Marking 400 years
FROM A COMMEMORATIVE PLAYMAKING PACK THE ROYAL SHAKESPEARE COMPANY FOR PRIMARY, SECONDARY AND SPECIAL SCHOOLS
PS. PLEASE SHARE YOUR WORK WITH US AND TELL US ABOUT YOUR DREAM TEAM 2016 ACTIVITIES ON OUR SPECIAL DREAM WEBSITE: WWW.RSC.ORG.UK/DREAMTEAM USING #RSCDREAMTEAM ©RSC. Photo by Angus McBean ©RSC. Photo by Stewart Hemley
©RSC. Photo by John Haynes
©RSC. Photo by Angus McBean INTRODUCTION
It does not feel too big a statement to say that the 400th anniversary of Shakespeare’s death in 2016 is a once in a lifetime event. The legacy of this remarkable playwright’s work is felt around the world and in 2016 we have the opportunity to celebrate an inheritance that really does belong to all of us. I was intrigued to learn that in 1916 the Drama League of America produced a booklet that invited schools and colleges across the United States to celebrate the 300th anniversary of Shakespeare’s death using drama, music and dance. The text they chose to centre their activities around was A Midsummer Night’s Dream and they threw the gauntlet down to teachers and students to place that text at the heart of their schools and sing, dance and act their way through the year. In 2016, the Royal Shakespeare Company is also choosing A Midsummer Night’s Dream as the inspiration for our 400th anniversary celebrations. We are producing a nationwide tour of the play, in partnership with amateur companies, regional theatres and schools. We are also producing this very special playmaking pack which invites you to join the RSC Dream Team 2016. At the heart of RSC Dream Team 2016 is a belief that the process of rehearsing and making theatre can help young people to experience Shakespeare’s plays in new and exciting ways. Every young person in the UK has to study Shakespeare’s work in school but we know that these plays can prove a challenging choice for school productions. To help you to take on that challenge, this pack offers edited scripts for both Primary and Secondary aged students as well as an adaptable score that can be used with different age groups, ability levels and equipment. You will also find expert advice and guidance from our Deputy Artistic Director Erica Whyman, our Director of Design Stephen Brimson Lewis and composer Lynne Plowman. Together, they offer insights into the world of a professional theatre company that we hope will inspire you and the young people you work with to create your own unique production to mark this special year. Whether you choose to make an Athenian wood in your playground, to perform a single speech or to stage your first production of the play, I am delighted that you are taking part. Good luck!
GREGORY DORAN, RSC ARTISTIC DIRECTOR WILLIAM SHAKESPEARE’S A MIDSUMMER NIGHT’S DREAM
CONTENTS
1. Half hour edit 5 2. One hour edit 29 3. Directing the Dream 69 4. Designing the Dream 83 5. Composing the Dream 87 6. Musical Score 93 Themes 94 Songs 132 Percussion themes 158 A MIDSUMMER NIGHT’S DREAM HALF HOUR EDIT
5 UNIT 1
ACT 1 SCENE 1. Athens. The palace of THESEUS.
Enter THESEUS, HIPPOLYTA, and Attendants
THESEUS Now, fair Hippolyta, our nuptial hour Draws on apace. Four happy days bring in Another moon.
HIPPOLYTA Four days will quickly steep themselves in nights, Four nights will quickly dream away the time.
UNIT 2
Enter EGEUS, HERMIA, LYSANDER, and DEMETRIUS
EGEUS Happy be Theseus, our renownèd duke.
THESEUS Thanks, good Egeus: what’s the news with thee?
EGEUS Full of vexation come I, with complaint Against my child, my daughter Hermia. Stand forth, Demetrius. My noble lord, This man hath my consent to marry her. Stand forth, Lysander: and my gracious duke, This man hath bewitch’d the bosom of my child.
THESEUS Demetrius is a worthy gentleman.
HERMIA So is Lysander. I would my father look’d but with my eyes.
THESEUS Rather your eyes must with his judgment look.
6 HERMIA But I beseech your grace that I may know The worst that may befall me in this case, If I refuse to wed Demetrius.
THESEUS Either to die the death or to abjure For ever the society of men.
DEMETRIUS Relent, sweet Hermia. – And, Lysander, yield Thy crazèd title to my certain right.
LYSANDER You have her father’s love, Demetrius: Let me have Hermia’s. Do you marry him.
THESEUS Demetrius, come. And come, Egeus; you shall go with me. I have some private schooling for you both.
Exeunt all but LYSANDER and HERMIA
UNIT 3
LYSANDER The course of true love never did run smooth.
HERMIA O hell! To choose love by another’s eyes.
LYSANDER Hear me, Hermia. If thou lov’st me then Steal forth thy father’s house to-morrow night, And in the wood, a league without the town, There will I stay for thee.
HERMIA My good Lysander! I swear to thee, by Cupid’s strongest bow.
LYSANDER Keep promise, love. Look, here comes Helena.
7 UNIT 4
Enter HELENA
HERMIA God speed fair Helena, whither away?
HELENA Call you me fair? That fair again unsay. Demetrius loves your fair: O happy fair!
HERMIA The more I hate, the more he follows me.
HELENA The more I love, the more he hateth me.
HERMIA Take comfort: he no more shall see my face; Lysander and myself will fly this place.
LYSANDER Helen, to you our minds we will unfold: Through Athens’ gates have we devised to steal.
Exit Hermia and LYSANDER
HELENA How happy some o’er other some can be! Through Athens I am thought as fair as she. But what of that? Demetrius thinks not so: He will not know what all but he doth know. I will go tell him of fair Hermia’s flight: Then to the wood will he to-morrow night Pursue her; and for this intelligence If I have thanks, it is a dear expense.
Exit
UNIT 5
SCENE 2. Athens.
Enter QUINCE, SNUG, BOTTOM, FLUTE, SNOUT, and STARVELING
QUINCE Is all our company here?
8 BOTTOM You were best to call them generally, man by man, according to the scrip.
QUINCE Here is the scroll of every man’s name, which is thought fit through all Athens to play in our interlude before the duke and the duchess on his wedding day at night.
BOTTOM First, good Peter Quince, say what the play treats on, then read the names of the actors.
QUINCE Marry, our play is ‘The most lamentable comedy, and most cruel death of Pyramus and Thisbe’. You, Nick Bottom, are set down for Pyramus.
BOTTOM What is Pyramus, a lover, or a tyrant?
QUINCE A lover that kills himself most gallant for love. Flute, you must take Thisbe on you. It is the lady that Pyramus must love.
FLUTE Nay, faith, let me not play a woman: I have a beard coming.
QUINCE That’s all one. You shall play it in a mask, and you may speak as small as you will. Robin Starveling, the tailor, you must play Thisbe’s mother. Tom Snout, the tinker, you, Pyramus’ father; myself, Thisbe’s father; Snug the joiner, you, the lion’s part.
SNUG Have you the lion’s part written? For I am slow of study.
QUINCE You may do it extempore, for it is nothing but roaring.
BOTTOM Let me play the lion too.
QUINCE You can play no part but Pyramus. Masters, here are your parts. Meet me in the palace wood a mile without the town by moonlight. There will we rehearse.
Exeunt
9 UNIT 6
ACT 2 SCENE 1. A wood near Athens.
Enter, from opposite sides, a Fairy, and PUCK
PUCK How now, spirit, whither wander you?
FAIRY Over hill, over dale, Thorough bush, thorough brier, Over park, over pale, Thorough flood, thorough fire, I do wander everywhere.
PUCK The king doth keep his revels here to-night: Take heed the queen come not within his sight, A lovely boy, stolen from an Indian king, She never had so sweet a changeling, And jealous Oberon would have the child Knight of his train, to trace the forests wild. But, room, fairy! Here comes Oberon.
FAIRY And here my mistress. Would that he were gone!
UNIT 7
Enter OBERON, with his train; and TITANIA with hers
OBERON Ill met by moonlight, proud Titania.
TITANIA What, jealous Oberon? Fairies, skip hence.
OBERON Why should Titania cross her Oberon? I do but beg a little changeling boy To be my henchman.
10 TITANIA Not for thy fairy kingdom. Fairies, away. We shall chide downright, if I longer stay.
Exit TITANIA with her train
UNIT 8
OBERON Well, go thy way: thou shalt not from this grove Till I torment thee for this injury. Fetch me that flower; the herb I shew’d thee once: The juice of it on sleeping eye-lids laid Will make or man or woman madly dote Upon the next live creature that it sees.
PUCK I’ll put a girdle round about the earth In forty minutes.
Exit
OBERON But who comes here? I am invisible, And I will overhear their conference.
UNIT 9
Enter DEMETRIUS, HELENA, following him
DEMETRIUS I love thee not, therefore pursue me not. Hence, get thee gone, and follow me no more.
HELENA You draw me, you hard-hearted adamant.
DEMETRIUS Do I entice you? Do I speak you fair? Or rather do I not in plainest truth Tell you I do not nor I cannot love you?
HELENA And even for that do I love thee the more..
11 DEMETRIUS Tempt not too much the hatred of my spirit; For I am sick when I do look on thee.
HELENA And I am sick when I look not on you.
Exit DEMETRIUS
I’ll follow thee and make a heaven of hell, To die upon the hand I love so well.
Exit
UNIT 10
OBERON Fare thee well, nymph: ere he do leave this grove, Thou shalt fly him and he shall seek thy love.
RE-ENTER PUCK Hast thou the flower there? Welcome, wanderer.
PUCK Ay, there it is.
OBERON I pray thee, give it me. I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows, Quite over-canopied with luscious woodbine, With sweet musk-roses and with eglantine: There sleeps Titania sometime of the night, Lulled in these flowers with dances and delight. And with the juice of this I’ll streak her eyes, And make her full of hateful fantasies. Take thou some of it, and seek through this grove: A sweet Athenian lady is in love With a disdainful youth: anoint his eyes; But do it when the next thing he espies May be the lady. Thou shalt know the man By the Athenian garments he hath on.
Exeunt
12 UNIT 11
SCENE 2. Another part of the wood.
Enter TITANIA, with her train
TITANIA Come, now a roundel and a fairy song: Sing me now asleep. The Fairies sing
SONG
FAIRY Hence, away! Now all is well; One aloof stand sentinel. Exeunt Fairies. TITANIA sleeps
UNIT 12
Enter OBERON and squeezes the flower on TITANIA’s eyelids
OBERON What thou see’st when thou dost wake, Do it for thy true-love take, Be it ounce or cat or bear, In thy eye that shall appear When thou wak’st, it is thy dear. Wake when some vile thing is near.
Exit
UNIT 13
Enter LYSANDER and HERMIA
LYSANDER Fair love, you faint with wandering in the wood; And to speak troth, I have forgot our way: We’ll rest us, Hermia, if you think it good, And tarry for the comfort of the day.
13 HERMIA Be it so, Lysander; find you out a bed; For I upon this bank will rest my head. They sleep
UNIT 14
Enter PUCK
PUCK Through the forest have I gone, But Athenian found I none. Night and silence – who is here? Weeds of Athens he doth wear: This is he, my master said, Despisèd the Athenian maid; And here the maiden, sleeping sound, On the dank and dirty ground. When thou wak’st, let love forbid Sleep his seat on thy eyelid.
Exit
UNIT 15
Enter DEMETRIUS and HELENA, running
DEMETRIUS Stay, on thy peril: I alone will go.
Exit
HELENA O, I am out of breath in this fond chase! But who is here? Lysander, on the ground: Dead, or asleep? I see no blood, no wound. Lysander if you live, good sir, awake. Wakes him.
LYSANDER Waking And run through fire I will for thy sweet sake. Not Hermia but Helena now I love: Who will not change a raven for a dove?
14 HELENA Wherefore was I to this keen mockery born?
Exit
LYSANDER She sees not Hermia. Hermia, sleep thou there, And never mayst thou come Lysander near.
Exit
HERMIA Waking Lysander! What, removed? Lysander! Lord!
Exit
UNIT 16
ACT 3 SCENE 1. The wood. TITANIA lying asleep.
Enter QUINCE, SNUG, BOTTOM, FLUTE, SNOUT, and STARVELING
BOTTOM Are we all met?
QUINCE Here’s a marvellous convenient place for our rehearsal.
Enter PUCK behind
PUCK What hempen home-spuns have we swaggering here, So near the cradle of the fairy queen? What, a play toward?
QUINCE Speak, Pyramus. – Thisbe, stand forth.
BOTTOM Thisbe, the flowers of odours savours sweet: So hath thy breath, my dearest Thisbe dear. But hark, a voice! Stay thou but here awhile, And by and by I will to thee appear.
Exit
15 PUCK A stranger Pyramus than e’er played here.
Exit
FLUTE Most radiant Pyramus…
UNIT 17
Re-Enter PUCK, and BOTTOM with an ass’s head
QUINCE O monstrous! O strange! We are haunted. Fly, masters! Help!
Exeunt QUINCE, SNUG, FLUTE, SNOUT, and STARVELING
Exit PUCK
BOTTOM I see their knavery: this is to make an ass of me; to fright me. I will walk up and down here, and I will sing, that they shall hear I am not afraid.
SONG
UNIT 18
TITANIA (Waking) What angel wakes me from my flow’ry bed?
BOTTOM (Sings)
TITANIA I pray thee, gentle mortal, sing again: Mine ear is much enamoured of thy note.
BOTTOM If I had wit enough to get out of this wood...
16 TITANIA Out of this wood do not desire to go: Thou shalt remain here, whether thou wilt or no. And I do love thee: therefore, go with me. I’ll give thee fairies to attend on thee. Peaseblossom! Cobweb! Moth! Mustardseed!
UNIT 19
Enter PEASEBLOSSOM, COBWEB, MOTH, and MUSTARDSEED
ALL Where shall we go?
TITANIA Be kind and courteous to this gentleman.
PEASEBLOSSOM Hail, mortal!
COBWEB Hail!
MOTH Hail!
MUSTARDSEED Hail!
TITANIA Come, wait upon him; lead him to my bower.
Exeunt
UNIT 20
SCENE 2. Another part of the wood.
Enter OBERON
OBERON I wonder if Titania be awaked; Then what it was that next came in her eye, Which she must dote on in extremity.
17 Enter PUCK
PUCK My mistress with a monster is in love. Titania waked and straightway loved an ass.
OBERON This falls out better than I could devise. But hast thou yet latched the Athenian’s eyes With the love-juice, as I did bid thee do?
PUCK I took him sleeping – that is finished too –.
UNIT 21
Enter HERMIA and DEMETRIUS
OBERON Stand close. This is the same Athenian.
PUCK This is the woman, but not this the man.
DEMETRIUS O, why rebuke you him that loves you so?
HERMIA What’s this to my Lysander? Where is he? Ah, good Demetrius, wilt thou give him me?
DEMETRIUS I had rather give his carcass to my hounds.
HERMIA Out, dog! Out, cur!
Exit
DEMETRIUS There is no following her in this fierce vein: Here therefore for a while I will remain.
Lies down and sleeps
OBERON What hast thou done? Thou hast mistaken quite And laid the love-juice on some true love’s sight: About the wood go swifter than the wind, And Helena of Athens look thou find.
18 PUCK I go, I go; look how I go, Swifter than arrow from the Tartar’s bow.
Exit
UNIT 22
OBERON (squeezing juice on Demetrius’ eyes)
Flower of this purple dye, Hit with Cupid’s archery, Sink in apple of his eye. When his love he doth espy, When thou wak’st, if she be by, Beg of her for remedy.
Re-enter PUCK
PUCK Captain of our fairy band, Helena is here at hand, And the youth, mistook by me. Lord, what fools these mortals be!
OBERON Stand aside: the noise they make Will cause Demetrius to awake.
UNIT 23
Enter LYSANDER and HELENA
LYSANDER Why should you think that I should woo in scorn?
HELENA These vows are Hermia’s. Will you give her o’er?
DEMETRIUS (Waking) O Helen, goddess, nymph, perfect, divine! To what, my love, shall I compare thine eyne?
19 HELENA O spite! O hell! I see you all are bent To set against me for your merriment.
LYSANDER You are unkind, Demetrius; be not so; For you love Hermia; this you know I know.
DEMETRIUS Lysander, keep thy Hermia; I will none: If e’er I loved her, all that love is gone.
Re-Enter HERMIA
HERMIA Thou art not by mine eye, Lysander, found, Mine ear, I thank it, brought me to thy sound. But why unkindly didst thou leave me so?
LYSANDER Why should he stay, whom love doth press to go?
HERMIA You speak not as you think: it cannot be.
HELENA Lo, she is one of this confederacy! Injurious Hermia, most ungrateful maid.
HERMIA I am amazèd at your passionate words. I scorn you not: it seems that you scorn me.
HELENA Have you not set Lysander, as in scorn, To follow me and praise my eyes and face? And made your other love, Demetrius, To call me goddess, nymph, divine and rare?
HERMIA I understand not what you mean by this.
LYSANDER Stay, gentle Helena; hear my excuse: My love, my life my soul, fair Helena!
HELENA O excellent!
DEMETRIUS I say I love thee more than he can do.
20 LYSANDER If thou say so, withdraw, and prove it too.
HERMIA Lysander, whereto tends all this? Am not I Hermia? Are not you Lysander?
LYSANDER Be certain, nothing truer; ‘tis no jest That I do hate thee and love Helena.
HERMIA O me! You juggler, you canker-blossom! You thief of love! What, have you come by night And stolen my love’s heart from him?
HELENA Fie, fie! You counterfeit, you puppet, you!
LYSANDER Be not afraid; she shall not harm thee, Helena.
HELENA O, when she’s angry, she is keen and shrewd! She was a vixen when she went to school, And though she be but little, she is fierce.
LYSANDER Get you gone, you dwarf; You minimus, of hindering knot-grass made! You bead, you acorn.
DEMETRIUS You are too officious In her behalf that scorns your services.
LYSANDER Now follow, if thou darest, to try whose right, Of thine or mine, is most in Helena.
Exeunt LYSANDER and DEMETRIUS
HELENA Your hands than mine are quicker for a fray, My legs are longer though, to run away.
Exit
HERMIA I am amazed, and know not what to say.
Exit
21 UNIT 24
OBERON This is thy negligence: still thou mistakest, Or else committ’st thy knaveries wilfully.
PUCK Did not you tell me I should know the man By the Athenian garments he hath on?
OBERON Thou see’st these lovers seek a place to fight: (Whispers his plan to Puck and gives him another herb) Whiles I in this affair do thee employ, I’ll to my queen and beg her Indian boy; And then I will her charmed eye release From monster’s view, and all things shall be peace.
Exit
UNIT 25
PUCK Up and down, up and down, I will lead them up and down: I am fear’d in field and town: Goblin, lead them up and down. Here comes one.
Physical action Puck leading boys astray LYSANDER lies down and sleeps
Re-Enter PUCK and DEMETRIUS DEMETRIUS lies down and sleeps
Re-Enter HELENA HELANA lies down and sleeps
PUCK Yet but three? Come one more; Two of both kinds make up four.
Re-Enter HERMIA HERMIA lies down and sleeps
22 PUCK Squeezing the juice on LYSANDER’s eyes When thou wak’st, Thou tak’st True delight In the sight Of thy former lady’s eye.
Exit UNIT 26
ACT 4 SCENE 1. The same. LYSANDER, DEMETRIUS, HELENA, and HERMIA are lying asleep.
Enter TITANIA and BOTTOM; PEASEBLOSSOM, COBWEB, MOTH, MUSTARDSEED, and other Fairies attending; OBERON behind unseen
TITANIA Come, sit thee down upon this flowery bed, While I thy amiable cheeks do coy, And stick musk-roses in thy sleek smooth head, And kiss thy fair large ears, my gentle joy.
BOTTOM Where’s Peaseblossom?
PEASEBLOSSOM Ready.
BOTTOM Scratch my head, Peaseblossom. Where’s Monsieur Cobweb?
COBWEB Ready.
BOTTOM Where’s Monsieur Mustardseed?
MUSTARDSEED Ready. What’s your Will?
TITANIA Say, sweet love, what thou desirest to eat.
BOTTOM I could munch your good dry oats. Methinks I have a great desire to a bottle of hay.
23 TITANIA O, how I love thee! How I dote on thee!
Exeunt fairies
Titania and Bottom sleep UNIT 27
Enter PUCK
OBERON (Putting the herb on Titania’s eyes) Be as thou wast wont to be; See as thou wast wont to see.
TITANIA My Oberon! What visions have I seen! Methought I was enamoured of an ass.
OBERON There lies your love. Silence awhile – Robin, take off this head.
PUCK Now, when thou wak’st, with thine own fool’s eyes peep. Fairy king, attend, and mark: I do hear the morning lark.
TITANIA Come, my lord, and in our flight Tell me how it came this night That I sleeping here was found With these mortals on the ground.
Exeunt
24 UNIT 28
Horns winded within
Enter THESEUS, HIPPOLYTA, EGEUS, and train
THESEUS But, soft! What nymphs are these? Go, bid the huntsmen wake them with their horns. Horns and shout within. LYSANDER, DEMETRIUS, HELENA, and HERMIA wake and start up
THESEUS I pray you all, stand up.
LYSANDER I cannot truly say how I came here.
EGEUS I beg the law, the law, upon his head.
DEMETRIUS The object and the pleasure of mine eye, Is only Helena. To her, my lord, Was I betrothed ere I saw Hermia.
THESEUS Egeus, I will overbear your will; For in the temple, by and by with us, These couples shall eternally be knit: Away with us to Athens; three and three, We’ll hold a feast in great solemnity.
Exeunt THESEUS, HIPPOLYTA, EGEUS, and train
DEMETRIUS Why, then, we are awake: let’s follow him And by the way let us recount our dreams.
Exeunt
BOTTOM [Awaking] I have had a most rare vision. I will get Peter Quince to write a ballad of this dream: it shall be called ‘Bottom’s Dream’.
Exit
25 UNIT 29
SCENE 2. Athens.
Enter QUINCE, FLUTE, SNOUT, and STARVELING
QUINCE Have you sent to Bottom’s house? Is he come home yet?
Enter SNUG
SNUG Masters, the duke is coming!
FLUTE O sweet bully Bottom!
Enter BOTTOM
BOTTOM Where are these lads?
QUINCE Bottom! O most happy hour!
BOTTOM Masters, I am to discourse wonders. All that I will tell you is, that the duke hath dined. And our play is preferred!
Exeunt UNIT 30
ACT 5 SCENE 1. Athens. The palace of THESEUS.
Enter THESEUS, HIPPOLYTA, PHILOSTRATE, LYSANDER, DEMETRIUS, HERMIA, and HELENA Lords and Attendants
THESEUS Come now; what masques, what dances shall we have, To wear away this long age of three hours Between our after-supper and bed-time?
26 UNIT 31
Flourish of trumpets
Enter QUINCE for the Prologue. As he reads the prologue, BOTTOM (Pyramus), FLUTE (Thisbe), SNUG (Lion), SNOUT (Wall) and STARVELING (Moonshine) enact the play as a dumbshow.
Gentles, perchance you wonder at this show, But wonder on, till truth make all things plain. This man is Pyramus, if you would know; This beauteous lady Thisbe is certain. This man, with lime and rough-cast doth present Wall, that vile Wall which did these lovers sunder. And through Wall’s chink, poor souls, they are content To whisper. At the which let no man wonder. This man, with lantern, dog, and bush of thorn, Presenteth Moonshine. For, if you will know, By moonshine did these lovers think no scorn To meet at Ninus’ tomb, there, there to woo. This grisly beast, which Lion hight by name, The trusty Thisbe, coming first by night, Did scare away, or rather did affright. And as she fled, her mantle she did fall, Which Lion vile with bloody mouth did stain. Anon comes Pyramus, sweet youth and tall, And finds his trusty Thisbe’s mantle slain; Whereat, with blade, with bloody blameful blade, He bravely broached his boiling bloody breast. And Thisbe, tarrying in mulberry shade, His dagger drew, and died.
THESEUS Moonshine and Lion are left to bury the dead.
DEMETRIUS Ay, and Wall too.
BOTTOM (Starting up) Will it please you to see the epilogue, or to hear a Bergomask dance?
THESEUS No epilogue, I pray you.
Bergomask dance
Exeunt
27 UNIT 32
Enter PUCK and fairy chorus
PUCK Now the hungry lion roars, And the wolf behowls the moon. Whilst the heavy ploughman snores, All with weary task fordone. Now are frolic: not a mouse Shall disturb this hallowed house. I am sent with broom before, To sweep the dust behind the door.
Enter OBERON and TITANIA with their train
TITANIA First, rehearse this song by rote To each word a warbling note. Hand in hand, with fairy grace, Will we sing and bless this place. Song and dance Now, until the break of day, Through this house each fairy stray. To the best bride-bed will we, Which by us shall blessèd be. And the issue there create Ever shall be fortunate. Trip away; make no stay; Meet me all by break of day.
Exeunt OBERON, TITANIA, and train
PUCK If we shadows have offended, Think but this, and all is mended, That you have but slumbered here While these visions did appear. And this weak and idle theme, No more yielding but a dream. So, good night unto you all. Give me your hands, if we be friends, And Robin shall restore amends.
28 A MIDSUMMER NIGHT’S DREAM ONE HOUR EDIT
29 UNIT 1
ACT 1 SCENE 1. Athens. The palace of THESEUS.
Enter THESEUS, HIPPOLYTA, PHILOSTRATE, and Attendants
THESEUS Now, fair Hippolyta, our nuptial hour Draws on apace. Four happy days bring in Another moon: but, O, methinks, how slow This old moon wanes; she lingers my desires.
HIPPOLYTA Four days will quickly steep themselves in nights, Four nights will quickly dream away the time. And then the moon, like to a silver bow New-bent in heaven, shall behold the night Of our solemnities.
THESEUS Go, Philostrate, Stir up the Athenian youth to merriments.
Exit PHILOSTRATE
Hippolyta, I wooed thee with my sword, And won thy love doing thee injuries. But I will wed thee in another key, With pomp, with triumph and with revelling.
UNIT 2
Enter EGEUS, HERMIA, LYSANDER, and DEMETRIUS
EGEUS Happy be Theseus, our renownèd duke!
THESEUS Thanks, good Egeus: what’s the news with thee?
30 EGEUS Full of vexation come I, with complaint Against my child, my daughter Hermia. Stand forth, Demetrius. My noble lord, This man hath my consent to marry her. Stand forth, Lysander. And my gracious duke, This man hath bewitch’d the bosom of my child. – With cunning hast thou filched my daughter’s heart, Turned her obedience, which is due to me, To stubborn harshness.
THESEUS What say you, Hermia? be advised fair maid: Demetrius is a worthy gentleman.
HERMIA So is Lysander.
THESEUS In himself he is. But in this kind, wanting your father’s voice, The other must be held the worthier.
HERMIA I would my father look’d but with my eyes.
THESEUS Rather your eyes must with his judgment look.
HERMIA I do entreat your grace to pardon me. I know not by what power I am made bold, But I beseech your grace that I may know The worst that may befall me in this case, If I refuse to wed Demetrius.
THESEUS Either to die the death or to abjure Forever the society of men.
DEMETRIUS Relent, sweet Hermia. – And, Lysander, yield Thy crazèd title to my certain right.
LYSANDER You have her father’s love, Demetrius: Let me have Hermia’s. Do you marry him.
EGEUS Scornful Lysander! True, he hath my love: And what is mine my love shall render him. And she is mine, and all my right of her I do estate unto Demetrius.
31 LYSANDER I am, my lord, as well derived as he, As well possessed: my love is more than his. Demetrius, I’ll avouch it to his head, Made love to Nedar’s daughter, Helena, And won her soul: and she, sweet lady, dotes, Devoutly dotes, dotes in idolatry, Upon this spotted and inconstant man.
THESEUS I must confess that I have heard so much. Demetrius, come; And come, Egeus; you shall go with me, I have some private schooling for you both. Come, my Hippolyta. What cheer, my love?
EGEUS With duty and desire we follow you.
Exeunt all but LYSANDER and HERMIA
UNIT 3
LYSANDER How now, my love! Why is your cheek so pale? How chance the roses there do fade so fast?
HERMIA Belike for want of rain, which I could well Beteem them from the tempest of my eyes.
LYSANDER The course of true love never did run smooth; But either it was different in blood –
HERMIA O cross! Too high to be enthralled too low.
LYSANDER Or else misgraffèd in respect of years –
HERMIA O spite! Too old to be engaged to young
LYSANDER Or else it stood upon the choice of merit
HERMIA O Hell! – to chooses love by another’s eyes.
32 LYSANDER Hear me, Hermia. If thou lov’st me then, Steal forth thy father’s house tomorrow night; And in the wood, a league without the town, Where I did meet thee once with Helena, There will I stay for thee.
HERMIA My good Lysander! I swear to thee, by Cupid’s strongest bow, By his best arrow with the golden head, By the simplicity of Venus’ doves, By that which knitteth souls and prospers loves, By all the vows that ever men have broke, In number more than ever women spoke, In that same place thou hast appointed me, To-morrow truly will I meet with thee.
LYSANDER Keep promise, love. Look, here comes Helena.
UNIT 4
Enter HELENA
HERMIA God speed fair Helena! Whither away?
HELENA Call you me fair? That fair again unsay. Demetrius loves your fair: O happy fair! O, teach me how you look, and with what art You sway the motion of Demetrius’ heart.
HERMIA I frown upon him, yet he loves me still.
HELENA O that your frowns would teach my smiles such skill!
HERMIA I give him curses, yet he gives me love.
HELENA O, that my prayers could such affection move!
HERMIA The more I hate, the more he follows me.
33 HELENA The more I love, the more he hateth me.
HERMIA His folly, Helena, is no fault of mine.
HELENA None, but your beauty: would that fault were mine!
HERMIA Take comfort: he no more shall see my face; Lysander and myself will fly this place.
LYSANDER Helen, to you our minds we will unfold: Through Athens’ gates have we devised to steal.
HERMIA And to the wood, where often you and I Upon faint primrose-beds were wont to lie, Farewell, sweet playfellow: pray thou for us; And good luck grant thee thy Demetrius!
Exit
HELENA I will go tell him of fair Hermia’s flight: Then to the wood will he to-morrow night Pursue her: and for this intelligence If I have thanks, it is a dear expense: But herein mean I to enrich my pain, To have his sight thither and back again.
Exit
UNIT 5
SCENE 2. Athens. QUINCE’S house.
Enter QUINCE, SNUG, BOTTOM, FLUTE, SNOUT, and STARVELING
QUINCE Is all our company here?
BOTTOM You were best to call them generally, man by man, according to the scrip.
34 QUINCE Here is the scroll of every man’s name, which is thought fit, through all Athens, to play in our interlude before the duke and the duchess, on his wedding day at night.
BOTTOM First, good Peter Quince, say what the play treats on, then read the names of the actors, and so grow to a point.
QUINCE Marry, our play is ‘The most lamentable comedy, and most cruel death of Pyramus and Thisbe.’
BOTTOM A very good piece of work, I assure you, and a merry. Now, good Peter Quince, call forth your actors by the scroll. Masters, spread yourselves.
QUINCE Answer as I call you. Nick Bottom, the weaver.
BOTTOM Ready. Name what part I am for, and proceed.
QUINCE You, Nick Bottom, are set down for Pyramus.
BOTTOM What is Pyramus? A lover, or a tyrant?
QUINCE A lover that kills himself most gallant for love.
BOTTOM That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes: I will move storms, I will condole in some measure. Yet my chief humour is for a tyrant. The raging rocks And shivering shocks Shall break the locks Of prison gates This was lofty! Now name the rest of the players.
QUINCE Francis Flute, the bellows-mender.
FLUTE Here, Peter Quince.
QUINCE You must take Thisbe on you.
35 FLUTE What is Thisbe? A wand’ring knight?
QUINCE It is the lady that Pyramus must love.
FLUTE Nay, faith, let me not play a woman: I have a beard coming.
QUINCE That’s all one. You shall play it in a mask, and you may speak as small as you will.
BOTTOM An I may hide my face, let me play Thisbe too, I’ll speak in a monstrous little voice. ‘Thisne, Thisne!’ ‘Ah, Pyramus, lover dear! Thy Thisbe dear, and lady dear!’
QUINCE No, no; you must play Pyramus – And, Flute, you Thisbe.
BOTTOM Well, proceed.
QUINCE Robin Starveling, the tailor.
STARVELING Here, Peter Quince.
QUINCE Robin Starveling, you must play Thisbe’s mother. Tom Snout, the tinker.
SNOUT Here, Peter Quince.
QUINCE You, Pyramus’ father: myself, Thisbe’s father: Snug, the joiner; you, the lion’s part: and I hope there is a play fitted.
SNUG Have you the lion’s part written? Pray you, if it be, give it me, for I am slow of study.
QUINCE You may do it extempore, for it is nothing but roaring.
36 BOTTOM Let me play the lion too: I will roar, that I will do any man’s heart good to hear me; I will roar, that I will make the duke say ‘Let him roar again, let him roar again.’
QUINCE You can play no part but Pyramus; for Pyramus is a sweet-faced man; a proper man, as one shall see in a summer’s day; a most lovely gentleman-like man: therefore you must needs play Pyramus.
BOTTOM Well, I will undertake it. What beard were I best to play it in?
QUINCE Why, what you will. But, masters, here are your parts: and I am to entreat you, request you and desire you, to con them by to-morrow night; and meet me in the palace wood, a mile without the town, by moonlight. There will we rehearse. I pray you, fail me not.
BOTTOM We will meet; and there we may rehearse most obscenely and courageously. Take pains; be perfect. Adieu.
QUINCE At the duke’s oak we meet.
BOTTOM Enough. Hold or cut bow-strings.
Exeunt
UNIT 6
ACT 2 SCENE 1. A wood near Athens.
Enter, from opposite sides, a Fairy, and PUCK
PUCK How now, spirit, whither wander you?
37 FAIRY Over hill, over dale, Thorough bush, thorough brier, Over park, over pale, Thorough flood, thorough fire, I do wander everywhere. Swifter than the moon’s sphere; And I serve the fairy queen, To dew her orbs upon the green. Farewell, thou lob of spirits; I’ll be gone: Our queen and all our elves come here anon.
PUCK The king doth keep his revels here to-night: Take heed the queen come not within his sight. For Oberon is passing fell and wrath, Because that she as her attendant hath A lovely boy, stolen from an Indian king. She never had so sweet a changeling; And jealous Oberon would have the child Knight of his train, to trace the forests wild. And now they never meet in grove or green, By fountain clear, or spangled starlight sheen, But they do square, that all their elves for fear Creep into acorn-cups and hide them there.
FAIRY Either I mistake your shape and making quite, Or else you are that shrewd and knavish sprite Called Robin Goodfellow. Are not you he That frights the maidens of the villagery, Are not you he?
PUCK Thou speak’st aright; I am that merry wanderer of the night. But, room, fairy! Here comes Oberon.
FAIRY And here my mistress. Would that he were gone!
UNIT 7
Enter, from one side, OBERON, with his train; from the other, TITANIA, with hers
OBERON Ill met by moonlight, proud Titania.
38 TITANIA What, jealous Oberon! Fairies, skip hence: I have forsworn his bed and company.
OBERON Tarry, rash wanton: am not I thy lord? Why should Titania cross her Oberon? I do but beg a little changeling boy To be my henchman.
TITANIA His mother was a votress of my order: But she, being mortal, of that boy did die: And for her sake do I rear up her boy, And for her sake I will not part with him.
OBERON How long within this wood intend you stay?
TITANIA Perchance till after Theseus’ wedding-day. If you will patiently dance in our round And see our moonlight revels, go with us; If not, shun me, and I will spare your haunts.
OBERON Give me that boy, and I will go with thee.
TITANIA Not for thy fairy kingdom. Fairies, away! We shall chide downright, if I longer stay.
Exit TITANIA with her train
UNIT 8
OBERON Well, go thy way: thou shalt not from this grove Till I torment thee for this injury. Fetch me that flower: the herb I showed thee once: The juice of it on sleeping eye-lids laid Will make or man or woman madly dote Upon the next live creature that it sees. Fetch me this herb; and be thou here again Ere the leviathan can swim a league.
PUCK I’ll put a girdle round about the earth In forty minutes.
39 Exit
OBERON But who comes here? I am invisible; And I will overhear their conference.
UNIT 9
Enter DEMETRIUS, HELENA, following him
DEMETRIUS I love thee not, therefore pursue me not. Where is Lysander and fair Hermia? The one I’ll stay, the other stayeth me. Thou told’st me they were stolen into this wood. Hence, get thee gone, and follow me no more.
HELENA You draw me, you hard-hearted adamant.
DEMETRIUS Do I entice you? do I speak you fair? Or rather do I not in plainest truth Tell you I do not nor I cannot love you?
HELENA And even for that do I love you the more. I am your spaniel; and, Demetrius, The more you beat me, I will fawn on you. Use me but as your spaniel, spurn me, strike me, Neglect me, lose me; only give me leave, Unworthy as I am, to follow you.
DEMETRIUS Tempt not too much the hatred of my spirit; For I am sick when I do look on thee.
HELENA And I am sick when I look not on you.
DEMETRIUS I will not stay thy questions; let me go: Or, if thou follow me, do not believe But I shall do thee mischief in the wood.
40 HELENA Ay, in the temple, in the town, the field, You do me mischief. Fie, Demetrius! Your wrongs do set a scandal on my sex: We cannot fight for love, as men may do: We should be wooed and were not made to woo.
Exit DEMETRIUS
I’ll follow thee and make a heaven of hell, To die upon the hand I love so well.
Exit
UNIT 10
OBERON Fare thee well, nymph: ere he do leave this grove, Thou shalt fly him and he shall seek thy love.
Re-Enter PUCK
Hast thou the flower there? Welcome, wanderer.
PUCK Ay, there it is.
OBERON I pray thee, give it me. I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows, Quite over-canopied with luscious woodbine, With sweet musk-roses and with eglantine: There sleeps Titania sometime of the night, Lulled in these flowers with dances and delight: And with the juice of this I’ll streak her eyes, And make her full of hateful fantasies. Take thou some of it, and seek through this grove: A sweet Athenian lady is in love With a disdainful youth: anoint his eyes, But do it when the next thing he espies May be the lady. Thou shalt know the man By the Athenian garments he hath on. Effect it with some care, that he may prove More fond on her than she upon her love: And look thou meet me ere the first cock crow.
41 PUCK Fear not, my lord, your servant shall do so.
Exeunt
UNIT 11
SCENE 2. Another part of the wood.
Enter TITANIA, with her train
TITANIA Come, now a roundel and a fairy song; Sing me now asleep; Then to your offices and let me rest. The Fairies sing
SONG
FAIRY Hence, away! Now all is well: One aloof stand sentinel.
Exeunt Fairies. TITANIA sleeps
UNIT 12
Enter OBERON and squeezes the flower on TITANIA’s eyelids
OBERON (fairy chorus) What thou see’st when thou dost wake, Do it for thy true-love take, Love and languish for his sake: Be it ounce or cat or bear, Pard, or boar with bristled hair, In thy eye that shall appear When thou wak’st, it is thy dear: Wake when some vile thing is near.
Exit
42 UNIT 13
Enter LYSANDER and HERMIA
LYSANDER Fair love, you faint with wand’ring in the wood; And to speak troth, I have forgot our way: We’ll rest us, Hermia, if you think it good, And tarry for the comfort of the day.
HERMIA Be it so, Lysander: find you out a bed; For I upon this bank will rest my head.
LYSANDER One turf shall serve as pillow for us both. One heart, one bed, two bosoms and one troth.
HERMIA Nay, good Lysander; for my sake, my dear, Lie further off yet, do not lie so near.
LYSANDER O, take the sense, sweet, of my innocence! Love takes the meaning in love’s conference. I mean, that my heart unto yours is knit So that but one heart we can make of it. Then by your side no bed-room me deny; For lying so, Hermia, I do not lie.
HERMIA Lysander riddles very prettily: But, gentle friend, for love and courtesy Lie further off; in human modesty: So far be distant; and good night, sweet friend: Thy love ne’er alter till thy sweet life end!
LYSANDER Amen, amen, to that fair prayer, say I, And then end life when I end loyalty! Here is my bed: sleep give thee all his rest!
HERMIA With half that wish the wisher’s eyes be pressed! They sleep
43 UNIT 14
Enter PUCK
PUCK Through the forest have I gone. But Athenian found I none On whose eyes I might approve This flower’s force in stirring love. Night and silence.-- who is here? Weeds of Athens he doth wear: This is he, my master said, Despisèd the Athenian maid: And here the maiden, sleeping sound, On the dank and dirty ground. Pretty soul, she durst not lie Near this lack-love, this kill-courtesy. Churl, upon thy eyes I throw All the power this charm doth owe. When thou wak’st, let love forbid Sleep his seat on thy eyelid. So awake when I am gone; For I must now to Oberon.
Exit
UNIT 15
Enter DEMETRIUS and HELENA, running
DEMETRIUS Stay, on thy peril: I alone will go.
Exit
HELENA O, I am out of breath in this fond chase! But who is here? Lysander, on the ground; Dead, or asleep? I see no blood, no wound. Lysander if you live, good sir, awake.
LYSANDER waking And run through fire I will for thy sweet sake. Transparent Helena, nature shows her art That through thy bosom makes me see thy heart. Not Hermia but Helena I love: Who will not change a raven for a dove?
44 HELENA Wherefore was I to this keen mockery born? When at your hands did I deserve this scorn? O, that a lady of one man refused Should of another therefore be abused!
Exit
LYSANDER She sees not Hermia. Hermia, sleep thou there, And never mayst thou come Lysander near.
Exit
HERMIA (waking) Lysander! What, removed? Lysander! Lord! What, out of hearing? Gone? No sound, no word? Alack, where are you? Speak, an if you hear: Speak, of all loves! I swoon almost with fear. No? then I well perceive you all not nigh. Either death or you I’ll find immediately.
Exit
UNIT 16
ACT 3 SCENE 1. The wood. TITANIA lying asleep.
Enter QUINCE, SNUG, BOTTOM, FLUTE, SNOUT, and STARVELING
BOTTOM Are we all met?
QUINCE Here’s a marvellous convenient place for our rehearsal. Come, sit down, every mother’s son, and rehearse your parts. Pyramus, you begin: when you have spoken your speech, Enter into that brake: and so every one according to his cue.
Enter PUCK behind
45 PUCK What hempen home-spuns have we swagg’ring here, So near the cradle of the fairy queen? What, a play toward. I’ll be an auditor, An actor too perhaps, if I see cause.
QUINCE Speak, Pyramus. – Thisbe, stand forth.
BOTTOM Thisbe, the flowers of odious savours sweet,--
QUINCE Odours, odours.
BOTTOM - odours savours sweet: So hath thy breath, my dearest Thisbe dear. But hark, a voice! Stay thou but here awhile, And by and by I will to thee appear.
Exit
PUCK A stranger Pyramus than e’er played here.
Exit
FLUTE Must I speak now?
QUINCE Ay, marry, must you; for you must understand he goes but to see a noise that he heard, and is to come again.
FLUTE Most radiant Pyramus, most lily-white of hue, Of colour like the red rose on triumphant brier, As true as truest horse that yet would never tire, I’ll meet thee, Pyramus, at Ninny’s tomb.
QUINCE ‘Ninus’ tomb,’ man! Why, you must not speak that yet: that you answer to Pyramus. You speak all your part at once, cues and all. Pyramus enter: your cue is past; it is, ‘never tire.’
FLUTE O,--As true as truest horse that yet would never tire.
46 UNIT 17
Re-Enter PUCK, and BOTTOM with an ass head
BOTTOM If I were fair, Thisbe, I were only thine.
QUINCE O monstrous! O strange! We are haunted. Pray, masters! Fly, masters! Help!
Exeunt QUINCE, SNUG, FLUTE, SNOUT, and STARVELING
PUCK I’ll follow you, I’ll lead you about a round, Through bog, through bush, through brake, through brier. Sometime a horse I’ll be, sometime a hound, A hog, a headless bear, sometime a fire, And neigh and bark and grunt and roar and burn, Like horse, hound, hog, bear, fire, at every turn.
Exit
BOTTOM Why do they run away? this is a knavery of them to make me afeard.
Re-Enter SNOUT
SNOUT O Bottom, thou art changed! What do I see on thee?
BOTTOM What do you see? You see an asshead of your own, do you?
Exit SNOUT Re-Enter QUINCE
QUINCE Bless thee, Bottom! Bless thee! Thou art translated.
Exit
BOTTOM I see their knavery: this is to make an ass of me, to fright me, if they could; but I will not stir from this place, do what they can: I will walk up and down here, and I will sing, that they shall hear I am not afraid.
SONG
47 UNIT 18
TITANIA (Waking) What angel wakes me from my flow’ry bed?
BOTTOM (Sings)
TITANIA I pray thee, gentle mortal, sing again: Mine ear is much enamour’d of thy note; So is mine eye enthralled to thy shape: And thy fair virtue’s force perforce doth move me On the first view to say, to swear, I love thee.
BOTTOM Methinks, mistress, you should have little reason for that: and yet, to say the truth, reason and love keep little company together nowadays.
TITANIA Thou art as wise as thou art beautiful.
BOTTOM Not so, neither: but if I had wit enough to get out of this wood, I have enough to serve mine own turn.
TITANIA Out of this wood do not desire to go: Thou shalt remain here, whether thou wilt or no. And I do love thee: therefore, go with me. I’ll give thee fairies to attend on thee, Peaseblossom! Cobweb! Moth! Mustardseed!
UNIT 19
Enter PEASEBLOSSOM, COBWEB, MOTH, and MUSTARDSEED
PEASEBLOSSOM Ready.
COBWEB And I.
48 MOTH And I.
MUSTARDSEED And I.
ALL Where shall we go?
TITANIA Be kind and courteous to this gentleman. Nod to him, elves, and do him courtesies.
PEASEBLOSSOM Hail, mortal!
COBWEB Hail!
MOTH Hail!
MUSTARDSEED Hail!
BOTTOM I cry your worship’s mercy, heartily: I beseech your worship’s name.
COBWEB Cobweb.
PEASEBLOSSOM Peaseblossom.
MUSTARDSEED Mustardseed.
TITANIA Come, wait upon him; lead him to my bower. Tie up my lover’s tongue, bring him silently.
Exeunt
49 UNIT 20
SCENE 2. Another part of the wood.
Enter OBERON
OBERON I wonder if Titania be awaked; Then what it was that next came in her eye, Which she must dote on in extremity.
Enter PUCK
Here comes my messenger.--How now, mad spirit? What night-rule now about this haunted grove?
PUCK My mistress with a monster is in love. Titania waked and straightway loved an ass.
OBERON This falls out better than I could devise. But hast thou yet latched the Athenian’s eyes With the love-juice, as I did bid thee do?
PUCK I took him sleeping,--that is finished too,-- And the Athenian woman by his side, That, when he waked, of force she must be eyed.
UNIT 21
Enter HERMIA and DEMETRIUS
OBERON Stand close. This is the same Athenian.
PUCK This is the woman, but not this the man.
DEMETRIUS O, why rebuke you him that loves you so? Lay breath so bitter on your bitter foe.
HERMIA What’s this to my Lysander? Where is he? Ah, good Demetrius, wilt thou give him me?
50 DEMETRIUS I’d rather give his carcass to my hounds.
HERMIA Out, dog! Out, cur! Thou driv’st me past the bounds Of maiden’s patience.
Exit
DEMETRIUS There is no following her in this fierce vein: Here therefore for a while I will remain.
Lies down and sleeps
OBERON What hast thou done? Thou hast mistaken quite And laid the love-juice on some true love’s sight: About the wood go swifter than the wind, And Helena of Athens look thou find.
PUCK I go, I go, look how I go, Swifter than arrow from the Tartar’s bow.
Exit
UNIT 22
OBERON (fairy chorus) Flower of this purple dye, Hit with Cupid’s archery, Sink in apple of his eye. When his love he doth espy, Let her shine as glor’ously As the Venus of the sky. When thou wak’st, if she be by, Beg of her for remedy.
Re-Enter PUCK
PUCK Captain of our fairy band, Helena is here at hand, And the youth, mistook by me, Pleading for a lover’s fee. Shall we their fond pageant see? Lord, what fools these mortals be!
51 OBERON Stand aside: the noise they make Will cause Demetrius to awake.
PUCK Then will two at once woo one, That must needs be sport alone. And those things do best please me That befall preposterously.
UNIT 23
Enter LYSANDER and HELENA
LYSANDER Why should you think that I should woo in scorn?
HELENA These vows are Hermia’s. Will you give her o’er?
LYSANDER I had no judgment when to her I swore.
HELENA Nor none, in my mind, now you give her o’er.
LYSANDER Demetrius loves her, and he you.
DEMETRIUS [Awaking] O Helen, goddess, nymph, perfect, divine! To what, my love, shall I compare thine eyne? Crystal is muddy. O, how ripe in show Thy lips, those kissing cherries, tempting grow!
HELENA O spite! O hell! I see you all are bent To set against me for your merriment: Can you not hate me, as I know you do, But you must join in souls to mock me too?
LYSANDER You are unkind, Demetrius; be not so, For you love Hermia; this you know I know;
DEMETRIUS Lysander, keep thy Hermia, I will none: If e’er I loved her, all that love is gone. Look, where thy love comes, yonder is thy dear.
52 Re-Enter HERMIA
HERMIA Thou art not by mine eye, Lysander, found, Mine ear, I thank it, brought me to thy sound. But why unkindly didst thou leave me so?
LYSANDER Why should he stay, whom love doth press to go?
HERMIA You speak not as you think; it cannot be.
HELENA Lo, she is one of this confed’racy! Now I perceive they have conjoined all three To fashion this false sport in spite of me. Injurious Hermia, most ungrateful maid, Have you conspired, have you with these contrived To bait me with this foul derision?
HERMIA I am amazed at your passionate words. I scorn you not; it seems that you scorn me.
HELENA Have you not set Lysander, as in scorn, To follow me and praise my eyes and face? And made your other love, Demetrius, Who even but now did spurn me with his foot, To call me goddess, nymph, divine and rare, Precious, celestial?
HERNIA I understand not what you mean by this.
HELENA Ay, do. Persever, counterfeit sad looks, Make mouths upon me when I turn my back, But fare ye well. ‘Tis partly my own fault, Which death or absence soon shall remedy.
LYSANDER Stay, gentle Helena, hear my excuse: My love, my life, my soul, fair Helena!
HELENA O excellent!
HERMIA Sweet, do not scorn her so.
DEMETRIUS If she cannot entreat, I can compel.
53 LYSANDER Thou canst compel no more than she entreat. Thy threats have no more strength than her weak prayers. Helen, I love thee; by my life, I do;
DEMETRIUS I say I love thee more than he can do.
LYSANDER If thou say so, withdraw, and prove it too.
DEMETRIUS Quick, come!
HERMIA Lysander, whereto tends all this?
LYSANDER Hang off, thou cat, thou burr! Vile thing, let loose, Or I will shake thee from me like a serpent!
HERMIA Why are you grown so rude? What change is this, sweet love?
LYSANDER Out, loathèd medicine! O hated potion, hence!
HERMIA Do you not jest?
HELENA Yes, sooth, and so do you.
LYSANDER Demetrius, I will keep my word with thee.
DEMETRIUS I would I had your bond, for I perceive A weak bond holds you; I’ll not trust your word.
LYSANDER What, should I hurt her, strike her, kill her dead? Although I hate her, I’ll not harm her so.
HERMIA What, can you do me greater harm than hate? Hate me? Wherefore? O me! What news, my love? Am not I Hermia? Are not you Lysander?
54 LYSANDER Ay, by my life; And never did desire to see thee more. Therefore be out of hope, of question, of doubt; Be certain, nothing truer: ‘tis no jest That I do hate thee and love Helena.
HERMIA O me! You juggler, you canker-blossom, You thief of love! What, have you come by night And stolen my love’s heart from him?
HELENA Fie, fie! You counterfeit, you puppet, you!
HERMIA Puppet? Why so? Ay, that way goes the game. Her height, forsooth, she hath prevailed with him. And are you grown so high in his esteem Because I am so dwarfish and so low? How low am I, thou painted maypole? Speak! How low am I? I am not yet so low But that my nails can reach unto thine eyes.
HELENA I pray you, though you mock me, gentlemen, Let her not hurt me. You perhaps may think, Because she is something lower than myself, That I can match her.
HERMIA Lower? Hark, again.
LYSANDER Be not afraid: she shall not harm thee, Helena.
DEMETRIUS No, sir, she shall not, though you take her part.
HELENA O, when she’s angry, she is keen and shrewd. She was a vixen when she went to school, And though she be but little, she is fierce.
HERMIA ‘Little’ again! Nothing but ‘low’ and ‘little’? Why will you suffer her to flout me thus? Let me come to her.
LYSANDER Get you gone, you dwarf, You minimus, of hind’ring knot-grass made! You bead, you acorn.
55 DEMETRIUS You are too officious In her behalf that scorns your services.
LYSANDER Now she holds me not; Now follow, if thou dar’st, to try whose right, Of thine or mine, is most in Helena.
DEMETRIUS Follow? Nay, I’ll go with thee, cheek by jowl.
Exeunt LYSANDER and DEMETRIUS
HERMIA You, mistress, all this coil is ‘long of you. Nay, go not back.
HELENA I will not trust you, I, Nor longer stay in your curst company. Your hands than mine are quicker for a fray, My legs are longer though, to run away.
Exit
HERMIA I am amazed, and know not what to say.
Exit
UNIT 24
OBERON This is thy negligence: still thou mistak’st, Or else committ’st thy knaveries wilfully.
PUCK Believe me, king of shadows, I mistook. Did not you tell me I should know the man By the Athenian garments he hath on?
OBERON Thou see’st these lovers seek a place to fight: (Whispers his plan to Puck) Whiles I in this affair do thee employ, I’ll to my queen and beg her Indian boy; And then I will her charmèd eye release From monster’s view, and all things shall be peace.
56 Exit
UNIT 25
PUCK (fairy chorus) Up and down, up and down, I will lead them up and down. I am feared in field and town. Goblin, lead them up and down. Here comes one.
Physical action Puck leading boys astray Lies down Sleeps
Re-Enter PUCK and DEMETRIUS Lies down and sleeps
Re-Enter HELENA Lies down and sleeps
PUCK Yet but three? Come one more, Two of both kinds make up four. Here she comes, curst and sad. Cupid is a knavish lad, Thus to make poor females mad.
Re-Enter HERMIA Lies down and sleeps
PUCK (fairy chorus) On the ground Sleep sound. I’ll apply To your eye, Gentle lover, remedy. Squeezing the juice on LYSANDER’s eyes When thou wak’st, Thou tak’st True delight In the sight Of thy former lady’s eye, The man shall have his mare again, and all shall be well.
Exit
57 UNIT 26
ACT 4 SCENE 1. The same. LYSANDER, DEMETRIUS, HELENA, and HERMIA Lying asleep.
Enter TITANIA and BOTTOM; PEASEBLOSSOM, COBWEB, MOTH, MUSTARDSEED, and other Fairies attending; OBERON behind unseen
TITANIA Come, sit thee down upon this flow’ry bed, While I thy amiable cheeks do coy, And stick musk-roses in thy sleek smooth head, And kiss thy fair large ears, my gentle joy.
BOTTOM Where’s Peaseblossom?
PEASEBLOSSOM Ready.
BOTTOM Scratch my head, Peaseblossom. Where’s Monsieur Cobweb?
COBWEB Ready.
BOTTOM Monsieur Cobweb, good monsieur, get you your weapons in your hand, and kill me a red-hipped humble-bee on the top of a thistle; and, good monsieur, bring me the honey-bag. Where’s Monsieur Mustardseed?
MUSTARDSEED Ready. What’s your Will?
BOTTOM Nothing, good monsieur, but to help Cavalery Cobweb to scratch. I must to the barber’s, monsieur; for methinks I am marvellous hairy about the face. And I am such a tender ass, if my hair do but tickle me, I must scratch.
TITANIA Say, sweet love, what thou desirest to eat.
BOTTOM I could munch your good dry oats. Methinks I have a great desire to a bottle of hay:
TITANIA Sleep thou, and I will wind thee in my arms. Fairies, begone, and be all ways away.
58 Exeunt fairies
O, how I love thee! How I dote on thee!
They sleep
UNIT 27
Enter PUCK
OBERON (advancing) Welcome, good Robin. See’st thou this sweet sight? Her dotage now I do begin to pity. Be thou as thou wast wont to be; See as thou wast wont to see. Dian’s bud o’er Cupid’s flower Hath such force and blessèd power. Now, my Titania, wake you, my sweet queen.
TITANIA My Oberon! What visions have I seen! Methought I was enamour’d of an ass.
OBERON There lies your love.
TITANIA How came these things to pass? O, how mine eyes do loathe his visage now!
OBERON Silence awhile.--- Robin, take off this head.---
Music, still
PUCK Now, when thou wak’st, with thine own fool’s eyes peep.
OBERON Sound, music! Come, my queen, take hands with me, And rock the ground whereon these sleepers be.
PUCK Fairy king, attend, and mark: I do hear the morning lark.
59 TITANIA Come, my lord, and in our flight Tell me how it came this night That I sleeping here was found With these mortals on the ground.
Exeunt
UNIT 28
Horns winded within Enter THESEUS, HIPPOLYTA, EGEUS, and train
THESEUS But, soft! What nymphs are these?
EGEUS My lord, this is my daughter here asleep, And this, Lysander; this Demetrius is, This Helena, old Nedar’s Helena. I wonder of their being here together.
THESEUS Go, bid the huntsmen wake them with their horns. Horns and shout within. LYSANDER, DEMETRIUS, HELENA, and HERMIA wake and start up Good morrow, friends. Saint Valentine is past. Begin these woodbirds but to couple now?
LYSANDER Pardon, my lord.
THESEUS I pray you all stand up. I know you two are rival enemies. How comes this gentle concord in the world, That hatred is so far from jealousy, To sleep by hate and fear no enmity?
LYSANDER My lord, I shall reply amazedly, Half sleep, half waking. But as yet, I swear, I cannot truly say how I came here.
EGEUS I beg the law, the law, upon his head.----- They would have stolen away, they would, Demetrius, Thereby to have defeated you and me: You of your wife and me of my consent, Of my consent that she should be your wife.
60 DEMETRIUS My lord...my love to Hermia, Melted as the snow, seems to me now As the remembrance of an idle gaud The object and the pleasure of mine eye, Is only Helena. To her, my lord, Was I betrothed ere I saw Hermia: But like a sickness did I loathe this food. But, as in health, come to my natural taste, Now I do wish it, love it, long for it, And will for evermore be true to it.
THESEUS Fair lovers, you are fortunately met: Of this discourse we shall hear more anon. Egeus, I will overbear your will; For in the temple by and by with us These couples shall eternally be knit. Away with us to Athens; three and three, We’ll hold a feast in great solemnity.--- Come, Hippolyta.
Exeunt THESEUS, HIPPOLYTA, EGEUS, and train
DEMETRIUS Are you sure That we are awake? It seems to me That yet we sleep, we dream. Do not you think The duke was here, and bid us follow him?
HERMIA Yea, and my father.
HELENA And Hippolyta.
LYSANDER And he did bid us follow to the temple.
DEMETRIUS Why, then, we are awake; let’s follow him And by the way let us recount our dreams.
Exeunt
BOTTOM [Awaking] I have had a most rare vision. Methought I was – there is no man can tell what. Methought I was – and methought I had – but man is but a patched fool if he will offer to say what methought I had. I will get Peter Quince to write a ballad of this dream: it shall be called ‘Bottom’s Dream’.
Exit
61 UNIT 29
SCENE 2. Athens. QUINCE’S house.
Enter QUINCE, FLUTE, SNOUT, and STARVELING
QUINCE Have you sent to Bottom’s house? Is he come home yet?
STARVELING He cannot be heard of. Out of doubt he is transported.
Enter SNUG
SNUG Masters, the duke is coming from the temple, and there is two or three lords and ladies more married. If our sport had gone forward, we had all been made men.
FLUTE O sweet bully Bottom!
Enter BOTTOM
BOTTOM Where are these lads? Where are these hearts?
QUINCE Bottom! O most courageous day! O most happy hour!
BOTTOM Masters, I am to discourse wonders: but ask me not what; for if I tell you, I am no true Athenian. I will tell you everything as it fell out.
QUINCE Let us hear, sweet Bottom.
BOTTOM Not a word of me. All that I will tell you is that the duke hath dined. And our play is preferred. And, most dear actors, eat no onions nor garlic, for we are to utter sweet breath, No more words: away! Go, away!
Exeunt
62 UNIT 30
ACT 5 SCENE 1. Athens. The palace of THESEUS.
Enter THESEUS, HIPPOLYTA, PHILOSTRATE, Lords and Attendants
HIPPOLYTA ‘Tis strange my Theseus, that these lovers speak of.
THESEUS More strange than true:
THESEUS Enter LYSANDER, DEMETRIUS, HERMIA, and HELENA Joy, gentle friends! Joy and fresh days of love Accompany your hearts! Come now; what masques, what dances shall we have, To wear away this long age of three hours Between our after-supper and bed-time? Call Philostrate
PHILOSTRATE Here, mighty Theseus.
THESEUS What masque? What music? How shall we beguile The lazy time, if not with some delight?
PHILOSTRATE There is a brief how many sports are ripe: Make choice of which your highness will see first.
Giving a paper Reads to himself then out loud
THESEUS ‘A tedious brief SCENE of young Pyramus And his love Thisbe; very tragical mirth.’ Merry and tragical? Tedious and brief? We will hear it.
PHILOSTRATE No, my noble lord; It is not for you: I have heard it over, And it is nothing, nothing in the world;
63 THESEUS I will hear that play; Go, bring them in.--- and take your places, ladies. Exit PHILOSTRATE
UNIT 31
Re-Enter PHILOSTRATE
PHILOSTRATE So please your grace, the Prologue is addressed.
THESEUS Let him approach. Flourish of trumpets
Enter QUINCE for the Prologue
PROLOGUE If we offend, it is with our good will. That you should think, we come not to offend, But with good will. To show our simple skill, That is the true beginning of our end. Consider then, we come but in despite. We do not come as minding to content you, Our true intent is. All for your delight We are not here. That you should here repent you, The actors are at hand and by their show, You shall know all that you are like to know.
WALL In this same interlude it doth befall That I, one Snout by name, present a wall. And such a wall, as I would have you think, That had in it a crannied hole or chink, Through which the lovers, Pyramus and Thisbe, Did whisper often, very secretly. This loam, this rough-cast and this stone doth show That I am that same wall; the truth is so. And this the cranny is, right and sinister, Through which the fearful lovers are to whisper.
Enter Pyramus
64 PYRAMUS O grim-looked night! O night with hue so black! O night, O night! Alack, alack, alack, I fear my Thisbe’s promise is forgot. And thou, O wall, thou sweet and lovely wall That stands between her father’s ground and mine! Thou wall, O wall, O sweet and lovely wall, Show me thy chink, to blink through with mine eyne!
Wall holds up his fingers
Thanks, courteous wall. Jove shield thee well for this. But what see I? No Thisbe do I see. O wicked wall, through whom I see no bliss! Cursed be thy stones for thus deceiving me!
Enter Thisbe
THISBE O wall, full often hast thou heard my moans, For parting my fair Pyramus and me. My cherry lips have often kissed thy stones, Thy stones with lime and hair knit up in thee.
PYRAMUS I see a voice; now will I to the chink, To spy an I can hear my Thisbe’s face. Thisbe?
THISBE My love thou art, my love I think.
PYRAMUS O kiss me through the hole of this vile wall!
THISBE I kiss the wall’s hole, not your lips at all.
PYRAMUS Wilt thou at Ninny’s tomb meet me straightway?
THISBE ‘Tide life, ‘tide death, I come without delay. Exeunt Pyramus and Thisbe
WALL Thus have I, Wall, my part dischargèd so; And, being done, thus Wall away doth go.
Exit
Enter Lion and Moonshine
65 LION You, ladies, you, whose gentle hearts do fear The smallest monstrous mouse that creeps on floor, May now perchance both quake and tremble here, When lion rough in wildest rage doth roar. Then know that I, one Snug the joiner, am A lion-fell, nor else no lion’s dam, For if I should as lion come in strife Into this place, ‘twere pity on my life.
MOONSHINE This lantern doth the hornèd moon present: Myself the man i’ th’moon doth seem to be. All that I have to say, is, to tell you that the lantern is the moon; I, the man in the moon; this thorn-bush, my thorn-bush; and this dog, my dog.
Enter Thisbe
THISBE This is old Ninny’s tomb. Where is my love?
LION [Roaring] O!
Thisbe runs off
Enter Pyramus
PYRAMUS Sweet Moon, I thank thee for thy sunny beams, I thank thee, Moon, for shining now so bright, What dreadful dole is here? Eyes, do you see? How can it be? O dainty duck! O dear! Thy mantle good, What, stain’d with blood! Come, tears, confound: Out, sword, and wound The pap of Pyramus, Ay, that left pap, Where heart doth hop: Stabs himself Thus die I, thus, thus, thus. Now am I dead, Now am I fled, My soul is in the sky. Tongue, lose thy light, Moon take thy flight,
Exit Moonshine
66 Now die, die, die, die, die.
Dies
Re-Enter Thisbe
THISBE Asleep, my love? What, dead, my dove? O Pyramus, arise! Speak, speak. Quite dumb? Dead, dead? A tomb Must cover thy sweet eyes. These lily lips, This cherry nose, These yellow cowslip cheeks, Are gone, are gone! Tongue, not a word. Come, trusty sword, Come, blade, my breast imbrue.
Stabs herself
And farewell friends, Thus Thisbe ends: Adieu, adieu, adieu.
Dies
THESEUS Moonshine and Lion are left to bury the dead.
DEMETRIUS Ay, and Wall too.
BOTTOM [Starting up] No I assure you; the wall is down that parted their fathers. Will it please you to see the epilogue, or to hear a Bergomask dance between two of our company?
THESEUS No epilogue, I pray you; for your play needs no excuse. Never excuse: for when the players are all dead, there need none to be blamed. Sweet friends, to bed.
Exeunt
67 UNIT 32
Enter PUCK and( fairy chorus)
PUCK Now the hungry lion roars, And the wolf beholds the moon. Whilst the heavy ploughman snores, All with weary task fordone. Now are frolic; not a mouse Shall disturb this hallowed house: I am sent with broom before, To sweep the dust behind the door.
Enter OBERON and TITANIA with their train
TITANIA First, rehearse this song by rote, To each word a warbling note. Hand in hand, with fairy grace, Will we sing and bless this place.
Song and dance
OBERON Now, until the break of day Through this house each fairy stray. To the best bride-bed will we, Which by us shall blessèd be. And the issue there create Ever shall be fortunate. Trip away, make no stay; Meet me all by break of day.
Exeunt OBERON, TITANIA, and train
PUCK If we shadows have offended, Think but this, and all is mended, That you have but slumbered here While these visions did appear. And this weak and idle theme, No more yielding but a dream, So, good night unto you all. Give me your hands, if we be friends, And Robin shall restore amends.
68 DIRECTING: THE DREAM ERICA WHYMAN Deputy Artistic Director
W H A T I S T H E R O L E O F THE DIRECTOR?
The director is responsible for communicating an understanding of the play and a vision for the production to everyone who is going to bring it alive. They then lead the rehearsal process, encouraging everyone to do their most creative work, and make final decisions about staging, music, lighting, sound and design. They are the person making sure everyone’s ideas and contributions make coherent sense, and perhaps most importantly they are imagining and shaping the experience for the audience. WHAT DO YOU NEED TO DO TO DIRECT A PLAY?
As a director you start by getting to know a play physical action so that scenes have clarity, rhythm very well. Reading and re-reading the text will and are satisfying to watch – like painting in 3D reveal clues, questions and the tone and intention with people; enable actors to keep digging for of the playwright. Then you start to build your team; clues in the text to ensure their characters are rich, the designer, lighting designer, a composer or believable and honour the writer’s intentions; find choreographer if you have one, and each person ways for the company to play and explore the will influence your ideas and your vision. world they’re inhabiting so they feel comfortable I usually have six weeks to rehearse and we and alive on the stage. tend to start with a read-through of the play, although I like to stop and start and ask questions. As you get to know the play together and ideas and approaches start to crystallise, the director has to do a few things at once: start to craft the ©RSC. Photo by Manual Harlan ©RSC. Photo by Stewart Hemley
69 When you’re finally on stage for technical rehearsals And I think the director has one final responsibility you can see all the elements coming together, with all – to hand the show back to the actors. It isn’t yours the effort and expertise of the different teams working anymore, it’s theirs, and they have to know you towards the same goal. Then at last you have an trust them to use the work you’ve made together and audience and the work doesn’t stop there. Even if you allow it to develop and take off. It is sometimes very only have a few performances, I think you learn so hard for a director to hand over control but much from seeing what you’ve made through other it is essential if you are going to really let it live people’s eyes that your best rehearsal day can often in performance. be after the first show. ©RSC. Photo by John Haynes
H O W W O U L D Y O U S T A R T DIRECTING THE DREAM?
The wonderful things about the Dream are also especially Puck! So from there you can begin to the greatest challenges – it conjures a magical imagine how they might behave. world which doesn’t exist in our everyday lives. I think you also need to decide how you The director has to find a way to create that world will represent the Court. It is a complex place, which will make sense to the performers and to the because it’s full of the promise of a wedding, a big audience. You have to ask yourself: celebration, but it is also just after a war, and it’s a place where fathers can call on the law to ensure their daughters marry the man of their choice. I • Who are the fairies? think Shakespeare paints a picture of a world which • What does it mean to be immortal? is changing; Duke Theseus is uncomfortable with the old laws, although he has to follow them, and the • What kind of fairies would Shakespeare new Duchess, the stranger Hippolyta, might bring a have known? The pretty Victorian fairies different voice into his world. So, you need to ask: we sometimes see in the play were not invented until long after his death, so what is he suggesting? • How might you communicate that sense of change? I think Shakespeare is interested in Greek myths and • Can the recent war be represented folk tales, which both talk about magical creatures somehow? who know more about human affairs, especially • Is it really Athens? Or does it seem about childhood, love, marriage and death, than more English than that? How might that we do. They are strong, they can move fast, they affect behaviour? are close to nature, and capable of great mischief,
70 UNLOCKING THE LANGUAGE When working with Shakespeare’s text I like to feel quite confident about unfamiliar words and references in the play, and then to spend time with the actors talking these through and asking them to put each line into their own words, so that we are all sure what it means. This can take a long time so I will also get the actors to get up and try it, which always reveals more meanings. I’m looking for where the rhythm and language can help us find meaning but I’m also trying to find the truth in each of the characters, asking: ©RSC. Photo by Rob Freeman • What are they feeling? to feel they are in the situation. For instance in the • What do they want us to hear? first Mechanicals scene it is tempting to give all the • What have they just thought? actors chairs, like you would in a rehearsal room, • What do they want? but at one point Bottom says “spread yourselves” which is much funnier if they are all standing awkwardly and then try to stand awkwardly a bit As you answer these questions the language starts further apart! The clues to the physical action are all to feel like real people talking, and it springs to life. in the text. You are also trying to work out exactly how each character’s journey through the play works. So working on scenes in isolation can be dangerous. If you look at Helena’s first speech for example, you might be tempted to let her be quite self-pitying, but once we see how brave and articulate she is later in the play, once she believes everyone is against her, we are reminded how strong and smart she is even at the beginning. She is not a weak character but a courageous person who is hopelessly in love. ©RSC. Photo by Topher McGrillis
REHEARSING SCENES Every scene is different of course, so sometimes you are trying to create complex pictures and sometimes it’s very simple; the trick is knowing the difference! In every case, it’s important to listen carefully to the text and establish what the actors need to do ©RSC. Photo by John Haynes
I like to ask actors lots of questions. How do you think she feels? What is your hunch? What do you like about her? This helps us find common ground ©RSC. Photo by Rob Freeman – things which the character and actor share.
71 ©RSC. Photo by Ellie Kurttz
And then we’ll play with the scene. I will often say Shakespeare is exceptionally good at keeping us “Let’s just have a go” to take the pressure off and guessing so part of the director’s job is not to allow it encourage them to begin. I might ask them to push to become too obvious or general, not to let actors get the scene to extremes; what happens if they are too comfortable in one approach to the character or furious, or completely helpless or slow and sad. the scene but to let each moment happen as though Doing that helps reveal what the emotions of the for the first time, to allow it to surprise the audience. scene really are, and you see what doesn’t work and when things change. For example, Demetrius DIRECTING ADVICE is angry with Helena, or at least frustrated, but not My advice is to pay attention to the story, to trust on every line. Sometimes he tries a different tactic that Shakespeare wanted it to surprise us; To assume which reveals itself if you try and deliver every line everyone in it means what they say; To remember with the same emotion. By trying again and again that it is a play which asks us to use our imagination with a different emphasis, the details of the scene and then to have confidence in the choices you make emerge and you start to see together where the and the world you create; Perhaps most importantly, turning points are, where the new thoughts are and to enjoy the experience – it is a delight to direct and how the scene’s drama unfolds. if you listen to it, it will reward you. ©RSC. Photo by John Haynes
72 WHAT IS YOUR ADVICE FOR SCHOOLS DIRECTING THE PLAY?
Directing and rehearsing A Midsummer Night’s Dream in a school will have some significant differences from a production in a company like the RSC. It is very tempting to look at these and imagine that the process by which you and your young actors take the play from page to stage will be entirely different from anything that happens in a professional theatre. Yet the two worlds might be much closer than we think. ©RSC. Photo by Rob Freeman
In both school and professional rehearsal room the actors will painstakingly paraphrase the lines so that process will be one of exploration and discovery the meaning of Shakespeare’s language is crystal shared between you and your actors. Like all good clear. And they always seem to reach the same teachers, theatre directors are highly skilled at conclusion – Shakespeare says it so much better knowing the right question to ask at the right time; than any of us could! Once your actors can feel that is why questions are the focus of so many of the and speak the language as their own, you will find director’s notes that you will find for each of the units their performances are completely transformed. The of action on the following pages. RSC Shakespeare Toolkit for Teachers has plenty of Dividing a play up into units of action is common strategies to help you explore the language together. practice in rehearsal rooms and helps the company Hold your nerve and trust the process is advice understand what is happening at each stage and that might apply equally in school and in the why. Each new unit drives the story forward and professional rehearsal room. The nearer the date of if all your actors are clear about this the audience the first performance, the more tempting it can be to will almost certainly be clear too. Any actor needs take back complete control and tell everyone where to know why their character has come on stage, to stand, what to say and how to say it. But you and what they are trying to achieve when they are there, your actors need to keep believing in and trusting and where they go when they exit. These are good each other, because together you have almost questions to explore in your rehearsals. They also infinite capacity to release the power and sheer help actors to stay in character and commit to what joy of Shakespeare’s language. If you and your they are doing at all times, whether speaking or not, actors believe in what you have created together, even when they are singing and dancing. your audience will believe in it too and share your It is also critical that everyone understands what delight in performing this most remarkable play over they are saying and why. In many rehearsal rooms, four hundred years after it was written.
73 DIRECTOR’S NOTES
UNIT 1 (ACT 1 SCENE 1) UNIT 3 (ACT 1 SCENE 1) WHAT HAPPENS? WHAT HAPPENS? Theseus, Duke of Athens, is to be married to Hermia and Lysander talk of what has just Hippolyta, Queen of the Amazons whom he has happened. Lysander suggests they run away recently defeated in battle. They must wait for the together. She promises to meet him in the wood ‘a new moon before the wedding and Theseus is league without the town’ the following night. impatient, but Hippolyta tells him ‘Four nights will quickly dream away the time’. In readiness for the celebrations, Theseus sends his official to ‘Stir up the Questions to explore in rehearsal… Athenian youth to merriments’. • Hermia and Lysander are left alone in the court – do they speak to each other freely and openly or are they afraid of being Questions to explore in rehearsal… overheard? • How will you create the world of Theseus’s • How will Hermia react to Lysander’s court? How will the ways people move and suggestion – might she be excited, afraid? speak in it reflect your design? How does the scene feel if we play it in • Apart from the named characters in units 1 different ways? and 2, who else might be there? • Is Theseus having a quiet moment to talk to Hippolyta alone before the court convenes UNIT 4 (ACT 1 SCENE 1) or is everyone else there already? WHAT HAPPENS? Hermia’s friend Helena arrives. She is in love with Demetrius but he wants to marry Hermia. Hermia UNIT 2 (ACT 1 SCENE 1) and Lysander tell Helena of their plan to run away WHAT HAPPENS? together. When they have left, Helena says that she Egeus, an Athenian courtier arrives with his will go and tell Demetrius of their plan in the hope daughter Hermia and two young men, Demetrius that she will have his thanks for ‘this intelligence’. and Lysander. He wants his daughter to marry Demetrius, but she is in love with Lysander who has been wooing her in secret. Theseus tries to Questions to explore in rehearsal… persuade Hermia to obey her father and marry the • Later in the play, we learn that Hermia and man he has chosen. Theseus tells her that, if she Helena have been friends from school, so refuses, she faces either death or life in a nunnery, how might they greet each other? away from all men. • If Hermia trusts Helena enough to tell her of the plan, why does Helena tell Demetrius? Questions to explore in rehearsal… Does she do so willingly and enthusiastically, or does she feel guilty about what she is • How will Egeus, Hermia, Lysander and about to do? Demetrius enter the court? For example, who comes in first? How will the whole court (except Hermia and Lysander) leave at the end? • How does each of these characters react as the scene develops? What about the rest of the court? • Does the fact that Hermia may die for refusing to obey her father come as news to them, or do they all realise what is at stake from the start? • When Theseus takes Egeus and Demetrius away for ‘some private schooling’ at the end of the scene, what might he say to them?
74 UNIT 5 (ACT 1 SCENE 2) UNIT 7 (ACT 2 SCENE 1) WHAT HAPPENS? WHAT HAPPENS? The action moves to elsewhere in Athens and we Titania and Oberon meet and argue over ‘a little meet a new group of characters. Peter Quince, a changeling boy’ that she has and he wants for carpenter, has called together a group of workmen his ‘henchman’. Titania refuses to give up the boy so that they can put on a play for Duke’s wedding. because of loyalty to his dead mother. She leaves He tells each of them which parts they are to play with her train of fairies. but one of them, Bottom the weaver, seems to want to run the show and play all the parts himself. At the end of the scene they agree to meet and rehearse in Questions to explore in rehearsal… the wood the following night. • Who is in control during this scene? Does it change? There is a lot to explore about the relative status of Titania and Oberon here. Questions to explore in rehearsal… He asks ‘am I not the lord?’ as if he should • Where does this action happen? Do they have authority over her, but she also has meet at Quinces house or some other place great power over him, not least because in the city? he wants what she has. Experimenting with different ways of playing the scene will • How might their clothing and belongings reveal much about their status. reflect their daily work and your overall design ideas? • Do all the actors feel the same way about UNIT 8 (ACT 2 SCENE 1) being in a play? In the full text it is clear that whoever is chosen to do the play will be WHAT HAPPENS? well rewarded by the Duke – what difference Oberon vows revenge and says that Titania ‘shalt does this make? not from this grove / Till I torment thee for this • How does Quince deal with all Bottom’s injury’. He tells Puck to fetch him a flower, ‘the herb interruptions and ideas? How do the other I showed thee once’ that, by putting it on someone’s workmen -actors react? eyelid while they sleep can make them fall in love with the next living thing they see. As Puck leaves to collect the flower, Demetrius comes along with Helena chasing after him. Oberon tells the audience UNIT 6 (ACT 2 SCENE 1) he is invisible to the humans and will overhear what they have to say. WHAT HAPPENS? The action moves into the forest for the first time and we meet the fairies. We learn that the fairies can be Questions to explore in rehearsal… helpful or mischievous in the human world. We also • How does the relationship between Oberon learn that Titania, their queen, and Oberon, their and Puck play out? Does Puck enjoy the idea king, have fallen out and that they are about to meet. of tormenting Titania in this way? Does he just do as he’s told because Oberon is his Questions to explore in rehearsal… king and master? • How will the wood and the world of fairies • Where does Oberon position himself on be different from the court and the city of stage to watch / listen to Helena and Athens? You will want to explore this through Demetrius? sound, design and movement. Will all the fairies move in the same way or will Titania’s and Oberon’s fairies be different? • How will you create a sense for your audience that these creatures can be mischievous and dangerous to the humans who venture into their wood? • Will the fairies’ lines be spoken by just one actor, or by a group / chorus? • How do Puck and the other fairies feel about what has happened between their king and queen? How do they react when they realise the king and queen are about to meet?
75 UNIT 9 (ACT 2 SCENE 1) UNIT 11 (ACT 2 SCENE 2) WHAT HAPPENS? WHAT HAPPENS? Demetrius tells Helena to stop following him. She In another part of the wood, Titania is preparing tries to tell him how much she loves him but he runs to sleep. She asks her fairies to sing her a lullaby. on and leaves her to follow. Once she is sleeping, they leave her, with the exception of one fairy who is left to guard her. Questions to explore in rehearsal… Questions to explore in rehearsal… • Where will you place Oberon so that it is clear to the audience that he is watching • There is music for the fairies’ song in the without him intruding on the scene too much? resources. How will they sing it? Will there Oberon’s role is to watch and react to the be a distinction between the verses in which exchange so he needs to attend to it very they address creatures like ‘spotted snakes’ carefully without being too conspicuous. and ‘weaving spiders’ and tell them to keep away from their queen, and the chorus • There are so many ways this scene might be which is a lullaby? played. Is Demetrius concerned for Helena’s safety or does he just want her to leave • How do the fairies feel about their queen? him alone? What if they are both afraid in Why do they want to protect her in this way? the wood but don’t want to admit it to each Why do they leave her with only one fairy other? to guard her? (if you read the full text you will see some of the things they are sent off into the night to do). Are they excited about going off to do their night’s work or perhaps UNIT 10 (ACT 2 SCENE 1) concerned about leaving Titania alone? WHAT HAPPENS? Oberon vows to help Helena. Puck returns with the flower and Oberon speaks of a ‘bank where the UNIT 12 (ACT 2 SCENE 2) wild thyme blows’ where Titania sleeps and where he plans to put the flower juice on her eyes. He then WHAT HAPPENS? tells Puck to go and find Helena and Demetrius and As she sleeps, Oberon puts the juice of the flower to ‘anoint Demetrius’ eyes’ so that when he sees on Titania’s eyes. Helena he will fall madly in love with her. Oberon tells Puck he will know the man ‘by the Athenian Questions to explore in rehearsal… garments he hath on’. • This is another opportunity to choose whether Oberon speaks these lines alone Questions to explore in rehearsal… or with a chorus of fairies. You’ll also want • Will Oberon speak these lines alone or to think about what other sound and music could he be supported by a chorus of might accompany this scene and add to the fairies? sense of magic. • In your design how will Puck recognise • How does Oberon get past Titania’s fairy ‘Athenian garments’? Later in the play he will who ‘stands sentinel’? Do they see him and mistake Lysander for Demetrius so they both run away? Does he creep by unnoticed? have to be identifiable as ‘Athenian’. • How does Oberon approach his queen and • Picking up on the way you decided to play how does this reflect how he is feeling about Unit 8 where Oberon first sends Puck to fetch her? the flower, what will their relationship be like in this exchange? • How does Puck feel about Oberon’s plans and the job he has been sent to do? Is he enjoying himself or does he find it all a chore?
76 UNIT 13 (ACT 2 SCENE 2) UNIT 16 (ACT 3 SCENE 1) WHAT HAPPENS? WHAT HAPPENS? Lysander and Hermia arrive. Lysander is lost so they The workmen arrive in the wood to rehearse their decide to sleep until it is light. Hermia insists they lie play. Puck watches and when Bottom exits he apart from each other. follows.
Questions to explore in rehearsal… Questions to explore in rehearsal… • Remembering that she has disobeyed her father • In both our edits, particularly the half-hour and the Duke of Athens, how might Hermia feel version, the action is condensed to a few about sleeping in the wood at night? lines. So the physical action will be more important than ever. When Bottom (playing • What about Lysander who not only Pyramus) leaves the ‘stage’, where does he encouraged her to leave, but has now got go? Will he be somewhere where the other them both lost? workmen/actors cannot see him, but the audience can?
UNIT 14 (ACT 2 SCENE 2) WHAT HAPPENS? UNIT 17 (ACT 3 SCENE 1) Puck says he has searched the forest but has been unable to find the Athenian that Oberon told him WHAT HAPPENS? about. Then he sees Lysander and Hermia sleeping Puck gives Bottom the head of an ass. When he apart from each other, assumes they must be re-enters for his next scene in the play the other Demetrius and Helena, so puts the flower juice on workmen run away. Bottom thinks they are playing Lysander’s eyes. a trick on him and decides to sing to show that he is not afraid. Questions to explore in rehearsal… Questions to explore in rehearsal… • Puck’s lines make it very clear when he needs to notice the sleeping couple. He is • How will it be clear to the audience that the only one who is awake in this scene, Puck has changed Bottom’s appearance? so who is he speaking to? You could have • Note that Titania has been asleep in lots of fun with him addressing the audience her bower since the end of Unit 11 – directly in this scene, especially as they whereabouts on the stage will she be? How know what he doesn’t; that he has found the will the audience know that she is there wrong Athenian. without being distracted by her?
UNIT 15 (ACT 2 SCENE 2) UNIT 18 (ACT 3 SCENE 1) WHAT HAPPENS? WHAT HAPPENS? Demetrius and Helena enter. He runs on, but she is Bottom’s singing wakes Titania. The flower that out of breath and stops. Then she sees Lysander and Oberon put on her eyes has done its work and she wakes him. Under the power of the magic flower he immediately falls in love with Bottom. She tells him immediately falls in love with her, but she believes that he cannot leave the wood, but that she will give he is only teasing her. She leaves and he chases him fairies to attend on him. after her. Hermia wakes, finds herself alone and calls for Lysander. Questions to explore in rehearsal… Questions to explore in rehearsal… • How will you show Titania awakening? • In our edited version there are only a few • How will Titania make it clear to the lines that convey this pivotal moment in the audience that she has fallen in love with story. How will the physical action help to Bottom? How will he react? make the mix-up among the lovers clear to the audience? • Why does Helena believe she is being subjected to ‘keen mockery’?
77 UNIT 19 (ACT 3 SCENE 1) UNIT 21 (ACT 3 SCENE 2) WHAT HAPPENS? WHAT HAPPENS? Titania tells her fairies to be ‘kind and courteous’ to Hermia and Demetrius enter and Oberon identifies Bottom and to lead him to her bower Demetrius as ‘the same Athenian’ but Puck says it is the right woman, but not the right man. Hermia runs on to look for Lysander, but Demetrius lies down Questions to explore in rehearsal… and sleeps. Oberon and Puck watch as Hermia • There are plenty of opportunities for playful and Demetrius argue and, realising Puck’s mistake, exchanges between Bottom and the fairies Oberon sends him to go and find Helena. as they meet him and take him to Titania’s bower. How does he react to being treated Questions to explore in rehearsal… as such an important visitor? • Demetrius and Hermia’s argument must have • How will this link back to how he has begun before they enter. The two actors can behaved in the rest of the story? have fun improvising what they might say to each other before the lines the audience gets to hear and this will help give their entrance UNIT 20 (ACT 3 SCENE 2) and short exchange plenty of energy. WHAT HAPPENS? • How will Oberon and Puck’s reaction and In another part of the wood, Oberon wonders if realisation of what has happened be clear Titania is awake. Puck arrives and tells him that she to the audience without dominating the is in love with a monster. Oberon asks Puck if he exchange between the others? Does Oberon has put the love-juice on the Athenian’s eyes and realising Puck’s mistake make a difference to Puck assures him that ‘that is finished too’. their relationship?
Questions to explore in rehearsal… • Earlier scenes will have begun to establish UNIT 22 (ACT 3 SCENE 2) the relationship between Oberon and Puck. WHAT HAPPENS? How does it develop further during this Oberon puts the flower juice on Demetrius’ eyes. exchange? Puck arrives back and tells him that Helena and • When Oberon says that ‘this falls out better Lysander are coming. Oberon says they should than I could devise’, how does Puck react? stand back and watch because the noise Helena and Lysander make will wake Demetrius.
Questions to explore in rehearsal… • Oberon and Puck always speak as they put the juice on someone’s eyes, but they use different words each time – why might this be?
78 UNIT 23 (ACT 3 SCENE 2) UNIT 24 (ACT 3 SCENE 2) WHAT HAPPENS? WHAT HAPPENS? Lysander and Helena enter, Demetrius awakes and, Oberon accuses Puck of negligence, and then because of the flower juice, falls immediately in wonders whether maybe he has done all this love with Helena. She believes that both the men deliberately. Puck says he was told he would are pretending to be in love with her for their fun or recognise the man he was to anoint ‘By the ‘merriment’. Hermia arrives and Helena accuses her Athenian garment he hath on’. Oberon then tells of being part of the plot. Hermia accuses Helena of Puck how they can make all well. In this edit, having stolen Lysander’s love from her and the two Oberon whispers his plan to Puck and the audience girls fight. The boys argue about who loves Helena gets to see it played out later. In brief, Oberon best and Lysander challenges Demetrius to a fight. tells Puck to lead the boys astray by impersonating them so that they chase each other to the point of exhaustion and sleep. Oberon gives Puck another Questions to explore in rehearsal… herb that will act as an antidote to put on Lysander’s • As with Hermia and Demetrius, Helena and eyes so that he is back in love with Hermia when he Lysander’s argument will be a continuation wakes. Oberon says he will take some of that same of what has happened off stage so it will herb to release Titania. help if they enter with the argument in full flow. Remember that the love juice has made Questions to explore in rehearsal… Lysander madly in love with Helena but she cannot understand why – how will this be • Even though he whispers it, the actor playing shown in their short exchange? Oberon must know what the plan is – so must Puck. How will their physical actions as • Once Demetrius wakes, we have a reversal the plan is explained help the audience to of the situation at the beginning of the play understand what is going on? – now, instead of being in love with Hermia, both men are in love with Helena. How will the arguments that grow between the lovers be represented through how they move as well as by what they say? UNIT 25 (ACT 3 SCENE 2) • Hermia has her final line ‘I am amazed and WHAT HAPPENS? know not what to say’, when all the others Puck leads the lovers one by one until they are all have gone. This is an opportunity for her to asleep. He squeezes juice on Lysander’s eyes so speak directly to the audience, who may be that when he wakes he ‘takes delight’ in Hermia just as confused as she is! How could this be once more. used? Questions to explore in rehearsal… • There is lots of physical action to experiment with here. Puck leads the lovers one by one, the boys first and then the girls. How might we make it clear that each of the boys is searching for the other to fight him? • How much physical chasing and running is needed before the lovers all lie down and sleep?
79 UNIT 26 (ACT 4 SCENE 1) UNIT 29 (ACT 4 SCENE 2) WHAT HAPPENS? WHAT HAPPENS? The action moves back to Titania’s bower. Bottom is Back in Athens, the workmen are wondering where attended on by the fairies and Titania declares her Bottom is. When he arrives, safe and well and love for him. with his own head, he announces that their play is ‘preferred’ and has been chosen to be performed at the Duke’s wedding. Questions to explore in rehearsal… • How does the action in this Unit link back to Questions to explore in rehearsal… and build on what happened in Unit 19? • How do the workmen react on seeing Bottom and hearing his news? Are they excited? Afraid? What preparations do they UNIT 27 (ACT 4 SCENE 1) need to make? WHAT HAPPENS? • As they exit, we know they are heading for As Bottom and Titania sleep, Oberon anoints her the Duke’s palace – what do they need to eyes with the herb. She wakes and tells him of take with them? her strange visons and he shows her the creature she was in love with. Oberon tells Puck to remove Bottom’s ass head. UNIT 30 (ACT 5 SCENE 1)
Questions to explore in rehearsal… WHAT HAPPENS? The wedding feast is over and Theseus must choose • How does Titania react to Oberon when she some entertainment for the guests: he chooses the wakes? The last time they met (in Unit 7) they workmen’s play. argued with each other, so why does she now call him ‘my Oberon’ and ‘my lord’? Questions to explore in rehearsal… • Thinking back to what you did in Unit 1, how will the court enter this time? UNIT 28 (ACT 4 SCENE 1) • When Theseus tells everyone that they will WHAT HAPPENS? see the play, how do they react? Morning breaks. Theseus, Hippolyta and Egeus are out hunting when they find the lovers sleeping. • Where will everyone sit so the audience can Theseus orders his huntsmen to wake them with their see them and the actors performing their horns. Egeus sees his daughter with Lysander and play? begs ‘the law upon his head’ but Theseus overrules him. Instead, Theseus announces that there will be a triple wedding back in Athens: Theseus to Hippolyta; Demetrius to Helena; and Lysander to Hermia. As they head home, the lovers say they will tell each other about their dreams. After they have left, Bottom awakes, speaks of the rare dream he has had and says he will get Peter Quince to write a ballad about it.
Questions to explore in rehearsal… • When the sleeping lovers are discovered and woken, how does everyone else react? The text tells us that Egeus wants Lysander punished, but how might he react when Theseus overrules him? What about Hippolyta? What about the lovers themselves?
80 UNIT 31 (ACT 5 SCENE 1) WHAT HAPPENS? The workmen perform their play. When it is finished they do a Bergomask dance.
Questions to explore in rehearsal… • How will you stage the play of Pyramus and Thisbe for the court? The hour-long edit includes speaking parts for all the workmen/actors during the play of Pyramus and Thisbe. In the half-hour edit we suggest that the prologue is read and the action it describes is mimed in a dumbshow. The prologue could be read from a scroll by the actor playing Quince, or the lines could be shared out between all the workmen. Even if you’re planning to work from the half-hour edit, you can always go back to the hour- long version and include the whole play. • Although the story of Pyramus and Thisbe is a tragedy, there is plenty of fun to be had with the way in which the workmen perform it: men dressed as Wall and Moonshine; Snug dressed as a lion chasing Flute dressed as Thisbe; Bottom giving it his all as Pyramus. You can also have great fun with the way the members of the court react to the play. • How will you stage the Bergomask? This is often played as an awkward and clumsy dance – what will yours be like? Will the courtiers just watch? Join in perhaps? How will you make this a lively and celebratory climax to your play?
UNIT 32 (ACT 5 SCENE 1) WHAT HAPPENS? The mortal world has headed off to bed. The fairies bless the house and dance. Finally, Puck speaks to the audience.
Questions to explore in rehearsal… • How will all these final lines be spoken? Will Titania, Oberon and Puck have them all, or might they be shared among a fairy chorus? • Finally, you need to work out how you will get everyone back on stage for their curtain call. It is always worth taking time to get this right because well-executed ones can stay in the audience’s memory and leave all your actors feeling great about their performance.
81 ©RSC. Photo by Topher McGrillis 82 DESIGNING: THE DREAM STEPHEN BRIMSON LEWIS Director of Design
W H A T I S T H E R O L E O F THE DESIGNER?
The designer will lead a team to create the world of the play.
THE PROCESS DIVIDES ITSELF INTO FOUR STAGES.
STAGE 1: DISCOVERING THE WORLD OF THE PLAY Having read the play many times and met with the director, the designer often works firstly alone, exploring the text in depth and dreaming of the world the play might take place in. This stage in the process will also include gathering various reference images for inspiration and helping to share some visual ideas with the director1. Later, these ideas and images might also help the acting company to rehearse.
©Tom Piper. Design for A Midsummer Night’s Dream 1999. STAGE 2: MAKING A MODEL SET The second stage will involve working on scale drawings of the theatre space to determine the practical details and building a 3D scale model to represent the actual finished set. The designer and director work through the entire play on this scale model to test the set and gather and exchange staging ideas to try later in rehearsal.
STAGE 3: SHARING THE DESIGN The third step is to share this work with the production team and actors and starting the build process whilst elsewhere rehearsals begin. During this time the design is often refined and developed further to properly support the ideas coming out of rehearsals.
STAGE 4: PREPARING FOR PERFORMANCE The fourth and final stage is preparing for performance through the technical and dress rehearsals. These rehearsals allow the whole team to practice the play as it will be performed in front of an audience, with all the actual finished props, furniture and costumes in place.
TOP: The Merry Wives of Windsor 2006. Design by Stephen Brimson Lewis. MIDDLE: The Tempest 2009. Design by Illka Louw. BOTTOM: The Two Gentlemen of Verona 2014. Design by Paul Wills. These are model boxes, scaled down versions of the stage and set.
83 WHAT IS THE ROLE OF DESIGN?
The role of design is to create the world that the play will exist in all its detail. This includes deciding if it will be set in a particular time period, or in the future, or have no specific references to a particular time. A designer might choose a very stylised or unrealistic response to the play or the creation of a very naturalistic environment, which is true to real life, but in all cases every detail matters. A designer can often seem obsessed with the finish and details but this all helps to build a complete design. In the same way every perfect blade of grass is needed to create a beautiful lawn. The designer will need to be an architect, interior designer, textile designer, illusionist, dress maker, tailor, painter, installation artist and many more talents besides. The best theatre reflects real life, even if it’s in a dream-like stylised form and all the skills of the artist and craftsman are needed to recreate this slice of life. Above all the team will look to a designer to focus the choices into a single vision for the play. H O W W O U L D Y O U S T A R T DESIGNING THE DREAM?
I would always read the play many times before even thinking about the design. All the clues are in the text. Shakespeare has very few actual stage directions and rarely, if ever, describes the specific locations beyond the written script. The designer has to look for clues within the speeches. This might mean gathering a sense of whether particular scenes in the play happen in a private or public space, inside or outside, a comforting or frightening space. Any knee jerk response without double checking within the text will only cause problems later and could lead to a disconnected set design that doesn’t help the action or story line of the play.
CREATING SETTINGS I often breakdown the play into scenes and locations to start to look at the arc of the story. A Midsummer Night’s Dream divides itself largely into three places; it starts and ends with the Court but the centre of the play is within the forest at night. Remember, it’s a Midsummer Night so it might not be totally dark but I am guessing it would be an unnerving place to be on your own. ©RSC. Photo by Stewart Hemley
84 THE COURT OF ATHENS THE FOREST The first scenes seem to take place in a court of The action in the play then moves from Athens to the some kind, in Athens. With this location, there are world of the forest. With the forest, there are equally several questions you need to ask to help direct the important questions that need to be considered. design: • Why does Shakespeare choose to set most • What does a ‘court’ really mean? of the play within the forest? • What does a ‘court’ mean to us today? • What’s the experience of being in a forest at night? Just how far ahead can you see? • What will that demand in terms of a set? What’s under your feet? Is it easy to move • Is it a formal grand interior or is this first around? If there is light, where does it come scene for example a private, less formal from and does it mean things can lurk and place – an inner sanctum? hide unseen to suddenly leap out and scare? • Does Shakespeare have a deeper meaning here? Is the forest a place where one has Theseus and Hippolyta, who are the Duke and to enter, journey through and come out Duchess of Athens, discuss the moon being “like changed by the experience? to a silver bow, new bent in heaven”. What clue does that description give us about the season or • Just because it’s a forest, do all the weather? Look how often the moon is referred to characters see it that way? Does it have to throughout the play. When we first meet Oberon have trees at all? and Titania he pronounces “Ill met by moonlight, proud Titania”. In Stage 1, keep gathering the clues – make no attempt to make decisions. You Perhaps this place is not a forest as we first think will eventually be led by the play until the choices but a place of dreams and imaginings – therefore become inevitable. How should the mood of the the landscape can alter depending on the action scene be reflected in the style of the surroundings? described. The surroundings need to support the Also, in the world of Athens, you meet the action but sometimes juxtaposing the mood can be workers, the mechanicals, for the first time. as effective as direct reflection.
• How does the world of the mechanicals, differ to that of the more privileged courtiers in Athens? • What’s the best way to show this? • How do their clothes differ? Do their clothes reflect their job? How does a tailor dress compared to a weaver or a bellows mender? • Where are they meeting to discuss the play they all want to perform in Act 1 Scene 2? • Is it helpful if this place helps to illustrate their status? • What is this society all the characters live in? Do we recognise an equivalent in today’s world?
©RSC. Photo by Stewart Hemley
85 MAKING THE FAIRIES Light and shadow play an enormous part in this play and the design needs to be built from this. With characters and costume design for The Elizabethans believed that at Midsummer A Midsummer Night’s Dream the hardest decision a portal opened up between the fairy world is perhaps, what do fairies look like? An immediate and the mortal world. They feared the fairies as reaction that might be influenced by Disney or mischievous spirits who caused havoc and might fantasy literature will not help to really create a even spirit a child away from the human world fresh and exciting production. The following are and into the fairy world, so you might want to think some things you might want to consider: about those beliefs and qualities when designing these characters. • The fairy world within the play seems to be Above all, the clues are there in the text. Enjoy strongly connected to nature – look at the sourcing them from the play and uncover the names given to the fairies. design choices within the lines. Keep looking for repeated themes and ideas, such as the moon, and • The atmosphere in the forest is charged look always for the balance between location and with the fairies’ energy. The unrest between mood, light and shadow, nature and man-made. Oberon and Titania has shown itself in the The internet provides an extraordinary resource weather and left its mark on the landscape - for images that will inspire and inform your design perhaps you need to show this in the design? but even choosing the right search words will be a • How do the fairies present themselves to the design choice in itself. Keep refining your search mortals and how different are they? They words and let your imagination wander down seem fascinated by the mortals and want design pathways as you view the images. Collect to play tricks on them. What does that say these images into a mood board, a collection of about their world? images that inspire you, and build from there. The same approach will help you with finding costume • What do we learn from the remark that reference and ideas for the characters. Oberon is ”King of Shadows”? In fact they Theatre is a collaborative artform and requires the are all shadows since Puck asks “if we entire creative and production team to work closely shadows have offended …” how should that together. The best design comes from a blend of be shown in the design? everyone’s input. ©RSC. Photo by Rob Freeman
86 COMPOSING: THE DREAM LYNNE PLOWMAN Composer
WHAT IS THE ROLE OF MUSIC?
Music oft hath such a charm To make bad good, and good provoke to harm. Measure for Measure
Composing music for theatre is fascinating. You discover how powerful music is – how dramatically it can affect the way an audience perceives characters and events. Music is a brilliantly useful theatrical device – it can instantly tell an audience where they are and what to expect. Are we in the royal palace or the enchanted woods? Can we relax or is something dreadful about to happen? Music has the power to be subversive – it plugs in to our subconscious and tells us how to feel about the events unfolding on the stage. It can turn a trivial event into tragedy and vice versa. Music can make time stand still or make the seasons turn in an instant. It can transport us to a particular time and place in history in just a few bars. And as a composer, you can be the master of all this! ©RSC. Photo by Stewart Hemley
87 ©RSC. Photo by Rob Freeman WHAT IS YOUR ADVICE FOR CREATING MUSIC FOR THE DREAM?
To get you started, I have composed a collection SONGS of short musical themes relating to characters and places in A Midsummer Night’s Dream. I’ve also The sheet music for the songs is provided with written some songs using Shakespeare’s words, piano accompaniment, and the songs are recorded which you could include in your production, and to help you learn them. You could perform them ways to compose your own music. Everything here with piano, or arrange the accompaniments for an has been created with both specialist and non- ensemble to play. All the songs, with the possible specialist teachers, pupils and musicians in mind. exception of Bottom’s Song, are suitable for Whether you have a large school orchestra or young younger children’s voices. Sheet music with piano people with no musical knowledge, everyone will be accompaniment is provided in this pack, along with able to share in making music for the play. recordings to help you learn them. These are all just suggestons and startng points for If you’re feeling ambitious, you might want to you to create your own original score. Recordings of make four-part choral arrangements of them. Even the themes and songs can be accessed online. better, compose your own original songs. On the page opposite you can see an example of THEMES the sheet music available in the score. How you use any of these materials is up to you. The ways in which the themes can be used are flexible. Each of them is available to download PERCUSSION SCORES and the Sibelius files* are also available online so that you can edit, arrange and transpose them There are three percussion themes included in the for your own particular group of musicians if you pack, suitable for performance on school percussion want to. Some pieces are easy and some are more instruments. The Magic Flower Theme challenging. Use them as starting points for your can be played on a variety of metallic tuned own compositions. You could extend and develop percussion, e.g. glockenspiels, chime bars, etc. the themes, or just use small elements from them and, I have deliberately left room for you to improvise and together with your director, choose how and where compose your own melodies over the percussion. you think the music should be used in the play. The Mechanicals’ Music and The themes have also been pre-recorded and can The Bergomask Dance can be played by a large be downloaded to use as incidental music for your percussion ensemble, using drums and other untuned production of A Midsummer Night’s Dream. You could percussion, including body percussion. Again, there create your own cue sheet, using the suggested cues is space for you to add your own ideas. on the previous page as a starting point. Further guidance on creating a cue sheet and organising the music for your production can be found online. * Sibelius files are files containing music notation and can be opened using Sibelius software.
88 1. THE ENCHANTED WOODS (UNDERSCORE) A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN Score in C h = 52 p Voice(s) 3 2 3 2 3 2 &2 ∑ 2 Ó ˙ 2 ˙ w ™2 w# 2 ˙ w 2 (Ah) Vibraphone (motor off) Vibraphone 3 2 3 w ˙ 2 w 3 ˙ 2 &2 Ó w 2 w 2 w ˙ ™2 w 2 ˙ w 2 con Ppw w ˙ w ˙ w
3 w ˙ 2 w 3 ˙ 2 3 w ˙ 2 &2 w ˙ 2 w 2 ˙ w ™2 w 2 w ˙ 2 Piano p ˙ w ˙ w w ˙ ? 3 2 3 2 3 2 2 ∑ 2 ∑∑∑2 ™2 2 Ó 2 (hold down) w ° ‘ { h = 52 “ Violin 1 ° 3 w ˙ 2 w 3 w ˙ 2 w 3 w ˙ 2 &2 w ˙ 2 w 2 w ˙ ™2 w 2 w ˙ 2 pp Violin 2 3 2 3 2 3 2 &2 Ó ˙ 2 2 Ó ˙ ™2 2 Ó ˙ 2 pp˙ ˙w ˙ ˙w ˙ ˙
Violoncello B 3 2 3 2 3 w 2 2 ∑∑∑∑2 2 ™2 2 Ó 2 ¢ p 6 Voice(s) 2 ∑∑3 2 3 2 3 Ó 2 &2 2 2 w 2 w ˙#2 w 2 w 2
Vib. 2 3 w ˙ 2 w 3 ˙ 2 3 w ˙ 2 &2 w 2 ˙ 2 w 2 ˙ w 2 w 2 ˙ 2 w ˙ w ˙ w ˙ &2 w 23 ˙ w 2 w 23 w ˙ 2 w 23 ˙ w 2 Pno. w ˙ w w ˙ w ˙ w ? 2 ∑ 23 ∑∑2 23 Ó 2 ∑∑23 2 l.v. w l.v. <>“ Vln. 1 {° 2 w 3 w ˙ 2 w 3 w ˙ 2 w 3 w ˙ 2 &2 w 2 w ˙ 2 w 2 w ˙ 2 w 2 w ˙ 2
Vln. 2 &2 3 Ó 2 3 Ó 2 3 Ó 2 2 w 2 ˙ ˙w2 2 ˙ ˙w2 2 ˙ ˙ 2 w w# ˙ Vc. B 2 3 ™ 2 w 3 ∑∑2 3 w 2 ¢ 2 2 2 2 2 2 2
89 CLASSROOM COMPOSING The conductor can experiment with musical foreground and background – are there some A Midsummer Night’s Dream offers some brilliant patterns which should be in the spotlight (louder) opportunities for classroom composition activities and others which should be in the background throughout the school. Here are some activity (quieter)? The conductor can create an interesting suggestions to get you started: musical structure, using varied dynamics and textures and make a decision about how the piece INSTANT OSTINATO COMPOSITIONS should end. This should all be done using physical An ostinato (a repeating pattern in music) gestures, without speaking. Pupils can take turns at is an easy way to start composing in the being the conductor. classroom. With everyone sitting in a circle, each person has an instrument. Choose one MUSICAL PAINTINGS person to stand in the centre of the circle to be Choose one moment from A Midsummer the conductor. Night’s Dream to illustrate using music. For The conductor chooses a theme, it could example, the moment when Oberon squeezes be the enchanted woods, it could be the the magic flower on Titania’s eyelids. Bergomask Dance, it could be the fairies’ In small groups, think about the different lullaby for Titania... etc. Everyone has to musical decisions you, as composers, need imagine this moment in the play, then, when to make, one decision at a time, and write everyone is ready, and silent, the conductor these down on a mind-map. Discuss how points at one musician to begin. these different musical choices might affect This person invents a simple repeating the interpretation of the play, so for example, pattern at a tempo and dynamic they think is perhaps loud dynamics might create drama, appropriate for the theme. Then the conductor while quiet dynamics emphasise secrecy. points at another musician, who plays a Perhaps long notes produce a feeling of different ostinato or repeating pattern, over the stillness while quicker rhythms build urgency. top of the first one, which continues in time with Certain sounds might be harsh or cold while the first. others are warmer or more romantic… Think The conductor continues to add musicians, about what your music needs to communicate one at a time, each one joining in with an at that specific moment in the drama and find ostinato of their own, which they feel fits in ways to achieve this by considering each with the atmosphere they’re trying to create. musical element. Use the following list below to Through physical gestures, the conductor can help you: make the music louder or quieter, either for the whole group or individual musicians. He/she can indicate that individual musicians should drop out or come back in. ©RSC. Photo by Keith Pattison
90 DYNAMICS: Does the music start quietly or loudly? Is the dynamic the same all the way through, or does it change?
RHYTHM: Should there be a regular, predictable pulse, or should the rhythm be irregular and unpredictable?
DURATION: What would be most effective – long notes, short notes, or a combination – should the length of the notes change or stay the same?
TEMPO: If the music has a regular pulse, how fast is it? Should it keep steady, get faster or slow down?
PITCH: Does the music start up high or down low – how does it change?
TIMBRE: What kinds of sounds would be most effective – percussion instruments – metal, wood or drums? Voices - sung notes, whispers, clicks, whistles? Other kinds of instruments – strings, woodwind, brass, piano?
TEXTURE: How many sounds should be playing at once? How could this change as the music develops?
Composing a piece of music like this is a bit PITCH GROUP MELODIES like painting an abstract picture, except that Using tuned percussion, eg metallophones, music has an extra dimension – time! Music xylophones, glockenspiels, chime bars, etc, changes and develops as we listen to it – it carefully select just four or five pitches to takes its audience on a journey. Once you’ve represent certain characters. For example, made these initial musical choices, start trying Oberon has a dark and powerful side to his them out on your instruments. Put one person character, so you might want to select notes in charge to be the conductor and use your which clash to create a more dramatic effect, ears, your imagination and teamwork to guide for example C, C#, F#, G, A. In contrast, the way the music develops. Remember to perhaps you might want to choose something keep listening to the musicians around you, gentle and lyrical for Hermia, for example and play with them, rather than getting carried C, D and F. Removing the other pitches away on your own! And don’t forget to use from the instrument allows you to improvise silence in your music – it’s a really good way to together and compose your own melodies emphasise musical ideas, a bit like separating without anyone playing a ‘wrong’ note! shapes and colours in a picture. Then see what happens if you introduce two different characters to each other in a musical Listen to how other composers paint conversation! pictures with their music, for example, Stravinsky’s “The Firebird” or Britten’s Have a listen to Gyorgy Ligeti’s set of “Four Sea Interludes” from Peter Grimes. piano pieces, “Musica Ricercata” to see how much you can do with a small number of pitches. The first piece is all based on one pitch, the second piece is based on two pitches, and so on.
91 WHAT IS YOUR ADVICE FOR ORGANISING MUSIC?
It is a good idea to organise your music for the This helps to avoid confusion if the same musical play into a cue list. This will help you keep a track theme is used more than once, but in slightly of where all the music starts and stops, and gives different ways – the cue number will tell you which you a specific reference number for each musical version you are dealing with. moment. Anyone playing an instrument or singing Further guidance on how to compile a cue list and for the play can have their sheet music arranged in organise the music, along with examples, can be order and easily keep track of what happens next. found online. ©RSC. Photo by Ellie Kurttz
92 A MIDSUMMER NIGHT’S DREAM MUSICAL SCORE
93 WILLIAM SHAKESPEARE’S A MIDSUMMER NIGHT’S DREAM
THEMES
1. The Enchanted Woods (underscore) 2. Fairy Music 2 (lyrical mysterious) 3. Enchanted Woods leading into Lovers’ Theme (minor) 4. Lover’s Theme (major) 5. Puck’s Theme 6. Oberon’s Theme (danger, music and mayhem) 7. Royal Palace Theme (high) 8. Royal Palace Theme (low) 9. Royal Palace and Lovers’ themes combined 10. Fairy Music 1 (mischievous)
94 1. The Enchanted Woods (underscore)
A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN Score in C
h = 52 p Voice(s) 3 2 3 2 3 2 &2 ∑ 2 Ó ˙ 2 ˙ w ™2 w# 2 ˙ w 2 (Ah) Vibraphone (motor off) Vibraphone 3 2 3 w ˙ 2 w 3 ˙ 2 &2 Ó w 2 w 2 w ˙ ™2 w 2 ˙ w 2 con Ppw w ˙ w ˙ w
3 w ˙ 2 w 3 ˙ 2 3 w ˙ 2 &2 w ˙ 2 w 2 ˙ w ™2 w 2 w ˙ 2 Piano p ˙ w ˙ w w ˙ ? 3 2 3 2 3 2 2 ∑ 2 ∑∑∑2 ™2 2 Ó 2 (hold down) w ° ‘ { h = 52 “ Violin 1 ° 3 w ˙ 2 w 3 w ˙ 2 w 3 w ˙ 2 &2 w ˙ 2 w 2 w ˙ ™2 w 2 w ˙ 2 pp Violin 2 3 2 3 2 3 2 &2 Ó ˙ 2 2 Ó ˙ ™2 2 Ó ˙ 2 pp˙ ˙w ˙ ˙w ˙ ˙
Violoncello B 3 2 3 2 3 w 2 2 ∑∑∑∑2 2 ™2 2 Ó 2 ¢ p 6 Voice(s) 2 ∑∑3 2 3 2 3 Ó 2 &2 2 2 w 2 w ˙#2 w 2 w 2
Vib. 2 3 w ˙ 2 w 3 ˙ 2 3 w ˙ 2 &2 w 2 ˙ 2 w 2 ˙ w 2 w 2 ˙ 2 w ˙ w ˙ w ˙ &2 w 23 ˙ w 2 w 23 w ˙ 2 w 23 ˙ w 2 Pno. w ˙ w w ˙ w ˙ w ? 2 ∑ 23 ∑∑2 23 Ó 2 ∑∑23 2 l.v. w l.v. <>“ Vln. 1 {° 2 w 3 w ˙ 2 w 3 w ˙ 2 w 3 w ˙ 2 &2 w 2 w ˙ 2 w 2 w ˙ 2 w 2 w ˙ 2
Vln. 2 2 3 Ó 2 3 Ó 2 3 Ó 2 &2 w 2 ˙ ˙w2 2 ˙ ˙w2 2 ˙ ˙ 2 w w# ˙ Vc. B 2 3 ™ 2 w 3 ∑∑2 3 w 2 ¢ 2 2 2 2 2 2 2
95 3 12 Voice(s) 2 ∑ 3 ÓÓ 2 3 2 &2 2 ˙ 2 ˙ ˙ 2 ˙ w# 2 ˙ ˙
Vib. 2 w 3 ˙ 2 3 w ˙ 2 w &2 w 2 ˙ w 2 w 2 ˙ 2 w
w ˙ w ˙ &2 w 23 w ˙ 2 w 23 ˙ w 2 w Pno. w ˙ w ˙ w w ? 2 ∑ 23 Ó 2 ∑ 23 ∑ 2 ∑ w l.v. { “‘ Vln. 1 ° w w ˙ w w ˙ w &2 w 23 w ˙ 2 w 23 w ˙ 2 w
Vln. 2 2 3 Ó 2 3 Ó 2 &2 w 2 ˙ ˙w2 2 ˙ ˙w2 ˙ ˙# w ˙ ˙ ˙ Vc. B 2 3 2 Ó 3 ∑ 2 Ó ¢ 2 2 2 2 2
17 Voice(s) 3 ÓÓ2 ∑ 3 Ó 2 3 2 &2 ˙ 2 2 w 2 w 2 w# ™ 2
Vib. 3 ˙ 2 3 w ˙ 2 w 3 ˙ 2 &2 ˙ w 2 w 2 ˙ 2 w 2 ˙ w 2
w ˙ w ˙ w ˙ &23 w ˙ 2 w 23 ˙ w 2 w 23 w ˙ 2 Pno. ˙ w ˙ w w ˙ ? 23 Ó 2 ∑∑∑23 2 23 Ó 2 w l.v. w { “‘ Vln. 1 ° w ˙ w w ˙ w w ˙ &23 w ˙ 2 w 23 w ˙ 2 w 23 w ˙ 2
Vln. 2 3 Ó 2 3 Ó 2 3 Ó 2 &2 ˙ ˙w2 2 ˙ ˙w2 2 ˙ ˙ 2 w w# ˙ Vc. B 3 ˙ 2 3 w 2 ∑∑3 2 ¢ 2 2 2 2 2 2
96 4 22 Voice(s) 2 3 2 3 2 &2 w 2 ∑ 2 ∑ 2 w ˙ 2 ˙ ˙#
Vib. 2 3 w ˙ 2 w 3 ˙ 2 &2 w 2 ˙ 2 w 2 ˙ w 2 w w ˙ w ˙ w & 2 w 23 ˙ w 2 w 23 w ˙ 2 w Pno. w ˙ w w ˙ w ? 2 ∑ 23 ∑ 2 ∑ 23 Ó 2 ∑ l.v. w l.v. { <>“ Vln. 1 ° w w ˙ w w ˙ w & 2 w 23 w ˙ 2 w 23 w ˙ 2 w
Vln. 2 2 3 Ó 2 3 Ó 2 & 2 w 2 ˙ ˙w2 2 ˙ ˙w2 w w ˙# w Vc. B 2 3 2 3 w Ó 2 ∑ ¢ 2 2 2 2 2
27 Voice(s) 3 2 Ó 3 ∑ 2 Ó 3 & 2<#>w ˙ 2 ˙ 2 2 ˙ 2 ˙ w ™
Vib. 3 w ˙ 2 w 3 ˙ 2 3 w ˙ ™ & 2 ˙ 2 w 2 ˙ w 2 w 2 ˙ ™ 3 ˙ 2 3 w ˙ 2 w 3 ˙ & 2 ˙ w 2 w 2 w ˙ 2 w 2 ˙ w ™ Pno. ˙ w w ˙ w ˙ w ? 3 2 3 2 3 2 ∑∑2 2 Ó 2 ∑ 2 ∑ ™ w l.v. { “‘ Vln. 1 ° 3 w ˙ 2 w 3 w ˙ 2 w 3 w ˙ & 2 w ˙ 2 w 2 w ˙ 2 w 2 w ˙ ™
Vln. 2 & 3 Ó ˙ 2 3 Ó ˙ 2 3 Ó ˙ ™ 2 ˙ ˙w2 2 ˙ ˙w2 2 ˙ ˙ ™ ˙ ˙ ˙ ˙ w# ˙ ˙ ˙ Vc. B 3 ÓÓ 2 3 2 3 ÓÓ ™ ¢ 2 2 2 2 2 ™
97 2. Fairy Music 2 (lyrical mysterious) 5 6 2. Fairy Music 2 (Lyrical/mysterious) 11 A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN A Midsummer Night's Dream Cl. Lynne Plowman & ∑ ˙b œ œ œ œ# ˙b œ ˙ œ# Score in C mp œ œ œ œ h = 80 mp Voice(s) ∑∑ w Clarinet 2 & w w# &2 ∑ ˙b œ œ œ œ# ˙b œ ˙ œ# Ah mp œ œ œ œ Voice(s) 2 ∑∑ ∑ ∑∑ Vib. & ∑∑∑∑ &2 œ ˙ œ l.v. Vibraphone (motor off) w Vibraphone 2 ∑∑∑∑ #w w w #w &2 l.v. w mpœ ˙ œ & #w w w #w Pno. p ° (keep pedal held down) 2 ? w ∑ ∑∑∑ &2 ∑∑ ∑ ∑∑ l.v. Piano mp w “‘ ? 2 w ∑ ∑∑∑ 2 l.v. Vc. { ww w B ∑∑∑ “‘ (keep pedal held down) { ° 16 Violoncello B 2 ∑∑ ∑ ∑∑ Cl. ∑∑∑∑ 6 &<#>w Cl. & # w ∑∑∑∑ Voice(s) ∑∑∑ < > &<#>˙ ˙w Voice(s) & ∑∑∑∑∑ Vib. & ∑∑∑∑ œ ˙ œ l.v. Vib. ˙b œ ˙b œ & œ œ œ œ œ# œ œ ˙ œ# ˙ œ œ b˙ œ b˙ œ <#>˙ ˙ œ œ #œ œ œ ˙ #œ & # ˙ ˙b œ œ œ #œ œ œ ˙b œ ˙ #œ < > ˙ mp œ œ œ œ & ∑∑∑∑∑ Pno. Pno. ? ? ∑ w ∑ ∑∑ ∑∑∑∑∑ w l.v. “‘ w w w# ˙ ˙ w w Vc. {B ∑ Vc. {B ∑∑∑ mp mp
© 2015 Lynne Plowman 98 6 11
Cl. & ∑ ˙b œ œ œ œ# ˙b œ ˙ œ# mp œ œ œ œ mp Voice(s) & ∑∑w w w# Ah
Vib. & ∑∑∑∑ œ ˙ œ l.v. #w w w w #w & #w w w w #w Pno. p ? w ∑ ∑∑∑ w l.v. “‘ Vc. { ww B ∑∑∑
16 Cl. ∑∑∑∑ &<#>w Voice(s) ∑∑∑ &<#>˙ ˙w
Vib. & ∑∑∑∑ œ ˙ œ l.v.
# ˙ b˙ œ œ œ #œ b˙ œ ˙ #œ < > ˙ ˙b œ œ œ œ ˙b &<#>˙ ˙ œ œ œ #œ œ œ ˙ #œ Pno. mp œ œ œ ? ∑ w ∑ ∑∑ w l.v. “‘ w w Vc. {B ∑∑∑ mp
99 7 21
Cl. & ∑ ˙b œ œ œ œ# ˙b œ ˙ œ# mp œ œ œ œ mp Voice(s) ∑∑∑∑ & w Ah
Vib. & ∑∑∑∑ œ ˙ œ l.v. # w < > ∑∑∑∑ &<#>w l.v. Pno. ? w ∑ ∑∑∑ w l.v. { “‘ w# ˙ ˙w w Vc. B ∑ o
26 U Cl. ∑∑∑∑∑ &<#>w o Voice(s) U & w w# ˙ ˙w w ∑
U Vib. ˙b œ ˙b œ & œ ˙ œ œ œ œ# œ œ œ œ ˙ œ# w U & ∑∑∑∑∑∑ Pno. U ? ∑∑∑∑∑∑
U Vc. {B ∑∑∑∑∑∑
100 8 3. Enchanted Woods leading into Lovers’ Theme (minor)
Score in C A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN 3. The Enchanted Woods leading into Lovers' Theme (minor) A Midsummer Night's Dream Lynne Plowman Score in C h = 52
Alto Saxophone &23 ∑ 2 ∑ 23 ∑∑2
p Voice(s) 3 2 Ó 3 2 &2 ∑ 2 ˙ 2 ˙ w 2 w# (Ah)
(motor off) Vibraphone w ˙ w &23 Ó w 2 w 23 w ˙ 2 w con Ppw w ˙ w
w ˙ w ˙ &23 w ˙ 2 w 23 ˙ w 2 w Piano p ˙ w ˙ w w ? 23 ∑ 2 ∑ 23 ∑∑2 { ° (hold down) h = 52
Violin 1 ° w ˙ w w ˙ w &23 w ˙ 2 w 23 w ˙ 2 w pp
Violin 2 &23 Ó ˙ 2 23 Ó ˙ 2 pp˙ ˙w ˙ ˙w
Violoncello B 3 ∑ 2 ∑ 3 ∑∑2 ¢ 2 2 2 2
© 2015 Lynne Plowman 101 9
5 Alto Sax. &23 ∑ 2 ∑ 23 ∑ 2 ∑
Voice(s) 3 2 ∑ 3 ∑ 2 &2<#>˙ w 2 2 2 w
Vib. ˙ w ˙ w & 3 ˙ 2 3 w ˙ 2 w 2 ˙ w 2 w 2 ˙ 2 w
3 w ˙ 2 w 3 ˙ 2 &2 ˙ 2 w 2 ˙ w 2 w Pno. w w
? 23 Ó 2 ∑ 23 ∑ 2 ∑ w l.v. { “‘ Vln. 1 ° w ˙ w w ˙ w &23 w ˙ 2 w 23 w ˙ 2 w
Vln. 2 & 3 Ó 2 3 Ó 2 2 ˙ ˙w2 2 ˙ ˙w2
w Vc. w w# ™ w B 23 Ó 2 23 2 ¢ p
102 10
9 Alto Sax. 3 2 3 2 &2 ∑ 2 ÓŒ‰œ# 2 œ™ œ# œ™ œ œ œ 2 pœ œ J ™ J
Voice(s) 3 2 3 Ó 2 &2 w ˙#2 w 2 w 2
Vib. ˙ w ˙ 3 ˙ w 2 w 3 w ˙ 2 &2 ˙ w 2 w 2 ˙ 2
w ˙ w ˙ & 3 w ˙ 2 w 3 ˙ w 2 2 ˙ 2 w 2 ˙ w 2 Pno.
? 23 Ó 2 ∑ 23 2 w l.v. w™ { “‘ Vln. 1 ° w ˙ w w ˙ &23 w ˙ 2 w 23 w ˙ 2
Vln. 2 & 3 Ó ˙ 2 3 Ó ˙ 2 2 ˙ ˙w2 2 ˙ ˙ 2
Vc. B 3 ∑ 2 ∑ 3 w™ 2 ¢ 2 2 2 2
103 11
12 Alto Sax. 2 ‰ 3 œ œ œ œ 2 w &2 ˙™ œ œ# 2 œ™ œ# œ ™ J ™ J 2
Voice(s) &2 ∑ 23 ∑ 2 ∑
Vib. w ˙ 2 w 3 ˙ w 2 w &2 w 2 ˙ w 2 w
w ˙ w 2 w 3 w ˙ 2 w &2 w 2 ˙ 2 w Pno. ? 2 Ó ˙ 3 2 ∑ 2 ˙ 2 2 l.v. l.v. w™ { <>“ Vln. 1 ° w w ˙ w &2 w 23 w ˙ 2 w
Vln. 2 &2 3 Ó ˙ 2 2 w 2 ˙ ˙w2
Vc. B 2 w 3 w™ 2 w ¢ 2 2 2
104 12
15 Alto Sax. &23 œ œ œ# œ œ œ ˙ 2 œn ˙ œ œ mp œ
Voice(s) &23 ∑ 2 ∑
Vib. &23 Ó w 2 w mpw w
#w ˙ w &23 ˙ 2 w mp Pno. ? 3 ∑ 2 { 2 2 w Vln. 1 ° #w ˙ w &23 ˙ 2 w mp
Vln. 2 &23 Ów 2 w mp
Vc. w™ w B 23 2 ¢ mp
105 13
17 Alto Sax. 3 2 3 2 &2 ˙# w 2 ˙ Ó 2 ∑∑2
Voice(s) 3 2 Ó 3 2 &2 ∑ 2 ˙ 2 ˙ w 2 w#
Vib. w ˙ w ˙ &23 w ˙ 2 w 23 ˙ w 2 w p˙ w ˙ w w
˙ w ˙ w & 3 ˙ 2 3 w ˙ 2 w 2 w 2 w 2 ˙ 2 w Pno. p ? 3 ∑ 2 Ó 3 ∑∑2 2 l.v. 2 ˙ 2 2 { ˙ Vln. 1 ° w ˙ w w ˙ w &23 w ˙ 2 w 23 w ˙ 2 w p
Vln. 2 &23 Ó ˙ 2 23 Ó ˙ 2 ˙ p˙w ˙ ˙w
Vc. w™ w B 23 2 23 w™ 2 w ¢ p
106 14
21 U Alto Sax. &23 ∑ 2 ∑ 23 ∑ 2 ∑
U Voice(s) 3 2 ∑ 3 ∑ 2 ∑ &2<#>˙ w 2 2 2
Vib. w ˙ w ˙ U 3 w ˙ 2 w 3 ˙ w 2 w &2 ˙ 2 w 2 ˙ w 2 w
U 3 ˙ 2 3 w ˙ 2 w &2 ˙ w 2 w 2 ˙ 2 w Pno. U ? 3 2 ∑ 3 2 ∑ 2 2 2 2 l.v. w™ l.v. w™ { “‘ Vln. 1 ° w ˙ w w ˙ Uw &23 w ˙ 2 w 23 w ˙ 2 w
U Vln. 2 & 3 Ó ˙ 2 3 Ó ˙ 2 2 ˙ ˙w2 2 ˙ ˙w2
w w# U Vc. B 3 ˙ w 2 3 ™ 2 w ¢ 2 2 2 2
107 Score4. in C Lover’s Theme (major) 15 A MIDSUMMER’S4. Lover's NIGHT’S DREAMTheme - major LYNNE PLOWMAN A Midsummer Night's Dream Lynne Plowman Score in C h = 52 Alto Saxophone 3 2 &2 ÓÓŒ‰œ# œ# ™ œ# œ™ œ œ œ 2 pœ œ J ™ J
&23 Ó w# w™ 2 Piano pw w™ ˙ w™ ? 23 ÓÓ˙ w™ 2 h = 52
Violin 1 ° {&23 ∑ w ˙ 2 p Violin 2 &23 ∑ 2 pw ˙
Violoncello ? 23 ∑ w ˙ 2 ¢ p
3 Alto Sax. 2 3 œ œ 2 &2 ˙ œ œ œ# 2 œ# ™ œ# œ œ™ œ™ 2 mp ™ p J J 2 3 2 &2 w 2 w™ 2 Pno. mpw pw™ ? 2 ˙ 3 2 2 Ó ˙ 2 w™ 2
Vln. 1 ° w &2 w 23 ™ 2 { mp p Vln. 2 2 3 2 &2 w 2 ˙ ˙# ˙# 2 mp p
Vc. ˙# ? 2 ˙ ˙ 23 ˙ ˙# 2 ¢ mp p
© 2015 Lynne Plowman 108 16 5 Alto Sax. &2 w# 23 œ œ œ# œ œ œ ˙ 2 mp p œ
2 3 w 2 &2 w 2 w™ 2 Pno. #mpw p ? 2 ˙ 3 w™ 2 2 Ó ˙ 2 ™ 2 w Vln. 1 ° w# ˙ {&2 23 2 mp p
Vln. 2 &2 w 23 w ˙ 2 mp p
Vc. ? 2 ˙ 3 2 2 ˙ 2 2 ¢ mp pw ˙
7 Alto Sax. 2 3 &2 œn œ Œ œ œ 2 ˙# w mp p w™
2 3 &2 w 2 w™ ww# ™ Pno. mpw p ˙ w™ w ? 2 Ó ˙ 23 w™ Ó w
wn Vln. 1 {° 2 3 w# ™ w™ &2 2 mp p
Vln. 2 2 3 &2 w 2 w# ™ mp pw™ ˙ w™ Vc. ? 2 3 ˙ ¢ 2 ˙ 2 ˙ mp˙ p 109 5. Puck’s Theme 17 18
A MIDSUMMER’S NIGHT’S5. Puck's DREAM Theme LYNNE PLOWMAN 6 . . œ# œ œb . œ# œ œ# A Midsummer Night's Dream œb œ. œ. Lynne Plowman Fl. ° J J 9 J J 6 9 Score in C & ‰Œ ‰8 Œ ‰ Œ 8 ‰Œ ‰ ∑ 8 mp ff q. = 144 mischievous, precise Flute ° 6 &8 ∑∑∑ ∑ ∑ œ# Cl. ∑ Œ‰œb . J 9 œ œ. ‰Œ ‰6 ∑∑9 ¢& 8 œ. J 8 8
Clarinet 6 . œ# . œ# œ . &8 œb J œ ‰ ∑ œb J œ J œ ‰Œ ‰ ∑ ¢ mp . . Tpt. . j 9 6 9 & ∑ Œ‰œb œ 8 œb œb œb ‰Œ ‰8 ∑∑8 harmon mute . J . Trumpet . j . j &68 œb œ ‰ ∑ œb œ œ œb ‰Œ ‰ ∑ mp œb . œb . J . (to Bass Drum) > Perc. œb j œ ‰ ‰‰9 Œ j ‰‰Œ œ 6 œb ‰‰Œ ‰ ∑ 9 xylophone & œ œb j 8 j J 8 J 8 œb J œb œ œ ff Percussion &6 j ‰‰ Œ ‰ ∑ j ‰‰ Œ j j ‰‰Œ ‰ ∑ 8 œ œ mpœb œb œ# œ# j œ. œ. j j . œ# 9 œ œ 6 J J 9 . œ# . œ# & ∑ Œ‰œb œ 8 œ œb #œ ‰Œ ‰8 Œ ‰Œ ‰ 8 6 œb ‰ ∑ œb œ œ ‰Œ ‰ ∑ p bœ. J . &8 œ œ œ œ #œ Pno. p bœ. bœ. J . ff Piano >. > ? ∑∑9 ∑∑∑6 9 ? 6 œn ™ œ# œ# œ 8 8 & 8 8 ∑∑∑ ∑ œ# œ# œ ‰ œ# ™ > >. “‘ q. = 144 mischievous, precise { œb { pizz. œb œ œ Vln. 1 ° J œ J 9 œ J 6 œ œ 9 Violin 1 ° œ œ & ‰‰ J‰‰ ‰‰Œ ‰ 8 J‰‰ ‰‰Œ ‰8 Œ ‰J‰‰ Œ ‰J‰‰8 &68 Œ‰J‰‰∑ Œ ‰ J‰‰ J ‰‰Œ ‰ ∑ mp pizz. œb œb œb Violin 2 œb œb œb Vln. 2 J ‰‰ œb ‰‰ J‰‰Œ ‰ 9 œb ‰‰ J‰‰Œ‰6 ∑∑9 &68 Œ‰J ‰‰∑ Œ ‰ J ‰‰ J‰‰Œ ‰ ∑ & J 8 J 8 8 mp
port. Violoncello ? 6 Vc. 8 ∑∑∑ ∑ œ ‰ ? ∑∑98 ∑∑∑68 98 ¢ œ# ™ . ¢ ff> > © 2015 Lynne Plowman 110 18 6 . œ . œb . œ# . œ œb œ# . œ# Fl. ° œ J œ & J ‰Œ ‰98 Œ ‰ Œ J J 68 ‰Œ ‰ ∑ 98 mp ff
œ# Cl. ∑ Œ‰œb . J 9 œ œ. ‰Œ ‰6 ∑∑9 ¢& 8 œ. J 8 8
Tpt. . j & ∑ Œ‰œb œ 98 œb œb ‰Œ ‰68 ∑∑98 œb . J .
(to Bass Drum) Perc. j 9 œ 6 >œb 9 & œb œ œ œb ‰ j‰‰8 Œ j j‰‰Œ J 8 J ‰‰Œ ‰ ∑ 8 œb J œb œ œ ff
j œ# . œ# . . œ# 9 œ 6 J œ J œ 9 & ∑ Œ‰œb œ 8 œ œb #œ ‰Œ ‰8 Œ ‰Œ ‰ 8 p bœ. J . Pno. ? ∑∑9 ∑∑∑6 9 { 8 8 & 8 œb œb œ Vln. 1 ° J œ œ œ œ & ‰‰ J‰‰ J ‰‰Œ ‰ 98 J‰‰ J ‰‰Œ ‰68 Œ ‰J‰‰ Œ ‰J‰‰98
œb Vln. 2 œb œb œb œb & J ‰‰ J ‰‰ J‰‰Œ ‰ 98 J ‰‰ J‰‰Œ‰68 ∑∑98
Vc. ? ∑∑9 ∑∑∑6 9 ¢ 8 8 8
111 19 20 . 11 œ œb . 15 œ. . œb . Fl. ° 9 6 J J 9 Fl. ° œ œb . &8 ∑ 8 ‰‰ ‰‰ ∑∑8 &98 ∑ 68 J ‰‰J ‰‰ J‰‰J ‰‰ ∑ p f
Cl. &98 ∑ 68 ∑∑∑98 Cl. 9 ∑ 6 ∑ ∑∑ ¢ ¢&8 8
Tpt. 9 6 9 Tpt. & 8 ∑ 8 ∑∑∑8 &98 ∑ 68 ∑ ∑∑
Bass drum (hard stick) Perc. 9 6 9 Perc. 9 6 & 8 ∑ 8 ∑∑∑8 &8 ∑ 8 ∑ ∑ / Œ‰œ ‰ f>
œ. . œ. . œ# #œ bœ œ# œ# œ# #œ bœ œ. œ œ. œ. œ. œ #œœ. . 9 Œ J ‰Œ ‰6 J ‰‰œn ‰‰ Œ J ‰ŒJ ‰ 9 9 Œ J ‰Œ ‰6 J ‰‰œn ‰‰ œ ‰‰bœ ‰‰ ∑ & 8 8 J 8 &8 8 J J nœ Pno. Pno. J ff œ# œ# 9 Œ‰Œ J ‰ 6 ∑∑∑9 9 Œ‰Œ J ‰ 6 ∑ ∑ ? Œ j ‰ & 8 œ. 8 8 &8 œ. 8 œ# œ >. { arco arco . { œ# . pizz. œ# . . œ œ œ œ œ . Vln. 1 ° 9 6 J J 9 Vln. 1 ° œ œ# . & 8 Œ‰J‰‰Œ ‰8 ‰‰ ‰‰ Œ ‰J‰‰ Œ ‰J‰‰8 &98 Œ‰J‰‰Œ ‰68 J ‰‰J ‰‰ J ‰‰œ ‰‰ ∑ fJ arco arco pizz. . œ. . œ . Vln. 2 9 j 6 J œ 9 Vln. 2 9 j 6 J ‰‰œ œ. ‰‰ j ‰‰ ∑ & 8 Œ‰Œ ‰œ ‰‰8 ‰‰J ‰‰ ∑∑8 &8 Œ‰Œ ‰œ ‰‰8 J ‰‰ œ J f.
Vc. ? 9 ∑ 6 ∑∑∑9 Vc. ? 9 ∑ 6 ∑ ∑ Œ‰ ‰ ¢ 8 8 8 ¢ 8 8 œ ff>. 112 20
15 œ. . œb . Fl. ° œ œb . &98 ∑ 68 J ‰‰J ‰‰ J‰‰J ‰‰ ∑ f
Cl. 9 ∑ 6 ∑ ∑∑ ¢&8 8
Tpt. &98 ∑ 68 ∑ ∑∑
Bass drum (hard stick) Perc. 9 6 &8 ∑ 8 ∑ ∑ / Œ‰œ ‰ f>
œ. . œ# #œ bœ œ. œ #œœ. . 9 Œ J ‰Œ ‰6 J ‰‰œn ‰‰ œ ‰‰bœ ‰‰ ∑ &8 8 J J nœ Pno. J ff œ# 9 Œ‰Œ J ‰ 6 ∑ ∑ ? Œ j ‰ &8 œ. 8 œ# œ >. { arco œ# . œ. . Vln. 1 ° œ œ# . &98 Œ‰J‰‰Œ ‰68 J ‰‰J ‰‰ J ‰‰œ ‰‰ ∑ fJ arco pizz. œ. . Vln. 2 9 j 6 J ‰‰œ œ. ‰‰ j ‰‰ ∑ &8 Œ‰Œ ‰œ ‰‰8 J ‰‰ œ J f.
Vc. ? 9 ∑ 6 ∑ ∑ Œ‰ ‰ ¢ 8 8 œ ff>. 113 Score 6.in C Oberon’s Theme (danger, music and mayhem) 21 22 A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN 6. Oberon's Theme (danger, magic & mayhem) . 6 . œb . œb . œn . A Midsummer Night's Dream . . œb œ# . œ# . œ. œn . œb - œn œ œ. Fl. ° ‰ J‰ ‰ œ œ ‰ J J ‰ ‰ J ∑ Lynne Plowman & J J Score in C q = 144 . . œb . œb . œn . . . œb œ# . œ# . œ. œn . œb - œn œ œ. Flute ° 2 ‰ J‰ ‰ œ œ ‰ J J ‰ ‰ J . œb . œn . &4 J J Cl. œ# j mp ∑∑∑‰ J œ ‰ . ‰ J ∑ ¢& . œ . œb . œn . Clarinet 2 œ# j . J &4 ∑∑∑‰ J œ. ‰ œ ‰ 3 ¢ mp j Perc. ∑∑ œ œ œ œ / ‰ œ Œ œ œ Œ ∑ Temple blocks œŒ œŒ œ Œ œ Œ œ œŒ Pedal Bass drum 3 j œ œ Percussion 2 ∑∑‰ œ œ Œ œ œ Œ / 4 œŒ œŒ œ Œ œ Œ œ œ mp . ? œ# . œ ∑∑∑∑∑J ‰ J ‰ ? 42 ∑∑∑ ∑ ∑ Pno. “‘ mp j j j j j Piano ? œ# œ# œ# œ# œ# j j j j j j ‰Œ ‰Œ ‰Œ ‰Œ ‰Œ j‰ œ ‰ ? 2 œ# œ# œ# œ# œ# #œ..#œ #œ ..#œ #œ ..œ# . 4 ‰Œ ‰Œ ‰Œ ‰Œ ‰Œ <> #œ....#œ #œ #œ #œ . “ “‘ { { q = 144 pizz. œ# œ œn œb œb Vln. 1 ° œ ∑∑∑∑ Violin 1 ° œ# œ œn œ & J J &42 J J ∑∑∑ mp
pizz. Vln. 2 Violin 2 2 j j œb j ∑∑∑∑ &4 œ# œ œn œb j ∑∑∑ & œ# œ œn œ mp œ
pizz. Violoncello ? 42 Œ Œ Œ Œ Œ Vc. ? Œ Œ Œ Œ Œ Œ ¢ mpœ# œ# œ# œ# œ# ¢ œ# œ# œ# œ# œ# œ#
© 2015 Lynne Plowman 114 22
. . . 6 œb . œb œ# . œb œn . . . œb . - œn . œ. . Fl. ° œ# œ œn œ œ J œ J & J ‰ J‰ ‰ J ‰ J ‰ ‰ ∑
. . œ# . j œb œn Cl. ∑∑∑‰ J œ ‰ . ‰ J ∑ ¢& . œ
3 j œ œ Perc. ∑∑‰ œ œ Œ œ œ Œ ∑ / œŒ œŒ œ Œ œ Œ œ œ œŒ
. ? œ# . œ ∑∑∑∑∑J ‰ J ‰ Pno. “‘ j j j j j ? œ# œ# œ# œ# œ# j ‰Œ ‰Œ ‰Œ ‰Œ ‰Œ j‰ œ ‰ #œ..#œ #œ ..#œ #œ ..œ# . { <>“ œb Vln. 1 ° œ# œ œn œ & J J ∑∑∑∑
Vln. 2 j j & œ# œ œn œb œ ∑∑∑∑
Vc. ? Œ Œ Œ Œ Œ Œ ¢ œ# œ# œ# œ# œ# œ#
115 23 24
12 > 18 œb . . œb œ . . Fl. ° œ . œ œ . . & ∑∑∑∑∑∑ Fl. ° J J œ. œ# J œ. œ# œ & ∑∑‰ ‰ ‰ ™ J ‰ J‰ f ff
Cl. & ∑∑∑∑∑j ‰ j ‰ ¢ Cl. j œ j œ ‰ œ. œ# & œ ‰ œb œ . j ‰ j ‰ œ ‰ œb œ . ™ j ‰ j mf cresc.. ¢ œ . œ œ œ . œ > œb . œ# > œb œ# œ. . . . ff.
Perc. ∑∑∑∑∑∑ / œŒ œŒ œŒ œŒ œŒ œŒ Perc. ∑∑∑∑∑™ ∑ cresc. mf cresc. / œŒ œŒ œŒ œŒ œŒ ™ œŒ f
> > œ. . œ. œ. . œ. > œ. . œ. > œ. ? œ# ‰ œ œ œ# œ# ‰ J ‰ œ# ‰ œ œ œ# œ# ‰ J ‰ ? œ# ‰ œ œ œ# œ# ‰ ‰ œ# ‰ œ œ œ# ∑ œ. J œ. J œ. J œ. J œ J œ J J œ J œ ™ Pno. . . . . <>“ cresc. mf cresc. Pno. <>“ ff ? j j j ‰ j œ j‰ œ ‰ ‰ j œ j‰ œ ‰ ? ‰ j j‰ j ‰ ‰ 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. œ. > œ. œ > œ . œ > œ >. { <>“ { <>“ . . . .
Vln. 1 ° ∑∑∑∑∑∑ Vln. 1 ° & & ∑∑∑∑∑™ ∑
Vln. 2 Vln. 2 & ∑∑∑∑∑∑ & ∑∑∑∑∑™ ∑
arco Vc. ? j j œb . j Vc. ? j œb . j j œb . Œ Œ j‰ œb ‰ œ œn ‰ œ# œ œ. œn j‰ œb ‰ œ œn ‰ œ# œ œ. œn j‰ œb ‰ œ œn ‰ œ# œ œ. œn ™ j‰ Œ ¢ œ# œ# cresc.œn .. œ cresc.. ¢ . œ .. œ# . > mf. > . > ff>. 116 24
18 . . > . . œb œ . œb œ œ œ . . Fl. ° J J œ. œ# J œ. œ# œ & ∑∑‰ ‰ ‰ ™ J ‰ J‰ f ff
Cl. & œ ‰ j œ. j ‰ j ‰ œ ‰ j œ. ™ j ‰ j ‰ ¢ œ . œb œ œ œ œ . œb œ œ > œb . œ# > œb œ# œ. . . . ff.
Perc. ∑∑∑∑∑ ∑ / œŒ œŒ œŒ œŒ œŒ ™ œŒ f
> œ. . œ. > œ. ? œ# ‰ œ œ œ# œ# ‰ J ‰ œ# ‰ œ œ œ# ™ ∑ œ. J œ. J œ. J œ. ™ Pno. <>“ ff j ? ‰ j j‰ j ‰ ‰ j ™ œ# ‰Œ œ# œ œ œ. œ# œ# œ. œ# œ œ œ. œ# ™#œ œ > œ . œ > œ >. { <>“ . . . .
Vln. 1 ° & ∑∑∑∑∑™ ∑
Vln. 2 & ∑∑∑∑∑™ ∑
j j Vc. ? œ ‰ œ# œ œ œn œb . j‰ j ‰ œ ‰ œ# œ œ œn œb . ™ j‰ Œ ¢ œn . . œ œb ..œn . ™ œ# > . > ff>. 117 25
x 3 24 œb . . . œb . œ# . œb œn . œb . - œn . œ. . Fl. ° œn œ œ J œ J & ‰ J ‰ J ‰ ‰ ™ ∑
. . œ# . j œb œn Cl. ‰ ‰Œ ‰J œ ‰ . ‰ J ™ ∑ ¢& j j . œ ™ œn œb . . -œ œ
3 j œ œ Perc. ∑ ‰ œ œ Œ œ œ Œ ∑ / œŒ œ Œ œ Œ œ œ ™ œŒ
? ∑∑ ∑ ∑™ ∑ Pno. j j j j j ? œ# ‰Œ œ# ‰Œ œ# ‰Œ œ# ‰Œ ™ œ# ‰Œ #œ #œ #œ #œ ™ #œ >. >. >. >. >. { <>“ . arco . œb x 3 œ. œb Vln. 1 ° & ∑ ‰ J ∑∑∑™ ff
arco œb . Vln. 2 j œb . & ∑ ‰ œ. ∑∑∑™ ff
Vc. ? j‰ Œ j‰ Œ j‰ Œ j‰ Œ ™ j‰ Œ ¢ œ# œ# œ# œ# ™ œ# >. >. >. >. >. 118 26 7. Royal Palace Theme (high) Score in C A MIDSUMMER’S7. Royal NIGHT’SPalace DREAM Theme (high) LYNNE PLOWMAN A Midsummer Night's Dream Lynne Plowman Score in C q. = 92 œ™ œ™ œ™ ˙™ œ™ Flute ° ˙™ œ™ ˙™ œ™ &98 mf
œfij œ œ Clarinet 9 œ œ œ œ œ œ ˙™ œ œ œ J ™ œ™ ˙™ œ™ &8 J J ¢ mf (solo) J J
Trumpet 9 ˙™ > &8 ˙™ œ™ ˙™ œ™ ˙™ œ# ™ œn œ œ mp
TACET Percussion / 98 ∑ ∑∑∑
˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™ &98 ˙™ œ™ ˙™ œ™ ˙™ œ™ ™ ™ mf Piano
9 ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ˙ &8 ˙™ œ™ ˙™ œ™ ˙™ #œ™ ˙b ™ b œœn œ œ > { q. = 92 Violin 1 ° 9 ˙™ > &8 ˙™ œ™ ˙™ œ™ ˙™ œ# ™ œn œ œ mf
Violin 2 9 œ ˙b ™ œb &8 œ™ œ œ™ ˙ œ ˙ ™ œ œ mf ™ ™ ™ ™ >
Violoncello ? 9 ∑ ∑∑∑ ¢ 8
© 2015 Lynne Plowman 119 27 28
5 œ ˙ œ ˙ œ 8 ˙™ ™ ™ ™ ™ ™ ˙™ œ™ ˙™ œ™ Fl. ° Fl. ° & & ∑ ∑ mp mf p
j j œ œfi œfi œfij Cl. œ œ œ œ œ ˙™ œ ˙™ œ Cl. œ™ œ# & J J J ™ ™ & ™ œ™ ˙# ™ œ# ˙n ¢ mp mf (mp) mf (mp) ¢ mf ™ ™ œb ™ ˙™ œ™
Tpt. Tpt. & ˙™ œ™ ˙™ œ™ ˙ œ & ∑ ∑ mp mf ™ ™ p˙™ œ™ ˙™ œ™
Perc. / ∑ ∑ ∑ Perc. / ∑ ∑ ∑ ∑
˙™ œ™ ˙™ œ™ ˙˙™ œœ™ ˙™ œ™ ˙™ œ™ ? ˙™ œ™ ˙™ œ™ & ™ ™ & ˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™ mp mf p Pno. Pno. ˙™ œ™ ? ˙™ œ™ ? ˙™ œ™ ˙™ œ™ & ˙˙n ™ œ™ ˙™ œ™ ™ ™ ˙™ œ™ ˙™ œ™ ˙ œ ˙ œ ™ œ™ b˙™ œ™ ™ ™ ™ ™ ™ ™ ™ ™ { { ˙™ œ™ ˙™ œ™ Vln. 1 ° Vln. 1 ° & ˙™ œ™ ˙™ œ™ ˙ œ & mp mf ™ ™ p˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™
Vln. 2 Vln. 2 & ˙ & ™ œ™ ˙b œ ˙ œ p mf™ ™ ™ ™ p˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™
Vc. ? ∑ ∑ ˙™ œ™ Vc. ? ˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™ ¢ mp ¢ p˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™
120 28
8 ˙™ œ™ ˙™ œ™ Fl. ° & ∑ ∑ p
j Cl. œfiœ™ œ# & ™ œ™ ˙# ™ œ# ˙n ¢ mf ™ ™ œb ™ ˙™ œ™
Tpt. & ∑ ∑ p˙™ œ™ ˙™ œ™
Perc. / ∑ ∑ ∑ ∑
˙™ œ™ ˙™ œ™ ? ˙™ œ™ ˙™ œ™ & ˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™ p Pno. ? ˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™ { ˙™ œ™ ˙™ œ™ Vln. 1 ° & p˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™
Vln. 2 & p˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™
Vc. ? ˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™ ¢ p˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™
121 Score 8.in C Royal Palace Theme (low) 29 30 A MIDSUMMER’S8. Royal NIGHT’S Palace DREAM Theme (low) LYNNE PLOWMAN 5 A Midsummer Night's Dream Fl. Lynne Plowman ° ∑ ∑ ∑ ∑ Score in C & q. = 92 TACET Flute ° 9 ∑ ∑∑ ∑ &8 Cl. j j fij j j & œ œ œ œ j œfi œfi ¢ pœ œ œ mf˙™ œ™ ˙™ œ™ p˙™ œ™
Clarinet 9 j j j j œfi j j œ ¢&8 œ œ œ œ œ œ ˙ œ œ œ œ™ œ™ ˙™ œ™ mf ™ Tpt. ˙™ œ ˙™ œ™ ˙ œ œ™ & ™ ™ ™ œ# ™ œ™ pp mp p Trumpet 9 œ ˙ &8 ˙™ ™ œ™ œ™ œ™ ™ œ™ ˙™ œ™ mp Bass drum Perc. Œ‰ Œ‰Œ‰ Œ‰Œ‰ Œ‰Œ‰ (soft sticks) / œ™ œ™ œ™ œ™ œ™ Percussion 9 mf p / 8 œ Œ‰ œ œ Œ‰Œ‰œ Œ‰œ œ Œ‰Œ ‰ mp™ ™ ™ ™ ™ ™
? ˙™ œ™ &98 ∑∑ ∑ & ˙™ œ™ ∑ b˙™ œ™ ˙™ œ™ ˙ œ Pno. ˙™ œ™ ˙™ œ™ l.v. Piano mf™ ™ l.v. mf p ? 9 ? ˙b œ ˙™ œ™ ∑ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ™ ™ ˙ œ ˙ œ ∑∑ ∑ ˙ œ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ™ ™ ˙™ œ™ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ 8 ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ™ ™ ™ ™ ˙™ œ™ b˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ™ ø ø ˙™ œ™ ° ø q. = 92 { { j j j œ œfi œfi œfi Violin 1 ° 9 j j j Vln. 1 ° œ œ œ œ œ ˙™ œ ˙™ œ ˙™ œ™ &8 œ j œfi j j œ œ™ œ & J J ™ ™ œ œ œ œ œ ˙ œ œ œ ™ ˙™ œ™ p J mf p mf ™
Vln. 2 Violin 2 9 & &8 ˙b œ ˙™ œ™ mf˙™ œ œ ˙™ œ# ™ ˙™ œn œ œ ˙™ œ ™ ™ ˙™ œ™ ˙ œ ™ ˙™ ™ > p ™ mf p ™ ™ > Violoncello œ™ ˙b œb Vc. ˙ œ ? 9 œ™ œ™ œ™ ˙™ œ™ ˙™ ™ œ œ ? ˙™ ˙™ œ™ ˙™ œ™ ˙ œ 8 œ™ ˙b ™ œ™ ™ ™ ˙™ œ™ ¢ mf ¢ p mf p © 2015 Lynne Plowman 122 30
5 Fl. ° & ∑ ∑ ∑ ∑
Cl. j j fij j j & œ œ œ œ j œfi œfi ¢ pœ œ œ mf˙™ œ™ ˙™ œ™ p˙™ œ™
Tpt. ˙™ œ ˙™ œ™ ˙ œ œ™ & ™ ™ ™ œ# ™ œ™ pp mp p
Perc. / œ Œ‰ œ œ Œ‰Œ‰ œ Œ‰Œ‰ œ Œ‰Œ‰ ™ ™ mf™ ™ p ™
? ˙ œ & ˙™ œ™ ∑ ˙™ œ™ ˙™ œ™ Pno. b˙™ œ™ ˙™ œ™ mf˙™ œ™ p l.v. ? ˙b œ ˙™ œ™ ∑ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ™ ™ ˙ œ ˙ œ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ™ ™ ˙™ œ™ ™ ™ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ b˙™ œ™ ˙™ œ™ ˙™ œ™ { ø ø ˙™ œ™ œfij j j Vln. 1 ° œ œ œ œ œ œ ˙™ œ œfi˙™ œ œfi˙™ œ™ & J J ™ ™ p J mf p
Vln. 2 & ˙ ˙b œ ˙™ œ™ p ™ œ™ mf™ ™ ™ ™ p˙™ œ™
Vc. ? ˙™ ˙™ œ™ ˙™ œ™ ˙ œ œ™ ˙b ™ œ™ ™ ™ ˙™ œ™ ¢ p mf p
123 31 32
9 (underscore) 14 Fl. ° Fl. ° & ∑∑∑ ∑ ∑ & ∑ ∑ ∑
Cl. & ∑∑ ∑ ∑ Cl. ∑ ∑ ∑ ¢ ˙™ œ™ ¢&
Tpt. & ˙# ™ ∑ ∑ Tpt. ∑ ∑ ∑ œ# ™ ˙n ™ œb ™ ˙™ œ™ &
Perc. Perc. / œ Œ‰œ œ Œ‰œ œ Œ‰œ / ∑∑∑œ Œ‰ œ œ Œ‰œ ™ ™ ™ ™ ™ ™ pp™ ™ ™ ™
? ∑ ∑ ∑ ? ∑∑∑ ∑ ∑ Pno. Pno. pp ? j ‰‰ j ‰‰ j ‰‰ ? ∑∑∑ j‰‰ j ‰‰ ˙™ œ ˙™ œ ˙™ œ ˙™ œ ˙™ œ ˙™ œ ˙™ œ ˙™ œ ˙™ œ ˙™ œ { { (underscore) Vln. 1 ° j j fij Œ‰ j j fij Vln. 1 ° ˙™ œ™ ˙™ œ™ ˙™ œ™ j j & œ œ œ œ j œ œ œ œ j & œ œ j œfiœ j Œ‰ œ œ œ ˙™ œ œ œ ppœ œ œ ˙™
Vln. 2 Vln. 2 & j‰‰ j ‰‰ & j ‰‰ j ‰‰ j ‰‰ ˙™ œ™ ˙™ œ™ ˙™ œ™ pp˙™ œ ˙™ œ ˙™ œ ˙™ œ ˙™ œ j j j j j Vc. ? ˙™ œ™ ˙™ œ™ ˙™ œ™ ˙™ œ ‰‰ ˙™ œ ‰‰ Vc. ? ˙™ œ ‰‰ ˙™ œ ‰‰ ˙™ œ ‰‰ ¢ ˙™ œ™ ˙™ œ™ ˙™ œ™ pp˙™ œ ˙™ œ ¢ ˙™ œ ˙™ œ ˙™ œ
124 32
14 Fl. ° & ∑ ∑ ∑
Cl. ∑ ∑ ∑ ¢&
Tpt. & ∑ ∑ ∑
Perc. Œ‰ Œ‰ Œ‰ / œ™ œ™ œ™ œ™ œ™ œ™
? ∑ ∑ ∑ Pno. ? j ‰‰ j ‰‰ j ‰‰ ˙™ œ ˙™ œ ˙™ œ { ˙™ œ ˙™ œ ˙™ œ
Vln. 1 ° j j & j j œfi j Œ‰ j j œfi j œ œ œ œ œ œ ˙™ œ œ œ œ œ œ
Vln. 2 & j ‰‰ j ‰‰ j ‰‰ ˙™ œ ˙™ œ ˙™ œ j j j Vc. ? ˙™ œ ‰‰ ˙™ œ ‰‰ ˙™ œ ‰‰ ¢ ˙™ œ ˙™ œ ˙™ œ
125 33
17 Fl. ° & ∑ ∑ ∑
Cl. ∑ ∑ ∑ ¢&
Tpt. & ∑ ∑ ∑
Perc. Œ‰ Œ‰ Œ‰Œ‰ / œ™ œ™ œ™ œ™ œ™
? ∑ ∑ ∑ Pno. ? j ‰‰ j ‰‰ Œ‰ ˙™ œ ˙™ œ ˙™ { ˙™ œ ˙™ œ ˙™
Vln. 1 ° j & œfi Œ‰ ˙™ œ™ ˙™ œ™ ˙™
Vln. 2 & j ‰‰ j ‰‰ Œ‰ ˙™ œ ˙™ œ ˙™ j j Vc. ? ˙™ œ ‰‰ ˙™ œ ‰‰ ˙™ Œ‰ ¢ ˙™ œ ˙™ œ ˙™
126 34 9. Royal Palace and Lovers’ themes combined
Score in C A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN 9. Royal Palace and Lovers' themes combined A Midsummer Night's Dream
Lynne Plowman Score in C h = 52 solo œ œ Flute ° œ œ œ™ œ œ œ™ œ w œ œ œ &23 ÓÓŒ‰ J ™ J ™ mp
Clarinet 3 &2 ∑ œ œ œ ¢ mpœ œ œ w œ œ
cup mute Trumpet &23 ∑ w ˙ ˙ ˙ ˙ p TACET Percussion / 23 ∑ ∑ ∑
3 ∑ &2 w ˙ ww ˙ Piano p w ˙ ww ˙ ? 23 ∑ { h = 52 Violin 1 ° &23 ∑ ˙ pw ˙ w
Violin 2 3 ∑ &2 ˙ pw ˙ w w w ˙ Violoncello ? 23 w ˙ w™ w ˙ ¢ p ˙ w™
© 2015 Lynne Plowman 127 35 36
4 6 œ œ wb ™ œ œ œ œ w Fl. ° œ™ œ œ œ™ œ™ Fl. ° œ# œ œ ˙ œn œ œ œ ˙ ™ & J J & Œ mf mp
Cl. Cl. & œ ˙ ˙ w ¢& œ œ œ# œ ˙ w w ¢ œ ™ mf mp™ ™
Tpt. w™ w™ Tpt. w ˙ œb & w™ & ˙ œ œ œ mp p
Perc. / ∑ ∑ Perc. / ∑ ∑ ∑
˙ ˙ #w ˙ bnw ˙ ˙ w & w ˙ w™ w w b˙ ™ & Pno. mp Pno. w ˙ wb w™ ? w ˙ ™ #w ˙ ˙ ˙ & w ˙ bnw ˙ ˙w { {& w Vln. 1 ° w ˙ Vln. 1 ° & w™ & w# ˙wn ˙ ˙ mf mp w
Vln. 2 & w Vln. 2 w ˙ ™ & w ˙ ˙ bw™ mf ˙ mpwb w w #˙ w™ Vc. ˙ Vc. #w ˙ ˙ ˙ ? w ? w ˙ bnw ˙ ˙ w ¢ ¢ mf mp w
128 36
6 œ œ Fl. ° œ œ# œ œ œ ˙ œn œ œ œ ˙ w™ & Œ mf mp
Cl. ¢& œ œ œ# œ ˙ w w mf mp™ ™
Tpt. w™ w™ & w™ mp p
Perc. / ∑ ∑ ∑
˙ ˙ #w ˙ nw ˙ ˙ w ˙ b w w & mp Pno. #w ˙ ˙ ˙ w ˙ bnw ˙ ˙w {& w Vln. 1 ° & w# ˙wn ˙ ˙ mf mp w
Vln. 2 & w ˙ ˙ mf ˙ mpwb w
Vc. #w ˙ ˙ ˙ ? w ˙ bnw ˙ ˙ w ¢ mf mp w
129 Score 10.in C Fairy Music 1 (mischievous) 37 A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN 10. Fairy Music 1 (mischievous) A Midsummer Night's Dream Lynne Plowman Score in C q = 144 . . . Flute 6 œb œ. œ. œb œb œ. œ. &8 ‰Œ ‰ œ. ‰Œ ‰ œ. ‰Œ ‰ ‰Œ ‰ œ. p
Glockenspiel &68 ∑∑∑∑∑∑ q = 144 pizz. œb œb œ œ™ œb Violin 1 ° œ œb œ œ# ™ œ œb œ œb œ œ# ™ &68 J J Œ‰ J J Œ‰ J J Œ‰ p pizz. Violin 2 œ™ œ œ™ œ™ œ™ œ &68 Œ‰ ™ Œ‰ Œ‰ Œ‰ Œ‰ ™ Œ‰ p Violoncello ? 6 ∑∑∑∑∑∑ ¢ 8
7 . . Fl. œb ‰Œ ‰ ‰Œ ‰ ‰Œ ‰ œb ‰Œ ‰ œ. ‰Œ ‰ ∑ & œ. œb .
Glock. b˙™ ˙b & ∑∑b ˙™ b ˙˙n ™ ∑ ™ p ™ ˙™
œb œ œ™ œb œb œb œ œb ™ Vln. 1 ° œ œb J J J œ™ & J Œ‰ Œ‰ Œ‰ ∑ œ Vln. 2 œ™ ™ œb ™ œ™ & Œ‰ Œ‰ Œ‰ œb ™ Œ‰ Œ‰ ∑
Vc. ? ∑∑ ∑ ∑∑∑ ¢
© 2015 Lynne Plowman 130 38
13 . Fl. œ œb . ‰Œ ‰ ‰Œ ‰ œb ‰Œ ‰ ∑ œ..‰Œ ‰ œb œ. & . œ.
Glock. ∑ ˙ ˙ ∑ & ˙b ™ ˙b ™ b˙™ n˙™ b ˙™ b ˙™ œb œ œb œ œ™ Vln. 1 ° œ œb J œb ™ œb ™ œn œ œ œ™ & J J Œ‰ Œ‰ J œ J Œ‰ œb Vln. 2 œ™ œ™ ™ œb & Œ‰ Œ‰ Œ‰ ™ Œ‰œ™ Œ‰œb ™ Œ‰ pizz. œ™ œb Vc. ? ∑∑∑∑Œ‰ Œ‰ ™ ¢ p
19 Fl. œ....‰Œ ‰ œb ‰ Œ ‰ œ ‰Œ ‰ œb œ..œ ‰Œ ‰ ∑ & œ.
Glock. & ∑∑∑∑∑∑
Vln. 1 ° œ œ œ œ™ œ œ œ œ™ œ & J œ J Œ‰ J œ J Œ‰ ™ Œ‰ ∑
Vln. 2 & œ™ Œ‰œb ™ Œ‰œ™ Œ‰œb ™ Œ‰œ™ Œ‰ Œ‰ œ™ œ™ œb œ™ œb Vc. ? Œ‰ Œ‰ ™ Œ‰ Œ‰ ™ ∑ Œ‰ ¢ œ™ 131 WILLIAM SHAKESPEARE’S A MIDSUMMER NIGHT’S DREAM
SONGS
1. Over Hill, Over Dale 2. You Spotted Snakes 3. Bottom’s Song 4. Final Fairy Song and Dance (short version) 5. Final Fairy song and Dance (long version) {
132 { 1. Over Hill, Over Dale
A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN
Act II, Scene I. A wood near Athens. Enter, from opposite sides, a Fairy and Puck.
q = 144
&42 ∑ ∑∑ ∑ 43 3 3 3 3 . . . j . j # j . j 2 œb #œ œ #œ Œ ∑ œb œ bœ 3 &4 Œ Jœ bœ Jœ # œ Œ Jœ bœ J 4 f mp 3 . 3 . mp 3 . 3 > >. ? 2 ∑ ∑ œn œ# œ# œ ∑ 3 4 œ# œ# œ# œ 4 > >. “‘ 5 { &43 ∑ 42 ∑ ∑ ∑ . >. 3 œ 2 œ# nnœ ##œ &4#œ Œ œn œ# œ# 4 œ# . J œn J ŒŒœn œ# œ# > . 3 . mf> 3 f mf> > >. > œ# œ# œ. #œ > œ# œ# ? 3 ŒŒœ# 2 ŒŒœn #œ nœ œ# 4 4 œ# #œ #œ œ . >. >. “‘ {9 & ∑∑∑∑4 ∑∑ PUCK: "How now, spirit! Wither wander you?" œ. #œ. nœ. .. œn œ b œ #œ bnœ 4 w w & œ. Œ Œ 4 w > mp p >. > >. ? œ . ? œn œ# œ# 4 œ ŒŒ& œ# œ# œŒ Œ 4 Œ& ˙n w >œ# ˙ w
{ 133 4 5
15 25 mp j j ∑ ÓŒ Œ Œ Œ Œ j œ ˙Œœ j œ & œ œ œ œ œ œ œ œ œ & ˙# œ# œ™ œ# œ# ™ œ# ™ œ# œ™ FAIRY: O ver- hill, o ver- dale, Tho rough- bush, moon's sphere;˙ Andœ# I serve the fai ry- queen, To dew her orbs u -
w w . .. w™ w™ w™ w w œ #œ bŒnœ #œ..bnœ œn Œ ? w# w™ w™ w# w™ & œ. w™
? . . . œ. œ. & Ó & ˙ w œ Œ œ Œ œ ? œ. Œ œ. Œ Œ Œ œ. Œ œ. Œ ˙ w œ œ œ œ œ . . . œ. œ. . . œ. œ. { “‘ { <>“ 19 28 Œ Œ Œ Œ & œ œ œ œ œ œ œ œ œ œ œ œ j Ó 2 ∑ ∑ tho rough- brier, O ver- park, o ver- pale, Tho rough- flood, & œ# ™ œ# ˙ 4 pon the green. (spoken) "Farewell, thou lob of spirits: I'll be gone;
w™ 3 3 3 œb Œ Œ Œ # w™ j & b œ œœn œœ# b œœn œ# œn œn ?< >™ & 2 j . . ..œ..b œ œ. œœ# b œœn 4 œ# . œ œ œ# . œ .. p œ. œ. . ? . . . . Œ œ Œ œ Œ œ Œ œ ? œ. Œ œ. Œ 2 œ. œ. œ. œ. œ. œ. œ œ 4 œ . . loco. œ. { <>“ { <>“ 22 31 Ó 3 j & œ œ œ œ œ# œ# œ 2 œ™ œ ˙ œ œ œ# & ∑∑∑ ∑∑∑ tho rough- fire, I do wan der- e very- where,- Swif ter-thanœ# the Our queen and all her elves comes here anon." w™ 3 3 3 3 3 ? 3 w™ j j & 2 & œ# j œ Œ œ# j œ Œ ∑ œ# œn . œ œ# . . œ œ# . œ œ. œ..b œ # ˙˙n w œ. œ. œ. . . . ? . . 3 œ œ ? . . . . Œ œ Œ œ Ó 2 œ Œ œ Œ œ œ œ œ Œ Œ œ. œ. . . œ. œ. œ. œ. œ..œ <>“ “‘ { 134 { 5
25 j j Œ j œ ˙Œœ j œ & ˙# œ# œ™ œ# œ# ™ œ# ™ œ# œ™ moon's sphere;˙ Andœ# I serve the fai ry- queen, To dew her orbs u -
w™ w™ w™ ? w# ™ w™ w# ™ . . ? œ. œ. œ œ œ. œ. Œ Œ œ Œ œ Œ Œ Œ œ. œ. . . œ. œ. { <>“ 28 j 2 & œ# ™ œ# ˙ Ó 4 ∑ ∑ pon the green. (spoken) "Farewell, thou lob of spirits: I'll be gone;
w™ 3 3 3 # w™ j ?< >™ & 2 j 4 œ# . œ œ œ# . œ p œ. œ. . ? œ. Œ œ. Œ 2 œ. œ. œ œ 4 œ . . loco. œ. { <>“ 31
& ∑∑∑ ∑∑∑ Our queen and all her elves comes here anon."
3 3 3 3 3 j j & œ# j œ Œ œ# j œ Œ ∑ . œ œ# . . œ œ# . œ œ. œ. œ. œ. . ? œ. œ. œ. œ. Œ Œ œ. œ. œ. œ. œ..œ “‘ { 135 2. You Spotted Snakes 7 8
A MIDSUMMER’SYou NIGHT’S spotted DREAM snakes LYNNE PLOWMAN 25 A Midsummer Night's Dream % f ° Lynne Plowman & ™ ∑∑∑ ∑œ œ œ œ ¢ Phi lo- mel,- with Quiet, dangerous q = 96 mp 3 3 ° 2 j j 3 &4 ∑∑∑∑ œ# Œ œ# œ# Œ œ œ œ œ œ œ ¢ œ# œ œ œ# œ œœœœ œœ œœ œœ œœ œœ œœ œœ œœ You spot ted-snakes with dou ble-tongue, & ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ mp cresc. ˙ 66 66 f 2 &4 ∑∑ Œ Œ Œ Œ ? œ ˙# ˙ œ# . œ. œ# . œ. ™ & œ œ œ mp ˙ ˙ ˙ ˙ œ œ œ œ . . . . ˙ ˙ ˙ ˙ ? 2 œ# œ. œ# œ. œ# œ. œ# œ. ° 4 œ# œ# œ# œ# ø ø . œ. . œ. . œ. . œ. {31 3 ° 9 œ ∑ ∑ { ¢& œ œ œ ˙ ° j me lo- dy- & œ œ œ# Œ Œ ‰ ¢ ™ œ# œn œ ˙ œ œ œ œ œ œ œ 3 > Thor ny-hedge hogs,- be not seen; Newts and blind worms,- do no j j . >. >. œ œ œfij œfij œfij œfi œfi œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ 6 6 33 3 œ œ Œ Œ ‰ j & . ™ œ# . . œ# . œn ..œ ˙ œ œ..œ œ œ œ œ 3 ? & œ œ œ œ ˙ ˙ ˙ ? œ# . . œ# . . œ œ œ œ ˙ œ œ œ# . œ œ# . ˙ ˙ œ# . œ œ# . œ œ# . œ# ø . . . œ. . {35 3 {16 ° & ∑ œ œ ° ∑∑∑ ¢ œ# œ œ œ œ œ ˙ & ˙ œ œ œ œ ˙ ˙ Sing in our sweet lul la- by;- ¢ wrong, Comeœ# not near our faiœ# ry- queen. 3 œfij > œfij > œfij > 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 ˙ & ˙ ˙ & & ˙ mf 3 3 3 3 3 3 3 3 3 ? ? 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 œ œ . œ# . œ# . œ# . œ# . ˙ œ œ œ œ œ. . œ. . œ. . œ. . œ. ˙ ° ø ø ø ø © 2015 Lynne Plowman { 136 { 8
25 % f ° & ™ ∑∑∑ ∑œ œ œ œ ¢ Phi lo- mel,- with
3 œ œ œ œ œ œ œœœœ œœ œœ œœ œœ œœ œœ œœ œœ & ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ mp cresc. ˙ 66 66 f ? ™ & œ œ œ œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ œ ° ø ø {31 3 ° & œ œ œ œ ˙ ∑ ∑ ¢ me lo- dy-
3 > j j . >. >. œ œ œfij œfij œfij œfi œfi œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ 6 6 33 3
3 ? & œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ø {35 3 ° & ∑ œ œ œ# œ œ œ œ ˙ ¢ Sing in our sweet lulœ la- by;-
3 j > j > j > œ œfi œfi œfi œ #œ œ œ œ œ œ ˙ œ œ œ œ œ œ# œ œ œ œ œ ˙ & 3 3 3 3 3 3 3 3 3 ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙ ° ø ø ø ø { 137 9 10
unis. To Coda 40 52 mf mp 3 3 3 3 3 3 3 3 3 fi j j j ° œ œ œ œ œ œ œ œ œ ° 3 ‰ j 2 & J œ œ œ œ œ œ J œ œ œ œ ˙ J œ &4 œ œ œ œ™ œ ˙ œ œ# œ œ# œ# œ œ# ˙ 4 Lul la,-lul la,- lul la- -by, LulLulla,-- lul la,-lul la- -by, Lul la,-lul la,- ¢ Comeœ our love ly- la dy- nigh; So, good night, with lul la- - by.
3 3 3 3 3 3 j j ∑ Œ œ œ œ œ œ œ 3 œ œ œ œ™ œ ˙ œ œ# œ œ# œ# œ œ# ˙ 2 & J œ œ œ œ ˙ J œ œ œ œ œ &4 œ ‰ J 4 ¢ Lul la,- lul la,-lul la- -by, Lul la,-lul la,- lul la- -by, mf mp 3 3 ˙# œ œ 3 3 3 3 ? 3 œ ˙# œ 2 3 3 3 3 3 3 3 4 ˙™ ˙™ œ 4 j j j j œ 3 œ œ j œ œ j œ œ j œ œ j œ œ j ˙™ ˙™ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 J œ œ œ œ ˙ œ ˙ œ œ ø ø ø 3 3 3 3 3 3 3 3 3 3 3 3 3 3 { ? 56 œœ œœœ œ œ œœœ œœ œ œ œ œœ œ œ œ œœ œœœ œ œ œœœ œ œ œ œ œ œ ° 2 ∑∑∑ ∑ ¢&4<#>˙ œ# œ œ œ# œ# œ œn œ { Wea ving- spi ders,- come not # ˙ ˙ 2< > ∑ &4 ˙# ˙ œ# œ œ œ# œ# œ œn œ
46 ...... 3 p ? 2 œ# œ œ# œ œ# œ œ# œ 4 œ# œ# œ# œ# ° ∑∑3 œ j 4 j 3 . œ . œ . œ . œ & œ œ œ œ ˙ 4 œ œ™ 4 œ™ ˙ 4 . . . . lul la- -by, Ne ver- harm, Norœ spell norœ charm, (half-shout) p { 64 sfz ∑∑3 œ j 4 j 3 & ˙ ˙ 4 œ œ™ 4 œ™ ˙ 4 ° ¿ ¢ Ne ver- harm, Norœ spell norœ charm, ∑ œ ‰ j œ Œ ∑ ¢& ˙ ˙ ˙ > œ# œ# œn œ here; Hence, you long legg'd- spin ners,- 3 œ ˙ ˙ 3 œ œ™ œ 4 œ™ œ ˙ 3 j & œ œ œ œ ˙ ˙ ˙ 4 J 4 J 4 & ∑ œ. ‰ œ# œ œ# œn œ Œ ∑ > p ˙ ˙ ˙ > 3 3 3 3 3 3 3 3 . . . . ? œ œœ œœœ œœœ œœœ 3 ˙™ 4 w 3 ? œ# œ. œ# œ. œ# œ. œ# œ. œ œ œ œ œ œ œ œ 4 4 4 œ# œ# œ# œ# œ œ œ œ ˙™ w . œ. . œ. . œ. . œ. ø ø { 138 { 10
To Coda 52 unis. mf mp 3 fi ° 3 ‰ j 2 &4 œ œ œ œ ˙ œ œ# œ œ# œ# œ œ# ˙ 4 ¢ Comeœ ourœ love ly- la™ dy- nigh; So, good night, with lul la- - by.
œ œ œ œ ˙ œ œ# œ œ# œ# œ œ# ˙ &43 œ œ ™ ‰ J 42 mf mp 3 3 œ ˙# ? 3 ˙# œ 2 4 ˙™ ˙™ œ œ œ 4 ˙™ ˙™ œ 3 { ø ø ø 56 ° 2 ∑∑∑ ∑ ¢&4<#>˙ œ# œ œ œ# œ# œ œn œ Wea ving- spi ders,- come not
# ˙ ˙ 2< > ∑ &4 ˙# ˙ œ# œ œ œ# œ# œ œn œ . . . . ? 2 œ# œ. œ# œ. œ# œ. œ# œ. 4 œ# œ# œ# œ# . œ. . œ. . œ. . œ. { (half-shout) 64 sfz ° ∑ œ¿ ‰ j œ Œ ∑ ¢& ˙ ˙ ˙ > œ# œ# œn œ here; Hence, you long legg'd- spin ners,-
& ∑ œ ‰ j œ œ# Œ ∑ ˙ ˙ ˙ >. œ# œn œ . . . . ? œ# œ. œ# œ. œ# œ. œ# œ. œ# œ# œ# œ# . œ. . œ. . œ. . œ. { 139 12 11 (shout) Bottom's Song 72 sfz A Midsummer Night's Dream mp ° > Lynne Plowman & ¿ Œ ∑∑∑ ‰ j œ œ œ œ œ œ q. = 144 ¢ hence! Bee tles- black, ap proach- not Bottom &68 ∑ ∑∑∑98 œ# ‰ j ‹ & Œ ∑∑∑œ œ œ œ œ œ #œ...... > #œj . j #œj . j &68 œb œ œ œ #œ ‰Œ ‰ ∑ œb œ œ bœ 98 . . . . Œ J bœ J # œ Œ J bœ J ? œ# œ œ# œ œ# œ# mf . ff mf œ# œ# . œ. . . . . œ. . œ. œ# . œ œ# . > >. . œ# œ# œ ? 6 ∑ ∑ œn ™ ‰ ∑ 9 8 œ# œ# œ# œ 8 ™ . {79 Dal $ al Coda > > “‘ ° ∑∑∑∑™ 5 ¢& ˙ œ œ œ œ ˙ ™ { œ# œ# near; Worm nor snail do no of fence.- &98 ∑ 68 ∑∑ ∑ ∑ ‹ . >. ∑∑∑∑™ 9 6 œ# nnœ ##œ & ˙ œ œ ˙ ™ œ ‰Œ ‰ œ# œ# œ# J ‰Œ ‰ Œ ‰ œ# œ# œ ‰Œ ‰ œ# œ œ# œ & 8#œ œn ™ 8 . œn . J œn ™ . . f> > ff f> > ff > > >. > ? > œ# . > œ# . > œ# œ# œ# œ# ™ ? 9 œ# œ# 6 œ œn #œ #œ œ œ# œ# œ œn œ# œ . œ . œ . œ . œ ™ Œ‰Œ‰ ™ ‰Œ ‰ Œ ‰ ™ #œ ‰ ™ ‰ œn ™ . œ# . œ# . œ# . œ# . 8 8 #œ œ œb œn œ. . œ. . œ. . œ. . œ. œ# ™ œb ™ > >. { “‘ > Coda 88 {10 mf (with swagger) fi 9 ° ∑∑∑∑∑∑∑ & ∑ Œ‰ œ™ ‰Œ j œ™ 8 ˙™ Œ‰ & ˙# ˙ œ™ œ™ œ œ™ ¢ ‹ The ou sel- cockœ so black of hue, . œ. > # ˙ ˙ œb . œ# J œb œ j œ 9 œ# . < > ∑∑∑∑∑∑∑ & ∑∑J œ œ œb œ# œ 8 J ‰‰Œ ‰ & mp . . œ œb œ . œ™ ff >. œ . . . > ? œ# . œ# . œ œ# œ œ Œ ∑ Œ ∑ Œ ? ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 98 ‰ ‰ œn œ# œ# œ# œ œ œ œ œ œ ™ œn . œ. . œ. œn . . œ. . œ. . œ. . œ. . œ. œb œ œ# . œ# . œ# . >. ™ © 2015 Lynne Plowman > { 140 { 12 3. Bottom’s Song Bottom's Song A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN A Midsummer Night's Dream Lynne Plowman
q. = 144
Bottom &68 ∑ ∑∑∑98 ‹ . . . #œj . j #œj . j &6 œb œ œ œ #œ ‰Œ ‰ ∑ œb œ œ bœ 9 8 Œ J bœ J # œ Œ J bœ J 8 mf . . ff mf . > >. ? 6 œn ™ œ# œ# œ 9 8 ∑ ∑ œ# œ# œ ‰ ∑ 8 œ# ™ > >. “‘ 5 { &98 ∑ 68 ∑∑ ∑ ∑ ‹ . >. 9 6 œ# nnœ ##œ œ ‰Œ ‰ œ# œ# œ# J ‰Œ ‰ Œ ‰ œ# œ# œ ‰Œ ‰ & 8#œ œn ™ 8 . œn . J œn ™ . . f> > ff f> > ff > > >. > > > œ# œ# œ. #œ > œ# œ# œ. ? 9 Œ‰Œ‰œ# ™ 6 ‰Œ ‰ Œ ‰ œn ™ #œ œ ‰ œ# ™ ‰ œn œn œ# 8 8 #œ #œ œ ™ œn œ# ™ œb ™ œb > >. “‘ >
{10 mf (with swagger) 9 & ∑ Œ‰ œ™ ‰Œ j œ™ 8 ˙™ Œ‰ œ™ œ™ œ œ™ ‹ The ou sel- cockœ so black of hue, . . > . œ# œ œb œ j 9 . & ∑∑œb J œ J œ œ# œ œ 8 œ# ‰‰Œ ‰ mp . œb . œ œ . œ™ J ff > œ œb . . > ? œ ‰ ‰ ‰ ‰ 9 ‰ œ# œ# œ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰ 8 œ ‰ œn ™ œn . œ . œ . œ . œ . œ œb œ œn >...... ™ © 2015 Lynne Plowman > { 141 13 14
16 31 6 9 6 U &8 Œ‰œ™ œ™ ˙™ 8 ∑ &8 ∑∑∑∑∑∑ œb ™ œb œb ™ ‹ With o range- taw-™ ny- bill, ‹ TITANIA: "What angel wakes me from my flowery bed?" > 2 2 œ# . œ. . > 6 ∑ œb . j œ œ# ™ #œœ ‰bœ ‰ 9 œ# . ‰‰Œ ‰ U &8 œ j œb œn 8 6 ∑∑∑∑ Œ‰ œ# œ . œ . nœ œ# ™ J &8 œn ™ œ# œ..œ œ œ œ# mp . > ff > >. > >. > >. > >. > >. f #œ #œ #œ U ? 6 œn 9 œn œ# ? 6 œ œn ™ #œ œ œn ™ #œ œ œn ™ #œ œ 8 ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 8 ‰ ‰ œn ™ 8 œ ‰ #œ#œ œ ‰ #œ#œ œ ‰ #œ#œ œ ‰Œ ‰ Œ ‰ œn ‰ ‰ œb œn œ# œ# œ# œn œ. œb œb œb . œb œb . œb œb . œb œb . œb œb ™ . ™ . ™ . ™ . œb ™ > œn ...... > > > > > > > loco> { > > { <>“ 21 37 f 2 2 &68 Œ‰ œ œ 98 ˙™ Œ‰ œ™ ™ œ™ œ™ ™ œ™ ∑∑Œ‰‰ j ‰ j j j ‹ The thro stle- withœ™ his note so true, & œ œ™ œ œ œ œ œ ‹ The finch, the spar row,- and the
œ. 2 2 2 2 6 œ# œb œn œ 9 j ...... &8 ∑ œ™ ™ œb œ™ œb œ. 8 œ# œ# . ‰‰Œ ‰ œ# œ œ# œ œ œ œn ™ > & œ œ ‰ œ œ ‰ œ œ œ œ# œ œ œ œ œ œ œ# œ œ œb ‰ mp . > ff ˙™ ˙™ œ œb . >. > ? 6 œ 9 œn œ# 8 ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 8 ‰ ‰ œn ™ ? ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ œ. œ. œ. œ. œb œn œb œ œ œb œn . œ. œ. œ. œ. œb ™ . œ..œ œ . œ . œ. . œ. { >. > { . . 26 42 6 Œ‰œ™ œ ‰Œ œ# œn œŒ‰ ‰Œ ‰9 ∑ 2 &8 J J œ 8 9 The wren with lit tle- quill,. ˙ Œ‰œ œb ™ ˙n ™ ‹ & ™ ™ œ™ œ œ œ™ 8 ‹ lark, The plain song- cuc koo- gray, > œ. . . œ. > 6 ∑ œ œ# . œb œ œ# . Œ‰œb ‰ 9 œ™ ‰Œ ‰ &8 J œ. J œ™ 8 œ #œ. #œ™ œ™ œb . n œ œ. œ œn œ# œ œ ‰Œ ‰b œ™ œ . j ˙™ 9 mp f ff & . œ™ œ œb œ# . ˙™ 8 >. > 2 2 . ™ ? 6 œ ‰ ‰ ‰ ‰ ‰ ‰Œ‰ ‰Œ‰9 ‰ œn ™ #œ #œ ? ‰ ‰ ‰Œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 9 8 œ œ œ œ 8 œ# #œ #œ œ œ œ œ œ 8 œ# . œ# . œ# >. ™ . œ ..œ. . œ. . œ. >. . . . œ. > . “‘ { 142 { 14
31 U &68 ∑∑∑∑∑∑ ‹ TITANIA: "What angel wakes me from my flowery bed?" 2 2 U 6 ∑∑∑∑ Œ‰ œ# œ &8 œn ™ œ# œ..œ œ œ œ# > >. > >. > >. > >. f #œ #œ #œ U ? 6 œ ‰ œn ™ #œ œ ‰ œn ™ #œ œ ‰ œn ™ #œ œ ‰Œ ‰ Œ ‰ ‰ ‰ 8 œ œ# #œ#œ œ œ# #œ#œ œ œ# #œ#œ œ œn œn œ. . ™ . ™ . ™ . œb ™ œn . > > > > > > > loco> > { <>“
37 f 2 2 ∑∑Œ‰‰ j ‰ j j j & œ œ™ œ œ œ œ œ ‹ The finch, the spar row,- and the 2 . . ..2 ..2 2 œ# œ œ# œ œ & œ œ ‰ œ œ ‰ œ œ œ œ# œ œ œ œ œ œ œ# œ œ œb ‰ ˙™ ˙™ œ œb .
? œb ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œb ‰ ‰ . œ œ œ. œ. œ . œ { ..œ. œ. . .
42 2 ˙ Œ‰œ œb ™ ˙n ™ 9 & ™ ™ œ™ œ œ œ™ 8 ‹ lark, The plain song- cuc koo- gray, . œ #œ œ. œ œn œ# œ #œ™ ™ œb œ . j ˙ 9 & n œ œ. ‰Œ ‰b œ™ œ™ œ œb œ# ˙™ 8 2 2 . . ˙™ ? ‰ ‰ ‰Œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 9 œ œ œ œ œ 8 . œ. ..œ. . œ. . œ.
{ 143 15 16
47 Final Fairy Song and Dance (short version) f A Midsummer Night's Dream 9 ∑ 6 Œ‰œb ‰ œb ‰ œb j 9 &8 8 ™ œ œ œ œ# œ ˙b ™ 8 ‹ Whose note full ma ny- a man doth mark, Lynne Plowman h. = 54 FAIRIES: mf > #œ™ œ™ ° 9 œ# . ‰‰Œ ‰6 Œ ‰œb ™ œb ™ œ™ # œ™ œn ™ œb œ. 9 &43 ∑∑∑∑ œ &8 œ J 8 œ™ b œ™ œn ™ œn 8 ¢ ˙ œ ˙ ™ ff f nœ™ Now, un til- the > >. ? 98 ‰ ‰ œn œ# œ# 68 œn ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 98 3 ˙ œ ˙ ˙ œ ™ œn &4 œ ˙ œb œ ˙ œ œ ˙ œb . œ œb œ œb œb œb . œb œb . œb œb . œb œ œ œ œ œ . ™ . . . . . mf > > { ? 43 ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ 52 Con P 9 ∑ 6 ∑ Œ‰ 9 { & 8 8 œ# œ™ 8 œ# ™ œ™ œ™ ™ 7 ‹ And dares not an swer- ° œ œ œ ˙ ˙ ∑ ˙b œ ˙b œ . j ¢& ™ ™ ˙ œ > . . œ œb œn . . break of day, Through this house each fai ry- 9 œ# . 6 œ# œ œ œ. bœ œ œ# bœ œb 9 & 8 J ‰‰Œ ‰ 8 ∑ J œ J œ b œ œn J 8 œ# ™ ff f #œ œ™ ™ > . œ ˙ œb ˙ œ ˙ > >. & œ œ ˙ œ œ œ ˙ œ œ œ ˙ œ œ œ ˙ œn œ# œ ? 98 ‰ ‰ œn ™ 68 ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 98 œb œb œn œ œ. œ. œ. . œb œb ™ . œ# . œ# . œ# . œ# . ? ˙™ ˙™ ˙™ ˙™ . > > ˙b ™ ˙™ ˙™ { ˙™ ˙™ ˙™ ˙™ b˙™ ˙™ ˙™ 57 ff {14 (Donkey brays... joyful and unrestrained...) ¿ ° 9 œ™ Œ‰6 ∑∑∑9 ∑ ∑ & ˙™ ˙™ ∑ ˙ œ & 8 ¿ 8 8 ¢ œ™ œ™ œ™ œ™ ˙™ ‹ >nay; œ™ stray. To the best bride bed- will we, > 9 œ j 6 9 ˙ œ œ œ & 8 ™ œ ‰‰ Œ ‰ 8 ∑∑∑8 ∑ ∑ & œ œb ˙ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ff . œ œ œ œ œ > >. > >. > >. > >. > >. #œ#œ œ #œ#œ œ #œ#œ œ #œ#œ œ #œ#œ œ ? 9 ‰ ‰ œn ™ 6 ‰ œn ™ ‰ œn ™ ‰ œn ™ 9 ‰Œ‰ œn ™ ‰Œ‰Œ‰ ? ˙™ ˙™ ˙™ ˙™ 8 œ œ# #œ#œ 8 œ œ# #œ#œ œ œ# #œ#œ œ œ# #œ#œ 8 œ œ# #œ#œ œ ˙™ ˙™ ˙™ . œ# ™ ™ ™ ™ ™ b ˙ ˙ ˙ ˙™ ˙™ ˙™ ˙™ . > >. > >. > >. > >. > >. < >™ ™ ™ “‘ © 2015 Lynne Plowman { 144 { 16 4. FinalFinal Fairy Fairy Song Song and andDance Dance (short version) (short version) A MIDSUMMER’SA MidsummerNIGHT’S DREAM Night's Dream LYNNE PLOWMAN
Lynne Plowman
h. = 54 FAIRIES: mf ° 3 ∑∑∑∑ &4 œ ˙ œ ¢ Now,˙ un til- the
3 œb ˙ œ ˙ œb ˙ &4 œ œ ˙ œ œ œ ˙ œ œ œ ˙ œ mf
? 43 ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ { Con P 7 ° œ & œ œ ˙™ ˙™ ∑ ˙b œ ˙ œ ˙b œ ¢ break of day, Through this house each fai ry-
œ ˙ œb ˙ œ ˙ & œ œ ˙ œ œ œ ˙ œ œ œ ˙ œ œ œ ˙ ? ˙™ ˙™ ˙™ ˙™ ˙b ™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ b˙™ ˙™ ˙™
{14 ° ∑ & ˙™ ˙™ ˙ œ œ œ ¢ stray. To the best™ bride™ bed-œ™ willœ™ we,˙™
œb ˙ ˙ 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
? ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙ ˙ ˙ ˙ ™˙ ˙™ ˙™ ™ ™ ™ ™ © 2015 Lynne Plowman { 145 17 18
21 DANCE q. = 144 ° œ 40 & Œ ˙ œ ∑∑ f ¢ œ œ ˙ ˙™ Which by us shall bles sed- be; ° 9 4 ∑∑9 3 & ˙ œ# œ 8 ˙ œ 4 8 4 ¢ true in lo ving- ˙ be;™ ™ 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 œ œ œ œ œ & œ œ œ œ œ œ 9 j j œ 4 9 j j œ 3 ? ˙™ ˙™ œ œ# œ œ œ# œ 8 œ œ œ# œ œ œ 4 œ œ œ œ 8 œ œ œ# œ œ œ 4 ˙ ˙ ˙b ™ ˙™ ˙™ ˙™ f ™ ™ b˙™ ˙™ ˙™ ˙™ ? 9 4 9 3 ˙™ ˙™ 8 ˙™ œ™ 4 w 8 ˙™ œ™ 4 { ˙™ ˙™ ˙™ œ™ w ˙™ œ™ 27 { ° Œ ŒŒ 45 ¢& œ œ œ ˙ ˙ œ ˙ œ œ ˙ œ ˙ œ And the is sue- there cre ate- E ver- shall be for tu-- ° 3 ∑∑9 4 ∑ 9 ∑∑3 9 ¢&4 8 4 8 4 8 œ œ & œ ˙ œ œ œ œ ˙ œ ˙ œ œ œ œ œ˙œ ˙ j j j œ˙™ œ˙™ œ œ˙ œ˙™ ˙™ œ 3 œ œ 9 œ œ œ œ 4 œ œ 9 œ œ œ œ œ œ 3 ˙ 9 ™ &4 œ œ œ 8 ˙ œ œ œ 4 œ œ 8 J œ 4 ™ 8 ? ™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ? 3 9 4 9 3 ˙b 9 ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ 4 ˙™ 8 ˙ œ 4 wb 8 ˙™ œ™ 4 ™ 8 ˙™ ™ ™ ˙™ œ™ b˙™ { ˙™ œ™ bw ‘ { “ 34 50 ° ŒŒ œ œ œ ˙ ˙b œ ¢& œ ˙ œ ˙ œ ™ ° 9 ∑∑∑∑∑4 9 3 9 4 nate. So shall all the cou ples- three E ver- ¢&8 4 8 4 8 4 j œ œ œ j 9 œ œ œ# œ œ œ œ 4 œ œ œ 9 œ œ œ# œ œ œ œ 3 œ œ œ 9 ˙ œ œ œ œ œ 4 œ œb ˙ & 8 4 œ 8 4 œ 8 ™ 4 & œ œ œ œ œ ˙ œ œ ˙ œ# œ ˙ œ œ# œ œ œ œ J J J J œ˙™ œ œ ? ˙™ ˙™ ˙™ ˙™ ˙™ ? 9 ˙ œ 4 w 9 3 9 4 ˙™ 8 ™ ™ 4 8 ˙™ œ™ 4 ˙™ 8 ˙™ œ 4 ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ œ™ w ˙™ œ™ ˙™ ™ ˙™ <>“ loco ˙™ œ™ { 146 { 18
DANCE q. = 144 40 f ° 9 4 ∑∑9 3 & ˙ œ# œ 8 ˙ œ 4 8 4 ¢ true in lo ving- ˙ be;™ ™
9 j j 4 9 j j 3 & œ œ# œ œ œ œ œ œ# œ œ œ œ 8 œ œ œ# œ œ œ œ 4 œ œ œ 8 œ œ œ# œ œ œ œ 4 f œ ? 9 4 9 3 ˙™ ˙™ 8 ˙™ œ™ 4 w 8 ˙™ œ™ 4 { ˙™ ˙™ ˙™ œ™ w ˙™ œ™ 45 ° 3 ∑∑9 4 ∑ 9 ∑∑3 9 ¢&4 8 4 8 4 8
j j j œ &43 œ œ 98 œ œ œ œ œ œ 4 œ œ œ 98 œ œ œ œ œ œ 43 ˙ 98 œ œ œ ˙™ œ œ J ™ ? 3 9 4 9 3 ˙b 9 4 ˙™ 8 ˙™ œ™ 4 wb 8 ˙™ œ™ 4 ™ 8 ˙™ bw ˙™ œ™ b˙™ { ˙™ œ™ “‘ 50 ° 9 ∑∑∑∑∑4 9 3 9 4 ¢&8 4 8 4 8 4 j œ œ œ j 9 œ œ œ# œ œ œ œ 4 œ œ œ 9 œ œ œ# œ œ œ œ 3 œ œ œ 9 ˙ œ œ œ œ œ 4 & 8 J J 4 œ 8 J J 4 œ 8 ™ 4
? 9 ˙ œ 4 w 9 3 9 4 8 ™ ™ 4 8 ˙™ œ™ 4 ˙™ 8 ˙™ œ 4 ˙™ œ™ w ˙™ œ™ ˙™ ™ <>“ loco ˙™ œ™ { 147 19 20
55 74 ° &4 ∑∑∑∑∑∑98 43 68 ° ∑∑∑∑∑∑ ¢ ¢& ...... œ . . œn œ . œ œ . œ œ . œ œ œ œ . œ œ . œ œ œ œ œ œ œ œ œ ˙™ œb œ . œ . . œb œ . œ ? J œ J œ. œb J œ J J œ J œ. œb 4 œ 9 J J 3 6 J œb J œ# œ J œb J ‰Œ ‰ &4 8 4 8 œ. mp mf ? ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ? 4 9 3 ˙b 6 ‰ œb . ‰ ‰ œ‰. ‰ œb . ‰ . œb . . œb . . œb . 4 wb 8 ˙™ œ™ 4 ™ 8 œ. œb œ. œb œ. œb bw ˙™ œ™ b˙™ œb . œ. œb . . . . “‘ (senza P) { 80 { mp 61 ° ∑∑‰ ‰ ‰ ‰ ‰Œ ‰ ‰ œ. ‰ ° ¢& œ œ œ™ œ œ. œ. œ. ∑∑∑∑∑ ∑ Withœ. this. field™ dew- con. se- crate,- E very- ¢& . œ œ œ œ. . ? œ. J . œ œb . . œb . œ œ. œb œ œb œ J ‰Œ ‰& ‰ ‰ ‰ œ ‰ ‰Œ ‰ œ ‰ œ ‰ œ œb . œ œ# œ. œ œb . J œb J œ œ. œ™ œ™ œ. . œ. . & ‰Œ ‰ J J œ. J ‰Œ ‰ . ? ‰ œ. ‰ ‰ œb ‰ ‰ œ. ‰ ‰ œb ‰ ‰ œ. ‰ ‰ œb ‰ ‰ œ. ‰ œ . œ . œ . œ ? ‰ ‰ ‰ œb . ‰ ‰ œ‰. ‰ œb . ‰ ‰ ‰ ˙b ™ . œb . . œb . . œb . . œ. œb œb œ b˙™ œ . œ. . . { . œ. { 87 ° ‰ œ œ œ ‰Œ ‰ & œb ™ œ™ œ œ ‰ œ ‰Œ ‰ ™ ™ œb ™ œ™ œ ™ œb ™ œ. 67 fai ry- take. his. gait;. And each se veral-™ cham ber- bless ° ∑∑∑∑∑∑∑ ¢& œb ™ ‰ ‰ ‰Œ ‰ ‰ ‰ ‰Œ ‰ ¢& œ™ œ œ. œ. œ œ œ™ œ™ œ™ œ. fai ry- take. his gait; Andœ. each. se™ veral- cham ber- bless œ œ œb œ œ œ œb . . œ œ œb œ œ œb œ œ ™ bœ™ J œn œ œ™ œ œb J œb J œ™ œb ™ ? & J J œb ™ bœ™ œb ™ œb ‰ ‰ ‰Œ ‰ œ œ œb œ œb ‰Œ ‰ f & ™ œ œ ™ ™ ™ œ™ ™ œ™ œ bœ™ ™ œ. œ. . œ ‰ œ‰œ™ œ™ œ™ ™ œ. . . ? ˙b ™ ˙ ˙ ˙™ ˙b ™ ? ‰ œb ‰ ‰ œ ‰ ‰ œb ‰ ‰ œ ‰ ‰ œb ‰ ‰ œ ‰ ‰ œb ‰ b˙™ ™ ™ ˙™ b˙™ ˙b ™ ˙™ ...... ˙™ ˙™ b˙™ ˙™ œb . œ. œb . œ. œb . œ. œb . { 148 { 20
74 ° ∑∑∑∑∑∑ ¢& ...... œn œ . œ œ . œb . œ œ . œ œ œ œ . œ œ . œb . ? J œ J œ J œ J ‰Œ ‰ J œ J œ mp
? ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ . œb . . œb . . œb . { œ. œb . œ. œb . œ. œb . 80 mp ° ∑∑‰ ‰ ‰ ‰ ‰Œ ‰ ‰ œ. ‰ ¢& œ œ œ™ œ œ. œ. œ. Withœ. this. field™ dew- con. se- crate,- E very- . œ œ . œ œ. ? J œ J ‰Œ ‰ ‰ œ. & œ ‰ œ œ ‰ œ ‰ œ ‰Œ ‰ œ ‰ ‰ œ. . œ™ ™ . . . . ? ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ . œb . . œb . . œb . . { œ. œb . œ. œb . œ. œb . œ. 87 ° ‰ œ œ œ ‰Œ ‰ & œb ™ œ™ œ œ ‰ œ ‰Œ ‰ ™ ™ œb ™ œ™ œ ™ œb ™ œ. fai ry- take. his. gait;. And each se veral-™ cham ber- bless
œb ™ ‰ ‰ ‰Œ ‰ ‰ ‰ ‰Œ ‰ ¢& œ™ œ œ. œ. œ œ œ™ œ™ œ™ œ. fai ry- take. his gait; Andœ. each. se™ veral- cham ber- bless
& œb ™ œ ‰ ‰ œ ‰Œ ‰ œ™ œ™ œb ™ œ™ œ™ œœb ™ œ ‰Œ ‰ ™ œ. œ. . œ ‰ œ‰œ™ œ™ œ™ ™ œ. . . ? ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ œb . . œb . . œb . . œb . œb . œ. œb . œ. œb . œ. œb .
{ 149 21 22
94 Final Fairy Song and Dance (long version) p A Midsummer Night's Dream ° Œ‰ & œ™ œ™ œ™ œ™ œ œ™ œ™ œ™ œ™ œ™ Through this pa lace-™ withœ™ sweetœb ™ peace;œ™ And the ow ner- Lynne Plowman p h. = 54 FAIRIES: mf & œ™ œ™ œb ™ œ™ œ™ Œ‰ ¢ œ™ œ™ œ™ œ™ œ™ œ™ œ™ ° 3 ∑∑∑∑ Through this pa lace- with sweet peace; And the ow - ner &4 œ ˙ œ ¢ Now,˙ un til- the œ œb & œ™ œ™ œ œ™ œ™ œ œ ˙™ ˙™ ˙ ™ ™ ™ ™ œ™ œ™ bœ™ ˙™ ˙™ ˙™ 3 ˙ œb ˙ ˙ œ ˙ ˙ œb ˙ ™ p &4 œ œ œ œ œ œ œ œ œ mf ? ‰ œ ‰ ‰ œb ‰ ‰ œ ‰ ‰ œb ‰ ˙ ˙b . . . . ™ ™ ? 3 ˙ ˙ ˙ ˙ ˙ ˙ œ. œb œ. œb ˙™ b˙™ 4 ™ ™ ™ ™ ™ ™ . . ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ° ø ø Con P {100 ° { Œ‰ ∑ & œ™ œ™ œ œ™ œ™ œ œ ˙ 7 of it blest™ E ver- shall™ in™ safe™ ty-˙™ rest.˙™ ° & œ œ œ ˙™ ˙™ ∑ ˙b œ ˙ œ ˙b œ Œ‰ ∑ ¢ break of day, Through this house each fai ry- & ˙ ¢ ofœ™ œ it™ blestœ™ Eœ™ ver-œ™ shallœ™ inœ™ safe™ ty-˙™ rest.˙™ . œ œ . œ œ. . ˙ œ ˙ ˙ œb ˙ ˙ œ ˙ ˙ ? J œ J œ. œb & œ œ œ œ œ œ œ œ œ œ œ & ˙™ ˙ ˙™ ˙ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ (p) ? ˙™ ˙™ ˙™ ˙™ ˙b ™ ˙™ ˙™ ? ˙ ˙ ˙ ‰ œ ‰ ‰ ‰ ˙ ˙ ˙ ˙ ™ ˙b ™ ™ ˙b ™ ™ ˙b ™ . œb . ™ ™ ™ ™ b˙™ ˙™ ˙™ ˙™ b˙™ ˙™ b˙™ ˙™ b˙™ œ. œb . ø ø ø ø ø {14 108 { ° & ˙™ ˙™ ∑ ˙ œ ° ∑∑∑∑∑∑ ¢ œ™ œ™ œ™ œ™ ¢& stray. To the best bride bed- will . . . . œ œ . œ œ œ œ . œ œ . œb . œ. ? J œ J ‰Œ ‰ J œ J œ ‰Œ ‰ ∑ œb ˙ ˙ œ ˙ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? ? ˙™ ˙™ ˙™ ‰ œ. ‰ ‰ œb ‰ ‰ œ. ‰ ‰ œb ‰ œ ‰Œ ‰ œ ‰Œ ‰ ˙™ ˙™ ˙™ œ . œ . œ œ ˙™ ˙™ ˙™ . œb . . œb . ..> ™˙ ˙™ ˙™ “‘ © 2015 Lynne Plowman { 150 { 22 5. FinalFinal Fairy Fairy song Song and Danceand Dance (long version) (long version) A MIDSUMMER’SA MidsummerNIGHT’S DREAM Night's Dream LYNNE PLOWMAN
Lynne Plowman
h. = 54 FAIRIES: mf ° 3 ∑∑∑∑ &4 œ ˙ œ ¢ Now,˙ un til- the
3 ˙ œb ˙ ˙ œ ˙ ˙ œb ˙ &4 œ œ œ œ œ œ œ œ œ mf
? 43 ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ { Con P 7 ° & œ œ œ ˙™ ˙™ ∑ ˙b œ ˙ œ ˙b œ ¢ break of day, Through this house each fai ry-
œ ˙ œb ˙ œ ˙ & œ œ ˙ œ œ œ ˙ œ œ œ ˙ œ œ œ ˙ ? ˙™ ˙™ ˙™ ˙™ ˙b ™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ b˙™ ˙™ ˙™ {14 ° ∑ & ˙™ ˙™ ˙ œ œ œ ¢ stray. To the best™ bride™ bed-œ™ willœ™
œb ˙ ˙ œ ˙ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙ ˙ ˙ ™˙ ˙™ ˙™ ™ ™ ™ © 2015 Lynne Plowman { 151 23 24 20 ° Œ œ ∑ 44 & œ ˙ œ ˙ ˙™ ¢ we,˙™ Whichœ by us shall bles sed- be; ° 9 ∑ 3 ∑ 9 ∑ 4 ∑ 9 ¢&8 4 8 4 8 œ œ œ œ œ œ œ œ œ œ j j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &98 j j œ 43 œ œ 98 œ œ œ œ œ œ 4 œ œ œ 98 œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ ˙™ œ œ ? ˙™ ˙™ ˙™ ˙b ™ ˙™ ˙™ ˙™ ˙™ ˙™ ? 9 ˙ œ 3 ˙ 9 4 9 26 b˙™ ˙™ ˙™ 8 ™ ™ 4 ™ 8 ˙ œ 4 wb 8 ˙ œ ˙ ™ ™ ™ ™ ™ ˙™ œ™ bw {° 48 & ∑ Œ ŒŒ ¢ œ œ œ ˙ ˙ œ ˙ œ œ And the is sue- there cre ate- E ver- {° 9 3 9 4 9 3 ∑∑∑ ∑ ∑ ¢& 8 4 8 4 8 4 œ œ œ & œ œ œ œ œ œ˙ œ ˙ œ˙ œ œ œ œ ˙ œ œ ˙ œ˙ œ œ œ œ 9 j œ 3 9 œ œ œ# œ œ œ œ 4 œ œ œ 9 œ œ œ# œ œ œ œ 3 ™ ™ œ˙™ ™ & 8 œ œ œ J œ œ œ 4 ˙™ 8 J J 4 œ 8 J J 4 ? ˙™ ˙ ˙ ˙ ˙ ˙ ™ ™ ™ ™ ™ ? 98 ˙ œ 43 ˙b ™ 98 ˙™ œ™ 4 w 98 ˙ œ 43 32 ™˙ ˙ ˙ ˙ ˙ ˙ ™ ™ ™ ™ ™ ™ ™ ™ ™ ˙™ œ™ b˙™ ˙™ œ™ w ˙™ œ™ “‘ loco {° ŒŒ œ œ œ ˙ 53 ¢& ˙ œ ˙ œ œ ˙ œ ˙ œ ™ { shall be for tu- nate.- So shall all the cou ples- three ° 3 ∑∑9 4 ∑ 9 ∑∑3 6 ¢&4 8 4 8 4 8 œ ˙ j & œ˙œ ˙ œ œ œ œ œ ˙ œ œb œ ˙ œ# œ ˙ œ œ œ j œ œ œ œ œ œ ˙™ œ œ˙ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ J œ ˙™ ™ &43 œ 98 ™ 4 98 J 43 68 ? ˙ ˙ ˙ ˙ ˙™ ˙™ ˙™ ™ ™ ™ ™ ˙™ ˙™ ˙™ ˙™ ? 3 9 4 9 3 ˙b 6 ˙™ ˙™ ˙™ DANCE 4 ˙ 8 4 wb 8 ˙ œ 4 ™ 8 ™ ˙™ œ™ ™ ™ b˙™ 39 q. = 144 ˙™ œ™ bw ˙™ œ™ { f ˙™ “‘ ° 58 & ˙b œ ˙ 98 4 ∑ 98 { ¢ œ# œ ˙ ˙™ œ™ ° 6 ∑∑∑∑∑∑ E ver- true in lo ving- be; ¢&8 . . . . 9 4 9 œb . . œb . œ œ œb . . & œ# œ œ œ œ œ# œ œ œ œ œ# œ œ œ œ 8 j œ# j œ œ 4 8 6 œ œb œ œ# œ. œ œb J œ œb œ œ# œ. œ œ œ œ œ œ œ œ œ œ œ &8 J J œ. J ‰Œ ‰ J J œ. f mf ? 9 4 9 ? 6 . . . . . ˙™ ˙™ ˙™ 8 ˙™ œ™ 4 w 8 8 ‰ œb ‰ ‰ œ‰ ‰ œb ‰ ‰ œ ‰ ‰ œb ‰ ‰ œ‰ ˙™ ˙™ ˙™ ˙™ œ™ w œb . œ œb . . œb . œ (senza P) . œ. . { 152 { 24
44 ° 9 ∑ 3 ∑ 9 ∑ 4 ∑ 9 ¢&8 4 8 4 8 j j &98 j j œ 43 œ œ 98 œ œ œ œ œ œ 4 œ œ œ 98 œ œ œ# œ œ œ œ œ œ ˙™ œ œ ? 9 3 9 4 9 8 ˙™ œ™ 4 ˙™ 8 ˙ œ 4 wb 8 ˙ œ ˙ ™ ™ ™ ™ ™ ˙™ œ™ bw 48 {° 9 3 9 4 9 3 ∑∑∑ ∑ ∑ ¢& 8 4 8 4 8 4 9 j œ 3 9 œ œ œ# œ œ œ œ 4 œ œ œ 9 œ œ œ# œ œ œ œ 3 & 8 œ œ œ J œ œ œ 4 ˙™ 8 J J 4 œ 8 J J 4 ? 9 3 9 4 9 3 8 ˙™ œ™ 4 ˙b ™ 8 ˙™ œ™ 4 w 8 ˙™ œ™ 4 ˙™ œ™ b˙™ ˙™ œ™ w ˙™ œ™ “‘ loco {53 ° 3 ∑∑9 4 ∑ 9 ∑∑3 6 ¢&4 8 4 8 4 8 j œ œ œ j œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ J œ ˙™ &43 œ 98 ™ 4 98 J 43 68
? 3 9 4 9 3 ˙b ™ 6 4 ˙™ 8 ˙™ œ™ 4 wb 8 ˙™ œ™ 4 8 ˙™ bw ˙™ œ™ b˙™ ˙™ œ™ “‘ {58 ° 6 ∑∑∑∑∑∑ ¢&8 . œb . . œb . œ œ œb . . 6 œ œb . œ œ# œ. œ œb . J œ œb . œ œ# œ. &8 J J œ. J ‰Œ ‰ J J œ. mf ? 6 . . . . . 8 ‰ œb ‰ ‰ œ‰ ‰ œb ‰ ‰ œ ‰ ‰ œb ‰ ‰ œ‰ œb . œ œb . . œb . œ (senza P) . œ. .
{ 153 25 26 87 64 ° & œb ™ œ ‰ ‰ œ ‰Œ ‰ œ™ œ™ œb ™ œ œ™ œb ™ œ ‰Œ ‰ ° ∑∑ ∑ ∑∑∑ ™ œ. œ. . ™ œ™ . ¢& fai ry- take his gait; And each se veral- cham ber- bless . œb . œ œ œb œ œb œb œ œb œ œb & œb ™ œ™ ‰ ‰ œ ‰Œ ‰ ‰ ‰ œ™ ‰Œ ‰ œ œb . J J œ œ œ œn . œ. œ œ œ œ ¢ œ. œ. . œ œ. œ™ œ™ œ™ œ. & J ‰Œ ‰ J ™ fai ry- take his gait; And. each se veral- cham ber- bless
œb ™ ‰ ‰ ‰Œ ‰ œ™ œ™ œb ™ œ œ™ œb ™ œ ‰Œ ‰ ? œb . ‰ ‰ ‰ ˙b ™ ˙b & œ™ œ œ. œ. ‰ œ‰œ™ œ™ œ™ œ™ œ. ‰ b˙ ™ ˙™ ˙™ . œ ™ œb . œ. ™ b˙™ ˙™ ˙™ . . 70 œ ? . ‰ œb ‰ ‰ œ. ‰ ‰ œb ‰ ‰ œ. ‰ ‰ œb ‰ ‰ œ. ‰ ‰ œb ‰ . œ . œ . œ . ° ∑ ∑∑∑∑ œb . . œb . . œb . . œb . {& 94 ¢ { p œb œ™ œn . œ ° Œ‰ œb œ œ œ œb œ bœ™ œb ? œ œ. & œ™ œ™ œ™ œ™ œ œ™ œ™ œ™ œ™ œ™ œb J J œ™ ™ J J Through this pa lace-™ withœ™ sweetœb peace;œ™ And the ow ner- & J J œb ™ bœ™ œb ™ ™ f bœ™ mp p & œ œ™ œb ™ œ œ Œ‰ ? ˙™ ˙b ¢ ™ ™ œ™ œ™ ™ œ œ œ œ œ ™ ˙b ˙ ‰ œ. ‰ Through this pa lace- with sweet peace; And™ the™ ow™ - ™ ner™ ˙™ b˙™ ™ ™ œ 75 b˙™ ˙™ . & œ™ œ™ œ œœb ™ œ™ ˙™ ˙™ ˙ ° ∑∑∑∑∑ ™ ™ ™ ™ œ™ œ™ bœ™ ˙™ ˙™ ˙™ {& ™ p ¢ . . . . . ? œ . œb . œ œ . œ œ œ œ . œ œ . œb . ‰ œ ‰ ‰ œb ‰ ‰ œ ‰ ‰ œb ‰ ˙™ ˙b ™ ? œ J œ J ‰Œ ‰ J œ J œ . . . . œ. œb . œ. œb . ˙™ b˙™ 100 ° ø ø ? ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ {° œb . œb . œb Œ‰ ∑ . œ . œ . & œ™ œ™ œ™ œ™ œ™ œ™ œ™ ˙™ œb . . œb . . œb . of it blest E ver- shall in safe ty-˙™ rest.˙™ 80 { mp ° . & Œ‰ ∑ & ∑∑‰ ‰ ‰ œ ‰ ‰Œ ‰ œ ‰ œ ‰ ¢ œ™ œ™ œ™ œ™ œ™ œ™ œ™ ˙™ ˙™ ˙™ ¢ œ œ. œ™ œ™ œ. . œ. . of it blest E ver- shall in safe ty- rest. With. this field dew- con se- crate,- E very- . . . . œ œ . œ œ . œ œ . œ œ ? J œ J œ. œb ? J œ J ‰Œ ‰ ‰ ‰ ‰ ‰ ‰Œ ‰ ‰ œ. ‰ & ˙™ ˙ ˙™ ˙ ˙ & œ œ œ œ œ œ ˙™ ˙™ ˙™ ˙™ ™ ˙™ (p) œ. . œ™ ™ . . . . ? ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ? ˙ ˙ ˙ ‰ œ ‰ ‰ ‰ . œb . . œb . . œb . . ™ ˙b ™ ™ ˙b ™ ™ ˙b ™ . œb . œ. œb . œ. œb . œ. œb . œ. ˙™ b˙™ ˙™ b˙™ ˙™ b˙™ œ. œb . ø ø ø ø ø { 154 { 26 87 ° ‰ œ œ œ ‰Œ ‰ & œb ™ œ™ œ œ ‰ œ ‰Œ ‰ ™ ™ œb ™ œ™ œ ™ œb ™ œ. fai ry- take. his. gait;. And each se veral-™ cham ber- bless
œb ™ ‰ ‰ ‰Œ ‰ ‰ ‰ ‰Œ ‰ ¢& œ™ œ œ. œ. œ œ œ™ œ™ œ™ œ. fai ry- take. his gait; Andœ. each. se™ veral- cham ber- bless
& œb ™ œ™ ‰ ‰ œ ‰Œ ‰ œ™ œ™ œb ™ œ™ œ™ œœb ™ œ ‰Œ ‰ œ. œ. . œ ‰ œ‰œ™ œ™ œ™ œ. . . ? ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ œb . . œb . . œb . . œb . œb . œ. œb . œ. œb . œ. œb . 94 { p ° Œ‰ & œ™ œ™ œ™ œ™ œ œ™ œ™ œ™ œ™ œ™ Through this pa lace-™ withœ™ sweetœb ™ peace;œ™ And the ow ner- p œ œb Œ‰ & œ™ ™ ™ œ™ œ œ œ™ ¢ Through this pa lace- with™ sweet™ peace; Andœ™ theœ™ owœ™ - œ™ nerœ™
& œ œ™ œ œb ™ œ™ ˙ ˙ ™ ™ ™ œ™ œ™ œ™ œ™ ˙™ ˙™ ˙™ bœ™ p ? ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ˙ . œb . . œb . ™ ˙b ™ œ. œb . œ. œb . ˙™ b˙™ 100 ° ø ø {° & œ™ œ™ œ Œ‰œ™ œ™ œ œ ˙ ∑ of it blest™ E ver- shall™ in™ safe™ ty-˙™ rest.˙™ Œ‰ ∑ & ˙ ¢ ofœ™ œ it™ blestœ™ Eœ™ ver-œ™ shallœ™ inœ™ safe™ ty-˙™ rest.˙™ . œ œ . œ œ. . ? J œ J œ. œb & ˙™ ˙ ˙™ ˙ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ (p)
? ˙ ˙ ˙ ‰ œ ‰ ‰ ‰ ™ ˙b ™ ™ ˙b ™ ™ ˙b ™ . œb . ˙™ b˙™ ˙™ b˙™ ˙™ b˙™ œ. œb . ø ø ø ø ø { 155 27 28 108 127 ° ∑∑ ∑∑∑∑ ° 9 ∑ 3 ∑ 9 ∑ 4 ∑ 9 ¢& ¢&8 4 8 4 8 . j œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ# œ# j œ œ# œ# ? œ. J 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 J J ™ J J 9 J J 3 œ 9 ™ 4 9 mp &8 4 8 4 8 ˙™ ? 9 3 9 4 9 ? ‰ ‰ ˙™ ˙™ 8 ˙™ œ™ 4 ˙™ 8 ˙ œ# 4 w 8 œ. ˙b ™ ˙™ ˙™ ˙™ œ™ ˙™ ™ ™ œ b˙ ˙™ ˙™ ˙™ #œ™ w . ™ ˙™ “‘ 114 {131 { ° ° ∑∑∑9 ∑ 4 ∑ 9 &98 ∑∑∑∑∑∑43 68 ¢& 8 4 8 ¢ œ# œ œ œ œ™ œ™ œ# œ# œ œ œ œ ˙# ™ ? J œ J œ™ 9 j j 4 9 9 J J 3 6 œ. œ œ. œ. œ œ. œ™ & 8 œ œ# œ# œ œ œ œ 4 œ œ# œ 8 &8 4 8 œb œ J œb . œb œ J ‰Œ ‰ f œ J . œb . J . ? ˙™ 9 ˙™ œ™ 4 w 9 ? 9 ˙ œ 3 6 ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ˙™ ˙™ ˙™ 8 4 8 8 ™ ™ 4 ˙™ 8 œb œb œb œb ˙™ ˙™ ˙™ œ™ w ˙™ œ™ œb . . œb . . <>“ ˙™ . œb . . œb . {119 {137 ° &9 ∑ 3 ∑ 9 ∑ 4 ∑ 9 ° ∑∑∑∑∑∑ ¢ 8 4 8 4 8 ¢& . bœ. œ . . 9 j j 3 œ# 9 œ œ# j 4 œ# 9 œ œ bœ. œ. œ œ œ . œ bœ bœ. œ &8 œ# œ# œ œ œ 4 œ 8 J œ œ œ œ œ 4 œ œ 8 & œb œ œb œb œ œ œ ‰Œ ‰ J œb œb œ œ œ œ œ œ J œ. J œb . . J œ. J bœ. J ? 9 3 9 4 9 ? 8 ˙™ œ™ 4 ˙™ 8 œ™ 4 w 8 ‰ œb ‰ ‰ œb ‰ ‰ œb ‰ ‰ œb ‰ ‰ œb ‰ ‰ œb ‰ ˙ œ ˙ ˙™ ...... loco™ ™ ™ ˙™ œ™ w œb . œb . œb . œb . œb . œb . {123 {143 ° ° 9 ∑ ∑ ∑ 4 ∑ 9 & ∑∑∑∑∑∑ ¢&8 4 8 ¢ . . œ. œ . . . œ# œ# œ# œ œ œ œ œ# œ# œ bœ œ œ bœ œb œ. œ . œb œb 9 œ œ# œ œ œ œ ˙™ œ™ 4 œ 9 œ œb . œ œ ‰Œ ‰ J J œb ‰Œ ‰ ∑ & 8 J J œ J J 4 8 & J J ? 9 4 9 8 ˙™ œ™ 4 8 ? ‰ œb ‰ ‰ ‰ ‰ œb ‰ ‰ ‰ œb ‰Œ ‰ œb ‰Œ ‰ ˙ œ ˙™ œ™ ˙# ™ œ™ w . œb . . œb . ™ ™ ˙™ œ™ #˙™ œ™ w œb . œb . œb . œb . bœ..bœ “‘ { 156 { 28 127 ° 9 ∑ 3 ∑ 9 ∑ 4 ∑ 9 ¢&8 4 8 4 8 j #œ #œ œ œ# œ# j œ œ# œ# œ# œ# œ# œ œ œ œ œ# œ œ ˙ œ œ œ œ# œ &98 J J 43 98 ™ 4 98 ? 98 ˙™ œ™ 43 ˙™ 98 ˙ œ# 4 w 98 ˙™ œ™ ˙™ ™ ™ ˙™ #œ™ w {131 ° 9 ∑∑∑∑∑∑3 6 ¢&8 4 8 œ# œ# œ œ# œ œ œ ˙# ™ J . . . . &98 J 43 68 œ œb œ œ œb œ œb œ œ ‰Œ ‰ J œ. J œb . . J œ. J ? 98 ˙™ œ™ 43 68 ‰ œb ‰ ‰ ‰ ‰ œb ‰ ‰ ‰ ˙™ œ™ ˙™ . œb . . œb . ˙™ œb . œb . œb . œb . {137 ° ∑∑∑∑∑∑ ¢& . bœ. œ . . œ œ bœ. œ. œ œ œ . œ bœ bœ. œ & œb œ œb œb œ œ œ ‰Œ ‰ J œb œb œ œ J œ. J œb . . J œ. J bœ. J ? ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . {143 ° ∑∑∑∑∑∑ ¢& . bœ. œ . œ œb . œ œ. . œb . œ œ . œ bœ J œ J œb . œb & J œb J œ ‰Œ ‰ ‰Œ ‰ ∑
? ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰Œ ‰ ‰Œ ‰ œb . œb . œb . œb . œb œb œb . œb . œb . œb . bœ..bœ “‘ { 157 WILLIAM SHAKESPEARE’S A MIDSUMMER NIGHT’S DREAM
PERCUSSION SCORE
1. Magic Flower Theme 2. Mechanicals Music 3. The Bergomask Dance
158 For metallophones, glockenspiels, 1. Magic Flower Theme chime bars, electric guitars, piano, etc.
A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN
compose or improvise a melody using any pitches from the A natural minor scale Melody & 43
1 3 ˙ ˙ & ™4 œ ∑ œ ∑ ™
˙ 2 3 ˙ œ & ™4 ∑ œ ∑ ™
3 3 & ™4 ˙™ ˙™ ™ ˙™ ˙™ 4 3 œ ˙ œ ˙ & ™4 œ ∑ œ ∑ ™
5 3 œ ˙ œ ˙ & ™4 ∑ œ ∑ œ ™
6 ? 3 ™4 ˙™ ˙™ ˙™ ˙™ ™ 5
&
˙ ˙ & ™ œ ∑ œ ∑ ™
˙ ˙ œ & ™ ∑ œ ∑ ™
& ™ ˙™ ˙™ ™ ˙™ ˙™ œ ˙ œ ˙ & ™ œ ∑ œ ∑ ™
œ ˙ œ ˙ & ™ ∑ œ ∑ œ ™
? ™ ™ ™ ˙™ ˙™ ˙™ ˙™ ™
159 4 2. Mechanicals MusicMechanicalsFor multiple drummers/percussionists Music A Midsummer Night's Dream A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN For multiple drummers/percussionists Lynne Plowman
q = 132 (This is a skeleton score: performers can add extra parts
triangle 1 ° / 4 ∑ ∑
medium 2 4 œ œ / 4 ÓŒ‰œ œ ŒŒ‰œ medium 3 4 œ œ ‰ j œ œ œ ‰ j œ / 4 œ™ œ > œ œ™ œ > œ low 4 4 ¢ / 4 œ œ œ œ œ œ œ œ
3 1 ° ¿ / ∑ ÓŒ ∑
2 œ œ / œ ŒŒ‰œ œ ŒÓ Ó Œ ‰ œ 3 œ œ ‰ j œ ŒÓ œ œ ‰ j œ / œ™ œ > œ œ œ™ œ > œ 4 ŒÓ ¢ / œ œ œ œ œ œ œ œ œ
6 1 ° / ∑ ∑ ∑
2 œ œ / œ ŒŒ‰œ œ ŒŒ‰œ œ ŒÓ 3 œ œ ‰ j œ œ œ ‰ j œ ŒÓ / œ™ œ > œ œ™ œ > œ œ 4 ŒÓ ¢ / œ œ œ œ œ œ œ œ œ
© 2015 Lynne Plowman
160 Bergomask Dance 5 3. The BergomaskA Midsummer Dance For Night's multiple Dream drummers/percussionists A MIDSUMMER’S NIGHT’S DREAM LYNNE PLOWMAN For multiple drummers/percussionists Lynne Plowman
q = 144 This is a skeleton score: performers can add extra parts
high ° œ œ œ œ œ œ œ / 4 ∑ ∑∑Œ mf medium / 4 ∑∑∑ ∑
low / 4 ‰ j ‰ j ‰ j ŒÓ ‰ j ‰ j ‰ j ŒÓ ¢ mfœ œ œ œ œ œ œ œ œ œ 5 ° œ œ œ œ œ œ œ œ œ œ œ / Œ Œ Œ Œ Œ ∑
/ ∑ ∑ ∑ ∑
‰ j ‰ j ‰ j ŒÓ ‰ j ‰ j ‰ j ŒÓ ¢ / œ œ œ œ œ œ œ œ œ œ 9 ° / ™ ∑ ∑ ∑∑™
/ ™ œ œœœ œ œœœœœ œ œ œœœ œ œœœœœ œ œ œœœ œ œœœœœ œ œŒÓ ™ f/p
/ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ ŒÓ ™ ¢ f/p 13 ° / ∑∑∑∑∑ œ œ / ∑ Œ œ œ ∑∑∑ mf œ
/ ‰ j‰ j‰ j ŒÓ ‰ j‰ j‰ j ŒÓ ‰ j‰ j‰ j ¢ mfœ œ œ œ œ œ œ œ œ œ œ œ œ œ
© 2015 Lynne Plowman
161 6
18 ° œ œ œ œ œ œ œ œ œ / Œ Œ Œ ∑ ™ ∑ mf
/ ∑ ∑∑™ œ œ œ œ œ œ œ œ œ œ œ f/p ŒÓ ‰ j ‰ j ‰ j ŒÓ / œ œ œ œ œ œ ™ œ œ œ œ ¢ f/p
22 e = e ° 6 / ∑ ∑ ∑ ™ 8 ∑
œ œœœ œœœœœ œ œœœ œœœœœ œŒ Ó 6 œ œ œœœ / œ œ œ œ ™ 8 œ œ
‰ j‰ j‰ j ™ 6 ¢ / œ œ œ œ œ œ œ œ œ œ œ œ ™ 8 œ™ œ™
26 ° œ œ œ / ∑∑43 68 ∑∑ f œ œ œ / œ œ œ œ œ œ œ œ œ œ 43 68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ f pœ œ œ œ
/ 43 68 ¢ œ™ œ™ œ™ œ™ fœ œ œ pœ™ œ™ œ™ œ™
31 ° œ œ œ œ œ œ œ œ / ∑∑43 4 f
3 ŒŒ4 / œ œ œ œ œ œ œ 4 œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f> 3 ŒŒ4 / œ™ œ™ 4 œ 4 œ œ œ œ œ œ œ œ ¢ f>
162 7
35 ° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ / ‰ J ‰ J ‰ J p
/ œ œœœ œ œœœœœ œ ‰ j‰ j‰ j œ œœœ œ œœœœœ œ œ œœœ œ œœœœœ œ pœ œ œ œ
/ ‰ j‰ j‰ j ¢ œ œ œ œ pœ œ œ œ œ œ œ œ œ œ œ œ 39 ° œ œ œ œ œ œ œ œ 6 œ™ œ™ œ™ œ™ / ‰ J ‰ J ‰ J ™8 f 6 > > > > / œ œ œ œ œ œ œ œ œ ‰ j ‰ j ‰ j ™8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ fœ œ œ œ 6 / ‰ j ‰ j ‰ j ™8 ¢ œ œ œ œ fœ œ œ œ œ™ œ™ œ™ œ™ 43 ° œ™ œ™ 3 >œ œ œ 4 œ œ œ œ œ œ 2 œ œ 4 œ œ œ œ œ œ 2 / 4 ™ 4 ‰ J ‰ J 4 4 ‰ J ‰ J 4 ff > > 3 > 4 2 4 2 / œ œ œ œ œ œ 4 œ œ œ ™ 4 œ œ‰œ ‰ œ œ œ 4 œ œ 4 œ œ‰œ ‰ œ œ œ 4 ff J J J J 3 4 ‰ j j 2 4 ‰ j j 2 / œ œ 4 œ œ œ ™ 4 œ œ œ ‰ œ œ œ 4 œ œ 4 œ œ œ ‰ œ œ œ 4 ¢ ™ ™ > ff
48 ° œ œ œ œ œ œ œ œ œ œ œ œ œ >œ / 42 4 ‰ J ‰ J 43 Œ ŒŒ
2 œ œ œ 4 œ œ‰œ ‰ œ œ œ 3 œ œ œ œŒ >œŒ Œ / 4 4 J J 4
/ 42 4 ‰ j ‰ j 43 Œ ŒŒ ¢ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ
163