑

‰ œj œ œ œ œ œ

Œ

It's now ex - tra wide.

‰ ¿J

Œ

j œ œ

Ooh

room in - side.

° ## Œ &

‰

It's slight - ly

˙˙ w

years!

50

Œ

Or there - a - bouts.

° ## j & œ œ œj œ Œ ¢&

œ œ

Self - ad - just - ing brakes

° ## Œ & ¢&

nœœœ œ

na

° ## & œ œ œ œ œ ¢

Oo - woo - oo woo - oo

‰ œœœ nœœœj ˙˙˙ œ nœ ˙ ti

# &#

‰ œj œ œ œ œ

3x

¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ

œ

"Cor

j œ ˙

Ϫ -

∑

ti

-

na.

Ó

"Well, how the hell's that pos-si - ble?"

‰

j nœ œ œ œ œ

It's lean - er and it's

Ó

j œ ˙

Ϫ mean

Ó

-

er.

Ooh

CUE: HOPKINS: That woman there, I want her thrown out"

Ó

j ‰ nœœœœ bœœœ ˙˙˙ œ ˙ Ooh

‰ œœœ nœœœj œ nœ

Œ

œ

Cor

Ó

j œ ˙

Ϫ -

ti

Ó

-

na.

‰ œœœ nœœœj œ nœ Ooh

Made in Dagenham – Vocal Book

° ## Ó & 54

œ œ œ œ Comes in white or

## ˙˙˙ & ¢ ˙

cream

er.

-

Ó

∑

j ‰ nœœœ bœœœœ œ Ooh

° ## œ œ œ œ œ & 58

it

j œ ˙

Ϫ

Ó

will give

## & ¢

a

big

œ thrill.

∑

61

˙˙˙ ˙

the world and see

œœœ

œœ œ

down - hill,

œ

œ œ œ œ œ œ

the sights with

the world and see

œ

down - hill,

œœœ

Up - hill,

œœ œœ œœ œœ œœ œœ œœœ œœ œ œ œ œ œ œ œ

See

nœœœ

Ó

œ

œ

Up - hill,

œ œ œ œ œ œ œ œ See

œ

the sights with

twi - light night - sight side head - lights.

œœ œ

œœ œœ œœ œ œœ œœ œ œ œ œœ œ œ

twi - light night - sight side head - lights.

# °œ œ œ œ & # ¢™™ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ

61

GIRLS

Dub - a - dub - a - dub - a - dub - a, dub a - dub - a - dub - a - dub - a,

dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,

# & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ

63

dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,

MAN # CORTINA œ œ œ œJ œ ™ &#œ

Come on

ac - cel - er - ate,

68 ° ## œ œ œ œ œ œ œ œ &

dub - a - dub - a - dub - a - dub - a, dub

œ œ œ œ œJ œ

65

Just

do - it,

why d'you wait?

(SANDRA punches CORTINA MAN.)

∑

œ œ œ œ œJ œ ™

j œ

Be - fore

it

GIRLS

Seize the mo - ment, ba - by, right

nœfij nœ

#œ nœfij #œ nœfij #œ nœfij #œ #œ nœ #œ nœ #œ nœ #œ

wow, wow, wow, wow,

nœfij nœ

gets much too

∑

Seize the mo - ment, ba - by, right

## œ & œ œœ œœ œœ œœ œœ œœ œœ ¢

Œ

#œ nœfij #œ nœfij #œ #œfij œ #œ nœ #œ nœ #œ nœ #œ

wow, wow, wow, wow,

late,

∑ œj œ ™ œ œ™

wow,

˙ ˙

™™ ü †

62

° ## Ó & 72

¢&

CORTINA MAN:

Ϫ

"Cor

ti

Œ

##

œ

∑

œ ˙ J

‰ œj œ œ œ nœ

Œ

na.

-

Ó

76

Œ

œ œ Œ

‰ nœJ

Œ

Cor

## nœ ™ riv

œ J

## Œ & ¢

Œ

-

ti

-

Af - ter

all

œ

sense

in

Œ

-

œ

œ œ J

ing.

Œ

dep - riv

-

œ™ #œœ ™™ ti

ti

-

15a

Cortina – Play Out (TACET)

15b

Tax Payer's Bentley (TACET)

-

U œ ˙ J -

na.

œœ œ J

na.

œ

Comes in

nœ ™

œ œ™

œ

Cor

nœ ™

the nine - to - fiv

œ

rall . . .

Ó

nœ œ œ œ œ œ

More fun than ar -

Ó

j œ nœ

‰

nœ œ œ œ

Ó

˙

There's no

er.

Ó

na.

-

Œ

œ ˙ J

œ ˙ J

- in'

œ J

ing,

-

79 ° ## œ ™ &

cream

œ

Ϫ

œ

Ϫ

It's lean - er and it's mean - er. GIRLS

Driv

° ## Ó & ¢&

-

Made in Dagenham – Vocal Book

U ˙˙ ˙

œ J

œ

œ

œ

white

or

Œ

ing,

SEGUE

∑ ∑

Made in Dagenham – Vocal Book

63

16

The Letter CUE: RITA sees the letter.

b ° & b bbb ¢™™ C

(In 2)

b & b bbb Ó

6

Œ

∑

Ó

ü œ œ ™™ † ˙

2nd X: EDDIE:

Œ

I just

can't

≈ œ œ œ œ Œ œ œ œœœ

˙

˙™

take

this

Ó

Œ

‰ œœ ˙

a - ny - more

‰

œ œ œ Œ œœ

I'm go -nna take the kids a - way

Œ

b & b bbb Ó

‰ ™ œr œ œ

sure.

14

I

know I'm not one

bb &b b b ˙

Œ

bb &b b b ˙

Ϫ

‰

good.

23

need

3

œ œ

b & b bbb ˙

33

need

j b & b bbb œ œ

37

tell you

I need 3

œ œ œ you

in

my

Ϫ

you

but I think– you know–

Œ

‰ j ¿ ¿ ¿ ¿ ¿

˙

do

this

œ œ™ J to be

Œ

œ ˙ J

my wife.

‰

j œ

You

here,

˙™

on my

own

What is this all

life

j œ œ œ œ œ™ ˙

œ 3œ œ œ œ œ œ™ ˙

Ó

Ó

for?

It's such a

sim -ple

œ œ œ

know what they're say - in'

œ œ œ œ œj œ™

"Read her the riot

nev - er know–

I'm not

act,

we should.

j œ œ œ

might do some

‰ œj ˙ ™

‰ œj

no more

Ϫ

j ‰ œ œ

‰ œJ œ œ œJ œ ™ œ œ

‰

3

You

or else

˙

if you were e - ver

tal - king

Ó

˙ œ 3œ œ

a - round,

j b & b bbb œ œ ‰ œ œ side me,

can't

œ ˙ J

28

Œ

day or two,

œ œ

‰ œœ œ œ œ œ œ œ

a - round

˙

'Cos I

you

for

œ œ œ œ œ

So if you're ev - er 18

for a

‰ j œ œ œ œ œ ‰ œj œ œ œ Œ œ

bb &b b b ˙

10

Ó

I

œ œ™ J

I need

you

˙

œ Œ Œ ‰ œJ

thing.

œ œ

to stand

œ J

be -

I

Ó

Œ

‰ œj

at work?

I'd

œ œ œ œ œ

Keep her in

line,

‰

j œ

Get

64

Made in Dagenham – Vocal Book

b & b bbb œ œ œ œ œ

41

her

b & b bbb ˙

44

in

the

j œ œ œ œ œ œ™ œ

‰

3

house

and

Well I'd

bbb œ 3 b & b œ œ œ

tell you

48

on my

own

‰ œj ˙ ™

j j j bb &b b b ‰ œ œ œ œ œ œ ˙ b ˙ & b bbb

62

wife.

Œ œ œ

for?

sim -ple

Ϫ

3 3 b & b bbb œ œ œ œ œ œ œj œ

70

- fast was corn -flakes and wa - ter

j œ œ œ œ œ œ œ œ

state of your son and daugh - ter

yes, I've burnt the toast

3 b & b bbb œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ™

stu - pid wa -shing ma -chine well it

on - ly e - ver li-stens to you

73

3

b & b bbb œ œ œ œ œ œ œ

76

- ron in Ca -nning Town

3

and the

I need

3

you in my

˙

do

œ 3œ œ Or else

Ϫ you

œ œ™ J to be

Œ

˙

œ J

my

‰ j œ

life.

Well,

j œ œ œ œ œ œ œ œ œ 3

We

ran out of milk last night so

3

œ œ œ œ œ œ

break-

‰ œ œ

sau -sage and eggs too

And the

j œ œ œ œ œœœ œ œ œœ And

oh that love - ly shirt

3 3 ‰ œ œ œ™ œ œ œ œ œ œ œ œ œ œ

Well it used to be pink but I

can't

a - round

œ œ œ

need

j œ œ œ œ œœœ œ œ

And

you

‰ œ ˙ J

˙

œ ˙ J

be - side me,

3

you should see the state of the place, the

Ϫ

œ œ œ ‰ œj œ J

I

Freely - building

œ œ

'Cos I

need

in charge?

Drive harder

‰

œ œ ˙

to stand

thing,

Œ

3

œ œ™ J Œ

"Who's

queer."

And I

œ Œ

3 b & b bbb œ œ œ œ œ œ œ œ œ

67

‰

I need you

œ 3œ œ œ œ œ ˙ J J

It's such a

a

no more

57

all

you know,

œ œ œ ˙

here,

˙

be -hind my

3

Ó

˙

you were ev - er

May - be he's,

˙™

What is this

if

œ œ œ œ™ œ œ œ

You know what they're gon - na say

œ œ œ ‰ œ œ œ œ

œ

œ 3œ œ

this

for a beer."

3

Who wears the trou - sers?

bb ˙ &b b b

out

j œ œ œ

j œ œ œ œ œ™

3 ‰ œ œ œj œ

Œ

back?

52

you

3

ir -oned it

we bought for Sha

œ œ œ œ œ œ™

and now it's more shit -brown

œ J

And

Made in Dagenham – Vocal Book

65

b œ œ œœœ œ œ œœ œ œ œ œœœ œ ‰ œ œ œ œ œœœ œ & b bbb œ J

œ œœ

79

when I had to clean the bog I tell

b œ œ œ œ œ œ™ & b bbb

œ J

82

to

b & b bbb ˙™

use the Fai

own

Œ

no more,

And

b ˙ & b bbb

95

I

I

you

need

bb &b b b w

99

I

to

fl

˙

can't

do

˙

you

œ

be - side

œ

mee - ting went 3 bb b b & bœ œ œ œ

107

the

way,

œ œ

j ‰ œ œ

me,

Œ

I need

œ œ œ œ œ œ

‰

œ

‰ œj too

œ

fuck

Ϫ

is

it

you

to

Œ

j œ œ

the

kids

œ

Œ

say

‰

j œ

Into Parliament (TACET)

16b

Press Music (TACET)

j œ

that lights

my

œ œ

Hope the

Ó

Œ

‰

j œ

And

œ

good - night.

16a

my

j œ œ™

Œ

for?

œ J

be

I hope you've done your - self proud,

Ó

all

œ œ™ J

late,

œ œ œ œ Ó

my

‰ œ œj œj œ œj

You're the light 3

al - right.

on

‰ œ œ œ™

Œ

un - der - stand

r ‰™ œ œ

Ó

What the

œ

œ 3œ œ

this

œ 3œ œ

round

œ J

œ œ

˙

˙

Hope you did - n't get in 3

could -n't find the blee - ding bleach, I had

Drive harder, ad lib.

˙

need

œ œ J

∑

bb &b b b œ œ œ Œ

by

And

to stand

life.

103

œ

œ œ™ J

need you

Ϫ

œ

˙

œ œ

Ϫ

3 Œ œ œ

wife.

3

And I

j ‰ œ œ œ

b & b bbb ˙

91

˙

I

A tempo

rit.

ry!

-

‰ œj ˙

86

you man, it's sca - ry

Œ

U Ó

66

Made in Dagenham – Vocal Book

17

Ideal World

CUE:

CASS: "We should all be working towards our ideal world"

U Ó

Colla Voce

4 &4 Ó

U BARBARA CASTLE: Œ ‰ œ œ œ œ

Ó

In an

5

& œ i

œ -

deal

world

love would

8

‰

& œ œ œ œ œ work - ers, boss

11

&

or

staff

In an

&

œ œ

œ

œ œ œ œ œ

œ

con - quer hate.

œ œ œ œ œ

i - deal world they'd sit

œ œ

In an

and have

i

a

Ϫ

œ -

In an

deal

œ œ

world

Œ

the

Œ

‰

j œ

laugh.

The

Bright (q = c. 154)

j ≈ r j ‰ ‰ j œ œ b œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ nœ œ œ œ

j ‰ Œ b œ œ œ œ œ

œ

sun would al - ways rise and shine, 14

al - ways

‰

œ œ œ

œ

ev - 'ry - thing would just be great.

‰

3

œ œ œ

œ œ œ

i - deal world

œ œ œ œ œ œ

3

œ

Ϫ

The skies would be deep blue.

There would be

17

& œ

œ œ œ œ œ œ œ

œ

com - mon cold and flu.

trains would al - ways run on time, we'd work a

& œ œ œ œ œ

V.A.T. u - pon the tam - pon, We'd have a

23

& œ œ œ œ œ œ œ œ mag - ine

a

great world of

chat,

cure for can - cer and the

four day week.

We'd

and af - ter that

œ œ œ œ œ

un - im - a - gin - ab - le

get

wom -an's clit - o - ris.

In an

i

-

˙

deal

j œ

bliss,

‰ œj

˙™

world

The

His

to meet the prat who put the

œ œ œ œ œ

face we'd du - ly stamp

where men know how and where to

œ œ œ

œ œ

on.

I -

œ œ œ œ œ œ œ œ

Half-time feel ma poco più mosso

& œ œ œ œ œ ‰ œœ ˙

26

‰

œ œ œ bœ

œ œ œ œ œ œ œ œ

œ œ œ ‰ ≈ œr œ œ œ ‰ œj

œ œ

a

no guns or crime; The strong would help the weak

j ‰ ‰ j œ œ œ œ œ œ

œ œ œ œ œ œ nœ

20

There'd be

œ œ œ

ev - 'ry - thing would just

be

˙

great.

find

Œ

a

œ œ

In an

Made in Dagenham – Vocal Book 31

& ˙ i

˙

˙

deal

-

Œ

œ œ œ œ œ œ œ ˙

love would al - ways

Œ

3

& œ œ œ œ œ ˙ care and

43

&

share and heal,

&

œ œ œ œ œ œ œ œ

so would

‰

¿ ¿ ¿ ¿ b¿

all com - mu - ni - ties.

j œ

No

hap - py

of

And

œ Œ & œ œ œ œ

crushed And

b & b bbb œ Œ Œ œ œ ˙

63

b & b bbb ˙

68

˙

real

b & b bbb ˙

74

fice.

Ó

˙

real

˙™

œ

world

it's

∑

Ó

war

real.

The

¿ n¿ ¿ ¿ ¿

in

The

pla - net would re - volve

The

a -round the

‰ œj

A -

œ œ œ œ œ

East and West would do their best to 3

˙™

œ œ œ ˙

world

It's a

3

You're luck - y

In -

œ œ œ œ œ

‰ j œ œ œ œ™ œ œ œ

world

j œ

Vi - et - nam.

j ‰ œ œ œ œ

in the real

‰

would kiss the oth - er cheek.

œ

in

œ œ œ œ œ™ œ œ ™ œ

‰ œj

so would pov - er - ty,

˙

we'd

Œ ‰ j œ

œ œ œ œ bœ œ

No

œ œ œ œ œ œ

But

In the

world

Half-time feel

live in har -mo - ny.

day.

in Cam - bo - di - a,

Œ ‰ j bbbbb œ ˙ œ bœ

Ó

œ œ

Ci - vil rights would flour - ish well

Pro - tes - tants and Cath - o - lics

& œ œ œ œ œ œ œ œ œ

58

deal

¿ ¿ ¿

o - ver - seas.

œ œ œ œ œ œ œ œ œ

55

du - ly

would be

Ó

œ œ œ œ œ

œ

‰ œj

the meek,

part - heid would be

ty - rants

end - ings

Lu - ther King they'd shoot the Ku Klux Klan.

& œ œ œ œ œ meek - est

œ œ œ œ bœ

bomb - ing

& œ œ œ œ œ œ œ

52

-

3

œ œ œ œ œ œ œ œ œ

49

stead of Mar - tin

i

œ œ œ œ œ œ œ Œ œ œ w œ œ 3

Normal feel

Ber - lin wall would fall and

In an

˙™

˙

œ œ ˙

con -quer hate.

3

And our dreams of

46

Œ

3

world

37

67

if you make

Œ

strug -gle

3

œ œ

ev - 'ry

j Œ Œ œ œ œ œ

O.

K.

In the

3 3 j œ œ™ œ ™ œj œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ

not a - bout

nnbbb

the nice.

It's a - bout tough com -pro - mise and

Click in

œ œ œ œ

Let me tell you;

œ œ œ œ

œ œ

it was so much tough -er

Œ

sac - ri -

Ó j œ œ ™ bœ œ œ

when I

start - ed out.

68

Made in Dagenham – Vocal Book

b &b b j œ œ™

80

œ

Wo -men's

rights, My

b &b b œ œ œ œ

84

bot - tom of

‰

œ

œ

God,

the

chance to rise

#### &

nœ ™

Œ

and grow.

low - est

But you

Got - ta punch

for

b &b b ˙

is just

a

Half-time feel

i

˙

-

b j &b b œ œ™

117

deal

lev - el

˙™

world,

œ œ œ 3

near - ly

to

Œ œ

b &b b Ó

Œ œ œ w

deal,

one

will be

With weight!

‰ j œ œ œ

go -ing

belt

Ó

come to pass.

œ Œ

œ œ ˙

Œ

And our 3

day those

hap - py

Ó

end - ings,

i

-

˙

˙

deal

world,

3

œ œ œ

could be

rall . . .

œ œ œ bw 3

We'll make our world

j‰ j œ œ œ

I know

œ œ œ œ

all you're ask - ing

n Œ bœ bœ nn nbbb

rall . . .

˙

field.

i

In our

-

˙

˙

deal

world,

œ œ

3

Œ œ œ is so

œ œ œ œ

if you're brave and take this

Ad lib Rock

Ó

w

Œ œ œ w 3

real.

Should be

Ó

to keep on

bi - ting.

I know

And our

no

œ œ œ œ œ œ

and do some

Lev - el play - ing

The

3

And you got

œ œ œ œ bw

it will sure -ly

j œ

my - so - gy - ny

œ Œ ‰ ¿j ¿

re - pealed.

‰

œ œ œ œ

‰ j œ œ œ nœ ™

œ

Be -low the

in

Œ Œ

œ œ

to keep on

fall and be

œ œ œ œ œ œ ˙

real.

Mired

j œ œ œ œ™ œ œ œ œ Œ Œ œ œ ˙

3

3

low.

play -ing field.

in our grasp.

b &b b ˙

122

128

sex - ist laws

œ nœ

˙

œ œ œ œ

j Œ œ

and scream and shout.

Ó

j œ œ œ œ œ œ nœ

j j j j j œ™ œ œ™ œ œ œ™ œ œ œ ˙

105

111

is

œ

j j œ bœ œ

and bleed

the

got

a - bove your weight;

## & # # œ œ œ ‰ œj œ œ œ™ all you want

of

‰

j œ œ

beg

# nnn## #

nœ œ

100

# ## &#

to

‰ j jŒ œ œ œ œ œ œ œ

fight - ing.

‰

œ

œ œ œ œ b˙

bot - tom and the

b & b b œ œ œ œ ™ œj ˙

œ

you'll have

œ œ œ œ

90

95

j œ œ

U w

˙ i

-

real,

∑

deal.

ALMOST SEGUE

Made in Dagenham – Vocal Book

69

17a

Into The Hospital (TACET)

17b

Same Old Story – Scene Change (TACET)

18

Nearly Had It All

CUE: EDDIE: I didn't walk out, you did.

Rubato

# ##4 j j & # 4 ‰ œ œ œ œ œ œ œœ œ Œ Ó “‘

‰ œ œ œ œ œ œ œ™ œ œ œ œ Œ Ó

RITA

3

I'm sup - posed to hate you, but I don't.

RITA #### EDDIE ™ œ & œ œ œ™ œ œ œ œ :“;

5

I'm

at a loss, I'm at a loss

RITA: Looks like it, doesn't it.

U ## &##œ Œ Œ :“;

8

through?

## &##Ó

12

## & # # Ϫ

can't

œ Œ

œ œ I'm still

Œ

Œ

EDDIE + RITA

here –

Some - thing we

œ œ œ œ œ ˙ 3

I

ain't

giv - en

Œ ‰ j œ ™ œj œ œ œ œ œ™ ˙

this hap - pened sud - den - ly,

j œ œ œ œ œ

let an - y - one down,

œ

‰

up.

a - gree on

I'm

Is that it?

still a moth - er

j œ ™ œ œ œ œ œ™

It just dropped in - to our

I

‰ œ œ Are we

‰ œj œ œ œ œ œ™ œ œ œ œ Œ “‘

Œ ‰ œœ “‘

j œ œ œ œ œ

So what am

but I won't.

œ œ œ œ œ ‰ ‰ œ œ œ

œ

too.

you

EDDIE

More movement (q = 72)

RITA

But all

17

œ

You want me to beg

Ϫ

sup - posed

œœ ˙

to do?

and a wife.

Ó

Œ ‰ j œ

life.

Ó

I

Œ

‰

j œ

Don't

70

Made in Dagenham – Vocal Book

## & # # Ϫ

21

j œ œ œ œ œ

turn

your back on me now

‰

œ

j œ œ œ œ œ

'Cos now's the time that

## j &##‰ œ œ œ œ œ œ œ œ

Œ

## j &##‰ œ œ

Œ

25

I thought I

28

had the fu

-

## j &##‰ œ œ œ

31

‰ œ œ

Œ

## &##œ œ œ œ œ œ œ œ œ œ #### ‰ &

37

to - geth -

## &##Œ

40

a - bout

## &##

44

∑

Œ

full of

voice

Œ

fore.

Well, it

∑

star - ted as

for the first

Ó

œ œ ˙

had it

all.

3

her

j œ w

and

see

3

≈

œ

Œ

≈

time –

≈

end

up like

me.

3

œ œ œ œ œ œ œ œ I nev - er knew I

had be

œ œ œ œ™ œ œ

˙

˙

roar!

œ œ œ œ™ œ œ

˙˙˙

˙˙˙

But it's got to

Œ

œ œ

œ

Thought that we'd

3

a whis - per,

∑

Œ

‰ œ œ œ™ œ œ œ œ w

œ œ™ œ œ Œ

Ó

hand.

˙

So she don't

3 ‰ œ œ œ™ œ œ ™ œ œj œ ™

˙

œ œ œ œ œ œ

hope,

‰ œj œ œ œ œ

˙

and small.

I want to look at

3

48 ° #### & ˙™

¢

œ

our daugh - ter;

I'm find - ing a

## &##

≈

j œ œ™

planned.

Oh babe, we near - ly

Œ

Ó

œ œ œ

j j ‰ œ œ œ œ œ œ

‰ œ œ œ œ œ œ œ w That her fu - ture's

my

œ™ œ œ œ

‰ œ œ

er;

j œ œ œ œ œ œ œ œ

And what

œ

˙

you.

of

Now the world's cold

34

and gray

need

and our dreams were all

Thought we would stay to - geth - er;

grow old

I

in the palm

me

œ œ œ œ œ

œœœ ˙

‰ œ œ œ™ œ œ œ

ture

œ œ œ œ œ œ

I thought you were be - side

œ

be a

WOMEN

But it's got to

be a

roar!

Made in Dagenham – Vocal Book 52 ° #### ˙ &

Ϫ

#### ˙˙˙ & ¢

œœœ ™™™ ‰

‰ œj œ

(RITA)

‰

56 ° #### ‰ j œ œ &

œ œ œœ œ œ Œ

‰ œ œ œ ™ œ œ œ œj œ ™

˙

œœœ œœœ œœ œœœ œœœ œœœ Œ œ

‰ œœœ œœœ œœœ ™™™ œœ œœ œœ œœj œœ ™™ œ œ œ œ œ™

˙˙ ˙

We thought we had the fu - ture

j ‰ œœœ œœœ

(WOMEN)

in the palm of

We thought we had the fu - ture

œ œ œ œ œ œ

We thought you were be - side

#### ‰ œj œ œœ œœ & ¢

Œ

We thought you were be - side

is - n't ea

And we had

is - n't ea

-

sy

but we could

‰ œ œ œj œ

Œ

when we al - most

j ‰ œœ œœ œœ œœ œ œ œ œ

Œ

In - stead we see the mo - ments

all

when we al - most

œ œ

planned.

˙˙ ˙

˙˙˙

planned.

have

stood

‰ œœœ œœœ œœœ ™™™ œœ œœ œœ œ œ œ

Œ

In - stead we see the mo - ments

#### ‰ œj œ œ œ œ œœ œœ œ œœ œœ œœ œœ œœ œ œ œœ & ¢

it

but we could

sy

62 ° #### ‰ j œ œ œ œ œ œ œ œ &

all

have

stood

j œ œ™ j œœ œœœ ™™™ œ

tall.

all.

w œœ œœ w œ œ w

had it

˙

tall.

œ œ w

had it

hands.

˙™

‰ œ œ œ™ œ œ œ

Œ

j #### œ œ ‰ œ & œ ¢ œ œœœ œœœ œœœ œœœ œœ œœ œœœ We know life

it

hands.

our

‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

Œ

us

-

in the palm of

And we had

59 ° #### ‰ œj œ œ œ œ œ œ œ &

our

‰ œ œ œ œ œ œ œ

us

œœœ œœœ œœœ œœœ œœœ œœœ

We know life

71

all.

˙˙ ˙

U ˙™

Œ

U ˙˙ ™™ ˙™

Œ

Rubato

## &##

66

(RITA)

œ

It

œ don't

## &##œ

œ

see

this

70

Œ

3

œ

mean

Ϫ

œ œ œ œ œ ˙

through,

œ

I don't love you

j œ

with

Ϫ or

It

j œ œ

with - out

œ don't

œ mean

œ œ œ ˙™ 3

I don't care

A tempo

œ

you

U w

there

Segue

‰

3

œ œ

But I'll

72

Made in Dagenham – Vocal Book

19

Viva Eastbourne 3,4 . . . 60s Rock

4 &4

3

Ó

1–3

MEN

‰ œœœ ™™™

œœ œœ œœ œ œ œ Vi - va East

œœ œœ œœ ‰ œœ ™™ œ œ œ œ™

8

& Ó

bourne,

-

œœ œ

& Œ

In - dis - cre - tion is

œœ œ

East - bourne, 21

A week

SANDRA

w & w

‰ œ

chance,

° ‰ CASSj & œ œ œ œ œ œ œ 26

I hope she doe - es - n't

œ œ œ œ

by

the sea

we

know

œ œ Œ

blow

œ œ œ œ œ œ Well, I pro -mise that you

j œ œ œ œ

M SOLO

Œ

With the

j œ œ™

˙

T.

U.

œ J

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰

C.

LADIES

j œ œ œ œ

it.

œ œ œœ œ œ œ

w w

Ó

Œ

Just this one lit - tle

Ó

∑

one

chance. BERYL

œ

œ

We're with

∑ Œ

œ

We've on - ly got

LADIES

Œ

Ó

‰ œj œ œ WOMEN

Just say what

30

Œ

it.

∑

° & œ œ œ œ œ

the sea.

Bed and break -fast sub - si - dized, Proph-y - lac - tics are ad - vised...

œ œ

j œ œ œ œ œ

Yeah, and don't

¢&

as - sured.

j ‰ œœ œœ J

Œ

by

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ œ œ œ œ œ œ œ œ œ Œ

17

T. U. C.

Beer and chips in quan - ti - ty.

13

bored,

The

œ œ œ œ œœ œ œ œ Œ Ó œ œ œ œ œ œ œ

Ó

Vi - va East - bourne,

won't be

j Œ ‰ œœ œœ œœ œœ œœ œ œœ œœ œœ Œ Ó J

∑

œ œ œ œ œ

Œ

you got - ta say

∑

∑

you all the way

¢&

∑

WOMEN

œœœ

œœœ

œœœ

Ri - ta

girl

œœœ œœœ go

all

œœœ œœ œœ œ œ the way.

Ó

MEN

œ œ

œ œ œ œ œ œ

œ œ œ œ

In - fight - ing, out - fight - ing,

Made in Dagenham – Vocal Book

° & 34

∑

73

∑

Ó

j œ

WOMEN

Œ

‰

I'm

œ œ œ ¢& œ œ œœ œ œ œ talk - ing

all

the

j #œfi #œ

lin -

œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

go.

In

37

& œ œ œ œ œ œ œ œ pi - ning for, I'm whin - ing

be - tween the

Un - ion scene the

yearn - ing

for, I'm burn - ing

° œ œ œ œ œfij œ œ œ & 40

sick

of bleed - in' wait - in'

¢&

bin - go!

for, I'm

ach - ing

for, I'm quak - ing

for, I'm

∑

for MEN

œ œ œ œ œ œ œ œ œ œ

Don - keys

43

œ œ

œ œ œ œ œ œ œ œ

∑

∑

° &

strip - pers and the

œ œ œ œ œ œ œ œ

for, I'm

j #œfi #œ

œ œ œ œ œ œ œ œ œ œ

∑

on

œ œ œ œ œ œ œ œ œ œ

Œ

the beach,

Snog - ging

˙˙˙

(WOMEN)

∑

Change,

œ œ œ œ ¢& œ œ œœ œ œ œ œœ œ œ œ

œ œ œ œ œ œ œ œ œ œ

˙˙ ˙

the

pier.

A

œœœ œœœ œœœ

˙˙ ˙

change,

Œ

on

j œ œ

‰

change,

Bring it

∑

on

∑

nod, a wink, a prop - er drink, A - vom - it - ing on beer.

° ˙ & ˙˙ 47

˙˙˙

Change,

change,

¢& 51

œœœ

Ó

Œ

change.

∑

° &

˙˙ ˙

ΠϪ

#œ

œ

nœ ™

œ

Oh

I

do

like

to be

HAROLD

∑

Ó

∑

bbbœœœ œœœ œœœ

WOMEN

Vi - va East

¢&

œ

nœ ™

œ œ™

œ œ™

do

like

to be

be -side the...

œ

Ó

MEN

bbbœœœ œœœ œœœ Vi - va East

Ϫ

bbbbb ‰ œœ ™™ œ™ -

œ

bourne,

Ϫ

be - side

Œ

bourne,

™ bbbbb ‰ œœœ™™ -

∑

‰

œ the

˙

sea - side,

j œJ œœ œœ œœ

The

Œ

œ

T. U. C.

j ‰ œœ œœ œœ œœ J The

T. U. C.

Ϫ

#œ

Oh

I

œœ œ œœ œœ by

the sea.

œ œ œ œœ œ œ by

the sea.

74

Made in Dagenham – Vocal Book

° bb b & bb w w 55

Ó

œœœ œœœ œœœ ‰ œœœ™™™ œœ œœ œœ ™ œ œ œ ‰ œœœ™™

Ó

60

∑

64

‰

˙˙˙

œœœ

air

our

views,

j œ œJ œ œ œ

∑

Œ

Œ ‰

A week in which to

‰ œj œ œ œ œ J Œ

Ó

∑

j œ œ œJ œ œ

A week in which to

˙˙ ˙

de - cide

Ó

Ó

Not ex - act - ly Tus - can - y

˙˙˙

MEN

The one thing to

bb ¢& b b b œœœ

œ œ œ œ œ œ œ œ Œ

Ó

WOMEN

∑

HOPKINS

Vi - va East - bourne,

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∑

Vi - va East - bourne,

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bb b Œ ¢& b b

Ó

˙˙˙

œœœ

up

here

Œ

j œ ‰ œ œœ J

Œ

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∑

˙˙ ˙

˙˙ ˙

booze

and

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re - vo - lu -

∑

∑

schmooze.

° bb b & bb 68

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Ó

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year.

19a

Into TUC (TACET)

Ó

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Made in Dagenham – Vocal Book

75

20

Stand Up

CUE: RITA: Why can't she be a bloody doctor?

Colla voce

b 4 & b bbbb 4 Œ

RITA

¿ ¿ ¿

¿

E - ver get

b & b bbbb Œ

5

j ¿ ¿ ¿ ¿

You know what’s

Se -cond

¿

¿

j ¿ ¿ ¿ ¿

j ¿

j ¿ ¿

the

j ¿ ¿

right

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at

¿

feel - ing you've been

but yet

they

make

¿

¿

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¿

for

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you

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up

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long?

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it's

Œ

¿

so

¿

feel

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nev - er comes

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the crumbs

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3

But some - how

wrong.

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Œ

œ œ œ œ œ œ œ œ

Change

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œ œ œ œ œ œ œ œ

RITA

Stand

œ

up,

œ

œ œ

is al - ways

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∑

∑

Stand up,

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

° œ ™™ ¢œ

œ œ œ œ œ œ œ œ

SAFETY

b & b bbbb œ

Ó

œ œ œ œ œ œ œ œ

œ

œ

stand up,

œ œ œ œ œ œ œ

‰ œj œ œ

If you're with

œ me

œ œ œ

then

RITA: We women have always supported you men, every time you needed us we've been there and you never had to ask. So we've come here today because we need you to vote for this Equal Pay Amendment.

b & b bbbb

œ

w

RITA: In the war, women worked as doctors, bus drivers, land girls. Ergo we won that war together, and yet women are still being asked to make do, to wait until tomorrow. Well when is tomorrow? Ten years? Twenty years? Fifty years?

25

30

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˙™

the ta

14

21

¿

In 2

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9

¿

6

34–39

put

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œ œ

your hand

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˙ w

œ œ œ

°™ ÓSAFETY ‰ ¢™

˙

Ó

up.

j œ œ

RITA

the first

™™ ü †

76

Made in Dagenham – Vocal Book

b & b bbbb œ œ œ œ œ

41

step

that you put

b & b bbbb

œ

œ

œ

œ

b ° & b bbbb ¢™™

up.

And then you

œ œ œ œ œ œ œ make a stand for

ev - ’ry - one,

œ ™

(RITA)

Ó

œ

œ œ œ œ

rides

œ

Ó

œ

on our shoul

œ

Ó

œ

Ó

j œ œ

j œ œ

œ

Ϫ

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while

we’re

ta

° bb b b & bb œ 73

œ

ing

-

bbb œ ¢& b b b œœ

WOMEN

œœ œ

ask - ing

of

j œ œ

for your

j œœœ œœœ

for your

ev

-

’ry - thing

j œ Ó

but kept

j œ

j œ œ

help

and

j œœœ Ó

Œ

help

I

j œ œ œ œ œ

ken

-

for

on the

œ

know

œ

that

‰ œœœ J

œœ œ

know

a

ride,

œœ œ that

out

-

by

our

side

and

‰

do

-

ing

Œ

j œ œ™

j œ

‰

So I'm ask-

j œ œ

j œ Ó

j œœœ nœœœ

j œœœ

mo -ney's tight

j œ œ

But we

∑

mo -ney's tight

what

is

j œ

we’re

side.

j j j b j j j j & b bbbb œ œ œ œ œ œJ œJ œ œ œ œ œ œj œ œj œj œ œ stand - ing

Œ

‰ j œ œ œ œ œ œ

77

you

œ J

The

b & b bbbb œ œ œ œ œ œ œj œ œj œ ‰ œj œ œ œ œj œ ™ the heart

Ϫ

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69

in

œ

œ

53–58

Stand up

A tempo (CLICK IN)

world

6

∑

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‰ Œ

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œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ accel. . . .

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SAFETY w

bb & b b bb œ

65

hand

j œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

49

60

your

‰

œ œ œ

'We're a family, the TUC. Brothers and sisters, comrades everyone, them your words, not mine. You men, are you happy that your daughters will grow up to be second class citizens? Your daughters. You can change this, you can, cos nothing changes if it isn't challenged. so stand up for women's rights because, you know, if not now, when?'

b & b bbbb

44

is

œ œ

right,

Ϫ

j œ œ œ œ oh,

j œ need

Made in Dagenham – Vocal Book

° bb b b & bb œ œ Œ

‰ œj

bbb ¢& b b b œœœ œœœ Œ

j ‰ œœœ

81

Stand up, WOMEN

Stand up,

stand

stand

œ œ ‰ œj œ œ œ œ œ œ œ œ

œ œ œ ‰ œj œ œ

œœ œœ Ó œ œ

œœ œ

up,

if you’re with me

85

a - round and face the fight,

bbb ¢& b b b œœœ œœœ œœœ œœœ œœœ œœœ œœœ turn

° bbb ™ &b b b œ 88

a - round and face the fight,

j œ ˙

come

bbb ™ ¢& b b b œœ˙ ™

come

œ

on

œœœ

on

‰

bbb œ ¢& b b b œœ

Ó

up.

nœœ œ

j œ œ œ

And then you

95

j œ ‰

up

b & b bbbb ˙˙w™™

got

to learn to

œ

j ‰ œœœ

œœ œ

Œ

stand

∑

On - ly

j œœ ‰ œ

stand

On - ly

‰ œj œ

œœ œ

j ‰ œœœ œœœ

the first

up,

the first

œ œ œ œ œ œ œ make a stand for

ev - ’ry - one,

ev - ’ry - one,

You’ve got to

œœ Ó œ

up,

way to

live your life,

œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œœ

œ

up,

up,

œ œ œ œ œ œ œ

put things right,

j ‰ œ œ œ > yeah,

put your hand

put things right,

œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ

way to

live your life,

œ œ

œ œ œ œ œ

step is that you put

your hand

œœœ nœœœ

œœœ œœ œœœ œœœ œœœ

step is that you put

your hand

œ œ œ œ œ œ œ then the bat - tle

will

be won,

œœ œœœ œœœ œœœ œœœ œœ œœ œ œ œ

then the bat - tle

will

be won,

j j œ œ œ œ œ œ œ œ œ ‰ œj œ œ œ œ œ

RITA

j œœœ ‰

up

∑

to learn to

We won’t run

œœ œœ ˙˙ ™™ ˙™

stand

got

œœ œœ œœœ œ œ

j œ ‰

œ œ œ œ œ œ

make a stand for

œ œ ˙™

stand

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put your hand

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up.

° bb b b ˙ ™ & bb

bbb ¢& b b b

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then

then

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° bbb &b b b œ œ œ 92

œ

Stand up,

j œœ ˙˙˙

Œ

up,

° bb b b & bb œ œ œ œ œ œ œ turn

77

and

we won’t hide,

∑ TRIO WOMEN pp

w w w

Ooh,

so don’t pass

∑ w w w

by

∑ w w w

on the

78

Made in Dagenham – Vocal Book

° bb b b j & bb œ œ 100

oth - er

b b b ˙™ ¢& b b b ˙˙ ™™ ° bb b b & bb ˙ 104

3 j œ œ œ ‰ œj œ œ œ ‰ œj œ

side;

Œ

wo - men

we are

one,

w w w

Ó

œ

œ

∑

we

are

(WOMEN)

just can’t

but I

ni - on.

tell you this for noth -ing we ain’t

w w w

w w w

MEN

w w

w w

w w

-

œ œ œ œ œ œ œ œ œ œ

win

w w w

Ooh,

the U

w w w

j œ œ

j œ œ œ œ

œ

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j œœ ‰ œ

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œ

w w w

ooh,

b & b bbbb ˙˙˙ ™™™ bbb ¢& b b b

men,

Œ

˙

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108 ° bb b b œj j j œ œ œ œ & bb

giv - ing

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in,

b b b ˙™ ¢& b b b ˙ ™ ° bb b b & b b ˙™ 112

no

j j j œ œ œ œ œ œ œ œ ˙

what

j œœ ‰ œ j œœ ‰

I

want

to

‰ j œ œ œ œ œ œ œ œ œ

say

w w w

Ooh,

w w w

w w

w w

is that to - day could be

w w w

ah,

w w

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œ

the day!

ah,

b nnb bb œ œ Œ RITA & MEN

Stand up,

‰ œj œ œ ‰ œj œ œ œ œ œ œ œ œ œ stand

up,

if you’re with me then come on put your hand

b & b bbbb w w w

b nnb bb

∑

∑

∑

bbb ¢& b b b w w

b nnb bb

∑

∑

∑

Made in Dagenham – Vocal Book

b & b bb œ œ œ

116

‰ œj œ œ

up,

You’ve got

b & b bb œ œ œ œ œ œ œ b œ œ œ œ œ œ œ & b bb œœ œœ œœ œœ œœ œœ nœœ

turn

Ϫ

On - ly way to live your life, 123

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to

119

come

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127

come

b & b bb

∑

∑

133

is

that you put

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is

that you put

bb œœœ œœœ œœœ œœœ œœœ ¢& step

is

that you put

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Stand

up,

got

to learn to

‰ œœœ J

Œ

∑

your

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hand

up.

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œœœ nœœœ

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your

your

° bb œ œ œ œ œ œ œ & 136

then the bat - tle will be won,

b & b œœœ œœœ œœœ œœœ œœœ œœœ œœœ

then the bat - tle will be won,

b œœ œœœ œœœ œœœ œœœ œœ œœ b & œ œ œ ¢

then the bat - tle will be won,

hand

hand

˙™ ˙˙ ™™ w

stand

stand

w ˙˙ ™™

stand

nœœ œ

then the bat - tle will be won,

b nnb œœœ œœœ Œ

‰ œœœ J

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stand

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stand

œ ‰ œœ J

b œ œ nnb œœ œœ Œ ‰ œj œ œ

And then you

up.

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up

the first

up,

the first

up,

the first

œœ œœ œ œ œ œ ‰ œœ œœ J

œ œ œ œ œ œ œ make

a

stand for

ev - ’ry - one,

make

a

stand for

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make

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stand for

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bœœ œœœ œœœ œœœ œœœ œœ œœ œ œ œ

Ó

up

stand

up,

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up.

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the first

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nœœœ

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Stand up, ALL WOMEN

∑

put things right,

up,

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make a stand for ev - ’ry - one,

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step is that you put your hand

° bb b w w & b w

79

PRESIDENT: The equal pay amendment is carried. Equal pay is TUC policy!

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∑

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now!

now!

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80

Made in Dagenham – Vocal Book

° bb œ ™ & 142

stand

up

b ™ & b œœ˙ ™

j œœ ˙˙˙

b ˙œœ ™™ b & ¢

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stand

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up

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can hold

my

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hand

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up

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147–150

up

you're the light that lights my

EDDIE: I'm sorry, Rite. I let you down. I let myself down. I don't suppose you'll have me back, but I love you Rita O'Grady. It's amazing what you've done. Amazing. RITA: Eddie, you big daft lump.

Ó

b &b

∑

4

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was wrong and you were right,

b˙ &b

165

∑

stand

b œ œ œ œ œ œ &b œ

158

∑

now!

155

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Ó

stand

now!

up

b EDDIE &b œ œ

˙

now!

up

151

Stand

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Ϫ

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MEN + WOMEN Humming

U Ó

w

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life.

Œ bœ œ bbbb

BARBARA CASTLE: Emmeline Pankhurst won the vote for women, and is rightly esteemed by history. The women of Ford Dagenham have changed the world today, and history should place these ordinary working women alongside the suffragettes for having achieved Equal Pay, which is yet another step forward in the continuing story of women standing up for their rights.

b & b bb ˙

171

Half feel

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177

b & b bb ˙

182

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Made in Dagenham – Vocal Book

° bb œ & 187

a tempo

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Œ

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Œ

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Œ

‰

up,

b & b œœœ

WOMEN

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b œœœ b & ¢

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‰

190

up,

bœ & b œœ

œœ œ

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‰

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On - ly way to live our lives,

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bb bœœœ œœœ œœœ œœœ œœœ œœœ œœœ & ¢

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that you put

b œœœ œœœ œœœ œœœ œœœ b & ¢ step

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your

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put

your

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then come on

put

your

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got

to learn to

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put things right,

turn

a - round and face the fight,

got

to learn to

put things right,

œ ˙ J

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come

on

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on

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on

up.

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hand

up,

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up,

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hand

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stand

stand

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up.

nœœœ

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193

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then come on

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82

Made in Dagenham – Vocal Book

° bb œ œ œ œ œ œ œ & 200

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