The GoldenA New Opera Ticket Based on ’s Charlie and the Chocolate Factory

Music by Peter Ash – Libretto by Donald Sturrock Commissioned by American Lyric Theater, Lawrence Edelson, Producing Artistic Director and | 1 Recorded Live at The Atlanta Opera – March 2012 “I’ve heard tell that what you imagine sometimes comes true…” 2 | The Golden Ticket - Roald Dahl the golden ticket

A New Opera Based on Roald Dahl’s Charlie and the Chocolate Factory

Music by Peter Ash Libretto by Donald Sturrock

Commissioned by American Lyric Theater Lawrence Edelson, Producing Artistic Director and Felicity Dahl

World Premiere – Opera Theatre of Saint Louis – June 13, 2010

Recorded Live at The Atlanta Opera – March, 2012 The Orchestra and Chorus of The Atlanta Opera Peter Ash, Conductor

Lead funding for this recording was provided by The Andrew W. Mellon Foundation

The Golden Ticket | 3 Cast

Charlie...... Benjamin P. Wenzelberg /Mr. Know...... Daniel Okulitch Grandma Georgina/Mrs. Gloop...... Kristin Clayton Grandma Josephine/Mrs. Teavee...... Jamie Barton Grandpa Joe...... Keith Jameson Grandpa George/Mr. Beauregard...... Jason Hardy Mike Teavee...... Gerald Thompson Candy Mallow/Squirrel Mistress...... Krista Costin Veruca Salt...... Abigail Nims Lord Salt...... David Kravitz Violet Beauregard...... Ashley Emerson Augustus Gloop...... Andrew Drost

Chorus of Gargoyles, Factory Workers, Townsfolk, Oompa Loompas and Turkish Squirrels

Original stage direction by James Robinson Revival stage direction by Michael Shell Choreographed by Seán Curran Scenery designed by Bruno Schwengl Costumes designed by Martin Pakledinaz Video designed by Greg Emetaz Lighting by Christopher Akerlind

4 | The Golden Ticket The Atlanta Opera Orchestra

Violin Oboe/Oboe d’amore Trombone/Euphonium Peter Ciaschini, Dane Philipsen, Mark McConnell, Concertmaster Principal Principal Helen Kim, Richard Brady, Clarinet/Saxophone Assistant Concertmaster Bass Trombone David Odom, Viola Principal Tuba William Johnston, Donald Strand, John Warren, Principal Principal Bass Clarinet Cello Percussion Jan Baker, Charae Krueger, Michael Cebulski, Alto/Baritone Saxophone Principal Principal Bassoon/Contrabassoon Bass Jeff Kershner Mike Muszynski, Lyn DeRamus, Principal Timpani Principal Chorus of Gargoyles, Factory Workers, Townsfolk, Oompa Loompas John Lawless, Horn and Turkish Squirrels Flute Principal David Bradley, James Zellers, Principal Harp Principal, Original stage direction by James Robinson Susan Brady, Piccolo/Alto Trumpet Revival stage direction by Michael Shell Principal Yvonne Toll, Choreographed by Seán Curran Jeana Melilli, Principal Piano/Celeste/Harpsichord Scenery designed by Bruno Schwengl Piccolo/Alto Michael Spassov Costumes designed by Martin Pakledinaz Hollie Lifshey Kelly Bryant, Video designed by Greg Emetaz Piccolo/Alto/Bass Jonathan Swygert, Personnel Manager Lighting by Christopher Akerlind Trumpet/Flugelhorn Mark McConnell

The Golden Ticket | 5 The Atlanta Opera Chorus

Chorus Master: Walter Huff Chorus Beverly Blouin Megan Mashburn Elizabeth Stuk Michael Jones Rebecca Blouin Brishelle Miller Laurie Tossing Stephen McCool Melissa Fontaine Laura Porlier Chase Davidson Nathan Munson Jennifer Hamilton Rebecca Shipley Michael Gaare Jason Royal Lara Longsworth Amanda Smolek Grant Jones Iván Segovia Oompa Loompas Michael Arens Gabriel Couret Zachary Heath Stuart Schleuse Kyle Barnes C. Augustus Brandon Odom Zachary Brown Godbee Marc Porlier

Soloists Floor Manager...... Gabriel Couret Camera Man...... Nathan Munson Herpes Trout...... Michael Jones Mrs. Trout...... Lara Longsworth Marvin Prune...... Chase Davidson Miranda Grope...... Rebecca Shipley Salt Worker...... Megan Mashburn Oompa Loompa...... Marc Porlier

6 | The Golden Ticket The Golden Ticket | 7 Track List

CD One - Act One (55’48”) Track # 1 Act 1, Scene 1: Outside the Secret Factory (Mr. Know, Charlie, Gargoyles) 5’26” p.28 2 Act 1, Scene 2: Pale Green Blues (Charlie, Grandma Georgina, Grandma 4’59” p.30 Josephine, Grandpa Joe, Grandpa George) 3 Act 1, Scene 3: Countdown to Battle (Mike Teavee, Candy Mallow) 4’28” p.32 4 Act 1, Scene 4: Veruca Loses Her Nut (Veruca Salt, Lord Salt, Factory Workers) 2’46” p.34 5 Act 1, Scene 5: Fit or Fat? (Augustus Gloop, Candy Mallow, Violet Beauregard) 4’00” p.35 6 Act 1, Scene 6: Dreams and Ambitions - Charlie’s Song - 4’30” p,37 “There they are…” (Charlie) 7 Act 1, Scene 6: Interlude - Night Into Dawn 2’51” p.38 8 Act 1, Scene 7: Happy Birthday, Charlie (Grandpa Joe, Grandma Josephine, Grandma 3’32” p.38 Georgina, Grandpa George, Charlie) 9 Act 1, Scene 8: Chocolate Geniuses (Mr. Know, Charlie, Gargoyles) 1’36” p.39 10 Act 1, Scene 8 continued: The Inventing Duet - “Something round…” 2’41” p.40 (Charlie, Mr. Know) 11 Act 1, Scene 9: Veruca’s Ticket (Lord Salt, Veruca Salt, Factory Workers) 3’13” p.41 12 Act 1, Scene 10: Charlie’s Heart Stands Still (Gargoyles) 2’05” p.43 13 Act 1, Scene 11: A Wonka Welcome (Townsfolk, Candy Mallow, 3’52” p.44 The Five Lucky Winners of The Golden Tickets) 14 Act 1, Scene 11 continued: Wonka’s Aria and Act 1 Finale - “Yes, it’s me!” (Willy 9’41” p.47 Wonka, The Five Lucky Winners of The Golden Tickets, Townsfolk, Gargoyles)

8 | The Golden Ticket CD Two - Act Two (61’58”)

1 Act 2, Scene 1: Inside the Secret Factory (Willy Wonka, Charlie, Grandpa Joe, 5’47” p.49 Augustus Gloop, Mrs. Gloop, Violet Beauregard, Mr. Beauregard, Mike Teavee, Mrs. Teavee, Veruca Salt, Lord Salt) 2 Act 2, Scene 1 continued: Gussie Goes Swimming - “Mummy Yummy” 7’57” p.50 (Augustus Gloop, Mrs. Gloop, Willy Wonka, Oompa Loompas) 3 Act 2, Scene 2: Where are we? (Willy Wonka, Charlie, Grandpa Joe, 5’06” p.55 Violet Beauregard, Mr. Beauregard, Mike Teavee, Mrs. Teavee, Veruca Salt, Lord Salt, Oompa Loompas) 4 Act 2, Scene 3: Goodbye Violet - “The Inventing Room” (Willy Wonka, 3’07” p.58 Charlie, Violet Beauregard, Mike Teavee, Veruca Salt, Oompa Loompas) 5 Act 2, Scene 3 continued: “It’s Three-Course-Meal-Gum!” (Willy Wonka, 5’58” p.60 Violet Beauregard, Mr. Beauregard, Charlie, Grandpa Joe, Mike Teavee, Mrs. Teavee, Veruca Salt, Lord Salt, Oompa Loompas) 6 Act 2, Scene 4: Bubblevision (Willy Wonka, Charlie, Grandpa Joe, Mike Teavee, 5’00” p.63 Mrs. Teavee, Veruca Salt, Lord Salt, Oompa Loompas) 7 Act 2, Scene 4 continued: “I want to be demagnified!” (Mike Teavee, Willy Wonka, 6’28” p.65 Mrs. Teavee, Grandpa Joe, Charlie, Veruca Salt, Lord Salt, Oompa Loompas) 8 Act 2, Scene 5: Two Bad Nuts (Willy Wonka, Veruca Salt, Lord Salt, Charlie, 6’03” p.68 Oompa Loompas, Squirrel Mistress, Squirrels) 9 Act 2, Scene 6: Only One Left (Willy Wonka, Charlie, Oompa Loompas) 1’29” p.72 10 Act 2, Scene 7: Up and Out 3’20” p.73 11 Act 2, Scene 7 continued: “I Can Fly!” (Charlie, Willy Wonka) 2’10” p.73 12 Act 2, Scene 8: Here Comes Charlie! (Grandma Georgina, Grandma Josephine, 3’39” p.74 Grandpa Joe, Grandpa George, Willy Wonka, Charlie) 13 Act 2, Scene 9: Charlie’s Chocolate Factory (Willy Wonka, Charlie, Augustus 5’55” p.76 Gloop, Violet Beauregard, Mike Teavee, Veruca Salt, Lord Salt, Grandma Georgina, Grandma Josephine, Grandpa Joe, Grandpa George, Squirrels, Oompa Loompas)

The Golden Ticket | 9 The Golden Ticket From the Page to the Stage

The Golden Ticket, a new opera based on me away. Not only was the music beautiful Roald Dahl’s “Charlie and the Chocolate and theatrical, it ingeniously used many Factory,” was commissioned by American traditional operatic conventions to help portray Lyric Theater (ALT) and Felicity Dahl – but different characters. What a wonderful way getting to its triumphant premiere was far to introduce young audiences to opera! I felt from easy. Lawrence Edelson, Founder and the piece needed further development, but it Producing Artistic Director of ALT, discusses The was exactly the type of piece that ALT should Golden Ticket’s journey from a sparkle in the be championing — both to support gifted eyes of composer Peter Ash and librettist composers and librettists, and to bring new Donald Sturrock, to the world premiere at audiences to opera. Opera Theatre of Saint Louis and recording at Shortly thereafter, I met with both of them The Atlanta Opera. in London. We went through the entire Around the same time ALT was being formed libretto and score, talked very openly about in 2005, an ambitious American composer the challenges of the piece, and discussed and British librettist were sending out a sample where revisions might be appropriate. They recording of excerpts from a new opera introduced me to Roald Dahl’s widow, Liccy, called The Golden Ticket. About a year later, I whose passion for the project further fueled discovered this operatic version of Charlie and my excitement. Liccy made me aware of some the Chocolate Factory while doing research on legal issues surrounding the rights that would OPERA America’s website. While I had never have to be handled carefully, but even those heard of the composer, I certainly had heard challenges could not dissuade me from moving of Charlie and the Chocolate Factory! I was forward. ALT co-commissioned the completion intrigued, and reached out to Peter Ash and of the opera with Liccy, and has had the Donald Sturrock for more information. pleasure of working with Donald and Peter to bring The Golden Ticket from the page to the When I reviewed the draft score and libretto stage. of The Golden Ticket, along with their excerpts CD, I became even more intrigued. Donald On that trip, I learned that the seeds for The had captured Dahl’s fantastic imagination Golden Ticket were planted many years in the libretto, and Peter’s score simply blew earlier. In 1997, Donald, a friend of the Dahl

10 | The Golden Ticket family who had been involved in previous the music. A theater company simply could adaptations of Roald Dahl’s works, had been not provide the right environment for the invited to listen to a demo tape of some songs development and production of a full-scale for a proposed new musical of Charlie and opera. the Chocolate Factory. He asked his friend However, this early workshop provided the and collaborator, Peter, for a second opinion. catalyst for a crucial next step in the opera’s After listening to the CD, Peter’s response was future. Representatives from a small chamber unexpected. “I’d like to have a go at that — orchestra, the Manchester Camerata, had but it needs to be an opera, not a musical!” attended the workshop. They decided to Over the thirteen years leading up to the stage a concert performance of the piece in world-premiere, the piece has faced many 2001. Although advertised as Charlie and the obstacles. The first ones were legal. Roald Dahl Chocolate Factory — An Opera in Concert, had previously sold the stage rights for Charlie many who attended expected to see a staged and the Chocolate Factory, so the rights for an musical version of the famous 1970 movie. operatic adaptation were not initially available. Shortly afterwards, Peter and Donald renamed In addition, writing an opera ‘on spec’ without their opera The Golden Ticket. Based on this the support of a major opera company is concert, Britain’s National Endowment for considered by many to be an exercise in Science, Technology and the Arts awarded futility, but Peter and Donald were passionate Donald and Peter a grant to record twenty- about the project, and committed to making five minutes of excerpts from the opera on a it happen. CD which they then sent out to every opera company in Europe and the United States. Two early advocates for the piece were Sir Trevor Nunn, then Artistic Director of the Opera companies receive unsolicited scores Royal National Theatre in London, and Sue and recordings all the time. I was not terribly Higginson, who ran their studio that developed surprised to learn that their wonderful CD new work. They gave Peter and Donald the received very little attention. Though many opportunity to workshop the skeleton of the companies will produce contemporary operas opera that premiered in June 2010. Despite the once they’ve been proven successful, there are wonderful resources available at the National only a few who are willing to take a risk on a Theatre, classically trained singers had to be new opera — and even fewer willing to take brought in for all of the roles, since members that risk on a work by an emerging composer of the ensemble company could not sing who is not already in the public eye. Though

The Golden Ticket | 11 no traditional opera company was ready to At our 2009 workshop, another important take the opera under its wing, The Golden producer was in attendance: Dennis Hanthorn, Ticket represented so many of the reasons ALT General Director of The Atlanta Opera. The was created. Golden Ticket had captured Dennis’s interest when Peter and Donald sent their excerpts In 2007, ALT held a developmental workshop of CD out in 2005, and I was thrilled when the opera in New York City to look at revisions Dennis reached out to me about bringing to the score and libretto, and to examine the The Golden Ticket to audiences in Atlanta in performance resources that would be necessary 2012. Dennis was also excited by my interest to bring it to life. ALT considered producing the in recording the performances for commercial opera independently, but ultimately decided release, so we began working together on that collaboration with another company would casting the production to not only ensure that be in the best interest of the future of the Atlanta audiences would see truly world-class piece. In early 2008, I reached out to Timothy performances, but also to provide a group of O’Leary and James Robinson - the General singers who we were both immensely proud to and Artistic Directors of Opera Theatre of Saint be able to record. Louis (OTSL) - about the possibility of mounting the world premiere. Opera Theatre was not The Golden Ticket would not have been only excited by the potential in The Golden possible without the passion and commitment Ticket, but had a history of championing new of many different people around the globe. operas. By the summer, OTSL had committed to ALT has been honored to play a role in the project, and ALT put the wheels in motion bringing it to the stage, and grateful to all of for a final developmental workshop in New the companies, artists and donors that saw York City. Jim and the design team came to the potential not only in this wonderful new New York for that workshop in April 2009, and opera, but in a new form of collaboration to OTSL became an incredible advocate for the bring new works to the public. Thank you to piece, securing The Wexford Festival in Ireland everyone who has played a role on this journey. as a second co-producer. The World Premiere of The Golden Ticket took place in Saint Louis in June 2010, followed by the European Premiere Lawrence Edelson in October 2010. At both companies, it was Founder and Producing Artistic Director, particularly gratifying to see so many families American Lyric Theater with children experiencing opera for the first time!

12 | The Golden Ticket The Music of The Golden Ticket

Composer Peter Ash sits down with librettist when the grandparents are asleep and Charlie Donald Sturrock to discuss the musical is dreaming of winning a golden ticket. inspiration behind The Golden Ticket: DONALD DONALD How did you set about composing these How did you respond to the dramatic structure tableaux? of the piece? PETER PETER Well, the libretto made it pretty clear to me When I looked at the libretto I realized that that this was the way it had to be. There the First Act needed to be a complete shape, are four different scenes where, one by like a spring winding up, until Wonka arrives, one, each of the grotesque children gets where the spring must uncoil spectacularly. So their comeuppance. Each of these scenes Act I is made up of short scenes, which tumble is in a different part of the factory and is continuously into one another, increasing the concluded by a chorus of Oompa Loompas, tension until Charlie finally wins his ticket. moralizing about the vices of the individual The finale of Act I, “A Wonka Welcome,” is child concerned. It seemed to me a bit like about the release of all that pent - up energy. vaudeville. I saw a curtain coming down at the In a way, it is also a prelude to Act II, which is end of each scene and the Oompa Loompas largely a series of self-contained tableaux, until out in front of it pontificating to the audience. Charlie and Wonka enter the glass elevator. Each tableau has a different quality and is Then the musical material looks back towards orchestrated differently. The chocolate river in Act I. I wanted to introduce much of this II.1 is rich, dark and luscious, with low brass material - the themes, motifs, and rhythms - instruments swooping up and down in natural before their dramatic reason was completely harmonics. The Inventing Room is weird, zany apparent. So, for example, the grandparents and slightly dangerous. And because finally it is music at the end of Act II, when they reflect on about Violet being juiced, there is an emphasis the fact that Charlie is a good , is actually on short notes and plucked and struck first heard in the instrumental interlude in Act I instruments. The TV Room was tricky. I wanted

The Golden Ticket | 13 a contrast to the earlier scene - something blows up into an enormous blueberry. As more chaste and calmer than is there in the her consternation gets more intense, flutes original story. You brought bubbles into the accompany her, exaggerating her discomfort, mix. Wonka’s bubble aria is one of my favorite much as in Donizetti’s Lucia di Lammermooor, things in the piece. It’s reflective, philosophical the flute enhances Lucia’s sense of melancholy. and when Charlie interrupts, it’s the first time Structurally, all of Violet’s music moves forward we see clearly that man and boy have a similar too until the moment where she is juiced creative imagination. The Turkish scene is the and then it all moves backwards at immense most raucous and chaotic of the tableaux. It speed. There are countless other examples of uses eighteenth-century Turkish janissary music things like this I could mention. I don’t expect as well as arabesque heterophony. I’ve spent the average listener to be consciously aware a lot of time working in Turkey and I love the of all or any of them, but they are a bit of fun culture there. It was fun to be able to include and I hope they all help create the appropriate some of that in the opera. The Train Chorus dramatic tension and color that the specific “moral” is inspired by the rhythms of the scene requires. scherzo of a Bruckner symphony. DONALD DONALD How did you go about assigning voices for the Tell us a bit more about some of these other children in the opera? motifs and themes. PETER PETER One of the things I love about opera is that Some are pretty obvious. Others less so. Some it is a complex and virtuosic art form. It’s characters are associated with an individual about people doing things to extremes and instrument. Charlie, for example, has a tune Charlie and the Chocolate Factory is a book that is usually heard on the oboe d’amore, a bristling with extremes. I think we were both in type of oboe with a particularly liquid beauty of agreement from the outset that the grotesque tone. Veruca, on the other hand, is associated children - Augustus, Violet, Mike and Veruca with a sexy baritone saxophone. By contrast, - were best served by having extreme adult Wonka has his own “wonky” rhythm - which operatic voices singing their music. I thought is in five. immediately of matching different voice types to the characters in the story. I knew Augustus Violet is different again. She is a coloratura Gloop had to be a big, golden Italian and soprano. She has a scene in Act II where she that Mike Teavee had to be a counter-tenor.

14 | The Golden Ticket Only seconds later, I knew Violet Beauregard would have practical advantages in that all had to be a coloratura soprano and Veruca a the voices would have a similar adult weight sassy mezzo. That was absolutely instinctive. and we wouldn’t need any amplification for The very thought of these virtuosic adult Charlie - something I rather dislike. But the singers playing as kids made me smile! disadvantages of an adult seemed to me to outnumber the advantages. Charlie is the DONALD voice of purity in the piece. He is a real child as What in particular did you have in mind? opposed to a cartoon character. An unbroken boy’s voice seemed to communicate that PETER perfectly. I wanted to write something that would show off the great qualities that each of those voices DONALD possesses, but which would also very gently Some people have also spotted references to make fun of them at the same time. In Act other composers in the piece. Was that also II, for example, Augustus sings a love aria intentional? not to a soprano, but to the chocolate river. That gag is pretty obvious. Others are a bit PETER more obscure. Your libretto had Mike Teavee For the most part, yes. Almost every part of stuttering and I thought I could achieve that the opera has some sort of parallel or model using stile concitato, the fast repeating of the among the great operas of the past. The same note which hadn’t been used much Finale of Act I for example is loosely based since the 17th century. It was a favorite device in structure and mood on Act II of Puccini’s of Monteverdi’s. The effect was originally La Boh`eme. In Act II, Wonka’s bubble aria intended to be expressive. I thought it could is self-consciously structured like a Handel also be comic. Of course, there’s the parody of aria. There are bits and pieces of Mozart and Lucia’s mad-scene when Violet is blowing up Janáˇcek everywhere. And, as you noticed, the like a blueberry, and Veruca is a mezzo-soprano chocolate river is more than likely a tributary of who wants everything – including high notes Wagner’s River Rhine! like a soprano! DONALD I also wanted a boy treble to sing Charlie. For And, finally, who do you feel the opera is a moment, I considered having a mezzo to intended for? sing the part, as in Ravel’s L’Enfant et Sortileges - which is one of my favorite pieces. This

The Golden Ticket | 15 PETER and colorful. There was always something to It may sound optimistic, but I really hope watch - and the kids all loved it. The fact that the opera has something for everyone of all the music was sometimes challenging and ages who are still young at heart. One of the they didn’t get any of the more sophisticated wonderful things about all of the performances musical jokes wasn’t an issue at all. They we’ve had so far was that there have been just responded naturally to the storytelling. so many children in the audience. For many The music carried them along in a wave. It it has been their first experience of opera. was wonderful to hear so much enthusiastic James Robinson’s production was big, bold laughter echoing around the theater.

16 | The Golden Ticket Biographies

Peter Ash Night was first presented by the Los Angeles Composer/Conductor Children’s Chorus in 2007. He is developing Peter Ash was born in Iowa his third opera project. Ash resides in London and studied at the Guildhall where he is Artistic Director of the London School of Music in London. Schools Symphony Orchestra. He has led the As a conductor, he has orchestra for more than 10 years and has worked with many orchestras in Europe and taken it on tour all over Europe, as well as to America, including the Royal Philharmonic Turkey and Japan. Orchestra, London Sinfonietta, Scottish Chamber Orchestra, St. Petersburg Camerata, Donald Sturrock Kammerphilharmonie Berlin, Estonian State Librettist Symphony and the National Orchestra of Donald Sturrock was born in Latvia. Opera work includes Los Angeles 1961 and grew up in England Opera, Lisbon Opera, Istanbul State Opera and South America. After and English Bach Festival. His taste is studying Modern History at eclectic and ranges from baroque opera to Oxford University, he joined BBC Television’s contemporary music. The Hungarian Cultural Music and Arts Department, where he Centre recently awarded him their Bartók worked as both a producer and director prize for his performances of the composer’s from 1983 to 1992. After leaving the BBC, music and in particular for a performance of he wrote and directed “The Graham Greene Duke Bluebeard’s Castle. Career highlights Trilogy” for BBC2’s ARENA series. Sturrock include the world premiere of Tobias Picker’s also directed a four-part series for the BBC, opera Fantastic Mr. Fox for the Los Angeles “Plácido Domingo’s Tales at the Opera,” Opera, several premieres at the Salzburg and two award-winning television series for Festival with Scharoun Ensemble (members IMG Artists and Idéale Audience, “The Art of of the Berlin Philharmonic), three Haydn Singing” and the Grammy® Award-nominated operas at Garsington Opera (UK), and The “The Art of Piano,” as well as, “An Awfully Minpins – his own arrangement of orchestral Big Adventure” and “The Human Face” music by Sibelius in St. Petersburg. He also (with John Cleese). In collaboration with an has composed two operas. Keepers of the international team of composers, including

The Golden Ticket | 17 Paul Patterson, Eleanor Alberga, Georgs achieved fame as a writer of adult fiction. His Pelecis, Tobias Picker, Vladimir Tarnopolski, early stories were often existential reflections Peter Ash, and Kurt Schwertsik, Sturrock on the experience of war and flying, but later has adapted and directed a series of musical he became known as a fabricator of elegant, versions of Roald Dahl’s children’s stories. subversive plot-driven tales, earning him the In 1995, he wrote and directed a TV film soubriquet ‘Master of the Macabre’. version of “Little Red Riding Hood” with In 1953, he married the American actress Danny DeVito, Ian Holm, and Julie Walters , moving back to England in with choreography by Matthew Bourne. It 1960 where he settled in Buckinghamshire was broadcast to a UK television audience of at Gipsy House. It was here, in a small, more than 6 million viewers. Sturrock is also dingy hut at the bottom of the garden, an accomplished stage director. In 1998, he that he began to write children’s fiction. A directed the world premiere of Tobias Picker’s visitor recalled it thus: “A dirty plastic curtain opera Fantastic Mr. Fox. In 2006, Sturrock was covered the window. In the centre stood a commissioned to write the official biography faded wing-back armchair, inherited from of Roald Dahl. Storyteller was published by his mother, and it was here that Dahl sat, his Simon and Schuster in the fall of 2010. feet propped up on a chest, his legs covered by a tartan rug, supporting on his knees a thick roll of corrugated paper upon which Roald Dahl was propped his writing board. Photographs, Roald Dahl is one of the world’s drawings and other mementoes were pinned most popular children’s authors. to the walls, while a table on his right Born in Wales in 1916 of was covered with a collection of favourite Norwegian parents, he had an curiosities such as one of his own arthritic unhappy childhood. His father hip bones, and a remarkably heavy ball made died when he was four and he disliked his from the discarded silver paper of numerous English school education intensely. He could chocolate bars consumed during his youth.” not get away quickly enough, going to work This was the environment in which he created for Shell in East Africa, before joining the such extraordinary classics as James and the Royal Air Force, where he served as a fighter Giant Peach, Fantastic Mr. Fox, , pilot in Greece and Palestine. He began The BFG, and most popular of them writing in 1942, when he was posted to all, Charlie and the Chocolate Factory. The Washington as an Assistant Air Attaché, after Chinese edition of Charlie and the Chocolate being invalided out of the RAF. There he first

18 | The Golden Ticket Factory was the biggest printing of any book bass-baritone that he wields with power and ever – two million copies! sensitivity” (NJ Star-Ledger). Mr. Okulitch opened the 2010-2011 season with his return Roald Dahl died in 1990 at the age of 74. to the Los Angeles Opera as Figaro in Mozart’s He was working to the end. Since his death, Le nozze di Figaro. He then made his Theatre his books have more than maintained their Wielki in Warsaw debut as Mozart’s Figaro, popularity. Total sales of the UK editions are performed Beethoven’s 9th Symphony with around 37 million, with more than 1 million the Vancouver Symphony, returned to Opera copies sold every year. Sales have grown Hamilton for its Opera Gala and then made particularly strongly in the United States, his New York recital debut at Weill Hall. In the where Dahl books are now achieving the summer of 2011, he made his Santa Fe Opera bestselling status that curiously proved elusive debut as Abdul in Menotti’s The Last Savage. during the author’s lifetime. Dahl believed Recent engagements include his return to strongly in the importance of literacy. He Teatro alla Scala as Swallow in Peter Grimes, a once said: “I have a passion for teaching kids return to Santa Fe Opera as Mozart’s Count, to become readers, to become comfortable Don Giovanni with Vancouver Opera and with a book, not daunted. Books shouldn’t Portland Opera, and Haydn’s The Creation in be daunting, they should be funny, exciting Vancouver. Engagements in the 2009-2010 and wonderful; and learning to be a reader season included his gives a terrific advantage. If you are going to debut and his Palm Beach Opera debut in Don get anywhere in life you have to read a lot of Giovanni, his return to Vancouver Opera as books.” Mozart’s Figaro, Opera as Frederick Bhaer in Little Women and his Opera Theatre Daniel Okulitch of Saint Louis debut as Willy Wonka in the Willy Wonka/Mr. Know world premiere of The Golden Ticket. Canadian bass-baritone Daniel Okulitch has performed in some Benjamin P. Wenzelberg of the most prestigious opera Charlie companies and orchestras Benjamin P. Wenzelberg recently throughout Europe and North America, performed the role of Amahl in including Paris, La Scala, Teatro Colón, Dallas, Amahl and the Night Visitors at Washington, and Los Angeles. He is lauded Avery Fisher Hall with the Little as much for his powerful stage presence and Orchestra Society and was a featured soloist dramatic abilities as for his “focused, resonant in Measure for Measure at Shakespeare in

The Golden Ticket | 19 the Park with the Public Theater. He was a sang Street Scene with Opera Theatre of soloist in Mendelssohn’s Elijah with the New Saint Louis and Don Giovanni for Festival York Philharmonic under the baton of Alan Opera of Walnut Creek. Ms. Clayton made Gilbert, and was also a soloist in Mary Shelley her 1994 debut with New York City Opera VOX. Benjamin has singing in the world premiere of Susa’s The appeared in numerous opera productions with Dangerous Liaisons, I Pagliacci, Ariadne auf the as well as concert Naxos, Three Decembers, Das Rheingold, performances with Chelsea Opera. He studies Herodiade (recorded and released by Sony composition at the pre-college division of the Classical). She has sung in productions of Juilliard School, is a jazz piano scholarship La bohème, La traviata and La rondine with student at the 92nd Street Y School of the Chautauqua Opera and Don Pasquale, Music in New York, and has achieved high Faust and La tragédie de Carmen with Festival honors for classical piano performance at Opera in Walnut Creek. As a member of the Princeton Piano Festival. Benjamin has San Francisco Opera’s Merola Program and received awards for his compositions and, Western Opera Theater, she sang Rosalinda in 2011, made his conducting debut at the in Die Fledermaus, as well as title roles in Crested Butte, [Colo.] Performing Arts Center. Zaïde, Suor Angelica, Le nozze di Figaro, Carmen, L’incoronazione di Poppea, Louise, Kristin Clayton and Rusalka. Ms. Clayton is featured on a Grandma Georgina / recording of songs by American composer Mrs. Gloop titled The Faces of Love (RCA- American lyric soprano Kristin Red Seal), and has performed with the San Clayton created a sensation Francisco Symphony, the Sarasota Orchestra, when she sang the world the Oakland East Bay Symphony and the San premiere of Jake Heggie and Terrence Mateo Masterworks Chorale. McNally’s At the Statue of Venus for the grand opening of Denver’s Caulkins Opera Jamie Barton House. This performance is a reprise of the Grandma Josephine / role of Grandma Georgina/ Mrs. Gloop, Mrs. Teavee which she premiered with Opera Theatre A winner of the 2007 Metro- of Saint Louis in 2010. Most recently, Ms. politan Opera National Council Clayton created the role of Beatrice in Auditions and a Grammy® Heggie’s Three Decembers with the Houston nominee, American mezzo-soprano Jamie Grand Opera and the San Francisco Opera,

20 | The Golden Ticket Barton has been described by Opera News as Keith Jameson “a rising star” with a “sumptuous voice.” Ms. Grandpa Joe Barton is a recent graduate of the Houston Tenor Keith Jameson regularly Grand Opera Studio. She recently debuted at appears on the major opera the Lyric Opera of Chicago in productions of stages throughout the United Les contes d’Hoffmann (voice of the Mother), States. He has been heard Boris Godunov (Nurse), and Ariadne auf Naxos at the Metropolitan Opera, Lyric Opera of (Dryade), followed by 2nd Norn in Chicago, Los Angeles Opera, New York City Opera, Dallas Opera and Santa Fe Opera. Götterdämmerung with the Bayerische He recently returned to Los Angeles Opera Staatsoper. Ms. Barton returned to record as Triquet in Eugene Onegin and continued Scarlatti’s La Dirindina with Ars Lyrica in his long relationship with Boston Baroque Houston. Ms. Barton has performed Second in performances of Haydn’s Creation, which Lady in with the Metropolitan was recorded for commercial release. He Opera, and made her debut at the Bayerische returned to Boston Baroque later in the Staatsoper as Mère Marie in Dialogues des season for performances of Handel’s Messiah Carmélites. She made her debut with the and made his debut with Arizona Opera as Santa Fe Opera in productions of Faust and Goro in Madama Butterfly. Mr. Jameson has Gian Carlo Menotti’s The Last Savage. Concert received critical acclaim for his performances appearances include Domenico Scarlatti’s rarely of the Novice in Billy Budd at the Santa Fe performed comic intermezzo La Dirindina with Opera, and The Metropolitan Opera. At the Ars Lyrica (Music of the Baroque), Mozart’s Metropolitan Opera he has also been heard Requiem with Milwaukee Symphony Orchestra as Remendado in Carmen, as Gherardo in under Edo de Waart, Schubert’s Mass No. 6 Gianni Schicci, and as a Footman in War with San Diego Symphony, and Beethoven’s and Peace for his company debut. At the Lyric Opera of Chicago he has been heard Symphony No. 9 with the Omaha Symphony. as Flute in A Midsummer Night’s Dream, She also appeared as a guest soloist in the Triquet in Eugene Onegin, Beppe in Pagliacci, Marilyn Horne Foundation Gala at Carnegie and Basilio in Le nozze di Figaro. Other Hall. Future engagements include returns to recent engagements of note include Pietro in the Bayerische Staatsoper, and Houston Grand Frank Schreker’s Die Gezeichneten, Valetto Opera in leading roles. in L’incoronazione di Poppea, and Goro, all with Los Angeles Opera; and Remendado, Scaramuccio in Ariadne auf Naxos, Bob Boles

The Golden Ticket | 21 in Peter Grimes, and the Novice with Santa Fe recently seen in recital under the auspices of Opera. He is thrilled to return to The Golden the Marilyn Horne Foundation, and in concert Ticket to sing Grandpa Joe, a role he created for Verdi’s Requiem in Prague and Haydn’s at American Lyric Theater during the opera’s Creation in Montreal with the Berkshire developmental workshops. Choral Festival, and for Stravinsky’s Les noces with the New York City Ballet and the Los Jason Hardy Angeles Philharmonic. Grandpa George / Mr. Beauregard Gerald Thompson Jason Hardy recently returned Mike Teavee to New York City Opera as Gerald Thompson began the Leporello in a highly acclaimed 2011-12 season with a return to production of Don Giovanni. In the 2011-12 the Metropolitan Opera for the season, Jason once again performed Figaro role of Bertarido in Rodelinda in Le nozze di Figaro with Michigan Opera (cover) and later traveled to Chicago Opera Theater. He made his debut with Madison Theater for Teseo. He rounded out the Opera as Figaro in Le nozze di Figaro, season with his return to Europe for revival returned to The Atlanta Opera as Don Alfonso performances in Carl Heinrich Graun’s in Così fan tutte, and sang Basilio in Il barbiere Montezuma at the Sanssousi Festival in di Siviglia with the Bar Harbor Music Festival. Potsdam. Recent engagements included his In concert he was seen with the Richmond debut at Pacific Opera Victoria as Bertarido. Symphony for Handel’s Messiah, Bach’s Mass He returned to New York City Opera in the in B minor with the Atlanta Sacred Chorale, role of Hegai in Esther, and made his Royal Mozart’s Requiem and Bach’s Cantata #106 Opera House, Covent Garden, debut in the with the Handel Choir of Baltimore. Mr. role of The Dog in The Cunning Little Vixen, Hardy’s most recent operatic engagements under the baton of Charles Mackerras. include the title role in Le nozze di Figaro with Previously, Mr. Thompson made his Lyric Opera Cleveland, Opera Omaha, and Opera Opera Chicago debut in Giulio Cesare under Birmingham, the Speaker in Die Zauberflöte the baton of Emmanuelle Haïm, and appeared with The Atlanta Opera, Cadmus and Somnus at Glimmerglass Opera Festival in the role of in Semele with Florentine Opera, a return Tolomeo. At Portland Opera, he sang Unulfo to Connecticut Opera as Leporello in their in Rodelinda and Endimione in La Calisto. His production of Don Giovanni, and Colline in role of Medoro in Orlando in Moscow was La bohème with the Nashville Opera. He was one of the first public appearances in Russia

22 | The Golden Ticket by a countertenor. In April 2007, Thompson Ms. Costin was selected by the International made a double-barrelled New York debut Festival Ensemble Bachakademie Stuttgart performing with both New York City Opera as to join the chorus for Britten’s War Requiem Guido in Flavio and the Metropolitan Opera as under the baton of Helmuth Rilling. Tolomeo in Giulio Cesare. In 2005, he was the recipient of the prestigious Adler Fellowship Abigail Nims at San Francisco Opera (SFO), and made Veruca Salt his debut as Prince Go-Go in the American Abigail Nims’ 2011-12 premiere of Ligeti’s Le Grand Macabre. engagements included Handel’s This success led to further appearances at Messiah with Masterwork SFO as Unulfo and Prince Orlofsky in Die Chorus; Octavian in Der Fledermaus. He reprised the role of Unulfo Rosenkavalier with Quad City Symphony for his European debut with Opera Barroca in Orchestra; and a return to the roster of New Bilbao, Spain. York City Opera. Her 2010-11 season included her debut with Wexford Festival Opera as Krista Costin Veruca Salt, a role she created at the opera’s Candy Mallow / workshop with American Lyric Theater; Squirrelmistress Despina in Così fan tutte with Palm Beach Mezzo-soprano Krista Costin Opera; Bach’s Mass in B Minor with the San recently created the role of Francisco Symphony; Haydn’s Harmoniemesse Agostina Segatori in the world with the St. Paul Chamber Orchestra; Mozart’s premiere of Vincent by Bernard Rands at Requiem with Quad City Symphony Orchestra; Indiana University Opera Theatre, conducted Handel’s Messiah with the Providence Singers. by Arthur Fagen. Other Indiana University Ms. Nims also returned to the New York credits include Cendrillon (L’esprit six) and Philharmonic for its presentation of Janáˇcek’s partial roles in The Consul (Secretary), Mignon The Cunning Little Vixen. Other highlights (Mignon), Dido and Aeneas (The Sorceress), include Lazuli in L’étoile in her New York and Giulio Cesare (Cornelia). While pursuing City Opera debut; Stravinsky’s Pulcinella undergraduate studies at Augsburg College and Crumb’s Night of the Four Moons in Minneapolis, Minn., Ms. Costin joined the with St. Paul Chamber Orchestra; Messiah Minnesota Opera chorus for the 2007-2008 with New Choral Society; Zerlina in Don season, appearing in Roméo et Juliette and Giovanni with Opera New Jersey; Despina the North American premiere of The Fortunes in Così fan tutte with Opera Grand Rapids; of King Croesus. In the summer of 2007, Cherubino in Le nozze di Figaro and Meg in

The Golden Ticket | 23 Little Women, both with Opera Delaware; Symphony Orchestra; the Provost Marshall and Hermia in A Midsummer Night’s Dream with Gold Merchant in Hindemith’s Cardillac with Princeton Festival; Zefka in Janáˇcek’s The Opera Boston; and the roles of Dr. Grenvil in Diary of One Who Disappeared with Gotham La traviata and Mr. Kofner in The Consul with Chamber Opera; singing as soloist in Mahler’s The Glimmerglass Festival. He originally created Symphony No. 2 at Teatro Municipal de the role of Lord Salt during American Lyric Santiago (Chile); Mozart’s Vespare solennes de Theater’s 2009 workshop of The Golden Ticket, confessore and Michael Haydn’s Requiem with and was honored to sing the role in the world Masterwork Chorus. premiere at Opera Theatre of Saint Louis.

David Kravitz Ashley Emerson Lord Salt Violet Beauregard Fast-rising soprano Ashley In autumn of 2011, Mr. Kravitz Emerson has been praised made his debut with Florentine for her beautiful singing and Opera as Ping in Turandot, and her charismatic personality appeared with The Washington onstage. A graduate of the Metropolitan Chorus for Wachner’s Come My Dark Eyed One Opera’s prestigious Lindemann Young Artist and Mozart’s Mass in C Minor. He continued Development Program, Ms. Emerson has the season as Melchior in Amahl and the Night appeared at the Met in productions of Le Visitors with The Little Orchestra Society at nozze di Figaro, Macbeth, La rondine, Il Avery Fisher Hall; Dr. Falke in Die Fledermaus tabarro, and Die Zauberflöte. She appeared with Opera Memphis; and Cosimo in John at the Met as the Dew Fairy in Hänsel und Musto’s The Inspector with Boston Lyric Opera. Gretel and as a Quartet Singer in the world Future seasons will include an appearance premiere of The Enchanted Island. Other with The English Concert, under the baton of recent performances include the title role Harry Bicket, and a return to Opera Theatre of in the American premiere of Unsuk Chin’s Saint Louis. Recent highlights for the baritone Alice in Wonderland for Opera Theatre of St. include the role of the United Nations in world Louis, where she won high acclaim for her premiere performances of Tod Machover’s performances as Marie in The Daughter of the Death and the Powers at Opéra de Monte- Regiment. She made her company debut with Carlo, with subsequent productions at Chicago Pittsburgh Opera as Blonde in The Abduction Opera Theater and the American Repertory from the Seraglio, and finished the season Theater in Boston; Handel’s Messiah with in her first performances as Adina in L’elisir The Philadelphia Orchestra and Baltimore d’amore with Opera North.

24 | The Golden Ticket Recent performances include Blonde with Walter Huff the Boston Symphony Orchestra at the Chorus Master Tanglewood Festival under the baton of Walter Huff has been Chorus Johannes Debus, Flora in The Turn of the Screw Master for The Atlanta Opera with Los Angeles Opera and James Conlon, for 23 years. Mr. Huff studied Young in the world premiere of Amelia piano with Sarah Martin, with , Rosina in Il barbiere di Peter Takacs and Lillian Freundlich. He Siviglia with Opera Grand Rapids, and Marie has performed with singers throughout with PORTopera. On the concert stage she has Europe and the United States and served been heard at the Missouri Chamber Music as coach with the Peabody Opera Theatre, Festival and the White Mountain Musical Arts’ Washington National Opera, and Baltimore Bach Festival. Opera Company. Mr. Huff has performed in Andrew Drost master classes given by renowned singers and Augustus Gloop pianists such as Sir Peter Pears, Licia Albanese, Tenor Andrew Drost made his Eileen Farrell, Dalton Baldwin, Leon Fleisher, Broadway debut in the cast of and Elly Ameling. In 1984, he received The Phantom of the Opera. He Tanglewood’s C.D. Jackson Master Award for created the role of Augustus Excellence, presented by Seiji Ozawa and the Gloop at American Lyric Theater during the Boston Symphony Orchestra. He has been developmental workshops of The Golden musical director for The Atlanta Opera Studio, Ticket in 2007 and 2009, and was featured in Georgia State University Opera, and Actor’s the world premiere at Opera Theatre of Saint Express. Also, Mr. Huff was one of four Louis in 2010. In 2011, he appeared as Syme in chosen for the first Loridans Lorin Maazel’s opera 1984 at the Palau de Les Arts Awards, given to Atlanta artists who have Arts in Valencia, Spain, with Maestro Maazel made exceptional contributions to the arts life conducting. With New York City Opera, he of Atlanta over a long period of time. In 2008, has appeared as Rodrigo in La donna del Lago, The Atlanta Opera Chorus under Mr. Huff’s Belfiore in Il viaggio a Reims, Pirelli in Sweeney direction sang critically acclaimed performances Todd, and Victorin in Die Tote Stadt. He has of Porgy and Bess at Opéra-Comique in Paris also performed the roles of Count Liebenskof and on tour in Granada, Normandy, and in Il viaggio a Reims at the Rossini Festival, Luxembourg. Last spring, Mr. Huff served Pesaro, Italy; Prunier in La rondine, Sarasota as Chorus Master for Faust and Der Opera; and in the Bernstein on Broadway Rosenkavalier with San Diego Opera. Concert at Caramoor International Music Festival.

The Golden Ticket | 25 26 | The Golden Ticket Based in New York City, American Lyric for operatic writers. The CLDP is a Theater (ALT) was founded in 2005 tuition free initiative for emerging by Lawrence Edelson to build a new operatic composers and librettists, body of operatic repertoire for new selected through an open, competitive audiences by nurturing composers application process. The program and librettists, developing sustainable includes a core curriculum of classroom artistic collaborations, and contributing training and hands-on workshops new works to the national canon. At with some of the country’s leading the heart of all of ALT’s programs is working artists, including composer/ the Composer Librettist Development librettist Mark Adamo, composers Program (CLDP), the only full-time Robert Beaser and Anthony Davis, mentorship initiative for emerging librettists Mark Campbell and Michael operatic writers in the United States. Korie, and dramaturg Cori Ellison. In Almost every opera company in the addition to the CLDP, ALT commissions country has a Young Artist Program and develops new operas with the to mentor emerging singers, and over specific goal of developing repertoire the past 25 years, these programs to attract new audiences to opera. ALT have proven immensely successful at has multiple new works in development, improving both the artistic level and ranging from one-act chamber operas the career success of American singers to full-length, large-scale productions. around the globe. ALT is dedicated For additional information please visit to providing comparable mentorship www.altnyc.org

The Golden Ticket | 27 The Golden Ticket

CD 1 - ACT ONE TRACK 1 I.1 OUTSIDE THE SECRET FACTORY MR. KNOW goes to the poster and takes out An early winter evening. The curtain rises to a pen. reveal a deserted side-street in front of a high stone wall. The wall is reminiscent of a great GARGOYLES medieval Gothic cathedral and is surmounted No snozzwangers! No hornswogglers! by strange GARGOYLES, their faces by turn No whangdoodles! Please, pretty please, mischievous and also potentially sinister. Built No children! into one of the wall’s buttresses is a tiny for- gotten chocolate shop. On its dusty window MR. KNOW crosses out the word ‘two’ and A. KNOW CONFECTIONER is inscribed ec- writes ‘three’ over the top of it. centrically in worn out Victorian lettering. On a newspaper stand outside the shop a poster GARGOYLES reads, ‘Two Golden Tickets Won!’ (worried) Uh-oh! GARGOYLES Oompa Loompa! Oompa Loompa! Shaking his head, MR. KNOW re-enters the (suddenly animated) shop. As he does so, the factory bursts into Ha! Ha! Ha! frenzied life. Conducted and cued by the GARGOYLES, colored smoke pours from MR. KNOW, an old man with a mop of grey chimneys and there is a ferocious whirring hair, wearing thick glasses, emerges from the and grinding. shop’s battered wooden door. He seems quite oblivious to the singing statues. GARGOYLES Ha! Ha! Ha! GARGOYLES (looking down at MR. KNOW) CHARLIE BUCKET, a thin boy aged about nine Ha! Ha! Ha! Uh-oh! years old, enters. He is shivering with cold.

28 | The Golden Ticket He reads the sign and peers in through the CHARLIE turns back to MR. KNOW. As he does sweetshop window. He too is oblivious to the so, the GARGOYLES become animated again. singing of the GARGOYLES. GARGOYLES GARGOYLES (to themselves) (looking at CHARLIE) Ha! Ha! Ha! Uh-oh! Oompa Loompa! Who is this strange boy? CHARLIE Who knows where he goes? (to MR. KNOW) Why is Mr. Wonka going to open it now? MR. KNOW re-emerges from the shop. MR. KNOW CHARLIE I don’t know. Perhaps it’s just as he says. Mr. Know. Who’s won the third ticket? CHARLIE MR. KNOW That he wants to give five lucky children the I don’t know. They’ll be on television tonight, chance to visit the factory? I guess. MR. KNOW GARGOYLES Perhaps... Charlie, why do you ask so many (to each other) questions? Who is this strange boy? CHARLIE CHARLIE (hesitating) (turning to look at the factory wall) Because tomorrow I might win a golden ticket. Mr. Know, who works in Willy Wonka’s factory? MR. KNOW As CHARLIE turns, the GARGOYLES freeze. I’ll tell you more tomorrow, then. Don’t be late home. MR. KNOW I don’t know. It’s a mystery. CHARLIE looks wistfully back for a moment before No-one ever comes out. And nobody ever dashing offstage. Smiling, MR. KNOW returns to goes in. his shop and closes the door behind him.

The Golden Ticket | 29 GARGOYLES grandparents with great affection then pulls Oompa Loompa! out a cabbage from his school bag. He puts it on a chopping board and starts to cut it. TRACK 2 I.2 PALE GREEN BLUES GRANDPA GEORGE A small, cold room in a small, cold house, on the (asleep) outskirts of a wintry city. One door leads onto Sausage Pot... the street another to a small bedroom. On the CHARLIE cuts up some cabbage and adds it broken-down stove, a huge pot of simmering to the soup pot. He takes off his coat, thinks cabbage-soup. Its foul smell wafts through the about undoing his scarf, then shivers with theater. CHARLIE’S GRANDPARENTS, GRANDPA cold, and decides against it. GRANDPA JOE JOE, GRANDMA JOSEPHINE, GRANDPA GEORGE yawns. CHARLIE goes over to him. and GRANDMA GEORGINA are asleep in the same bed. The snoring grandparents are dream- CHARLIE ing of food. (whispering) Grandpa Joe! Grandpa Joe! GRANDPARENTS (asleep) ALL Mmwahm! Mmwahm! (asleep) Chocolate! GRANDMA JOSEPHINE (asleep) GRANDPA JOE Honey Bun..... (waking up) Charlie.... How was school? GRANDPA JOE (asleep) CHARLIE Butter Muffin.... Grandpa Joe, someone won the third ticket.

GRANDMA GEORGINA GRANDPA JOE (asleep) Oh, that’s all right. Still two more chances, Sugar Puff... Charlie.

CHARLIE enters. He gazes at his sleeping CHARLIE Do you really think I might win one?

30 | The Golden Ticket GRANDPA JOE CHARLIE Luck’s bound to come your way sooner or The one day each year I get to eat chocolate. later. Just remember to take your chance when it does... GRANDPA GEORGE (emerging from the blankets) CHARLIE Did someone say, chocolate? I heard it! (looking round the bare hovel) Grandpa Joe, were you ever lucky? GRANDMA JOSEPHINE/ GRANDMA GEORGINA GRANDPA JOE Creamy, crunchy, Wonka chocolate... Of course... Look at me now. A roof over my head. A nice warm bed. GRANDPA JOE A loving wife. Yes. But not for you. For Charlie. And the most wonderful grandson in the And not until tomorrow. For now it’s just... world... To make our dinner. GRANDPA GEORGE/ GRANDMA JOSEPHINE/ GRANDMA GEORGINA GRANDPA GEORGE/ GRANDMA (sighing) JOSEPHINE/ GRANDMA GEORGINA Pale Green Blues! Cabbage soup... (waking up and sniffing the air) Ugh! GRANDPA GEORGE Two... three... four! GRANDPA GEORGE disappears under the cov- ers. CHARLIE goes back to the stove and starts GRANDPA JOE ladling the cabbage soup into bowls. Cabbage Soup, A Kow Kum Kee! Oh so healthy, but it smells like PEO... CHARLIE Ple boiled up something from the drains! Grandpa Joe... A kee-kai-kichee-koochee-kaimeeo!

GRANDPA JOE CHARLIE serves them the cabbage soup in bed. You’ve got to count your blessings, Charlie. Tomorrow’s your birthday. GRANDPARENTS No! Chocolate.... Creamy, crunchy Wonka Chocolate!

The Golden Ticket | 31 CHARLIE Make things all right.... Pale green blues! I’m afraid not! CHARLIE switches on an ancient television set. GRANDPARENTS Pale green blues! CHARLIE Grandpa, please…? CHARLIE TRACK 3 Yes! I.3 COUNTDOWN TO BATTLE GRANDPARENTS CONTINUOUS. In a television studio, CANDY Cabbage Soup! MALLOW, the network’s most popular newscaster, prepares for the start of her live GRANDPA GEORGE show. A FLOOR MANAGER counts her down Two, three, four! to transmission. With her is MIKE TEAVEE, a boy of thirteen, dressed in combat uniform. GRANDPARENTS He has a toy machine-gun slung over his Cabbage Soup, A Kow Kum Kas! shoulder. The lights go up, the cameras creep Full of goodness, but it gives us GAS... in. The show is about to go on air. tric reflux when we eat too fast! A kee-kai-kichee-koochee-kaimeeo! FLOOR MANAGER Ten, nine, eight, seven six... GRANDPA JOE gets out of bed and does a little dance with CHARLIE. MIKE TEAVEE I’m on TV! CHARLIE Can I watch the television, Grandpa? FLOOR MANAGER I want to see who won the Golden Tickets. (to MIKE) Sit down! GRANDPA JOE You’ll win tomorrow. I know it! CANDY MALLOW (to the FLOOR MANAGER) GRANDPARENTS Is my hair OK? Oh for some whipplescrumptious choco-delight! That’ll solve our problems.

32 | The Golden Ticket The FLOOR MANAGER shrugs his shoulders. MIKE TEAVEE (overexcited, stuttering) MIKE TEAVEE I-I-I-I don’t d-dream. I wa-atch t.v. Wild! Just action, danger, ba-attle! B-b-but what makes me b-burn, As the titles run, CANDY takes out a brush And what I adore, and starts combing her hair madly. The FLOOR Even more... MANAGER chases after MIKE TEAVEE and More than all the k-k-killing, forces him into his seat. MIKE stands up again and the blood as soon as the FLOOR MANAGER leaves him. and g-g-g-gore - Is all-out, full-scale, total war! CANDY MALLOW (to the camera) CANDY MALLOW Good evening, everyone. Thank you Mikey Teavee! What is the whole world dreaming about tonight? One thing: chocolate. MIKE TEAVEE Thick, creamy, delicious, crunchy, chewy Thermonuclear War! Wonka Chocolate. And tonight, in the studio, I have with me, CANDY MALLOW Mikey Teavee, one of the luckiest boys on the Mikey! planet. He’s just won a golden ticket. (to the camera) We hope the other two winners will be on I’m afraid that’s all we have time for! later. How do you feel, Mikey Teavee? MIKE TEAVEE Danger! Battle! MIKE TEAVEE (looking into the lens) (peering into the camera) Hey dudes! Wicked! C-c-c-c-cool B-babies! Plug me in, man! Wicked! CANDY MALLOW We’ll be back after these messages. CANDY MALLOW Did you ever dream you’d meet Willy Wonka? CANDY smiles serenely into the camera. MIKE pulls on the cord of one of the cameras and the lights short out.

The Golden Ticket | 33 TRACK 4 You can get me what I want, if you try! But you want to deny me! You want to defy me! I.4 VERUCA LOSES HER NUT If I don’t get one, Dad, I shall die! CONTINUOUS. VERUCA SALT, aged ten, and her father, the billionaire confectioner LORD LORD SALT SALT are watching CANDY’S show on a large Lollipop, listen... television screen in the plush corporate offices of Salty Sweeties. VERUCA switches the set VERUCA SALT off angrily. I’ve listened enough! (turning menacingly on her father) VERUCA SALT You’ve got the money, so use it now! Moron! Creep! But he’s got what I want! Get me my ticket! My golden ticket! Daddy, I want one! LORD SALT Veruca... LORD SALT Calm down, Veruca. VERUCA SALT Daddy! I want it now! Daddy! VERUCA SALT How can I be calm? LORD SALT I’m doing the best I can! LORD SALT Please, my lollipop, try... VERUCA SALT My golden ticket! VERUCA SALT Daddy, why haven’t I got one? LORD SALT A golden ticket! Look, Veruca, look! Daddy, I want one. A wall of the office rises to reveal WORKERS LORD SALT frenziedly opening vast mountains of Wonka Veruca, my bonbon... bars. An electronic counter records that over two million bars have already been opened. VERUCA SALT It’s all I think about! All I desire! WORKERS Daddy, I need that golden ticket! Five golden tickets! Five golden tickets!

34 | The Golden Ticket Opening chocolate bars just for the wrappers! CANDY MALLOW Opening chocolate bars, oh what a pain! How delightful! We’re sick of chocolate, sick of the sight of it, We’ll never want to eat chocolate again! AUGUSTUS GLOOP (finishing the chocolate) LORD SALT Delicious! (to VERUCA) One each second! Sixty each minute! CANDY MALLOW Over three thousand new bars every hour! And you, Miss Beauregard, how did you win? In twelve hour shifts, without a rest break, That’s forty-three thousand per person per AUGUSTUS GLOOP day! I want more chocolate, Mummy Yummy!

VERUCA SALT VIOLET BEAUREGARD (unimpressed) (still chewing) I hate you, Daddy! Ah-ha! Well, yesterday, my darling Dad, VERUCA grumpily switches the television set who likes his sweets - he’s rather bad - back on. offered me just one . I said to him, “Don’t go too far!” TRACK 5 He said to me, ”One little bite I.5 FIT OR FAT? won’t do you harm. You’ll be all right.” CONTINUOUS. In the television studio, So I said, ”OK, Popsy Poo.... AUGUSTUS GLOOP, a very fat boy, is eating chocolate out of a large box. Next to him VIOLET blows a large bubble which bursts on is VIOLET BEAUREGARD, a precocious girl, her face. dressed in a striking leotard. She chews gum constantly. Both are about twelve years old. VIOLET BEAUREGARD CANDY MALLOW sits opposite them. They are ... I think I’ll do it just for you.” in mid-interview. The golden ticket fell right out. And Dad began to scream and shout! AUGUSTUS GLOOP I calmed him down. He said to me, (eating chocolate) “It’s golden - like your destiny!” I just said, “Mummy, yummy. Golden Ticket...” My destiny! My destiny!

The Golden Ticket | 35 CANDY MALLOW AUGUSTUS GLOOP (bored) Don’t call me Gussie! How charming... VIOLET BEAUREGARD VIOLET BEAUREGARD (poking AUGUSTUS’ stomach) I wanna be a movie star. Diet! The talent’s there. I should go far. AUGUSTUS GLOOP CANDY MALLOW (full of vainglory) (to VIOLET) Dear girl, I excel in the art of indulging! You really are a versatile little thing, aren’t Just feel all the fat on my tummy bulging! you? And you certainly don’t look like you I adore the sensation I get in my throat, have Gussie’s appetite. When a pint of fresh cream slithers down it - and note, AUGUSTUS GLOOP That my lips have a curious dark brownish Don’t call me Gussie! sheen, VIOLET BEAUREGARD Due to toffees and sweeties that get stuck Well, as a general rule, it’s true, between my teeth, I never eat, I only chew... when I’m sucking my daily sweet ration. For eating’s my joy. It’s my love and my passion. VIOLET takes out a large blob of gum from behind her ear. AUGUSTUS collapses in a chocolate fit.

VIOLET BEAUREGARD CANDY MALLOW (to CANDY) (off camera) This piece of gum I’ve got right here, Oh dear! Quick! Can someone call a doctor? I’ve chewed for almost half a year. (to AUGUSTUS) VIOLET BEAUREGARD One day, Gussie, you oughta try it. Dear boy, you’re just fat! It’s disgusting! You’ll never need another diet! Gussie! You’re SOOOOO FAT! The FLOOR MANAGER drags VIOLET off set.

36 | The Golden Ticket CANDY MALLOW Days, hours, minutes, all tick-tocked away. (to the camera) So many forgotten, so many the same. Thanks. We’ll be back later with something Are they bored? Are they tired? I don’t know. REALLY weird. There they are. All of them. Happy, I think... I don’t know. TRACK 6 When they were young, I.6 DREAMS AND AMBITIONS Did they feel what I feel? CONTINUOUS. Alone by her bed in her Think what I think? Imagine? father’s office, VERUCA switches off the TV Did they long to escape, far away, in disgust. She starts applying quantities of into dreams? face cream. And to roam into strange fantastical worlds far from home, VERUCA SALT Where you soar through the air on I want a golden ticket. I want one now. magical wings, More than all the world. And see wonderful, marvellous, secret things? Will Daddy be good to me? Will he? And no one ever says, “No!” Who knows? It’s not impossible. No, not at all! What Veruca wants Veruca gets. I can fly! Ah!

A light comes up on CHARLIE on a separate GRANDPARENTS area of the stage. He is sitting on the floor, (asleep) staring into space. Next to him, his GRAND- Ah! PARENTS are asleep. CHARLIE exits. The light goes down on CHARLIE the GRANDPARENTS and comes up briefly There they are. All of them. Happy, I think. on VERUCA, who is now also in bed. She My grandparents, sleeping, strangles her teddy bear. all four in one bed. What are they dreaming of? VERUCA SALT What are their plans? I want that ticket! My golden ticket! I want When I watch them, I wonder, it... Now! I want it... Now! And then I think of all they’ve seen in their I hate you, Daddy! lives. The lights fade.

The Golden Ticket | 37 Track 7 GRANDMA JOSEPHINE Oh you, ssshhh! ORCHESTRAL INTERLUDE. NIGHT INTO GRANDPA JOE DAWN. Ssshh! Look! A ! Charlie’s favorite.

Track 8 GRANDMA JOSEPHINE Ssshh! Can we afford it? I.7 HAPPY BIRTHDAY, CHARLIE! Dawn breaks. GRANDPA GEORGE, GRANDPA JOE GRANDMA GEORGINA and GRANDMA No. ‘Course not. I bought one anyway. JOSEPHINE are snoring quietly. The front door He’s gotta have a birthday present. opens and GRANDPA JOE enters from the Ssshh! I hear him.... street. He is holding a Wonka Bar. He props up his stick, takes off his coat and climbs GRANDMA JOSEPHINE into bed, shivering. He shakes GRANDMA (waking GRANDMA GEORGINA) JOSEPHINE. He’s coming!

GRANDPARENTS CHARLIE enters from his little room at the Mwahm... back of the house. He is muffled up and ready GRANDPA JOE for school. He looks at GRANDPA JOE and I got it! Look! they smile at each other. He pulls out a Wonka bar. GRANDPA JOE GRANDMA JOSEPHINE Where are you going? What? GRANDPA JOE GRANDMA JOSEPHINE Ssshh! Charlie?

GRANDMA JOSEPHINE CHARLIE What? I’m late for school.

GRANDPA JOE GRANDPARENTS Ssshh! Won’t you say goodbye to us? 38 | The Golden Ticket CHARLIE GRANDPA JOE Of course. (trying to be cheerful) Let’s sing the song then! GRANDPA JOE/ GRANDMA JOSEPHINE/ GRANDMA GEORGINA As the grandparents sing to him, CHARLIE Don’t you know what day it is? offers them each a piece of his Wonka bar. One It’s your birth... by one, and with some difficulty, they refuse. GRANDMAS GEORGINA and JOSEPHINE shake the sleeping GRANDPA GEORGE. GRANDPARENTS GRANDPA GEORGE Happy Birthday to You! (waking) Happy Birthday to You! Sausage Pot! Happy Birthday, little Charlie....

GRANDPA JOE/ GRANDMA JOSEPHINE/ GRANDPA JOE GRANDMA GEORGINA ...little Charlie... It’s your birthday! GRANDPARENTS GRANDPA JOE Happy Birthday to You. (giving the Wonka Bar to CHARLIE) Open it, Charlie! CHARLIE contemplates the chocolate bar with love and disappointment, then takes a deep GRANDPARENTS breath and blows out the candle. Fighting Open it, Charlie! Come on! back tears, he rushes off to school. Sitting on the bed, CHARLIE slowly opens the chocolate bar. With nervous fingers he peels TRACK 9 open the paper cover, and then the foil. There I.8 CHOCOLATE GENIUSES is no golden ticket inside. For a moment he As Scene 1. It is foggy. GARGOYLES frozen shows his disappointment. Then he recovers. like statues. GRANDPA JOE sadly lights a tiny candle. GARGOYLES CHARLIE Brrr... brrr... So cold! No snozzwangers! (to his grandparents) No wangdoodles! Ha! Ha! Ha! Thank you!

The Golden Ticket | 39 CHARLIE idles past the wall, looking up at the TRACK 10 gargoyles. CHARLIE (hesitant, but then gaining in confidence) GARGOYLES Something round... Uh-oh! CHARLIE looks up, spins giddily and falls on MR. KNOW the ground. MR. KNOW opens the door of his Something round? An egg? sweetshop. CHARLIE MR. KNOW A bluebird’s egg... Observe the world, Charlie! Use your eyes! Happy Birthday, Charlie! MR. KNOW ...with speckles... GARGOYLES No children! Please, no children! CHARLIE ...that glow in the dark… CHARLIE Mr. Know, I didn’t win. I’ll never meet Willy MR. KNOW Wonka. I’ll never see the factory now. That’s a good one, Charlie!

MR. KNOW CHARLIE You never know, Charlie. You never know. I like speckles. Can we keep the speckles? And anyway, Wonka’s bonkers! MR. KNOW CHARLIE Charlie, I like it! One day we should go into What? business together. What does it do?

MR. KNOW CHARLIE He’s a silly and strange old man! You put it in your mouth. The speckles go all Who wants to meet him? fizzy... We could invent a chocolate bar, Charlie, Now, what would it be? Come on, try it!! MR. KNOW It makes you dizzy!

40 | The Golden Ticket CHARLIE MR. KNOW Then it gets smaller and smaller... Ah, Charlie! I don’t believe in luck. You make your own. Off you go now! MR. KNOW CHARLIE dashes away. MR. KNOW disappears Until suddenly... back inside his shop. TRACK 11 CHARLIE ...there’s nothing left. I.9 VERUCA’S TICKET As Scene 4. LORD SALT and VERUCA stand MR. KNOW watching the exhausted FACTORY WORKERS. Except... The counter on the wall is going much more slowly. CHARLIE LORD SALT A tiny pink bird... I’ve made a mistake! I’m bankrupt, Veruca. I can’t go on. MR. KNOW A tiny pink bird? Is it sugary? VERUCA SALT Nonsense! Mortgage the Factory! CHARLIE We’re not finished yet! We’ll win, I know it! A tiny, pink, sugary baby bird sitting... We always win!

MR. KNOW LORD SALT Sitting... (to himself) Only two tickets left! Only two chances! CHARLIE Maybe the odds are turning against me? ...on the tip of your tongue! VERUCA goes over to look at the workers. MR KNOW Genius, Charlie! We could give that Wonka WORKERS some competition! Five golden tickets! Five golden tickets!

CHARLIE VERUCA SALT Mr. Know, why am I so unlucky? (to the WORKERS) Faster! Faster!

The Golden Ticket | 41 WORKERS VERUCA SALT Now only two left! Two left to win! It’s my golden ticket! VERUCA marches down onto the factory floor VERUCA SALT and tries to grab the ticket from the FACTORY Faster! Faster! WORKER. There is a quarrel. WORKERS FACTORY LADIES Opening chocolate bars just for the wrappers! Give her the ticket! Her golden ticket! Opening chocolate bars, oh what a pain! We’re sick of chocolate. Sick of the sight of FACTORY MEN it....We’ll never want to eat chocolate again! It’s her golden ticket! A FACTORY WORKER discovers the fourth VERUCA SALT golden ticket. She holds it up. Give it to me! I want my ticket! My golden ticket! Now, I want it now. FACTORY WORKERS II AND III Look! LORD SALT (to the FACTORY WORKER) VERUCA SALT I’d give it to her. (seeing the golden ticket) Veruca always gets her own way. Daddy! Daddy! VERUCA snatches the ticket from the factory FACTORY WORKER I worker. I’ve got one! I’ve got one! VERUCA SALT WORKERS (clasping the ticket passionately) She’s got one! Daddy! My golden ticket! VERUCA runs back to her father, breathless VERUCA SALT with excitement. Look! Give it to me! It’s my ticket! LORD SALT LORD SALT That’s my girl! We’ve won! The telephone rings.

42 | The Golden Ticket LORD SALT VERUCA SALT (answering the phone) (to LORD SALT) Salty Sweeties, Salt Here. Daddy, I love you. Veruca, it’s Candy Mallow from the television program... TRACK 12 WORKERS I.10 CHARIE’S HEART STANDS STILL We’re sick of chocolate! As Scene 1. Snow is swirling fiercely. A bitter wind blows. VERUCA SALT Tell her I don’t do interviews! GARGOYLES Ah! VERUCA waves her ticket in front of the Three children - MIRANDA GROPE, MARVIN exhausted factory workers. PRUNE and HERPES TROUT - run into the sweet shop. CHARLIE enters. He is on his way VERUCA SALT back from school. He is well-muffled against My golden ticket! the chill, but even he is shivering. He looks up at the GARGOYLES on the wall. In the LORD SALT window, the flyer now reads, ‘Only One Ticket (still on the phone) Left!’ CHARLIE looks at it mournfully. He Veruca, she says she has a business stands outside the sweetshop, looking in. The proposition for you! THREE CHILDREN emerge from the shop with handfuls of sweets. They dash past WORKERS CHARLIE, pushing him into the snow, and run Her golden ticket! off laughing. VERUCA SALT GARGOYLES (taking the phone) Uh-oh! Hello... Slowly CHARLIE picks himself up. As he does VERUCA puts her hand over the mouthpiece so, he sees some money in the snow. He picks of the phone. it up. He looks around him, as if to give it back to someone. But no one is around.

The Golden Ticket | 43 MR. KNOW watches from the shop-window and his nervous mother, MRS. TEAVEE. They as CHARLIE decides to go into the shop. are shepherded by a TV PRODUCTION AS- Moments later CHARLIE emerges with a SISTANT. All are wearing their Sunday best. Wonka bar in his hand. He looks at it with VERUCA and LORD SALT arrive. CANDY goes excitement, bordering on fear. He can barely over to VERUCA and furtively gives her a bring himself to open it. Slowly he does so. camera. A bunch of JEALOUS CHILDREN are And there, glittering unnaturally in the gloom fascinated and horrified by the winners. is his golden ticket. Ecstatically he raises his hand high. Swift and dramatic lighting JEALOUS CHILDREN change. CHARLIE exits unseen. Oh, how we long for fame! Why, just a tiny mention in all the press reports would be cool. We love attention. TRACK 13 I.11 A WONKA WELCOME. ACT ONE FINALE CAMERAMAN Hurry up, Candy! Outside the great gates of Wonka’s factory. It is just before 10 a.m. The snowstorm has ADULT CHORUS given way to a brilliant winter morning. A Come over here! Come quick! CROWD is gathering. CANDY MALLOW ar- We think the action’s starting! rives with her CAMERAMAN. CHILDREN and PARENTS swirl hither and thither looking for CANDY dashes over to the CAMERAMAN and the best place from which to watch the ac- starts to prepare her link. tion. Prominent among them are MRS. TROUT and her son, HERPES. JEALOUS CHILDREN But where is the final winning ticket? CAMERAMAN (to CANDY) CANDY MALLOW I’ll set up here love! Where is that kid? Where is it? We don’t know. It’s a mystery. Today... Wonka makes first public appearance AUGUSTUS GLOOP arrives with his extremely in two decades! fat mother, MRS. GLOOP. VIOLET BEAUREGARD and her father MR. The CROWD gathers around CANDY. She BEAUREGARD are followed by MIKE TEAVEE looks desperately for CHARLIE. The CAMERA- MAN takes reactions shots.

44 | The Golden Ticket PARENTS AND CHILDREN MRS. TROUT Though we can’t go inside with Willy, Be quiet, darling, my angel. We will still stay here - Watching and waiting and wondering, MARVIN PRUNE What surprises await for us? (to MIRANDA) What will Wonka create for us? What about you? It’s a day we will never forget. Wonka makes first public appearance in two MRS. TROUT decades! Hurrah! Hooray! (to HERPES) Look here, we might be on television! HERPES TROUT bumps into CANDY. MIRANDA GROPE CANDY MALLOW I want to be on tv! Cut it! The clock begins to chime. CAMERAMAN You need to get that last kid. CAMERAMAN (to CANDY) CANDY MALLOW It’s ten o’clock! It’s opening time! I can’t find him. CROWD HERPES TROUT Will he be still the same old Willy we Why can’t I win, Mummy? remember? Will he be different? MRS. TROUT Will he be so fantastical? Because you can’t! Will he be so bombastical? Will he? Will he? Will he? MARVIN PRUNE Willy Wonka! Open the gates! I lost too! CANDY MALLOW HERPES TROUT (desperately, to the cameraman) You told me I could win, Mummy! The fifth ticket! Who’s won the fifth ticket? Find me the fifth ticket!

The Golden Ticket | 45 CROWD CROWD Willy Wonka! Open the gates! Charlie Bucket.

CANDY MALLOW CHARLIE (to the cameraman) (confident) Where’s the fifth ticket? Charlie Bucket! (now calmly to the camera) The crowd is waiting. All the winners have CROWD arrived, except... Lucky Bucket!

CHARLIE enters with GRANDPA JOE. VERUCA (to LORD SALT) CHARLIE He’s a skinny little shrimp! (waving his ticket) Charlie Bucket! GRANDPA JOE (to CHARLIE) CROWD Something amazing’s going to happen, Willy Wonka… Charlie. I can feel it in my bones.

CHARLIE CROWD (shouting) Willy Wonka! Open the gates! Stop! Hey, it’s me! I’m here! An extraordinary hot-air balloon sails gently CROWD over the wall. It lands in the middle of the Who? crowd. WILLY WONKA, elaborately clad in cloak and top-hat, emerges from it. CHARLIE Charlie Bucket! CROWD (whispering) CROWD Willy Wonka? Charlie Bucket? CHARLIE CHARLIE Willy Wonka? I’ve got the fifth ticket!

46 | The Golden Ticket TRACK 14 so please keep together. Keep very calm. Don’t get over-excited. WILLY WONKA You’ll be quite safe Yes, it’s me! if you always do what I say. I, Willy Wonka, the great, the magnificent! Don’t lose your heads! Do you promise? I, the sorcerer! I, the scientist! I, the magician! VERUCA SALT/ VIOLET BEAUREGARD/ MIKE I, the weaver of chocolate spells! TEAVEE/ AUGUSTUS GLOOP/ CHARLIE I, the creator of sugary secrets! Yes, we promise! I, the mysterious! I, the unknown! I, Willy Wonka, greet you all! WILLY WONKA Very good! WONKA looks round the crowd. WONKA waves his hands over the children’s WILLY WONKA faces. There are five in particular I must meet. Where are they? WILLY WONKA Close your eyes. Imagine. VERUCA SALT, VIOLET BEAUREGARD, MIKE What is it you see? TEAVEE, AUGUSTUS GLOOP AND CHARLIE It’s nothing. BUCKET all step forward. Yet that nothing is a place you can be free. Close your eyes. Imagine. WILLY WONKA Inside you is a world (gathering the children round him) That is waiting to be born. Excellent. Excellent. Excellent. It’s like a leaf that’s still uncurled. Now before I show you my empire, Out of the darkness there comes light! which, I may remind you, Close your eyes. Imagine. no-one has seen for years, Let your spirit soar! I’d like to tell you all something. Journey into landscapes My factory’s top secret. that no eye has seen before. (to VERUCA and LORD SALT) Close your eyes. Imagine. So absolutely no cameras. Seize your wildest dreams! (to everyone) Turn them into something new, There will be dangers, The world has never seen!

The Golden Ticket | 47 Magic lies hidden in our minds. Steam and smoke starts to pour out of the gates. The crowd edges back to the sides of Close your eyes. Imagine. the stage, as the great doors, like lock gates, The child who does this best begin to swing outwards and downstage to- Is the child for whom I’m searching, wards the audience. A strange light envelops who is different from the rest... the five parents and their children who cut off from the rest of the crowd. WONKA turns to the crowd and indicates the factory. PARENTS Something makes me begin to feel strange! WILLY WONKA I sense that my whole life is starting to Open wide your eyes now! change! See, this work of art! Was fashioned by my inner eye - More smoke pours out from behind the gates, the place where all things start! terrifying the crowd, which is pushed gradu- Now, I will tell you one thing more! ally into the wings. CROWD CROWD More? (left and right) Willy Wonka! WILLY WONKA Yes. My factory is alive. It thinks things. WONKA leads his ten guests inside the It does things. Even I am sometimes surprised. factory. A deep orange light begins to get brighter and brighter, lighting up everything CHARLIE with a fiery glow. How? CHARLIE WILLY WONKA (to himself, ecstatic) Oh, you’ll see soon enough. I wish this day could go on forever! CROWD Willy Wonka! Open the Gates!

48 | The Golden Ticket The crowd disappears. WONKA and the ticket CHARLIE winners are on their own. The stage fills with Grandpa, look! colored smoke. MIKE TEAVEE GARGOYLES Wowee! (looking at WONKA) Why has he done this? AUGUSTUS GLOOP Chocolate! There is a great flash of lightning. Blackout. End of Act One. AUGUSTUS goes down to the chocolate river.

CD 2 – ACT TWO MRS. GLOOP This is for me! Yes it is. TRACK 1 VIOLET BEAUREGARD II.1 INSIDE THE SECRET FACTORY / GUSSIE No it’s not. It’s for me. All for me. GOES SWIMMING GRANDPA JOE From a rocky precipice high above the stage Charlie, isn’t it marvellous? emerge WILLY WONKA, CHARLIE, GRANDPA JOE, LORD SALT, VERUCA SALT, VIOLET WONKA shows his guests the first of many BEAUREGARD, MR. BEAUREGARD, MIKE wonders they will see in his factory. TEAVEE, MRS. TEAVEE, AUGUSTUS GLOOP and MRS. GLOOP. Below them, a billowing WILLY WONKA underground candy-field, through which Impressed? You should be. flows a mighty chocolate river, that plunges It took me years to build. down into a distant frothing waterfall. Hollowed it out of solid rock. Beyond, a mass of twisting glass pipes, which There’s miles of it. Miles. suck the foaming chocolate up from the The space is endless. Endless. bottom of the waterfall. Overhead a glowing And the river is purest, thickest, crystalline cave-roof, gleaming and glittering creamiest chocolate. in reds, silvers, and golds. WONKA leads his There’s gallons. Enough to fill astounded guests down to the candy field. Every swimming-pool on the planet!

The Golden Ticket | 49 VERUCA SALT finds a position where no one AUGUSTUS GLOOP can see her, and starts to film the scene sur- Who cares? reptitiously. VIOLET BEAUREGARD LORD SALT (to AUGUSTUS) And what do you grow here? You’re disgusting! CHARLIE WILLY WONKA Grandpa Joe, look what he’s doing! (first to LORD SALT, then to the others) OOMPA LOOMPAS You’re standing on swudge. (offstage) My latest invention. Uh! Oh! Crisp minted sugar. Do taste some and see. Here are whizzfizzing sherbets GRANDPA JOE to flavor the fountains! Stay close to me, Charlie! Lemon, lime, blueberry, bilberry, Blackberry, orange and peach! MIKE TEAVEE Charlie B-b-b-bucket, what a little weed! AUGUSTUS cups his hands in the river and starts to slurp the chocolate. TRACK 2 WILLY WONKA AUGUSTUS GLOOP Juicy mango and cherry. It’s very... Mummy, yummy, come and taste it! (distracted by AUGUSTUS) Mummy yummy, come and see, Excuse me. Just how tasty and delicious, Dear boy, please don’t drink Melted chocolate can be! from the chocolate river. There’s no need to be suspicious, It must not be touched by human hands. It’s undoubtedly nutritious. You’ll pollute it, infect it, contaminate it! We’re in heaven, mummy yummy, can’t you see? AUGUSTUS stretches out, and begins to lap WILLY WONKA up the chocolate like a dog. He sneezes. Young man, come out of there! MRS. GLOOP AUGUSTUS GLOOP Augustus, my darling! Don’t spread your (to MRS. GLOOP) nasty cold!

50 | The Golden Ticket It’s quite utterly delicious, Whatever will become of him? I just know that you’ll agree, AUGUSTUS disappears over the edge of the When you come and slurp and suckle, waterfall. When you stuff your face with me! I am certain soon you will vibrate AUGUSTUS GLOOP With choccy ecstasy! (offstage) Now I need a massive ladle Help! Help! Fish me out! Or a gi-enormous bucket, so I can guzzle at my leisure MRS. GLOOP And not just lick and suck it! Do something, someone! Save my boy. AUGUSTUS leans further over into the river. He’s all I have - my pride and joy! With a great splash, he falls in. Do something, someone! Save my child! MRS. GLOOP This factory’s unsafe. It should be closed down Augustus, be careful! I shall sue if my Augustus drowns.

AUGUSTUS GLOOP AUGUSTUS appears in one of the many glass (bobbing up and down) pipes at the back of the stage. He moves I’m in Paradise! slowly upwards inside the pipe. The delirious AUGUSTUS is sucked inexorably towards the waterfall and the glass pipes AUGUSTUS GLOOP upstage. MRS.GLOOP is beside herself. (choking in chocolate) Mummy! MRS. GLOOP LORD SALT Save him! Save him! (quietly to VERUCA) Lollipop, did you get some pictures? WILLY WONKA Don’t worry, dear lady. VERUCA SALT MRS. GLOOP looks around for a hero, but no Yes, yes. one volunteers. MRS. GLOOP MRS. GLOOP (to AUGUSTUS) My darling boy! Darling, we’ll get you out! My little egg-yolk cannot swim! (to WONKA)

The Golden Ticket | 51 Don’t just stand there! Do something! ALL (like a sneeze) VIOLET BEAUREGARD Au..Au...Au..gustus Gloop! He deserves it. He was fat! MRS. GLOOP Where’s he gone now? CHARLIE Grandpa Joe, he’s going to get stuck. WILLY WONKA I’m not quite sure. WILLY WONKA MRS. GLOOP I fear you’re right. Will he be all right? AUGUSTUS gets stuck in his pipe. WILLY WONKA Almost certainly. GRANDPA JOE By golly, he has stuck! WILLY WONKA MRS. TEAVEE He’s probably in the mixing-room. It’s his stomach that’s done it! MRS. GLOOP ALL Take me there, now! He’s blocked the whole pipe! WILLY WONKA OOMPA LOOMPAS All in good time, madam. (offstage) Uh! Oh! A pink boat rowed by OOMPA LOOMPAS draws up at the side of the candy-field. MRS. GLOOP LORD SALT Smash the pipe! Smash the pipe! What are they?

MIKE TEAVEE OOMPA LOOMPAS Send in the missiles! Oompa Loompas! Ha! Ha! Ha! Suddenly the built-up chocolate pressure VERUCA SALT forces AUGUSTUS up the pipe at great speed. Daddy, I want one! He disappears from view.

52 | The Golden Ticket WILLY WONKA OOMPA LOOMPAS They’re my workers! Ha, ha, ha!

GRANDPA JOE WILLY WONKA (to CHARLIE) Unless he’s been tipped out She wants a good kick in the pants. Into the new fudge-boiler. That would be terrible. MIKE TEAVEE My fudge would be inedible. (to WONKA) Do they have w-w-w-weapons? MRS. GLOOP I want my Augustus. Not a piece of fudge. MRS. GLOOP (desperately, to WONKA) WILLY WONKA My Augustus! Are you sure?

WILLY WONKA MIKE TEAVEE (to an OOMPA LOOMPA) But what would it t-t-taste like? Please escort this lady to the mixing-room. When you’re there take a large stick. MRS. GLOOP Poke around the vat. Into every nook and This factory’s unsafe. It’s a total disgrace. cranny. Prod. Like this. Like that. It’s an evil, dangerous, wicked place! (gesticulating wildly) And when you find a sticky, kind of squishy, WILLY WONKA squashy blob, Just joking. Good bye now. You’ll have found Augustus Gloop... Come on everybody, all aboard!

OOMPA LOOMPAS Two OOMPA LOOMPAS escort MRS.GLOOP Augustus Gloop! away.

WILLY WONKA CHARLIE ...the greedy, bloated slob. Is he joking, Grandpa?

GRANDPA JOE Of course he’s joking. I’m sure he’s joking.

The Golden Ticket | 53 He must be joking. I hope he’s joking. Don’t you? GRANDPA JOE drinks the chocolate and shares it with CHARLIE. WONKA ushers the other parents and children onto the boat. When they are all on WILLY WONKA board, the OOMPA LOOMPAS begin rowing. (to CHARLIE) This is my private yacht! OOMPA LOOMPAS Made from one enormous boiled sweet - Augustus Gloop! Augustus Gloop! hollowed out!! The great big greedy nincompoop! She is so beautiful! How long could we allow this beast To gorge and guzzle, feed and feast MIKE TEAVEE licks the boat. On everything he wanted to Great Scott! It simply wouldn’t do! MRS. TEAVEE “Come on,” we cry, “the time is ripe, Darling, do not lick the boat, you’ll make it To send him shooting up the pipe!” all sticky! But don’t, dear audience, be alarmed Augustus Gloop will not be harmed, CHARLIE finishes drinking the chocolate. Although of course, we must admit, He will be altered quite a bit. WILLY WONKA He’ll be quite changed from what he’s been (to CHARLIE) When he goes through the fudge machine!! Do you like it? Ha! Ha! Ha! CHARLIE WILLY WONKA Oh, it’s wonderful. Aren’t they delightful? Aren’t they charming? GRANDPA JOE WONKA dips a cup in the river and gives it to The creamiest, loveliest chocolate I’ve ever GRANDPA JOE. tasted! WILLY WONKA WILLY WONKA It’s been mixed by waterfall! (to GRANDPA JOE) Drink this! It’ll do you good! VERUCA SALT You look starved to death! I want a boat just like this and an Oompa Loompa!

54 | The Golden Ticket The boat disappears into an echoing tunnel. LORD SALT/MR. BEAUREGARD The scene is plunged into darkness. He’s crazy! He’s nutty!

OOMPA LOOMPAS MRS TEAVEE/MIKE TEAVEE (echoing) He’s batty! Oompa Loompa! VERUCA SALT/ VIOLET BEAUREGARD He’s barmy! TRACK 3 WILLY WONKA II.2 WHERE ARE WE? (to the OOMPA LOOMPAS) Faster! In darkness. Occasional beams of light illumi- nate the action. MRS. TEAVEE (to MIKE) OOMPA LOOMPAS Hold onto my hand! (echoing into the distance) Oompa Loompa! Oompa Loompa! Oompa The boat accelerates and plunges downwards. Loo... ALL Ah!!! MIKE TEAVEE Mom, I’m b-b-bored! WILLY WONKA Don’t be alarmed, you won’t be harmed! VIOLET BEAUREGARD The deeper we go the better! How can they see where they’re going? VIOLET BEAUREGARD/MRS. TEAVEE/MIKE WILLY WONKA TEAVEE (to his guests) Ah!!! There’s no knowing where they’re going! VERUCA SALT (to the OOMPA LOOMPAS) Where are we? Faster! Faster! VIOLET BEAUREGARD OOMPA LOOMPAS (feeling something poke into her) Ha! Ha! Ha! What’s that?

The Golden Ticket | 55 WILLY WONKA MIKE TEAVEE Switch on the lights! Hair cream? You don’t use hair cream?

The boat slows down. OOMPA LOOMPAS WILLY WONKA shine lights onto a cavernous wharf. There’s no time for silly questions!

WILLY WONKA OOMPA LOOMPAS (handing out umbrellas) Ha! Ha! Ha! Umbrellas! Here, take one! I think you will need them. All of you. An OOMPA LOOMPA illuminates Storeroom 77.

VIOLET BEAUREGARD WILLY WONKA What are they for? All the beans!

VERUCA SALT OOMPA LOOMPAS (whispering to her father) (describing what they see) Daddy, you take the camera! Coffee beans! Ha! Ha! Jelly beans! Ha! Ha! Cocoa beans! Ha! Ha! Has beens! LORD SALT VIOLET BEAUREGARD Be quiet, my lollipop! Has beens? A beam of light shines on a door marked WILLY WONKA Store Room 54. You’re one yourself! CHARLIE WILLY WONKA (looking at the OOMPA LOOMPAS) Ah, here we are. All the creams! Mr. Wonka, why do they always laugh? OOMPA LOOMPAS WILLY WONKA (describing what they see) There’s no time for silly questions! Dairy cream! Whipped cream! Violet cream! Ha! Ha! OOMPA LOOMPAS Coffee cream! Vanilla cream! Ha! Ha! Ha! Ha! Ha! Hair cream!

56 | The Golden Ticket WILLY WONKA MRS. TEAVEE Lights out! Umbrellas up! Row on!! I’m hot. So hot.

The lights go out. The scene is plunged again VERUCA SALT into darkness. The boat gathers speed. This had better be good!

VIOLET BEAUREGARD LORD SALT (to WONKA) Hold on tight, lollipop! Why the umbrella? VIOLET BEAUREGARD LORD SALT I wish I could use my mirror. I’m lost. Where is everyone? MIKE TEAVEE VERUCA SALT I’m so bored. I want to go home. Ugh! Something dripped on my face! Gradually, a little light begins to illuminate WILLY WONKA the cavern. The cocoa geyser’s about to erupt! GRANDPA JOE Don’t be alarmed, you won’t be harmed. I’m tired. I need a rest. The deeper we go.... VIOLET BEAUREGARD CHARLIE Dad, will it ruin my hair? I think it’s getting brighter!

WILLY WONKA MRS. TEAVEE Use your umbrella, dearest child. Are we there? LORD SALT ALL Where’s there? Ah! WILLY WONKA The chocolate geyser explodes. Wherever we’re going! Didn’t I tell you? We’re almost there already! MR. BEAUREGARD Violet, my dearest pet, are you still there?

The Golden Ticket | 57 VIOLET BEAUREGARD MRS. GLOOP (to her father) (from a distant place) He’s screwy! My little egg-yolk!

MR. BEAUREGARD AUGUSTUS GLOOP He’s loony! (echoing in the distance) Mummy yummy! GRANDPA JOE No, he is not! In murky light the boat draws up outside the inventing room. OOMPA LOOMPAS with CHARLIE torches escort everyone off the boat. Until we are there... TRACK 4 GRANDPA JOE II.3 THE INVENTING ROOM – GOODBYE We’d better take care! VIOLET

MRS. TEAVEE/MR. BEAUREGARD GRANDPA JOE, CHARLIE, VIOLET We’d better beware! BEAUREGARD, MIKE TEAVEE, VERUCA SALT, MR. BEAUREGARD, MRS. TEAVEE, and LORD VERUCA SALT SALT follow WILLY WONKA into a room filled We’d better prepare... with cauldrons, cookers, and other strange mechanical contraptions, whizzing, whirring, VIOLET BEAUREGARD simmering and sizzling. ... for everything! WILLY WONKA ALL The inventing room… Until we are there, we’d better take care, Where I make my experiments. We’d better beware, we’d better prepare, Many surprises await us here. For everything! No one’s ever been inside. Don’t touch anything. CHARLIE Is this real? Or am I dreaming?

58 | The Golden Ticket VERUCA SALT/ CHARLIE/ VIOLET WILLY WONKA BEAUREGARD/ MIKE TEAVEE Ah, here’s something I know will interest one No, sir. of you! An OOMPA LOOMPA presses a button and WILLY WONKA the machine whirs into life. Cogs grind, levers Do you promise? move, steam hisses from its joints. VERUCA SALT/ CHARLIE/ VIOLET A SOLO OOMPA LOOMPA BEAUREGARD/ MIKE TEAVEE Slowly the wheels go round and round, We promise. The mincer starts to grind and pound, WONKA switches on a very bright light. What temptation are we baking?

WILLY WONKA WILLY WONKA If you want to spit in six different colors... Can you guess what they are making?

ALL EXCEPT WONKA VIOLET BEAUREGARD ...spit in six different colors! Chocolate ecstasy! WILLY WONKA If you want a pencil that tastes of hot fudge... WILLY WONKA Dear child, thank you. ALL EXCEPT WILLY WONKA ...that tastes of hot fudge! OOMPA LOOMPAS Slowly the wheels go round and round... WILLY WONKA Rainbow drops and edible stationery... VIOLET BEAUREGARD He likes me, Dad! ALL EXCEPT WILLY WONKA Stationery? VERUCA SALT (overhearing VIOLET) WILLY WONKA What do you mean? Stationery....are just the things for you. VIOLET BEAUREGARD WONKA points towards the strangest con- Keep your nose out of it, Veruca! traption of all. The Golden Ticket | 59 MR. BEAUREGARD OOMPA LOOMPAS (shocked) Uh! Oh! Violet Rose! WILLY WONKA WILLY WONKA No. But I think you did. Veruca... That’s a funny name. Didn’t I have one on my foot once? MIKE TEAVEE But, it’s g-g-grey. You mean that’s all? VERUCA SALT You must be mistaken. TRACK 5 WILLY WONKA WILLY WONKA Perhaps. It’s Three-Course-Meal-Gum. Listen, everyone! CHARLIE/ GRANDPA JOE/ VERUCA SALT/ The machine whizzes and gurgles furiously. MIKE TEAVEE/ LORD SALT/ MRS. TEAVEE What’s that? OOMPA LOOMPAS The foaming mixture starts to rise. WONKA picks up the stick of gum. LORD Then suddenly, quite by surprise, SALT hides behind one of the machines and It starts to shine, it almost glows, films the scene. And down a thousand pipes it flows! Then out it comes, and now, by grace, WILLY WONKA A miracle has taken place. Three-Course-Meal-Gum! God bless my aunt, or strike her dumb, The taste of three courses in one little stick! It is a piece of chewing.... WONKA slaps VIOLET on the back and her A small drawer at the front of the machine bubble-gum comes flying out of her mouth. pops out. In it, is a small piece of grey chew- ing gum. VIOLET pops a bubble. WILLY WONKA Very clever when it’s perfected. VIOLET BEAUREGARD Did you say gum?

60 | The Golden Ticket CHARLIE/ GRANDPA JOE/ VERUCA SALT/ MR. BEAUREGARD MIKE TEAVEE/ LORD SALT/ MRS. TEAVEE/ This is a great day for the Beauregards! VIOLET BEAUREGARD/ MR. BEAUREGARD Three-Course-Meal-Gum! Of course, it’s VIOLET BEAUREGARD chewing-gum! (guessing the taste) It’s.... WILLY WONKA This one is tomato soup, roast beef and, WILLY WONKA blueberry pie! You mustn’t do that. Don’t! But it’s not ready. VIOLET BEAUREGARD VIOLET BEAUREGARD (working out the taste) Does it make you fat? It’s.... It’s bravo for the beef!

WILLY WONKA VERUCA SALT Of course not. Daddy.... (to VIOLET, who has grabbed the piece of gum and put it in her mouth) MR. BEAUREGARD Don’t touch it! Spit it out! It’s not ready! You’re a star! Yes!

VIOLET BEAUREGARD VERUCA SALT It’s fantastic! Elastic! The soup is so superb! She’s a mad cow!

MR. BEAUREGARD OOMPA LOOMPAS Keep chewing, darling! But what about the baked potato?

VIOLET BEAUREGARD VIOLET BEAUREGARD It’s a treat! (thinking hard) It’s wonderful! Delicious! MR. BEAUREGARD You’ll be famous! WILLY WONKA No! No! No! No! It isn’t ready for chewing! VIOLET BEAUREGARD It’s so neat!

The Golden Ticket | 61 VIOLET BEAUREGARD MRS. TEAVEE It’s got a crispy and.... She doesn’t look well. She’s starting to swell. it’s all filled with butter. Oh dear, oh dear, oh dear! Such butter.... But... ter...but..turbot… VIOLET swells up gradually, so she looks like VERUCA SALT a gigantic blueberry, from which emerge tiny Daddy, there’s a fish course! hands and feet.

VIOLET’s face starts to turn blue and she MRS. TEAVEE begins to swell up. She’s blowing up like a balloon...

VIOLET BEAUREGARD CHARLIE But the blueberry pie is something to die for! Like a blueberry!

MR. BEAUREGARD WILLY WONKA Violet, my dearest pet, (to himself) What’s happening to your nose? It always goes wrong on the dessert!

MIKE TEAVEE VIOLET BEAUREGARD It’s turning blue! But the blueberry pie...

VERUCA SALT MR. BEAUREGARD Look, Daddy! What are you going to do?

CHARLIE VIOLET BEAUREGARD It’s really true! … is something to die for. WILLY WONKA GRANDPA JOE I tried pricking with a pin... Just look at how it grows! It doesn’t work. MIKE TEAVEE MR. BEAUREGARD Just look over there! Look at her hair! Spit it out, Violet, spit it out! It’s turning b-b-blue as well!

62 | The Golden Ticket WILLY WONKA Ah Blooo- There’s just one option. Beriberiberiberiberiberiberiberi… bll… ALL A curtain descends. What?

WILLY WONKA OOMPA LOOMPAS Juicing her! (in front of the curtain) Take her to the juicing room. Dear friends, we surely all agree, There’s almost nothing worse to see, VIOLET BEAUREGARD Than some repulsive little bum, Juicing?! Who’s always chewing chewing-gum. I feel sick. I feel most peculiar. It’s very near as bad as those, WILLY WONKA Who sit around and pick the nose. Sticky! She’s gone too far. She’s grown too big. So, please believe us when we say, She’s like a bloated purple pig. That chewing gum will never pay: Oompa Loompas, The sticky habit’s bound to send We’ll have to bring the juicing machine The chewer to a sticky end. to her! Sticky! The remaining OOMPA LOOMPAS follow OOMPA LOOMPAS WONKA and his guests out. Yes! WILLY WONKA VIOLET BEAUREGARD But it’s never been used… (being juiced, offstage) Dad, dad... VIOLET BEAUREGARD Aaaaaaaaaaaaaaah! Dad, I’m scared, I want to go home!

MR. BEAUREGARD TRACK 6 Violet, you cannot yet - II.4 BUBBLEVISION I’ll stay with you my sweetest pet! My Violet, forever. WILLY WONKA leads CHARLIE, GRANDPA JOE, VIOLET BEAUREGARD MIKE TEAVEE, MRS. TEAVEE, LORD SALT and Blueberry - Save me… VERUCA SALT down into a television studio.

The Golden Ticket | 63 The light is dazzlingly bright and white. Up- WILLY WONKA stage a screen on which tiny bubbles gyrate Look, listen. gently in a dark void. Two television cameras shaped like guns point toward a small circular WONKA pulls a lever on the control panel. platform. Beside it a control panel, bristling As he does so, the scene darkens and the with technological allure. cameras slowly rise up. Each fires a concentrated colored beam towards the MIKE TEAVEE raised platform upstage. Where the beams (enthralled) meet, a giant bubble begins to grow around Television! the Wonka Bar. As it grows bigger, images of flowing chocolate appear on it. WILLY WONKA No, Mikey. Bubblevision! WILLY WONKA It takes trouble to blow a bubble, MIKE TEAVEE That does not burst, that will not die. Bubblevision! Wowee! And to blow a Wonka bubble Bubbles pour into the television studio. MIKE Takes at least double all the trouble chases them. Anyone else takes. Do you know why? Each bubble is like a miniature world. WILLY WONKA Uniquely unique, completely complete, Pay attention. Who have we left? And quite entirely entire. Ah, three good little children. The others were bad. (looking at MIKE) MIKE TEAVEE But I’m sure you won’t disappoint me. Wowee!

MIKE TEAVEE The gigantic bubble trembles. But nothing Bubblevision! Aaa- happens. LORD SALT sneakily moves across to the control panel and tries to work out what MRS. TEAVEE shuts MIKE up. is going on.

CHARLIE WILLY WONKA What are all those bubbles for? It takes trouble to blow a bubble, That does not burst, that will not die. And to blow a Wonka bubble

64 | The Golden Ticket Takes at least double all the trouble MIKE TEAVEE Anyone else takes. By television? (to CHARLIE) You know why! WILLY WONKA No, Mikey, by Bubblevision! CHARLIE Each bubble is like a miniature world! WONKA pulls the first lever again. The cameras shine a beam of light onto the WILLY WONKA chocolate bar. A bubble grows around it. (to CHARLIE) Exactly. Uniquely unique, completely complete, WILLY WONKA And quite entirely entire. See! Magnified.

MIKE TEAVEE WONKA pulls the second lever. The cameras Wowee! shine a different colored beam of light onto the bubble. It explodes. LORD SALT pulls another lever and the bubble disappears in a brilliant explosion. WILLY WONKA Listen! Watch! Demagnified. LORD SALT WONKA points to the screen, where bubble (exasperated) and chocolate bar are now floating. LORD But what is it for, Wonka? SALT gestures to VERUCA to take out her camera. WILLY WONKA (irritated) WILLY WONKA Excuse me. See, the future’s in bubbles.

An OOMPA LOOMPA places a chocolate bar TRACK 7 on the platform. MIKE TEAVEE WILLY WONKA I want to be demagnified! I have discovered a way to send chocolate I want to live in a tiny bubble! direct into people’s homes. I want to go to a new dimension!

The Golden Ticket | 65 WILLY WONKA MIKE TEAVEE That’s absurd. Don’t you know you can’t live See you later, allig-g-g-gator! your life in a little bubble. The chocolate bars dematerialise. So does MIKE TEAVEE MIKE. (excited) Into battle. Into danger. War! MRS. TEAVEE Mikey! MRS. TEAVEE (embarrassed) WILLY WONKA Ah, dear Mr. Wonka, what can I do? That stupid boy!

MIKE TEAVEE MRS. TEAVEE Into battle, into danger. Subatomic War. Mikey, come back! Oh dear! Oh no! Television, Bubble vision war! Danger! I want to be demagnified! CHARLIE I want to live in a tiny bubble. Look!

LORD SALT CHARLIE points to the television screen. A tiny Show it again, Wonka! image of MIKE TEAVEE is floating with three chocolate bars. MIKE TEAVEE I want to go to a new dimension! Yes! MRS. TEAVEE Mikey! An OOMPA LOOMPA brings three chocolate (to WONKA) bars on to the platform. The cameras aim Bring him back! at them. As WONKA switches the cameras on, MIKE pulls away from MRS. TEAVEE and WILLY WONKA jumps in front of them. Are you sure?

OOMPA LOOMPAS WONKA goes over to the screen and grabs Uh-oh! MIKE with his thumb and forefinger. He brings him over to MRS. TEAVEE and puts him in her handbag.

66 | The Golden Ticket MIKE TEAVEE VERUCA SALT (squeakily) Let’s face it, who’s going to miss Mikey Aaah! Aaah! Teavee? The borin’ t.v. moron.

WILLY WONKA OOMPA LOOMPAS (to MRS. TEAVEE) It takes trouble to blow a bubble, There you are. He’s shrunk of course. That does not burst, that will not die. He’ll need to be stretched. GRANDPA JOE MRS. TEAVEE (to MRS. TEAVEE) Can you do that? I will stay here. (to CHARLIE) WILLY WONKA Go ahead, Charlie. We can try. (to the OOMPA LOOMPAS) CHARLIE hesitates. Stretch that silly boy if you can. (to MRS. TEAVEE) GRANDPA JOE You must stay here. Charlie, you can look after yourself. (to the others) Charlie, be good. And remember: Be Lucky! We must get on. GRANDPA JOE takes MRS. TEAVEE’s arm. MRS. TEAVEE WONKA looks at him curiously then blows (forlorn, to the others) his whistle again. An exotic oriental train Will all of you leave me, all alone. appears. Alone in this fearful factory? I’m lost and frightened, I’m all on my own. WILLY WONKA I feel a long way from home. They have a song to sing. We have a train to catch. MIKE TEAVEE All aboard, please. We’re going East! Aaah! Wowee! WONKA leads LORD SALT and VERUCA SALT LORD SALT aboard. CHARLIE looks back at GRANDPA JOE Help yourself! We’ve a factory to see! for a moment, then WONKA sweeps him on board.

The Golden Ticket | 67 WILLY WONKA WILLY WONKA (to CHARLIE) Welcome to my bizarre bazaar! Come along, young man, there’s no time to waste. OOMPA LOOMPAS (peeping out from the wings) With a great chug, the train starts to move. A P.S. Regarding Mike Teavee, curtain descends as the train departs. We very much regret that we Shall simply have to wait and see OOMPA LOOMPAS If we can get him back his height. (in front of the curtain) But if we can’t - it serves him right! The most important thing we’ve learned, As far as children are concerned, WONKA, holding CHARLIE’s hand, leads LORD Is never, NEVER, NEVER, let SALT and VERUCA SALT off the train. At the Them near your television set - same time, a harem of veiled SQUIRRELS, led In almost every house we’ve been, by the SQUIRREL MISTRESS, marches through We’ve watched them gaping at the screen. the Bazaar. The SQUIRRELS greet him. LORD They loll and slop and lounge about SALT stays hidden by the train, furtively snap- And stare until their eyes pop out. ping photos with his camera. (Last week in someone’s house we saw SQUIRRELS A dozen eyeballs on the floor) Prrr! Prrr! They sit and stare and stare and sit Until they’re hypnotised by it, VERUCA SALT Until they’re absolutely drunk I want an Oompa Loompa, Daddy! With all that ghastly, shocking junk. And a boat and a train, and, Daddy.... So, better still, just don’t install (pointing to the SQUIRRELS) The idiotic thing at all! ..one of them! TRACK 8 SQUIRRELS Prrr...Ah..Badem...Ceviz...Findik! II.5 TWO BAD NUTS WILLY WONKA The curtain rises as the train draws up to an (to VERUCA) exotic Turkish-style railway station by a grand They’re my squirrels. They’re on their way to bazaar. the Nut Arena! To the Nut Room!

68 | The Golden Ticket The SQUIRRELS prostrate themselves in front Sorting the good nuts from the bad! of everyone, with their tails in the air. That’s a good nut! A good nut! Another one! WILLY WONKA (to VERUCA) A squirrel taps a nut and shakes her head. Do you want to see where I make my Turkish She passes it to the SQUIRREL MISTRESS. They Delight? have found a bad nut.

VERUCA SALT SQUIRREL MISTRESS Yes! (shaking her head with disgust) Kütü- findik! SQUIRRELS (threatening) The SQUIRREL MISTRESS casts the bad nut Sssssssss! down the rubbish chute.

WILLY WONKA WILLY WONKA Watch! (to CHARLIE) That’s a bad nut! They are the only ones who WONKA calls the SQUIRRELS to attention and can tell. starts to clap his hands slowly. The SQUIRRELS open a bag of nuts and start tapping them SQUIRRELS curiously with their paws. They listen care- Lie-lie-lie-lom! Lie-lara-lie-lie-lom! fully to the sound the nuts make, then nod delightedly. VERUCA SALT (looking for LORD SALT) SQUIRRELS Daddy...... ? Iyi - badem! Iyi - ceviz! Iyi -findik! LORD SALT CHARLIE (peeping out from behind the train) (to WONKA) Veruca....Shhhhh! What are they doing? VERUCA SALT WILLY WONKA Daddy, you’re useless! (to CHARLIE)

The Golden Ticket | 69 LORD SALT VERUCA SALT (desperate for VERUCA to control her We’ll see! emotions) Veruca! VERUCA jumps into the arena.

VERUCA goes up to WONKA and prods him OOMPA LOOMPAS with her finger. Uh! Oh!

VERUCA SALT SQUIRRELS (to WONKA) (nervously) I’d like a pink boat, some Oompa Loompas, Ssssss! Lie-lie-lie-lom! And that great big furry squirrel - Lie-lara-lie-lie-lom! the one with the fluffiest tail! Ahhh! Prrrr! Chchchchch! I’d like them all now. Then I want to go home. My father’s a rich man. He’ll pay you well. VERUCA grabs her chosen SQUIRREL. The (to LORD SALT) other SQUIRRELS put down their nuts and Daddy! look at VERUCA. (to WONKA) He’ll be back in a minute. Now get me my VERUCA SALT squirrel! Daddy, I want this one!

WILLY WONKA The SQUIRRELS move towards VERUCA. They Oh, the squirrels never leave here. Never. mob her and pin her down.

VERUCA SALT VERUCA SALT Really? Daddy! Help! Ah!

WILLY WONKA LORD SALT emerges from behind the train. Never. Ever. His camera falls to the ground.

SQUIRREL MISTRESS WILLY WONKA (throwing a bad nut down the rubbish chute) (to CHARLIE) Kütü- findik! Oh dear, I said no cameras!

70 | The Golden Ticket LORD SALT VERUCA SALT Veruca!! Veruca!! Aah! What are you doing? Not thaaaa....

SQUIRRELS The SQUIRRELS tip VERUCA down the rubbish Prrr! Prrr! chute.

LORD SALT WILLY WONKA (struggling through the OOMPA LOOMPAS) (to CHARLIE) Let me through! Let me through! She must have been a bad nut, Charlie!

VERUCA SALT LORD SALT (held fast by SQUIRRELS) (peering into the chute) Daddy! Help! Ah! Dad.... Veruca! Veruca!

VERUCA is gagged by a squirrel’s paw. The VERUCA SALT SQUIRREL MISTRESS taps VERUCA’s head. (offstage) Daddy! Daddy! SQUIRREL MISTRESS Kütü- findik! LORD SALT (peering into the chute) VERUCA SALT My lollipop! Are you there….? Daddy! Aaaaagh! The SQUIRRELS push LORD SALT down the SQUIRRELS chute. Badem! Ceviz! Findik! Prrrr! Chchchchch! LORD SALT The SQUIRRELS bear VERUCA towards the Ahhh! rubbish chute. LORD SALT breaks into the arena. SQUIRRELS Veruca Salt, the Little Brute LORD SALT Has just gone down the rubbish chute! (to WONKA) And, as we very rightly thought, This is an outrage! That in a case like this we ought To see the thing completely through,

The Golden Ticket | 71 We’ve flushed away her father too! CHARLIE (to the audience) Nothing, Mr. Wonka. Who spoiled Veruca? Who indeed? Who pandered to her every need? WILLY WONKA Who turned her into such a brat. Nothing? Who was the culprit? Who did that? It is, and this is very sad, CHARLIE Her greedy, grasping, rotten dad. This has been the most wonderful day of my life. I will never forget it. Thank you. SQUIRREL MISTRESS Kütü- findik! WONKA leads CHARLIE over to the glass elevator. The SQUIRRELS dance energetically. WONKA leads CHARLIE offstage. WILLY WONKA This is my most magical invention. Come inside. TRACK 9 II.6 ONLY ONE LEFT CHARLIE What is it? WONKA and CHARLIE enter a plain and simple room. On one side, a glass elevator. WILLY WONKA We’re going on a journey. WILLY WONKA Welcome to my home, all of you! CHARLIE Where are we going? CHARLIE There’s just me, Mr Wonka. WILLY WONKA Anywhere you like. Push a button. Choose WILLY WONKA whichever... You’re the winner then. You passed the tests. The others failed. CHARLIE My seventh sense told me it would be you. (looking at the buttons) Now what would you like, Charlie? What does this do?

72 | The Golden Ticket WILLY WONKA WONKA takes an elaborate key out of his “Up and Out”? I’ve never pressed that one pocket and presents it to CHARLIE. before. Try it! WILLY WONKA OOMPA LOOMPAS Here’s the key. I am retiring. Uh - oh! You will be my heir, Charlie.

CHARLIE presses the button and the elevator CHARLIE shoots into the air. Blackout. But Mr. Wonka....

WILLY WONKA TRACK 10 It’ll be hard work, Charlie. Look, there’s your INTERLUDE house! BLASTOFF AND NIGHT FLIGHT Inside the elevator, which is now high up in CHARLIE the sky over the chocolate factory and the But... town. CHARLIE is ecstatic. WONKA TRACK 11 Tomorrow you’ll have to invent your first II.7 I CAN FLY! recipe! What will it be?

CHARLIE CHARLIE I can fly! I don’t know.... Perhaps a blue egg?

WILLY WONKA WILLY WONKA Charlie, you really love this factory, don’t you? A blue egg?

CHARLIE CHARLIE Mr. Wonka, it’s the most beautiful thing I’ve Yes. You put it in your mouth. Then it gets ever seen. smaller and smaller, until suddenly...there’s a tiny pink bird… WILLY WONKA Well it’s yours.

The Golden Ticket | 73 WILLY WONKA GRANDMA JOSEPHINE are asleep in their bed. ...a tiny pink bird? They are snoring.

CHARLIE GRANDPARENTS Mr. Wonka, we’re going higher and higher! (asleep) Mmwahm! Mmwahm! WILLY WONKA Never mind! The elevator smashes through the roof of the GRANDPARENTS’ bedroom. CHARLIE There’s a tiny pink sugary baby bird sitting... GRANDMA JOSEPHINE (waking) WILLY WONKA Save us! ...a tiny pink sugary baby bird, sitting... GRANDMA GEORGINA CHARLIE (waking) ...on the tip of your tongue! Help! Help!

WILLY WONKA GRANDPA GEORGE Charlie that makes my mouth water. (asleep) Sausage Pot... WONKA presses another button and the elevator plunges towards the ground. The doors of the elevator open and WONKA emerges with CHARLIE, who runs and hugs CHARLIE/ WILLY WONKA GRANDPA JOE. Aaaaaaah! CHARLIE Blackout. (hushed, to GRANDPA JOE) Grandpa Joe, Mr. Wonka gave me the TRACK 12 factory! II.8 HERE COMES CHARLIE! Inside the Bucket home, GRANDPA GEORGE, GRANDPA JOE GRANDMA GEORGINA, GRANDPA JOE and (in disbelief) What?

74 | The Golden Ticket CHARLIE GRANDPARENTS I’m going to live there now. And you can all Will there be food? come too! CHARLIE WILLY WONKA Of course, Mr. Wonka loves food! It’s true. GRANDPARENTS GRANDMA JOSEPHINE Really? (interrupting) No!! We don’t want to live in a factory! GRANDMA JOSEPHINE All right, then. We’ll come. GRANDPA GEORGE This is our home! GRANDPA JOE (to WONKA) GRANDMA GEORGINA Mr. Wonka, Charlie, why Charlie? Thank you very much! WILLY WONKA GRANDMA JOSEPHINE Isn’t it obvious? Absolutely! Never!! GRANDPARENTS GRANDPA GEORGE (smiling to each other) I’ve slept in this bed for fifty years! He is good. Charlie’s good. He’s a good boy.

CHARLIE WILLY WONKA We can bring the bed. So, a new day brings a new life!

GRANDPA JOE CHARLIE Oh! (to WONKA) Has a whole night passed? The GRANDPARENTS disappear under the bedclothes to discuss the situation. One by GRANDPA JOE one they reappear. (to CHARLIE) You must be sleepy!

The Golden Ticket | 75 CHARLIE GARGOYLES I don’t feel tired at all. Can I tell Mr. Know (to the audience) what’s happened? He won’t believe it. He’s puzzled. But to us it’s clear Our little tale is ending here. GRANDPA JOE If you like, Charlie. You’re making the The OOMPA LOOMPAS and SQUIRRELS tap decisions now. CHARLIE on the shoulder. He turns round and acknowledges them in amazement and CHARLIE delight. They crowd around him. I won’t be long. GARGOYLES/OOMPA LOOMPAS/ CHARLIE scampers off stage. The lights fade. SQUIRRELS (to CHARLIE) TRACK 13 You dreamed that one day you would fly II.9 CHARLIE’S CHOCOLATE FACTORY Now, take your chances. Please aim high. Ha! Ha! Ha! Early morning. CHARLIE walks past MR. KNOW’s sweetshop. A sign in the window GARGOYLES/OOMPA LOOMPAS/ reads, ‘Closed. Under New Management.’ SQUIRRELS CHARLIE is mystified. He arrives outside the The others’ hopes were mean and small! gates of the factory. It is deserted. The gates are closed. From the walls, the GARGOYLES AUGUSTUS GLOOP, encased in fudge, enters look down at him. followed by VIOLET BEAUREGARD, all purple, and MIKE TEAVEE, stretched like a beanpole. GARGOYLES A few steps behind them are LORD SALT and Ha! Ha! Ha! Uh-oh! No children! VERUCA SALT, still steeped in reeking kitchen waste. Everyone gives them a very wide berth. He turns to the audience as if for help. Behind him the gates begin to swing open. The factory AUGUSTUS GLOOP/VIOLET BEAUREGARD/ whirs to life and from it emerge a crowd of VERUCA SALT/LORD SALT/MIKE TEAVEE OOMPA LOOMPAS and SQUIRRELS. We didn’t really dream at all. And so we got our just reward For being greedy, spoiled and bored.

76 | The Golden Ticket OOMPA LOOMPAS SQUIRRELS Ha! Ha! Ha! But now a new tale’s going to start, And you must play the leading part. WILLY WONKA enters with GRANDPA JOE, GRANDMA JOSEPHINE, GRANDPA GEORGE GRANDPARENTS/AUGUSTUS GLOOP/ and GRANDMA GEORGINA, drawn in on their VIOLET BEAUREGARD/VERUCA SALT/LORD bed by four OOMPA LOOMPAS SALT/MIKE TEAVEE But now a new tale’s going to start, WILLY WONKA And you must play the leading part (to the audience) ALL But now a new tale’s going to start, So fill it up with love and laughter (to CHARLIE) And we’ll live happily ever after. And you must play the leading part. Ha! Ha! Ha! GRANDPARENTS CHARLIE goes up to WONKA as if to ask him (to CHARLIE) what to do. WONKA shrugs his shoulders. But now a new tale’s going to start, CHARLIE gestures to the OOMPA LOOMPAS, And you must play the leading part. who draw the GRANDPARENTS in their bed toward the factory gates. WONKA follows The SQUIRRELS rush downstage. after them. Behind him the SQUIRRELS and last of all CHARLIE. ALL disappear inside the OOMPA LOOMPAS factory. After a moment, CHARLIE reappears, Uh-oh! looks out at the audience, and closes the

gate. Blackout.

The End

The Golden Ticket | 77 The Golden Ticket

78 | The Golden Ticket Thank You to Our Generous Funders

LEAD FUNDING FOR THIS RECORDING WAS PROVIDED BY THE ANDREW W. MELLON FOUNDATION ADDITIONAL MAJOR FUNDING WAS PROVIDED THROUGH A GRANT FROM THE AARON COPLAND FUND FOR MUSIC, INC. SPECIAL THANKS TO THE “OOMPA LOOMPAS” INDIVIDUAL DONORS WHO HAVE GENEROUSLY SUPPORTED THIS RECORDING BRENT BARTON LAURA KEMPSTER MAY BEYDA in honor of Corey, Aaron, Miriam, Mendel and Yossi STEPHEN CAMPANELLA KEVIN F. KOTCHER DONALD G. CORNUET and PAUL MULLIN STEPHEN M. WEINER On behalf of Ava Mullin In honor of our grandchildren ANDREW PARILLO MARJORIE AND ELIHU EDELSON In honor of Madison Stetson In honor of our grandchildren, Emmanuel, Evan, Matthew and Ryan TIM REDMOND In honor of Hannah and Oscar Andrusier MURIAL FROST and FLORENCE WILPON In honor of Benjamin Wenzelberg JAIME ROBERTS In memory of Pauline Covner JOE HADDEN and RANDY BRITTON and ROBERT and REBECCA HEGEMAN JOHN SCHULTZ and PHIL BURGESS JORGE HOYOS In honor of Roman Florio and Violet Florio KAREN KELLEY In honor of Caroline McCullough

The Golden Ticket | 79 80 | The Golden Ticket The Golden Ticket | 81 Credits

Recording Produced, Engineered, Mixed and Mastered by Marlan Barry www.marlanbarryaudio.com Assistant Engineer: James G. Lamar Executive Producer: Lawrence Edelson, Producing Artistic Director, American Lyric Theater Associate Producer: Dennis Hanthorn, General Director, The Atlanta Opera Associate Producer: Ann Owens Counsel: Margret Louis Recorded at Cobb Energy Performing Arts Centre, Atlanta, GA. The Golden Ticket was commissioned and developed by American Lyric Theater in New York City. Developmental support for The Golden Ticket was provided in the United Kingdom by the Royal National Theatre Studio and The National Endowment for Science Technology and the Arts. Production Photographs by Jeff Roffmann from The Atlanta Opera staging, March 2012. CD Booklet Design by Jay Moldave – www.moldavedesigns.com

© 2010 The copyright to The Golden Ticket is owned by Music Link International. © 2012 The Copyright to this Recording is owned by The Atlanta Opera. “Happy Birthday to Your” (Mildred J. Hill and Patty Smith Hill) © 1935 (Renewed) Summy-Birchard Company (ASCAP). All Rights Reserved. Used by Permission.

82 | The Golden Ticket A portion of the proceeds from the sale of the recording of The Golden Tiicket will benefit Roald Dahl’s Marvellous Children’s Charity.

Roald Dahl’s Marvellous Children’s Charity exists to improve the lives of seriously ill children, specifically those with severe brain and blood conditions. Many of these conditions are rare, which is no consolation to the child and parent affected. In fact, it often means they’re more isolated and scared. They can find themselves amongst nurses and doctors who are struggling to diagnose, to care, and to treat. The whole experience can be terrifying.

We believe every child deserves a good quality of life, whatever their illness. So we help these children and their families get fantastic care, support, and opportunities for fun. We provide specialist nurses, equipment, care givers, and accessible cutting-edge information (cartoons, DVDs) - always working with hospitals, researchers, parent-led support groups, and other charities. Over the last 20 years we have helped tens of thousands of children, many sadly no longer with us, but all of whom either improved their life chances or lived a better life, however short.

We think that’s a Marvellous thing to do. We hope you agree.

For more information, please visit www.roalddahlcharity.org

The Golden Ticket | 83 TROY1381/82 Albany Records 915 Broadway, Albany, NY 12207 TEL: 518.436.8814 • Fax: 518.436.0643 www.albanyrecords.com Recording produced by American Lyric Theater in partnership with The Atlanta Opera. The copyright to The Golden Ticket is owned by Music Link International. The copyright to this recording of The Golden Ticket is owned by The Atlanta Opera. All rights of the producers and of the owner of the works reproduced reserved. Unauthorized copying, hiring, lending, public performance and broadcasting of this recording prohibited. DDD © 201284 |Albany The Golden Records Ticket Made in the USA The Golden Ticket Music by Peter Ash - Libretto by Donald Sturrock TROY1381/82 TheGoldenTicket © 2012 Albany Records hiring, lending, publicperformance andbroadcastingofthisrecording prohibited. producers andoftheowner oftheworksreproducedreserved. Unauthorized copying, to thisrecordingof The Golden Ticket isownedby The Atlanta Opera. All rightsofthe The copyrightto The Golden Ticket isownedbyMusicLinkInternational. The copyright TROY1381/82 www.albanyrecords.com TEL: 518.436.8814•Fax: 518.436.0643 915 Broadway, Albany, NY12207 Albany Records on RoaldDahl’s Factory Charlie andtheChocolate A NewOperaBased MadeintheUSA DDD Recorded Liveatthe Atlanta Opera-March2012 and Felicity Dahl Lawrence Edelson, Producing Artistic Director Lyric Theater,by American Commissioned Music byPeter Ash -LibrettobyDonaldSturrock Walter Huff, Chorus Master PeterConductor Ash, The ChorusandOrchestraof The Atlanta Opera Andrew Drost, tenor Ashley Emerson, soprano David Kravitz, baritone Abigail Nims, mezzosoprano Krista Costin, mezzosoprano Gerald Thompson,countertenor Jason Hardy, bass Keith Jameson, tenor Jamie Barton, mezzosoprano Kristin Clayton, soprano Daniel Okulitch, bass-baritone Benjamin P. Wenzelberg, treble

The Golden Ticket Ticket Golden The

TROY1381/82 Music by Peter Ash - Libretto by Donald Sturrock Sturrock Donald by Libretto - Ash Peter by Music