Made in Dagenham the Musical
Content
MADE IN
DAGENHAM
Music by
DAVID ARNOLD
Lyrics by
RICHARD THOMAS
Book by
RICHARD BEAN
LIBRETTO / VOCAL BOOK
Josef Weinberger
MADE IN DAGENHAM
Music © Copyright 2014 by David G Arnold
Lyrics © Copyright 2014 by Richard Thomas
Book © Copyright 2014 by Richard Bean
Edition © Copyright 2015 by Josef Weinberger Ltd., London
All Rights Reserved
PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL
Applications to perform this work must be made,
BEFORE REHEARSALS COMMENCE, to:
JOSEF WEINBERGER LIMITED
12 - 14 Mortimer Street
London W1T 3JJ
United Kingdom
Tel: +44 (0)20 7580 2827
Fax: +44 (0)20 7436 9616
www.josef-weinberger.com
Version Dagenham Previews 8.4 (04 Nov 2014)
This edition: September 2015
MADE IN DAGENHAM
Cast
FORD FACTORY WORKERS:
Rita O’Grady – Eddie’s wife
Beryl
Connie Riley – Shop Steward
Sandra Beaumont
Clare
Cass
Eddie O’Grady – Rita’s husband
Sid & Bill – Union Shop Stewards
Stan
Barry – Apprentice Toolmaker
Monty – NUVB Convenor
FORD FACTORY MANAGEMENT:
Mr Hopkins – Managing Director, Ford Dagenham
Mr Tooley – Ford U.S. Executive
Ron Macer – Production Manager
Gregory Hubble – Personnel Director
OTHERS:
Harold Wilson – Prime Minister
Barbara Castle – Minister of Transport
3 Civil Servants – Aides to the P.M.
Lisa Hopkins – Wife of Mr Hopkins
Graham O’Grady / Sharon O’Grady – Rita and Eddie’s son and daughter
Mr Buckton (School teacher), Chubby Chuff (Comedian), Cortina Man (Singer)
Club Singer, Adams, Press Reporters, Photographers, Factory Workers, etc.,
Others as required / Doublings as required
The Musical is set in Essex in 1968.
Orchestra
Woodwind 1 (Flute, Alto Sax, Tenor Sax)
Woodwind 2 (Clarinet in Bb, Soprano Sax, Tenor Sax, Baritone Sax)
Trumpet (dbl. Cornet / Flugelhorn)
Keyboard 1 (Musical Director)
Keyboard 2
Keyboard 3
Guitar 1 (Electric, Steel Str. Acoustic, Ukelele in G)
Guitar 2 (Electric, Steel Str. Acoustic, 12 Str. Acoustic)
Bass Guitar (Electric, Double Bass)
Drums
Percussion
Bongos, Cabasa, Castanets, Congas, Crash Cymbal, Egg Shaker (small), Finger Cymbals,
Glockenspiel, Mark Tree, Mounted Tambourine, Piatti (small), Pin Chimes, Rainstick,
Shaker, Sleigh Bells, Snare Drum, Studio Shaker, Suspended Cymbal, Tambourine,
Timpani, Triangle, Typewriter, Woodblocks
Musical Numbers
ACT ONE
0.
Opening (Instrumental)
1.
Busy Woman (Rita, Sharon, Graham, Eddie, Women, Men)
2.
Made In Dagenham (Factory Workers)
3.
This Is What We Want (Sandra, Beryl, Rita, Cass, Clare, Factory Women)
4.
Union Song (Men)
5.
Wossname (Clare, Women)
5a.
Big Ben (Instrumental)
6.
Always A Problem (Harold Wilson, Aides)
6a.
Busy Woman (Barbara Castle) (Barbara Castle)
7.
Pay Day (Ensemble)
7a.
Club Music (Club Singer)
8.
I’m Sorry I Love You (Eddie, Rita, Men)
9.
School Song (Ensemble Men, Graham)
9a.
Into The Berni Inn (Instrumental)
10.
Same Old Story (The People)
11.
Union Song – Reprise (Ensemble)
11a.
Skilled Work (Instrumental)
12.
Everybody Out (Rita, Factory Workers)
12a.
Everybody Out – Play Out (Instrumental)
ACT TWO
12b.
Tooley’s Entrance (Instrumental)
13.
This Is America (Tooley, Ensemble)
13a.
This Is America – Tag (Instrumental)
13b.
This Is America – Reprise (Tooley, Two Men)
14.
Storm Clouds (Lisa, Tooley, Harold Wilson, Barbara Castle, Factory Men & Women)
14a.
Storm Clouds – Scene Change (Instrumental)
14b.
Car Showroom (Instrumental)
15.
Cortina! (Cortina Man, Five Girls)
15a.
Cortina – Play Out (Instrumental)
15b.
Tax Payer’s Bentley (Instrumental)
16.
The Letter (Eddie)
16a.
Into Parliament (Instrumental)
16b.
Press Music (Instrumental)
17.
Ideal World (Barbara Castle)
17a.
Into The Hospital (Instrumental)
17b.
Same Old Story – Scene Change (Instrumental)
18.
Nearly Had It All (Rita, Eddie, Women)
19.
Viva Eastbourne (Beryl, Cass, Sandra, Men & Women)
19a.
Into TUC (Instrumental)
20.
Stand Up (Rita, Eddie, Ensemble)
21.
Bows (Company)
22.
Play Out (Instrumental)
Made In Dagenham
1
MADE IN DAGENHAM
ACT ONE
SCENE ONE
Music No. 0: OPENING
Coming up to 7 a.m. in the bedroom of Eddie and Rita O’Grady. Spot on the alarm
clock clicking down. A ticking beat of music. Rita is making a cup of tea in the kitchen
whilst Eddie is asleep in bed. The alarm clock goes off.
Music No. 1: BUSY WOMAN
Rita
HEY THERE SLEEPY DREAMER
I JUST WANNA SAY
I LOVE YOU LOADS, YA STUPID SOD
WELL HERE GOES – ANOTHER DAY
(Life begins. Rita is the hub, the source of all knowledge, the engine
room, the everything.)
Sharon
MUM!!
Graham
MUM!!
Eddie / Sharon / Graham
WHERE’S MY, WHERE’S MY,
CAN’T FIND MY THINGS
CAN’T FIND MY, WHERE’S IT GONE?
WHY’S IT ALWAYS ME?
WHAT HAVE YOU DONE WITH ALL MY THINGS?
MUM!!!
MUM!!!
MUM!!!
(Whatever they’re looking for, Rita finds it and hands it to them. She
hangs out the washing, makes the breakfast, tidies the house, etc. The
2
Act One
family home, as a well organised machine, but entirely dependent on
the knowledge and energy of one person.)
Rita
EVERY MORNING, SAME ROUTINE
WE PLAY OUR LITTLE FAMILY GAME
NO-ONE KNOWS WHERE NOTHING IS
BUT GUESS WHO ALWAYS GETS THE BLAME
Sharon
MUM!!
Graham
MUM!!
Rita
TEETH!!
Eddie
Rita! I can’t find my favourite underpants!
Rita
I had to shoot ’em.
Eddie
You shot my underpants.
Rita
I had to put them out of their misery.
Eddie What?
Rita
In the airing cupboard!
Rita
IF YOU WANT SOMETHING DONE YOU
ASK A BUSY WOMAN
COZ YOU’RE WASTING YOUR TIME
ASKING A MAN
SHE CAN DO IN ONE HOUR
WHAT HE CAN’T DO IN TEN
IT’S THE BASIC EFFIN’ DIFFERENCE
BETWEEN US AND EFFIN’ THEM
IF YOU WANT IT DONE
THEN ASK A BUSY WOMAN
Made In Dagenham
Sharon
Mum, what do you want for Christmas?
Rita
An hour off.
3
Graham (To Sharon.) Biology homework?
(Sharon hands it over.)
Rita
What are you doing Graham’s homework for?
Sharon
A shilling. (To Graham.) For a shilling.
(Graham gives her a shilling.)
Graham
She wants to be a doctor. Ha, ha!
Rita
Girls are nurses, Sharon. That’s why we got you that nurse’s outfit.
Sharon
I want to be a consultant gastroenterologist!
Rita
You’re just saying that.
Eddie
WE LOVE YOU DAGENHAM DAGENHAM
WITH YOUR PARKS AND WATERFRONTS
OH DAGENHAM, DAGENHAM
SO GOOD THEY NAMED IT ONCE
Rita (Laughing.) Stop it, Eddie – you’re making us late.
Eddie / Sharon / Graham
OH DAGENHAM, DAGENHAM
WITH YOUR ANCIENT BYLAWS
Eddie
ROME WASN'T BUILT IN A DAY
Eddie / Sharon / Graham
BUT DAGENHAM DEFINITELY WAS
(On the last line of her song Rita puts a little present into Eddie’s
snap tin. This is no ordinary present, but something wrapped, with a
ribbon – special.)
4
Act One
Eddie
Cup of tea eh, doll?
Rita
Yes please, I’d love a cup of tea. Is life like this everywhere?!
(Chorus enter.)
Mother Chorus (Women)
IF WANT SOMETHING DONE YOU
ASK A BUSY WOMAN
COZ YOU’RE WASTING YOUR TIME
ASKING A MAN
SHE CAN DO IN ONE HOUR
WHAT HE CAN’T DO IN TEN
IT’S THE BASIC EFFIN’ DIFFERENCE
BETWEEN US AND EFFIN THEM
IF YOU WANT IT DONE
THEN ASK A BUSY WOMAN
(Rita spits on her hanky and wipes some grime off Sharon’s face.)
Sharon (Fighting her off.) Uurgh!
Rita Whatsamatter?
Sharon
It’s spit!
Rita
This ain’t spit, this is mother’s spit
(The chorus line of mothers spit into hankies, and wipe their children’s
faces.)
Chorus
MOTHER’S SPIT!
MOTHER’S SALIVA!
AIN’T NO GERMS
THAT CAN SURVIVE HER!
(With a kiss Sharon is out the door. Graham turns, is about to go.)
Rita
Oi! Come here. Show me your hand.
Made In Dagenham
(Graham shows his hand.)
He’s hit you again ain’t he?!
Chorus (Sung.)
BASTARD!
Graham
Mum! It don’t hurt.
Chorus (Sung.)
BASTARD!
Rita (To Eddie) Eddie, Graham’s getting caned at school. Mister
Buckton –
Chorus (Sung.)
BASTARD!
Rita
He’s paid to teach him Latin, not attack him with a stick.
Eddie
He can’t treat him any different just cos he’s a scholarship boy.
Graham
Don’t come into school mum!
Rita (Overly dramatic.) Oh, you’re ashamed of me are you?!
Graham Yes!
Sharon
Watch out Dad, Mum’s gone into one.
(And Graham is gone with a slam of the door.)
Rita
Alright, Eddie?
Eddie
Yeah. What?
Rita
What’s today?
Chorus
THINK, WHIRR, CLICK, CLICK, WHIRR
Eddie
Tuesday.
Rita Tuesday?
5
6
Act One
Chorus
THINK AGAIN, WHIRR, CLICK, CLICK, DURR
Eddie Innit?
Rita
Is it a special Tuesday?
Chorus
REMEMBER, YOU MEMBER
Eddie (Beat.) Pancake day?
Rita
Go to work, you big lump.
Eddie
Love you!
(Eddie moves in for a kiss. Rita kisses him lightly on the cheek,
though he’ d offered his lips. He’s gone. Out the door.)
Rita
EVERY YEAR, THE SAME ROUTINE
WE PLAY OUR ANNIVERSARY GAME
Chorus / Rita
HE FORGETS
Rita
AND I REMEMBER
THE DAY I TOOK HIS
Chorus / Rita
STUPID NAME
Chorus
SHUT THE DOOR, WERE YOU BORN IN A BARN?
WIPE THOSE BOOTS YOU DON’T LIVE ON A FARM
HOW DID YOUR LAST SERVANT DIE?
WHY? BECAUSE I SAID, THAT’S WHY
EAT YOUR GREENS OR YOU WON’T GROW
THERE’S KIDS STARVING IN AFRICA, YOU KNOW
BEDS AIN’T MADE FOR JUMPING ON
Made In Dagenham
YOU’LL ALL MISS ME WHEN I’M GONE
(Door opens and Graham stands there, hand out, and is given his
bus pass.)
Rita
Bus Pass!
All
IF YOU WANT SOMETHING DONE
ASK A BUSY WOMAN
SHE’S GOT MORE ENERGY
THAN THE SUN
SHE’S ALWAYS THERE NO MATTER WHAT
IF YOU LOSE YOUR KEY OR LOSE THE PLOT
THE STRENGTH OF A RHINO
THE PATIENCE OF A NUN
IT AIN’T NO SPRINT IT’S A MAR ATHON
EVERY LOVING MINUTE
OF EVERY LOVING DAY
TESTS OUR LOVING NATURE
IN EVERY LOVING WAY
MOTHERS, SISTERS, DAUGHTERS
LOVINGLY WE SAY
WE GOT THIS FEELING
THIS WONDERFUL FEELING
IT’S GONNA BE ANOTHER
KIDDY HUGGING
HEART TUGGING
TEA SLUGGING
EVER LOVING
MOTHER LOVING
WORKING DAY
IF YOU WANT IT DONE THEN ASK A BUSY WOMAN
(Rita is out the door and gone with a slam of the door.)
(End of scene.)
7
8
Act One
Music No. 2: MADE IN DAGENHAM
Men
THE SMELL OF SUMP OIL FILLS THE AIR
ONE WEEKS SWARFEGA IN MY HAIR
I JUST CLOCK IN AND DO MY TIME
AT FIVE O’CLOCK MY LIFE IS MINE
A FANBELT, GEARBOX OR A CLUTCH
WE’RE MEN WHO’VE GOT THE MIDAS TOUCH
WE’RE PROUD OF WHAT GOES INTO IT
GIVE IT A KICK IF IT DON’T FIT
BLUE COLLAR CAR MEN
THAT’S WHO WE ARE
SHAME MOST OF US
CAN’T AFFORD A CAR
WHEY!
MADE IN DAGENHAM
LAID IN DAGENHAM
SHAME WE’RE UNDERPAID IN DAGENHAM
MADE IN DAGENHAM
WE ARE DAGENHAM BOYS
Solo 1
I LOVE MY JOB, IT IS A GIFT
Solo 5
A LOVELY STINKING EIGHT HOUR SHIFT
Eddie
SEE HOW THE FAC-TO-RY DOTH SHINE
Solo 2
FROM EUROPE’S LARGEST NEON SIGN
Solo 6
WE’RE FAMOUS FOR MISTER HENRY FORD
Made In Dagenham
All Men
FROM WHOM ALL GOODNESS STEMS
Solo 7
APART FROM THE POLLUTION
Solo 8
THAT HE DUMPS INTO THE THAMES
Solo 3
AND OOOOH DUDLEY MOORE
MAN, HE WAS SLICK
Solo 4
BUT HE GOT A LITTLE FAMOUS
All Men
AND HE FUCKED OFF PRETTY QUICK.
MADE IN DAGENHAM
LAID IN DAGENHAM
LAST YEAR WE HOLIDAYED IN DAGENHAM
MADE IN DAGENHAM
WE ARE DAGENHAM BOYS
Solo 8
A HALF PINT THERMOS
Solos 3, 7, 5
AND MY STEEL CAP BOOTS
Solos 8, 2
OUR OVER ALLS PROTECTIVE
All Men
IT’S THE WORKING MAN’S SUIT
STATE OF THE ART MACHINERY
HEALTH AND SAFETY GUAR ANTEE
MAINTAINED DAILY THROUGH AND THROUGH (Bang!)
BY ENGINEERING EXPERTS AND SOME SUPER GLUE!
9
10
Act One
MADE IN DAGENHAM
LAID IN DAGENHAM
COME GET YOUR CAT SPAYED IN DAGENHAM.
MADE IN DAGENHAM
WE ARE DAGENHAM BOYS
All (Men /Women)
PLAYED IN DAGENHAM
STR AYED IN DAGENHAM
LIFE IS READY-MADE IN DAGENHAM
GOD KNOWS WHY WE STAYED IN DAGENHAM
TEMPERS GETTING FR AYED IN DAGENHAM
COZ STILL WE’RE UNDERPAID IN DAGENHAM
WE ARE DAGENHAM GIRLS
BOYS
GIRLS
BOYS
GIRLS
OOOH
WE ARE MADE IN DAGENHAM
SCENE TWO
The River Plant. Beryl (front row) and other girls (back row). Enter Rita who takes a seat
at her machine.
Beryl
Alright Rita? Are you getting any?
Rita
Sex or loving?
Beryl
Oh! There’s a difference, is there?
(Enter Cass.)
Beryl
Alright Cass?
Cass (Sarcastic.) Yeah, I love it here.
Beryl
Are you getting any?
Made In Dagenham
Cass
Lord Jesus, Beryl!
(They laugh. Enter Clare.)
Beryl
Hello Clare! Are you getting any?
Clare (Giggles.) Stop it!
Rita
Gonna be hot in this shed today.
Clare
Yeah, and I got two hours whatsaname tonight.
Beryl
Overtime.
Clare
Yeah.
Cass
What are you saving up for, Clare?
Clare
A you know –
Beryl
Deposit.
Clare
– on a –
Beryl
– flat.
Clare
Yeah.
Emma
What’s he do, your Ken?
Clare
Mother’s Pride, he makes bread.
Beryl
So he’s a master baker is he?
Clare
No, he’s got me.
Cass
Are you gonna marry him?
Clare
I gotta save a bit up first.
Beryl
Bollocks, you’ve been giving it away!
Cass
In an ideal world where would you like to get married, Clare?
11
12
Act One
Clare
Er . . . Woodford Registry office.
Cass
C’mon, girl, I said in an ideal world.
Clare
I’ve always wanted to get married in the countrySide.
Beryl
Woodford ain’t the countrySide!
Clare
But it’s near Chigwell . . .
Beryl
Yeah, and Chigwell ain’t the Seren-fuckin’-geti!
Cass (Kisses her teeth.) You wanna get yourself some dreams, girl!
Rita
Cass is gonna be an airline pilot aren’t you, Cass?
Cass
Before I’m thirty-five.
Beryl
Who’s gonna get on your plane? A black woman pilot?! Fuck off!
(Enter Sandra.)
Cass
Here’s trouble!
Rita
Morning Sandra!
Sandra
Alright girls!
Beryl
Alright Sandra, are you getting any?
Sandra (Sung.)
YEAH, YEAH, YEAH, YEAH, YEA A A A A AH.
Beryl
Dirty cow.
Sandra
Oi Cass, what you got your dog teeth set on?!
Cass
Seven. For welts!
Clare
It’d be a lot easier if we had a whatsaname with a you know.
Jo
A transport system with a top feed?
Beryl
That’d be a bit too fucking twentieth century, that would!
Made In Dagenham
Sandra
I put it on seven and it’s still sticking.
Beryl
Drop the dog teeth lower then, you daft slapper!
Clare
Or use some, you know, fing.
Cass
Wax!
Beryl
You wanna try sleeping at nights, girl!
Rita
Who’s this one then, Sandra?
13
Sandra Richard.
Cass
What’s he do?
Beryl
Everything by the sounds of it!
Sandra
He’s a driving instructor. At British School of Motoring.
Beryl
No! He’s not that British School of Motoring’s Richard?
Sandra
Yeah. What about him?
Beryl
I’ve had him!
(Cheers. Enter Barry, a young apprentice.)
Girls
Woah! / Barry! / Woo!
Barry
Oh Jesus.
Rita
You look tired, Barry?
Barry
No, I’m not tired.
Beryl
Alright, Barry. Are you getting any?
Barry
Please don’t talk to me.
Rachel
Barry! My tension discs are rubbing together. They’re getting hot.
Cass
What’s your job title, Barry?
14
Act One
Barry
I’m an apprentice toolmaker.
Beryl
Does that involve a lot of grinding?
Barry
Yeah. If you want to make the tools hard.
(Laughter. Barry turns to go. But as a parting shot in revenge . . . )
Barry
At least it’s skilled work, not like sewing.
Rita
Oi! This is skilled work.
Barry
Not any more, it ain’t.
(Barry exits.)
Beryl
He’s alright is Barry. I’d take me teeth out for him.
(Enter Connie and Monty, the NUVB, River Plant, Convenor.)
Connie
Girls! You can machine off this is official union business.
Cass
It’s hot hot hot hot in here, Monty!
Beryl
Yeah, I’m sweating like a fucking kestrel.
Monty
Conditions in this shed have been minuted at the Health and
Safety Committee.
Beryl
Oi Connie, could I get paid for sitting around in union meetings
drinking tea?
Connie
Have you read the union rule book?
Beryl
Yeah I have, it was brilliant, I couldn’t put it down.
Rita
Put a sock in it, Beryl.
Connie
Me and Monty have been at the Pay Review Committee.
All along, I’ve been asking for a re-evaluation of our grading –
Monty
An I’m here cos Connie needs to sign off the new job evaluation
scheme.
Made In Dagenham
15
Beryl
Are we getting a pay rise or not?
Monty
To cut a long story short you ladies have been evaluated as grade
B.
Cass
That’s an upgrade then, we were grade C.
Connie
No, it ain’t. It’s an unskilled grade.
All
Unskilled? / We’re skilled! / That ain’t right / Wot!?
Rita
You can’t expect us to agree to that.
Sandra
Who else has signed up to this?
Monty
All the men. The TGWU, AEU, AUEW.
Beryl
I don’t care if the RAC, the IOU and the PMT have signed, we’re
not signing!
Sandra
I ain’t working unskilled in this shitheap.
Connie
In my book this is indefensible.
Beryl
Why did you agree to it then!?
Connie
I was outvoted, by the men.
Monty
Look girls, I know what you want –
Rita
– no you don’t. We want templates for this leatherette.
Beryl
And new machines! I’m not saying this machine’s old, but the
manual’s in fucking Latin.
Monty
Alright, what do you want?
Music No. 3: THIS IS WHAT WE WANT
Sandra
I WANT A CHAIR THAT JUST DON’T CREAK
I WANT A ROOF THAT JUST DON’T LEAK
I WANT A BOSS THAT AIN’T A . . .
16
Act One
All
FREAK
Beryl
I WANT A BOG THAT DOESN’T REEK
All
DOESN’T REEK
DOESN’T REEK
Monty
Ladies, are you going to be serious or what?
All
DOESN’T REEK
DOESN’T REEK
Rita
WE WANT MACHINES
THAT AREN’T SO LOUD
YOU HAVE TO YELL
Cass
WE WANT TO WORK IN PLACES
THAT AIN’T HOT AS HELL
Solo (F4)
WE WANT SOME CHOCOLATE
THAT WON’T MAKE US FAT
All
JUST GIVE US LOADS OF THAT
LOADS OF THAT
LOADS OF THAT
Solo (F2)
I WANT THE CANTEEN RUN BY
WIMPEY’S RESTAUR ANT
Sandra
I WANT MY OVER ALLS DESIGNED
BY MARY QUANT
Made In Dagenham
Solo (F3)
I WANT THE FACTORY MOVED TO
SOUTHERN SPAIN
Beryl
I WANT MY DOORS BLOWN OFF
BY MICHAEL CAINE
All
(MICHAEL CAINE)
ALL I REALLY WANT TO SAY
IS THROW A LITTLE CRUMB THIS WAY
A TINY TEENY WEENY LITTLE TOUCH
IT’S NOT AS IF WE’RE ASKING FOR MUCH
SPREAD SOME JOY AROUND THE PLACE
PUT A SMILE ON MY FACE
DON’T MESS WITH US
COS THIS IS WHAT WE WANT
Beryl
Go on, Clare, you say something.
Clare
A CHANGING ROOM THAT DOESN’T
ALWAYS SMELL OF SHIT
Beryl
EGYPTIAN COTTON TOWELS
TO WIPE MY SWEATY BITS
Sandra
CHANEL PERFUME ON TAP
AND SERVED FOR FREE
Beryl
I WANT BARRY TO
SERVICE ME
All
(SERVICE ME)
17
18
Act One
(All)
ALL WE REALLY WANT TO SAY
IS THROW A LITTLE CRUMB THIS WAY
A TINY TEENY WEENY LITTLE TOUCH
IT’S NOT AS IF WE’RE ASKING FOR MUCH
SPREAD SOME JOY AROUND THE PLACE
PUT A SMILE ON MY FACE
DON’T MESS WITH US
COS THIS IS WHAT WE WANT
I’M
I’M
I’M
I’M
I’M
I’M
I’M
PINING FOR,
WHINING FOR,
YEARNING FOR,
BURNING FOR,
ACHING FOR,
QUAKING FOR,
SICK OF BLEEDIN’ WAITIN’ FOR
CHANGE, CHANGE, CHANGE
BRING IT ON
CHANGE, CHANGE, CHANGE
I’M MOANIN’ FOR
GROANIN’ FOR
PR AYIN’ FOR
BR AYIN’ FOR
SCHEMIN’ FOR
SCREAMIN’ FOR
AND STILL WE’RE ONLY DREAMIN’ FOR
CHANGE, CHANGE, CHANGE
KEEP DREAMING OF CHANGE
CHANGE, CHANGE, CHANGE
SO WHY DON’T YOU GET ON THE CASE
BEFORE WE SMACK YOU IN THE FACE
DON’T MESS WITH US
COS THIS IS WHAT WE WANT
Made In Dagenham
19
DON’T MESS WITH US
COS THIS IS WHAT WE WANT
Beryl
Did you get that, Monty?
Monty
Yeah, loud and clear. As I’ve always said if a job’s worth doing, it
can wait until tomorrow.
(Exit Monty. Beryl starts clapping.)
Beryl
Why didn’t we know about this, Connie?
Connie
I’ve only just found out myself.
Beryl
No! I think she goes swanning off to these here job evaluation
meetings so you can see more of Monty.
Rita
Why are we fighting amongst ourselves?
Beryl
You want a fight? Alright! Outside!
Sandra
Beryl, shutup!
Clare
Yeah, and mind your whatsit –
Rita
– Language.
Beryl Bollocks.
(They go back to work.)
SCENE THREE
(Union Convenors’ office at Ford. This is an office for the convenors and shop stewards to
use, though it is within the suite of management offices. Present are Bill (TGWU) and Sid
(AUEW).
Music No. 4: UNION SONG
Men
BROTHERS AND SISTERS
COMR ADES EVERY ONE
20
Act One
FIGHT FOR YOUR FUTURE
AND THE UNION
THE RIGHTS OF MAN
ARE THE RIGHTS GOD GAVE
WE WORK TOGETHER
OR WE DIE AS SLAVES
(Enter Monty. He picks up his Tupperware snack box.)
Sid
What you got there comrade?
Monty
Jammy Dodgers.
Sid / Bill Phwoargh!
(Sid and Bill take his Jammy Dodgers. Monty is unhappy.)
Sid
All property is theft, Monty.
Monty
Listen, the girls are not happy.
Bill
What’s their problem? You’ve had her ain’t yer, that Connie?
Monty
None of your business, is it.
Sid
There can be no personal secrets in the revolution comrade.
Monty
Me and Connie was a long time back.
Bill
Who else you had in that shed, comrade? Beryl?
Sid
Urgh! Sandpaper.
Sid / Bill
Rough.
Sid
So, they won’t sign?
Bill
No, Connie’s not happy.
Sid
I’m not Sneezy.
Bill
And I’m not Doc.
Made In Dagenham
Sid
Comrade, I represent two thousand engineers. Bill here –
Bill
– One thousand fitters –
Sid
– and every one of them’s got a proper man’s hairy arse.
Bill
It’s only your two hundred effing women that are effing it up.
(Sid spots Mr Hopkins walking towards the Convenor’s office.)
Sid
Management. Hopkins?
Bill
Wahey! Must’ve had the yanks on the blower, are we letting him
in?
Monty
I don’t have a problem with Hopkins.
Bill
That’s because you’re a bourgeois revisionist running dog.
Monty
And what are you?
Bill
West Ham.
(Bill goes to let him in.)
Sid
Wait! Anyone got any farts?
(They all try and fart, Sid succeeds. Enter Hopkins. They remain
seated.)
Hopkins
Alright lads. Jesus, phwo! . . . Sid, what’s this about the NUVB
not signing off the new grades?
Sid
My boys have signed.
Bill
It’s the girls.
Hopkins Monty?
Monty
Yeah, the girls are not happy about being downgraded.
Hopkins
Who wouldn’t be. It’s your job, Monty, to persuade them of the
bigger picture. Management and Union. It’s a long game.
21
22
Act One
Sid
It’s test match cricket.
Hopkins
It’s a game of give and take. You scratch my back.
Bill
I scratch yours.
Sid
And what a beautiful back it is, Mr. Hopkins.
Hopkins
Thank you, Sid. Monty, it’s a done deal. The men are happy. The
vote was overwhelming.
Bill
Five thousand men. Two hundred women.
Hopkins
You can’t win.
Bill / Sid Oooh!
Hopkins
Monty, your hands are tied and I’ve got your balls in a Kenwood
Chef.
Monty
But I represent these women. Look, can we do something
procedural so things don’t come to a head?
Hopkins
Sid? Any ideas?
Sid
We could confuse the poor little darlings with some totally
incomprehensible bollocks.
Hopkins
The grievance procedure?!
Bill
The grievance procedure was Connie’s idea.
Sid
She’ll have to comply.
Hopkins
That is brilliant! Tomorrow morning, head office, Warley.
Sid Afternoon.
Bill
After lunch.
Monty
Berni Inn.
Sid / Bill Phwoargh.
Made In Dagenham
(Hopkins exits.)
Bill
Go on then!
Sid
Fuck off, Monty!
Bill
Win ’em over.
Sid
If you’re not back in half an hour we’ll drag the river.
(Monty leaves.)
SCENE FOUR
In the factory, machines working, so they’re shouting at each other.
Sandra
Who else is B grade?
Connie
The cleaners. Unskilled assembly.
Rita
My Eddie.
Cass
We ain’t unskilled.
Beryl
It ain’t just anyone who can freddle a needle!
Rita
You have to take three tests to get in here.
(Enter Monty.)
Monty
Alright ladies, I’ve spoken to the management –
Beryl
– bastards!
Monty
– and we’re gonna insist on registering a formal grievance.
Rita
Hang on! I just thought, what about the girls at Dunton?
Cass
Yeah, they do the same job as us.
Monty
They have, anomalously, been given C grade. Skilled.
All (Uproar / Complaints.)
23
24
Act One
Monty
They work in a pressurised environment.
Sandra
We got our own environmental problems here.
Monty
Like what?
(A dead pigeon falls from the ceiling and lands at Monty’s feet.)
Beryl
Like that!
Cass
I’ll betcha Ford’s American factories ain’t like this boy!
Monty
We go to Head Office tomorrow, me, Connie, and Sid.
Connie
I don’t want Sid. I want one of the girls.
Cass
Take Beryl.
Rita
Yeah, she can do the swearing for you.
(They laugh.)
Clare
– Don’t take Beryl, she could start a –
Cass
– fight.
Clare
– in a –
Beryl
– plough field.
Rita
We want a fight!
Clare
I’ll go. I’ll tell ’em.
Beryl
What would you say, Clare?
Music No. 5: WOSSNAME
Clare (Starts speaking, and ends up singing.) I’d say . . . er . . . er . . . hang
on . . . er . . .
WELL ’ERE IS THE FING
THE FING ’ERE IS THIS
25
Made In Dagenham
AND DON’T NO-ONE START
TAKING THE PISS
COS WHEN SUMMINK AIN’T RIGHT
THEN SUMMINK IS WRONG
THERE'S A SMELL IN THE AIR
AND THE PONG IS QUITE STRONG
I BEEN AT THIS GAME
SINCE I WAS FOURTEEN
I KNOW MY WHATSISCALLED
DYAKNOWHWATIMEAN?
SO OUJAH K APIVUWAT
LAH DEE DAH AND GOODBYE
I AM WHAT I AM
COS I’M ME, AIN’T I?
Monty
Is this a wind up?
Clare Women
I KNOW WHAT'S GOING ON
(OO . . . )
YES I KNOW THE GAME
(OO . . . )
AND I KNOW THE WHATSIT
(OO . . . )
ABOUT THE WHATISNAME
(OO . . . )
AND I KNOW WHAT'S RIGHT
AND I KNOW WHAT'S FAIR
BUT SUMMING IN THIS FING
WELL, I DUNNO – AIN'T THERE
THERE’S LOTSA – YA KNOW
BLAH DEE BLAH DEE BLAH
YEAH NO, YEAH NO, YEAH NO
AND OUJAH OUJHA
BUT I TALK IT STRAIGHT
AND I TALK IT PLAIN
WHAT YOU SEE IS
WHAT YOU WOTSANAME
(OO . . . )
(OO . . . )
(OO . . . )
(OO . . . )
26
Act One
Clare Women
LIFE HERE AIN’T FAIR
(OOOH . . . )
AND PEOPLE GET THE BLAME,
(OOOH . . . )
YEAH YEAH (YEAH YEAH)
(YEAH, YEAH)
BUT YOU STAY FIRM AND TRUE
(OOOH . . . )
STICK TO THE WHATSITSNAME
THAT’S DEEP INSIDE YOU
OUJAH, OUJAH
Clare (Huge, anthemic.)
I'M ME
Women
SHE’S HER
Clare
AIN’T I
Women
NO D’UH
Clare
AND WE DON'T SEE EYE-TO-EYE
Women
SEE EYE . . . , GET HER!
Clare
AND YOU
Women
YOU WHO?
Clare
YOU’RE YOU
Women
US TOO!
Clare
AND WE AIN’T GOT
A BLEEDIN’ CLUE
Made In Dagenham
All
27
Speak for yourself, love!
Clare
THE PAST IS IN FRONT
AND THE FUTURE’S BEHIND
FANKS FOR HEARING ME OUT
IT’S A WEIGHT OF MY CHEST
WE’VE ALL BEEN THERE
AND NOW WE’RE HERE
THAT’S ALL I’VE GOT TO SAY
DO I MAKE MYSELF CLEAR?
Rita
Your heart’s in the right place, Clare.
Beryl
But they fucked everything else up.
Connie
It won’t work, love.
Clare
Why not?
Beryl
’Cause you couldn’t find your own arse wiv both ’ands!
(Clare goes back to work, machining.)
Connie
What about you, Rita?
All
Rita! / Yeah Rita! / Rita O’Grady! / Good idea!
Rita
Me? No! I can’t talk union stuff.
Cass
It’s a day off, girl!
Beryl
Berni Inn. Free lunch.
Rita
Yeah?! Ooh, alright then.
Beryl
Machine off ! Everyone. We ain’t doing no more work today.
Monty
No! All workplace disputes have to be arbitrated in accordance
with the grievance procedure. Or we’ll be up shit creek without a
paddle.
28
Act One
Beryl
If all you want’s a paddle mate, I’ll fucking knit you one.
Sandra
You come in here, Monty, swinging your dick like you’re running
the country, well you ain’t running the country.
Clare
Yeah. No. You ain’t running the country, that’s someone else.
(End of scene.)
Music No. 5a: BIG BEN
SCENE FIVE
Big Ben chimes. Harold Wilson with three Civil Servants.
Harold
How many strikes has the UK suffered this year?
Aide 1
Twenty-six thousand, Prime Minister.
Harold
We’re 66th for industrial productivity, behind Chad. Where is
Chad?
Aide 2
65th, Sir.
Aide 1
Chad is a small African nation with seventeen goats, and a string
farm.
Harold
Seventeen goats, and a string farm, and they’re ahead of Great
Britain?
Aide 1
All their goats work.
Aide 2
Britain is currently top of the world league table for industrial
unrest.
All Champeeeeons!
Aide 3
You can take your coat off Prime Minister. You’re indoors.
Harold
Gannex pay me to wear it. At all times. It’s work. I’m trying to set
an example . . .
Made In Dagenham
Music No. 6: ALWAYS A PROBLEM
Harold
WHAT WOULD YOU DO IF YOU WERE ME?
WHAT’S YOUR POLITICAL STR ATEGY?
YOU HAVE TO FAKE SINCERETY
AND BRUSH UP YOUR MACHIAVELLI
WHAT WOULD YOU DO IF YOU WERE ME?
WHAT KIND OF LEADER WOULD YOU BE?
EVERY DAY A CRISIS OR SURPRISE
DO YOU STAND FIRM OR COMPROMISE?
THERE’S ALWAYS A PROBLEM
WAITING IN THE WINGS
THAT’S ALWAYS BEEN THE PROBLEM
FOR PRIME MINISTERS AND KINGS
BUT WHAT KEEPS ME UP AT NIGHT
AND MAKES ME VERY TENSE
IS THE PROBLEM OF
THE BALANCE OF PAYMENTS.
Aides
UPTIGHT, HIGHLY STRUNG
MAKES HIM VERY TENSE
WHEN IT COMES TO
THE BALANCE OF PAYMENTS.
Harold
IMPORTS, EXPORTS
DEFICIT OR SURPLUS
Aides
CAPITAL INFLOWS
ECONOMIC CIRCUS
Harold
IN LAYMAN’S TERMS
WHEN IT COMES DOWN TO IT
IF YOU BUY MORE THAN YOU SELL
THEN YOU ARE REALLY IN THE SHIT.
29
30
Aide 1
Act One
Actually, Prime Minister, the correct term is “visible trade deficit”.
Harold
YOU CAN CALL IT WHAT YOU LIKE, SON
WE’RE REALLY IN THE SHIT.
Aides
THERE’S ALWAYS A PROBLEM
WAITING IN THE WINGS
THAT’S ALWAYS BEEN THE PROBLEM
FOR PRIME MINISTERS AND KINGS
WE MAKE GREAT THINGS
WHICH WE SELL WHEN WE CAN
BUT THE WHOLE WORLD
WANTS TO BUY GERMAN
Harold
ANOTHER LITTLE PROBLEM
WITH WHICH All WE ARE BLESSED
IS A GREAT DEAL OF
INDUSTRIAL UNREST
STRIKES HERE STRIKES THERE
IT JUST AMAZES ME
WHEN THE DAFFODILLS COME OUT
THE MEN COME OUT IN SYMPATHY
WE NEED IDEAS AND
WE NEED A PLAN
TO PUT THE GREAT
INTO GREAT BRITAIN
Aides
UPTIGHT HIGHLY STRUNG
BRINGS HIM OUT IN A SWEAT
WHEN HE THINKS OF THE SIZE
OF THE GREAT BRITISH DEBT
Harold
ARGHH
Made In Dagenham
Aides
DEBT
Harold
ARGHH
Aides
DEBT
Harold
ARGHH
Aides
DEBT
Harold
ARGHHHHHHHHHHHHHH!
(The Aides go into a huddle.)
Aide 1
Sir, how do you feel about quantitative easing?
Harold
I don’t need it, I’m very regular.
Aide 3
But this is an emergency.
Harold
In an emergency I have two black coffees and a cigarette.
Aide 2
Printing money.
Harold
Printing money? Can we do that?! Brilliant!
All
NO MORE BLOODY PROBLEMS
IN THOSE BLOODY WINGS
PRINTING CASH WILL MAKE US
ALL MORE POWERFUL THAN KINGS
THIS IS THE MASTER PLAN
TO CURE OUR ECONOMY
Harold
IT HAD BETTER BLOODY WORK
COS THERE AIN’T NO PLAN B
31
32
Act One
All
WE LOVE OUR COUNTRY
THE GREATEST ON THE EARTH
WITH IT’S IMMORTAL INDUSTRIES
FROM MINING TO WOOLWORTHS
THEY’LL STILL BE AROUND
WAY AFTER WE’RE GONE
WHICH, JUDGING FROM STATE OF THINGS,
WON’T . . .
BE . . .
VERY . . .
LONG!
Harold
OH SHIT!
Aide 3
Printing money never solved anyone’s problems. You’re going to
have to take on the unions.
Harold
I’ll create a new cabinet post. Secretary of State for Taking on the
Unions. Candidates?
Aide 1
Michael Foot.
Harold
Communist. He won’t be happy until we’re eating pickled
beetroot, drinking petrol and shagging our sisters.
Aides 3
Barbara Castle!
Aide 2
But she’s Minister of Transport.
Harold
Is she busy?
Aide 1
She’s learning to drive.
Harold
Get her in here.
Aide 2
She’s a woman.
Harold
Good! She can do her own typing.
(Enter Barbara Castle.)
Made In Dagenham
33
Music No. 6a: BUSY WOMAN (BARBARA CASTLE)
Barbara
HERE I AM – WELL WHAT DO YOU WANT?
I HAVEN’T GOT ALL DAY YOU KNOW
JUST BROUGHT IN THE BREATHALYSER
ALL YOU HAVE TO DO BLOW
I’M FIGHTING FOR AN IDEAL WORLD
AS WELL AS ALL THE HOUSEHOLD CHORES
AND DON’T FORGET YOUR SEATBELT, PLEASE
I JUST PASSED THE SEATBELT LAWS
Barbara
What is it Prime Minister? Spit it out! I’m a busy woman.
All
(Audience aside.) FIERY! LIKE HER HAIR!
Harold
Barbara, you know when you’ve lent your lawn mower to a friend
because you can see that the neighborhood would be improved if
he mowed his lawn.
(Barbara and Aides look quizzically at the audience.)
He forgets to return it. He starts to think it’s his. He goes around
mowing other people’s lawns, he’s out of control. Field mice and
voles lose their habitats. Every green shoot is mowed down, until
finally, a once green and pleasant land is brown and lifeless.
Barbara
If you want to talk about the union’s abuse of power, don’t use silly
metaphors. I don’t beat around the bush.
All
(Audience aside.) FIERY! LIKE HER HAIR!
Harold
The Labour Party is dependent on the trade union movement.
Barbara
You can’t tell me anything about the trades unions. I paid my first
union dues when they were still on the tit!
Harold
Barbara, Barbara! It’s easy being the opposition, it’s just a lot of
eating and drinking, but we’re the Government now.
Barbara
I came into politics to improve the lot of the working classes.
34
Act One
Harold
Rome wasn’t built in a day. This is a crisis! Secretary of State for
Taking on the Unions, have you got the balls for it?
Barbara
I know I have.
Harold
I’ve never seen them.
Barbara
I’ve been hiding them under a bushel.
Harold
Barbara, you’re the right man for the job, don’t let me down.
(Harold exits.)
Barbara
Right! You! Jump to it! I want a working lunch with the TUC, in
here, today. What do we need?
Aide 2
We’ll need six pork pies, twelve scotch eggs and a party can of
Watneys Red Barrel.
Barbara Good.
Aide 2
Anything for you ma’am?
Barbara
I’ll have a cup of tea and a chocolate finger.
(End of scene.)
SCENE SIX
Ford Social Club. Enter our ensemble and the place transforms. A Ford Machinist is
there leading the dance in her blue overalls.
Music No. 7: PAY DAY
Ensemble
PAY DAY
OUR DAY
CASH IN MY POCKET
GUNNA DRINK IT ALL AWAY
PAY DAY
WHADYASAY?
Made In Dagenham
RUN TO THE BAR AND
GET A ROUND IN STR AIGHT AWAY
GET A LITTLE MERRY
MAKE A LITTLE MESS
CAN'T DO QUITE AS MUCH
NOW WE'RE PAID A LITTLE LESS
PAY DAY (HEY HEY)
THE WEEK IS NEARLY DONE
PAY DAY
OUR DAY
FORGET ALL YOUR TROUBLES
AND KISS THEM ALL AWAY
PAY DAY (PAY DAY)
DEE JAY (DEE JAY)
PLAY ANOTHER TUNE
SO WE CAN DANCE THE NIGHT AWAY
GET A LITTLE MERRY
MAKE A LITTLE MESS
CAN'T DO QUITE AS MUCH
NOW WE'RE PAID A LITTLE LESS
PAY DAY (HEY HEY)
THE WEEK IS NEARLY DONE
Stan
WHAT YOU DRINKIN’?
Ensemble
CHERRY BR ANDY
WHAT D’YA SAY?
SHERRY
WATNEYS
DUBONNET
DOUBLE DIAMOND
35
36
Act One
ROOT BEER
SANGRIA
OVER HERE!
I THINK THEREFORE I DAGENHAM
WE ALL DRINK BEER AND BABYCHAM
BROWN ALE, BABYCHAM
BROWN ALE, BABYCHAM
BABY, BABY, BABY, BABY
MC
The barman wants his glasses back at the bar. He can’t see a thing
without them.
Rita
Oi Connie, what are you doing over there? Come here.
Connie
I’ve got to get this bloody speech done.
Rita Speech?
Connie
TUC conference next month. Unless I write it all down I’ll never
get through it.
Beryl
Give the revolution a break will ya. Get pissed and forget. We’re
celebrating.
Sandra
Rita’s tenth wedding anniversary.
Connie
Rita! What did he get you?
Tracey Flowers?
Rita
Flowers? You’d be lucky! Do you know what he got me for
Christmas?
Sandra
A baby doll nightie?
Rita
A tartan shopping trolley.
(They laugh.)
Made In Dagenham
Beryl
37
Don’t let this put you off marrying Ken, Clare. I had seven
happy years wiv my husband, and seven out of twenty-five ain’t
bad.
(Eddie and Stan arrive with pints. They are greeted with silence.)
Stan
Go on then, why ain’t B grade good enough for you, then?
Clare
Cos we’re, you know . . .
Connie
– skilled.
Eddie
Yeah, but you’re sitting down all day.
Beryl
Did Ford give you a test to see if you could stand up?
Eddie No.
Beryl
Standing up ain’t a skill then is it!
Stan
None of you can lift three hundred Cortina wheels in a day.
Rita
You don’t get it, do you?
Stan
You can’t have six thousand hairy arsed blokes sweating away
earning less than a woman.
(The MC takes the microphone. Rita refuses to look at Eddie. Eddie
waves his hand in front of her face and gets no response.)
MC
Ladies and Gentlemen, our first act of the evening, back by public
transport – lovable, larger than life Chubby Chuff!
Music No. 7a: CLUB MUSIC
(Chubby takes the stage. He is the archetypal fat bloke in suit.)
Chubby
Took the mother-in-law on safari last year. She got attacked by
three lions. My wife says “Aren’t you gonna help?” I said no, three
should be enough.
(Some laughter.)
38
Chubby
Act One
She’s a big woman, the mother-in-law. She joined one of them
gymnasiums, got on the rowing machine and the bloody thing
sank.
(Reaction.)
She came round for dinner last night and I did one of them
Freudian slips. I meant to say “could you pass the butter please”
but what I actually said was “you fat ugly bastard you’ve ruined my
life”.
Rita
You got any jokes about fat men?!
Chubby
Oh hello gorgeous, women’s libber, hey? Burn your bra – I’d pay to
see that.
Beryl
Don’t you slag off our Rita or I’ll come up there and sit on your
face!
Chubby
I’m serious, if I was her dad, love, I’d still be doing bath time.
All
Oi! / Watch it, you! / Whadyermean! / I can’t believe he said that.
(Beryl takes the mic and improvises a gag.)
Beryl
There’s a fat bloke, and another really fat bloke. (To the girls.) Ha,
ha. What!? I dunno! And another really fat ugly fat bloke in a pub
on their own cos they’re all really fat and ugly and smelly and then
the ceiling falls in and fucking kills them!
MC
Off the stage, off the stage. We’ve got another act coming.
Eddie
Alright Rite, that’s enough.
Rita
Don’t you tell me what to do, Eddie O’Grady.
Eddie
What’ve I done?
Rita
You don’t even know what you’ve not done, do you?
Connie
What’s today?
Eddie
Oh no. Is it?
Made In Dagenham
Beryl
It fucking is.
Eddie
I’m sorry love. What can I say?
39
HAPPY BIRTHDAY, TO YOU . . .
Men / Eddie
HAPPY BIRTHDAY TO YOU –
Rita
I’m going home. It ain’t my birthday!
(Rita leaves the stage, exits the club.)
Eddie
What? It ain’t her birthday?
Beryl
How long you been married, Eddie?
Eddie
Er . . . Millwall’s last season in Division 3 South, so that’s 1958. I
been married about ten years.
Connie
Ten years exactly.
Eddie
Exactly. What? To the day? Oh shit!
Connie
Go after her, Eddie! All she needs is sorry.
(Eddie runs after her. Girls leave the club. The next act takes the
stage and the mic.)
Club Singer
MOON OVER DAGENHAM
SHINING UP ON HIGH
FILL ME FULL OF LOVE AND JOY
THEN PASS ME THAT PORK PIE
(Outside the club. Rita has gone. Eddie comes out into the night air.
During the next the girls exit the club. Rita is standing in the street,
crying. She’s waiting for Eddie.)
Eddie (Into the night air.) Rite! Rita! Wait!
Rita
It’s our anniversary, Eddie, and you forgot!
40
Act One
Eddie
I remember every second of our honeymoon. I do. Test me.
Rita
Test you?! Piss off. I don’t need reminding that we loved each other
ten years ago!
Music No. 8: I'M SORRY I LOVE YOU
Eddie
I KNOW I'M A GIT
BUT YOU HAVE TO ADMIT
WHEN IT COMES DOWN TO IT
I ADMIT I'M A GIT . . .
(Beat.)
I AIN'T GOT A CLUE
Rita
WELL THAT MUCH IS TRUE
Eddie
ALL I CAN SAY IS . . .
Rita
Here it comes . . .
Eddie
I'M SORRY I LOVE YOU.
I’M JUST A MAN
WITH A FOOLISH BR AIN
I PROMISE THAT I’LL NEVER, NEVER, NEVER, NEVER,
NEVER, NEVER, NEVER, EVER,
NEVER FORGET AGAIN
WHEN YOU’RE NOT HERE
I’M NOT ALL THERE
THERE AIN’T A SINGLE THING I CAN DO
I’M SORRY I LOVE YOU
Rita
EDDIE, I'M A SOFT TOUCH
Made In Dagenham
I DON’T ASK FOR MUCH
AND THAT'S WHAT I GET IN RETURN
BUT ONE DAY A YEAR
I DON’T GET IT, ED
WHY DON’T YOU LEARN?!
Eddie
LOOK IN MY EYES
SEE THEY'RE REGRETFUL, BUT YET FULL OF JOY
THAT'S GOTTA BE WORTH
MORE THAN FLOWERS OR CHOCOLATES
OR SOME STUPID CUDDLY TOY
I’M JUST A MAN
WITH A FOOLISH BR AIN
I PROMISE THAT I’LL NEVER, NEVER, NEVER, NEVER,
NEVER, NEVER, NEVER, EVER,
NEVER FORGET AGAIN
YOU SUCKER PUNCH MY SOUL
WITHOUT YOU I’M NOT WHOLE
THERE AIN’T A SINGLE THING I CAN DO
I’M SORRY I LOVE YOU
Rita
I’M SICK OF IT
Eddie
SORRY
Rita
I’M TIRED OF IT
Eddie
SORRY
Rita
I’VE HAD ENOUGH
Eddie
I’M SORRY
41
42
Act One
Rita
OH COME ON, ED
Eddie
I’M SORRY
Rita
I’M SICK OF . . .
Eddie
SORRY
Rita
SICK OF IT
Eddie
SORRY
Rita
SICK OF IT
Eddie
SORRY
Rita
I’M SICK OF . . .
Eddie
SORRY
Rita
S. I. C. K.
Eddie
S. O. R. R. Y.
I'LL SHOUT IT FROM THE ROOFTOPS
I'LL SCREAM IT TILL I'M HOARSE
EVERYTHING THAT'S MINE IS YOURS
APART FROM THE BIKE OF COURSE
TELL ME JUST HOW MANY TIMES
YOU WANT ME TO TELL YOU
Made In Dagenham
HOW MANY TIMES I'M SORRY
I GOT LOST AT NINETY-TWO
I’M SORRY
I’M SORRY
BUT I LOVE YOU
Men (& Eddie ad lib.)
HE’S JUST A MAN
WITH A FOOLISH BR AIN
HE PROMISES THAT HE’LL NEVER, NEVER, NEVER, NEVER,
NEVER, NEVER, NEVER, EVER,
NEVER FORGET AGAIN
YOU SUCKER PUNCHED HIS SOUL
WITHOUT YOU HE’S A RIGHT ARSEHOLE
THERE AIN’T A SINGLE THING HE CAN DO
Eddie
I’M SORRY I LOVE YOU
Men
IF YOU WANT HE’LL BEG
LOOK HE’S DOWN ON ONE LEG
NOW HE’S DOWN ON ALL FOURS
Eddie
WHATEVER THE WEATHER,
WHEREVER, FOREVER
WHATEVER THE WEATHER,
WHEREVER, FOREVER
Men
WHATEVER THE WEATHER,
WHEREVER, FOREVER
Eddie
I’M SORRY, I’M
ALWAYS YOURS
Men
ALWAYS YOURS
43
44
Act One
HE’S SORRY, HE’S ALWAYS YOURS
HE’S SORRY, HE’S ALWAYS YOURS (Repeat 6 times to fade.)
(Huge, lush orchestral sweep as they exit into the sunset.)
Eddie Enough!
(During the song they sit on a park bench.)
Rita
We’re alright, ain’t we?
Eddie
Yeah we’re alright. Course we’re alright.
(Eddie gives Rita a kiss.)
Rita
Mr Buckton, is caning our Graham. It ain’t right.
Eddie
Remember Mr Perkins?
Rita
Virgin Perkins?
Eddie
Yeah. Woodwork. He used to put me head in a vice and burn me
with cigarettes.
Rita
What’s your point?
Eddie
It didn’t do me any harm.
(Rita falls asleep on Eddie.)
Rita
I think he canes him ’cause he’s a scholarship boy. I’m gonna go
into the school to complain. (Beat.) I love you, Eddie.
Eddie
HEY THERE SLEEPY DREAMER
I JUST WANNA SAY
I LOVE YOU LOADS
Rita
YOU STUPID SOD
(They both fall asleep. End of scene.)
Made In Dagenham
45
SCENE SEVEN
The Hopkins house, breakfast.
Hopkins Snuggles?
Lisa
Yes, darling.
Hopkins
These eggs taste funny.
Lisa
They’re duck eggs.
Hopkins
Why am I eating duck eggs? I’m not Albanian.
Lisa
For a change, I’ve started buying whatever is one to the left of
what I usually buy. That’s why we’ve got no coffee but lots of
Domestos.
Hopkins
Let’s go out for dinner tonight and we can talk then. I’m sorry, I
have to go. I’m at head office today.
Lisa
Mr. Buckton caned Perry yesterday. He can hardly sit down.
Hopkins
What had he done?
Lisa
He’d farted. In Latin.
Hopkins
Impressive! Most people can’t even speak Latin.
Lisa
So you’re quite happy for your son to be physically abused by a
sadist?
Hopkins
It’s an expensive public school. I’d be disappointed if he wasn’t
getting abused. I remember one time we were playing Rugby at
Rugby in Rugby. We lost seventy-three nil. To be honest, we were
lucky to get nil. We were all given six of the best on the hand. On
the hand. Now that does hurt. Bottoms are for girls. Now what
have you got today darling? Tupperware Party?
Lisa
I thought I’d wash up, do the ironing, polish off a couple of bottles
of vodka and then set fire to the Women’s Institute.
Hopkins
Sorry darling, I’ve got to rush.
46
Act One
Lisa
You weren’t listening, were you?!
Hopkins
Oh look, Snuggles, I’m sorry –
Lisa
I just want to know what I’m supposed to do all day long in the
middle of the Essex countryside.
Hopkins
Don’t start. Not now.
Lisa
When is a good time to start?
Hopkins
Look! I bought you a horse.
Lisa
It doesn’t like me!
Hopkins
Listen, I’m under a lot of pressure at the moment. And I need you
to stand by me. Got to go! “Trouble at mill”.
(He’s gone. Lisa stabs the carving knife into the chopping block.)
SCENE EIGHT
The school.
Music No. 9: SCHOOL SONG
Ensemble Men
WHERE THE IRON HEART OF ENGLAND BLEEDS
BENEATH ITS NOBLE GOWN
STANDS A SCHOOL WHOSE SONS ALL FIGHT WITH MIGHT
TO FURTHER IT’S RENOWN
Graham
ONWARD THROUGH ALL KNOCKS AND HARDSHIP
DO NOT FEAR WHEN DEATH STOMPS BY
HOLD YOUR NERVE AND THINK OF ALBION
WHATEVER HAPPENS – DO NOT CRY.
(Rita finds herself alone with Mr. Buckton.)
Rita
Mr. Buckton?
Made In Dagenham
Buckton
Ah! Let me guess. Mrs. O’Grady.
Rita
Yeah. Well done.
Buckton
How can I help?
Rita
I’m not . . . what I want to say is . . . you bin caning my son?
47
Buckton Yes.
Rita
Oh. You admit it then.
Buckton
An integral element of an elite education is discipline. Ergo,
Rita
– Ergo? That’s Latin, is it?
Buckton
Yes, it means therefore. Ergo, it is incumbent on me to cane your
son, and constrain his natural recalcitrance.
Rita
I dunno what that word means either.
Buckton
He’s insolent, he kicks against tradition. Like most of the
scholarship boys he conforms to the current fashion of
individualism, which is antithetical to the core values of the
school.
Rita
I don’t want you caning him. He’s a child, ergo, it ain’t right.
Buckton
I’m afraid your outrage is misplaced.
Rita
My outrage?
Buckton
Do you want your boy to do A levels, sixth form, to go to
university? I do. Are you saying you’d be happier if he left at
sixteen and got a job in a factory? I don’t know if you’ve ever been
in a factory but –
Rita
– I work in a factory!
Buckton
Then you should know better. Is there anything else I can help
with?
Rita No.
48
Act One
(Rita is defeated. The teacher turns his back on her. Rita leaves. She
bumps into Lisa Hopkins. Lisa is wearing a red Biba dress.)
Lisa
Excuse me!
Rita
Oh piss off!
Lisa
I beg your pardon!
Rita
Sorry, I thought you were a teacher. I’m in a mood. Mister
Buckton’s caning my boy.
Lisa
Mine too. That’s why I’m here.
Rita
Rita O’Grady.
(Handshake.)
Lisa
Lisa Hopkins.
Rita
I like that dress.
Lisa
It’s Biba.
Rita
Someone should do summat about it. The caning, not the dress.
The dress is fab. Don’t do anything about that. Leave the dress
alone! It’s perfect! I love it! Don’t touch the dress! Ha! Sorry, I go
weird when I’ve got the hump.
Lisa
We should start a petition. What do you think? Shall we?
Rita
Oh God, I dunno. I’m not political.
Lisa
It’s not politics, I’m not asking you to stand for Parliament. This is
cruelty, we parents have to stand up to him.
Rita
Yeah, good luck. I gotta go.
Men
DO NOT CRY, DO NOT CRY
DO NOT BAWL, DO NOT WEEP
DO NOT HOWL FOR YOUR MAMMY
OR YOUR GR ANNY WHEN YOU SLEEP
Made In Dagenham
49
CRUSH ALL FEELING AND NEVER EVER COWER
PREPARE FOR A CAREER
IN THE CORRIDORS OF POWER
(End of scene.)
SCENE NINE
Barbara Castle and Harold Wilson and Aides. Harold is smoking a pipe with a
cup of tea in his hand. Barbara has a cup of tea and a Cadbury’s chocolate finger.
Harold
So Barbara, you’ve had those lovely legs of yours under the desk for
a week now. Who do you blame for this country’s pitiful record of
industrial productivity?
Barbara
The problem as I see it is we have to get our people to go to work
and stay there. We need a no-strike agreement with the TUC.
Harold
Are you mad, woman? I told you the Labour Party is dependent on
the TUC.
Barbara
This is not easy for me either, it’s tearing me apart. This is my draft
white paper, ‘In Place of Strife’. We have to ban strikes.
(Harold stands in a huff.)
Harold
We can’t ban strikes! The TUC have six million block votes at the
Labour Party conference. They bought me this pipe. They pay for
my holidays in the Scilly Isles. They underlay in my bathroom!
Barbara
But Harold . . .
Harold
No, Barbara, you’ve got this all wrong. I’m going. And I’m not
coming back until you’ve got a solution.
(Harold opens a door, goes in, closes the door. He opens the door,
comes back in.)
So that’s a cupboard is it?
Aide 3
I think it’s a stationery cupboard, Sir.
50
Act One
Harold (Looks at cupboard.) It’s certainly not moving.
Barbara
Dockers, miners, train drivers, dinner ladies. I don’t mind the
TUC striking when the Tories are in, but we’re Labour, they’re
pissing on their own doorstep!
Harold
What about management? They have to take responsibility. It takes
two to tango.
Barbara
Don’t try and bamboozle me with choreography! I don’t care that
you’re Prime Minister, Prime Minister. You’ve given me this job,
you have to let me do it my way, or I’ll turn on you, and you don’t
want that because I’m like a she-lion. And have you ever seen a
she-lion drag down a wildebeest?
Harold
I’m from Huddersfield.
Barbara
Get out.
Harold
I would if I could.
Barbara
That door there! Men!
(End of scene.)
Music No. 9a: INTO THE BERNI INN
SCENE TEN
A Berni Inn. Rita and Connie sat at the table reading menus. Monty is in the
background laughing and drinking.
Rita
This menu’s like reading the Karma Sutra. Everything sounds nice,
but I can’t picture any of it.
(They laugh. Connie takes a couple of pills from a pot and washes
them down with water. Rita sees this.)
Rita
Headache?
Connie
Yeah.
Made In Dagenham
Rita
You’re lying.
Connie
Yeah.
Monty
(Shouting.) Oi! Garçon!
51
(Waiter goes over to Monty.)
Rita
Why’s Monty not sitting with us?
Connie
He stays at the hotel next door.
Rita
Hotel?! He only lives in Barking.
Connie
You don’t understand expenses, do you?
Rita
So come on did you and Monty ever?
Connie
Once. Scarborough, 1953, Labour Party conference.
Rita
But only once. You learned your lesson, eh?!
Connie
Yeah, don’t drink and operate heavy machinery.
Rita
Woo! It’s all going off behind the curtains! Why didn’t you ever
marry?
Connie
Monty?
Rita
I dunno, he can’t have been the only single fella in Essex.
Connie
He was a good dancer, but I didn’t love him and I’d already
married the Labour Party, and a lousy husband he turned out to
be.
Rita
You was tryna change the world.
Connie
I didn’t want to be my mum. The drudge, the grind, low wages,
factory work.
Rita
Cheer up, Con, you can’t be miserable in the Berni Inn! You done
a lot. You got us a grievance procedure.
52
Act One
Music No. 10: SAME OLD STORY
Connie
A grievance procedure is not changing the world.
Connie
YESTERDAY WHEN I STARTED OUT
I KNEW IT ALL, I HAD NO DOUBT
LIFE WAS THERE IN FRONT OF ME
“JUST BE WHO YOU WANT TO BE”
STARTED WORK WAY TOO YOUNG
SAME AS ALL THE BLOKES
WORKED OUR FINGERS TO THE BONE
MAKING DO BY MAKING JOKES
BUT NOW I’M OLDER, LOOKING BACK
IT DOESN’T SEEM SO FUNNY
SAME WORK, SAME HOURS
BUT HALF THE MONEY
IT’S AN AGE-OLD STORY
IT’S AN AGE-OLD TALE
STILL THE SAME OLD REASONS
THAT ARE THERE TO MAKE US FAIL
SECOND AT THE TABLE
PICKING UP THE CRUMBS
CHANGE IS ALWAYS PROMISED
BUT SOMEHOW NEVER COMES
I JOINED THE LABOUR PARTY
ON THE SHOULDERS OF THE GREAT
EMANCIPATED TEENAGER
WHO DIDN’T HAVE TIME TO WAIT
FIERCE, FEISTY, FULL OF FIGHT
A WARRIOR A DREAMER
THIRTY YEARS ON,
I’M STILL A UNION CONVENOR
Made In Dagenham
53
YOU ALL SAID TO ME
“STICK WITH IT, WE NEED YA”
WHAT DID I ACHIEVE?
THE GRIEVANCE PROCEDURE
IT’S AN AGE-OLD STORY
IT’S AN AGE-OLD TALE
STILL THE SAME OLD REASONS
THAT ARE THERE TO MAKE US FAIL
ALWAYS ON THE OUTSIDE
KICKING AT THE DOOR
LOOKS LIKE A GLASS CEILING
FROM DOWN HERE ON THE FLOOR
Connie Women
IT’S ALWAYS BEEN A WHISPER
A AHH . . . (etc.)
BUT CAN’T IT BE A ROAR
ALL THOSE UNHEARD VOICES
THAT WON’T TAKE NO MORE
OH, RITA, PLEASE WAKE UP
I NEED YOU TO SEE
IT AIN’T ABOUT THE MONEY
IT’S EQUALITY
Connie
This doesn’t have to be just about C grade.
Rita
What do you mean?
Connie
If we got C grade tomorrow, we’d still be earning less than a man
on C grade.
Rita
Eighty-seven per cent. That ain’t too bad.
Connie
Did Martin Luther King ask for eighty-seven per cent of rights for
black people?
Rita
You know they shot him? I’m here to get C grade back, nothing
else. Women have never had equal pay.
54
Act One
Connie
What about your Sharon?
Rita
She’s six.
Connie
And when she’s twenty-six do you want her to be on eighty-seven
per cent?
Rita
She wants to be a doctor. Ha!
Connie
She could be. Nothing changes if it isn’t challenged.
Connie
YOU CAN THE CHANGE THE STORY
YOU CAN CHANGE THE TALE
DON’T FALL FOR ALL THOSE REASONS
THAT ARE THERE TO MAKE US FAIL
WE HAVE TO MAKE IT OUR TIME
CAN’T OUR TIME BE NOW?
AIN’T GOT TIME FOR WAITING
RITA MAKE IT NOW
(End of scene.)
SCENE ELEVEN
The management offices at Warley. Initially there are the three managers sat at a table. One
of these is Mr Hopkins. Monty, Connie and Rita arrive in the corridor outside this
office.
Music No. 11: UNION SONG – Reprise
Men / Women
BROTHERS AND SISTERS,
COMR ADES EVERYONE
FIGHT FOR YOUR FUTURE
AND THE UNION
WHEN IT COMES DOWN TO MANAGEMENT (manage-munt)
EACH AND EVERY ONE OF THEM’S
A TOTAL . . .
Made In Dagenham
Hopkins
Come in, come in.
(Enter Monty.)
Monty
Afternoon, gentlemen.
All
Afternoon. / Monty. / Alright? etc.
Monty
Right, today we’ve got the ladies.
Hubble Woooo!
Monty
One shop steward, Connie, she’s alright, she knows and respects
the procedures, and er . . . one of the trouble makers.
Hubble
Are they fit?
Hopkins
Hubble, please!
Hubble
Just a joke.
Hopkins
They threatened to walk out yesterday, that is not a joke.
Macer
I’ll have to lay off five thousand men if I don’t get a continuous
supply of Cortina seats.
Monty
We can park this in the grievance procedure. Connie was
instrumental in setting up the grievance procedure, so she ain’t
gonna argue against it.
Hopkins
We can do what we like, then? They’re under our thumbs.
Hubble
Ooh, Mucky.
Hopkins
Hubble! That remark is not worthy of a Personnel Director.
Hubble
Sorry, just a joke.
Monty
You’re management, I’m union, but we’re all men, and this is our
world, the world of work. It’s when we go home that we’re in the
dog house.
Macer
I hate going home.
55
56
Act One
(A beat of time. All three men drop their heads in a moment of tragic
introspection.)
Monty
I’ll go round them up.
Hubble
Woof! Woof!
(In the corridor, Connie and Rita are waiting for Monty.)
Monty
Now there’s three of them and three of us, so it’s a fair fight.
Connie’s done these meetings before. It’s all collective agreements
and procedures, so leave the talking to us, eh Rita?
Rita
I’ll keep me mouth shut, I’m just making up the numbers.
Monty
Terrific!
(Monty turns and enters the room. This time the management
stand.)
Monty
You know Connie Riley, shop steward, River Plant. This is
Rita O’Grady, er . . . machinist. Rita, this is, Gregory Hubble,
Personnel Director, Ron Macer, Production Manager and Jeremy
Hopkins, Managing Director, Ford Dagenham.
Rita
Oh! Never met you before. Hello. Sorry. I’ll shut up now!
Macer
The NUVB executive supported the job evaluation exercise.
Monty
True, but my members at the River Plant –
Hubble
– the girls.
Connie
Yes, the girls, are reluctant to sign it off.
Rita
Yeah. Sorry.
Hopkins
Fortunately, we have a grievance procedure now, partly due to your
efforts in the past, Connie.
Connie
Yes. We do wish to register a formal grievance.
Made In Dagenham
57
Hubble
We have no objections to grading grievance hearings being granted
under the formerly agreed formal grievance procedure.
Monty
So you agree to grant the girls their grading grievance before the
grading committee on the grounds that their grading grievance
gripes can be grieved in the grievance procedure if they’re grave
enough.
Hubble Granted.
Monty
Great. Grand. We’re very grateful. Gregory.
Hopkins
When is the next Grievance Committee?
Hubble September?
Monty Agreed.
Rita
Hang on! I ain’t working on a grade B for three months. We’re
skilled workers.
Hopkins
That is to be discussed in September.
Rita
You have to take three tests before you get in the door. Ergo we
must be skilled.
Hopkins Ergo?
Rita
Yes, bloody ergo.
Hopkins
Do they take three tests?
Macer
Of course we test them.
Rita
He tests us cos he can’t afford to let just anybody loose on his
expensive leatherette. And what about the girls at Dunton? They
got C grade.
Hubble
– there are only two girls at Dunton.
Rita
– what’s that gotta do wiv anyfing?
Macer
Now come on, you’re –
58
Act One
Rita
– don’t you dare tell me my outrage is misplaced. It’s the principle.
Macer
The girls at Dunton have to work under pressure.
Rita
– I have to make three hundred pieces a day. You try working with
that monkey on your back!
Macer
Dunton is a Research and Development facility, there are no
drawings –
Rita
We ain’t working from drawings neiver! Go through that shed, you
won’t find a single template.
Monty
Rita –
Rita (To Monty.) – Don’t you “Rita” me, Monty. Alright, so if we
ain’t skilled, yeah, you could do our jobs, yeah? That’s what you’re
saying innit? (Beat.) So – what kind of needle would you use for
leatherette?
(Silence.)
Ballpoint, or a crewel?
(Silence.)
Macer
Look –
Rita
– What would you set the dog teeth on for real leather? (Beat.)
D’yer know what the dog teeth are? Alright. Last question. What
kind of brush would you use to sweep the yard?
Hubble
A yard brush?
Rita
Correct! Well done, Mister Hubble, you could be a cleaner.
Hopkins
Every job has been analysed across twenty-eight characteristics.
Rita
Twenty-eight characteristics and the sex of whoever does it.
Macer
£17 for a forty-hour week is not –
Made In Dagenham
Rita
– Don’t insult me, alright? You know what we want. Are you
gonna give us equal pay or not?
Hopkins
Equal pay?!
Macer
This isn’t about equal pay?!
Monty Connie?
Connie
Why isn’t this about equal pay?
Hopkins
This is not an equal pay issue.
Rita
It wasn’t, but it is now.
Connie
You’ve made it one.
Hopkins
But the grievance procedure was your idea.
Connie
Fifteen years ago. And you’ve been abusing ever since.
Rita
Come on, Connie, we’re going. You can stuff your grievance
procedure where the sun don’t shine.
(Rita and Connie stand and make for the door.)
Good to meet you. A cup of tea would’ve been nice, but I guess
that’s skilled work.
(Rita and Connie exit. End of scene.)
SCENE TWELVE
Music No. 11a: SKILLED WORK
Music underscore factory rhythm. All machines off. A tense silence. Rita stands on a box.
Rita
So we met the management . . .
Beryl
– Bastards!
Sandra
What did you say?
59
60
Act One
Beryl
Machine off everyone! Rita wants to make a speech.
Rita
I said the girls at Dunton are on C grade.
All
Yeah! / (Supportive noises.)
Rita
I said we must be skilled, cos you test us.
All
Yeah! / (Supportive noises.)
Rita
I said, I’ve had it up to here!
All
Yeah! / (Supportive noises.)
Rita
I said, we’re sick of talking about it, we want summat done.
All
Yeah! / (Supportive noises.)
Rita
So we’ve got to vote now.
Beryl
What we voting for?
Rita
A strike. Hands up, all in favour?
Music No. 12: EVERYBODY OUT
(It’s almost unanimous, but Clare is stalling.)
Beryl Clare!?
SCENE THIRTEEN
This scene segues out of Act 1 Scene 12 and is set across two weeks as a rapidly moving
montage of events, the spine of which is the song “Everybody Out”. Locations switch quickly
here, and there is musical underscoring throughout the whole scene.
Rita
SOMETIMES IN YOUR LIFE
YOU GOTTA STAND UP FOR
WHAT YOU KNOW IS RIGHT
AND BE PREPARED TO FIGHT
Made In Dagenham
AND SOMETIMES IN YOUR LIFE
YOU GOTTA GET UP
AND LOOK THEM IN THE EYE
AND SCREAM THE REASON WHY
IT’S A LONG TIME COMING
AND WE'RE READY FOR A SCR AP
IT’S A LONG TIME COMING
AND WE AIN’T TURNING BACK
All Women
EVERYBODY OUT!
GET OUT ON THE STREET
AND ONTO THE PICKET LINE
EVERYBODY OUT!
LET’S MAKE IT CLEAR
WE’RE HERE TO SEND A SIGN
EVERYBODY OUT!
Clare
IF THEY GET ANGRY, WELL I TELL YA
WE’LL GET MEAN
WE’LL CHAIN OURSELVES
TO OUR SEWING MACHINES
All Women
EVERYBODY OUT!
Bill
Oi, Monty! Your girls have gone mad.
Monty
What is it?
Sid Drugs.
Bill
What are you gonna do about it, Monty? They’re your flock.
Sid
Yeah, what the flock are you gonna do about it?
Monty (Moves to tannoy.) Your union does not support independent
industrial action!
61
62
Act One
Women
THERE’S NO MORE TALKING
NO CONVERSATION (NO CONVERSATION)
DON’T TREAT US GIRLS
LIKE A POOR RELATION
EVERYBODY OUT
(Phone rings chez Hopkins. Lisa answers, but Jeremy is frustrated
that he didn’t get there first.)
Lisa
Lisa Hopkins.
Hopkins
Give me the phone!
Monty
Monty here, N.U.V.B. from the River Plant.
(Lisa hands over the phone.)
Hopkins Hopkins.
Monty
It’s the girls. They’ve walked out.
Hopkins
Shit! Put Sid on.
(Monty hands phone to Sid.)
Hopkins (To Lisa.) Hey! What time is it in America?
Lisa
I’m not the speaking clock!
(Lisa walks off in a huff.)
Sid
Sidney.
Hopkins
Is this a strike?
Sid
All the classic signs. There’s a brazier, a picket line, and a barricade.
If we had an orchestra it could be a musical.
(Phone down.)
Made In Dagenham
63
Women
IT’S ALWAYS BEEN THIS WAY
NOW IT’S GOT TO STOP
EVERYBODY OUT!
YOU STARVE THOSE AT THE BOTTOM
TO FEED THOSE AT THE TOP
EVERYBODY OUT!
WE’RE THE CAN OF WORMS
THAT, YOU BETTER REALIZE
THESE WORMS ARE TURNING INTO BUTTERFLIES
EVERYBODY OUT!
Barbara
Prime Minister, the Ford women have walked out.
Harold
But the war’s over, why are women working?
Barbara
They’re not working, they’re on strike.
Harold
No Labour government will be pushed around by a lot of women
with dyed hair.
Barbara
They make the seats for the cars!
Harold
Fit the cars with sunroofs and we can all drive standing up! Do I
have to think of everything!?
Women
LADIES IF YOUR FELLA
STARTS TO WHINGE OR STARTS TO MOAN
Eddie
On strike?! We need the money?
Women
TELL HIM THAT YOU’LL TAKE THE STRIKE
RIGHT BACK INTO YOUR HOME
(Eddie is trying to cook.)
Eddie
How long do you cook an egg for?
64
Act One
Women
LET HIM DO THE COOKING,
LET HIM TRY TO MAKE THE MEALS
Stan
Twenty-seven minutes.
Women
AND MAKE HIM TO DO IT ALL DAY LONG
IN A PAIR OF FIVE-INCH HEELS
(Eddie looks quizzically at Stan.)
Stan
Women
EVERYBODY
EVERYBODY
EVERYBODY
EVERYBODY
Better safe than sorry.
OUT
OUT
OUT
OUT
Men
GIRLS, YOU DONE THE RIGHT THING
WE’RE BEHIND YOU ALL THE WAY
MAKE YOUR POINT THEN BACK TO WORK
BEFORE BANK HOLIDAY
WE’RE PROUD OF YOU AND WHAT IT IS
THAT YOU ALL GOT TO SAY
BUT MAKE IT QUICK GET ON WITH IT
COS WE’LL STRUGGLE ON STRIKER’S PAY
All
EVERYBODY
EVERYBODY
EVERYBODY
EVERYBODY
OUT
OUT
OUT
OUT
(On the picket line. Fleet Street Reporters and Photographers.
One sleazy, Astro.)
Reporter 1
This way, ladies. Smile for the camera.
Made In Dagenham
Rita
I’d have had me hair done if I’d known we were gonna be in the
papers.
Beryl
I’d have had a shave.
Connie
Are you national press?
Reporter 2
The Guardian.
Beryl
That’s alright then, I don’t know anyone who reads that.
Astro
That’s beautiful! What’s your name?
Sandra
Sandra.
Astro
Gissa bit of leg then, Stella!
Beryl
Oi! She’s on strike, she’s not on the game!
Astro
My card, baby.
Rita
Let me see that.
(Rita snatches the card.)
Fiesta!?
Beryl
That’s a bleeding wank mag!
Astro
You don’t have to.
(Astro has gone.)
Reporter 2
Ladies, is it your intention to halt production on the new Ford
Cortina?
Connie
I know this management –
Beryl
– Bastards!
Connie
– they’ll just get their finished seats from Liverpool.
Sandra
What can we do then?
65
66
Act One
Connie
We need some working class solidarity.
Beryl
’Kinnel!
Connie
We need the girls in Liverpool to strike.
All
EVERYBODY
EVERYBODY
EVERYBODY
EVERYBODY
OUT
OUT
OUT
OUT
Beryl
Hello Liverpool!
All
Hiya queen!
Rita
WE’RE HERE TO ASK A FAVOUR
WE NEED YOU ALL ABOARD
WE WANT TO SHOVE A ROCKET
UP THE ARSE OF HENRY FORD
IF YOU STOP MAKING SEATS
THEN YOU STOP OUR PRODUCTION LINE
BUT IF YOU CARRY ON
THE STRIKE IS JUST A WASTE OF TIME
Rita, Sandra, Women
IT AIN’T ABOUT THE MONEY
IT’S ALL ABOUT RESPECT
WOMEN ALWAYS COMING SECOND
THAT’S WHAT WE REJECT
All Women
DAGENHAM AND LIVERPOOL
TOGTHER WE GOT CLOUT
LADIES LET ME HEAR YOU SAY
EVERYBODY OUT!
EVERYBODY OUT
EVERYBODY OUT
Made In Dagenham
67
EVERYBODY OUT
EVERYBODY OUT
(Tooley is at the shooting range.)
Tooley
Yeah? Tooley.
Hopkins
We’ve got a strike.
Tooley
Oh Lord Jesus!
Hopkins
Two strikes, actually.
Tooley
What? You only had one strike a minute ago.
Hopkins
Dagenham and Liverpool.
Tooley
What do the men want?
Hopkins Women.
Tooley
Men always want women, tell me something I didn’t know.
Hopkins
The women are on strike. We have one week’s supply of car
seats. One week before I have to shut down the whole Ford UK
operation.
Tooley
Who’s the ring leader?
Hopkins
Rita O’Grady.
Tooley
Anarchist? Communist?
Hopkins
Housewife, and working mother.
Tooley
My God!? They’re the worst! Okay, I’m coming over. Put the kettle
on.
All
EVERYBODY
EVERYBODY
EVERYBODY
EVERYBODY
OUT
OUT
OUT
OUT
68
Act One
(Eddie at the end of a long hard day of domestic chores, holding a
basket of washing.)
Eddie
I fed the kids.
Rita
What did you cook for them?
Eddie
Chips on toast.
Rita
Why?
Eddie
Cos I can cook chips, and I can cook toast. We’re alright, you do
what you have to do love.
All
EVERYBODY OUT . . .
EVERYBODY OUT . . .
EVERYBODY OUT . . .
EVERYBODY OUT,
EVERYBODY OUT!
Rita
We don’t want pin money we want proper money.
Equal pay for equal work! What do we want?
Equal Pay! When do we want it? Now!
GET OUT ON THE STREET
AND ONTO THAT PICKET LINE
EVERYBODY OUT!
LET’S MAKE IT CLEAR
WE’RE HERE TO SEND A SIGN
EVERYBODY OUT!
Men
WE WON’T BE DISMISSED
AND WE WON’T BE IGNORED
Women
WE’LL THROW OURSELVES
UNDER THE LATEST MODEL FORD.
Men
EVERYBODY OUT!
Solo Woman
EVERYBODY OUT!
Made In Dagenham
All
EVERYBODY OUT!
Solo Woman
EVERYBODY . . .
All
EVERYBODY . . .
Solo Woman
EVERYBODY OUT!
All
EVERYBODY OUT!
EVERYBODY . . .
EVERYBODY OUT!
EVERYBODY . . .
OUT!
Music No. 12a: EVERYBODY OUT – Playout
(End of Act One.)
69
70
Act Two
ACT TWO
SCENE ONE
Music No. 12b: TOOLEY’S ENTRANCE
Helicopter rotors getting louder, dry ice, chopper lands, Tooley stands in the hatchway,
tall, besuited, shades, cowboy hat, cowboy boots. He is followed by an enforcer type, Adams,
also in shades, besuited, but no cowboy hat. They’re into the management offices as music
and chopper end.
Tooley
Okay guys, the cavalry’s here!
Hopkins
Hello, would you like some tea?
Tooley
No! We’re not here to drink tea! We’re here to play hardball! You!
What’s the name of this town?
Hubble Dagenham.
Tooley
Incorrect! (He turns to his sidekick.) Adams!? What’s the name of
this town?!
Adams
Sir! America! Sir!
Tooley (Banging the table.) Lesson one! This is America! And in America
everything is American.
Music No. 13: THIS IS AMERICA
Tooley
I’M THE GO-TO GUY
WHEN THE GOING GETS TOUGH
AND THE GOING’S GONE MAD
AND I’VE KINDA HAD ENOUGH
I SAY IT LIKE IT IS,
I TELL IT TO YOUR FACE
THE REASON I AM HERE’S
TO PUT YOU IN YOUR PLACE
AFTER DEATH, TAXES
AND THE LORD
Made In Dagenham
THE ONLY OTHER CERTAINTY,
MY FRIENDS, IS FORD
WE GAVE THE WORLD THE
VERY FIRST PRODUCTION LINE
AND WE WILL BE RIGHT HERE
UNTIL THE END OF TIME
Tooley Two Men
THIS IS AMERICA, (AMERICA)
THE U. S. A.
WE TELL YOU WHAT TO DO
(WHAT TO DO)
AND YOU DO AS WE SAY
WE ARE THE TOP DOG
(TOP DOG)
YOU LOVE TO HATE
AND YOU ARE OUR POODLE
THE FIFTY-FIRST STATE.
WE'RE SO MUCH BIGGER
WE'RE SO MUCH BETTER
AND OUR SUN IS HOTTER
OUR WATER'S WETTER
WE MOVE FASTER
AND FURTHER TOO
(BIGGER)
(SUN IS HOTTER)
Tooley / Solos
BASICALLY WE'RE TOTALLY
SUPERIOR TO YOU
Tooley
ANARCHISTS, COMMUNISTS,
WE FOUGHT THEM TILL WE WON
WE SAW OFF JIMMY HOFFA
AND HIS TEAMSTER SCUM
WE BOUGHT ALL THE PUBLIC TR ANSPORT,
WE SHUT IT DOWN
NOW THE CAR’S THE ONLY WAY
YOU CAN GET AROUND TOWN
71
72
Act Two
WE’RE SO MUCH BETTER
AND I'M NOT BEING MEAN
WE’VE GOT ROUTE SIXTY-SIX
YOU’VE GOT THE A-THIRTEEN
WE GAVE YOU ROCK AND ROLL
YOU GAVE US CILLA BLACK
WELL THANKS A LOT FOR NOTHING
YOU CAN HAVE HER BACK
Tooley Two Men
THIS IS AMERICA, (AMERICA)
THE U. S. A.
WE’RE ALL STR AIGHT
(WE’RE ALL STR AIGHT)
AND YOU’RE ALL GAY
WE ARE THE TOP DOG
(TOP DOG)
YOU LOVE TO HATE
AND YOU ARE OUR POODLE,
THE FIFTY-FIRST STATE.
GET OFF YOUR HIGH HORSE,
PUT AWAY YOUR SERMON
IF IT WEREN’T FOR US
YOU'D BE SPEAKING GERMAN
AND WHILE WE’RE HERE
THERE’S ONE THING MORE
YOU STILL OWE US MONEY
FROM THE SECOND WORLD WAR
Tooley
ALUMINUM,
BASEL,
TOONA,
OREGANO,
PAY-TRONIZE,
EDINBRO,
JAGWAR,
EYE-R AQ,
(HIGH HORSE)
(WEREN’T FOR US)
(WHILE WE’RE HERE)
(STILL OWE US MONEY)
Made In Dagenham
KR ASSA ANT (CROISSANT),
YOOOOHGURT,
CARRIBEAN,
ERB,
PECAHN,
CAMOMEEL,
NOTA DAME,
VAYSE,
PAREESHUN,
YOURINAL,
VIE-TAMIN,,
WOO-CEST-A-SHIRE SAUCE,
YOU GUYS CAN’T EVEN SPEAK ENGLISH!
(Women enter.)
Tooley Women / Two Men
THIS IS AMERICA,
THIS IS AMERICA
THE U. S. A.
NOW DON’T FORGET THAT
. . . GET THAT
YOU DO AS WE SAY
WE GOT THE T-SHIRT
T-SHIRT
AND YOU GOT THE VEST
YOU’RE SIMPLY THE WORST,
AND WE’RE SIMPLY THE BEST
All
WE GOT HOLLY WOOD
AND VEGAS TOO,
YOU GOT THAMES T.V.
AND WHIPSNADE ZOO
WE GOT A PRESIDENT,
WE GOT SUPERMAN
YOU GOT PRINCE CHARLES,
AND DESPER ATE DAN
(Guitar solo.)
SIMPLY THE BEST
73
74
Act Two
All
ANYTHING YOU CAN DO
OR WANT TO DO,
ANYTHING YOU CAN DO
I HAVE TO REALISE
EVERYTHING THAT YOU DO
OR WANT TO DO,
EVERYTHING THAT YOU DO
WE HAVE TO SUBSIDIZE
Tooley
YOU CAN’T PICKET AND CHOOSE WITH FORD,
THAT'S YOUR TICKET TO LOSE WITH FORD
ONE THING’S CERTAIN,
I’LL BUST THIS STRIKE
GET READY, DAGENHAM,
GET BACK TO WORK,
GET ON YOUR BIKE
All
THIS IS AMERICA,
THE U. S. A.
WE GOT COPS WITH GUNS
WHO WILL BLOW YOU AWAY
WE GOT THE KENNEDYS
AND SCOOBY DOO
YOU'VE GOT TED HEATH
AND DANNY LA RUE
WE GOT THE WHITE HOUSE,
YOU'VE GOT NUMBER TEN
WE GOT THE EMPIRE STATE,
WHICH PISSES ON BIG BEN
WHEN IT COMES TO MUSIC,
JUST REMEMBER THIS
THERE’D BE NO FREAKING
BEATLES WITHOUT ELVIS.
Tooley
YOU’RE DREARIER AND WEARIER
Made In Dagenham
75
YOU REMIND ME OF SIBERIA,
YOU’RE BASICALLY INFERIOR,
SO DAGENHAM,
SCREW YOU
All
THIS IS AMERICA.
Music No. 13a: THIS IS AMERICA – Tag
Tooley
Okay. This Rita O’Grady, what’s she like, her?
Hubble
Put it this way, I wouldn’t climb over her to get to you.
Tooley
I’m pleased about that, faggot. Is she a commie?
Macer
We don’t think she’s a communist.
Tooley (To Macer.) Do you think I’m screwing your wife, right now?
Macer
I know you’re not because you’re here.
Tooley
So you know more about your wife’s sex life than you do about
your job, Mister Production Manager?! You faggot, gimme the
facts.
Hubble
One hundred and eighty-seven Dagenham women are on strike,
backed by the NUVB.
Tooley
What are they like?
Hubble
Normal English women. Irrational, moody –
Tooley
Are they local?
Macer
Dagenham, most are married to men working at Fords.
Tooley
Rita O’Grady, is she married to a Ford worker?
Macer
Yes. Edward O’Grady, he’s on the line, unskilled.
Tooley
They’ve got two Ford incomes, and one of them’s on strike. Faggot
ass! What’s the finished unit stockpile situation?
76
Act Two
Hubble
Ten thousand.
Tooley
So we got ten thousand new Cortinas going rusty on an old
airfield. Okay. Stop the line. Lay the men off.
Music No. 13a: THIS IS AMERICA – Reprise
Hopkins
You’re cutting off the O’Gradys’ money completely.
Tooley
If you wanna eat steak, you’ve gotta shoot the horse.
Macer
I can’t lay off five thousand men just because you want to stop
Eddie O’Grady’s money.
Tooley
Maybe you can’t. Maybe you ain’t man enough. Maybe this is a
job for an American.
Tooley / Two Men
THIS IS AMERICA
(End of scene.)
SCENE TWO
The maisonette. A week later. Graham is playing with a football and Sharon is
attempting to play the recorder. Rita is on the phone to a reporter.
Rita
I’m not a Marxist, I’m not a Leninist, I’m a machinist. (Into
phone.) I can’t hear you . . . hang on.
(Puts the phone down.)
Go on, get some fresh air! You’re not spending all half term in the
house.
(Graham and Sharon exit with Eddie, who is going to work.)
Rita
Eddie, remember Sharon’s got the dentist at –
Made In Dagenham
Eddie
77
Six o’clock, I’m on it, relax. (To Graham.) Graham, go to the
park, don’t accept sweets from naked men.
(Door closed.
Doorbell. Rita opens the door to Lisa, dressed in an André Courrèges
miniskirt.)
Rita
Oh, it’s you.
Lisa
Hello, I brought the petition against corporal punishment.
Rita
Come in.
Lisa
I just passed Graham in the street.
Rita
Yeah, they’ve been driving me mad. Hard work half term, innit.
Lisa
Oh gosh yes, I’ve had to send Perry up in a glider.
Rita
For a week?!
Lisa
Lessons. Now here’s the petition.
(She hands it over to Rita.)
Rita (Reading.) “If a man attacked a child with a stick in the street, he’d
face legal action. Why is the same act permissible in this school?”.
That’s brilliant. I’ll sign that.
(Rita signs.)
Lisa
Rita? Do you know who I am?
Rita
You’re not Perry’s mum?
Lisa
I’m Jeremy Hopkins’s wife. Ford Dagenham’s general manager.
Rita (Beat.) Oh Jesus. You’d better go. I got the girls coming round for
their strike pay in a minute.
Lisa
I want to help.
78
Act Two
Rita
How can you help?
Lisa
Did you know that women in America have had equal pay since
1963.
Rita Really?
Lisa
History is my subject.
Rita
Are you a women’s libber?
Lisa
Yes. And so are you.
Rita
Me?! No, I’m not political.
Lisa
You’re fooling no-one but yourself.
(Enter Beryl wielding a paper. Connie, Cass, Clare and Sandra
follow.)
Beryl
Rita, have you seen this? I look like a fucking dinner lady!
All
Hi / Alright? / Hello / Hiya
Sandra
I seen that dress in Vogue.
Lisa
It’s an André Courrèges design.
Beryl
You’d need couregge to wear it.
Lisa
Rita, I’d better go. Good luck, girls. You’re fighting a battle for all
women.
Beryl
Are we?
Lisa Tarra!
All
Bye / See you / Thanks
(Lisa is gone. Connie starts distributing envelopes containing the
strike money and ticks off names in her union book.)
Connie
Your strike pay.
Made In Dagenham
79
Music No. 14: STORM CLOUDS
Sandra
– How much is it?
Connie
Two pounds a week.
Sandra
Two quid?
Connie Each.
Sandra
I thought strike pay was like a salary. I can’t live on two quid a
week.
Women
EVERYBODY OUT
EVERYBODY OUT
EVERYBODY OUT
(End of scene.)
SCENE THREE
Outside the factory. Thump, thump, thump of rhythmic industrial production – specifically
the sound of the continuous production line. The girls on the picket line outside the River
Plant. Suddenly the sound design cuts, the plant has stopped running.
Cass Whappen?
Beryl
It’s gone quiet.
Connie
They’ve stopped the assembly line.
[MONTAGE #1.]
Women
STORM CLOUDS ON THE HORIZON
TENSION IN THE TOWN
PRESSURE BUILDING UP
RUMOURS GOING AROUND
MONEY RUNNING SHORT
80
Act Two
DOWN TO OUR LAST POUND
DON’T LET THE BASTARDS GRIND YOU DOWN
(The men start filing past, some walking, some cycling.)
Stan
You got some face, ain’tcha, after this?
Connie
What’s up?!
Stan
Five thousand men laid off, that’s what’s up.
Barry
You happy now?! Eh, eh!?
Clare
What’s going on?!
Ronnie
We ran out of seats, ain’t we.
Bill
Go back to work!
Barry
You’re only working for pin money! (Kisses teeth.)
Cass (Kisses teeth.) It ain’t pin money for me, boy!
Barry
Wa?! You caannn’ get a man!
Connie
Bill!? You told me there was enough seats for another week.
Bill
There is.
Connie
Management’s fighting dirty.
Rita
Listen, this was always going to happen. No one said it would be
easy, we’ve got to stick together.
Ronnie
If you’re a communist go and live in Russia!
Stan
You happy now, Connie Riley!? You’ve closed down Dagenham.
You’ve put five thousand men out of work!
[MONTAGE #2.]
Men
WELCOME TO EQUALITY
Made In Dagenham
THIS IS WHAT IT'S LIKE
THIS IS WHAT IT’S LIKE
EQUAL SHIT FOR EVERYONE
WHEN YOU GO ON STRIKE
Women
STORM CLOUDS ON THE HORIZON
(Tooley and Hopkins. Tooley reading Monty’s file. Enter
Monty.)
Tooley
Your expense account. You’ve had more fish dinners than Moby
Dick. Rail fares, dry cleaning. A Chinese massage?
Monty
That’s two separate items. A Chinese and a massage.
Tooley
I need you to bust this strike. Or I’ll bust you.
Monty
You can’t talk to me like that, mate.
Tooley
Mate, I’ll eat you for breakfast and blow you out my ass.
Monty (Aggressive.) Do that and I’ll register a grievance!
Hopkins
What Mr Tooley wants to know is – which girls are feeling the
pinch?
Monty
My job is to represent these women –
Tooley
– Men’s jobs are at stake.
Monty Sandra.
Hopkins (To Tooley.) Sandra Beaumont. She’s a bit of a dolly bird.
Tooley
So one of these broads is short of money and doesn’t look like
Walter Matthau. Can we offer her promotions work?
Monty
So Ford America’s worried are they?
Tooley
Do you understand domino theory?
81
82
Act Two
Monty
Yeah. Get rid of your double six as soon as you can.
Tooley
If England falls to equal pay, the rest of Europe will follow.
[MONTAGE #3.]
All Women
STORM CLOUDS ON THE HORIZON
Lisa
PROBLEMS IN THE HOME
(Domestic. Eddie washing up in his wife beater top. Enter Rita.)
Sharon
Mum, some men came and took the television!
Eddie
We couldn’t pay the monthly.
Rita
There was ten quid in the kitchen pot.
Eddie (Raising his voice.) I had to get a new tyre for the motorbike.
Rita
Ten quid on a motorbike tyre?! I don’t spend that on shoes!
Eddie
You’re not gonna come off your shoes at ninety mile an hour are
you!
Rita
Don’t you ever ever raise your voice at me in front of my kids,
Eddie O’Grady.
Eddie Whassamatter?
Rita
I’m on strike! That’s what’s the matter!
[MONTAGE #4.]
Harold Wilson
HELP ME, THE ECONOMY
IS SIMPLY IN FREEFALL
Men
CUTTING DOWN ON BOOZE AND FAGS
AND EVEN ON FOOTBALL
Made In Dagenham
83
Tooley
THE ECONOMIC INDICIES
MAKE THE BLOOD CHILL
WITHOUT FORD YOUR TR ADE FIGURES
ARE SIMPLY ROADKILL
(Tooley, Hopkins, Lisa have just finished a fondue at the Hopkins
house.)
Tooley
I never knew eating cheese could be both dangerous and exciting.
Hopkins
It’s a fondue, it’s a Swiss dish, like Lisa.
Tooley
Are you a Swiss dish, Lisa?
Lisa
No, I’m not.
(Tooley proposes a toast with cheese forks.)
Tooley
Here’s to the great British dolly bird!
Lisa
Excuse me!?
Hopkins
Mr. Tooley doesn’t mean you, darling. One of the strikers, we
offered her a cash contract with the promotions department.
Lisa
And she accepted?
Hopkins
Yes, the launch of the 1600E Cortina.
Lisa
What’s her name?
Hopkins
Why do you want to know her name?
Lisa
Because if I choose to join in this conversation I would like to use
her name and not refer to her as the “dolly bird”.
Hopkins
Sandra Beaumont.
Lisa
And when does this promotion happen?
Tooley
Friday. You see, Lisa, breaking a strike is like breaking a horse. You
gotta break its will.
84
Act Two
Lisa
I thought Ford was in the habit of simply shooting strikers.
Tooley
Michigan 1932 is history.
Lisa
Which is my subject. Five strikers dead, and sixty chained to their
hospital beds with shotgun wounds.
Hopkins
Darling, that’s enough. Please, bring in the dessert.
Tooley
Oh, wow! What’s for dessert?
Lisa (Standing.) Cheese.
[MONTAGE #5.]
All
STORM CLOUDS ON THE HORIZON
TENSION IN THE TOWN
PRESSURE BUILDING UP
RUMOURS GOING ROUND
Harold Wilson
UNEASY LIES THE HEAD
THAT WEARS THE CROWN
Barbara Castle
DON’T LET THAT BASTARD GRIND YOU DOWN
(Domestic. Eddie opens the door to Lisa.)
Lisa
Could I speak to Rita, please?
Eddie
Why? Who are you?
Rita
Don’t be like that, invite her in. She’s a friend.
(Enter Lisa.)
Lisa
They’ve offered Sandra a Ford promotions contract.
Rita What?
Made In Dagenham
Lisa
They’re trying to crack your solidarity. The launch of the 1600 E
Cortina on Friday.
[MONTAGE #6.]
Tooley
WE HAVE TO BUST THE STRIKE
BE RUTHLESS GET IT DONE
IF YOU DON’T WE’RE OUTA HERE
WE’LL MOVE TO BELGIUM
Harold
THIS IS A ROUGH PATCH
I READILY ADMIT
BUT PLEASE DON’T GO TO BELGIUM
All
COS BELGIUM’S REALLY SHIT
(Enter Beryl.)
Beryl Rita!
Eddie
Bloody hell, it’s like Piccadilly Circus here!
Beryl
It’s Connie. She fainted. Went unconscious. She’s in the Old
Church Hospital. Acute Unit. Listen, she’s asking for you.
[MONTAGE #7.]
All
STORM CLOUDS ON THE HORIZON
TENSION IN THE TOWN
PRESSURE BUILDING UP
RUMOURS GOING AROUND
MONEY RUNNING SHORT
DOWN TO OUR LAST POUND
DON'T LET THE BASTARDS
GRIND YOU DOWN
DON’T LET THE BASTARDS
GRIND YOU DOWN
85
86
Act Two
IT AIN’T ABOUT YOU
IT AIN’T ABOUT THE LAW
IT'S THREE THOUSAND FAMILIES
UNEMPLOYED AND POOR
DON’T LET THE BASTARDS
GRIND YOU DOWN
THE BASTARDS GRIND YOU DOWN
THE BASTARDS GRIND YOU DOWN
THE BASTARDS GRIND YOU DOWN
Music No. 14a: STORM CLOUDS – Scene Change
SCENE FOUR
Hospital. Rita and Eddie with flowers. Eddie is carrying motorbike helmets.
Eddie
If you’re quick, we can be home by two.
Rita
Eddie?! Connie’s got breast cancer, I’m not “gonna be quick”.
Eddie
I din’t mean it like that, just that, you know, my mum’s got the
kids until five, that’ll give us a bit of time.
Rita
On our own.
Eddie
Yeah. Go on. I’m alright. Exchange and Mart, and I’m on a
promise!
(Rita kisses him, it feels like a promise. Eddie sits and reads. Rita
moves on to the ward and finds Connie, who is in a bed with a
typewriter on her lap, tapping away painfully slowly. Rita shows the
flowers, triumphantly.)
Rita
Da, da!
Connie
They’ll take them away. There’s bacteria in flower water.
Rita
Don’t drink it then!
Made In Dagenham
87
Connie
I feel alright now, but they won’t let me out.
Rita
You’re in no fit state to go nowhere.
Connie
I was going to Redbridge. They’ve got to Sandra. She’s been offered
marketing work.
Rita
I was gonna tell you that.
Connie
Ford dealership Redbridge, today, three o’clock. Talk her out of it,
Rita. I know solidarity sounds like a slogan. But it’s all we’ve got.
Rita
Oh no. Today is not a good day.
Connie
Sandra doing cash work for Ford is not solidarity.
Rita
Alright, alright, leave it with me.
Connie
You can get a 145 –
Rita
– Eddie’s here with the bike.
Connie
And The TUC conference. Saturday.
Rita
You can forget about that.
Connie
I want you to give my speech.
Rita
Piss off! The TUC?! I can’t. Saturday is Graham’s school concert,
he’s singing.
Connie
There’ll be other concerts.
Rita
You’re not a mother, Connie, you don’t understand!
Connie
The reason women don’t have their rights is ’cos they always put
the children first.
(Connie types slowly.)
This is the speech. I’ll have it finished by 1971 at this rate.
88
Act Two
Rita
You’re a bully, Connie Riley, but I love you. I’ll pick it up in the
morning.
(Rita leaves. Eddie stands, seeing her coming.)
Rita
Eddie
Eddie. Promise me you won’t go into one.
What is it?
Rita
I need to get to Redbridge for three. Sandra’s doing a promotion
out there.
Eddie
What about the us?!
Rita
And I can’t do Saturday.
Eddie
It’s Graham’s concert day. He’s singing.
Rita
One of us gotta make a speech, at the TUC. Connie can’t.
Eddie
And you’re the only woman in the world who can?
Rita
Eddie. This is important to me! It’s about –
Eddie
– I know what it’s about, but you’re not listening to me! We need
you. The kids need you.
Rita
Eddie, this isn’t the time.
Eddie
No, it is the time and it needs saying . . . I know you think I ain’t
bothered about important things like wot you are, and that I’m
only interested in the bike and Millwall, but I’m trying to support
you in this. Rita, I ain’t out every night on the booze, I don’t sleep
around . . .
Rita
Oh I married a bleeding saint, did I?
Eddie
Rita
I never hit you or the kids.
You want me to be grateful for that? That, Eddie, is how it should
be.
(Rita storms off. End of scene.)
Made In Dagenham
89
Music No. 14b: CAR SHOWROOM
SCENE FIVE
A Ford Dealership showroom in Redbridge. A Cortina covered in a glitzy drape.
Petrolheads mull around, Press. Lighting for a show.
Hopkins
Ladies and Gentlemen, welcome to the launch of the 1600E
Cortina. The presence of the Minister today reflects the
importance of Ford’s manufacturing base to the British economy.
Please welcome the Secretary of State for Employment, Mrs
Barbara Castle.
(Applause.)
Barbara Castle Thank you. Ford may be American but the Cortina is British!
Designed by Roy Haynes, this new model, the 1600E, has a G and
T engine, and a lowered suspension, I know how it feels –
(Laughter.)
Ford employs thirty thousand men in this country –
Rita
– And women!
Barbara
– Yes, and women.
Rita
And we women are paid less than the men!
Man
Shutup, will ya!
Barbara
We do have a dispute with the women at Ford, and we are losing
nine thousand cars a week, that’s nine thousand cars we could be
exporting to balance our trade figures.
Rita
Equal Pay and we go back to work!
Macer
Equal Pay for women, are you mad?!
Hubble
Go and live in Russia!
90
Act Two
Rita
I’m going nowhere mate!
Hubble
I’m not your bloody mate. Don’t mate me, mate!
Man
Can someone chuck her out!
Barbara
For Pete’s sake can we have a look at this bloody car!
Music No. 15: CORTINA!
(Lights, music, dance, action. Think Pan’s People but with additional
boys. The message of the dance is that if you buy a Mark II Cortina
1600E you’ ll get laid. Cue undressing dance moves, girls losing
dresses, and a dance gag of every time a girl sits in the driving seat she
is dragged out and the man replaces her. The comedy maths on this
would be – girl sits in driving seat / is removed by boy taking over;
girl sits in driving seat / is removed by boy taking over; girl sits in
driving seat and boy removes steering wheel and takes it to passenger
seat. Sandra could lead on this feminist agenda vis a vis the driving
seat. Other gags would be reclining seats and legs in air. Could go
very raunchy. Girls in the boot. Screen wash at climax of action. Post
climax, suspension sinks and puffs of smoke come out of the engine.)
Girls
BAH BAH
BAH BAH
BAH BAH
BAH BAH DA! BOO!
Cortina Man Girls
IT’S THE CAR FOR ME
IT’S THE CAR FOR YOU
AFTER THE MARK ONE
COMES THE . . .
OOH
MARK TWO
MARK TWO, OOH
WELL YOU BUY A MARK TWO
COS YOU KNOW YOU OUGHTA
IT'S LIKE A MARK ONE,
ONLY FR ACTIONALLY SHORTER
FR ACTIONALLY SHORTER
Made In Dagenham
Cortina Man
CORTINA,
Girls
OOH
Cortina Man
IT’S LEANER AND IT'S MEANER
Girls
OOH
Cortina Man
CORTINA
Girls
OOH
Cortina Man
COMES IN WHITE OR CREAM-ER
Girls
OOH
Cortina Man + Girls
TWO-DOOR FOUR-DOOR
Cortina Man
IF YOU CAN AFFORD MORE
Cortina Man + Girls
LEATHERETTE’S THE ONE TO GET
Cortina Man
WOODEN DASHBOARD?
Cortina Man + Girls
YEAH YOU BET!
91
92
Act Two
Girls
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
Cortina Man + Girls
CORTINA
OO WOO WOO WOO
Rita
Sandra! What do you think you’re doing?!
Sandra
Earning a living!
Hubble
Oi! What’s your problem?
Rita
How long have you got?
Sandra
I can’t live on two pound a week strike pay!
Rita
No, Sandra! NO!
Cortina Man
SELF-ADJUSTING BR AKES
FOR THOSE TRICKY ROUNDABOUTS
BUILT TO REALLY LAST . . .
Girls
THREE YEARS!
Cortina Man
OR THEREABOUTS
Girls
OOH . . . OOH . . .
Made In Dagenham
93
Cortina Man
IT’S SLIGHTLY SHORTER
BUT MORE ROOM INSIDE
Girls
WELL HOW THE HELL’S THAT POSSIBLE?
Cortina Man
IT’S NOW EXTR A WIDE!!
CORTINA,
Girls
OOH
Cortina Man
IT’S LEANER AND IT'S MEANER
Hopkins (To Security Guard.) That woman there, I want her thrown out.
Girls
OOH
Cortina Man
CORTINA
Girls
OOH
Cortina Man
COMES IN WHITE OR CREAM-ER
Girls
OOH
Cortina Man + Girls
UPHILL, DOWNHILL,
Cortina Man
IT WILL GIVE A BIG THRILL
94
Act Two
Cortina Man + Girls
SEE THE WORLD SEE THE SIGHTS
WITH TWILIGHT, NIGHT-SIGHT, SIDE HEADLIGHTS
Girls
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
Rita
You’re letting us down Sandra, you’re
letting yourself down!
Sandra
I’m getting fifty quid for an hour’s
work!
Rita
You call this work? What about the
other girls, where’s your solidarity,
Sandra?
Cortina Man
COME ON, ACCELERATE
JUST DO IT, WHY WAIT?
BEFORE IT GETS
MUCH TOO LATE,
Sandra
Solidarity? That ain’t gonna pay the
rent!
Rita
We woman are paid 87 per cent of
the male rate –
Cortina Man + Girls
SEIZE THE MOMENT,
BABY, RIGHT . . .
Girls
WOW, WOW, WOW, WOW,
WOW, WOW, WOW, WOW,
WOW . . .
(Security Guard tries to grab Rita.)
Don’t you touch me, get your hands
off me!
Sandra
Oi! Leave her alone! She built this
car, yeah, a woman!
Cortina Man
CORTINA,
Girls
DRIVING
Cortina Man
IT’S LEANER
AND IT'S MEANER
Girls
MORE FUN THAN ARRIVING
Hopkins You’ve started now, have you!?
Sandra
Yeah, I have. It ain’t right paying
women less than men.
95
Made In Dagenham
Cortina Man
CORTINA
Girls
THERE’S NO SENSE IN DEPRIVING
Cortina Man
COMES IN WHITE OR CREAM-ER
Hopkins Women don’t do the
engineering.
Sandra
Girls
AFTER ALL THE NINE-TO-FIVING
What are you gonna sit on
then, if there’s no seats?
Your dick? You dick.
Cortina Man + Girls
CORTINA
Music No. 15a: CORTINA! – Play Out
(Security guard makes a grab for Rita, but Rita gets away. End of
scene.)
SCENE FIVE–A
Front cloth. Sandra walking away from Rita.
Rita
Sandra! Come here!
Sandra
You can't tell me what to do!
Rita
This is exactly what they want. Us to start fighting amongst
ourselves.
Sandra
What is it you don’t understand. I can’t pay the rent.
Rita
We’re fighting for Equal Pay.
Sandra
If we get Equal Pay. It won’t change nothing. It’ll still be a shit
job, only a shit job with Equal Pay.
Rita
That’s not the point.
96
Sandra
Act Two
It's all about you, innit. Little Miss bleeding Angry, but nice
looking, all over the papers. You're loving it, ain’t ya.
Rita No!
(Sandra exits. Enter Barbara Castle walking ahead of her
Driver. Barbara is carrying a briefcase. Barbara, considers, but
walks past.)
Rita (Angry.) Oi Barbra, we’re not gonna get any help from you then?
(Barbara stops.)
Barbara
You’re Rita O’Grady, aren’t you?
Rita
I dunno. I don’t know who I am anymore.
Barbara
(To driver.) Go on, Ted, I’ll see you in a minute.
Barbara
I’m in a difficult position, Rita, I’ve got to balance the trade
figures, so I want you back at work, but I’m also a woman.
Rita
Is that why you went into politics? To balance the trade figures?
Barbara (Beat.) Come to Westminster, tomorrow. Let’s talk it through.
Rita
Can I bring some of the other girls?
Barbara
Yes, why not. One o’clock. Tomorrow.
(Barbara gives her a card.)
Do you want a lift? That’s my Bentley.
Rita
No it isn’t. It’s my Bentley. I paid for it. As a taxpayer.
Barbara
You’re right. Love. (Beat.) Can you give me a lift?
Rita
Oh, alright then.
(They exit. End of scene.)
Made In Dagenham
97
Music No. 15b: TAX PAYER’S BENTLEY
SCENE SIX
Rita returns to the maisonette. She walks in the door, closes it, takes her coat off. A radio is
playing, radio one, chart hits, quietly.
Rita
Eddie, Eddie!?
(She looks at her watch. Goes to the foot of the stairs.)
Graham! Sharon! I’m gonna do fish fingers!
(Silence.)
Mash and peas! (Beat.) Alright! I’ll do chips! Graham!? Sharon?!
(Deadly silence. She runs upstairs and straight back down again.)
(To herself.) Eddie!!!????
(She goes into the kitchen and then finds the letter on the table. She
opens the letter. Eddie sings.)
Music No. 16: THE LETTER
Eddie
I JUST CAN’T TAKE THIS ANY MORE
I’M GONNA TAKE THE KIDS AWAY
FOR A DAY OR TWO – I’M NOT SURE
I KNOW I’M NOT ONE FOR TALKING
BUT I THINK YOU KNOW WE SHOULD
SO IF YOU’RE EVER AROUND
YOU NEVER KNOW,
MIGHT DO SOME GOOD
COS I CAN’T DO THIS
ON MY OWN, NO MORE
I NEED YOU AROUND
OR ELSE WHAT IS THIS ALL FOR?
98
Act Two
I NEED YOU TO STAND BESIDE ME
I NEED YOU TO BE MY WIFE
IT’S SUCH A SIMPLE THING
I NEED YOU IN MY LIFE
(Rita sits and starts to cry.)
YOU KNOW WHAT THEY’RE SAYING AT WORK?
I’D TELL YOU IF YOU WERE EVER HERE,
“READ HER THE RIOT ACT, KEEP HER IN LINE
GET HER IN THE HOUSE, AND YOU OUT FOR A BEER”
YOU KNOW WHAT THEY'RE GONNA SAY BEHIND MY BACK?
WELL I’D TELL YOU IF YOU WERE EVER HERE
“WHO’S IN CHARGE? WHO WEARS THE TROUSERS?
MAYBE HE’S, YOU KNOW, A QUEER”
COS I CAN’T DO THIS
ON MY OWN, NO MORE
I NEED YOU AROUND
OR ELSE WHAT IS THIS ALL FOR?
I NEED YOU TO STAND BESIDE ME
I NEED YOU TO BE MY WIFE
IT’S SUCH A SIMPLE THING
I NEED YOU IN MY LIFE
WELL YOU SHOULD SEE THE STATE OF THE PLACE
THE STATE OF YOUR SON AND DAUGHTER
WE R AN OUT OF MILK LAST NIGHT
SO BREAKFAST WAS CORNFLAKES AND WATER
AND YES, I’VE BURNT THE TOAST
AND THE SAUSAGE AND EGGS TOO
AND THE STUPID WASHING MACHINE
WELL IT ONLY EVER LISTENS TO YOU
AND OH THAT LOVELY SHIRT
WE BOUGHT FOR SHARON IN CANNING TOWN
WELL IT USED TO PINK BUT I IRONED IT
AND NOW IT’S MORE SHIT BROWN
Made In Dagenham
99
AND WHEN I HAD TO CLEAN THE BOG
I TELL YOU, MAN, IT’S SCARY
I COULDN’T FIND THE BLEEDING BLEACH
I HAD TO USE THE FAIRY!
AND I CAN’T DO THIS
ON MY OWN, NO MORE
AND I NEED YOU AROUND
WHAT THE FUCK IS IT ALL FOR?
AND I NEED YOU TO STAND BESIDE ME
I NEED YOU TO BE MY WIFE
I NEED YOU TO UNDERSTAND
YOU’RE THE LIGHT THAT LIGHTS MY LIFE
HOPE YOU DIDN’T GET IN TOO LATE,
HOPE THE MEETING WENT ALRIGHT
I HOPE YOU’VE DONE YOURSELF PROUD
AND BY THE WAY, THE KIDS SAY GOODNIGHT.
(Doorbell. She stands in hope that it’s Eddie, rushes to the door opens
it. It’s Lisa.)
Rita
Oh, it’s you.
Lisa
I’m sorry, is this a bad time?
(Rita is close to tears.)
Rita
Eddie’s left me! He’s taken the kids!
Lisa
I’m sorry. That must be very painful, but –
Rita
– I’m a mother and I’ve lost my kids!
Lisa
You’re a brilliant mother and you have not lost your children.
Rita
This ain’t worth it.
(Rita hands Lisa the letter from Eddie.)
100
Act Two
Lisa
Rita, Rita. You’re caught up in something, and it’s taken over, for
now. You have to be strong, and sacrifices have to be made.
Rita
Not my children!
Lisa
Eddie will come back, with the children. You’re making history,
Rita.
Rita What?
Lisa
Yes, history. Like Rosa Parks.
Rita Who?
Lisa
Rosa Parks. She was a black woman, she refused to give her seat up
to a white man on a bus.
Rita
Where? Stoke Newington?
Lisa
Alabama. 1955. What she started, Martin Luther King finished.
Rita
You know they shot him?
Lisa
Gandhi, Rosa Parks, Martin Luther King, they weren’t on their
own. You know what Gandhi needed?
Rita
A sandwich.
(They laugh.)
Lisa
A lot of women, not just working class women, they’ve seen you in
the news, we want to support you.
Rita
I can’t do it. Anyway I don’t know how to talk this union stuff.
Lisa
Yes you do. Just be yourself and remember why you’re doing it.
Rita
Why am I doing it?
Lisa
You have a daughter. Now, what are you going to wear? For the
TUC. It’s on TV.
Rita
I dunno.
Made In Dagenham
Lisa
101
You know my Biba dress? You can borrow that and you’ll look
fantastic. You are not alone.
(They hug. End of scene.)
Music No. 16a: INTO PARLIAMENT
SCENE SEVEN
Outside Parliament, by the Oliver Cromwell statue. Clare, Beryl, Cass.
Clare
Who’s that?
Cass
Oliver Cromwell.
Clare
I like her boots.
Beryl
Are we early or is Rita late?
Cass
One o’clock outside Parliament. Rita’s late.
Clare
I can’t wear thigh length leather boots on me wotsit.
Beryl
On your head?
Clare
On me wedding day.
Beryl
Depends on the dress, dunnit.
Cass
In and ideal world, what would be your dream wedding dress,
Clare?
Clare
White o’ course.
Beryl
You can’t wear white, you daft slapper, you’ve already had it off!
Cass
You’ll have to have peach.
Beryl
Or salmon.
Clare
My Ken don’t like fish.
102
Beryl
Act Two
It’s a wedding dress. He don’t have to fucking eat it.
(Enter Rita.)
Rita
Sorry I’m late.
Beryl
Are you alright?
Rita
Yeah, I’m fine, thanks.
Beryl
Don’t you lie to me, girl.
Rita
No, I’m alright.
(Enter Sandra.)
Sandra
Am I late?
Beryl Yes!
Rita
I don’t care about that, we’re just glad you’re here.
Beryl / Cass /
Clare Hmmm!
Sandra
Gimme a break, you lot! They give me fifty quid to wiggle my arse!
Who can say no to that?
Cass
You’d do Playboy then, would you?
Sandra
Yeah! This strike is about fairness, equality, right and wrong. It’s
got nuffin to do with feminism. Who’s that?
Clare Cromwell.
Sandra
I like her boots.
Rita
Honestly, come on then girls! Beryl, no swearing!
Beryl
I can’t fucking promise.
Rita
Let’s do it!
Music No. 16b: PRESS MUSIC
Made In Dagenham
103
(They move towards the Parliament gates where there are press
gathered.)
Hack 1
Ladies, are you going to ask Barbara Castle for Equal Pay?
Rita
’Course we are, that’s what we’re striking for, innit?
Hack 2
And if she refuses, how will you cope with that?
Rita
How will we cope? We’re women! We always cope!
(They go into the building. End of scene.)
SCENE EIGHT
Barbara Castle’s office. Tea Lady opens the doors and the girls come in.
Barbara
Come in! Rita, welcome. Sit down, all the furniture’s old. And call
me Barbara, not ma’am, I’m not the Queen, not yet. Ha, ha!
Rita
This is Beryl.
Beryl
Alright? That’s C & A, innit?
Barbara
This? Yes.
Beryl
I got one of them. The zip goes.
Barbara
It’s only for work. Now girls I don’t want to get your hopes up –
(Enter Harold Wilson. They all stand.)
Harold
Don’t stand, I wouldn’t stand for you. I won’t stay because I realise
that having a handsome powerful man sucking suggestively on a
pipe might be a distraction! Westminster is a boys’ club, I’m afraid,
the ladies’ loos are in Clapham. But you can use the gents’ if you
don’t mind standing up. I was breast fed and I like women, I’ve
known several intimately, and my mother was a woman, though
I never slept with her after puberty, because that’s not normal,
not yet, anyway. But I’ve also met countless women on the stairs
during my lifetime up and down the length and great breasts of
104
Act Two
this nation. Welcome, and I hope you have a good girly bitch
about everything.
(He leaves.)
Barbara
Sherry anyone!?
All
Oh, nice. / Lovely. / Please.
Barbara
Now girls, I’m going to do something unusual for a politician. I’m
not going to lie to you. I want you to go back to work. I’ve been
talking to Ford American who are offering you ninety-two per cent
of the male rate.
Clare
Oh, that’s great!
Rita
No, we ain’t going back wivout equal pay.
Barbara
When I was young, like you, I thought I could change the world
overnight. I saw injustice all around me, lies, back-stabbing,
nepotism, corruption – and that was just the Labour Party. But all
my shouting, and banging tables, went for nothing. Real change
takes time. How do you eat an elephant?
Beryl
In a bagel!
Barbara
One bite at a time, and an awful lot of mastication.
Clare
Ooh! (Giggles.)
Rita
We came here today because you’re a woman, and Labour.
Barbara
I can’t do anything without the backing of the TUC, the men, and
men don’t see equal pay for women as a priority.
Cass
I’m an optimist –
Rita
– Cass wants to be an airline pilot.
Beryl
Before she’s thirty-five.
Barbara
That’s fantastic. And when are you thirty five, Cass?
Made In Dagenham
Cass
Tuesday. But I’m not giving up. Because, that’s not an option is it,
giving up. Rita’s right, we should all be working towards our ideal
world.
Music No. 17: IDEAL WORLD
Barbara
105
Aye, the only problem with that, love, is that you don’t live in
an ideal world – you live in the real world, where if you ask for
everything you get nowt.
Barbara
IN AN IDEAL WORLD
EVERYTHING WOULD BE JUST GREAT
IN AN IDEAL WORLD
LOVE WOULD ALWAYS CONQUER HATE
IN AN IDEAL WORLD
THE WORKERS, BOSS OR STAFF
IN AN IDEAL WORLD
THEY’D SIT AND HAVE A LAUGH
THE SUN WOULD ALWAYS RISE AND SHINE,
THE SKIES WOULD BE DEEP BLUE
THERE’D BE A CURE FOR CANCER
AND THE COMMON COLD AND FLU
THERE WOULD BE NO GUNS OR CRIME,
THE STRONG WOULD HELP THE WEAK
THE TR AINS WOULD ALWAYS RUN ON TIME,
WE’D WORK A FOUR-DAY WEEK
WE’D GET TO MEET THE PR AT
WHO PUT THE VAT UPON THE TAMPON
WE’D HAVE A CHAT AND AFTER THAT
HIS FACE WE’D DULY STAMP ON
IMAGINE A GREAT WORLD OF UNIMAGINABLE BLISS
WHERE MEN KNOW HOW AND WHERE TO FIND
A WOMAN’S CLITORIS
106
Act Two
IN AN IDEAL WORLD
EVERYTHING WOULD BE JUST GREAT
IN AN IDEAL WORLD
LOVE WOULD ALWAYS CONQUER HATE
IN AN IDEAL WORLD
WE’D CARE AND SHARE AND HEAL,
AND OUR DREAMS OF HAPPY ENDINGS
WOULD BE REAL
THE BERLIN WALL WOULD FALL
AND SO WOULD TYR ANTS OVERSEAS
CIVIL RIGHTS WOULD FLOURISH WELL
IN ALL COMMUNITIES
NO BOMBING IN CAMBODIA,
NO WAR IN VIETNAM
INSTEAD OF MARTIN LUTHER KING
THEY’D SHOOT THE KU KLUX KLAN
THE PLANET WOULD REVOLVE AROUND
THE MEEKEST OF THE MEEK
AND PROTESTANTS AND CATHOLICS
WOULD KISS THE OTHER CHEEK
APARTHEID WOULD BE DULY CRUSHED
AND SO WOULD POVERTY
THE EAST AND WEST WOULD DO THEIR BEST
TO LIVE IN HARMONY
BUT IN THE REAL WORLD
IT’S A STRUGGLE EVERY DAY
IN THE REAL WORLD
YOU’RE LUCKY IF YOU MAKE OK AY
IN THE REAL WORLD
IT’S NOT ABOUT THE NICE
IT’S ABOUT TOUGH COMPROMISE
AND SACRIFICE
Made In Dagenham
107
LET ME TELL YOU; IT WAS SO MUCH TOUGHER
WHEN I STARTED OUT
WOMEN’S RIGHTS – MY GOD, YOU'LL HAVE TO
BEG AND BLEED AND SCREAM AND SHOUT
THE BOTTOM OF THE BOTTOM,
AND THE LOWEST OF THE LOW
MIRED IN MISOGYNY,
NO CHANCE TO RISE AND GROW
BUT YOU GOT TO KEEP ON GOING
AND YOU GOT TO KEEP ON FIGHTING
GOTTA PUNCH ABOVE YOUR WEIGHT,
BELOW THE BELT AND DO SOME BITING
I KNOW YOU ALL WANT SEXIST LAWS
TO FALL AND BE REPEALED
I KNOW ALL YOU’RE ASKING FOR
IS JUST A LEVEL PLAYING FIELD,
LEVEL PLAYING FIELD
IN OUR IDEAL WORLD,
IT WILL SURELY COME TO PASS
AND OUR IDEAL WORLD
IS SO NEARLY IN OUR GR ASP
AND OUR IDEAL WORLD,
IF YOU’RE BR AVE AND TAKE THIS DEAL,
ONE DAY THOSE HAPPY ENDINGS
COULD BE REAL
SHOULD BE REAL,
WILL BE REAL
WE’LL MAKE OUR WORLD
IDEAL
Rita
No! Did Martin Luther King ask for ninety-two per cent of rights
for black people?
Barbara (Beat.) You know they shot him.
Rita
Yes, I do.
108
Act Two
Barbara
You’re saying no to ninety-two per cent?
Rita
I’d say no to ninety-nine per cent.
Barbara
You’re tough, Rita, but you’ve got a real fight on your hands
because you’ll never change Government policy without the
backing of the TUC.
Rita
I’m going to Eastbourne, to the TUC.
Barbara
I’ll see you there, then.
Music No. 17a: INTO THE HOSPITAL
Rita
Come on, girls.
Girls
See you, Barbara. / Bye. / Thanks, Barbara.
Beryl
I could murder a pint. Anyone?
Clare
What was all that in there about eating elephants?
Beryl
Oh Clare, for fuck sake.
(They’re out the door. End of scene.)
SCENE NINE
The hospital. The screens around Connie’s bed are open but there is no bed there. Monty
is in the bedside chair, praying, in a secular kind of way. Enter Rita, carrying some fruit
and a magazine.
Rita
Where’s Connie? (Beat.) Monty?! Oh, no. No, no, no!
Monty
We was talking. She seemed quite chipper. She smiled at me, and
I was talking, and I held her hand, and then I realised she’d gone.
(Beat.) I loved her.
Rita
Yeah, we all loved her, Monty.
Monty
No, no. I loved her. I asked her to marry me, 1956. We had a
thing, but it weren’t love, not for her it weren’t.
Made In Dagenham
109
Rita
I’m sorry. I didn’t know.
Monty
She was a very private woman. Bit old fashioned in some ways.
And she wanted to marry for love, I guess, and she knew that she
didn’t love me. So that’s was it for her. Some people get hitched
just not to be lonely, but she was a very principled, you might say,
idealistic woman. A dreamer.
Rita
That’s got my name on it.
(An envelope.)
Monty
Yeah. That’s for you.
Rita
I think I know what it is.
Monty
I’ve read it. It’s bloody brilliant.
Rita
Is it? Oh Jeez.
(Rita takes the envelope.)
Monty
She put her whole life into that speech. (Pause.) I let her down, you
know.
Rita
No, Monty, no.
Monty
I’ve let all you girls down.
Rita
How’s that?
Monty
Rita, in a million ways.
(End of scene.)
Music No. 17b: SAME OLD STORY – Scene Change
SCENE TEN
A playground or park. Eddie, Stan and Barry are sat on the park bench.
Barry
D’you remember Len Wilson? Red hair, freckles, glass eye.
110
Act Two
Stan
No. What he look like?
Eddie
I know him. West Ham.
Barry
His wife becomes Lord Mayor of Hornchurch so Len starts calling
himself Lady Mayoress.
Eddie Why?
Stan
To get his expenses.
Barry
He gets himself a handbag to carry all her stuff around, and
because he’s got a handbag, he gets himself matching high heels.
Eddie
This is about me, you’re having a go at me aren’t you.
Barry
What happened to Len?
Stan
He ended up having a sex change operation he didn’t want.
Eddie
Alright! Alright! What’s your point, Stan?
Stan
Behind every powerful woman, there’s a man waiting for surgery.
Barry
Sort her out, Eddie. We’ve all got mouths to feed.
(Enter Rita. She is carrying the speech envelope from the previous
scene. Eddie is there, seemingly alone.)
Rita
I’m sorry I’m late.
Eddie
I knew you’d be late.
Rita
Where are the kids? I’ll take them.
Eddie
They’re coming back to Mum’s.
Rita
The arrangement was that I’d pick them up from here.
Eddie
Yeah, but being a mother to my kids ain’t enough for you, is it?
Saving the world –
Made In Dagenham
Rita
– Eddie, I’ve got to do this. I’ve got a lot on my plate at the
moment, but that won’t last forever. I’ve got to do this.
Eddie
Kids need looking after, feeding, washing, I dunno.
Rita
No, I know you, Eddie, it’s cos you didn’t have a clean shirt.
Ironed the way your mother does.
Eddie
Don’t blame me, you done this.
Rita
You stole my kids away in the middle of the night!
Eddie
It wasn’t the middle of the night. It was the middle of the night
when you got home and first noticed them missing.
(A ball bounces across the stage, chased by Sharon.)
Rita
Hiya m’love.
Eddie
We’re going back to Gran’s.
Sharon
I don’t want to go. Grandma licks her plate!
Eddie
If you’d been through the war, you’d lick your plate.
(Enter Graham.)
Graham
Hiya mum.
Rita
Hi. Do you understand why I can’t be at your concert?
Graham
It’s alright.
Eddie
Come on, get your stuff, we’re going.
Rita
You’ve got to go with your dad, babe.
Eddie
Graham! Come on now!
Rita (To Sharon.) It’s just for this week, Sugar. I promise.
Eddie
It’s broken.
Rita
What’s broken?
111
112
Act Two
Eddie
Our marriage.
Rita
You walked out.
Eddie
I didn’t walk out, you did.
Music No. 18: WE NEARLY HAD IT ALL
Rita
I’M SUPPOSED TO HATE YOU BUT I DON’T
YOU WANT ME TO BEG YOU BUT I WON’T
Eddie
I’M AT A LOSS –
Rita
I’M AT A LOSS TOO
Rita / Eddie
SOMETHING WE AGREE ON
Eddie
IS THAT IT? ARE WE THROUGH?
Rita
Looks like it, doesn't it.
(Eddie exits.)
Rita
I’M STILL HERE, I AIN’T GIVEN UP
I’M STILL A MOTHER AND A WIFE
BUT ALL THIS HAPPENED SUDDENLY
IT JUST DROPPED INTO OUR LIFE
I CAN’T LET ANYONE DOWN
SO WHAT AM I SUPPOSED TO DO?
DON’T TURN YOUR BACK ON ME NOW
COS NOW’S THE TIME THAT I NEED YOU
I THOUGHT I HAD THE FUTURE
IN THE PALM OF MY HAND
Made In Dagenham
113
I THOUGHT YOU WERE BESIDE ME
AND OUR DREAMS WERE ALL PLANNED
THOUGHT WE WOULD WE STAY TOGETHER
NOW THE WORLD’S COLD AND SMALL
THOUGHT THAT WE’D GROW OLD AND GR AY TOGETHER;
OH BABE, WE NEARLY HAD IT ALL
AND WHAT ABOUT OUR DAUGHTER
I WANT TO LOOK AT HER AND SEE
THAT HER FUTURE’S FULL OF HOPE
SO SHE DON’T END UP LIKE ME
I’M FINDING A VOICE FOR THE FIRST TIME –
I NEVER KNEW I HAD BEFORE
WELL IT STARTED AS A WHISPER
Rita / Women
BUT IT’S GOT TO BE A ROAR
WE THOUGHT WE HAD THE FUTURE
IN THE PALM OF OUR HANDS
WE THOUGHT YOU WERE BESIDE US
AND WE HAD IT ALL PLANNED
WE KNOW LIFE ISN’T EASY
BUT WE COULD HAVE STOOD TALL
INSTEAD WE SEE THE MOMENTS
WHEN WE ALMOST HAD IT ALL
Rita
IT DON’T MEAN I DON’T LOVE YOU
IT DON’T MEAN I DON’T CARE
BUT I’LL SEE THIS THROUGH
WITH OR WITHOUT YOU THERE
(Eddie and the Kids are gone. Rita leaves. She takes the speech with
her. End of scene.)
114
Act Two
SCENE ELEVEN
Music No. 19: VIVA EASTBOURNE
Eastbourne – on-the-road song. An entirely musical, song-based scene, but we do see Rita
and the Girls and Monty and his Trade Union Friends with banners gathering for
the bus; Tooley and Hopkins are travelling first class in the train or by helicopter. The
Union Guys take the train; Castle and Wilson are limo driven by chauffeurs; Lisa
drives her mini. Throughout, Rita hugs and protects Connie’s speech.
Men
VIVA EASTBOURNE
THE T.U.C. BY THE SEA
VIVA EASTBORNE
BEER AND CHIPS IN QUANTITY
WELL I PROMISE THAT YOU WON’T BE BORED
INDISCRETION IS ASSURED
BED AND BREAKFAST SUBSIDISED
PROPHYLACTICS ARE ADVISED
EASTBOURNE
A WEEK BY THE SEA
Male Solo
WITH THE T.U.C.
Women
SHE'S ONLY GOT ONE CHANCE
Sandra
AND DON’T WE KNOW IT
Women
JUST THIS ONE LITTLE CHANCE
Cass
I HOPE SHE DOESN’T BLOW IT
Women
JUST SAY WHAT YOU GOT TO SAY
Made In Dagenham
Beryl
WE'RE WITH YOU ALL THE WAY
Women
RITA, GIRL, GO ALL THE WAY!
Men
IN FIGHTING, OUT FIGHTING
TALKING ALL THE LINGO
IN BETWEEN THE UNION SCENE
THE STRIPPERS AND BINGO!
Women
I’M PINING FOR,
I’M WHINING FOR,
I’M YEARING FOR,
I’M BURNING FOR,
I’M ACHING FOR,
I’M QUAKING FOR,
I’M SICK OF BLEEDIN’ WAITIN’ FOR . . .
Men
DONKEYS ON THE BEACH,
SNOGGING ON THE PIER,
A NOD, A WINK A PROPER DRINK,
A-VOMITING ON BEER
Women
CHANGE, CHANGE, CHANGE
BRING IT ON
CHANGE, CHANGE, CHANGE
Harold
OH I DO LIKE TO BE BESIDE THE SEASIDE
OH I DO LIKE TO BE BESIDE THE (SEA)
All
VIVA EASTBOURNE
THE T.U.C. BY THE SEA
VIVA EASTBOURNE
115
116
Act Two
Hopkins
NOT EX ACTLY TUSCANY
Men
A WEEK IN WHICH TO
Women
AIR OUR VIEWS
Men
A WEEK IN WHICH TO BOOZE AND SCHMOOZE
Women
THE ONE THING TO DECIDE UP HERE
WE’LL START THE REVOLUTION
Men
SOMETIME NEXT YEAR
All
VIVA EASTBOURNE
(End of scene.)
SCENE TWELVE
Barbara
In place of disagreements we need agreements, in place of
disruption we need production, and in place of strife we need
harmony! And I won’t take no for an answer!
All
Fiery like her hair!
(A green room situation, back stage at the TUC. Rita in a nervous
state, she is holding Connie’s speech.)
Rita (Reading.) “President, Congress, comrades, brothers and sisters” –
(Knock on the door. Rita opens it and Monty comes in.)
Monty!
Made In Dagenham
Monty
117
– Shhh! Can you hear that?
Rita What?
Monty
That is the sound of nuns booing the Pope. Three thousand trade
unionists booing a Labour Prime Minister.
Rita
Oh my gawd, Harold Wilson’s not here, is he?
Monty
Yeah, and that Bar bar bar bar barbara Castle.
Rita
I’m so nervous, Monty.
Monty
You’ll be great! You’re not gonna read it, are you?
Rita
Oh gawd. I can’t learn it!
Monty
It looks terrible though, dunnit.
Tannoy (Distort) Composite five speakers, this is your two minute call.
Monty
That’s you, composite five is the Equal Pay Amendment.
(Enter Lisa wearing a press badge around her neck.)
Lisa Rita.
Rita
Lisa?! What you doin’ here?
Lisa
I brought the Biba dress.
Rita
Oh my gawd, it’s beautiful. How did you get back stage?
Lisa
I have a press pass! I’m working for The Spectator Magazine.
Rita
That’s brilliant!
Monty (To Rita.) You’ve obviously not read The Spectator. Anyway as
they say in orthopaedics – break a leg!
(Monty is gone. Now alone, Rita and Lisa hug.)
Rita
So you’re working? What did your husband say?
118
Act Two
Lisa
He doesn’t know. I told him I was going to Monaco for the
weekend.
Rita
Don’t walk out on him, Lisa, please, hating men isn’t what this is
about.
Lisa
Absolutely, I don’t hate all men. I just happen to have made an
exception for my husband. Look, I have a Double First from
Cambridge and he can’t even imagine me working, never mind
being any good. This isn’t just about working class women, you are
doing this for all of us.
Rita
Would you mind listening to my speech?
Lisa
Of course.
Rita
President, Congress –
Lisa
– You’re not going to read it, are you?
Rita
Oh Jesus! I’ve tried to learn it but with everything, it’s doing my
head in!
Lisa
You’re going to be brilliant.
Tannoy
Composite five speakers, Equal Pay Amendment, to the wings,
please.
Lisa
You’d better get ready. Good luck.
(Rita dives into the loo to change into the Biba dress. Enter Tooley,
he’s smoking a cigar. He finds the speech, looks at it, and tears it up.
Rita comes out.)
Tooley (Whistles, impressed with her looks.) I didn’t expect you to be a
looker.
Rita
You’re the yank, aintcha?
Tooley (Threatening / lecherous.) Yeah. And you’re the Brit. We could have
a special relationship.
Made In Dagenham
119
(Rita goes to leave.)
Tooley
I love the dress. Are you a Red? Ya know, I could create a position
for you, baby.
Tannoy
Composite five speakers to the stage!
Tooley
You’re on.
(He blocks the door.)
Who’s looking after your kids today, Mommy? Daddy I guess,
since he’s laid off. I guess a strike must test a relationship. I never
married, I prefer horses.
Rita
Where’s my speech?
Tooley
Nervous, eh? I like a nervous broad. Frightened meat tastes better.
(Tooley edges towards Rita.)
Rita
Don’t touch me!
Tooley
Bit of advice on public speaking, remember the three D’s. Drive,
Diction and Don’t forget you’re just a little girl!
(Tooley is gone. Rita crashes around the room in panic to piece
Connie’s speech back together. She collapses and starts to cry. Enter
Beryl, Sandra, Clare, and Cass.)
Beryl
What the fuck’s going on!?
Rita
He’s torn up Connie’s speech.
Beryl Who?
Cass (Kisses teeth.) The bumbaclot American?
Rita
I don’t know what I’m gonna say!
Beryl
Don’t panic, we can put it back together again.
Tannoy
Composite five speaker, Rita O’Grady to the stage now.
120
Act Two
Sandra
You didn’t need a speech in Liverpool.
Beryl
No, you made it up.
Clare
And you was you know, fing!
Cass
Come on girl, you’re on!
Rita
I can’t do it. I can’t . . .
Beryl
Rita O’Grady! Get your fucking arse up there. You’re letting
Connie Riley down.
(Rita pauses.)
Rita
Alright. I’m ready.
(They all leave. End of scene.)
Music No. 19a: INTO T. U. C.
SCENE THIRTEEN
The TUC. The auditorium. Tooley and Hopkins leave.
Tannoy
Next composite number five, Equal Pay. Rita O’Grady of the
NUVB.
(Rita amateurishly taps the microphone.)
Rita
Hello. Is this thing on?
(Taps microphone. Whiney feedback.)
So yeah we went on strike because you know, you gotta do
something, ain’t ya. What Connie woulda said was we are the
working classes, men and women and we women have been
earning less, sometimes, half – what you men earn, doing the same
job, side by side. And that ain’t fair, is it?
Made In Dagenham
121
And none of us are working for pin money, I got enough pins,
thank you very much. We women are working to pay the rent, and
to feed and clothe our kids.
We’re not from out of space, you know. We’re your wives, your
sisters, your daughters, in some cases your mothers, still working at
sixty, sixty five. I saw a woman, she must’ve been seventy, waiting
on tables at the Wimpy bar up the road here. Broke my heart, it
did. Look, it started off with C grade, that’s all we wanted, but it
turned into Equal Pay. We deserve that, and we’re not ashamed to
ask for it.
I’m not perfect. Me own daughter, I bought her a nurse’s uniform
and laughed at her when she said she wanted to be a doctor. That
nurse’s uniform is the only thing in her wardrobe that ain’t pink.
What’s that all about? Why can’t she be a bloody doctor?
Music No. 20a: STAND UP
Rita
EVER GET THE FEELING
YOU'VE BEEN CHEATED FOR SO LONG?
YOU KNOW WHAT’S RIGHT
BUT YET THEY MAKE YOU FEEL IT'S WRONG
SECOND AT THE TABLE
PICKING UP THE CRUMBS
CHANGE IS ALWAYS PROMISED
BUT SOMEHOW NEVER COMES
STAND UP
STAND UP
In the war women worked as doctors, bus drivers, land girls. Ergo,
we won that war together and yet women are still being asked to
make do, to wait until tomorrow. Well when is tomorrow? Ten
years? Twenty years? Fifty years?
STAND UP
STAND UP
IF YOU’RE WITH ME
THEN PUT YOUR HAND UP
122
Act Two
We women have always supported you men, every time you
needed us we’ve been there and you never had to ask. So we’ve
come here to today because we need you to vote for this Equal Pay
Amendment.
THE FIRST STEP IS THAT YOU PUT YOUR HAND UP
THEN YOU CAN MAKE A STAND FOR EVERYONE
We’re a family, the TUC, Brothers and Sisters, Comrades,
everyone. Them’s your words not mine. You men, are you happy
that your daughters will grow up to be second class citizens? Your
daughters. You can change this, you can, cos nothing changes if
it isn’t challenged. So stand up for women’s rights because, you
know, if not now, when?
STAND UP
STAND UP
STAND UP
THE WORLD RIDES ON OUR SHOULDERS
WHILE THEY TAKE US FOR A RIDE
WE’RE IN THE HEART OF EVERYTHING
BUT KEPT ON THE OUTSIDE
Rita / Women
SO I’M ASKING FOR YOUR HELP
AND I KNOW THAT MONEY'S TIGHT
Rita
BUT WE NEED YOU STANDING BY OUR SIDE
AND DOING WHAT IS RIGHT, OH . . .
Rita / Women
STAND UP
STAND UP
IF YOU'RE WITH ME
THEN PUT YOUR HAND UP
YOU GOT TO TURN AROUND AND FACE THE FIGHT
GOT TO LEARN TO PUT THINGS RIGHT
ONLY WAY TO LIVE YOUR LIFE
COME ON,
Made In Dagenham
STAND UP
STAND UP
THE FIRST STEP IS THAT YOU PUT YOUR HAND UP
AND THEN YOU MAKE A STAND FOR EVERYONE
THEN THE BATTLE WILL BE WON
STAND UP
Rita Women
WE WON’T RUN AND WE WON’T HIDE
OOOH (etc.)
SO DON’T PASS BY ON THE OTHER SIDE
MEN, WOMEN WE ARE ONE
WE ARE THE UNION
Women / Men
YOU MIGHT THINK OOOH (etc.)
THAT WE JUST CAN’T WIN
BUT I TELL YOU THIS FOR NOTHING
WE AIN’T GIVING IN
WHAT I WANT TO SAY
IS THAT TODAY COULD BE THE DAY
Rita / Men
STAND UP
STAND UP
IF YOU’RE WITH ME
THEN COME ON PUT YOUR HAND UP
YOU’VE GOT TO TURN AROUND AND FACE THE FIGHT
GOT TO LEARN TO PUT THINGS RIGHT
ONLY WAY TO LIVE YOUR LIFE
COME ON,
STAND UP
STAND UP
THE FIRST STEP IS THAT YOU PUT YOUR HAND UP
MAKE A STAND FOR EVERYONE
THEN THE BATTLE WILL BE WON
COME ON,
Rita / Women / Men
STAND UP
STAND UP
123
124
Act Two
THE FIRST STEP IS THAT YOU PUT YOUR HAND UP
AND THEN YOU MAKE A STAND FOR EVERYONE
THEN THE BATTLE WILL BE WON
STAND UP NOW
President
Equal Pay Amendment is carried. Equal Pay is now TUC policy!
STAND UP NOW
STAND UP
Eddie
STAND UP
STAND UP
I’M WITH YOU
SO I CAN HOLD MY HAND UP
I WAS WRONG AND YOU WERE RIGHT
SHOULD HAVE BEEN THERE FOR YOUR FIGHT
YOU'RE THE LIGHT THAT LIGHTS MY LIFE
Eddie
Wow! You look amazing.
Rita
I only borrowed it.
Eddie
I’m sorry Rite. I let you down. I let myself down. I don’t suppose
you’ll have me back, but I love you Rita O’Grady. It’s amazing
what you’ve done. Amazing.
Rita
Eddie, you big lump.
Barbara
Emmeline Pankhurst won the vote for women, and is rightly
esteemed by history. The women of Ford Dagenham have changed
the world today, and history should place these ordinary working
women alongside the suffragettes for having achieved Equal Pay,
which is yet another step forward in the continuing story of
women standing up for their rights.
Rita / Women / Men
STAND UP
STAND UP
Made In Dagenham
IF YOU'RE WITH ME
THEN COME ON PUT YOUR HAND UP
YOU’VE GOT TO TURN AROUND AND FACE THE FIGHT
GOT TO LEARN TO PUT THINGS RIGHT
ONLY WAY TO LIVE OUR LIVES
COME ON,
STAND UP
STAND UP
THE FIRST STEP IS THAT YOU PUT YOUR HAND UP
WELL YOU CAN MAKE A STAND FOR EVERYONE
THEN THE BATTLE WILL BE WON
STAND UP NOW!
WHY DON'T YOU JOIN US, COME ON
STAND UP NOW!
WE NEED YOUR HELP SO COME ON
STAND UP NOW!
NOW, NOW!
NOW, NOW!
(The End.)
Music No. 21: BOWS
Company
MADE IN DAGENHAM
LAID IN DAGENHAM
NOW WE’RE EQUAL PAID IN DAGENHAM
MADE IN DAGENHAM
WE ARE DAGENHAM GIRLS / BOYS (etc.)
WE ARE MADE IN DAGENHAM
Music No. 22: PLAY OUT
125
MADE IN
DAGENHAM
Music by
DAVID ARNOLD
Lyrics by
RICHARD THOMAS
Book by
RICHARD BEAN
VOCAL BOOK
Josef Weinberger
MADE IN DAGENHAM
Music © Copyright 2014 by David G Arnold
Lyrics © Copyright 2014 by Richard Thomas
Book © Copyright 2014 by Richard Bean
Edition © Copyright 2015 by Josef Weinberger Ltd., London
All Rights Reserved
PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL
Applications to perform this work must be made,
BEFORE REHEARSALS COMMENCE, to:
JOSEF WEINBERGER LIMITED
12 - 14 Mortimer Street
London W1T 3JJ
United Kingdom
Tel: +44 (0)20 7580 2827
Fax: +44 (0)20 7436 9616
www.josef-weinberger.com
Version Dagenham Previews 8.4 (04 Nov 2014)
This edition: September 2015
Musical Numbers
ACT ONE
0.
Opening (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 1
1.
Busy Woman (Rita, Sharon, Graham, Eddie, Women, Men). .. .. .. .. .. .. .. .. .. 1
2.
Made In Dagenham (Factory Workers) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 8
3.
This Is What We Want (Sandra, Beryl, Rita, Cass, Clare, Factory Women) . .. . 11
4.
Union Song (Men). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.
Wossname (Clare, Women). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5a.
Big Ben (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.
Always A Problem (Harold Wilson, Aides). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6a.
Busy Woman (Barbara Castle) (Barbara Castle). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
7.
Pay Day (Ensemble) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 22
7a.
Club Music (Club Singer) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 26
8.
I’m Sorry I Love You (Eddie, Rita, Men). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 27
9.
School Song (Ensemble Men, Graham). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 32
9a.
Into The Berni Inn (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 32
10.
Same Old Story (The People) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
11.
Union Song – Reprise (Ensemble) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 35
11a.
Skilled Work (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 36
12.
Everybody Out (Rita, Factory Workers) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
12a.
Everybody Out – Play Out (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 43
ACT TWO
12b.
Tooley’s Entrance (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
13.
This Is America (Tooley, Ensemble). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 44
13a.
This Is America – Tag (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
13b.
This Is America – Reprise (Tooley, Two Men). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 51
14.
Storm Clouds (Lisa, Tooley, Harold Wilson, Barbara Castle, Men & Women). . . . . 52
14a.
Storm Clouds – Scene Change (Instrumental). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 58
14b.
Car Showroom (Instrumental). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 58
15.
Cortina! (Cortina Man, Five Girls) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
15a.
Cortina – Play Out (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
15b.
Tax Payer’s Bentley (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 62
16.
The Letter (Eddie) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
16a.
Into Parliament (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
16b.
Press Music (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
17.
Ideal World (Barbara Castle). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
17a.
Into The Hospital (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
17b.
Same Old Story – Scene Change (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
18.
Nearly Had It All (Rita, Eddie, Women). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
19.
Viva Eastbourne (Beryl, Cass, Sandra, Men & Women) . .. .. .. .. .. .. .. .. .. .. . 72
19a.
Into TUC (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
20.
Stand Up (Rita, Eddie, Ensemble). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
21.
Bows (Company). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
22.
Play Out (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 84
Vocal Book
MADE IN DAGENHAM
ACT ONE
Lyrics by
Music by
RICHARD THOMAS
DAVID ARNOLD
0
Opening
(TACET)
CUE: Green light from SM
70's Rock (q = 162)
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CUE: Alarm clock stops
Busy Woman
Colla
b 4
& b bb 4
RITA
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Book © Copyright 2014 by Richard Bean
Music and Lyrics © Copyright 2014 by David G Arnold
Lyrics © Copyright 2014 by Richard Thomas
Edition © Copyright 2015 by Josef Weinberger Ltd., London
All Rights Reserved
PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL
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Made in Dagenham – Vocal Book
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(q = 166)
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EDDIE
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17
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things
Mum Mum Mum Mum
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RITA
Eve - ry
21
No - one
° bb b
& b
25
knows where
œ
is
Œ
Œ
œ
Mum
œ
Œ
œ
Mum
Mum
Œ
Œ
œ
Mum
œ
we
œ
but
play
our
œ
œ
guess
who
6
27–32
RITA
¿
Teeth
Mum
Mum
GRAHAM
Mum
œ
no - thing
Ó
b SHARON
& b bb œ Œ œ
œ
œ
∑
∑
Œ
œ
rou - tine,
∑
b
& b bb
bb
¢& b b Œ
œ
Œ
Œ
6
6
6
œ
lit - tle
œ
œ
fam - 'ly
œ
œ
al - ways
gets
Œ
œ
œ
game
œ
the
˙
blame
RITA: In the airing cupboard!
Ó
Œ
‰
j nnbb
œ
RITA
If
∑
nnbb
∑
nnbb
∑
nnbb
Made in Dagenham – Vocal Book
b
&b œ œ œ œ
34
Œ
œ
you want some-thing done
b
&b
œ ™ œj ˙
39
˙
ask - ing
a
˙
œ œ
Ask
Ó
a
Ó
œ œ œ Œ
˙
bu
-
Œ
3
sy
wo - man
œ œ œ œ ˙
œ
'Cause you're wast - ing your time
œ œ œ œ œ œ œ œ œ œ
œ œ
œ œ œ œ
man.
She can do
in one hour
b
&b œ œ œ œ œ œ œ œ œ œ œ œ œ
what he can't do in ten
44
bas - ic
eff - ing diff -'rence bet - ween
us
&
eff - ing them.
SHARON: Mum, what do
you want for Christmas?
b
&b
48
∑
œ œ ˙™
œ œ œ œ œ œ
bbb
If you want
it
b
&b b
œ
œ
œ
œ
œ
Ϫ
œ
œ
J
œ
bbbbb ˙
œ
œ bœ
EDDIE
œ œ
We
b
& b bbb œ
65
œ
œ
With your parks
b
& b bbb œ
69
œ
and
œ œ œ
b
& b bbb œ œ œ œ
74
With your an - cient
° bb b
& bb œ
bb
¢& b b b
wat - er - fronts.
EDDIE:
Cup of tea, eh doll?
Œ
Ó
was.
∑
œ
it
œ
Œ
œ 3œ œ
Oh,
Dag - en - ham,
Ó
œ ˙™
by - laws.
∑
w
Oh,
˙
œ œ
Rome
was - n't
RITA:
Yes please, I’d love a cup of tea.
2
80–81
2
bu
-
sy
œ œ œ
œ œ œ
œ œ œ
Œ
Dag - en - ham—
EDDIE / SHARON /
GRAHAM
once.
EDDIE:
a
love you, Dag - en - ham, Dag - en - ham,
˙
œ œ ˙
RIT (Laughing) Stop it, Eddie- you're making us late.
good they named
79
œ
ask
j
œ
50–59
RITA: You're just saying that.
œ œ™
J
œ œ œ™
10
[Underscore]
wo - man
60
done then
it's the
œ œ
œ
œ
So
œ œ
œ
Dag - en - ham, Dag - en - ham
EDDIE / SHARON /
GRAHAM
3
œ œ œ œ ‰ œj œ œ œ œ
œ œ
3
built
#
nnnnn##
#
nnnnn##
in
a day,
But Dag - en - ham def' - nate -ly
RITA:
Is life like this everywhere?
∑
∑
Ó
n##
∑
Œ
WOMEN
œ
If
n##
4
Made in Dagenham – Vocal Book
#
&#œ œ œ œ
84
[ARISTON]
œ Œ
you want some -thing done
Ϫ
#
&#˙
89
ask
Ask
a
j
œ w
ing
-
a
nn
98
˙
œ œ œ Œ
sy
wo - man
œœ œœ nœœ œœ œœ
do
œ œ
∑
œ
SHARON: Uurgh!
RITA: Whatsamatter?
SHARON: It’s spit!
œ
œ
us and eff - ing them. If you want
it
can't
œ
do in ten,
œ
done then
ask
2
4
4 œœ
WOMEN
101–102
2
Mo -ther's
œ
2
sa - li - va,
j
¢& œ œ ‰ œ œ
Mo -ther's
œ
sa - li - va,
2
b6
& b b4
108–109
Ain't
no
germs
œ
œ
œ
Ain't
4
4
b w
&b b w
Ba
w
w
-
stard!
no
a
œœ
œœ
Mo - ther's
œ
that can
Œ
œ œ
germs
that can
3
4
˙˙
-
œ
œ
sur - vive
her.
sur - vive
her.
‰ œj
œ
4
4 ˙˙
∑
stard
œ œ
j
œ
-
sy
œ
Ba
spit,
˙™
œ œ
Ϫ
œ ˙
J
Œ
œ
œ
spit,
2
4
∑
bbb 46
2
4
∑
bbb 46
2
˙˙
-
Œ
RITA: (to Graham) Oi!
Come 'ere. Show me your hand.
He's hit you again, ain't he?
113–114
stard
RITA: He's paid to teach him Latin, not attack him with a stick.
EDDIE: He can't treat him any different just 'cos he's a scholarship boy.
˙™
bu
GRAHAM:
Mum! It don’t hurt. (WOMEN)
4
4˙
˙
nnn
j
œ œ ‰ œ œ
œJ œ
œ œ
Œ
WOMEN
mp
Ba
(WOMEN)
115
f
œœ œœ
œœ
Ϫ
œ
Mo - ther's
104
j
°
& œœ œœ ‰ œJ œ
it's the
RITA: This ain’t spit,
this is mother’s spit
2
nn
'Cause you're was - ting your time
in one hour what he
99–100
wo - man
œ œ œ œ ˙
œ
œœ œœ
œœ œœ œœ œœ œœ œœ œ œ œ
œ œ œ œœ œœ œœ
Œ
She can
eff - ing diff -rence bet -ween
° ##
& œ œ ˙™
¢
-
man.
# œ œ
& # œ œ œœ #œœ œœ œœ œœ œœ
#
&#
bu
Ó
94
bas - ic
˙
œ œ
Ϫ
œ œ œ œ œ b˙ ™
J
œ œ
Made in Dagenham – Vocal Book
GRAHAM: Don’t come into school Mum!
RITA: Oh, you’re ashamed of me, are you?
GRAHAM: Yes!
122
&
b˙ ™
°
& #œ.
bœ ™
œ
œ
RITA: Alright Eddie?
126 EDDIE: Yeah. What?
œ
.
œ
.
¢&
130
&
œ
J
œ
J
Ϫ
SHARON:
Watch out, Dad - Mum's gone in to one.
bœ ™
œ
J
RITA: What’s today?
.
#œ. #œ
œ
.
œ.
œ.
œ bœ
WOMEN
#œœ
Œ
2
4
4
4 #œœ nœœ #œœ
(WOMEN)
∑
Think
EDDIE: Innit?
134 RITA: Is it a special Tuesday?
3
4Œ
∑
&
4 ##˙˙
4
Œ ##œœ
Re
EDDIE:
140 (Kiss) "Love you"
∑
&
Ϫ
Ev - 'ry
He
for - gets
year
and
I
Whirr,
∑
for - gets
& œ œ œ œ œ
œ
>
you
mem
I
took his
∑
Click,
œ
œ
Œ
Whirr
Œ
œœ
Durr
2
˙˙
play
138–139
ber
-
j
œ œ
We
œ
EDDIE: (Beat) Pancake day?
RITA: Go to work you big lump.
˙˙
Ϫ
œ
Click,
j
œœ ‰
J
Click,
œœ
the same rou - tine
re - mem -ber the day
WOMEN
151 WOMEN
j
œ œ
ber,
Click,
j
nnœœJ ‰
Œ
j
œ œ œ œj œ œj œ œ œ œ
###
œœ œœ œœ Œ
&
¢
He
-
œ
j
j
nœœ ‰ œœ ‰ œœ
J
J
Œ
Whirr,
œœ
##œœ
mem
-
In 2 - Slower
### CRITA
œ œ
145
° ###
& œ œ œ™
a - gain
(WOMEN)
œ
∑
œœ
Think,
∑
nœ nœ
>
∑
∑
EDDIE: Tuesday.
RITA: Tuesday?
œ
œ
œ.
œ #œ
. .
∑
5
3
œ
our
œ œ œ
œ
œ
˙
ann - i - ver - sary game
2
A Tempo (in 4)
U
œ œ œ Œ
nnn 4
4
U
Œ
œ œ œ
u
nnn 4
4
rit. . . . .
stu - pid name
149–150
2
Stu - pid name
œ œ œ ˙
Shut the door, were you born
in
a barn?
œ œ œ œ œ bœ œ œ ˙
Wipe those boots you don't live
on a farm.
œ œ œœ œ
How did your last
6
Made in Dagenham – Vocal Book
156
& œœ
œ
ser - vant
161
& œœ
die?
There's kids
& œœœ
You'll
œœ
œ
œœœ
all
miss
b
& b bbb œ Œ
b w
w
& b bbb w
said, that's why.
œœ
œ
bœœ
œ
˙˙˙
me
when
I'm
gone.
˙˙˙
a
bu
˙˙˙
-
œœ
œœ
lose
the
plot,
j
œœ œœ ™™
œJ œ™
œœ
œœ
The strength
b
& b b ˙™
188
day.
Œ
a
Tests our lov - ing
œœœ
Beds
ain't
made
for
œœ
œ
œœ
jump - ing
Œ
œ ˙
na - ture
on.
bœ
you want some - thing
Ϫ
She's got more
en
œœ
œœ
œœ
mat - ter
what,
-
œœœ ™™
™
j
œJ ˙˙˙
er - gy
œœ œœ
If you
œœ
than
œœ
The
the
œœ
lose your key
or
pa - tience of
rhi - no,
j
œœ
œJ
œœ
of
a
Œ
bbbbb œ œ œ œ
œ œ ˙
no
Œ
WOMEN (+ OFF-STAGE)
Ó
œœ
œœ
œ
œœœ
œœ nœœ œœ œœ œœ
a
nun,
œœj
n
‰ J
It
Half-time feel
nnbbb œ œ
œ œ
ALL WOMEN
mar - a - thon.
œ œ œ œ
œœ
œ
œœ
you won't grow –
œœ œœ œœ œœ ‰ œjœ
J
b œ
& b bbb nœ nœœ œœ œœ œœ œœ œœ œœ Œ
no sprint– it's
œœœ
Œ
al - ways there
183
ain't
your greens or
œœ
œ
wo - man
j
‰ œœ œœ
J
j
‰ œœJ
œœ œ
œœ
If
(with Ts)
Œ
œ
œ
œœ
Eat
∑
sy
She's
bb
& b b b œœ
˙˙
œ
RITA: Bus pass!
˙˙
˙
sun
180
I
bœœœ
Ask
175
bœœ
Af - ri - ca, you know.
œ œ
done
œ
œ
œ
œœ œœ bœœ œœ ˙˙
œœ œœ
star - ving in
170
œœ
œ
Why? Be - cause
œœ
œœ
165
œœ
˙˙
Ev - 'ry
œ
in
lov - ing
œ œ œ œ
eve - ry
lov - ing
˙
way
œ ˙
œ
mi - nute
of
Ó
œ œ œ œ
ev - 'ry
lov - ing
nnb œ œ
œ œ
Moth - ers, sis - ters,
Made in Dagenham – Vocal Book
194
&b œ œ Ó
daugh - ters,
° b ˙˙
& ˙
Lov - ing - ly
200
fee
&b
Ϫ
-
ling
˙
œ œ œ œ
we
It's
go - nna be
∑
M1+2 / M3
Ó
say,
j
œJ œ œ œ œ œ
7
˙˙
œ œ
˙˙
We've
got this
fee
∑
œ
œ œ
-
ling, this
b
∑
ev - er lov - ing,
∑
go - nna be
° œ œ œ œ œ
&b
204
œ
moth - er lov - ing wor - king
&b
œ œ œ œ Œ
moth - er lov - ing...
¢& b œ œ œ œ Œ
moth - er lov - ing...
œ œ
Ó
œ
œ œ
œ œ œ œ Ó
œ
a - no - ther
œ œ œ œ œ œ
œ
slug - ging, ev - er lov - ing,
Ó
kid - dy hugg -ing
w
œ œ œ œ
ev - er lov - ing,
w
w
∑
day
œ
If you want
œ œ
won - der - ful
œ œ œ œ
a - no - ther
œ œ œ œ œ
œ œ
RITA
Ó
Heart tug - ging, tea
¢&
˙˙˙
œ
If you want
œ
it
œ
it
œ
œ
done then
œ
œ
done then
œ
ask
œ
ask
œ
a
œ
a
Ϫ
bu
Ϫ
bu
-
-
j
œ œ œ ˙™
∑
j
œ œ œ ˙™
∑
sy
sy
wo - man
wo - man
SEGUE
8
Made in Dagenham – Vocal Book
2
Made In Dagenham
CUE: SEGUE CLICK
Med. Pop Beat (q = 132)
4
&4
6
&
Œ
10
& Œ
(Clicks)
(Drum fill)
¿
¿
V
V
œ^
b -œ œ.
J
œ
J
j
œ
œ bœ œ
J
MEN
& Œ
I
18
& Œ
& Œ
sump
clock in
and
fan - belt,
gear
& Œ
‹
2
&4
30
œ
Blue
∑
what
j
œ œ bœJ
col - lar
car
fills
œ
J
œ
^ ^
.
œ œ b-œ œ ‰
j
œ œ
œ bœ
the
j j
œ œ œ
do
my
or
air,
œ
goes
time;
œ œ
J
&b œ œ œ œ œ
Made in
Da - gen - ham,
# j
&#œ œ
j j
œ œ œ
is
a
At
it:
Œ
œ
in
w
œ nœ œ
J
œ
J
are
j
œ œ
gift;
ga
in
my
life
it
got
A
love - ly
Mi
a
kick
us
if
it
œ Œ
ing
eight
das touch.
j
œ bœ œ œ
œ œ
J
can’t
af - ford a
Ó
hour shift.
2
4
car.
œ œ œ nœ œ
œ #œ œ
œ œ nœ œ œ œ
J
J
-
-
don't fit.
n## Œ
in
Œ
Da - gen - ham.
œ nœ œ œj
J
M1
I
stink
is mine.
j j
j
œ œ œ bœ œ œ œ
j
œ œ bœJ
œ
the
Da - gen -ham boys.
M5
my hair.
œ œ bœ œ œ œ
J
J
Da - gen - ham, Shame we're un - der - paid
œ œ œ œ œ œ
we
-
clock
Shame most of
œ œ œ œ œ
laid
o'
j
œ bœ œ
Give
men that’s who we are,
Da - gen - ham,
five
œ bœ œ œ œ œ
œ œ bœ œ œ œ
J
J
œ
J
We're men who've
in
j
œ œ œ œ
œ
w
j j
œ bœj œ bœ œ œ bœj œ œ œ
Œ
j
œ œ
to
œ
J
œ œ
œ bœ œ
J
a clutch–
-
^ ^
- œ. ‰ œ
œ
œ bœ
J
œ
One week's Swar - fe
j Œ
œ
j j
œ œ œ
(MEN)
35
it
box
b 44 œ œ œ œ œ
Made in
40
-
j j
œ œ
œ bœ nœ
J
We're proud of
26
^ ^ - œ.
œ œ œ
‰ œJ
j j
œ œ œ
oil
j
œ œ
œ
j j
œ bœj œ bœ œ œ bœj œ œ œ
A
22
just
j
œ œ
œ œ
œ bœ
œ
J
^ ^ - œ.
œ œ œ
‰
œ
The smell of
14
Œ
œ^ b -œ œ.
J
love my
œ nœ œ
J
EDDIE
See
how the
job,
j
œ
fac -
Made in Dagenham – Vocal Book
# j
j j
&#œ œ œ œ œ
j
œ nœ œ
œ œ
J
44
-
to - ry
#
& # ¿J ¿
shine
Hen - ry
ALL
Ford
# j
&#œ œ
From whom
j j
œ œ œ™
52
œ
M8
- tion
That
he
#
&#œ œ œ œ œ
he
was
TEN /
59 BARI + BASS
#œ
& œ
Made
68
#
& Ó
#
& Ó
#
& œ
Health
#4
& 4Ó
81
he
got
a
lit - tle
fa - mous and
œœ œœ œœ œœ
œœ
in
Da - gen - ham,
laid
in
Da - gen - ham. Last
year
œœ œœ œœ œœ œ œœ
œ
we
are
steel
ALL MEN
œ
œ
and
œ
safe - ty
Œ
-
j
œ œ
capped
œ
we
œ œ
Ó
Œ
from
the pol - lu -
¿ ¿ ¿
ooh, Dud - ley Moore!
œœ
œœ
hol - i - dayed
Œ
ing man's suit.
j
œ œ
j
œ Ó
guar - an - tee.
œ
man
Œ
n#
j
‰ œœ œœ nœœ œ
J
in
Da - gen - ham.
‰ œj
j
œ œ #œ œ™
My
half - pint ther -mos
M8
‰ œj œ œ œ œ #œ œ Œ
ov - er - alls pro - tec - tive,
œ œ œ œ ‰ œj œj œ œj Ó
State
of the art
œ
œ
Main - tained
en - gin - eer - ing ex - perts and some
‰ nœJ
M8, M2
Our
∑
j
œ
fucked off pret - ty quick.
˙
boots,
œ œ œ œ ˙
-
˙w
he
œœ #œœ
‰ œ 44 œ œ œ œ œ œ œ œ #œJ œ
J
By
¿
M3
Da -gen -ham boys.
Ϫ
j
‰ #œ œ œ
M3, M7, M5
It's the work
77
‰ ¿J
Œ
Mis - ter
œ nœ œ
J
ALL
œœ
‰ #œJ œ œ
Œ
And
œœ
Da-gen - ham,
j œ
œ
M7
‰
¿ ¿
fa -mous for
A - part
Thames.
œœ œœ œ
œ
And my
72
œ
œœ
Made in
Œ
¿ Œ
J
œ œ #œ œ œ œ œ œ œ œ nœ œ œ œ œ
But
TEN /
BARI + BASS
on sign. We're
-
stems,
j
œ
œ nœ œ
J
ne
˙
M4
slick,
#
& œœ œœ œœ œœ œœ
63
gest
-
j
œ
good -ness
dumps in - to the
56
-
lar
j
œ nœ œ
all
¿ ¿
J
M6
From Eu -rope's
‰ œj œ
¿ ¿
J
48
œ œ œ nœ œ œ œ ¿
J J
J
M2
does
9
ma - chin - er - y,
3
4 #œJ
œ
dai - ly
œ œ
J
su - per - glue!
œ
œ Œ
J
4
4
through -and - through
Œ
2
84–85
#
10
Made in Dagenham – Vocal Book
° # œœ œœ
¢&
‹ Made in
TEN /
BARI + BASS
86
{&
# Œ
œœ œœ
œœ œœ œœ
Da -gen - ham, laid in
Hand claps
¿ ¿ ‰ ¿
J
¿
91
∑
° #
& œ
are
96
œ
strayed in
# #œ œ
¢&
‹ strayed in
° # #œ
&
100
stayed
#œ
¢&
‹ stayed
° #œ
&
104
paid
¢&
‹
#œ
paid
Ó
œ œ œ
Ó
Ó
œ œ œ nœ œ œ
Life is
Da - gen - ham,
Life is
Da - gen - ham,
œ
œ œ #œ
in
Da - gen - ham,
œ
œ œ #œ
in
Da - gen - ham,
108
° ## œ ™ œj ˙
& œ™ œ ˙
Tem -pers get - ting frayed
¿
Boys!
#œ œ œ œ
Ó
F6, F5+ SANDRA /
F2, F3, F7
œ
œ
œ
œ
œ œ #œ
œ œ œ
We
are
Da - gen -ham
¿ Œ
GIRLS
Girls!
BOYS
¿
Boys!
(BOYS)
Œ
Played in
Da -gen - ham,
Da - gen - ham,
in
Da - gen - ham,
in
œ #œ œ
we
Œ
‰ œ
J
we
œ œ œ œ
œ œ #œ œ
Ó
Da - gen - ham,
œ #œ œ
‰ œj
Œ
God knows why we
œ #œ œ
œ
œ
Ó
God knows why we
Œ
‰ œ œ œ œ œ
J
'cos we're still un - der -
Œ
Da - gen - ham,
‰ œ œ œ œ œ
J
'cos we're still un - der -
œ
œ
girls,
œœ œ œœœ œœœ
œ
ooh
Ó
Da -gen - ham,
## w
w
w
w
girls,
œ œ œ œ œ
Played in
(MEN)
in
in
Girls!
Da -gen -ham
Ó
œ œ œ
##GIRLS
¿ Œ
∑
œ Œ œœ œœ œ
œ
œ
Œ
œ
Tem -pers get - ting frayed
girls,
BOYS
œ
œ œ œ œ œ
œ
œ
read - y made
#œ œ œ œ
Ó
œ œ #œ
in
read - y made
3
œ œ œ œ #œ œ
Da - gen - ham,
in
##GIRLS
¿ Œ
¢&
‹ Girls!
j
œ˙ œ ™
Da -gen - ham,
‘
WOMEN
3
Da - gen - ham,
œ œ œ
œœ œœ œœ œœ œœ
‘
∑
j
œ œ œ
Ϫ
w
œ #œ œ
œœ œœ œœ nœœ œ
‘
Da -gen -ham boys.
œ
œ
¿
∑
#œ œ œ œ œ œ
œ œ œ œ œ œ
&
¢
‹
we
œœ œœ #œœ œœ
TEN /
BARI + BASS
Da -gen - ham. Come get your cat spayed in Dag -en - ham, Made in
¿ ¿ ‰ ¿
J
Œ
f
° #
&
œœ œœ œœ
TEN + BARI /
BASS
œ œ
‰ œ œ œœ œœ œœ
J
Da - gen - ham
BOYS
¿
Boys!
œœ Œ œ œ
Œ
¿
GIRLS
Girls!
Œ
BOYS
¿
Œ
Boys!
œ œ œ œ œ
œ œ œ œ œ
∑
we are Made in Da -gen - ham.
œœ
œ Œ œ œ
œœ œœ œœ œœ œ
œ
we are Made in Da -gen - ham.
∑
Made in Dagenham – Vocal Book
11
3
This Is What We Want
CUE:
BERYL: . . . Latin!
MONTY: Alright, want to you want?
Rubato Gospel feel
# # 4U
& # #4 Œ
SANDRA
œ œ œ œ œ œ
I
##
&##œ
4
just
##
&##œ
7
œ
a chair that
Œ
œ œ
Œ
j
œ œ
œ
that
does n't
just
I
Shuffle
j
œ
reek
.
œ
œœ œœ œœ
œ œ œ
that
œ
ain't
##
& # # œj œ
17
give
##
&##œ
hot
as
loads
œ
j
œ
Wim - py's
of
j
œ œ
res - tau
loud
‰
-
rant,
want the
ain't
a
MONTY: Ladies . . .
Œ
Ó
Load - sa
yell.
freak
load - sa
want
œœœ œœœ œœ
œ
We want to work in
that.
ov - er - alls
j
œ œ
j ‰
œ
Spain,
I
a
œœœ œœœ
œ œ œ™
œ
make
you
fat
plac - es
RITA,
CASS, F4:
j
œ
Just
j F2j
œœœ œ œ œ œ œ œ
œ
want my
South - ern
œ œ œ
CASS
I
SANDRA
fac - t'ry moved to
BERYL
œ œ
Œ
roof that
‰ œj œ œ œ œ œ œ
j
œ
j j
œ œ œ œ œ œ œ œ
I
a
Does - n't reek, does - n't
œœœ œœœ
that
want
ALL
reek.
have to
œœœ œœœ œœœ
œ
F3
I
you
ALL
##
j
& # # œj œ œ œ œ œ œ œ
23
œœ
œ
œ
We want some choc' late that dont
that
j
œ
boss that
œ
j
œ œ œ œ œ œ œ
F4:
œ œ œ œ œ œ
I
j
œ œ
œ
œ
hell.
j j
œ œ œ
us
20
j
œ
j
œ œ
œœ œœ
œ œ
Does - n't reek, does - n't
reek. We want ma - chines that ain't so
# ##
&# œ
a
SOP / MEZ / ALT
RITA
#### œj j
&
œœ œ œ œ œ œ œ œ
Œ
don't creak,
want
11
14
Œ
œ œ
œ œ œ œ œ
œ
don't leak,
A Tempo
bog
want
œ
œ
want the can - teen moved to
des - igned
BERYL
j
œ œ œ
I
œ
œ
want my
by
œ
j
œ œ
Mar - y
œ
doors blown
œ
off
j
œ
Quant,
œ
by
12
Made in Dagenham – Vocal Book
26
° ####
&
œ
œ
œ
Mich - ael
œ
œ
Caine.
#### Ó
&
¢
∑
œ
ALL
œœœ
Œ
Mich - ael
#### ‰
&
is "Throw a
œœ
œ
Caine.
lit - tle crumb this
œœ
œ
All
j
œœ œœ ™™
œ œ™
j
œœ œœ œœ œœ œœ œœœ œœ
œ œ œ œ œ
œ
29
say
j
œœœ ‰
œœœ
w
w
w
œœ
œ
I
A
œœ œœ œœ œœj ‰ Œ
It's
# ##
w
&# w
w
j
œœ œœ œœ œœ œœ œœ œœ ™™
œ œ œ œ œ œ œ™
˙˙˙
touch,
36
Œ
place,
not
as
if
we're ask - ing
Put a smile on my
# ## j
& # œœœ œœœ
41
this is
j
œœ
œ
what
j
œœ œœ
œ œ
j
œœ
œ
we
want.
Œ
for much.
Ó
Œ
co - ton towels to
wipe
œ
j
œ œ
my
swea - ty
bits.
œœ œœ œœ œœ œœ
œ œ œ œ œ
mess with us,
j
œ œ
al - ways
¢
##
&##
I
want Ba - rry
∑
to
ser
∑
vice
-
Ó
me.
Œ
##
&##w
w
w
say
‰ œœj œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ
is "Throw a
lit - tle crumb this
j
œœ œœ ™™
œ œ™
way."
˙˙
˙
j j
œ œ œ
smell
of
j
œ
shit,
‰ œj œ œ œ œ œ
œ
Cha - nel
per - fume on
tap and
∑
j
œœœ œœœ œœœ ‰ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ
ALL
Ser -vice me.
52
'Cos
SANDRA
48
BERYL
3
° ####
j j
&
œ œ œ œ ‰ œj œ œ œ œj œ œ œ œ œ œ œ œ ™
served for free.
wee - ny
j
œœœ œœ œœ œœ ‰ œœ
œ œ œ
œ
œœ
A chang -ing room that does - n't
œ
œœ
œ
Don't
j
œ
tee - ny
Spread some joy a-round the
‰ œj œ œ œ œ œ
œ
w
w
w
BERYL
E - gyp - tian
ti - ny
CLARE
##
j
&##‰ œ œ œ œ œ œ
œ
45
face.
to
j
œœ œœ œœ œœ œœ œœ œœ
‰
j
œœ œœ œœ œœ œœ œœ œœ
lit - tle
want
SOP + MEZ /
ALT
#### j
j
&
œœ œœ œœ œœ ™™
32
∑
œœœ œœœ
real - ly
˙˙˙
way."
œœ
œ
All we real - ly want to
‰ œœj œœ œœ œœ œœ œ œ
œ œ
SOP + MEZ / ALT
A
ti - ny tee - ny wee - ny
Made in Dagenham – Vocal Book
## j
& # # œœ œœ œœj œœ ™™
56
lit - tle
j
œœ œœ œœ œœ œœ œœ œœ
touch,
##
w
&##w
w
60
It's
j j
## j
& # # œœœ œœœ œœœ œœœ œœœ
####
&
j
œœ
œ
we're ask - ing
what
we
w
w
w
want.
ach - ing for,
##
& # # ˙˙˙
74
˙˙
˙
change,
# ##
& # œ œ œj ‰
Œ
mess with us,
# ##
& # œœ ™™
Ϫ
for,
‰
pi -ning for, whin -ing for,
˙˙
˙
moan - in' for,
yearn -ing for, burn -ing for,
˙˙˙
Change,
change,
j
œœœ œœœ
81
change,
pray - in' for,
case?
mess
##
& # # œœœ
92
mess
of
œœ
œ
˙˙
˙
Change,
change,
Be - fore we smack you
œœ œœ œœ
œ œ œ
with
us,
œœ œœ œœ
œ œ œ
with
us,
j
‰ œœ
œ
'Cos
‰
j
œœ
œ
'Cos
j
œœ œœ
œ œ
this
j
œœ œœ ™™™
œ œ
the
˙˙
˙
Change,
change,
is
what
is
we
want.
j
œœœ œœœ œœœ œœœ
what
we
œœœ
œœœ
why don't you
˙˙˙
face.
j
œœ
œ
for
œœœ
So
j j
œœ œœ œœ
œ œ œ
j
œœ œœ
œ œ
this
in
œœœ
on
Ó
œœœ
get
œœœ œœœ
on
Œ
the
œœœ
Don't
Ó
w
w
w
bray - in' for,
˙˙
˙
œ œ œ
still we're on - ly dream - in'
j
‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
##
w
&##w
w
##
& # # œœœ
and
˙˙
˙
œœœ
Keep dream - ing
84
88
œœ
œ
for
j
œfi
Bring it
œ œ œj ‰ œ œ œj ‰
groan - in' for,
œ œ œ œ
œ œ œ œ
œœœ œœœ œœœ
˙˙˙
change,
œ œ œj ‰ œ œ œj ‰
j
œ
I'm
scream - in'
'Cos
ALL
78
schem - in'
a -round the
j
œœœ œœ œœ œœ ‰ œœ
œ œ œ
œ
œœ
Don't
sick of bleed - in' wait - in' for
change.
œœœ œœœ œœœ œœœ œœœ
Spread some joy
Ó
œ œ œ œ œfij œ œ œ
Œ
˙˙
˙
œœœ
Œ ‰ j œ
j‰ œ œ j‰ œ œ j‰ œ œ j‰
œ
œ
œ
œ
œ
œ
I'm
quak -ing for,
Œ
for much.
˙˙˙
face.
Ó
œ œ œj ‰ œ œ œj ‰
Change,
if
Put a smile on my
65
70
as
œœ œœ œœ œœ Œ
j
œœ œœ œœ œœœ œœ œœ œœ ™™™
œ œ œ
œ œ œ
Œ
place,
this is
not
13
Œ
œœ
Don't
w
w
w
want!
∑
14
Made in Dagenham
4
Union Song
CUE:
CLARE: Yeah, and mind your whatsit.
RITA: Language.
BERYL: Bollocks.
TEN + BARI /
BASS
2 CLICKS IN
4
& b4
f
œ
œ.
œ œ
œ. œ.
œ
œ.
œœ
œœ
œœ
œœ
Ϫ
Ϫ
for
your
fu
ture
and
4
& b œœ
Fight
7
& b œœ
rights
œœ
Ϫ
God
gave.
-
˙
˙
j
œJ
We
œœ œœ œœ
œœ
œ
œ.
Broth - ers
œœ ™™
œ œ
œ œ
and
œ
œ
sis -
work
œœ
œœ
œœ
to - geth - er
or
œ œ œ ˙
œ œ œ ˙
ters,
com - rades, ev - 'ry - one.
TEN /
BARI + BASS
j
œ
œJ
Ϫ
Ϫ
the Un - i - on.
œœj
J
Ϫ
Ϫ
œœ
œ
œ
œ
œ
œ
œ
œœ
The
rights
of
man
are
œœ
œœ
œœ
œœ
die
as
slaves.
we
œœ
the
Œ
5
Wossname
CUE:
What would you say, Clare?
3,4 . . . Easy Shuffle
12
&8
3
Ó™
Œ
j œ œ
œ
œ
Well,'ere
& Ϫ
6
Ϊ
Œ
this,
9
& Ϫ
& Ϫ
strong.
Ϊ
Ϊ
And don't no - one start
Ϊ
Œ
right,
12
j œ œ œ œ™
œ
j œ œ œ œ™
œ
Œ
j
œ œ œ œ
Ϫ
I been at this game
the
Ϊ
‰
Ϊ
Œ
‰
œ œ
fing,
Ϊ
‰
piss,
œ œ
is
œ œ œ
'Cos when sum -mink ain't
œ œ œ œ™
œ œ
There's a smell in the
air
j
œ œ œ œ
j
œ œ
since I was four -
œ œ œ
And the fing 'ere
œ œ œ œ™
tak - ing the
Then sum -mink is wrong.
Ϊ
is
Ϊ
Ϫ
CLARE
teen.
Ϊ
‰
œ œ
œ œ œ
and the pong is quite
Ϊ
Œ
j
œ œ œ œ
I know what my
Made in Dagenham
j
& œ œ œ™
whats - it - called –
18
& Ϫ
Ϊ
do you know what I
21
I am what I
Ϊ
on.
™
¢& Œ
°
& Ϫ
24
œœœ ™™™
œœ ‰ Œ ™
œ
Oo -
Ϊ
Œ
j
œ œ œ
œœ ™™
Ϫ
WOMEN
Ϊ
‰
œœœ ™™™
oo...
Ϊ
Œ
™
¢& Œ
œœœ ™™™
fing
Oo -
‰ Œ™
j
j
j
& œ œ œ œ œ œ œ œ œ
blah - de - blah - de - blah and lots of "Yeah,
& œ™ Œ ™
Œ
j
Ϊ
œ œ œ œ œ™
and I talk it plain.
I know what's
œœ ™™
Ϫ
œœ
œ
wot - sit
Ϊ
Oo -
Œ
‰
Ϊ
œœœ ™™™
‰
œœ
œ
Oo -
oo...
j
œ œ Œ™
Œ
no"
Ϊ
Oo -
There's lots - a– ya
Ϫ
œ œ œ œ œ
‰ Œ™
oo...
Ϊ
Œ
know,
j 2
œ œ œ
and Ou - jah,
j œ
œ
j
œ
n' blah - de -
Ϊ
∑
™
œ œ Œ
2
Œ
ou - jah.
œ œj œ œj œ œj œ ™ œ™
What you see
‰ Œ™
œœ ™™ œ
œ ™ œœ
Ϊ
j
œ œ œ œ
œ œ œ œ œ
But some fing in this
oo...
Ϊ
Ϫ
go - ing
oo...
Ϊ
œ œ™
œ œ
a - bout the whats -its -
Oo -
j
œ œ œ
œ
œ œ
‰
œœ ™™ œ ‰ Œ ™
œ ™ œœ
oo...
30
‰
j Ϊ
j
œ œ œ œ œ œ
Well, I dun - no– ain't there.
œœ
œ
Ϊ
And I know what's fair,
Ϊ
œ œ œ œ œ
La - de - dah and good
I?
œœ ‰ Œ ™
œ
Oo -
œ œ™
œ œ œ œ œ
ain't
and I know the
Ϊ
œœ ‰ Œ ™
œ
°
& Ϫ
straight,
Œ
And I know what's right,
oo...
33
Ϊ
oo...
Oo -
27
'cos I'm me,
Yes, I know the game,
name.
™
¢& Œ
am,
‰
So, ou - jah kap - iv - u - wat,
j‰ ‰ j‰ ‰
œ
œ œ œ
Ϫ
‰
j œ œ œ œ™
œ
Œ
j œ œ œ œ œ œ Œ™
œ
Œ
mean?
j œ œ œ œ™
œ
Œ
bye.
°
& Ϫ
Ϊ
‰ œ œ œ œ œ œ™
15
15
Ϫ
is what you whats - its - name
j
œ œ œ œ
But I talk it
Ϊ
Ó™
bb 44
16
Made in Dagenham
° bb 4
& 4 nœ ™
Half-time feel
37
j
œ ˙
œ
Life
ain't fair
WOMEN
Oooh...
° bb j
& œ œ™
41
b
w
¢& b w
w
Œ
œ
...
° bb nrit
& ¿ ¿ ¿ ¿ Œ œ
¢&
bb
I'm
me,
bbbbb 12
8 Ϊ
∑
° bb b
& b b ˙™
bb b Œ ™
¢& b b
eye.
Ϊ
œœ ™™ bœœ ™™ Œ ™
Ϫ Ϫ
get
b
& b bbb œ ™
57
Œ
œœ ™™ n˙˙ ™™™
œ™ ˙
You
I?
Ϊ
her.
j œ
œ œ œ
Ϊ
Ϊ
Ϊ
you're
you,
™
œ™ Œ
‰
front
2
4
œœœ ™™™ ˙˙˙ ™™™
side
4
4
∑
Ϊ
you.
∑
see
eye
See
eye,
œœ ™™™ œ™ œ ™
œ ˙˙ ™™
to
j
œ œ œ ™ ‰ œ œ œ™ œ ™
And we ain't
got a bleed - in'
∑
too!
™
œ œ ≈ œr œ™ Œ
œ œ
and the fut -ure's
∑
4
4w
And we don't
d'uh.
(durr)
Ϊ
Us
Meno
Ó
j
j
œ œ œ™ œ™ œ™ œ œ
œœ ™™ ˙ ™
œ ™ ˙˙ ™™
No
who?
C.V.
¿ ¿ ¿ ¿ ¿
J
‰
be - hind.
œ œ
œ œ œ
Fanks for hear -ing me
∑
Speak for your - self, love!
Ϊ
b
& b bbb œ ™ Œ ™
here.
Ϊ
you–
ain't
-
∑
˙™
‰ œ œ œ œ œ ˙™
The past is in
ad lib.
‰ œ œ œ œ œ ‰ œ Œ™
out,
60
2
œœ ™™ ˙˙ ™™™
œ™ ˙
Ϫ Ϊ
her!
54
clue.
Ϫ
And
° bb b
& b b œ™ Œ ™
bb ™
¢& b b b Œ
œ œ œ™
She's
50
in
Œ
A tempo
But you stay firm and
2
4˙
˙
to the whats -its -name that's deep
bbbbb 12
8 ˙™
46
Ou - jah, Ou - jah!
Stick
j
nœ
œ œ œ œ
Yeah, yeah.
˙
3
‰
j
‰ œœœ nœœœû Œ
ûû
oooh...
3
j
œ
œ œ œ œ œ œ œ
˙˙ ™™
˙™
Oooh...
yeah, yeah.
˙™
n˙˙ ™™
oo
Œ
j
œ ˙
get the blame,
ùùùœœœ
‰
true,
3
and peo - ple
˙˙ ™™
˙™
b4
w
¢& b 4 w
w
j
œ œ œ œ œ œ nœ ™
‰
it's a weight off my
‰
chest.
œ œ œ œ™ Œ ™
œ œ
That's all I got to
say.
Ϊ
Ϊ
œ œ œ œ™
Ϊ
Ϊ
œ œ œ
We've all been there
‰
œ œ œ™ œ™ ˙ ™
Do I make
my
self
and now we're
Ϫ
clear?
Ϊ
Ó™
Made in Dagenham – Vocal Book
17
5a
Big Ben
(TACET)
CUE:
CLARE: You ain't running the country, that's someone else.
6
Always A Problem
CUE:
HAROLD WILSON: I'm trying to set an example.
##C U
Ó
&
Colla voce
HAROLD WILSON
‰
j
œ œ œ
What would you
#
&#˙
5
‰
j
œ œ œ
gy?
#
&#œ
9
You need to
U
˙
ve - lli.
#
&#˙
13
be?
#6
& #8 Œ ™
18
Ev -'ry
#
&#œ
Ϫ
#
&#œ
j
œ œ
œ
˙
do
if
you
were
me?
a cri - sis
or
j
œ
a
œ #œj œ
Prime Min - is - ters
j
œ œ™
makes me ve - ry
tense,
œ
is
j
œ
the
‰
j
œ œ œ
What kind of
œ
Ϫ
j œ
œ
prob - lem of
œ
But
œ
J
the
j
œ œ™
Œ
the wings.
j
œ
œ
œ
j
œ
me
Ϫ
bal - ance of
stra - te -
œ
œ
œ
œ
your Mach - ia -
œ
œ
lead - er
would you
U 6
j
Π8
œ œ
Ϫ
com - pro - mise?
j
œ œ
j œ
œ
That's al - ways been
œ œ
J
what keeps
œ
œ
œ
up
Do you stand firm or
wait - ing in
and Kings.
j
œ œ
œ œ
And brush
j
œ œ
œ
prob - lem
œ œ œ
œ Œ ‰ œj œ œ œ œ
sur - prise —
Ϫ
Œ
ty.
-
œ
œ œ
j
œ œ œ
What's your po - li - ti - cal
˙
œ
j
œ œ #œ
al - ways
me?
œ
œ #œj œ™
Ϫ
j
œ œ
prob - lem for
29
sin - ce - ri
‰
˙
you were
A tempo (in 2)
There's
24
day
if
fake
œ œ
œ œ œ™
do
œ
œ
j
œ œ #œ
What would you
Œ
œ
Ϫ
3
œ
œ
œ
J
up
at
˙™
pay
-
Ϫ
œ
night,
and
Ϫ
ments.
Ϊ
j
œ
the
j
œ
it
18
Made in Dagenham – Vocal Book
° ## M2œ ™+ M6 œ ™
&
35
Up - tight,
##
¢& œ ™
œ
high - ly strung,
∑
#
& # ˙™
pay
j
œ œ
j
œ œ™
makes him ve - ry
Ϫ
ments.
tense.
tense.
When
œ
j
œ œ™
œ
j
œ œ™
When
it
it
œ
comes
comes
œ
J
to
the
œ
œ
J
to
the
œ
œ
Im - ports,
C
œ
œ
ex - ports,
œ œ #œ œ œ
j
œ
œ
Ϫ
bal - ance of
j
œ œ™
œ
bal - ance of
Def - i - cit
∑
∑
œ
or sur - plus.
M2 + M6
∑
#œ œ œ
Ca - pi - tal
Ϊ
C
∑
46
œ œ œ
Ca - pi - tal
Œ ‰ œj œ œ
In
j
œ œ œ
Ϫ
œ
œ œ #œ œ œ œ
œ #œ œ œ œ
œ
œ
œ
in - flows,
in - flows,
(in 4)
œ œ œ œ nœ #œ nœ #œ nœ #œ nœ #œ nœ
lay - man's terms, when it comes down to it,
M2 + M6 / M5
œ
M5
∑
ments.
-
° ##
& Ó
HAROLD
Ϊ
Ϫ
pay
C
∑
-
##
˙™
&
¢
##
j
œ œ™
Colla voce (in 2)
41
¢&
j
œ œ
makes him ve - ry
j
œ œ™
œ
Up - tight,
° ##
&
œ
high - ly strung,
Ϫ
M5
j
œ œ™
œ
∑
If you buy more than you sell then you are
∑
∑
e - co -nom-ic cir - cus.
#
& # #œ
50
œ œ œ œ
real - ly
in
AIDE 1: Actually, Prime Minister, the
correct term is "visible trade deficit".
54
in
##
Ó
Œ
œ œ #œ nœ #œ nœ #œ
You can
A tempo (in 2)
6
8
Œ
∑
call
∑
Œ
3
‰ ‰ j 68 œ™
œ
œ #œj œ™
6
8 Ϫ
j
œ nœ #œ ™
M6
There's
∑
al - ways
M2 + M5
al - ways
a
a
Ϫ
prob - lem
Ϫ
prob - lem
it
what you like,
∑
the shit!
#
&#Ó
¢&
∑
the shit!
° ##
& #œ œ œ œ œ
real - ly
Œ
HAROLD
œ
œ
j
œ œ
wait - ing in
son, we're
∑
œ œ #œj œ ™
J
wait - ing in
œ nœ
Œ
the wings.
j
œ œ™
the wings.
j
nœ
That's
Œ
j
œ
That's
Made in Dagenham – Vocal Book
° ## œ
&
59
œ œ
J
j
#œ
j
œ œ
j
œ
al - ways been
¢&
##
œ
the
al - ways been
° ##
& Ϫ
64
things
##
Ϫ
&
¢
things
° ##
&
69
Ger
##
¢& ˙ ™
Ger
##
&# œ
prob - lem for
œ
j
œ
œ
prob - lem for
Prime Min - is - ter's
j
œ
Ϫ
j
œ
œ
we
sell
when
we
œ
j
œ
Ϫ
œ
j
œ
Ϫ
sell
when
we
can,
Œ
HAROLD
we
Ϊ
-
man.
œ
man.
œ
œ
of
Ϫ
can,
### C
Ϫ
and
Kings.
and
Kings.
but
the
œ
j
œ
the
noth - er
Ϫ
world
Ϫ
Ϫ
whole
j
œ œ œ œ œ œ
lit - tle prob - lem
Ϫ
j
œ
world
make
great
j
œ
make
great
Ϫ
wants
to
œ
j
œ
wants
to
with which we
all
### C
∑
∑
œ
œ œ œ
œ
in - dus - tri - al
un - rest.
œ
œ
Ϫ
buy
Is
œ œ œ œ œ
œ œ
Strikes here, strikes there—it
œ œ
are blessed
‰ Œ™
œ
buy
j
œ œ œ œ œ œ
∑
Œ
Ϫ
j
œ œ™
œ
∑
œ
Ϫ
We
We
whole
Colla voce – Slower (in 2)
-
Œ
Ϫ
œ
J
but
Œ
### C
73
great deal
A
‰ Œ™
œ
-
j
œ
œ
j
œ
j
nœ #œ ™
j
nœ #œ
the
œ
which
j
#œ œ
Prime Min - is - ter's
j
œ œ
œ
œ
J
which
∑
#
& # ˙™
œ œ
J
œ
19
a
œ œ
just a - maz - es me; When the
##
& # œ nœ #œ nœ #œ nœ #œ nœ #œ œ œ œ œ ‰ œj œ œ œ œ œ œ œ œ ‰ œj
77
daf - fo - dils come out the men come out in sym - pa - thy.
81
° ###
& œ
œ
œ
put
the
great
¢
##
&#
∑
œ œ
œ
œ
œ
in - to "Great Bri - tain".
∑
Œ
We need
i - deas and we need
A tempo (in 2)
6
8
∑
6 œœ ™™
8
M2 + M6 / M5
œœ ™™
Up - tight,
a
∑
œœ
œœ œ
J œ
plan
To
∑
j
œœ œœ
high - ly strung, brings him
œœ œœ
J
out in
œœ
J
a
20
Made in Dagenham – Vocal Book
86
° ###
&
∑
∑
### œ ™
Ϫ
&
¢
œ
j
œ
When
he
91
° ### Œ ™
&
>¿ ™
sweat.
¢
Ϊ
## #
& # ##
œ
œ
J
Ϫ
of
the
size
>¿ ™
Ϊ
Ah
¿™
Debt!
94
thinks
Ϊ
Ah
##
& # ¿™
Ϫ
∑
Ϊ
Debt!
HAROLD
¿™
Bril
## #
& # ## œ
100
-
¿™
li
œ œ
J
## #
& # ## Ϫ
œ
plan
to
105
## #
& # ## œ ™
110
no
b
& b bb œœœ
116
it's
b Ϫ
& b bb œœ™™
121
round
Ϊ
will make
j
œ œ
our
Plan
Ϫ
Ϊ
B.
œœœ œœœ
J
j
œœ
œ
œœœ
Ϫ
im - mor - tal
œœœ
way
of
the
j
j
œ nœ #œ nœ #œ ™
œ œ
J
us
all
j
œ œ
Ϫ
œ
J
Ϫ
e - con - o - my.
nnnn nbb b œ ™
n b œœ ™™
HAROLD
œ
It
œœœ œœœ
J
in - dus - tries
œœ nœœœ œœœ œœœ
J
J
af - ter we've
œœœ
J
from
œœ
œ
J
AIDE 2: Printing money?
HW: Printing money? Can we do that?
œ
j
œ œ
gone,
j
œ œ™
œ œ
J
in those blood - y
j œ
œ
Œ
than kings.
This
j œ
œ
œ
J
is
œ
bet - ter blood - y
Œ
to
œœ ™™™
œ
j
œœ
œ
Œ
Wool- worths.
j
œ
bœœ
wings.
œ œ
J
œ
J
j
œ œ
j
œ
the mas - ter -
work 'cause there
love our coun - try, the great - est on
min - ing
Ϊ
j
j
j
œœ œœ œœœ œœœ œœœ œœœ œœœ ™™™
œ œ
œœ nœœj œœ ™™™
œ nœ œ
œœ nœœj œœ
œ nœ œ
œœ ™™
Ϫ
debt.
HW: I don't need it, I'm very regular. In an
emergency I'll have two black coffees and a cigarette.
HW + M6 / M2 / M5
We
‰ Œ™
AIDE 1: Sir, how do you feel about quantitative
easing?
Ϫ
had
œ.
Bri - tish
prob - lems
more pow - er - ful
j
œ
œ
j
j
œ nœ #œ nœ #œ ™
œ
J
>¿ ™
HAROLD
Ah
Great
fl # ## #
# #
No more blood - y
j
œ œ
cure
j
œ
ALL
ant!
Print - ing cash
U™
Œ
œ
Debt!
¿™
-
Agghhhh..
¿™
∑
fl # ## #
# #
U™
¿
Ϊ
œœœ
j
œœœ œœœ
which judg - ing from
Œ
the earth.
œœ
œ
They'll still
be
j
œœœ
the
œœ
œ
state
j
œœ
With
œœ ™™
Ϫ
j
œ
ain't
œœj œœœ™™™
œ
of things
œœ
œ
J
a -
Made in Dagenham – Vocal Book
bbb ˙˙˙™™™
b
&
œœ ™™
Ϫ
126
bbb ˙˙ ™™
b
& bœ ™
133
ve
-
Ϫ
ry
˙ ™™
˙
˙˙ ™™™
˙
˙˙ ™™™
˙
won't
be
ve
Ϊ
˙˙ ™™
Ϫ
Ϫ
Won't
be
˙˙ ™™
nœ ™
ve
-
Ϫ
ry
˙˙ ™™
b˙ ™
long!
21
œœ ™™™
œ
˙˙ ™™
˙™
Ϊ
Ϫ
Won't
be
Ϊ
ry
-
˙˙ ™™
Ϫ
long!
HAROLD
¿™
¿
Oh
shit!
‰ Œ™
6a
Busy Woman (Barbara Castle)
CUE:
HW: Good. She can do her own typing.
(In 4)
˙
j
fi
b2 œ ˙
b
& b bbb 4
4 ¿ ¿ ¿ ™ ¿ ¿ ¿ ¿ ‰ ≈ r
4
¿
BARBARA CASTLE
Here I
b
& b bbbb œ
4
am. Well, what d'ya want?
7
¿ ¿ ¿ ¿ œ
well as
hav - en't got
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰
Just brought in the breath - a - ly - ser,
b
& b bbbb
I
j ‰
œ
œ œ œ
œ œ œ œ
œ
œ
all you have to do is blow
j
œ™ œ œ œ œ œ œ ‰
all the house - hold chores. Don't for - get your seat - belt, please.
all day you
know
¿ ¿ ¿ ¿ ¿ ¿ ¿
‰ ≈ r
¿
Fight - ing for an i -deal world,
U
j ≈ œr
œ œ œ
œ œ œ
rit.
I
just passed
the seat - belt laws.
As
22
Made in Dagenham – Vocal Book
7
Pay Day
CUE:
BARBARA CASTLE: . . . cup of tea & a chocolate finger.
Northern Soul Vibe
2 CLICKS Drum fill
? bb 44
b
b
&b b
6
Œ
3
Ó
œœ
.
œœœœ œ &
œ
œ
n ˙˙
° b EMMA (GIRLS)
& b b œ œû Ó
œœ ™™
œ
‰
j
œœ
œ
œ
œ
œ
Œ
n œœ ™™
n œœ
.
œ œ œ nœ
œ
n ˙˙
œ
Œ
œ
œ
œ
œ
œ bœ
œ
œ œ œ nœ
œ
œ
œ
ENSEMBLE
10
Pay
day!
b
&b b œ
‹
Ϟ
œ
Our
œû Ó
day!
SANDRA (BOYS)
Pay
bb
¢& b œ
CASS
Pay
° bb œ
& b
14
day!
œ
Our
Ϟ
Our
œ
œ œ œ
day!
day
b
&b b œ
‹
œ
Pay
day
b
¢& b b nœ
œ
day
Ó
œ
Cash
Ó
œ
day!
œû Ó
Pay
Pay
Ó
œ
Cash
œû Ó
œ
day!
Cash
Ó
whad ya say?
Ó
œ œ œ
Run
Ó
whad ya say?
Ó
nœ œ œ
whad ya say?
œ
œ
Run
Ó
œ
Run
œ œ œ nœ œ œ
in
my pock - et gon - na
œ œ œ œ œ œ
in
my pock - et gon - na
œ œ œ œ œ nœ
in
my pock - et gon - na
œ œ œ nœ œ œ
to the bar and get
a
œ nœ œ œ œ
drink it
all
a - way.
œ nœ œ œ œ
drink it
all
all
œ nœ œ œ œ
œ nœ œ œ œ
œ œ œ œ œ nœ
œ œ œ œ œ
to the bar and get
a
Œ
round in straight a - way.
round in straight a - way.
a
Œ
a - way.
œ œ œ œ œ œ
to the bar and get
Œ
a - way.
œ œ œ œ œ
drink it
Œ
round in straight a - way.
Œ
Œ
Made in Dagenham – Vocal Book
° bb
& b #œ nœ œ œ œ bœ Œ
18
Get
a
lit - tle
make
b
& b b # œ œ œ œ œ bœ Œ
‹
Get
a
lit - tle
a
mer - ry,
lit - tle
make
paid a
lit - tle less.
Pay
b
Œ
&b bnœ
œ
œ
nœ
œ
‹
paid a
° bb œ
& b
26
lit - tle less.
Pay
Pay
day!
b
&b b œ
‹
Ϟ
Pay
b
&b b œ
Pay
b
¢& b b Ó
Pay
œ
Our
Ó
œ
day!
Our
œû Ó
œ
day!
nœœ
œ
Pay
Our
œœû
œûû
day!
Ó
‰
Œ
day!
Œ
Œ
day!
nœœ
œ
Our
now we're
hey The week
hey The week
hey The week
is
is
is
near - ly
near - ly
near - ly
œ œ œ nœ œ œ
done.
done.
done.
œ nœ œ œ œ
For - get
all your troub -les and kiss
j
œ œ
œ œ œ œ œ œ
œ nœ œ œ œ
œ œ œ œ œ nœ
œ œ œ œ œ
For - get
œœû ‰
œJûû
day!
can't do quite as much
∑
‰ œj œ
day!
we
œ bœ
‰ œj œj œ œj bœ œ œ œ ‰ nœ
J
For - get
œû Œ
‰ œj #œ nœ œ œ œ
∑
‰ œj œ
‰
œ bœ
now we're
‰ j j
‰ j
j
œ
b
œ
œ
œ
œ
nœ
œ œ
œ
Hey
day!
can't do quite as much
now we're
∑
Hey
day!
Ϟ
we
œ bœ
‰ œj œj œ œj bœ œ œ œ ‰ nœ
J
Hey
Œ
can't do quite as much
j #œ œ œ œ œ
œ
lit - tle mess.
day!
œû Œ
we
lit - tle mess.
a
œ ˙ ™û
lit - tle less.
œû Ó
make
œ ˙ ™û
bb
Œ
¢& b nœ œ œ œ œ
paid a
a
œ ˙ ™û
21
lit - tle mess.
nœ œ œ œ œ
mer - ry,
° bb
& b nœ œ œ œ œ Œ
a
nœ nœ œ œ œ
b
¢& b b #œ nœ œ œ œ bœ Œ
Get
‰ œj #œ nœ œ œ œ
nœ œ œ œ œ
mer - ry,
23
all your troub -les and kiss
all your troub -les and kiss
∑
them all
them all
them all
Œ
a - way.
Œ
a - way.
a - way.
∑
Œ
24
Made in Dagenham – Vocal Book
° bb œ
& b
30
œ
Pay
day
b
&b b œ
‹
œ
Pay
b
& b b nœ
Pay
Ó
Ó
day
œ
Ó
day
œœ
œ
b
¢& b b Ó
Pay
œœû
œûû
œ
œ
Dee
Jay
œ
œ
Dee
Jay
nœ
œ
Dee
Jay
day!
a
lit - tle mer - ry
a
b
¢& b b
Ó
Ó
b
&b b nœ
nœ œ œ œ
‹
Œ
paid a
lit - tle less.
lit - tle less.
Œ
b nœ
œ
œ
¢& b b n œ œœ œ œœ œ
Œ
paid a
lit - tle less.
lit - tle less.
Œ
œœû
œûû
Play a - no - ther tune so we can dance the night a - way.
∑
a
œ
œ
a
lit - tle mess,
œ bœ
we
can't do quite as much
now we're
j
œ
can't do quite as much
now we're
#œ nœ œ œ œ
œ bœ
can't do quite as much
now we're
we
#œ œ œ œ œ
‰ œj ##œœ nœœ œœ œœ œœ
˙ ™û
a
a
lit - tle mess,
˙ ™û
˙ ™û
˙˙ ™™û
û
Pay - day!
we
lit - tle mess,
Œ
we
‰ œj œj œ
Hey
Œ
Œ
Pay - day!
œœ
‰
#œ nœ œ œ œ
nœœ œœ œœ œœ œœ
Pay - day!
œ
∑
‰ œj
lit - tle mess,
Pay - day!
b
& b b nœ œ œ œ œ
paid a
œ œ œ œ œ
‰ œj
make
paid a
œ œ œ œ œ œ œ nœ
nœ œ œ œ œ
make
∑
Œ
Œ
Jay
make
lit - tle mer - ry
37
œ nœ œ œ œ
nœ nœ œ œ œ
lit - tle mer - ry
° bb
& b nœ œ œ œ œ
œ œ œ œ œ œ œ œ
Play a - no - ther tune so we can dance the night a - way.
make
b
& b b œ nœ œ œ œ bœ Œ
Get
Œ
nœ œ œ œ œ
b
Œ
&b b
œ œ œ œ œ
#
œ
‹
Get
œ nœ œ œ œ
Play a - no - ther tune so we can dance the night a - way.
Dee
34
a
œ œ œ œ œ nœ œ œ
œœ
œ
Ó
° b
& b b œ nœ œ œ œ bœ Œ
Get
Ó
Œ
‰
hey
j j
œ œ œ
can't do quite as much
j
œ bœ
The
week
j
œ bœ
Hey
hey
The
week
Hey
hey
The
week
‰ œj œj œ
‰ œj œj œ
Hey
hey
j
œ bœ
j
œ bœ
The
week
œ
œ bœ
œœ bbœœ
now we're
œ œ ‰ nœ
J
is
near - ly
œ
œ œ
is
near - ly
done.
is
near - ly
done.
œ
œ
is
done.
‰
j
nœ
œ œ ‰ nœ
J
œ œ ‰ nœ
J
near - ly
done.
Made in Dagenham – Vocal Book
° bb
& b
41
∑
¿ ¿ ¿
Ó
Œ
Wha -d’ya - say?
b
&b b
‹
¿ ¿ Œ
Cher -ry Bran -dy
b
¢& b b Œ ¿ ¿ ¿ ¿ Œ
STAN
¿ ¿ Ó
¿ ¿ ¿ ¿ Ó
Wat -neys
¿ ¿ ¿ ¿ Ó
∑
25
¿ ¿ ¿
Sher-ry
∑
Dou -ble Dia -mond
¿ ¿
Ó
Du -bon -net
Root Beer
∑
∑
What you drink - in'?
° bb ¿ ¿ ¿
& b
45
Œ
‰ œj
San - gri - a
I
bb Ó
¢& b
‹
° b
&b b œ
48
think there - fore
O - ver here! I
œ
Ó
#œ
think there - fore
œ
Ó
Brown Ale,
œ œ œ
œ œ œ
Ó
Ba - by -cham
I
Da - gen - ham
œ œ œ œ œ œ œj ‰
œ œ œ œ œ œ œ
J
¿ ¿ ¿ œ
œJ
Brown Ale,
b
¢& b b Ó
‹
œ œ œ œ œ œ œj ≈ œr œ œ œ ‰ Ó
I
We
all drink beer
Œ
Da - gen - ham
Œ
n œ œ nœœ œœ
n œ œ # œœ œœ œœ œœ œœ œœ
ba - by ba - by ba - by ba - by
#œ œ œ
#œ œ œ
Ba - by - cham,
Œ
n œ œ nœœ œœ
n œ œ # œœ œœ œœ œœ œœ œœ
j
‰ œ œ œ œ
œJ œ œ
œ
and Ba - by - cham
2
51–52
2
nb
n
nb
n
ba - by ba - by ba - by ba - by
VAMP - CUT OFF ON CUE:
CUE: You can't have 6000 hairy-arsed blokes earning less than a woman.
MC: Ladies and Gentlemen . . .
°
& b ¢™™
16
53–68
™™ ü
†
26
Made in Dagenham – Vocal Book
7A
Club Music
CUE:
MC: . . . Loveable, larger than life, Chubby Chaff"
Fanfare
4
&4
œœ
œ
.
œœ
œ
œœ
œ
.
œ
œœ
U
∑
[DIALOGUE]
6
&
j
bœfi
bbœœ
œ
œ
œœœ
œœ
œ
rall.
œ
œœœ
.
œ.
œœœ œœœ
œ
œ
bœœœ
œfij
œœ
œ
U
∑
[DIALOGUE]
U
ww
w
w
CUE: Fanfare
after each gag!
U
∑
[DIALOGUE]
>
w
ww
w
j
œfi
œœ
#œ
j
œfi
œœ
œ
U
ww
w
w
U
∑
[DIALOGUE]
U
ww
w
w
CUE:
CONNIE: Go after her Eddie. All she needs is sorry.
Cheesey crooner swing!
11
COUNT IN:
3..4..1..
&
Œ
œ
CLUB SINGER
œ
˙
œ
Moon
#œ
œ
œ œ ˙™
o - ver
Da - gen - ham,
œ
shin - ing
Fills
œ
œ
up
on
rit. . . .
16
& ˙
œ
#œ
œ
œ
me
with
joy
œ
and
˙
love,
œ
now
œ
pass
œ
me
œ
that
œ
pork
œ
high
U
w
pie.
˙™
Made in Dagenham
27
8
I'm Sorry I Love You
CUE:
RITA: I don't need reminding that we loved each other ten years ago.
4
&4 Œ
EDDIE
‰
j
œ œ
œ œ
I know I'm
4
& œ Œ œ œ œ Œ œ œ œ
3
it.
3
Ii ad -mit
8
RITA: Here it comes...
Œ Ó
3
& œ œ
say
I'm a
Œ
13
‰
j
œ
with a
fool - ish
I'm
26
œ œ œj
J
not all
j
œ œ
& Ϫ
&
for - get
œ
œ
œ œ œ œ
œ œ
that's what
I
get
in
re - turn.
j
œ œ œ œ
can
w
a
man
œ œ œ œ œ œ œ œ
nev - er, nev - er, nev - er, nev - er,
œ
a - gain.
I
Triplet shuffle
œ œ œ œ
just
3
But all
fl
pro - mise that I'll
j
œ œ
œ
J
When you're not
w
here
3
sin - gle thing
I can
do;
I'm sor - ry,
I
RITA
Ó
œ œ œ œ œ
Ed - die, I'm
˙
œ
true—
you. I'm
There ain't a
Œ
‰
EDDIE
Well that much is
j Œ
œ
œ œ
‰ œj œ œ œ œ œ œj œ œj
‰ jœ
œ
œ œ
œ
Ó
w
œ œ œ
3
When it comes down to
3
œ œ œ
j
œ œ œ œ œ œ
nev - er
œ
j
œ œ œ œ
‰ œj œ
œ œ œ
Œ
there.
3
clue—
‰
ad - mit
RITA
love
you.
3
‰
œ
a
I
ev - er,
love
30
3
I ain't got
œ œ œ œ œ
But you have to
j
œ œ œ œ
w
& œ œ œ œ œ œ œ œ
™
& ‰ œ
git
3
j
œ œ œ œ œ ˙
17
21
a
brain,
nev - er, nev - er, nev - er,
‰
œ
I'm sor - ry but I
œ œ œ œ
J
& Œ
‰
git...
is...
Colla
3
Œ Œ
3
œ
But
a
3
soft
œ
touch.
3
œ œ œ œ œ œ
one day
a
year— I don't
œ
œ
I
don't
3
œ œ œ œ
ask for much And
3
œ œ œ œ œ œ
get
it,
Ed, Why don't you
28
Made in Dagenham
34
3
& œ ˙
EDDIE
∑
˙
learn?!
39
Look
‰ œj œ
œ œ œ
& Œ
That's got - ta
43
& Œ
œ
I'm
œ
œ
just
a
œ
in
my
œ
Œ
œ œ œ œ
J
j
œ
51
You suc - ker -punch my
56
& œ œ œ
sin - gle thing
°
3
Œ
& œ œ
œ
60
A tempo
sick of
j
œ œ
j
œ œ
I
do;
can
Œ
‰
it.
¢& Ó
œ œ œ œ œ œ
œ œ ˙
With -out you I'm not
‰
3
j œ œ œ
œ
I'm sor - ry,
j
œ
I'm
Œ
3
œ œ œ
tired of
œ œ Œ
‰
come on Ed.
‰ ¿J ¿ ¿ Œ
I'm sor - ry
Ϫ
œ
3
I'm
sick of it.
Œ
‰
j
œ
I've
Sor - ry.
‰ j
œ œ œ
œ
Œ
Œ
‰
RITA
j
œ
I'm
œ œ œ Œ
Œ
3
‰
had e - nough.
Œ
j
¿
Oh,
‰ ¿j
Œ
¿ ¿
I'm sor - ry.
3
œ œ œ Œ
Sick of it.
¿ ¿ Œ
a - gain.
you
Sor - ry.
Œ
j
œ œ œ œ
j
œ
There ain't a
love
Œ
for - get
œ œ Ó
j
œ œ
¿ ¿ Œ
Sor - ry.
63
I
nev - er
whole.
it.
Ó
EDDIE
°
& ¿ ¿ ¿j ‰ Œ
¢& Œ
ev - er,
soul,
pro -mise that I'll
j
œ œ œ œ œ œ
nev - er, nev - er, nev - er,
3
toy.
‰ œj œ
œ œ œ
I
œ œ œ œ œ œ œ œ
w
& ‰ œj œ œ œ œ
cud - d - ly
brain,
48
nev - er, nev - er, nev - er, nev - er,
œ œ œ ˙
Œ
w
full of joy.
3
3
choc -'lates or some stu - pid
with a fool - ish
& œ œ œ œ œ œ œ œ
yet
œ œ œ œ œ œ
or
œ œ ˙
Ϫ
See they're re - gret - ful, but
3
œ
man
3
œ œ œ œ œ œ
eyes,
œ
be worth more than flowers
w
œ
œ
œ
œ
3
¿ ¿
Sor - ry.
3
œ œ œ Œ
Sick of it.
Œ
3
œ œ œ Œ
Sick of it.
¿ ¿ Œ
Sor - ry.
¿ ¿
Sor - ry.
Made in Dagenham
°
& œ œ œ œ
66
S..
I..
¢&
C..
∑
∑
Ó
I'll
∑
œ œ œ #œ
w
S..
Y.
O..
R..
3
b
& b bbbb œ œ œ œ œ
122
R..
till I'm hoarse.
3
œ œ œ œ œ œ
Tell me just how ma - ny times you want me
3
I'm
° bb b b œ
œ
& bb
œ œ
133
MEN (+ EDDIE ad lib)
He's just
bbb
¢& b b b Œ
a
sor - ry,
w
Œ
man
a
Œ
man
138
nev - er, nev - er, nev - er, nev - er,
bbb
¢& b b b œ œ œ œ œ œ œ œ
nev - er, nev - er, nev - er, nev - er,
141
œ
œ
You suc - ker -punched his
bbb
j
¢& b b b ‰ œ œ œ
œ
œ
You suc - ker -punched his
I'm
œ œ œ œ™
J
œœ œœ œœj œ™
J Ϫ
soul,
How ma - ny times I'm sor - ry;
sor - ry
But
love
Œ
brain,
Œ
brain,
ev - er,
ev - er,
˙
you
you
œ
J
nev - er
for - get
a - gain.
nev - er
for - get
a - gain.
j
j
œ œ œ œ œJ œœ bœœ
J
he's
a
œœ œœ œœ œœ œœ œœ œœ
With -out
j
‰ œ œ œ œ œ
J
œ œ œ œ œ œ
J
œ œ œ œ œ œ œ
With -out
‰ œ œ œ œ
œ
J
He pro -mis - es he'll
œ œ œ œ œ œ œ œ
soul...
you.
He pro -mis - es he'll
œw œ ˙ ™
nev - er, nev - er, nev - er,
'cause I got
w
w
I
œ œ ˙™
nev - er, nev - er, nev - er,
soul,
Ów
3
3
j
‰ œ œ œ œ œ œ œ œ ≈ œ œ œ
J
œ œ œ œ œ œ œ œ
w
Œ
a - part from the bike of course.
3
with a fool - ish
° bb b b œ œ œ œ œ œ œ œ
& bb
° bb b b ‰ j
& bb
œ œ œ
∑
‰ œj œ œ œ Œ œ œ
with a fool - ish
w
w
œ œœ œœ
He's just
to tell you
‰ œj œ œ œ Œ
lost at nine -ty - two.
from the roof - tops, I'll
bbbbbb
∑
Ev - 'ry - thing that's mine is yours
3
bb
& b b bb œ œ œ œ œ œ œ œ œ
bb
& b b bb œ œ œ œ œ Œ
shout it
3
œ œ œ œ œ œ œj ≈ œr œ œ œ œ œ œ
Œ
125
128
121 (loose quavers)
3
3
Œ ‰ bœj bbbbbb œ œ ‰ œ œ œ œ œ
K..
(EDDIE)
scream it
29
he's
a
˙
n˙
right
arse
˙˙
˙˙
right
arse
-
30
Made in Dagenham
° bb b b ˙
& bb
145
‰ œ œ œ
J
hole
There ain't a
j
‰ œœ œœ œœ
J
bbb
¢& b b b ˙˙
hole
° bb b b
& bb œ
149
There ain't a
Œ
œ œ œ
sin - gle thing
œœ œœ œœ
sin - gle thing
Ó
œ œ
J
he can
œœj œœ
J
he can
œ
J
‰
œ
EDDIE
j œ œ œ
œ
do;
3
I'm sor - ry,
œj œ
œJ œ
Œ
I
œ œ
J
Ϫ
love
Ó
œ
∑
do;
∑
∑
∑
you.
bb b b
¢& b b
MEN
∑
œ
œ
œ œ œ
If you want he'll
° bbb
&b b b Ó
153
EDDIE
3
Œ Œ œ
beg,
Look, he's down on one
3
3
the wea - ther, wher - ev - er, for - ev - er;
Ó
∑
leg.
3
3
Now he
is down on
œ œ œ
œ
œ œ
What - ev - er
What - ev - er
° bb b b œ 3œ œ œ œ3 ‰ œ œ œ ˙
& bb
J
157
ev - er, for - ev - er,
3
bbb b œ 3œ
b
& b
œ œ œ Œ
œ
I'm sor - ry,
I'm
∑
ev - er, for - ev - er,
∑
∑
œ
˙
al
all
-
˙
(MEN)
the wea - ther, wher -
3
3
3
Œ Œ ‰ œj œ œ œ œ œ œ
Ó
fours.
bbb
¢& b b b
œ
3
3
3
3
œ œ œ œ œ ‰ œj œ œ œ œ œ œ
œ œ œ œ œ œ
What - ev - er
bb b b
¢& b b ˙
œ œ œ œ œ
Œ
ways
œ Œ
al
-
ways
al
˙
-
ways
al
-
ways
œ Œ
the wea - ther, wher -
w
∑
yours.
w
w
yours.
He's sor - ry, he's
Œ œ œ œ œ
œ œ œJ ˙
J
al -ways yours.
Made in Dagenham
° bb b b
& bb
31
°™ EDDIE falsetto riff ad lib
¢™ V V V V V
6x to fade
162
∑
∑
bbb
¢& b b b Œ
°™ Œw œ œ œ œ
¢™
j œ œj ˙
œw
b Œ
& b bbbb w œ œ œ œ
He's sor - ry, he's
al - ways
He's sor - ry, he's
al - ways
yours.
He's al -ways
V
al - ways
™™ ü
†
V
j œ œj ˙
œw
He's sor - ry, he's
yours.
He's sor - ry, he's
j
j
°
œ œ œ ˙
™Œ œ œ œ œ
Ó
‰ œ œ œ ¢™
Œ Ó
J
œ
œŒ œÓ œ œ
V
™™ ü
†
yours.
™™ ü
†
yours.
j
j
œ œ œ ˙
Ó
‰ œ œ œ
J
al - ways
yours.
He's al - ways
Slow 4 (rubato)
bb
& b b bb
166
œ
yours
˙
œ
œ
3
œ
œ
3
œ
œ
œ
œ
˙™
œ
œ
Ϫ
˙
œ
J
œ
3
œ
œ
œ
U
w
œ
œ
œ
œ
œ
3
EDDIE
œ
Ϫ
œ
œ
œ
œ
b
& b bbbb ˙
say
Œ
‰ œj œ ™
I
love
j
œ œ™
you loads,
you
œ
œ
œ
œ
˙
Ϫ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ
˙™
n˙
j
œ œj œ™
fl
stu - pid sod!
Ó
drea -mer
Maestoso
Ó
j
œ œ œ œ
RITA
j œ
œ
RITA: What’s your point?
EDDIE: It didn’t do me any harm.
RITA: I think e canes him ’cause he’s a scholarship boy.
Hey there slee - py
185
Ϫ
œ
J
EDDIE: Remember Mr Perkins?
RITA: Virgin Perkins?
EDDIE: Yeah.Woodwork.
RITA: I’m gonna go into the school to
complain. (Beat) I love you Eddie.
b
& b bbbb
180
˙
œ
œ
œ
EDDIE: He used to put me head
in a vice and burn me with cigarettes.
b
& b bbbb
176
Œ
RITA: Mr. Buckton is caning our Graham. It ain't right.
EDDIE: Remember Mr. Perkins?
RITA: Virgin Perkins?
b
& b bbbb
172
RITA: We’re alright ain’t we?
EDDIE: Course we’re alright.
U
Œ Ó
œ
œ
I
∑
U
∑
œ
just
œ
Ϫ
j
œ
wa - nna
∑
32
Made in Dagenham – Vocal Book
9
School Song
CUE:
HOPKINS: Trouble at mill.
(TACET)
2 CLICKS IN
4
&4
∑
Ó
MEN
Œ
Where the
6
& ˙
gown
j
œ œ œ
œ œ œ™
Œ
Stands a school whose sons
11
& Ϫ
œ œ
J
through
œ
œ
all knocks and
œ œ œ œ œ
œ œ
œ
all
Œ
hard - ship.
iron heart of Eng - land bleeds
œ™ #œj œ œ
fight
with might to
fur - ther its
œ œ bœ ™
Do not
œ œ
J
fear
& Ϫ
nerve
and think of
Al - bion.
What -ev - er
œ
when death stomps
n˙ ™
j ‰ ‰ j œ
œ bœ
œ œ
œ
œ œ œ
j
œ œ œ
hap - pens
œ
do
not
j
œ œ œ
Ϫ
Be - neath
œ™ nœj œ œ
rall. . . .
15
Œ
˙
its nob - le
˙
Œ
GRAHAM
œ œ
re - nown.
˙
On -ward
Œ
by.
Œ
œ nœ
Hold your
####
U
∑
(DIALOGUE)
cry.
CUE: LISA: . . . we parents have to stand up to him.
RITA: Yeah, good luck, I gotta go.
##
&##Ó
20
2 CLICKS IN
Œ
œ œ
ALL
Do not
e e œ œ œ œ œ
œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ
cry,
# ##
&# œ œ œ œ œ
24
do not cry, Do not
Œ
gran - ny when you sleep.
##
&##
27
a
ca - re - er
in
do not weep, Do not howl for your mam -my or your
œ
œ
œ œ ‰
Crush
all
fee - ling
œ
œœ
œ
œœ
œ
œ œ œ œ œ œ œ
pare for
bawl,
the
cor
-
œ
œ
œ
ri - dors
j
œ
and
#œ
œ
œ
of
9a
Into The Berni Inn
(TACET)
‰
œ œ œ œ œ
nev - er,
U
w
w
w
pow'r.
ev - er cow'r.
j
œ
Pre -
∑
Made in Dagenham – Vocal Book
33
10
Same Old Story
CUE:
RITA: You got us the grievance procedure (Go)
b4
&b 4
Slow
Ó
Œ
‰
œ
œ œ
œ
œ
œ
U
CONNIE
j ≈ r
œ œ œ œ œ œ œ œ œ œ
œ
˙
Yes - ter - day
b
&b
4
j ‰
j ≈ r
œ œ œœ œœ œ œœ
knew it
b
&b ‰
all,
I had no doubt.
7
œ œ œ
Start -ed work
b
&b
10
mak - ing do
b
&b
œ #œ ™
Same as all
Œ
fun - ny,
mak - ing
jokes,
Same work,
But now I'm
tale,
Still the same old rea -sons
b
& b œ œ™ œ œ œ œ
b
&b Ó
Œ
up the crumbs.
Œ
‰
j
œ
I
‰
old - er,
3
œ œ œ™ œ œ œ œ
œ œ œ œ
œ œ œ
œ
al - ways pro - mised
œ œ œ œ œ œ œ œ
‰
‰ œ
œœ œ œ œ
œ
œ
It's an
Œ
age
old
sto - ry,
-
ty
It's an
Œ
œ œ™ œ œ œ œ
Ϫ
Se -cond at the ta - ble,
œ
But some - how
Ϫ
nev
-
j
œ ˙™
er
On the shoul -ders of the
Œ
comes.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
joined the La - bour par
the bone
Look - ing back it does - n't seem so
that are there to make us fail.
œ œ œ œ œ œ œ ‰ œj œ
Change is
you want to be."
Worked our fin - gers to
same hours but half the mo - ney.
œ œ œ œ œ œ
20
24
Œ
‰ j
‰ j
Œ
œ œ
œ œ™ œ œ ™ nœ œ œ ™ œ
b
&b œ œ œ Œ
Pick -ing
"Just be who
j ®
j
œ
œ œ œ œ œ™
16
age - old
the blokes.
œ
I
j ‰
œ
œ
œ
œ œœœ œ œ
in front of me,
œ œ œ œ œ
way too young,
by
Œ
Life was there
‰
œ œ œ
j
œ œ œ œ
œ œ œ
12
j ‰
œ œœœ œ œ œœ œ
when I start - ed out,
great
‰ ≈ r
œ
E-
34
Made in Dagenham – Vocal Book
b
&b
27
man - ci -pa - ted teen - age - er
b
&b
30
b
&b œ
œ œ œ
Thir - ty years
on,
33
say to me,
b
& b œj ™
œ
36
Œ
œ œ œ œ œ
"Stick with it,
‰
ce - dure?
b
&b
b
&b
we
Œ
œ #œ ™
fail.
Œ
a
Un - i - on
What did I
‰
cei
-
ling
From down
j
nœ
The Grie -vance
‰
Still the same old rea -sons
at
j
œ
on
the
° bb b bPiu mosso
‰ ≈ r
j ‰ Œ
& b b œ™ œ
œ
œ
œ
œ
œ
œ œ œ œ œ™
œ
œ
Pro -
3
œ œ
that are
Œ
the door,
accel....
Ϫ
œ
here
You all
j j
œ œ œ
œ œ œ œ œ œ
Kick -ing
A
œ œ
œ œ™ œ œ œ œ
the out - side,
œ
‰
ac - hieve?
-
j
œ
‰
con - ve - nor.
œ œ œ œ œ
need ya."
Al - ways on
œ œ œ œ œ
a glass
am still
Œ
œ œ œ œ œ œ
Ϫ
43
Looks like
Œ
-
to make us
œ œ
I
fight,
œ œ œ œ œ œ œ
‰ œ œ
Œ
œœ œ œ œ œ
œ
œ œ
It's an age old sto ry,
It's an age old tale,
œ™ œ œ œ œ
there
Fierce, fei - sty, full of
œ œ œ œ œ œ œ œ œ
a dream - er.
œ œ œ œ œ œ œ
œ
Who did - n't have time to wait.
Œ
œ œ œ œ œ œ œ
war - ri - or,
40
Œ
œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ
‰
˙™
floor.
bbbbbb
j
bœ
It's
46
al - ways been a whis - per
WOMEN
bbb
¢& b b b ˙™
w
w
œ œ
Ahh
° bb b b
& b b Ϫ
49
take
bbb b
b
&
b ˙™
¢
˙˙™™
but can't it be
j œj ‰ ‰ œj
œ
no more.
Oh,
Œ
œ™ œ œ œ œ œ œ
œ œ
a roar?
˙™
˙˙™™
All those un -heard voic - es that won't
Œ
˙™
w
w
Ahh,
œ œ œ œ œ œj ‰ œ œ
Ri - ta, please wake up,
I
w
w˙ ™
œ œ
Ahh,
œ œ
need
Ϫ
you
˙™
˙˙™™
j
œ œ
to
‰ œj
see
It
Œ
Made in Dagenham – Vocal Book
35
CONNIE: This doesn't have to be just about C-Grade.
° bb b b
& bb œ œ œ
œ œ œ ™ œ œ œ™
[UNDERSCORE]
rall.
52
bbb
¢& b b b
j
œ œ™
˙˙ ™™
˙™
œ
œ
ain't a - bout the mo - ney, It's
w
w
˙™
‰ nnnnbb
e - qual - i - ty.
A tempo
˙™
nnnnbb
Œ
w
œ œ
˙™
∑
œ œ
∑
∑
Ahh,
b
&b
57
w
˙™
w
b
& b bœ
64
œ
œ
œ œ
œ
w
w
˙™
w
˙™
b
Œ
& b œ™ œ œ œ
œ œ
You can change the sto ry,
70
CONNIE
b
&b
73
œ™ œ œ œ œ
there
to make us
‰
œ
˙
You
can change the tale.
fail.
We
have to
b
Œ
&b œ œ
œ œ œ œ œ
wait -
œ
˙
‰
make
it
ing,
œ
Ri
-
Ϫ
œ
ta,
make
œ
˙
j
œ
œ nœ œ œ œ
Don't
it
˙
˙
œ œ œ œ œ œ™ œ œ œ
fall for
all those rea - sons
that are
Œ
œ œ œ œ œ
our time.
j
œ
œ
3
Œ
œ œ œ œ œ œ œ œ œ
76
Ain't got time for
œ
˙
œ
œ
œ™ œ œ œ œ
-
œ
RITA: No! What?
CONNIE: Nothing changes if it isn't challenged.
œ
œ
w
w
œ œ
Can't our time be now?
w
U
∑
now.
SEGUE
11
Union Song – Reprise
3, 4 . . .
# 4 œ. œ. œ. œ. œ. ˙
& 4
# ™
™
& œœ™ œœ œœ œœ œœ™
5
MEN / WOMEN
œœ
œœ œœ œœ
œœ
Broth - ers and sis - ters,
œ œ
j œ œ
œJ
œœ™™ œ œ œ ˙
œ œ œ ˙
com - rades, ev - 'ry - one.
œ œœ œœ œœ œ
œ
œ ˙
and the Un - i - on. When it comes down to
man - age - ment
œœ
Fight
œœ œœ œœ
œœ
for your fu - ture
œœ œœ œœ œœ œœ œœ œ œ œœ œ Ó
œ œ
œ
Each and ev -'ry - one of them's a
tot - al...
36
Made in Dagenham – Vocal Book
11
Skilled Work
(TACET)
12
CUE:
Everybody Out
RITA: Hands up . . . All in favour?
70's rock (q = 162)
##4
& # #4
##
&##
6
1 2
Ó
œ
4
Œ
BERYL: Clare?
œ
œ
‰ J nœ œ œ œ
œ >
¿ ¿ ¿ ¿
(Drums:)
RITA
>j
‰ œ
3
œ
œ
‰ J nœ œ œ œ
œ >
‰ œj œ œ œ œ
œ œ œ œ
œ
œ
œ
‰ J nœ œ œ œ
œ >
your life
œ œ œ œ œ
You got - ta stand up for What you know
3
##
‰ j œ œ œ
&##œ œ œ
œ
œ œ
œ œ
is right
10
some -times in
# ##
&# Œ
14
your life
a
long
18
(RITA)
° #### Œ
&
œ œ œ
It's
##
&##
j
œ œ œ œ œ œ
com - ing and - a
we ain't
œ
J
turn
the eye
for
a
œ œ
J
ing
-
And scream the rea - son why
j
œ œ
∑
j
œ ˙
∑
œ
j
œ œ œ œ
scrap.
œ ˙
J
back.
Ev - ry - bo
œ
Get
œ
œ œ œ œ
œ
œ
∑
out on the street
j
œ œ
Let's make it
and
j j
œ œ œ
clear
we're
œ œ œ œ
œ œ ˙
on - to that pick
-
j j
œ œ œ
œœ
œ
here to
send
Œ
et line.
j
œ œ œ ˙
a sign.
dy
-
j
œœ œœ œœ œœ
œ œ œJ œ
ALL WOMEN
Ev - 'ry - bo
ALL WOMEN
##
&##Œ
26
a long time
com - ing And we're read - y
∑
##
&##Œ
22
time
œ
j
œ
œ œ œ œ œj œ
œ
And be pre -pared to fight And
‰ j
œ œ œ œ
œ œ œ
œ œ œ œ œ
You got - ta get up And look them in
œ œ œ
It's
¢
‰ j
œ œ œ œ
œ œ œ
3
Some -times in
>
>
>
‰ nœJ ‰ œJ ‰ œJ Œ
œœ
œ
j
œœ œœ œœ œœ
œ œ œJ œ
Ev - 'ry - bo
Œ
œœ
œ
dy
-
-
dy
j
œœœ œœœ œœœ œœœ
J
Ev - 'ry - bo
-
dy
j
œ>
out!
>j
œœ
œJ
out!
>j
œœ
œJ
out!
>j
œœ
œJ
out!
Made in Dagenham – Vocal Book
##
&##Œ
30
CLARE
œ
If
##
&##Œ
34
j
œ œ
j
œ
they get
j
œ œ
ALL WOMEN
œ
j
œ
4
46
&b
œœ
j
œœ œœ
° MEZ.
&b Œ œ
j
œ œ
50
WOMEN
&b Œ
j
œœ
There's no more
54
¢& b Œ
ALT.
œ
œ
j
œ œ
‰
ing,
-
j j
œ œ œ
Don't treat us
SOP.
j
œ bœ œ
œ
œ œ
>
œ
‰
j
œœ œœ
talk
girls
œj œ
œJ œ
like
j j
œœ œœ œœ
J J
Don't treat us
ya
j
œ œ
we'll
œ
J
get
j
œ ˙
∑
œœ
œ
j
œœ œœ œœ œœ
œ œ œJ œ
mean.
œ œ ˙
Œ
ma - chines
Ev - 'ry - bo
-
>j
œœ
œJ
dy
out!
BILL: Look at this! Your girls have gone mad.
MONTY: What Is it?
SID: Drugs.
BILL: What are you gonna do about it, Monty? They're your flock.
SID: Yeah, what the flock are you gonna do about it?
MONTY: (Monty moves to the tannoy.) Your union does not support unofficial industrial action!
œ
>
œ
tell
to our sew - ing
38–41
œ nœ
I
j
œ œ œ œ œ œ
nnnnb
j
œ œ nœ
‰
gry, well
-
We'll chain our - selves
##
&##
j
œ
œ œ œ œ œj œ
an
37
girls
like
œ
‰
œ nœ
j
œœ œœ
œ
j
œ bœ œ
œ
œ œ
>
œ
œœ œœ
no con - ver - sa -
j
œ œ
œ
j
œ œ
‰
œ
>
œ
œ
j ‰ j ‰ ™
bœ
œ
œ
>
>
>
j ‰
œ
>
‰
œ
>
‰
j ‰
œ
>
Ϫ
>
j
‰ œj œœ œœ œœ œœ œœ œ
œ
tion.
œ
j
œ bœ œ
œ œ b>œ
œ
œ nœ
œœ œœ ˙˙
no
œ œ ˙
con - ver - sa
Œ
a poor
(your)
re - la
-
œ œœ
œ
œ œœ ˙™
˙™
œ
a poor
(your)
re - la
-
j
œœ œ
J œ
‰
Ev - ry - bo
j
œ>
-
dy
out!
-
dy
out!
>j
œ
œJ
>
j
œ œ œ œ
œ œ œJ œ
œ
œ
tion,
tion
j
œ œ œ œ
œ
tion,
-
‰
Ev - 'ry - bo
58
&b
‰
j
œ bœ
œ
œ
œ
‰
j
œ bœ
œ
œ
œ
œ
œ
>
‘
‰
j
œ bœ
œ
>
‘
‰
j
œ bœ
œ
œ
œ
œ
œ
>
‰
j
bœ
>
‰
j
œ
>
‰
j
œ
>
j
œ
>
‰
62
&b
œ
œ
œ
œ
œ
œ
>
‰
j
bœ
>
‰
j
œ
>
‰
j
œ
>
Œ
38
Made in Dagenham – Vocal Book
HOPKINS: (to Lisa) Hey! What time is it in America?
LISA: I'm not the speaking clock!
(Lisa walks off in a huff.)
SID: Sidney.
HOPKINS: Is this a strike?
66
&b
œ.
œ.
°
& b ¢™™
œ
œ
™™ ü
†
SAFETY
72
œ
∑
& b œœœ
Ev - 'ry - bo
dy
-
& b œœœ
Ev - 'ry - bo
-
∑
Œ
85
&b
œ.
∑
WOMEN
Œ
out!
œ.
dy
œ
œ
j
œ œ
It's
al - ways
œ
j j
œ œ œ
been
œ œ œ
These worms are turn
œ.
this
way;
tom to
-
j
œ œ
worms—
œ
œ
now it's got
feed
those
j œj œ
œ
That, you bet - ter
œ
J
in
to
-
but
Œ
to stop
at
Œ
the top.
j j
œ œ œ
j
œ œ
rea
lise.
-
Œ
>j
j
œœ œœ œœ œœ œœ œœ
œ œ œ œJ œ œ
J
ter - flies!
-
w
œ œ ˙
j
j j
œ œ
œ œ œ œ œ J J œ œJ œ Œ
- ing
œ
j
œ œ œ œ œ œ œ ˙
j
œ œ œ œ œ œ
j
œ
We're the can of
œ.
w
œ œ œ œ
j
œ œ œ œ
out!
œ
œ
You starve those at the bot
>j
œœ Œ
œJ
j
œœ œœ œœ œœ
œ œ œJ œ
81
w
>j
œœ ‰ j œ
œJ
œ
j
œœ œœ œœ œœ
œ œ œJ œ
77
SID: All the classic signs. There's a brazier,
a picket line, and a barricade. If we had an
orchestra, it could be a musical. (Phone down)
Ev - 'ry - bo - dy
out!
VAMP - out any bar
°œ
& b ¢™™
CUE to CONT:
BARBARA: They make the seats for the cars!
>
90
94
&b
œ œ
œ
>
>œ
œ
>œ
œ œ
œ œ
œ
>
>œ
œ
>œ
œ œ
œ œ
œ
>
WILSON: . . . and we can all drive standing up! Do I have to think of everything?
>œ
œ
##
&# œ
97
œ œ
>œ
œ
WOMEN
œ
La - dies,
>œ
œ
œ
œ
>
>œ
œ
‰ œj œj œ
œ œ
if your
fel
-
la
œ
œ
>œ
œ
j j
œ œ œ
starts
to
œ
j
œ
whinge
œ
>
œ
j
œ œ
or
‰
œ
#>œ
>œ
œ œ
>œ
J
j j
œ œ œ
starts
to
>œ
œ
J
j
œ
moan
œ œ
>œ
œ
>
œ
™™ ü
†
#
n##
#>œ
J
EDDIE: On
strike?! We need
the money!
∑
Made in Dagenham – Vocal Book
##
&# œ
101
Tell
œ
him
##
&# œ
105
Let
œ
##
&# œ
do the
œ
make him
##
&#
113
take
the
strike
œ œ
J
cook
-
it
ing,
all
right
j j
œ œ œ
Let
‰ œj œj œ
œ œ
do
j j
œ œ œ
j j
œ œ œ
back
œ
J
him
try
in - to
œ œ
J
long
in
a
pair
STAN:
Twenty-seven minutes.
œ
J
Ó
‰ œj
Œ
the meals.
j
œ œ
j
œ œ œ œ œ
day
make
∑
your home.
j j
œ œ œ
to
j
œ
j j
œ œ œ
j j
œ œ œ
of
five
And
j
œ
inch
STAN: Better safe
than sorry.
∑
heels.
TUTTI
SOP + MEZ / ALT
SOP / MEZ / ALT
F6 / SOP / MEZ / ALT
Ev - 'ry - bo - dy out
Ev - 'ry - bo - dy out
Ev - 'ry - bo - dy out
Ev - 'ry - bo - dy out
œ
œ œ œ œ œ œ # œœ œœ œœ œœ œœ œœ # œœœ œœœ œœœ œœœ œœœ œœœ # œœœ
b
&b œ
117
that you'll
œ œ ‰ œJ
him
109
‰ œj œj œ
œ œ
39
EDDIE:
How long do you cook
an egg for?
MEN
Girls
b
&b œ
121
œ
‰ œj
œ
œ
you
done the
œ
‰ œj œj œ
œ
œ
Make your point then
b
&b œ
125
proud
b
&b œ
129
make
j
œ œ
œ
of
œ
it
right
back
œ œ ‰ œJ
you and
what
thing,
to
œ œ
J
it
‰ œj œj œ
œ
œ
quick–get
on
with
j
œ
j j
œ œ œ
we're
j
œ œ
be - hind
you
j j
œ œ œ
j j
œ œ œ
j j
œ œ œ
œ
J
work
is
be - fore
that
you
j j ‰ œ œ
œ œ
it
bank
œ œ
J
all
œœ
œœ
j j
œ œ œ
all
the
œœ
œœ
j j
œ œ œ
œ
J
got
∑
Œ
‰ œj
i - day.
to
We're
Ó
Œ
‰ œj
say
œ œ œ œ œj œ
'cos we'll strug -gle on
nnnbb
œœ
œœ
way.
j
œ Ó
-
œœ
œœ
j
œ
j j
œ œ œ
hol
œœ
œœ
strik - er's
but
j
œ ˙
pay.
Ó
40
Made in Dagenham – Vocal Book
b
&b
133
TUTTI
SOP + MEZ / ALT
œ œ œ œ œ œ
Ev - 'ry - bo
dy out
-
dy out
-
#œœœœ
#œœœ œœœ œœœ œœœ œœœ œœœ
#œœ œœ œœ œœ œœ œœ
Ev - 'ry - bo
F6 / SOP / MEZ / ALT
SOP / MEZ / ALT
Ev - 'ry - bo
dy out
-
œœœ
œ
œœœ
œ
œœœ
œ
Ev - 'ry - bo
œœœ
œ
nn#
œœœ
œ
dy out
-
VAMP - OUT ANY BAR
#°
& ¢™™ œ
CUE to CONT:
JOURNALIST: Ladies, is it your intention to halt production on the new Ford Cortina?
137
141
&
#
‰
‰
œ
‰
Ó
#œ
J
œ
Ó
j
œ
j
œ
Ó
‰
#œ
J
‰
œ
Ó
#œ
J
### TUTTI
& œ œ œ œ œ œ
153
Ev - 'ry - bo
dy out
4
##
&#
b nœ.
b
&
-
œ
œœ
157–160
j
œ
j
œ
Ó
‰
‰
œ
Ó
œœœ
dy out
2
Ó
161–162
. . . . . .
#œ. œ. œ œ #œ œ œ œ
œœœ œœœ œœœ œœœ œœœ
Ϫ
œ
œ
-
dy out
œ nœ #œ #œ
RITA: Hello Liverpool!
ALL: Hiya queen!
j
nœ
#œ œ
bœ bœ
Ó
#œ
J
™™ ü
†
Ó
#œ
J
F6 / SOP / MEZ / ALT
œœœ
œ
œœœ
œ
œœœ
œ
Ev - 'ry - bo
nœ nœ nœ
œ
™™ ü ###
†
Ó
‰
‰
œ
Ó
j
œ
j
œ
œ
Ó
#œ
J
Ev - 'ry - bo
œ
‰
œ
#œ
J
‰
œ
SOP / MEZ / ALT
œœ œœ œœ œœ œœ
-
‰
œ
Ó
#œ
J
Ev - 'ry - bo
‰
Ó
SOP + MEZ / ALT
nnn b
b
. . . . . . .
œ œ œ nœ œ œ œ
‰
œ
œ
SANDRA: What can we do then?
CONNIE: We need some working class solidarity.
BERYL: 'kinnel!
CONNIE: We need the girls in Liverpool to strike.
##
&#
165
‰
œ
VAMP - OUT ANY BAR
145
149
‰
œ
Ó
j
œ
# #°
& # ¢™™ œ
Ó
j
œ
œœœ
œ
-
œœœ
œ
œœœ
œ
dy out
œ bœ bœ
œ
RITA
Ó
Œ ‰ j
œ œ œ œ œœ
We're here to ask
b
Œ
&b j
œ œ œ œ œ
œ œ™
œ œ
170
- vour,
And we need you all
a - board.
œ
œ
a fa -
Œ Œ ‰ j
j
œ œ œj œ œj œj œ œj œj œ
œ
œ
We want to shove a
rock
-
et
up
the
arse
b
Œ Œ ‰ j œ œ œj œ œj œ
j œ œj œ œ œ œj œ œj
& b œ œ œj
j
œ œ œ
œ œ œ
œ
175
of Hen -ry
Ford.
If
you stop mak -ing
seats
then you
stop our
pro - duc - tion line.
Made in Dagenham – Vocal Book
b
&b œ
180
Œ
Œ
‰
j
bœ œ
But
b
&b
184
œ
189
if
a - bout
j j
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the
the
mo -
strike
ney.
It's
‰ bœ
come
œ
J
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J
‰
œœ œœ œœj œœ bbœœj
œ œ œJ œ œ
J
œœj bbœœ
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al
ways
SANDRA + F2
Wo - men
œ œ œ
J J
al
-
ways
come
TUTTI WOMEN
Dag - en - ham
and
j
b
& b bœœœ œœœ œœœ œœœ œœœ
J
j
nœœœ
J
197
La - dies, let
Liv
me
hear
b
&b œ œ œ œ œ œ
TUTTI
Ev - 'ry - bo
dy out
-
in'
-
sec
ond;
sec
-
ond;
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you
say,
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-
œ
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we
re - ject.
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we
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j
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dy out
waste
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we
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got
œ
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Ó
œ
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Ó
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clout.
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˙™
SOP / MEZ / ALT
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F6 / SOP / MEZ / ALT
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œœœ
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Ev - 'ry - bo
-
dy out
dy
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time.
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w
w
w
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j
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of
j
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SOP + MEZ / ALT
Ev - 'ry - bo
œ
to - geth - er
j
j
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œJ œ œJ ˙ œ ™
a
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j
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er - pool;
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just
all
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J J
in'
-
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is
j j
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Œ ‰ œj bœ œ œ œj œ œ
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œ œ bœJ œJ œ
J
bb œ œ
¢& J
202
on
j j
œ œ œ
j j
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RITA + F3 + F5
bœ
& b œœ
car - ry
j
bœ œ œ œ œ œJ œJ œ ™
Ain't
Wo - men
193
you
j j
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RITA + SANDRA + F2, F3, F5
Œ Ó
° bb j
& bœ œ
j
œ œ
œ
41
Œ
out!"
œœœ
œ
dy out
œœœ
œ
œœœ
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bb
VAMP - OUT ANY BAR
HOPKINS: Housewife and working mother.
TOOLEY: My God! They're the worst!
OK, I'm coming over, put the kettle on.
b°
& b ¢™™ œ ™
206
b
&b
j
œ.
œ
-.
œ
Œ
210
Ϫ
j
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w
œ.
˙
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†
42
Made in Dagenham – Vocal Book
ON CUE
b
&b
214
TUTTI
SOP + MEZ / ALT
œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ
Ev - 'ry - bo - dy out
F6 / SOP / MEZ / ALT
SOP / MEZ / ALT
bœœœ
œ
œœœ œœœ œœœ œœœ œœœ œœœ
Ev - 'ry - bo - dy out
Ev - 'ry - bo - dy out
œœœ
œ
œœœ
œ
œœœ
œ
œœœ
œ
#
nn## #
œœœ
œ
Ev - 'ry - bo - dy out
EDDIE: I fed the kids.
(Eddie turns a romantic low lighting lamp on, and the main light off, he then swivels
the pinny round to the back, getting ready for business.)
RITA: What did you cook for them?
KIDS: Chips on toast.
RITA: Eddie, chips on toast! Why?
EDDIE: Cos I can cook chips and I can cook toast. We're alright, you do what you have to do, love.
##
&##
218
œ
œ
œ
#œ
˙
w
#### sotto voce
&
œ œ œ œ œ œ
224
œ
TUTTI
Ev - 'ry - bo - dy out...
230
° ####
&
#œ
œ
˙
w
œœ œœ œœ œœ œœ œœ
F6 / SOP / MEZ / ALT
œœ
œœ
œœ
œœ
Ev - 'ry - bo - dy out.
####
œœ œœ œœ
&
œ œ œ
235
j
œœ œœ œœ œœ œœ
œ œœ œœ
Œ œ œ œœœ
œ œ œœ œœ
∑
∑
Let's make it
MEN
We won't be dis - missed
j j
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un - der
¢
####
&
j
œœ
>œ
∑
the
w
and on - to that pick
j
j
j
j
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œ œ œ
>
##
&##Œ œ œ œ œ œ
245
° #### j
&
œ œ
˙
w
w
w
œœ ˙
Œ
- et line.
∑
Ev - 'ry - bo - dy out!
Ev - 'ry - bo - dy out!
240
#œ
Ev - 'ry - bo - dy out...
Get out on the street
####
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&
¢
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w
w
[STARBURST]
∑
œ
SOP / MEZ / ALT
Ev - 'ry - bo - dy out...
∑
œ
SOP + MEZ / ALT
Œ
˙™
œ
we're here to
j
j
j j
œ œ œ œ œ œ œ œ ˙
And
œ œ œ
J J
lat
clear
-
est
we
won't be
œ œ œ
J J
mod - el
∑
send
Œ
a sign.
Œ
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j
œ œ œj
WOMEN
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Œ œ
ig - nored.
œ
J
j
j
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>
We'll throw our - selves
˙™
œ
œ œ œ œ >œ
SOLO GIRL
Œ
Ford!
Ev - 'ry - bo
œœ
œ
MEN
œœ œœ œœ œœ >œœ
œ œ œ œ œ
J
J
Ev - 'ry - bo
-
dy
out!
-
∑
dy out!
Made in Dagenham – Vocal Book
249
° ####
&
œ œ œ œ œ
J
∑
>
#### œ œ œ œ œ œ
¢&
œ œ œ œ œ œ
>
TUTTI
Ev - 'ry - bo
253
° ####
&
-
Ó
Œ
-
Ev
Ev - 'ry - bo
-
Ó
Œ
V
#### Ó
&
¢
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V V V V
Ó
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V
j
j
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J
J
j
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J
j
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V
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w
Œ
j
j
j
‰ nnœœœ ‰ nnœœœ ‰ œœœ ‰ œœœ ™™™
J
J
J
w
nw
w
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bo
bo
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dy
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Ev - 'ry - bo
dy out!
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∑
dy
V V
V V
V V
V
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>
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nœ
bo
j
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‰ nnœœœ ‰ nnœœœ ‰ œœœ ‰ œœœ Œ
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‰
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Ev - 'ry - bo - dy out!
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dy
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j
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‰ nnœœœ ‰ nnœœœ ‰ œœœ ‰ œœœ Œ
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J
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dy out!
>
#### œ œ œ œ œ œ
¢&
œ œ œœ œ œ
>
262
° ####
&
V
dy
œ œ œ œ œ
J
>
#### œ œ œ œ œ œ
¢&
œ œ œ œ œ œ
>
257
solo ad lib
° ####
&
V V V
-
dy out!
∑
Ev - 'ry - bo
Ev - 'ry - bo
‰
43
Ev - 'ry - bo - dy out!
w
dy
œ ‰ Œ
J
Ó
out!
w
w
w
dy
œœj ‰ Œ
#œœ
J
F1 & M1 / F2 & M2 / F3 / M3
Ó
out!
FAST SEGUE
12a
Everybody Out – Play Out
(TACET)
End of Act One
44
Made in Dagenham – Vocal Book
ACT TWO
12b
Tooley's Entrance
(TACET)
13
CUE:
This Is America
TOOLEY:
And in America everything is American.
Driving Rock (q = 132)
2 CLICKS IN
b4
&b 4
3
Ó
1–3
TOOLEY
Œ
œ
œ œ
I'm the
b
&b œ œ œ œ œ
œ
go - to
7
go - ing's
b j
&b œ œ
10
to
your
gone
mad
j
œ œ
and I've
j
nœ
‰
face
The
and tax - es
rea - son
and the
Lord
20
end
b
¢& b Ó
of
ve - ry
This
Œ
am here's to
The
I
tell
it
like
is
A
M6 / M1 j
œ
‰ nœJ
A
line
nn# Ϫ
-
mer
-
Ϫ
nn# Ϫ
-
mer
on - ly
put you
in
-
it
your
And we will
j
œ œ
The
U - S
i - ca
œœj œœ
J
i - ca
Œ
I
say
it
œ œ
Af - ter
j
¿ ¿
j
¿ Œ
Ford
‰ nœj
We
j
œ œ œ œ œ
be right
‰ œj
is,
place.
o - ther cer - tain - ty, my friends, is
œ œ
J
œ œ
tough, And the
œ œ œ
j
œ œ nœ œ œ nœj œ
first pro - duc - tion
œ œ œ œ œ œ
time.
e - nough.
j
œ œ
b
&b œ œ œ œ œ œ œ œ
° bb bœ œ
& J
I
gets
j
œ nœ œ œ œ œ œ œ œ
œ nœ œ œ œ œ œ œ bœJ œ
17
gave the world the
had
go - ing
j
j
œ œ œJ œ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
b
& b œ ‰ œj œ ¿ Œ
13
death
kin - da
œ œ œ œ œ
œ œ
guy when the
‰
œ œ œ #œ œ
œ œ
œ
here
-
un - til
the
œ ‰ œ œ œ
J
J
A.
We tell you
∑
Made in Dagenham – Vocal Book
° # œ™
&
j
œ œ
23
what
¢
to do,
œœj œœ
J
# Ϫ
& Ϫ
what
œ œ
and you
top
to do,
are
j
œ
‰
our poo - dle,
œ œ œ œ ‰
the
fif - ty - first state.
j j
œ œ œ
dog
you
œj œ™
Ϫ
top
#
love to
so much
œ
sun
is
œœ
œœ
sun
is
bet -
#
ter, and our
∑
° # j œ
& œ
34
fur - ther
œ Œ
J
too.
#
¢& Ó
b
&b ˙
37
Œ
‰ œJ
œ œ œ
J
Ϫ
big
-
˙œ™
Ba
œœj
‰ J
Ba
-
wet - ter, we move
ger,
œ˙ ™
-
fa
-
fa
∑
hot - ter
œ Œ
J
ster
œj œ™
Ϫ
to
and his
TOOLEY
¿ ¿ ¿
su - pe - ri - or
¿ ¿ ¿ ¿
¿
Team - ster scum.
‰ ¿
J
on - ly
nbb
nb
b
‰ ¿
J
We
œ œ œ œ œ œ ‰ œj
We bought the pub - lic tran - sport,
way you
‰
you.
¿ ¿ ¿ ¿
œ œ œ œ œ œ œ œ bœ œ œ
Now the car's the
and
you.
A - nar - chists, com - mu - nists, We fought them 'till we won.
‰ ¿ ¿ ¿ Œ
J
‰ œj
ster
œ œ œ œ ˙
su - pe - ri - or
j
œ
we're
to
b
&b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
b
& b œ œ œ œ œj ‰ Œ
Œ
Ϫ
œ œ œ œ
œ
J
œœ œœ
Œ
sic' - ly we're to - tal - ly
œ œœ
J
ger,
sic' - ly we're to - tal - ly
38–40
it down.
wa - ter's
‰
œœ œœ œœ œœ œœj
J ‰ Œ
43
shut
hot - ter and our
-
œ œ
J
œœ œœ œœ œœ œœ œœ œœ œœ
3
Ó
46
j œ
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œ œ œ œ œ œ
œ œ
-
saw off Jim - my Hof - fa
œ œ
And
dog
∑
œ œ œ œ œ œ
J
hate,
∑
big
30
‰ œj
œ Œ
J
‰
We're so much
∑
° # j œ
& œ
¢&
œ˙ ™
We are the
∑
27
¢&
we say.
Œ
° #œ œ
œ œ œ
&
you
as
œ œ™
J
Ϫ
œ œ œ œ ‰ œJ œ œ
do
45
get
œ œ
a - round town
we
‰ œj
We're
46
Made in Dagenham – Vocal Book
b
& b nœ
49
œ
so
much
œ œ œ
nœ
bet - ter
œ œ œ œ ‰ œj nœ œ
and I'm
not
be - ing mean.
j
œ œ ‰ ¿ ¿ ¿
œ
We've got Route
Six - ty
Six,
you've got
the
j
j
b j
j
& b ¿ ¿ ¿ Œ ‰ œj œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œj œ nœ œ œ œ œ œ œ
52
A thir - teen.
° bb bœ œ
& J
56
have her
¢
We gave you rock 'n' roll, you gave us
œœœ œ œ œ
nn# Ϫ
back.
-
b
&b Ó
This is
Œ
60
you're all
œj
Ϫ
‰ nœJ nn# œ™
¢&
#
We are the
∑
64
fif - ty - first state.
#
œœj œœ
J
œ˙ ™
top
œ œ œ
J
Get
∑
67
œ
weren't for
#œ
& œ
œ œ œ œ œj œ
us you'd all be
œœ œ œœ
weren't for
us
Œ
spea -king
œ Ó
J
œ
U - S - A.
Œ
dog
œ
œ
We're all straight,
œœ
∑
œœ
œœ
‰ œj
and
Œ
We're all straight.
‰ œj œj œ
œ Œ
J
you love to
hate,
Œ
‰ œj œ œ œ œ
œ
And you are our poo - dle,
∑
‰ œj
the
∑
dog
Ϫ
high
˙œ™
high
° #œ
&
the
Wellthanks a lot for no - thing. You can
ri - ca,
-
œj œœ
off your
Black.
‰ œj œj œ
ri - ca,
-
œ œ
J
top
° #œ
œ œ œ ‰
&
¢&
me
-
j
œ ‰ œJ œ œ œ™
gay.
me
M6 / M1
A
° # j œ
& œ
¢
A
œ œ
J
Cil - la
œ œ™
J
j
œ œ œ œ
horse,
œ œœ
J
put a - way your
∑
ser
Œ
-
mon. If
it
∑
horse,
j
œ œ œ ‰ œj œ™
Ger - man,
œ œ œ œ œ
J
œœ™™
and while
while
œ œ™
J
we're here,
œœj œ™
Ϫ
J
we're here,
j j
œ œ œ
œ Œ
J
there's one thing more.
‰
∑
‰ œj
You
Made in Dagenham – Vocal Book
° #œ œ
œ œ œ
&
71
still owe us
¢&
œ œ
mo - ney
from the
# œœ œœ œœ œœ œœ
still owe us
œ
∑
Ó
‰ ™ ¿r
TOOLEY
Œ
A-
nbb
∑
∑
∑
mo - ney
b
& b ¿™ ¿ ¿ ¿ ¿
lu - mi - num, Ba - sel,
b
&b ¿ ¿ ¿ Œ
3
j
j
¿ ¿ ¿ ¿ Œ
¿ ¿™ ¿ ¿™ ¿ ¿
¿™ ¿ ¿ ¿™ ¿ ¿
Too - na, O-re - ga - no,
Pay - tro - nize, E - din - bro,
¿™ ¿ Œ
rib - be - an,
Neet - shee
3
¿ ¿ Œ
¿ ¿
Pe - cahn,
Ca -moh - meel,
° b
& b ¿™ ¿ ¿ ¿™ ¿ ¿™ ¿ ¿ ¿ ¿ ¿ ¿ Œ
84
You - ri - nal, Vie - ta - min, Woo - ces - ta - shi - er Sauce?
b
&b
Œ
œ
nbb
Se - cond World War.
Œ
75
80
œ œ
47
∑
¿ Œ
¿ ¿ ¿ ¿™ ¿
Jag - war, Eye - raq,
j
¿ ¿
j
¿ Ó
Krass - ant, Yoo - ghurt, Ca
‰ ™ ¿r ¿ ¿ Œ
¿
No - ta Dame,
Vayze,
j
¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ‰ Ó
3
You guys can't ev-en speak Eng - lish!
∑
∑
Pa -ree - shun,
#
‰ œJ œ œ nn
TOOLEY
This is A -
Ó
j
#
‰ nœœœ œœœ œœœ nn
WOMEN
This is A -
¢
b
&b
∑
∑
∑
Ó
‰ nœœ œœ œœ nn#
J
M6 / M1
This is A -
° # œ™
&
88
me
#
& œœœ ™™™
me
¢&
-
# œœ™™
-
me
-
œ œ ‰ œj œj œ œ ‰ œ œ œ œ ™
J
J
J
ri - ca,
the
U - S - A.
Now don't for - get
j
œœ œœ Œ
œ œ
∑
œœ œœ Œ
J
∑
ri - ca,
ri - ca,
j
œ œ ‰ œj œ œ œ œ ‰ œJ œ œ
that
You
do as we say,
We have the
œœ ™™
˙
j
œœ œœœ Œ
∑
˙œ ™
œ œœ Œ
J
∑
...get
get
that,
that
48
Made in Dagenham – Vocal Book
° # œ™
&
92
T
#
& œœ˙ ™™
T
¢&
# ˙œ™
T
-
Hol
# œœ™™
&
¢
Hol
Pres
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j
‰ œj œ œ
-
œ œ
J
ly - wood
-
j
œœ œœ
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ly - wood
‰ œj œœj œœ
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-
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J
ly - wood
‰ œj œj œ
œ œ œ
and
Ve - gas
œ œ
j
œ œ
-
œ œ
J
¢
-
# Ϫ
& Ϫ
Pres
&
#
-
‰ œj œ œ œ œ Œ
œ œ œ œ Œ
œ œ
You're sim - ply the worst,
∑
œ œœ Œ
J
100
#
& œœœ ™™™
and you have the vest.
shirt,
° # œ™
&
Pres
shirt,
-
96
#
& œœœ ™™™
j
œ œ œ œ œ Œ
j
œœ œœœ Œ
° # œ™
&
Hol
œ œ™
J
And we're sim - ply the best.
œ œ
We got
œœ œœ œœ œœ Ó
œ œ œ œ
∑
sim - ply the best.
∑
œ œ œ œ Ó
∑
shirt,
sim - ply the best.
and
and
œ Œ
J
Ve - gas
too,
j
œœ Œ
œ
Ve - gas
too,
j
œ Œ
œ
too,
Su - per - man
j
œœœ œœœ
œœ œœ
j
œœœ œœœ
j
œœœ Ó
œœj œœ
J
œŒœ œœ
j
œœ œœ
j
œœ Ó
i - dent, We got
104–110
‰
œœ œœ
œœ
œœ
œœ
‰
You got Thames T. - V.
You got Thames T. - V.
œ œ œ
to re
-
a - lise.
œ Œ
You got Prince Charles,
j j œ
œ œ
j
œ ‰ œ œ œ
J
j œj œœ
œ œ œ
j
j
œœ ‰ œœ œœ œœ
œ nœ #œ œ
j j œ
œ œœ œ
j
j
œœ ‰ œœ #œœ œœ
and Whip -s'nade Zoo.
œœ
œ
and Whip -s'nade Zoo.
and Whip -s'nade Zoo.
We got
We got
We got
and
Des - pe - rate Dan.
and
Des - pe - rate Dan.
œœ Œ
œ
j
‰ œœœ œœœ œœœ œœœ œœœ Ó
œ œ œ
œ Œ
‰ œj œ œ œ œ Ó
You got Prince Charles,
a
a
a
‰ œj œ œ œ œ Ó
œœ œœ œœ
œ œ œ
You got Prince Charles,
and
Des - pe - rate Dan.
‰ nbœœœ œœœ nbb œœœ œœœ œœœ œœœ œœœ œœœ ≈ œœœ œœœ ‰ œœœ œœœ
SOP / MEZ / ALT + M1 + M6
Œ
bœ œ œ œ
w
& b œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ w
w
thing you can do we have
‰
œœ
œ
A - ny
113
œ
œœ
œ
Su - per - man
Ó
œ
œœœ œœ
Su - per - man
7
œ
You got Thames T. - V.
œ Ó
J
i - dent, We got
i - dent, We got
œ œ
Ó
-
thing you can do
or want
to do,
a - ny -
Œ ‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ≈ œœœ œœœ ‰ œœœ œœœ
Ev' -ry thing that you do or want to do,
ev' -ry
Made in Dagenham – Vocal Book
rall.
#œ w
bœ œ œ œ
w
& b œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ w
117
thing that you do
b
& b œJ œ
121
with
b
& b œJ œ
125
this
° bb Ó
&
129
TOOLEY
we have
j
œ œ
¢
tic - ket to
A tempo
Get
Slower
œ 3œ œ
A
œœ 3œœ œœ
This is A
M1 + M6 /
M2 + M3 + HOPKINS
#œœ 3œœ œœ
This is
œ œ œ œ
œ
‰ œj œ œ œ œ œ
SOP / MEZ + ALT
b
&b Ó
œ
A
rea - dy Da - gen - ham,
#
nn## œ ™
lose
œ œ
J
with
me
-
##
nn # œœ™™
-
me
# ™
nn## œœ ™
-
me
-
-
∑
j
œ œ
get
ri - ca,
œ Œ
J
j
œœ œœ
J
j j
‰ œ œœ œœ
J J
j
œœ Œ
J
œœj œœ
J
j j
‰ œœ œœ œœ
J J
œœj Œ
J
the
the
the
U - S - A.
U - S - A.
œ
U - S - A.
and Scoo -by
and Scoo -by
We got
Doo.
Doo.
Doo.
bike.
œœ œœ
œœj œœ ‰ œj œœj œœ œœj œœ Œ
œ J
J
J
J
and Scoo -by
choose
œ œ œ œ
œ
j
œ œ™
We got
### œ œœ œœ œœ ‰ œœj #œœ œ œœ ™™
œ
¢& œ
J
We got the Ken - ne - dys
accel.
œœ œ
j
j
œœ œœ ‰ œj œœj œœ œœ œœ Œ
J
J J
J
blow you a - way.
pic - ket and
We got
accel.
We got the Ken - ne - dys
can't
œ œ
j
##
™
& # œ œ œ œ ‰ œœJ œœ œ œœ ™
blow you a - way.
You
One thing's cer - tain, I'll
œ œ ‰ œj œ œ œ œ Œ
J
J
J
We got the Ken - ne - dys
œ œ œ œ
Œ
133
° ###
™
& œ œ œ œ ‰ œJ œ œ œ
blow you a - way.
œ
back to work, get on your
‰ œj œ œ
J
ri - ca,
œ
Ford.
œ œ
J
ri - ca,
TOOLEY
‰ œj œ œ œ œ œ œ
J
Steadier, quasi martial
-
Slow but insistent
sub - si - dise.
That's your
strike.
This is
b
&b Ó
Œ
Ford,
j
œ œ
to
49
œ
œ
bust
œ ˙
J
œ
œ œ
cops with guns who will
œœ
œœ
œœ
œ œ
cops with guns who will
œœ
œœ
œœ
œ œ
œ œ
cops with guns who will
œ œ œ œ Œ
You got Ted Heath
œœ œœ œœ œœ Œ
You got Ted Heath
œœ œœ œœ œ Œ
œ
You got Ted Heath
‰ œj
and
j
‰ œœ
J
and
j
‰ œœ
J
and
50
Made in Dagenham – Vocal Book
137
° ### œ œ œ
œ ‰ œJ œ œ
&
Dan - ny
La
Rue.
We
got
Ϫ
A tempo
the
White
Dan - ny
La
Rue.
We
got
the
140
° ### œ
&
La
œ
Em - pire
##
& # œœ
¢
œ
œœ
143
° ###
& œJ œ
mem - ber
## j
& # œœJ œœ
mem - ber
### œœj œœ
¢& J
mem - ber
got
œ œ œ
œ œ œ
State, which pis - ses
œœ
Em - pire
We
State, which pis - ses
œœ
Em - pire
##œ
&# œ
Rue.
œœ
œ œ œ
œ œ œ
State, which pis - ses
œ œ
House, you've got
œœ ™™
the
œœj œœ
J
White
j
œ œ
on
Big
j
œ œ
J
on
Big
œœj œœ
J
on
Big
When it comes to
mu
Ben.
œœ œœ #œ œ
œ #œ
When it comes to
œœ œœ œœ œœ œœ
œœj ‰ œj œ œœ
œ œ
J
J
œœ œœ œœ œ œ
œ œ
this:
this:
There'd be
There'd be
no
no
no
##
&# œ œ œ œ œ œ œ œ
and wea - ri - er,
frea - king Bea - tles
frea - king Bea - tles
frea - king Bea - tles
œ
œ
with - out
œœ œœ
with - out
œ œœ
œ
with - out
œ œ œ œ œ œ
œ œ
re - mind me
of
Si - be - ri - a, you're
We
Ten.
mu
-
-
˙œ ™
We
œ œ
J
sic
j
œœ œœ
J
sic
œ œœ
J
mu
sic
-
œ œ œ œ Œ
El
got
the
got
the
œœj ‰ œœj œœ œœ
J
J
Ϫ
œœ ™™
j
œœ ‰ œj œ œœ
J
J
There'd be
œœj œœ
J
œ œ œ
#œ
œœj ‰
J
Ten.
Num - ber
œ œ œ #œ
We
j
j
œœ ‰ œœ œœ œ
J
J
Num - ber
j
œ ‰
J
Ben.
Ten.
j
œœ œœ
J
When it comes to
Ben.
œ ‰ œ œ œ
J
J
Num - ber
œ ‰
J
œ œ œ œ
œ
this:
œ œ
J
œœ œœ
House, you've got
œ ‰ œj œ œ
J
146
drea - ri - er
j
œ œœ
White
### œœ œœ œœ œ ‰ œœj œœ œœ
œ
J
¢&
Dan - ny
œ œ
House, you've got
œ˙ ™
### œ œ œ œ ‰ œj œ œ
œ œ œ
& œ œ œ œ
J
œ œ
J
-
vis.
got
the
œ œ
just
re -
œœ œ
just
re -
œœ œ
œ
just
re -
‰ œj
You're
œœj œœ œ œœj Ó
El
-
vis.
El
-
vis.
œœj œœ œ œj Ó
œ
œ œ œ œ œ œ
œ œ
to - ta - lly
in - fe - ri - or,
so
Made in Dagenham – Vocal Book
149
° ### œ œ œ Œ
&
Ó
Œ
Dag - en - ham...
##
&#
œ
œ œ™
J
Screw
∑
Ó
51
‰ œJ œ œ œ œ œ Ó
Ó
you.
∑
This is
∑
‰ œœ œœ œœ œœ œœ œœ Ó
J
Ó
This is
###
&
¢
∑
∑
∑
A - me - ri - ca!
A - me - ri - ca!
‰ œœJ œœ œœ œœ œœ œœ Ó
Ó
This is
A - me - ri - ca!
SEGUE
13a
This Is America – Tag
13b
This Is America – Reprise
CUE:
TOOLEY: Okay. Stop the line. Lay the men off.
3, 4 . . .
3
(q = 132)
4
&4
Ó
-œ
œ
J
‰
-œ
œ
-œ
œ
œœ
œœ.
˙˙™™
w
w
Ó
œœœj œœœ œœœ #œœœ œœ
#
n
#œ
‰ J
M6 / M1 / TOOLEY
7
&
w
˙
Ó
∑
Ó
This
is
œ nœ
. .
>
œœ
œ
A - me - ri - ca!
Ó
œ nœ
. .
52
Made in Dagenham – Vocal Book
14
Storm Clouds
WARN: BERYL: Are we?
----------------------------------------CUE: CONNIE: Your strike pay.
6
q. = 76
6
&8
4
& ˙˙ ™™
Ev - 'ry - bo - dy out.
˙˙ ™™
26
& Ϫ
‹ Ten
& Ϊ
‹
Ϊ
4
œ œ œ œ
on
Ϊ
#œ ™
œ œ œ
Don't let
the
bas
Ϫ
tards,
-
˙™
˙™
œ œ œ œ œ
œ
‰ Œ™
Ϫ
#œ
grind
you
Ϫ
Ϫ
Ϫ
˙™
Ϫ
Ϫ
Ϫ
Ϊ
œ œ œ œ
4
4
nœ œ œ œ
Ϊ
Ϫ
pound
6
41–46
down.
j
Ϫ
œ
out.
Ϊ
Ϫ
zon.
˙™
‰™
- dy
Ru -mours go - ing
Ϊ
53
&
Ϫ
Down to our last
œ
J
4
˙˙˙ ™™™
Pres -sure buil -ding up
˙™
˙™
-
‰ Œ™
4
47
&
Ϫ
the ho - ri
Mo - ney run - ning short
37
4
œœ œœ œœ œœ œœ œœ
˙˙˙ ™™™
œ™ œ œ
Ϫ
clouds
in the town.
Ϊ
& Ϫ
‹ round
Storm
Ϫ
œ œ œ ˙™
Ϫ
- sion
32
Ϫ
out.
SOP + MEZ / ALT
Ev - 'ry - bo
˙˙˙ ™™™
4
dy
Ϊ
Ϫ
œœœ œœœ œœœ œœœ œœœ œœœ
TUTTI WOMEN
20–21
Ϫ
4
Ev - 'ry - bo -
2
U
∑
˙™
SOP / MEZ / ALT
Ϊ
œœ ™™
DIALOGUE
&
‹
˙™
4
œ œœœœ œ
1–6
12
19
WOMEN
Ϫ
2
œ
Ϫ
˙™
Ϫ
Ϫ
Ϫ
°™ VAMP
¢™ ˙ ™
Ϫ
™™ ü
†
Made in Dagenham – Vocal Book
On Cue
& Ϫ
59
MEN
Wel
Ϫ
j
bœ
œ
come
-
to
& Œ
(this
° œ™
& Ϫ
is what it’s
Ϊ
j
œ œ œ bœ
Œ
This
œ œ œ œ
E - qual shit
∑
is
what it’s
œ bœ bœ Œ ™
4
like)
Ϊ
69
Ϊ
œ bœ œ
e - qua - li - ty
œœ™™
œœ œœ œœ œœ
J
64
j
bœ
œ
53
for
Œ
ev’ - ry - one
∑
Ϊ
Ϫ
like
œ œœ bœœ bœœ
J
When you go
∑
∑
on
∑
strike
¢&
‹
∑
∑
Ϫ
Ϫ
Ϫ
83
&
91
&
Ϫ
Ϫ
Storm
75
&
ALL WOMEN
Ϫ
œœ
Ϫ
Ϫ
2
œœ
œœ™™
Ϫ
Ϫ
Ϫ
Ϫ
˙˙™™
clouds
on
˙™
Ϫ
V™
Ϫ
‰
2
œœ
J
Ϫ
Ϫ
Ϫ
Ϫ
œœ
Ϫ
the ho - ri
Ϫ
˙™
Ϫ
V™
œ™ œ œ
Ϫ
2
Ϫ
zon.
-
Ϫ
Ϫ
Ϫ
Ϫ
Œ
Ϫ
Ϫ
Ϫ
‰
˙™
2
œœ
œœ
2
œœ
œœ™™
‰
œœ
J
œœ
˙˙™™
2
œœ
∑
TOOLEY: Do you understand domino theory?
MONTY: Yeah. Get rid of your double six as
soon as you can.
98
&
‰
2
œœ
J
œœ
2
œœ
œœ
2
œœ
œœ™™
VAMP
° (Out either bar)
2
˙˙™™
™
¢™ œ
101–102
œ
œ œ œ
Ϫ
™™ ü
†
˙™
TOOLEY: If England falls to equal pay, the rest of the world will follow.
105
&
‹
On Cue
œ
œ
œ œ œ
œ
ALL WOMEN
œ
œ œ œ
œ
œ œ œ
œ œ œ œ
œ œ œ
Ϫ
Storm
Ϫ
clouds
Ϫ
œ™ œ œ œ™
on the ho - ri
-
Ϫ
zon.
54
Made in Dagenham – Vocal Book
& Ϫ
‹
110
Œ
‰
121
&
‹
Ϫ
Ϫ
Pro
115
&
‹
LISA
Ϊ
˙™
Ϊ
˙™
œ
œ œ œ
#œ ™
Ϫ
the
Ϊ
˙™
œ
œ
in
°™
¢™ œ
œ
œ
J
#œ
WILSON
Help me,
the e - co - no - my
° Ó
&
131
Œ
‰
is
¢& œ œ œ œ œ œ
ven on
-
œ
œ
™™ ü42 ¿
†
[Dr. fill]
Ϫ
Ϫ
Œ
4
œ
œ
¿
¿¿
¿
4
4
Ϫ
Ford
your trade
Ϫ
œœ
Ϫ
Ϫ
2
Ϫ
Ϫ
146
œœ
œœ™™
Cut -tin
down
in - di - cies
on booze and fags and e -
œ œ œ
œ Ó
make the blood chill
∑
foot - ball.
fi - gures
Tempo primo (in 2) (q. = 76)
6
&8
œ œ œ œ œ œ œ œ œ œ
∑
j
& bœ œ œ œ œ œ œ nœ œ œ bœÓ œ ™
With -out
Œ
œ œ œ œ
e - co - no - mic
+ MEN
134
&
‹
Ϊ
MEN
sim - ply in free - fall.
3
j3 œ
‰ œ
œ
œ
j
œ
TOOLEY
The
154
œ
œ
œ
On Cue
Più Mosso
œ
œ œ œ
Ϫ
4
& 4 œ œ ‰ ≈ œ œ œ œ œ ‰ œj œ œ œ œ œ
&
˙™
œ
œ
VAMP
(Out either bar)
Ϫ
4
œ
Pop Ballad (in 4) (q = 92)
128
138
Ϊ
home.
4
œ
Ϊ
Ϫ
œ œ œ
blems
-
4
œ
Ϫ
Ϫ
Ϫ
˙˙™™
Ϫ
Ϫ
are
˙˙
˙
sim - ply
Ϫ
˙™
∑
‰
Ϫ
Ϫ
2
œœ
J
œœ
w
#nw
w
road
˙™
Ϫ
-
œœ
œœ
2
6
8
∑
kill.
Ϫ
Ϫ
Ϫ
2
rit.
Ϫ
Ϫ
Ϫ
Ϫ
Ϫ
œœ
œœ™™
˙˙™™
Ϫ
Ϫ
‰
˙™
2
œœ
J
œœ
2
2
160–161
œœ
Made in Dagenham – Vocal Book
TOOLEY: Michigan 1932 is history.
LISA: Which is my subject. Five strikers dead, and
sixty chained to their hospital beds with shotgun wounds.
CUE to CONT
HOPKINS: Darling, that's enough. Please, bring in the dessert.
°
& ¢™™
‹ œ
™™ ü
†
VAMP
162
(Out either bar)
œ
œ œ œ
Ϫ
166 TUTTI
& Ϫ
‹ Storm
Ϫ
& ˙™
‹ town.
-
& #œ ™
‹ grind
189
&
Ϫ
the ho - ri
4
œ œ œ œ œ
TOOLEY: Oh, wow! What’s for dessert?
LISA: (Standing) Cheese.
On Cue
œ
œ œ œ
œ
œ
Ϫ
Ϫ
zon.
-
‰ Œ™
Ϊ
j
œ
j
œ œ
sy
lies
œ
œ
the
œ
J
you
head
Ϫ
that wears
Ϊ
œ
œ œ œ
œ œ œ œ
œ œ œ
Ϫ
Ϫ
Ten
-
Ϫ
œ œ œ
sion
in
Ϊ
4
Ϊ
j
œ
WILSON
Œ
Ru -mours go - ing round
the
Ϊ
Ϊ
Ϫ
j
œ
Ϊ
Un -
CASTLE
Don’t let that
Ϫ
∑
j
œ œ™
œ œ œ #œ
crown.
Ϫ
Ϫ
the
œ
bas - tard
Ϫ
œ
J
Ϫ
down.
Ϫ
˙™
j
œ œ
œ
œ œ œ
œ œ œ œ œ™
Pres -sure buil -ding up
178
183
on
Ϊ
Ϫ
œ™ œ œ
Ϫ
clouds
172
& œ
‹ ea
Ϫ
55
Ϫ
Ϫ
œ
œ
J
On Cue
Più Mosso
°™ ˙™
¢™
™™ ü42
†
VAMP
˙™
[Dr. fill]
¿ ¿ ¿ ¿ ¿
4
4
In 4 - Pop Ballad (q = 92)
4
&4 Œ
195
TOOLEY
Œ
œ œ œ œ œ œ
We have to bust the strike.
198
& œ
out
œ™ bœ bœ
of here.
‰ nœ #œ
3
We will
‰ œj œ œ ‰ ‰ œ œ œ
Be ruth - less–
˙
n˙
move
to
get it
œ
done.
#œ
Bel - gium.
‰ œj œ œ œ œ
And
Œ
if
you don’t we’re
WILSON
3
œ œ œ
This
is
a
6
8
56
Made in Dagenham – Vocal Book
j ™
œ Œ
In 2
6
& 8 #œ
201
4
j
œ #œ œ œ œ œ
Œ
rough patch,
& œ
œ
212 WOMEN
Ϫ
œ
∑
Ϊ
on
Ϊ
j
œœœ œœœ
J
ten - sion in
223
Ϊ
j
œœœ œœ™™
J
the
‰ œ œ œ œ
‰ Œ™
Mo -ney run -ning short
b œœ ™™
Ϫ
-
ding
°
& #œ ™ œ ™
‹ bas - tards
228
∑
pres
#œ ™
grind
-
Ϊ
-
Ϊ
-
sure
buil - ding
-
Ϊ
you down.
Ϊ
-
œœœ ™™™
œœ ™™
Ϫ
Ϊ
Ru -mours go - ing round
pres
Ϊ
Ϊ
n œœ
j
œœ œœ
J
j
œœ œœ ™™
J
down
to our
last pound.
Ϫ
bas - tards
œœ ™™
Ϫ
in,
Ϫ
buil - ding
œ œ œ œ™
‰
œœœ
sion
4
sure
bas - tards
in the
œ œ œ œ
b œœ ™™
Don’t let the
œ œ œ œ™
‘cos
œ œ œ
sion
ten
b Ϫ
Ϫ
œ ™™
j
œ
œ
Bel - gium
Ϫ
œœ ™™
zon
œœ ™™
Ϊ
to
Ϫ
Down to our last pound
b œœ ™™
Don't let the
Ϫ
4
œ œ œ œ œ™
b Ϫ
Ϫ
œ œJ ˙™
∑
œœ
‰
up
pres
œ
‰
Ten
‰ Œ™
œ
b œœ ™™
town
4
¢& œ ™
Ϫ
buil
4
œ œ œ œ
i
-
go
œ
ALL
œ
œ
œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
Œ
Ϫ
Ϫ
Ϫ
Ϫ
don’t
j
œ Œ
On Cue
TEN + BARI / BASS
Pres -sure buil -ding
œœ
°
& Œ
‹
Ϫ
the ho - ri - zon,
Ϊ
™™ ü
†
˙™
j
œ œ™
hor
218
¢&
œ™ œ œ
∑
°
& Ϫ
‹ town.
¢&
Ϫ
œ œ œ œ
J
But please
shit.
clouds
¢&
rea - di - ly ad - mit.
(Out either bar)
j
°
œ
œ
™
™
œ
‰ Œ ¢™
œ
œ œ œ
œ œ œ œ œ™
Bel - gium’s real - ly
°
& Ϫ
‹ Storm
‰ Œ
Tempo primo
VAMP
j
œ
œ
206
I
j
œ œ
œœœ ™™™
bas - tards
Ϫ
grind
œœ ™™
Ϫ
grind
Ϫ
Ϫ
-
sure
œ œ œ
Ϊ
Don’t let the
œ œJ ˙™
you down.
œœ
œ
j
œœ ˙˙ ™™
œJ ˙™
you down.
Made in Dagenham – Vocal Book
° Œ
&
‹
235 [MAKE LAST SUPPER]
œ œ œ œ
J
¢& Œ
° œ
&
‹ fam’
you,
j
œ œ œ œ
œ
j
œ œ
240
œ
It ain’t a - bout
It ain’t a - bout
‰
‰
j
œ œ
‰
‰
bas
bas
# œœœ™™™
° œœ ™™
& bϪ
‹ bas
∑
? ™
¢ Œ
-
œ œ œ
œ œ œ
Ϊ
tards
œ
bœ
œj
œ
J
Ϫ
Ϫ
grind
you
down
œœ
j
œœ
J
Ϫ
Ϫ
grind
you
down
it ain’t a -bout the
law.
j
œ œ œ œ œ
œ
and
poor.
j
œ
˙˙™™
and
poor.
™
#˙˙˙ ™™
grind
you
# ˙˙˙™™™
# ˙˙˙™™™
grind
you
œœ ™™™
œ
the
bas
Ϊ
Ϊ
Ϊ
œœœ ™™
™
WOMEN
the
EDDIE /
TEN + BARI / BASS
œœœ™™™
Ϊ
down.
It’s three thou -sand
‰ Œ™
Œ
j
œ œ œ œ
It’s three thou -sand
Ϊ
Ϊ
(WOMEN)
[G.P.]
Ϊ
œœœ œœœ œœœ
Don’t let
Ϊ
the
(MEN)
[G.P.]
œœ
œœj
J
grind
you
œœ
j
œœ
J
grind
you
œœœ ™™
™
œœœ œœœ œœœ
Ϊ
œœ
bas - tards
EDDIE / TEN
Ϊ
U
>˙ ™
˙˙™™
tards
œœ ™™
Ϫ
U
>
˙˙™™
>
u
?
œœ
the
Ϊ
bœœœ™™™
œœj bœœ™™
J
the
Ϊ
grind you down
BARI / BASS
∑
œœœ™™™
-
œ œ œ œ
J
Œ
Don’t let
∑
nœœ ™™™
œ
Ϊ
Ϊ
Ϊ
∑
‰ Œ™
law.
Ϊ
j
œ #˙™
˙™
#˙˙˙ ™™™
∑
œœœ™™™
252
& Ϊ
œœ ™™
Ϫ
Ϊ
tards
-
¢&
Ϊ
tards
-
& Ϫ
# œœ™™
œœœ ™™
™
œ
it ain’t a -bout the
un - em - ployed
#œœœ ™™™
245
Œ
un - em - ployed
fam’ - lies
° œ ™™
& #œœ ™
‹
‰ Œ™
œ œ œ œ œ
J
Œ
you,
- lies
¢& œ
‰ Œ™
6/8 Rock Feel
57
Ϊ
j
œœ œ™
J Ϫ
grind you down
‰
‰
Ϊ
œœj
J ‰
‰
Ϊ
œj ‰
œJ
‰
Ϊ
œœ
œ
J
down.
U
>
˙™
˙™
>
u
down.
SEGUE
58
Made in Dagenham – Vocal Book
14a
Storm Clouds – Scene Change
(TACET)
14b
Car Showroom
(TACET)
15
Cortina!
CUE:
Barbara Castle:
For Pete's sake, can we have a look at this bloody car!
Fanfaric!! (q = 132)
## 4
& # ## 4 Œ
2 CLICKS IN
GIRLS
œœ ˙˙˙
œ.
˙˙
˙
Bah bah
° ##
&
7
∑
Ó
° ## Ó
&
12
¢&
da!
Œ nœ
F1 + F2 /
F3 + F4 /
F5
## Œ
˙˙˙
CORTINA MAN
Ooh
Mark
nn
Ó
Œ
œ œ
It's the
b Œ œœ ˙˙
œ. ˙
˙˙
˙
Ó
#
n#
Bah bah
Easy 4
Œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
car for me, it's the car for you.
∑
∑
Af - ter
œ
the Mark One comes the...
∑
Boo!
w
Ó
Œ
Mark Two.
œœœ
˙˙
˙
Bah bah
>
j
## Œ
b
œ
Œ
¿û Ó
œœœ œœœ ™™™ œœ
¢&
.
.
Bah bah
nn #
n # Œ œœ ˙˙
œ. ˙
Ó
˙˙
w
Two
œ œ œ œ œ œ œ œ œ ‰ œj
œ
œ
œ œ
Well, you buy a Mark Two 'cos you know you ough - ta.
n˙˙
Œ œœ nœœ Ó
œ
Ooh
∑
∑
It's
Made in Dagenham – Vocal Book
° ##
& œ œ œ œ œ œ œ œ œ œ œ œ
œ
17
like a Mark One, on - ly
¢
#
&#
frac -tion -nal - ly short - er. "Cor
∑
j
œ ˙
Ϫ
ti
-
œœ œœ œœ œœ œœ œœ Œ
œ œ œ œ œ œ
j
œ
21
mean
## Ó
&
¢
° ## Ó
&
24
-
Ó
˙
er.
‰
œ
nœœœ
Ooh
œ œ œ œ
Comes in white or
##
˙˙˙
&
¢
˙
Ó
cream
-
er.
you can
af - ford
œ
more
∑
Ó
Ooh
œ
Ó
j
œ
Ϫ
-
ti
˙
na.
-
Ó
˙˙
˙˙
Ó
œ œ œ œ œ œ œ
to
get.
œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ
Leath - er - ette's the one
œ
Two - door,
j
‰ nœœœ bœœœœ
œ
Leath - er - ette's the one
œ
to
œœ
œ
Two
door,
œ
œ
œ
four - door.
œœ
œ
nœœœ
œ œ œ
Ooh
j
nnœœœœ
œœœœ
‰
∑
Ooh
28
##
&
¢
j
œ ˙
Ó
° ## œ
œ œ œ œ
&
If
Ϫ
It's lean - er and it's
‰ œœœ nœœœj ˙˙˙
œ nœ ˙
Ó
Cor
˙˙˙
˙
‰ j
nœ
œ œ œ œ
F1 + F2 / F3 / F4 / F5
Œ
j
bœœœ
œ
Œ
na.
-
frac -tion -nal - ly short - er
° ##
& Ϫ
59
œœœ
four - door
œ œ œ
Wood - en dash - board? Yeah, you bet!
œœ œœ œœœ
œ œ
Ó
get
Yeah, you bet!
##GIRLS
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
31
Dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
° ##
&
33
∑
dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
Ó
Œ
œ
"Cor
¢&
-
## œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
60
Made in Dagenham – Vocal Book
RITA: Sandra! What do you think you're doing?
SANDRA: Earning a living!
PETROLHEAD 1: Oi! What's your problem?
RITA: How long have you got?
SANDRA: Can't live on two quid a week strike pay
RITA: No, Sandra, NO!
° ##
& Ϫ
35
ti
¢&
## Ó
j
œ ˙
na,
-
Œ
-
39
for those
œœœ
œ
woo
woo
°™ w
¢™
1º only
°™ w
w
¢™#w
woo."
1º only
™™ ü
†
∑
woo
‰
œ œ œ œ œ
tric - ky round - a - bouts.
∑
™™ ü
†
∑
j
œ
It's
œ œ œ œ œ
Œ
Ó
¿
built
∑
to
real - ly
last–
Œ
Three
42
## ¿
‰
j
œ œ
œ œ
w
Ó
Œ
Ó
n˙˙
Œ
Ooh
46
## Ó
Ó
##
˙˙˙
&
¢
˙
œ œ œ œ
œ
short - er but more
œœ nœœ Ó
œ
∑
‰ œj œ œ œ œ œ
Œ
It's now ex - tra wide.
‰ ¿J
Œ
j
œ œ
Ooh
room in - side.
° ## Œ
&
‰
It's slight - ly
˙˙
w
years!
50
Œ
Or there - a - bouts.
° ## j
& œ œ œj œ Œ
¢&
œ œ
Self - ad - just - ing brakes
° ## Œ
&
¢&
nœœœ
œ
na
° ##
& œ œ œ œ œ
¢
Oo - woo - oo woo - oo
‰ œœœ nœœœj ˙˙˙
œ nœ ˙
ti
#
&#
‰ œj œ œ œ œ
3x
¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ
œ
"Cor
j
œ ˙
Ϫ
-
∑
ti
-
na.
Ó
"Well, how the hell's that pos-si - ble?"
‰
j
nœ
œ œ œ œ
It's lean - er and it's
Ó
j
œ ˙
Ϫ
mean
Ó
-
er.
Ooh
CUE: HOPKINS: That woman
there, I want her thrown out"
Ó
j
‰ nœœœœ bœœœ ˙˙˙
œ ˙
Ooh
‰ œœœ nœœœj
œ nœ
Œ
œ
Cor
Ó
j
œ ˙
Ϫ
-
ti
Ó
-
na.
‰ œœœ nœœœj
œ nœ
Ooh
Made in Dagenham – Vocal Book
° ## Ó
&
54
œ œ œ œ
Comes in white or
##
˙˙˙
&
¢
˙
cream
er.
-
Ó
∑
j
‰ nœœœ bœœœœ
œ
Ooh
° ## œ
œ œ œ œ
&
58
it
j
œ ˙
Ϫ
Ó
will give
##
&
¢
a
big
œ
thrill.
∑
61
˙˙˙
˙
the world and see
œœœ
œœ
œ
down - hill,
œ
œ œ œ œ œ œ
the sights with
the world and see
œ
down - hill,
œœœ
Up - hill,
œœ œœ œœ œœ œœ œœ œœœ œœ
œ œ œ œ œ œ
œ
See
nœœœ
Ó
œ
œ
Up - hill,
œ œ œ œ œ œ œ œ
See
œ
the sights with
twi - light night - sight side head - lights.
œœ
œ
œœ œœ œœ œ œœ œœ
œ œ œ œœ œ œ
twi - light night - sight side head - lights.
# °œ œ
œ œ
& # ¢™™ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
61
GIRLS
Dub - a - dub - a - dub - a - dub - a, dub a - dub - a - dub - a - dub - a,
dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
#
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ
63
dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
MAN
# CORTINA
œ œ œ œJ œ ™
&#œ
Come on
ac - cel - er - ate,
68
° ## œ œ œ œ œ œ œ œ
&
dub - a - dub - a - dub - a - dub - a, dub
œ œ œ œ œJ œ
65
Just
do - it,
why d'you wait?
(SANDRA punches CORTINA MAN.)
∑
œ œ œ œ œJ œ ™
j
œ
Be - fore
it
GIRLS
Seize the mo - ment, ba - by, right
nœfij
nœ
#œ nœfij #œ nœfij #œ nœfij #œ
#œ nœ #œ nœ #œ nœ #œ
wow, wow, wow, wow,
nœfij
nœ
gets much too
∑
Seize the mo - ment, ba - by, right
## œ
&
œ œœ œœ œœ œœ œœ œœ œœ
¢
Œ
#œ nœfij #œ nœfij #œ #œfij œ
#œ nœ #œ nœ #œ nœ #œ
wow, wow, wow, wow,
late,
∑
œj œ ™
œ œ™
wow,
˙
˙
™™ ü
†
62
° ## Ó
&
72
¢&
CORTINA MAN:
Ϫ
"Cor
ti
Œ
##
œ
∑
œ ˙
J
‰ œj œ œ œ nœ
Œ
na.
-
Ó
76
Œ
œ œ Œ
‰ nœJ
Œ
Cor
## nœ ™
riv
œ
J
## Œ
&
¢
Œ
-
ti
-
Af - ter
all
œ
sense
in
Œ
-
œ
œ œ
J
ing.
Œ
dep - riv
-
Ϫ
#œœ ™™
ti
ti
-
15a
Cortina – Play Out
(TACET)
15b
Tax Payer's Bentley
(TACET)
-
U
œ ˙
J
-
na.
œœ
œ
J
na.
œ
Comes in
nœ ™
œ
Ϫ
œ
Cor
nœ ™
the nine - to - fiv
œ
rall . . .
Ó
nœ œ œ œ œ œ
More fun than ar -
Ó
j
œ nœ
‰
nœ œ œ œ
Ó
˙
There's no
er.
Ó
na.
-
Œ
œ ˙
J
œ ˙
J
- in'
œ
J
ing,
-
79
° ## œ ™
&
cream
œ
Ϫ
œ
Ϫ
It's lean - er and it's mean - er.
GIRLS
Driv
° ## Ó
&
¢&
-
Made in Dagenham – Vocal Book
U
˙˙
˙
œ
J
œ
œ
œ
white
or
Œ
ing,
SEGUE
∑
∑
Made in Dagenham – Vocal Book
63
16
The Letter
CUE: RITA sees the letter.
b °
& b bbb ¢™™ C
(In 2)
b
& b bbb Ó
6
Œ
∑
Ó
ü
œ œ ™™ † ˙
2nd X:
EDDIE:
Œ
I just
can't
≈ œ œ œ œ
Œ
œ œ œœœ
˙
˙™
take
this
Ó
Œ
‰ œœ ˙
a - ny - more
‰
œ œ œ Œ
œœ
I'm go -nna take the kids a - way
Œ
b
& b bbb Ó
‰ ™ œr œ œ
sure.
14
I
know I'm not one
bb
&b b b ˙
Œ
bb
&b b b ˙
Ϫ
‰
good.
23
need
3
œ œ
b
& b bbb ˙
33
need
j
b
& b bbb œ œ
37
tell you
I need
3
œ œ œ
you
in
my
Ϫ
you
but I think– you know–
Œ
‰ j ¿ ¿
¿ ¿
¿
˙
do
this
œ œ™
J
to be
Œ
œ ˙
J
my wife.
‰
j
œ
You
here,
˙™
on my
own
What is this all
life
j
œ œ œ œ œ™ ˙
œ 3œ œ
œ œ œ œ™ ˙
Ó
Ó
for?
It's such a
sim -ple
œ œ œ
know what they're say - in'
œ œ œ œ œj
Ϫ
"Read her the riot
nev - er know–
I'm not
act,
we should.
j
œ œ œ
might do some
‰ œj ˙ ™
‰ œj
no more
Ϫ
j
‰ œ œ
‰ œJ œ œ œJ œ ™
œ œ
‰
3
You
or else
˙
if you were e - ver
tal - king
Ó
˙
œ 3œ œ
a - round,
j
b
& b bbb œ œ ‰ œ œ
side me,
can't
œ ˙
J
28
Œ
day or two,
œ œ
‰ œœ œ œ œ œ œ œ
a - round
˙
'Cos I
you
for
œ œ œ
œ œ
So if you're ev - er
18
for a
‰ j œ œ œ œ œ ‰ œj œ œ œ Œ
œ
bb
&b b b ˙
10
Ó
I
œ œ™
J
I need
you
˙
œ Œ Œ ‰ œJ
thing.
œ œ
to stand
œ
J
be -
I
Ó
Œ
‰ œj
at work?
I'd
œ œ œ œ œ
Keep her in
line,
‰
j
œ
Get
64
Made in Dagenham – Vocal Book
b
& b bbb œ œ œ œ œ
41
her
b
& b bbb ˙
44
in
the
j œ œ œ œ œ œ™
œ
‰
3
house
and
Well I'd
bbb œ 3
b
& b
œ œ œ
tell you
48
on my
own
‰ œj ˙ ™
j
j
j
bb
&b b b ‰ œ œ œ œ œ œ ˙
b ˙
& b bbb
62
wife.
Œ œ œ
for?
sim -ple
Ϫ
3
3
b
& b bbb œ œ œ œ œ œ œj œ
70
- fast was corn -flakes and wa - ter
j
œ œ œ œ œ œ œ œ
state of your son and daugh - ter
yes, I've burnt the toast
3
b
& b bbb œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ™
stu - pid wa -shing ma -chine well it
on - ly e - ver li-stens to you
73
3
b
& b bbb œ œ œ œ œ œ œ
76
- ron in Ca -nning Town
3
and the
I need
3
you in my
˙
do
œ 3œ œ
Or else
Ϫ
you
œ œ™
J
to be
Œ
˙
œ
J
my
‰ j
œ
life.
Well,
j
œ œ œ œ œ œ œ œ œ
3
We
ran out of milk last night so
3
œ œ œ œ œ œ
break-
‰ œ œ
sau -sage and eggs too
And the
j
œ œ œ œ œœœ œ œ œœ
And
oh that love - ly shirt
3
3
‰ œ œ œ™ œ œ œ œ œ œ œ œ œ œ
Well it used to be pink but I
can't
a - round
œ œ œ
need
j
œ œ œ œ œœœ œ œ
And
you
‰ œ ˙
J
˙
œ ˙
J
be - side me,
3
you should see the state of the place, the
Ϫ
œ œ œ ‰ œj œ
J
I
Freely - building
œ œ
'Cos I
need
in charge?
Drive harder
‰
œ œ ˙
to stand
thing,
Œ
3
œ œ™
J
Œ
"Who's
queer."
And I
œ Œ
3
b
& b bbb œ œ œ œ œ œ œ œ œ
67
‰
I need you
œ 3œ œ œ œ œ ˙
J
J
It's such a
a
no more
57
all
you know,
œ œ œ ˙
here,
˙
be -hind my
3
Ó
˙
you were ev - er
May - be he's,
˙™
What is this
if
œ œ œ œ™ œ œ œ
You know what they're gon - na say
œ œ œ ‰ œ œ œ œ
œ
œ 3œ œ
this
for a beer."
3
Who wears the trou - sers?
bb ˙
&b b b
out
j œ œ
œ
j
œ œ œ œ œ™
3
‰ œ œ œj œ
Œ
back?
52
you
3
ir -oned it
we bought for Sha
œ œ œ œ œ œ™
and now it's more shit -brown
œ
J
And
Made in Dagenham – Vocal Book
65
b œ
œ œœœ œ œ œœ œ œ œ œœœ œ ‰ œ œ œ œ œœœ œ
& b bbb œ
J
œ œœ
79
when I had to clean the bog I tell
b œ œ œ œ œ œ™
& b bbb
œ
J
82
to
b
& b bbb ˙™
use the Fai
own
Œ
no more,
And
b ˙
& b bbb
95
I
I
you
need
bb
&b b b w
99
I
to
fl
˙
can't
do
˙
you
œ
be - side
œ
mee - ting went
3
bb
b
b
& bœ œ œ œ
107
the
way,
œ œ
j
‰ œ œ
me,
Œ
I need
œ œ œ œ œ œ
‰
œ
‰ œj
too
œ
fuck
Ϫ
is
it
you
to
Œ
j œ
œ
the
kids
œ
Œ
say
‰
j
œ
Into Parliament
(TACET)
16b
Press Music
(TACET)
j
œ
that lights
my
œ œ
Hope the
Ó
Œ
‰
j
œ
And
œ
good - night.
16a
my
j
œ œ™
Œ
for?
œ
J
be
I hope you've done your - self proud,
Ó
all
œ œ™
J
late,
œ œ œ œ Ó
my
‰ œ œj œj œ œj
You're the light
3
al - right.
on
‰ œ œ œ™
Œ
un - der - stand
r
‰™ œ œ
Ó
What the
œ
œ 3œ œ
this
œ 3œ œ
round
œ
J
œ œ
˙
˙
Hope you did - n't get in
3
could -n't find the blee - ding bleach, I had
Drive harder, ad lib.
˙
need
œ œ
J
∑
bb
&b b b œ œ œ Œ
by
And
to stand
life.
103
œ
œ œ™
J
need you
Ϫ
œ
˙
œ œ
Ϫ
3
Œ œ œ
wife.
3
And I
j
‰ œ œ œ
b
& b bbb ˙
91
˙
I
A tempo
rit.
ry!
-
‰ œj ˙
86
you man, it's sca - ry
Œ
U
Ó
66
Made in Dagenham – Vocal Book
17
Ideal World
CUE:
CASS: "We should all be working towards our ideal world"
U
Ó
Colla Voce
4
&4 Ó
U BARBARA CASTLE:
Œ ‰
œ œ œ œ
Ó
In an
5
& œ
i
œ
-
deal
world
love would
8
‰
& œ œ œ œ œ
work - ers, boss
11
&
or
staff
In an
&
œ œ
œ
œ œ œ œ œ
œ
con - quer hate.
œ œ œ œ œ
i - deal world they'd sit
œ œ
In an
and have
i
a
Ϫ
œ
-
In an
deal
œ œ
world
Œ
the
Œ
‰
j
œ
laugh.
The
Bright (q = c. 154)
j ≈ r
j ‰ ‰ j
œ
œ
b
œ
œ
œ œ œ œ
œ œ œ œ œ
œ
œ œ œ œ nœ œ œ œ
j ‰ Œ
b
œ
œ
œ œ œ
œ
sun would al - ways rise and shine,
14
al - ways
‰
œ œ œ
œ
ev - 'ry - thing would just be great.
‰
3
œ œ œ
œ œ œ
i - deal world
œ œ œ œ œ œ
3
œ
Ϫ
The skies would be deep blue.
There would be
17
& œ
œ œ œ œ œ œ œ
œ
com - mon cold and flu.
trains would al - ways run on time, we'd work a
& œ œ œ œ œ
V.A.T. u - pon the tam - pon, We'd have a
23
& œ œ œ œ œ œ œ œ
mag - ine
a
great world of
chat,
cure for can - cer and the
four day week.
We'd
and af - ter that
œ œ œ œ œ
un - im - a - gin - ab - le
get
wom -an's clit - o - ris.
In an
i
-
˙
deal
j
œ
bliss,
‰ œj
˙™
world
The
His
to meet the prat who put the
œ œ œ œ œ
face we'd du - ly stamp
where men know how and where to
œ œ œ
œ œ
on.
I -
œ œ œ œ œ œ œ œ
Half-time feel ma poco più mosso
& œ œ œ œ œ ‰ œœ ˙
26
‰
œ œ œ bœ
œ œ œ œ œ œ œ œ
œ œ œ ‰ ≈ œr œ œ œ ‰ œj
œ œ
a
no guns or crime; The strong would help the weak
j ‰ ‰ j
œ
œ œ œ œ œ
œ œ œ œ œ œ nœ
20
There'd be
œ œ œ
ev - 'ry - thing would just
be
˙
great.
find
Œ
a
œ œ
In an
Made in Dagenham – Vocal Book
31
& ˙
i
˙
˙
deal
-
Œ
œ œ œ œ œ œ œ ˙
love would al - ways
Œ
3
& œ œ œ œ œ ˙
care and
43
&
share and heal,
&
œ œ œ œ œ œ œ œ
so would
‰
¿ ¿ ¿ ¿ b¿
all com - mu - ni - ties.
j
œ
No
hap - py
of
And
œ Œ
& œ œ œ œ
crushed And
b
& b bbb œ Œ Œ œ œ ˙
63
b
& b bbb ˙
68
˙
real
b
& b bbb ˙
74
fice.
Ó
˙
real
˙™
œ
world
it's
∑
Ó
war
real.
The
¿ n¿ ¿ ¿ ¿
in
The
pla - net would re - volve
The
a -round the
‰ œj
A -
œ œ œ œ œ
East and West would do their best to
3
˙™
œ œ œ ˙
world
It's a
3
You're luck - y
In -
œ œ œ œ œ
‰ j
œ œ œ œ™
œ œ œ
world
j
œ
Vi - et - nam.
j
‰ œ œ œ œ
in the real
‰
would kiss the oth - er cheek.
œ
in
œ œ œ œ œ™ œ œ ™ œ
‰ œj
so would pov - er - ty,
˙
we'd
Œ ‰ j
œ
œ œ œ œ bœ œ
No
œ œ œ œ œ œ
But
In the
world
Half-time feel
live in har -mo - ny.
day.
in Cam - bo - di - a,
Œ ‰ j bbbbb œ ˙
œ
bœ
Ó
œ œ
Ci - vil rights would flour - ish well
Pro - tes - tants and Cath - o - lics
& œ œ œ œ œ œ œ œ œ
58
deal
¿ ¿ ¿
o - ver - seas.
œ œ œ œ œ œ œ œ œ
55
du - ly
would be
Ó
œ œ œ œ œ
œ
‰ œj
the meek,
part - heid would be
ty - rants
end - ings
Lu - ther King they'd shoot the Ku Klux Klan.
& œ œ œ œ œ
meek - est
œ œ œ œ bœ
bomb - ing
& œ œ œ œ œ œ œ
52
-
3
œ œ œ œ œ œ œ œ œ
49
stead of Mar - tin
i
œ œ œ œ œ œ œ Œ œ œ w
œ œ
3
Normal feel
Ber - lin wall would fall and
In an
˙™
˙
œ œ ˙
con -quer hate.
3
And our dreams of
46
Œ
3
world
37
67
if you make
Œ
strug -gle
3
œ œ
ev - 'ry
j
Œ Œ
œ œ
œ œ
O.
K.
In the
3
3
j
œ œ™ œ ™ œj œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ
not a - bout
nnbbb
the nice.
It's a - bout tough com -pro - mise and
Click in
œ œ œ œ
Let me tell you;
œ œ œ œ
œ œ
it was so much tough -er
Œ
sac - ri -
Ó
j
œ œ ™ bœ œ œ
when I
start - ed out.
68
Made in Dagenham – Vocal Book
b
&b b j
œ œ™
80
œ
Wo -men's
rights, My
b
&b b œ œ œ œ
84
bot - tom of
‰
œ
œ
God,
the
chance to rise
####
&
nœ ™
Œ
and grow.
low - est
But you
Got - ta punch
for
b
&b b ˙
is just
a
Half-time feel
i
˙
-
b j
&b b œ œ™
117
deal
lev - el
˙™
world,
œ œ œ
3
near - ly
to
Œ œ
b
&b b Ó
Œ œ œ w
deal,
one
will be
With weight!
‰ j
œ œ œ
go -ing
belt
Ó
come to pass.
œ Œ
œ œ ˙
Œ
And our
3
day those
hap - py
Ó
end - ings,
i
-
˙
˙
deal
world,
3
œ œ œ
could be
rall . . .
œ œ œ bw
3
We'll make our world
j‰ j
œ œ œ
I know
œ œ œ œ
all you're ask - ing
n
Œ bœ bœ nn nbbb
rall . . .
˙
field.
i
In our
-
˙
˙
deal
world,
œ œ
3
Œ œ œ
is so
œ œ œ œ
if you're brave and take this
Ad lib Rock
Ó
w
Œ œ œ w
3
real.
Should be
Ó
to keep on
bi - ting.
I know
And our
no
œ œ œ œ œ œ
and do some
Lev - el play - ing
The
3
And you got
œ œ œ œ bw
it will sure -ly
j
œ
my - so - gy - ny
œ Œ ‰ ¿j ¿
re - pealed.
‰
œ œ œ œ
‰ j
œ œ œ nœ ™
œ
Be -low the
in
Œ Œ
œ œ
to keep on
fall and be
œ œ œ œ œ œ ˙
real.
Mired
j
œ œ œ œ™ œ œ œ œ Œ Œ œ œ ˙
3
3
low.
play -ing field.
in our grasp.
b
&b b ˙
122
128
sex - ist laws
œ nœ
˙
œ œ œ œ
j Œ
œ
and scream and shout.
Ó
j
œ œ œ œ œ œ nœ
j
j
j
j j
œ™ œ œ™ œ œ œ™ œ œ œ ˙
105
111
is
œ
j j
œ bœ œ
and bleed
the
got
a - bove your weight;
##
& # # œ œ œ ‰ œj œ œ œ™
all you want
of
‰
j
œ œ
beg
#
nnn## #
nœ œ
100
# ##
&#
to
‰ j
jŒ
œ
œ œ œ
œ œ œ
fight - ing.
‰
œ
œ œ œ œ b˙
bot - tom and the
b
& b b œ œ œ œ ™ œj ˙
œ
you'll have
œ œ œ œ
90
95
j
œ œ
U
w
˙
i
-
real,
∑
deal.
ALMOST SEGUE
Made in Dagenham – Vocal Book
69
17a
Into The Hospital
(TACET)
17b
Same Old Story – Scene Change
(TACET)
18
Nearly Had It All
CUE:
EDDIE: I didn't walk out, you did.
Rubato
# ##4
j
j
& # 4 ‰ œ œ œ œ œ œ œœ œ Œ Ó
“‘
‰ œ œ œ œ œ œ œ™ œ œ œ œ Œ Ó
RITA
3
I'm sup - posed to hate you, but I don't.
RITA
#### EDDIE
™
œ
&
œ œ œ™ œ œ œ œ
:“;
5
I'm
at a loss, I'm at a loss
RITA: Looks like
it, doesn't it.
U
##
&##œ Œ Œ
:“;
8
through?
##
&##Ó
12
##
& # # Ϫ
can't
œ Œ
œ œ
I'm still
Œ
Œ
EDDIE +
RITA
here –
Some - thing we
œ œ œ œ œ
˙
3
I
ain't
giv - en
Œ ‰ j œ ™ œj œ
œ
œ œ œ™ ˙
this hap - pened sud - den - ly,
j
œ œ œ œ œ
let an - y - one down,
œ
‰
up.
a - gree on
I'm
Is that it?
still a moth - er
j
œ ™ œ œ œ œ œ™
It just dropped in - to our
I
‰ œ œ
Are we
‰ œj œ œ œ œ œ™ œ œ œ œ Œ
“‘
Œ ‰ œœ
“‘
j œ œ œ œ
œ
So what am
but I won't.
œ œ œ œ œ ‰ ‰ œ œ œ
œ
too.
you
EDDIE
More movement (q = 72)
RITA
But all
17
œ
You want me to beg
Ϫ
sup - posed
œœ ˙
to do?
and a wife.
Ó
Œ ‰ j
œ
life.
Ó
I
Œ
‰
j
œ
Don't
70
Made in Dagenham – Vocal Book
##
& # # Ϫ
21
j
œ œ œ œ œ
turn
your back on me now
‰
œ
j œ œ œ œ
œ
'Cos now's the time that
##
j
&##‰ œ œ œ œ œ œ œ œ
Œ
##
j
&##‰ œ œ
Œ
25
I thought I
28
had the fu
-
##
j
&##‰ œ œ œ
31
‰ œ œ
Œ
##
&##œ œ œ œ œ œ œ œ œ œ
#### ‰
&
37
to - geth -
##
&##Œ
40
a - bout
##
&##
44
∑
Œ
full of
voice
Œ
fore.
Well, it
∑
star - ted as
for the first
Ó
œ œ ˙
had it
all.
3
her
j
œ w
and
see
3
≈
œ
Œ
≈
time –
≈
end
up like
me.
3
œ œ œ œ œ
œ œ œ
I nev - er knew I
had be
œ œ œ œ™
œ œ
˙
˙
roar!
œ œ œ œ™
œ œ
˙˙˙
˙˙˙
But it's got to
Œ
œ œ
œ
Thought that we'd
3
a whis - per,
∑
Œ
‰ œ œ œ™ œ œ œ
œ w
œ œ™ œ œ
Œ
Ó
hand.
˙
So she don't
3
‰ œ œ œ™ œ œ ™ œ œj œ ™
˙
œ œ œ œ œ œ
hope,
‰ œj œ
œ œ œ
˙
and small.
I want to look at
3
48
° ####
&
˙™
¢
œ
our daugh - ter;
I'm find - ing a
##
&##
≈
j
œ œ™
planned.
Oh babe, we near - ly
Œ
Ó
œ œ œ
j
j
‰ œ œ œ œ œ œ
‰ œ œ œ œ œ œ œ w
That her fu - ture's
my
œ™ œ œ œ
‰ œ œ
er;
j œ œ œ œ œ œ œ
œ
And what
œ
˙
you.
of
Now the world's cold
34
and gray
need
and our dreams were all
Thought we would stay to - geth - er;
grow old
I
in the palm
me
œ œ œ œ œ
œœœ ˙
‰ œ œ œ™ œ œ œ
ture
œ œ œ œ œ œ
I thought you were be - side
œ
be a
WOMEN
But it's got to
be a
roar!
Made in Dagenham – Vocal Book
52
° ####
˙
&
Ϫ
####
˙˙˙
&
¢
œœœ ™™™ ‰
‰ œj œ
(RITA)
‰
56
° #### ‰ j
œ œ
&
œ œ œœ œ œ Œ
‰ œ œ œ ™ œ œ œ œj œ ™
˙
œœœ œœœ œœ œœœ œœœ œœœ Œ
œ
‰ œœœ œœœ œœœ ™™™ œœ œœ œœ œœj œœ ™™
œ œ œ œ œ™
˙˙
˙
We thought we had the fu - ture
j
‰ œœœ œœœ
(WOMEN)
in the palm of
We thought we had the fu - ture
œ œ œ œ œ œ
We thought you were be - side
#### ‰ œj œ
œœ œœ
&
¢
Œ
We thought you were be - side
is - n't ea
And we had
is - n't ea
-
sy
but we could
‰ œ œ œj œ
Œ
when we al - most
j
‰ œœ œœ œœ œœ
œ œ œ œ
Œ
In - stead we see the mo - ments
all
when we al - most
œ œ
planned.
˙˙
˙
˙˙˙
planned.
have
stood
‰ œœœ œœœ œœœ ™™™ œœ œœ œœ
œ œ œ
Œ
In - stead we see the mo - ments
#### ‰ œj œ œ œ œ œœ œœ œ
œœ œœ œœ œœ œœ œ œ œœ
&
¢
it
but we could
sy
62
° #### ‰ j
œ œ œ œ œ œ œ œ
&
all
have
stood
j
œ œ™
j
œœ œœœ ™™™
œ
tall.
all.
w
œœ œœ w
œ œ w
had it
˙
tall.
œ œ w
had it
hands.
˙™
‰ œ œ œ™ œ œ œ
Œ
j
####
œ œ
‰
œ
&
œ
¢
œ œœœ œœœ œœœ œœœ œœ œœ œœœ
We know life
it
hands.
our
‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
Œ
us
-
in the palm of
And we had
59
° ####
‰ œj œ œ œ œ œ œ œ
&
our
‰ œ œ œ œ œ œ œ
us
œœœ œœœ œœœ œœœ œœœ œœœ
We know life
71
all.
˙˙
˙
U
˙™
Œ
U
˙˙ ™™
˙™
Œ
Rubato
##
&##
66
(RITA)
œ
It
œ
don't
##
&##œ
œ
see
this
70
Œ
3
œ
mean
Ϫ
œ œ œ œ œ ˙
through,
œ
I don't love you
j
œ
with
Ϫ
or
It
j
œ œ
with - out
œ
don't
œ
mean
œ œ œ ˙™
3
I don't care
A tempo
œ
you
U
w
there
Segue
‰
3
œ œ
But I'll
72
Made in Dagenham – Vocal Book
19
Viva Eastbourne
3,4 . . .
60s Rock
4
&4
3
Ó
1–3
MEN
‰ œœœ ™™™
œœ œœ œœ
œ œ œ
Vi - va East
œœ œœ œœ ‰ œœ ™™
œ œ œ
Ϫ
8
& Ó
bourne,
-
œœ
œ
& Œ
In - dis - cre - tion is
œœ
œ
East - bourne,
21
A week
SANDRA
w
& w
‰ œ
chance,
° ‰ CASSj
&
œ œ œ œ œ œ œ
26
I hope she doe - es - n't
œ œ
œ œ
by
the sea
we
know
œ œ Œ
blow
œ œ œ œ œ œ
Well, I pro -mise that you
j
œ œ œ œ
M SOLO
Œ
With the
j
œ œ™
˙
T.
U.
œ
J
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
‰
C.
LADIES
j
œ œ œ œ
it.
œ œ œœ
œ œ œ
w
w
Ó
Œ
Just this one lit - tle
Ó
∑
one
chance.
BERYL
œ
œ
We're with
∑
Œ
œ
We've on - ly got
LADIES
Œ
Ó
‰ œj œ œ
WOMEN
Just say what
30
Œ
it.
∑
°
& œ œ œ œ œ
the sea.
Bed and break -fast sub - si - dized, Proph-y - lac - tics are ad - vised...
œ
œ
j
œ œ œ
œ œ
Yeah, and don't
¢&
as - sured.
j
‰ œœ œœ
J
Œ
by
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ Œ
17
T. U. C.
Beer and chips in quan - ti - ty.
13
bored,
The
œ œ œ œ œœ œ œ œ Œ Ó
œ œ œ œ
œ œ œ
Ó
Vi - va East - bourne,
won't be
j
Œ ‰ œœ œœ œœ œœ œœ œ œœ œœ œœ Œ Ó
J
∑
œ œ œ œ œ
Œ
you got - ta say
∑
∑
you all the way
¢&
∑
WOMEN
œœœ
œœœ
œœœ
Ri - ta
girl
œœœ œœœ
go
all
œœœ œœ œœ
œ œ
the way.
Ó
MEN
œ
œ
œ œ œ
œ œ œ
œ œ
œ œ
In - fight - ing, out - fight - ing,
Made in Dagenham – Vocal Book
°
&
34
∑
73
∑
Ó
j
œ
WOMEN
Œ
‰
I'm
œ œ
œ
¢& œ œ œœ œ œ
œ
talk - ing
all
the
j
#œfi
#œ
lin -
œ
œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
go.
In
37
& œ œ œ œ œ œ œ œ
pi - ning for, I'm whin - ing
be - tween the
Un - ion scene the
yearn - ing
for, I'm burn - ing
° œ œ œ œ œfij œ œ œ
&
40
sick
of bleed - in' wait - in'
¢&
bin - go!
for, I'm
ach - ing
for, I'm quak - ing
for, I'm
∑
for
MEN
œ œ œ œ œ
œ œ œ œ œ
Don - keys
43
œ
œ
œ œ œ œ œ œ œ œ
∑
∑
°
&
strip - pers and the
œ œ œ
œ œ œ
œ
œ
for, I'm
j
#œfi
#œ
œ œ œ œ œ
œ œ œ œ œ
∑
on
œ œ œ œ œ
œ œ œ œ œ
Œ
the beach,
Snog - ging
˙˙˙
(WOMEN)
∑
Change,
œ œ
œ œ
¢& œ œ œœ œ œ œ œœ œ
œ
œ
œ œ œ œ œ
œ œ œ œ œ
˙˙
˙
the
pier.
A
œœœ œœœ œœœ
˙˙
˙
change,
Œ
on
j
œ
œ
‰
change,
Bring it
∑
on
∑
nod, a wink, a prop - er drink, A - vom - it - ing on beer.
° ˙
& ˙˙
47
˙˙˙
Change,
change,
¢&
51
œœœ
Ó
Œ
change.
∑
°
&
˙˙
˙
Œ
Ϫ
#œ
œ
nœ ™
œ
Oh
I
do
like
to be
HAROLD
∑
Ó
∑
bbbœœœ œœœ œœœ
WOMEN
Vi - va East
¢&
œ
nœ ™
œ œ™
œ œ™
do
like
to be
be -side the...
œ
Ó
MEN
bbbœœœ œœœ œœœ
Vi - va East
Ϫ
bbbbb ‰ œœ ™™
Ϫ
-
œ
bourne,
Ϫ
be - side
Œ
bourne,
™
bbbbb ‰ œœœ™™
-
∑
‰
œ
the
˙
sea - side,
j
œJ œœ œœ œœ
The
Œ
œ
T. U. C.
j
‰ œœ œœ œœ œœ
J
The
T. U. C.
Ϫ
#œ
Oh
I
œœ œ œœ œœ
by
the sea.
œ œ œ œœ
œ
œ
by
the sea.
74
Made in Dagenham – Vocal Book
° bb b
& bb w
w
55
Ó
œœœ œœœ œœœ ‰ œœœ™™™
œœ œœ œœ
™
œ œ œ ‰ œœœ™™
Ó
60
∑
64
‰
˙˙˙
œœœ
air
our
views,
j
œ
œJ œ œ
œ
∑
Œ
Œ
‰
A week in which to
‰ œj œ œ œ œ
J
Œ
Ó
∑
j
œ œ
œJ œ œ
A week in which to
˙˙
˙
de - cide
Ó
Ó
Not ex - act - ly Tus - can - y
˙˙˙
MEN
The one thing to
bb
¢& b b b œœœ
œ œ œ œ œ œ œ œ Œ
Ó
WOMEN
∑
HOPKINS
Vi - va East - bourne,
° bb b
& bb
° bb
&b b b Œ
∑
Vi - va East - bourne,
bb w
¢& b b b w
bb b Œ
¢& b b
Ó
˙˙˙
œœœ
up
here
Œ
j œ
‰ œ œœ
J
Œ
We'll start
∑
˙˙
˙
˙˙
˙
booze
and
œœœ
the
œ
œ œœ
œœœ
re - vo - lu -
∑
∑
schmooze.
° bb b
& bb
68
œœœj œœ ™™
J Ϫ
Ó
∑
∑
Ó
- tion,
bb
¢& b b b
œœ
œ
œœ œœ
œ œ
Vi - va East -
∑
Œ
œ
œœ
œ
œœ
œ
Some - time next
w
w
w
year.
19a
Into TUC
(TACET)
Ó
œœ
œ
œœ œœ
œ œ
Vi - va East -
‰ œœ™
œ ™™
Ó
™
‰ œœœ™™
Ó
bourne!
bourne!
Made in Dagenham – Vocal Book
75
20
Stand Up
CUE:
RITA: Why can't she be a bloody doctor?
Colla voce
b 4
& b bbbb 4 Œ
RITA
¿ ¿ ¿
¿
E - ver get
b
& b bbbb Œ
5
j
¿ ¿ ¿ ¿
You know what’s
Se -cond
¿
¿
j
¿ ¿ ¿ ¿
j
¿
j
¿ ¿
the
j
¿ ¿
right
œ œ œ œ
at
¿
feel - ing you've been
but yet
they
make
¿
¿
cheat - ed
¿
for
j
¿ ¿
you
b
& b bbbb œ œ Œ Œ œ
prom - ised
b
& b bbbb
A Tempo
bb
& b b bb
ble
pi - cking
up
Ó
long?
¿™
it's
Œ
¿
so
¿
feel
œ œ œ œ œ w
nev - er comes
œ œ
the crumbs
œ ˙™
In 4
3
But some - how
wrong.
j
¿ ¿
Œ
œ
œ
œ œ œ
œ œ œ
Change
Stand up,
œ
œ
œ œ œ œ œ œ
RITA
Stand
œ
up,
œ
œ œ
is al - ways
œ ˙™
∑
∑
Stand up,
œ
œ
œ œ œ
œ œ œ
œ
œ
œ œ œ
œ œ œ
°
œ ™™
¢œ
œ
œ
œ œ œ
œ œ œ
SAFETY
b
& b bbbb œ
Ó
œ
œ
œ œ œ œ œ œ
œ
œ
stand up,
œ
œ œ œ œ œ œ
‰ œj œ œ
If you're with
œ
me
œ œ œ
then
RITA: We women have always supported you men, every time you needed us we've
been there and you never had to ask. So we've come here today because we need
you to vote for this Equal Pay Amendment.
b
& b bbbb
œ
w
RITA: In the war, women worked as doctors, bus drivers, land girls. Ergo we won that war together,
and yet women are still being asked to make do, to wait until tomorrow. Well when is tomorrow?
Ten years? Twenty years? Fifty years?
25
30
œ œ œ œ
˙™
the ta
14
21
¿
In 2
b
j
& b bbbb œ œ™
9
¿
6
34–39
put
œ
œ
œ œ œ œ œ
œ œ
your hand
™™ ü
†
˙
w
œ œ œ
°™ ÓSAFETY ‰
¢™
˙
Ó
up.
j
œ œ
RITA
the first
™™ ü
†
76
Made in Dagenham – Vocal Book
b
& b bbbb œ œ œ œ œ
41
step
that you put
b
& b bbbb
œ
œ
œ
œ
b °
& b bbbb ¢™™
up.
And then you
œ œ œ œ œ œ œ
make a stand for
ev - ’ry - one,
<b>œ ™
(RITA)
Ó
œ
œ œ œ œ
rides
œ
Ó
œ
on our shoul
œ
Ó
œ
Ó
j
œ œ
j
œ œ
œ
Ϫ
- ders
while
we’re
ta
° bb b b
& bb œ
73
œ
ing
-
bbb œ
¢& b b b œœ
WOMEN
œœ
œ
ask - ing
of
j
œ œ
for your
j
œœœ œœœ
for your
ev
-
’ry - thing
j
œ Ó
but kept
j
œ
j
œ œ
help
and
j
œœœ Ó
Œ
help
I
j
œ œ œ œ œ
ken
-
for
on the
œ
know
œ
that
‰ œœœ
J
œœ
œ
know
a
ride,
œœ
œ
that
out
-
by
our
side
and
‰
do
-
ing
Œ
j
œ œ™
j
œ
‰
So I'm ask-
j
œ œ
j
œ Ó
j
œœœ nœœœ
j
œœœ
mo -ney's tight
j
œ œ
But we
∑
mo -ney's tight
what
is
j
œ
we’re
side.
j j
j
b
j
j j
j
& b bbbb œ œ œ œ œ œJ œJ œ œ œ œ œ œj œ œj œj œ œ
stand - ing
Œ
‰ j œ œ
œ
œ œ œ
77
you
œ
J
The
b
& b bbbb œ œ œ œ œ œ œj œ œj œ ‰ œj œ œ œ œj œ ™
the heart
Ϫ
Stand up
69
in
œ
œ
53–58
Stand up
A tempo (CLICK IN)
world
6
∑
œ œ œ w
‰ Œ
Stand up
œ
œ
œ
œ
œ
œ œ œ œ œ œ
œ œ œ œ œ œ
accel. . . .
™™ ü œ
†
SAFETY
w
bb
& b b bb œ
65
hand
j
œ œ œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
49
60
your
‰
œ œ œ
'We're a family, the TUC. Brothers and sisters, comrades everyone, them your words, not mine.
You men, are you happy that your daughters will grow up to be second class citizens? Your daughters.
You can change this, you can, cos nothing changes if it isn't challenged. so stand up for women's
rights because, you know, if not now, when?'
b
& b bbbb
44
is
œ œ
right,
Ϫ
j
œ œ œ œ
oh,
j
œ
need
Made in Dagenham – Vocal Book
° bb b b
& bb œ œ Œ
‰ œj
bbb
¢& b b b œœœ œœœ Œ
j
‰ œœœ
81
Stand up,
WOMEN
Stand up,
stand
stand
œ œ ‰ œj œ œ œ œ œ œ œ œ
œ œ œ ‰ œj œ œ
œœ œœ Ó
œ œ
œœ
œ
up,
if you’re with me
85
a - round and face the fight,
bbb
¢& b b b œœœ œœœ œœœ œœœ œœœ œœœ œœœ
turn
° bbb ™
&b b b œ
88
a - round and face the fight,
j
œ ˙
come
bbb ™
¢& b b b œœ˙ ™
come
œ
on
œœœ
on
‰
bbb œ
¢& b b b œœ
Ó
up.
nœœ
œ
j
œ œ œ
And then you
95
j
œ ‰
up
b
& b bbbb ˙˙w™™
got
to learn to
œ
j
‰ œœœ
œœ
œ
Œ
stand
∑
On - ly
j
œœ ‰
œ
stand
On - ly
‰ œj œ
œœ
œ
j
‰ œœœ œœœ
the first
up,
the first
œ œ œ œ œ œ œ
make a stand for
ev - ’ry - one,
ev - ’ry - one,
You’ve got to
œœ Ó
œ
up,
way to
live your life,
œœ œœ œœ œœ œœ œœ œ
œ œ œ œ œ œ œœ
œ
up,
up,
œ œ œ œ œ œ œ
put things right,
j
‰ œ œ œ
>
yeah,
put your hand
put things right,
œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ
way to
live your life,
œ œ
œ œ œ œ œ
step is that you put
your hand
œœœ nœœœ
œœœ œœ œœœ œœœ œœœ
step is that you put
your hand
œ œ œ œ œ œ œ
then the bat - tle
will
be won,
œœ œœœ œœœ œœœ œœœ œœ œœ
œ
œ œ
then the bat - tle
will
be won,
j
j
œ œ œ œ œ œ œ œ œ ‰ œj œ œ œ œ œ
RITA
j
œœœ ‰
up
∑
to learn to
We won’t run
œœ œœ ˙˙ ™™
˙™
stand
got
œœ œœ œœœ
œ œ
j
œ ‰
œ œ œ œ œ œ
make a stand for
œ œ ˙™
stand
œœ
œ
put your hand
œ œ œ œ œ œ
b œœ œœ œœ œœ œœ œœ œœœ
up.
° bb b b ˙ ™
& bb
bbb
¢& b b b
œœœ
then
then
Stand up,
° bbb
&b b b œ œ œ
92
œ
Stand up,
j
œœ ˙˙˙
Œ
up,
° bb b b
& bb œ œ œ œ œ œ œ
turn
77
and
we won’t hide,
∑
TRIO WOMEN
pp
w
w
w
Ooh,
so don’t pass
∑
w
w
w
by
∑
w
w
w
on the
78
Made in Dagenham – Vocal Book
° bb b b j
& bb œ œ
100
oth - er
b b b ˙™
¢& b b b ˙˙ ™™
° bb b b
& bb ˙
104
3
j
œ œ œ ‰ œj œ œ œ ‰ œj œ
side;
Œ
wo - men
we are
one,
w
w
w
Ó
œ
œ
∑
we
are
(WOMEN)
just can’t
but I
ni - on.
tell you this for noth -ing we ain’t
w
w
w
w
w
w
MEN
w
w
w
w
w
w
-
œ œ œ œ œ œ œ œ œ œ
win
w
w
w
Ooh,
the U
w
w
w
j
œ œ
j
œ œ œ œ
œ
You might think that we
j
œœ ‰
œ
œ œ œ œ œ œ œ
œ
w
w
w
ooh,
b
& b bbbb ˙˙˙ ™™™
bbb
¢& b b b
men,
Œ
˙
Ooh,
108
° bb b b œj
j j
œ œ œ œ
& bb
giv - ing
b
& b bbbb ˙˙˙ ™™™
in,
b b b ˙™
¢& b b b ˙ ™
° bb b b
& b b ˙™
112
no
j j
j
œ œ œ œ œ œ œ œ ˙
what
j
œœ ‰
œ
j
œœ ‰
I
want
to
‰ j œ
œ
œ œ œ œ œ œ œ
say
w
w
w
Ooh,
w
w
w
w
w
w
w
is that to - day could be
w
w
w
ah,
w
w
Ooh,
œ
the day!
ah,
b
nnb bb œ œ Œ
RITA & MEN
Stand up,
‰ œj œ œ ‰ œj œ œ œ œ œ œ œ œ œ
stand
up,
if you’re with me then come on put your hand
b
& b bbbb w
w
w
b
nnb bb
∑
∑
∑
bbb
¢& b b b w
w
b
nnb bb
∑
∑
∑
Made in Dagenham – Vocal Book
b
& b bb œ œ œ
116
‰ œj œ œ
up,
You’ve got
b
& b bb œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ
& b bb œœ œœ œœ œœ œœ œœ nœœ
turn
Ϫ
On - ly way to live your life,
123
œ œ œ œ œ œ œ
to
119
come
˙˙˙™™™
127
come
b
& b bb
∑
∑
133
is
that you put
b
& b œœœ œœ œœœ œœœ œœœ
step
is
that you put
bb œœœ œœœ œœœ œœœ œœœ
¢&
step
is
that you put
œœœ
œœœ
Stand
up,
got
to learn to
‰ œœœ
J
Œ
∑
your
œ œ œ
hand
up.
œœ nœœœ
œ
œœ
œ
œœœ nœœœ
œœ
œ
your
your
° bb œ œ œ œ œ œ œ
&
136
then the bat - tle will be won,
b
& b œœœ œœœ œœœ œœœ œœœ œœœ œœœ
then the bat - tle will be won,
b œœ œœœ œœœ œœœ œœœ œœ œœ
b
&
œ
œ œ
¢
then the bat - tle will be won,
hand
hand
˙™
˙˙ ™™
w
stand
stand
w
˙˙ ™™
stand
nœœ
œ
then the bat - tle will be won,
b
nnb œœœ œœœ Œ
‰ œœœ
J
œœ œœ ‰ œœ œœ
œ œ
œ œ
J
stand
Stand up,
MEN
stand
œ
‰ œœ
J
b œ œ
nnb œœ œœ Œ
‰ œj œ œ
And then you
up.
œœ œœ ˙˙ ™™
˙™
œœ œœ ˙˙˙™™™
up
up
the first
up,
the first
up,
the first
œœ œœ
œ œ
œ œ ‰ œœ œœ
J
œ œ œ œ œ œ œ
make
a
stand for
ev - ’ry - one,
make
a
stand for
ev - ’ry - one,
make
a
stand for
ev - ’ry - one,
bœœ œœœ œœœ œœœ œœœ œœ œœ
œ
œ œ
Ó
up
stand
up,
œ œœ œœ œœ œœ œ œ
bœœ œ œ œ œ œœ œœ
up.
œ œ ˙™
the first
œ œ ‰ œj œ
Ó
nœœœ
‰ œœœ œœœ
J
‰ œ
J
Stand up,
œ œ
œœ
œ
nnbb œ œ Œ
Stand up,
ALL WOMEN
∑
put things right,
up,
CLICK STOPS
∑
j
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PRESIDENT: The equal pay amendment
is carried. Equal pay is TUC policy!
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Made in Dagenham – Vocal Book
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EDDIE: I'm sorry, Rite. I let you down. I let myself down. I don't suppose you'll have
me back, but I love you Rita O'Grady. It's amazing what you've done. Amazing.
RITA: Eddie, you big daft lump.
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BARBARA CASTLE: Emmeline Pankhurst won the vote for women, and is rightly esteemed by history. The
women of Ford Dagenham have changed the world today, and history should place these ordinary working
women alongside the suffragettes for having achieved Equal Pay, which is yet another step forward in the
continuing story of women standing up for their rights.
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Made in Dagenham – Vocal Book
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187
a tempo
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Made in Dagenham – Vocal Book
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Made in Dagenham – Vocal Book
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21
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DAGENHAM
Music by
DAVID ARNOLD
Lyrics by
RICHARD THOMAS
Book by
RICHARD BEAN
LIBRETTO / VOCAL BOOK
Josef Weinberger
MADE IN DAGENHAM
Music © Copyright 2014 by David G Arnold
Lyrics © Copyright 2014 by Richard Thomas
Book © Copyright 2014 by Richard Bean
Edition © Copyright 2015 by Josef Weinberger Ltd., London
All Rights Reserved
PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL
Applications to perform this work must be made,
BEFORE REHEARSALS COMMENCE, to:
JOSEF WEINBERGER LIMITED
12 - 14 Mortimer Street
London W1T 3JJ
United Kingdom
Tel: +44 (0)20 7580 2827
Fax: +44 (0)20 7436 9616
www.josef-weinberger.com
Version Dagenham Previews 8.4 (04 Nov 2014)
This edition: September 2015
MADE IN DAGENHAM
Cast
FORD FACTORY WORKERS:
Rita O’Grady – Eddie’s wife
Beryl
Connie Riley – Shop Steward
Sandra Beaumont
Clare
Cass
Eddie O’Grady – Rita’s husband
Sid & Bill – Union Shop Stewards
Stan
Barry – Apprentice Toolmaker
Monty – NUVB Convenor
FORD FACTORY MANAGEMENT:
Mr Hopkins – Managing Director, Ford Dagenham
Mr Tooley – Ford U.S. Executive
Ron Macer – Production Manager
Gregory Hubble – Personnel Director
OTHERS:
Harold Wilson – Prime Minister
Barbara Castle – Minister of Transport
3 Civil Servants – Aides to the P.M.
Lisa Hopkins – Wife of Mr Hopkins
Graham O’Grady / Sharon O’Grady – Rita and Eddie’s son and daughter
Mr Buckton (School teacher), Chubby Chuff (Comedian), Cortina Man (Singer)
Club Singer, Adams, Press Reporters, Photographers, Factory Workers, etc.,
Others as required / Doublings as required
The Musical is set in Essex in 1968.
Orchestra
Woodwind 1 (Flute, Alto Sax, Tenor Sax)
Woodwind 2 (Clarinet in Bb, Soprano Sax, Tenor Sax, Baritone Sax)
Trumpet (dbl. Cornet / Flugelhorn)
Keyboard 1 (Musical Director)
Keyboard 2
Keyboard 3
Guitar 1 (Electric, Steel Str. Acoustic, Ukelele in G)
Guitar 2 (Electric, Steel Str. Acoustic, 12 Str. Acoustic)
Bass Guitar (Electric, Double Bass)
Drums
Percussion
Bongos, Cabasa, Castanets, Congas, Crash Cymbal, Egg Shaker (small), Finger Cymbals,
Glockenspiel, Mark Tree, Mounted Tambourine, Piatti (small), Pin Chimes, Rainstick,
Shaker, Sleigh Bells, Snare Drum, Studio Shaker, Suspended Cymbal, Tambourine,
Timpani, Triangle, Typewriter, Woodblocks
Musical Numbers
ACT ONE
0.
Opening (Instrumental)
1.
Busy Woman (Rita, Sharon, Graham, Eddie, Women, Men)
2.
Made In Dagenham (Factory Workers)
3.
This Is What We Want (Sandra, Beryl, Rita, Cass, Clare, Factory Women)
4.
Union Song (Men)
5.
Wossname (Clare, Women)
5a.
Big Ben (Instrumental)
6.
Always A Problem (Harold Wilson, Aides)
6a.
Busy Woman (Barbara Castle) (Barbara Castle)
7.
Pay Day (Ensemble)
7a.
Club Music (Club Singer)
8.
I’m Sorry I Love You (Eddie, Rita, Men)
9.
School Song (Ensemble Men, Graham)
9a.
Into The Berni Inn (Instrumental)
10.
Same Old Story (The People)
11.
Union Song – Reprise (Ensemble)
11a.
Skilled Work (Instrumental)
12.
Everybody Out (Rita, Factory Workers)
12a.
Everybody Out – Play Out (Instrumental)
ACT TWO
12b.
Tooley’s Entrance (Instrumental)
13.
This Is America (Tooley, Ensemble)
13a.
This Is America – Tag (Instrumental)
13b.
This Is America – Reprise (Tooley, Two Men)
14.
Storm Clouds (Lisa, Tooley, Harold Wilson, Barbara Castle, Factory Men & Women)
14a.
Storm Clouds – Scene Change (Instrumental)
14b.
Car Showroom (Instrumental)
15.
Cortina! (Cortina Man, Five Girls)
15a.
Cortina – Play Out (Instrumental)
15b.
Tax Payer’s Bentley (Instrumental)
16.
The Letter (Eddie)
16a.
Into Parliament (Instrumental)
16b.
Press Music (Instrumental)
17.
Ideal World (Barbara Castle)
17a.
Into The Hospital (Instrumental)
17b.
Same Old Story – Scene Change (Instrumental)
18.
Nearly Had It All (Rita, Eddie, Women)
19.
Viva Eastbourne (Beryl, Cass, Sandra, Men & Women)
19a.
Into TUC (Instrumental)
20.
Stand Up (Rita, Eddie, Ensemble)
21.
Bows (Company)
22.
Play Out (Instrumental)
Made In Dagenham
1
MADE IN DAGENHAM
ACT ONE
SCENE ONE
Music No. 0: OPENING
Coming up to 7 a.m. in the bedroom of Eddie and Rita O’Grady. Spot on the alarm
clock clicking down. A ticking beat of music. Rita is making a cup of tea in the kitchen
whilst Eddie is asleep in bed. The alarm clock goes off.
Music No. 1: BUSY WOMAN
Rita
HEY THERE SLEEPY DREAMER
I JUST WANNA SAY
I LOVE YOU LOADS, YA STUPID SOD
WELL HERE GOES – ANOTHER DAY
(Life begins. Rita is the hub, the source of all knowledge, the engine
room, the everything.)
Sharon
MUM!!
Graham
MUM!!
Eddie / Sharon / Graham
WHERE’S MY, WHERE’S MY,
CAN’T FIND MY THINGS
CAN’T FIND MY, WHERE’S IT GONE?
WHY’S IT ALWAYS ME?
WHAT HAVE YOU DONE WITH ALL MY THINGS?
MUM!!!
MUM!!!
MUM!!!
(Whatever they’re looking for, Rita finds it and hands it to them. She
hangs out the washing, makes the breakfast, tidies the house, etc. The
2
Act One
family home, as a well organised machine, but entirely dependent on
the knowledge and energy of one person.)
Rita
EVERY MORNING, SAME ROUTINE
WE PLAY OUR LITTLE FAMILY GAME
NO-ONE KNOWS WHERE NOTHING IS
BUT GUESS WHO ALWAYS GETS THE BLAME
Sharon
MUM!!
Graham
MUM!!
Rita
TEETH!!
Eddie
Rita! I can’t find my favourite underpants!
Rita
I had to shoot ’em.
Eddie
You shot my underpants.
Rita
I had to put them out of their misery.
Eddie What?
Rita
In the airing cupboard!
Rita
IF YOU WANT SOMETHING DONE YOU
ASK A BUSY WOMAN
COZ YOU’RE WASTING YOUR TIME
ASKING A MAN
SHE CAN DO IN ONE HOUR
WHAT HE CAN’T DO IN TEN
IT’S THE BASIC EFFIN’ DIFFERENCE
BETWEEN US AND EFFIN’ THEM
IF YOU WANT IT DONE
THEN ASK A BUSY WOMAN
Made In Dagenham
Sharon
Mum, what do you want for Christmas?
Rita
An hour off.
3
Graham (To Sharon.) Biology homework?
(Sharon hands it over.)
Rita
What are you doing Graham’s homework for?
Sharon
A shilling. (To Graham.) For a shilling.
(Graham gives her a shilling.)
Graham
She wants to be a doctor. Ha, ha!
Rita
Girls are nurses, Sharon. That’s why we got you that nurse’s outfit.
Sharon
I want to be a consultant gastroenterologist!
Rita
You’re just saying that.
Eddie
WE LOVE YOU DAGENHAM DAGENHAM
WITH YOUR PARKS AND WATERFRONTS
OH DAGENHAM, DAGENHAM
SO GOOD THEY NAMED IT ONCE
Rita (Laughing.) Stop it, Eddie – you’re making us late.
Eddie / Sharon / Graham
OH DAGENHAM, DAGENHAM
WITH YOUR ANCIENT BYLAWS
Eddie
ROME WASN'T BUILT IN A DAY
Eddie / Sharon / Graham
BUT DAGENHAM DEFINITELY WAS
(On the last line of her song Rita puts a little present into Eddie’s
snap tin. This is no ordinary present, but something wrapped, with a
ribbon – special.)
4
Act One
Eddie
Cup of tea eh, doll?
Rita
Yes please, I’d love a cup of tea. Is life like this everywhere?!
(Chorus enter.)
Mother Chorus (Women)
IF WANT SOMETHING DONE YOU
ASK A BUSY WOMAN
COZ YOU’RE WASTING YOUR TIME
ASKING A MAN
SHE CAN DO IN ONE HOUR
WHAT HE CAN’T DO IN TEN
IT’S THE BASIC EFFIN’ DIFFERENCE
BETWEEN US AND EFFIN THEM
IF YOU WANT IT DONE
THEN ASK A BUSY WOMAN
(Rita spits on her hanky and wipes some grime off Sharon’s face.)
Sharon (Fighting her off.) Uurgh!
Rita Whatsamatter?
Sharon
It’s spit!
Rita
This ain’t spit, this is mother’s spit
(The chorus line of mothers spit into hankies, and wipe their children’s
faces.)
Chorus
MOTHER’S SPIT!
MOTHER’S SALIVA!
AIN’T NO GERMS
THAT CAN SURVIVE HER!
(With a kiss Sharon is out the door. Graham turns, is about to go.)
Rita
Oi! Come here. Show me your hand.
Made In Dagenham
(Graham shows his hand.)
He’s hit you again ain’t he?!
Chorus (Sung.)
BASTARD!
Graham
Mum! It don’t hurt.
Chorus (Sung.)
BASTARD!
Rita (To Eddie) Eddie, Graham’s getting caned at school. Mister
Buckton –
Chorus (Sung.)
BASTARD!
Rita
He’s paid to teach him Latin, not attack him with a stick.
Eddie
He can’t treat him any different just cos he’s a scholarship boy.
Graham
Don’t come into school mum!
Rita (Overly dramatic.) Oh, you’re ashamed of me are you?!
Graham Yes!
Sharon
Watch out Dad, Mum’s gone into one.
(And Graham is gone with a slam of the door.)
Rita
Alright, Eddie?
Eddie
Yeah. What?
Rita
What’s today?
Chorus
THINK, WHIRR, CLICK, CLICK, WHIRR
Eddie
Tuesday.
Rita Tuesday?
5
6
Act One
Chorus
THINK AGAIN, WHIRR, CLICK, CLICK, DURR
Eddie Innit?
Rita
Is it a special Tuesday?
Chorus
REMEMBER, YOU MEMBER
Eddie (Beat.) Pancake day?
Rita
Go to work, you big lump.
Eddie
Love you!
(Eddie moves in for a kiss. Rita kisses him lightly on the cheek,
though he’ d offered his lips. He’s gone. Out the door.)
Rita
EVERY YEAR, THE SAME ROUTINE
WE PLAY OUR ANNIVERSARY GAME
Chorus / Rita
HE FORGETS
Rita
AND I REMEMBER
THE DAY I TOOK HIS
Chorus / Rita
STUPID NAME
Chorus
SHUT THE DOOR, WERE YOU BORN IN A BARN?
WIPE THOSE BOOTS YOU DON’T LIVE ON A FARM
HOW DID YOUR LAST SERVANT DIE?
WHY? BECAUSE I SAID, THAT’S WHY
EAT YOUR GREENS OR YOU WON’T GROW
THERE’S KIDS STARVING IN AFRICA, YOU KNOW
BEDS AIN’T MADE FOR JUMPING ON
Made In Dagenham
YOU’LL ALL MISS ME WHEN I’M GONE
(Door opens and Graham stands there, hand out, and is given his
bus pass.)
Rita
Bus Pass!
All
IF YOU WANT SOMETHING DONE
ASK A BUSY WOMAN
SHE’S GOT MORE ENERGY
THAN THE SUN
SHE’S ALWAYS THERE NO MATTER WHAT
IF YOU LOSE YOUR KEY OR LOSE THE PLOT
THE STRENGTH OF A RHINO
THE PATIENCE OF A NUN
IT AIN’T NO SPRINT IT’S A MAR ATHON
EVERY LOVING MINUTE
OF EVERY LOVING DAY
TESTS OUR LOVING NATURE
IN EVERY LOVING WAY
MOTHERS, SISTERS, DAUGHTERS
LOVINGLY WE SAY
WE GOT THIS FEELING
THIS WONDERFUL FEELING
IT’S GONNA BE ANOTHER
KIDDY HUGGING
HEART TUGGING
TEA SLUGGING
EVER LOVING
MOTHER LOVING
WORKING DAY
IF YOU WANT IT DONE THEN ASK A BUSY WOMAN
(Rita is out the door and gone with a slam of the door.)
(End of scene.)
7
8
Act One
Music No. 2: MADE IN DAGENHAM
Men
THE SMELL OF SUMP OIL FILLS THE AIR
ONE WEEKS SWARFEGA IN MY HAIR
I JUST CLOCK IN AND DO MY TIME
AT FIVE O’CLOCK MY LIFE IS MINE
A FANBELT, GEARBOX OR A CLUTCH
WE’RE MEN WHO’VE GOT THE MIDAS TOUCH
WE’RE PROUD OF WHAT GOES INTO IT
GIVE IT A KICK IF IT DON’T FIT
BLUE COLLAR CAR MEN
THAT’S WHO WE ARE
SHAME MOST OF US
CAN’T AFFORD A CAR
WHEY!
MADE IN DAGENHAM
LAID IN DAGENHAM
SHAME WE’RE UNDERPAID IN DAGENHAM
MADE IN DAGENHAM
WE ARE DAGENHAM BOYS
Solo 1
I LOVE MY JOB, IT IS A GIFT
Solo 5
A LOVELY STINKING EIGHT HOUR SHIFT
Eddie
SEE HOW THE FAC-TO-RY DOTH SHINE
Solo 2
FROM EUROPE’S LARGEST NEON SIGN
Solo 6
WE’RE FAMOUS FOR MISTER HENRY FORD
Made In Dagenham
All Men
FROM WHOM ALL GOODNESS STEMS
Solo 7
APART FROM THE POLLUTION
Solo 8
THAT HE DUMPS INTO THE THAMES
Solo 3
AND OOOOH DUDLEY MOORE
MAN, HE WAS SLICK
Solo 4
BUT HE GOT A LITTLE FAMOUS
All Men
AND HE FUCKED OFF PRETTY QUICK.
MADE IN DAGENHAM
LAID IN DAGENHAM
LAST YEAR WE HOLIDAYED IN DAGENHAM
MADE IN DAGENHAM
WE ARE DAGENHAM BOYS
Solo 8
A HALF PINT THERMOS
Solos 3, 7, 5
AND MY STEEL CAP BOOTS
Solos 8, 2
OUR OVER ALLS PROTECTIVE
All Men
IT’S THE WORKING MAN’S SUIT
STATE OF THE ART MACHINERY
HEALTH AND SAFETY GUAR ANTEE
MAINTAINED DAILY THROUGH AND THROUGH (Bang!)
BY ENGINEERING EXPERTS AND SOME SUPER GLUE!
9
10
Act One
MADE IN DAGENHAM
LAID IN DAGENHAM
COME GET YOUR CAT SPAYED IN DAGENHAM.
MADE IN DAGENHAM
WE ARE DAGENHAM BOYS
All (Men /Women)
PLAYED IN DAGENHAM
STR AYED IN DAGENHAM
LIFE IS READY-MADE IN DAGENHAM
GOD KNOWS WHY WE STAYED IN DAGENHAM
TEMPERS GETTING FR AYED IN DAGENHAM
COZ STILL WE’RE UNDERPAID IN DAGENHAM
WE ARE DAGENHAM GIRLS
BOYS
GIRLS
BOYS
GIRLS
OOOH
WE ARE MADE IN DAGENHAM
SCENE TWO
The River Plant. Beryl (front row) and other girls (back row). Enter Rita who takes a seat
at her machine.
Beryl
Alright Rita? Are you getting any?
Rita
Sex or loving?
Beryl
Oh! There’s a difference, is there?
(Enter Cass.)
Beryl
Alright Cass?
Cass (Sarcastic.) Yeah, I love it here.
Beryl
Are you getting any?
Made In Dagenham
Cass
Lord Jesus, Beryl!
(They laugh. Enter Clare.)
Beryl
Hello Clare! Are you getting any?
Clare (Giggles.) Stop it!
Rita
Gonna be hot in this shed today.
Clare
Yeah, and I got two hours whatsaname tonight.
Beryl
Overtime.
Clare
Yeah.
Cass
What are you saving up for, Clare?
Clare
A you know –
Beryl
Deposit.
Clare
– on a –
Beryl
– flat.
Clare
Yeah.
Emma
What’s he do, your Ken?
Clare
Mother’s Pride, he makes bread.
Beryl
So he’s a master baker is he?
Clare
No, he’s got me.
Cass
Are you gonna marry him?
Clare
I gotta save a bit up first.
Beryl
Bollocks, you’ve been giving it away!
Cass
In an ideal world where would you like to get married, Clare?
11
12
Act One
Clare
Er . . . Woodford Registry office.
Cass
C’mon, girl, I said in an ideal world.
Clare
I’ve always wanted to get married in the countrySide.
Beryl
Woodford ain’t the countrySide!
Clare
But it’s near Chigwell . . .
Beryl
Yeah, and Chigwell ain’t the Seren-fuckin’-geti!
Cass (Kisses her teeth.) You wanna get yourself some dreams, girl!
Rita
Cass is gonna be an airline pilot aren’t you, Cass?
Cass
Before I’m thirty-five.
Beryl
Who’s gonna get on your plane? A black woman pilot?! Fuck off!
(Enter Sandra.)
Cass
Here’s trouble!
Rita
Morning Sandra!
Sandra
Alright girls!
Beryl
Alright Sandra, are you getting any?
Sandra (Sung.)
YEAH, YEAH, YEAH, YEAH, YEA A A A A AH.
Beryl
Dirty cow.
Sandra
Oi Cass, what you got your dog teeth set on?!
Cass
Seven. For welts!
Clare
It’d be a lot easier if we had a whatsaname with a you know.
Jo
A transport system with a top feed?
Beryl
That’d be a bit too fucking twentieth century, that would!
Made In Dagenham
Sandra
I put it on seven and it’s still sticking.
Beryl
Drop the dog teeth lower then, you daft slapper!
Clare
Or use some, you know, fing.
Cass
Wax!
Beryl
You wanna try sleeping at nights, girl!
Rita
Who’s this one then, Sandra?
13
Sandra Richard.
Cass
What’s he do?
Beryl
Everything by the sounds of it!
Sandra
He’s a driving instructor. At British School of Motoring.
Beryl
No! He’s not that British School of Motoring’s Richard?
Sandra
Yeah. What about him?
Beryl
I’ve had him!
(Cheers. Enter Barry, a young apprentice.)
Girls
Woah! / Barry! / Woo!
Barry
Oh Jesus.
Rita
You look tired, Barry?
Barry
No, I’m not tired.
Beryl
Alright, Barry. Are you getting any?
Barry
Please don’t talk to me.
Rachel
Barry! My tension discs are rubbing together. They’re getting hot.
Cass
What’s your job title, Barry?
14
Act One
Barry
I’m an apprentice toolmaker.
Beryl
Does that involve a lot of grinding?
Barry
Yeah. If you want to make the tools hard.
(Laughter. Barry turns to go. But as a parting shot in revenge . . . )
Barry
At least it’s skilled work, not like sewing.
Rita
Oi! This is skilled work.
Barry
Not any more, it ain’t.
(Barry exits.)
Beryl
He’s alright is Barry. I’d take me teeth out for him.
(Enter Connie and Monty, the NUVB, River Plant, Convenor.)
Connie
Girls! You can machine off this is official union business.
Cass
It’s hot hot hot hot in here, Monty!
Beryl
Yeah, I’m sweating like a fucking kestrel.
Monty
Conditions in this shed have been minuted at the Health and
Safety Committee.
Beryl
Oi Connie, could I get paid for sitting around in union meetings
drinking tea?
Connie
Have you read the union rule book?
Beryl
Yeah I have, it was brilliant, I couldn’t put it down.
Rita
Put a sock in it, Beryl.
Connie
Me and Monty have been at the Pay Review Committee.
All along, I’ve been asking for a re-evaluation of our grading –
Monty
An I’m here cos Connie needs to sign off the new job evaluation
scheme.
Made In Dagenham
15
Beryl
Are we getting a pay rise or not?
Monty
To cut a long story short you ladies have been evaluated as grade
B.
Cass
That’s an upgrade then, we were grade C.
Connie
No, it ain’t. It’s an unskilled grade.
All
Unskilled? / We’re skilled! / That ain’t right / Wot!?
Rita
You can’t expect us to agree to that.
Sandra
Who else has signed up to this?
Monty
All the men. The TGWU, AEU, AUEW.
Beryl
I don’t care if the RAC, the IOU and the PMT have signed, we’re
not signing!
Sandra
I ain’t working unskilled in this shitheap.
Connie
In my book this is indefensible.
Beryl
Why did you agree to it then!?
Connie
I was outvoted, by the men.
Monty
Look girls, I know what you want –
Rita
– no you don’t. We want templates for this leatherette.
Beryl
And new machines! I’m not saying this machine’s old, but the
manual’s in fucking Latin.
Monty
Alright, what do you want?
Music No. 3: THIS IS WHAT WE WANT
Sandra
I WANT A CHAIR THAT JUST DON’T CREAK
I WANT A ROOF THAT JUST DON’T LEAK
I WANT A BOSS THAT AIN’T A . . .
16
Act One
All
FREAK
Beryl
I WANT A BOG THAT DOESN’T REEK
All
DOESN’T REEK
DOESN’T REEK
Monty
Ladies, are you going to be serious or what?
All
DOESN’T REEK
DOESN’T REEK
Rita
WE WANT MACHINES
THAT AREN’T SO LOUD
YOU HAVE TO YELL
Cass
WE WANT TO WORK IN PLACES
THAT AIN’T HOT AS HELL
Solo (F4)
WE WANT SOME CHOCOLATE
THAT WON’T MAKE US FAT
All
JUST GIVE US LOADS OF THAT
LOADS OF THAT
LOADS OF THAT
Solo (F2)
I WANT THE CANTEEN RUN BY
WIMPEY’S RESTAUR ANT
Sandra
I WANT MY OVER ALLS DESIGNED
BY MARY QUANT
Made In Dagenham
Solo (F3)
I WANT THE FACTORY MOVED TO
SOUTHERN SPAIN
Beryl
I WANT MY DOORS BLOWN OFF
BY MICHAEL CAINE
All
(MICHAEL CAINE)
ALL I REALLY WANT TO SAY
IS THROW A LITTLE CRUMB THIS WAY
A TINY TEENY WEENY LITTLE TOUCH
IT’S NOT AS IF WE’RE ASKING FOR MUCH
SPREAD SOME JOY AROUND THE PLACE
PUT A SMILE ON MY FACE
DON’T MESS WITH US
COS THIS IS WHAT WE WANT
Beryl
Go on, Clare, you say something.
Clare
A CHANGING ROOM THAT DOESN’T
ALWAYS SMELL OF SHIT
Beryl
EGYPTIAN COTTON TOWELS
TO WIPE MY SWEATY BITS
Sandra
CHANEL PERFUME ON TAP
AND SERVED FOR FREE
Beryl
I WANT BARRY TO
SERVICE ME
All
(SERVICE ME)
17
18
Act One
(All)
ALL WE REALLY WANT TO SAY
IS THROW A LITTLE CRUMB THIS WAY
A TINY TEENY WEENY LITTLE TOUCH
IT’S NOT AS IF WE’RE ASKING FOR MUCH
SPREAD SOME JOY AROUND THE PLACE
PUT A SMILE ON MY FACE
DON’T MESS WITH US
COS THIS IS WHAT WE WANT
I’M
I’M
I’M
I’M
I’M
I’M
I’M
PINING FOR,
WHINING FOR,
YEARNING FOR,
BURNING FOR,
ACHING FOR,
QUAKING FOR,
SICK OF BLEEDIN’ WAITIN’ FOR
CHANGE, CHANGE, CHANGE
BRING IT ON
CHANGE, CHANGE, CHANGE
I’M MOANIN’ FOR
GROANIN’ FOR
PR AYIN’ FOR
BR AYIN’ FOR
SCHEMIN’ FOR
SCREAMIN’ FOR
AND STILL WE’RE ONLY DREAMIN’ FOR
CHANGE, CHANGE, CHANGE
KEEP DREAMING OF CHANGE
CHANGE, CHANGE, CHANGE
SO WHY DON’T YOU GET ON THE CASE
BEFORE WE SMACK YOU IN THE FACE
DON’T MESS WITH US
COS THIS IS WHAT WE WANT
Made In Dagenham
19
DON’T MESS WITH US
COS THIS IS WHAT WE WANT
Beryl
Did you get that, Monty?
Monty
Yeah, loud and clear. As I’ve always said if a job’s worth doing, it
can wait until tomorrow.
(Exit Monty. Beryl starts clapping.)
Beryl
Why didn’t we know about this, Connie?
Connie
I’ve only just found out myself.
Beryl
No! I think she goes swanning off to these here job evaluation
meetings so you can see more of Monty.
Rita
Why are we fighting amongst ourselves?
Beryl
You want a fight? Alright! Outside!
Sandra
Beryl, shutup!
Clare
Yeah, and mind your whatsit –
Rita
– Language.
Beryl Bollocks.
(They go back to work.)
SCENE THREE
(Union Convenors’ office at Ford. This is an office for the convenors and shop stewards to
use, though it is within the suite of management offices. Present are Bill (TGWU) and Sid
(AUEW).
Music No. 4: UNION SONG
Men
BROTHERS AND SISTERS
COMR ADES EVERY ONE
20
Act One
FIGHT FOR YOUR FUTURE
AND THE UNION
THE RIGHTS OF MAN
ARE THE RIGHTS GOD GAVE
WE WORK TOGETHER
OR WE DIE AS SLAVES
(Enter Monty. He picks up his Tupperware snack box.)
Sid
What you got there comrade?
Monty
Jammy Dodgers.
Sid / Bill Phwoargh!
(Sid and Bill take his Jammy Dodgers. Monty is unhappy.)
Sid
All property is theft, Monty.
Monty
Listen, the girls are not happy.
Bill
What’s their problem? You’ve had her ain’t yer, that Connie?
Monty
None of your business, is it.
Sid
There can be no personal secrets in the revolution comrade.
Monty
Me and Connie was a long time back.
Bill
Who else you had in that shed, comrade? Beryl?
Sid
Urgh! Sandpaper.
Sid / Bill
Rough.
Sid
So, they won’t sign?
Bill
No, Connie’s not happy.
Sid
I’m not Sneezy.
Bill
And I’m not Doc.
Made In Dagenham
Sid
Comrade, I represent two thousand engineers. Bill here –
Bill
– One thousand fitters –
Sid
– and every one of them’s got a proper man’s hairy arse.
Bill
It’s only your two hundred effing women that are effing it up.
(Sid spots Mr Hopkins walking towards the Convenor’s office.)
Sid
Management. Hopkins?
Bill
Wahey! Must’ve had the yanks on the blower, are we letting him
in?
Monty
I don’t have a problem with Hopkins.
Bill
That’s because you’re a bourgeois revisionist running dog.
Monty
And what are you?
Bill
West Ham.
(Bill goes to let him in.)
Sid
Wait! Anyone got any farts?
(They all try and fart, Sid succeeds. Enter Hopkins. They remain
seated.)
Hopkins
Alright lads. Jesus, phwo! . . . Sid, what’s this about the NUVB
not signing off the new grades?
Sid
My boys have signed.
Bill
It’s the girls.
Hopkins Monty?
Monty
Yeah, the girls are not happy about being downgraded.
Hopkins
Who wouldn’t be. It’s your job, Monty, to persuade them of the
bigger picture. Management and Union. It’s a long game.
21
22
Act One
Sid
It’s test match cricket.
Hopkins
It’s a game of give and take. You scratch my back.
Bill
I scratch yours.
Sid
And what a beautiful back it is, Mr. Hopkins.
Hopkins
Thank you, Sid. Monty, it’s a done deal. The men are happy. The
vote was overwhelming.
Bill
Five thousand men. Two hundred women.
Hopkins
You can’t win.
Bill / Sid Oooh!
Hopkins
Monty, your hands are tied and I’ve got your balls in a Kenwood
Chef.
Monty
But I represent these women. Look, can we do something
procedural so things don’t come to a head?
Hopkins
Sid? Any ideas?
Sid
We could confuse the poor little darlings with some totally
incomprehensible bollocks.
Hopkins
The grievance procedure?!
Bill
The grievance procedure was Connie’s idea.
Sid
She’ll have to comply.
Hopkins
That is brilliant! Tomorrow morning, head office, Warley.
Sid Afternoon.
Bill
After lunch.
Monty
Berni Inn.
Sid / Bill Phwoargh.
Made In Dagenham
(Hopkins exits.)
Bill
Go on then!
Sid
Fuck off, Monty!
Bill
Win ’em over.
Sid
If you’re not back in half an hour we’ll drag the river.
(Monty leaves.)
SCENE FOUR
In the factory, machines working, so they’re shouting at each other.
Sandra
Who else is B grade?
Connie
The cleaners. Unskilled assembly.
Rita
My Eddie.
Cass
We ain’t unskilled.
Beryl
It ain’t just anyone who can freddle a needle!
Rita
You have to take three tests to get in here.
(Enter Monty.)
Monty
Alright ladies, I’ve spoken to the management –
Beryl
– bastards!
Monty
– and we’re gonna insist on registering a formal grievance.
Rita
Hang on! I just thought, what about the girls at Dunton?
Cass
Yeah, they do the same job as us.
Monty
They have, anomalously, been given C grade. Skilled.
All (Uproar / Complaints.)
23
24
Act One
Monty
They work in a pressurised environment.
Sandra
We got our own environmental problems here.
Monty
Like what?
(A dead pigeon falls from the ceiling and lands at Monty’s feet.)
Beryl
Like that!
Cass
I’ll betcha Ford’s American factories ain’t like this boy!
Monty
We go to Head Office tomorrow, me, Connie, and Sid.
Connie
I don’t want Sid. I want one of the girls.
Cass
Take Beryl.
Rita
Yeah, she can do the swearing for you.
(They laugh.)
Clare
– Don’t take Beryl, she could start a –
Cass
– fight.
Clare
– in a –
Beryl
– plough field.
Rita
We want a fight!
Clare
I’ll go. I’ll tell ’em.
Beryl
What would you say, Clare?
Music No. 5: WOSSNAME
Clare (Starts speaking, and ends up singing.) I’d say . . . er . . . er . . . hang
on . . . er . . .
WELL ’ERE IS THE FING
THE FING ’ERE IS THIS
25
Made In Dagenham
AND DON’T NO-ONE START
TAKING THE PISS
COS WHEN SUMMINK AIN’T RIGHT
THEN SUMMINK IS WRONG
THERE'S A SMELL IN THE AIR
AND THE PONG IS QUITE STRONG
I BEEN AT THIS GAME
SINCE I WAS FOURTEEN
I KNOW MY WHATSISCALLED
DYAKNOWHWATIMEAN?
SO OUJAH K APIVUWAT
LAH DEE DAH AND GOODBYE
I AM WHAT I AM
COS I’M ME, AIN’T I?
Monty
Is this a wind up?
Clare Women
I KNOW WHAT'S GOING ON
(OO . . . )
YES I KNOW THE GAME
(OO . . . )
AND I KNOW THE WHATSIT
(OO . . . )
ABOUT THE WHATISNAME
(OO . . . )
AND I KNOW WHAT'S RIGHT
AND I KNOW WHAT'S FAIR
BUT SUMMING IN THIS FING
WELL, I DUNNO – AIN'T THERE
THERE’S LOTSA – YA KNOW
BLAH DEE BLAH DEE BLAH
YEAH NO, YEAH NO, YEAH NO
AND OUJAH OUJHA
BUT I TALK IT STRAIGHT
AND I TALK IT PLAIN
WHAT YOU SEE IS
WHAT YOU WOTSANAME
(OO . . . )
(OO . . . )
(OO . . . )
(OO . . . )
26
Act One
Clare Women
LIFE HERE AIN’T FAIR
(OOOH . . . )
AND PEOPLE GET THE BLAME,
(OOOH . . . )
YEAH YEAH (YEAH YEAH)
(YEAH, YEAH)
BUT YOU STAY FIRM AND TRUE
(OOOH . . . )
STICK TO THE WHATSITSNAME
THAT’S DEEP INSIDE YOU
OUJAH, OUJAH
Clare (Huge, anthemic.)
I'M ME
Women
SHE’S HER
Clare
AIN’T I
Women
NO D’UH
Clare
AND WE DON'T SEE EYE-TO-EYE
Women
SEE EYE . . . , GET HER!
Clare
AND YOU
Women
YOU WHO?
Clare
YOU’RE YOU
Women
US TOO!
Clare
AND WE AIN’T GOT
A BLEEDIN’ CLUE
Made In Dagenham
All
27
Speak for yourself, love!
Clare
THE PAST IS IN FRONT
AND THE FUTURE’S BEHIND
FANKS FOR HEARING ME OUT
IT’S A WEIGHT OF MY CHEST
WE’VE ALL BEEN THERE
AND NOW WE’RE HERE
THAT’S ALL I’VE GOT TO SAY
DO I MAKE MYSELF CLEAR?
Rita
Your heart’s in the right place, Clare.
Beryl
But they fucked everything else up.
Connie
It won’t work, love.
Clare
Why not?
Beryl
’Cause you couldn’t find your own arse wiv both ’ands!
(Clare goes back to work, machining.)
Connie
What about you, Rita?
All
Rita! / Yeah Rita! / Rita O’Grady! / Good idea!
Rita
Me? No! I can’t talk union stuff.
Cass
It’s a day off, girl!
Beryl
Berni Inn. Free lunch.
Rita
Yeah?! Ooh, alright then.
Beryl
Machine off ! Everyone. We ain’t doing no more work today.
Monty
No! All workplace disputes have to be arbitrated in accordance
with the grievance procedure. Or we’ll be up shit creek without a
paddle.
28
Act One
Beryl
If all you want’s a paddle mate, I’ll fucking knit you one.
Sandra
You come in here, Monty, swinging your dick like you’re running
the country, well you ain’t running the country.
Clare
Yeah. No. You ain’t running the country, that’s someone else.
(End of scene.)
Music No. 5a: BIG BEN
SCENE FIVE
Big Ben chimes. Harold Wilson with three Civil Servants.
Harold
How many strikes has the UK suffered this year?
Aide 1
Twenty-six thousand, Prime Minister.
Harold
We’re 66th for industrial productivity, behind Chad. Where is
Chad?
Aide 2
65th, Sir.
Aide 1
Chad is a small African nation with seventeen goats, and a string
farm.
Harold
Seventeen goats, and a string farm, and they’re ahead of Great
Britain?
Aide 1
All their goats work.
Aide 2
Britain is currently top of the world league table for industrial
unrest.
All Champeeeeons!
Aide 3
You can take your coat off Prime Minister. You’re indoors.
Harold
Gannex pay me to wear it. At all times. It’s work. I’m trying to set
an example . . .
Made In Dagenham
Music No. 6: ALWAYS A PROBLEM
Harold
WHAT WOULD YOU DO IF YOU WERE ME?
WHAT’S YOUR POLITICAL STR ATEGY?
YOU HAVE TO FAKE SINCERETY
AND BRUSH UP YOUR MACHIAVELLI
WHAT WOULD YOU DO IF YOU WERE ME?
WHAT KIND OF LEADER WOULD YOU BE?
EVERY DAY A CRISIS OR SURPRISE
DO YOU STAND FIRM OR COMPROMISE?
THERE’S ALWAYS A PROBLEM
WAITING IN THE WINGS
THAT’S ALWAYS BEEN THE PROBLEM
FOR PRIME MINISTERS AND KINGS
BUT WHAT KEEPS ME UP AT NIGHT
AND MAKES ME VERY TENSE
IS THE PROBLEM OF
THE BALANCE OF PAYMENTS.
Aides
UPTIGHT, HIGHLY STRUNG
MAKES HIM VERY TENSE
WHEN IT COMES TO
THE BALANCE OF PAYMENTS.
Harold
IMPORTS, EXPORTS
DEFICIT OR SURPLUS
Aides
CAPITAL INFLOWS
ECONOMIC CIRCUS
Harold
IN LAYMAN’S TERMS
WHEN IT COMES DOWN TO IT
IF YOU BUY MORE THAN YOU SELL
THEN YOU ARE REALLY IN THE SHIT.
29
30
Aide 1
Act One
Actually, Prime Minister, the correct term is “visible trade deficit”.
Harold
YOU CAN CALL IT WHAT YOU LIKE, SON
WE’RE REALLY IN THE SHIT.
Aides
THERE’S ALWAYS A PROBLEM
WAITING IN THE WINGS
THAT’S ALWAYS BEEN THE PROBLEM
FOR PRIME MINISTERS AND KINGS
WE MAKE GREAT THINGS
WHICH WE SELL WHEN WE CAN
BUT THE WHOLE WORLD
WANTS TO BUY GERMAN
Harold
ANOTHER LITTLE PROBLEM
WITH WHICH All WE ARE BLESSED
IS A GREAT DEAL OF
INDUSTRIAL UNREST
STRIKES HERE STRIKES THERE
IT JUST AMAZES ME
WHEN THE DAFFODILLS COME OUT
THE MEN COME OUT IN SYMPATHY
WE NEED IDEAS AND
WE NEED A PLAN
TO PUT THE GREAT
INTO GREAT BRITAIN
Aides
UPTIGHT HIGHLY STRUNG
BRINGS HIM OUT IN A SWEAT
WHEN HE THINKS OF THE SIZE
OF THE GREAT BRITISH DEBT
Harold
ARGHH
Made In Dagenham
Aides
DEBT
Harold
ARGHH
Aides
DEBT
Harold
ARGHH
Aides
DEBT
Harold
ARGHHHHHHHHHHHHHH!
(The Aides go into a huddle.)
Aide 1
Sir, how do you feel about quantitative easing?
Harold
I don’t need it, I’m very regular.
Aide 3
But this is an emergency.
Harold
In an emergency I have two black coffees and a cigarette.
Aide 2
Printing money.
Harold
Printing money? Can we do that?! Brilliant!
All
NO MORE BLOODY PROBLEMS
IN THOSE BLOODY WINGS
PRINTING CASH WILL MAKE US
ALL MORE POWERFUL THAN KINGS
THIS IS THE MASTER PLAN
TO CURE OUR ECONOMY
Harold
IT HAD BETTER BLOODY WORK
COS THERE AIN’T NO PLAN B
31
32
Act One
All
WE LOVE OUR COUNTRY
THE GREATEST ON THE EARTH
WITH IT’S IMMORTAL INDUSTRIES
FROM MINING TO WOOLWORTHS
THEY’LL STILL BE AROUND
WAY AFTER WE’RE GONE
WHICH, JUDGING FROM STATE OF THINGS,
WON’T . . .
BE . . .
VERY . . .
LONG!
Harold
OH SHIT!
Aide 3
Printing money never solved anyone’s problems. You’re going to
have to take on the unions.
Harold
I’ll create a new cabinet post. Secretary of State for Taking on the
Unions. Candidates?
Aide 1
Michael Foot.
Harold
Communist. He won’t be happy until we’re eating pickled
beetroot, drinking petrol and shagging our sisters.
Aides 3
Barbara Castle!
Aide 2
But she’s Minister of Transport.
Harold
Is she busy?
Aide 1
She’s learning to drive.
Harold
Get her in here.
Aide 2
She’s a woman.
Harold
Good! She can do her own typing.
(Enter Barbara Castle.)
Made In Dagenham
33
Music No. 6a: BUSY WOMAN (BARBARA CASTLE)
Barbara
HERE I AM – WELL WHAT DO YOU WANT?
I HAVEN’T GOT ALL DAY YOU KNOW
JUST BROUGHT IN THE BREATHALYSER
ALL YOU HAVE TO DO BLOW
I’M FIGHTING FOR AN IDEAL WORLD
AS WELL AS ALL THE HOUSEHOLD CHORES
AND DON’T FORGET YOUR SEATBELT, PLEASE
I JUST PASSED THE SEATBELT LAWS
Barbara
What is it Prime Minister? Spit it out! I’m a busy woman.
All
(Audience aside.) FIERY! LIKE HER HAIR!
Harold
Barbara, you know when you’ve lent your lawn mower to a friend
because you can see that the neighborhood would be improved if
he mowed his lawn.
(Barbara and Aides look quizzically at the audience.)
He forgets to return it. He starts to think it’s his. He goes around
mowing other people’s lawns, he’s out of control. Field mice and
voles lose their habitats. Every green shoot is mowed down, until
finally, a once green and pleasant land is brown and lifeless.
Barbara
If you want to talk about the union’s abuse of power, don’t use silly
metaphors. I don’t beat around the bush.
All
(Audience aside.) FIERY! LIKE HER HAIR!
Harold
The Labour Party is dependent on the trade union movement.
Barbara
You can’t tell me anything about the trades unions. I paid my first
union dues when they were still on the tit!
Harold
Barbara, Barbara! It’s easy being the opposition, it’s just a lot of
eating and drinking, but we’re the Government now.
Barbara
I came into politics to improve the lot of the working classes.
34
Act One
Harold
Rome wasn’t built in a day. This is a crisis! Secretary of State for
Taking on the Unions, have you got the balls for it?
Barbara
I know I have.
Harold
I’ve never seen them.
Barbara
I’ve been hiding them under a bushel.
Harold
Barbara, you’re the right man for the job, don’t let me down.
(Harold exits.)
Barbara
Right! You! Jump to it! I want a working lunch with the TUC, in
here, today. What do we need?
Aide 2
We’ll need six pork pies, twelve scotch eggs and a party can of
Watneys Red Barrel.
Barbara Good.
Aide 2
Anything for you ma’am?
Barbara
I’ll have a cup of tea and a chocolate finger.
(End of scene.)
SCENE SIX
Ford Social Club. Enter our ensemble and the place transforms. A Ford Machinist is
there leading the dance in her blue overalls.
Music No. 7: PAY DAY
Ensemble
PAY DAY
OUR DAY
CASH IN MY POCKET
GUNNA DRINK IT ALL AWAY
PAY DAY
WHADYASAY?
Made In Dagenham
RUN TO THE BAR AND
GET A ROUND IN STR AIGHT AWAY
GET A LITTLE MERRY
MAKE A LITTLE MESS
CAN'T DO QUITE AS MUCH
NOW WE'RE PAID A LITTLE LESS
PAY DAY (HEY HEY)
THE WEEK IS NEARLY DONE
PAY DAY
OUR DAY
FORGET ALL YOUR TROUBLES
AND KISS THEM ALL AWAY
PAY DAY (PAY DAY)
DEE JAY (DEE JAY)
PLAY ANOTHER TUNE
SO WE CAN DANCE THE NIGHT AWAY
GET A LITTLE MERRY
MAKE A LITTLE MESS
CAN'T DO QUITE AS MUCH
NOW WE'RE PAID A LITTLE LESS
PAY DAY (HEY HEY)
THE WEEK IS NEARLY DONE
Stan
WHAT YOU DRINKIN’?
Ensemble
CHERRY BR ANDY
WHAT D’YA SAY?
SHERRY
WATNEYS
DUBONNET
DOUBLE DIAMOND
35
36
Act One
ROOT BEER
SANGRIA
OVER HERE!
I THINK THEREFORE I DAGENHAM
WE ALL DRINK BEER AND BABYCHAM
BROWN ALE, BABYCHAM
BROWN ALE, BABYCHAM
BABY, BABY, BABY, BABY
MC
The barman wants his glasses back at the bar. He can’t see a thing
without them.
Rita
Oi Connie, what are you doing over there? Come here.
Connie
I’ve got to get this bloody speech done.
Rita Speech?
Connie
TUC conference next month. Unless I write it all down I’ll never
get through it.
Beryl
Give the revolution a break will ya. Get pissed and forget. We’re
celebrating.
Sandra
Rita’s tenth wedding anniversary.
Connie
Rita! What did he get you?
Tracey Flowers?
Rita
Flowers? You’d be lucky! Do you know what he got me for
Christmas?
Sandra
A baby doll nightie?
Rita
A tartan shopping trolley.
(They laugh.)
Made In Dagenham
Beryl
37
Don’t let this put you off marrying Ken, Clare. I had seven
happy years wiv my husband, and seven out of twenty-five ain’t
bad.
(Eddie and Stan arrive with pints. They are greeted with silence.)
Stan
Go on then, why ain’t B grade good enough for you, then?
Clare
Cos we’re, you know . . .
Connie
– skilled.
Eddie
Yeah, but you’re sitting down all day.
Beryl
Did Ford give you a test to see if you could stand up?
Eddie No.
Beryl
Standing up ain’t a skill then is it!
Stan
None of you can lift three hundred Cortina wheels in a day.
Rita
You don’t get it, do you?
Stan
You can’t have six thousand hairy arsed blokes sweating away
earning less than a woman.
(The MC takes the microphone. Rita refuses to look at Eddie. Eddie
waves his hand in front of her face and gets no response.)
MC
Ladies and Gentlemen, our first act of the evening, back by public
transport – lovable, larger than life Chubby Chuff!
Music No. 7a: CLUB MUSIC
(Chubby takes the stage. He is the archetypal fat bloke in suit.)
Chubby
Took the mother-in-law on safari last year. She got attacked by
three lions. My wife says “Aren’t you gonna help?” I said no, three
should be enough.
(Some laughter.)
38
Chubby
Act One
She’s a big woman, the mother-in-law. She joined one of them
gymnasiums, got on the rowing machine and the bloody thing
sank.
(Reaction.)
She came round for dinner last night and I did one of them
Freudian slips. I meant to say “could you pass the butter please”
but what I actually said was “you fat ugly bastard you’ve ruined my
life”.
Rita
You got any jokes about fat men?!
Chubby
Oh hello gorgeous, women’s libber, hey? Burn your bra – I’d pay to
see that.
Beryl
Don’t you slag off our Rita or I’ll come up there and sit on your
face!
Chubby
I’m serious, if I was her dad, love, I’d still be doing bath time.
All
Oi! / Watch it, you! / Whadyermean! / I can’t believe he said that.
(Beryl takes the mic and improvises a gag.)
Beryl
There’s a fat bloke, and another really fat bloke. (To the girls.) Ha,
ha. What!? I dunno! And another really fat ugly fat bloke in a pub
on their own cos they’re all really fat and ugly and smelly and then
the ceiling falls in and fucking kills them!
MC
Off the stage, off the stage. We’ve got another act coming.
Eddie
Alright Rite, that’s enough.
Rita
Don’t you tell me what to do, Eddie O’Grady.
Eddie
What’ve I done?
Rita
You don’t even know what you’ve not done, do you?
Connie
What’s today?
Eddie
Oh no. Is it?
Made In Dagenham
Beryl
It fucking is.
Eddie
I’m sorry love. What can I say?
39
HAPPY BIRTHDAY, TO YOU . . .
Men / Eddie
HAPPY BIRTHDAY TO YOU –
Rita
I’m going home. It ain’t my birthday!
(Rita leaves the stage, exits the club.)
Eddie
What? It ain’t her birthday?
Beryl
How long you been married, Eddie?
Eddie
Er . . . Millwall’s last season in Division 3 South, so that’s 1958. I
been married about ten years.
Connie
Ten years exactly.
Eddie
Exactly. What? To the day? Oh shit!
Connie
Go after her, Eddie! All she needs is sorry.
(Eddie runs after her. Girls leave the club. The next act takes the
stage and the mic.)
Club Singer
MOON OVER DAGENHAM
SHINING UP ON HIGH
FILL ME FULL OF LOVE AND JOY
THEN PASS ME THAT PORK PIE
(Outside the club. Rita has gone. Eddie comes out into the night air.
During the next the girls exit the club. Rita is standing in the street,
crying. She’s waiting for Eddie.)
Eddie (Into the night air.) Rite! Rita! Wait!
Rita
It’s our anniversary, Eddie, and you forgot!
40
Act One
Eddie
I remember every second of our honeymoon. I do. Test me.
Rita
Test you?! Piss off. I don’t need reminding that we loved each other
ten years ago!
Music No. 8: I'M SORRY I LOVE YOU
Eddie
I KNOW I'M A GIT
BUT YOU HAVE TO ADMIT
WHEN IT COMES DOWN TO IT
I ADMIT I'M A GIT . . .
(Beat.)
I AIN'T GOT A CLUE
Rita
WELL THAT MUCH IS TRUE
Eddie
ALL I CAN SAY IS . . .
Rita
Here it comes . . .
Eddie
I'M SORRY I LOVE YOU.
I’M JUST A MAN
WITH A FOOLISH BR AIN
I PROMISE THAT I’LL NEVER, NEVER, NEVER, NEVER,
NEVER, NEVER, NEVER, EVER,
NEVER FORGET AGAIN
WHEN YOU’RE NOT HERE
I’M NOT ALL THERE
THERE AIN’T A SINGLE THING I CAN DO
I’M SORRY I LOVE YOU
Rita
EDDIE, I'M A SOFT TOUCH
Made In Dagenham
I DON’T ASK FOR MUCH
AND THAT'S WHAT I GET IN RETURN
BUT ONE DAY A YEAR
I DON’T GET IT, ED
WHY DON’T YOU LEARN?!
Eddie
LOOK IN MY EYES
SEE THEY'RE REGRETFUL, BUT YET FULL OF JOY
THAT'S GOTTA BE WORTH
MORE THAN FLOWERS OR CHOCOLATES
OR SOME STUPID CUDDLY TOY
I’M JUST A MAN
WITH A FOOLISH BR AIN
I PROMISE THAT I’LL NEVER, NEVER, NEVER, NEVER,
NEVER, NEVER, NEVER, EVER,
NEVER FORGET AGAIN
YOU SUCKER PUNCH MY SOUL
WITHOUT YOU I’M NOT WHOLE
THERE AIN’T A SINGLE THING I CAN DO
I’M SORRY I LOVE YOU
Rita
I’M SICK OF IT
Eddie
SORRY
Rita
I’M TIRED OF IT
Eddie
SORRY
Rita
I’VE HAD ENOUGH
Eddie
I’M SORRY
41
42
Act One
Rita
OH COME ON, ED
Eddie
I’M SORRY
Rita
I’M SICK OF . . .
Eddie
SORRY
Rita
SICK OF IT
Eddie
SORRY
Rita
SICK OF IT
Eddie
SORRY
Rita
I’M SICK OF . . .
Eddie
SORRY
Rita
S. I. C. K.
Eddie
S. O. R. R. Y.
I'LL SHOUT IT FROM THE ROOFTOPS
I'LL SCREAM IT TILL I'M HOARSE
EVERYTHING THAT'S MINE IS YOURS
APART FROM THE BIKE OF COURSE
TELL ME JUST HOW MANY TIMES
YOU WANT ME TO TELL YOU
Made In Dagenham
HOW MANY TIMES I'M SORRY
I GOT LOST AT NINETY-TWO
I’M SORRY
I’M SORRY
BUT I LOVE YOU
Men (& Eddie ad lib.)
HE’S JUST A MAN
WITH A FOOLISH BR AIN
HE PROMISES THAT HE’LL NEVER, NEVER, NEVER, NEVER,
NEVER, NEVER, NEVER, EVER,
NEVER FORGET AGAIN
YOU SUCKER PUNCHED HIS SOUL
WITHOUT YOU HE’S A RIGHT ARSEHOLE
THERE AIN’T A SINGLE THING HE CAN DO
Eddie
I’M SORRY I LOVE YOU
Men
IF YOU WANT HE’LL BEG
LOOK HE’S DOWN ON ONE LEG
NOW HE’S DOWN ON ALL FOURS
Eddie
WHATEVER THE WEATHER,
WHEREVER, FOREVER
WHATEVER THE WEATHER,
WHEREVER, FOREVER
Men
WHATEVER THE WEATHER,
WHEREVER, FOREVER
Eddie
I’M SORRY, I’M
ALWAYS YOURS
Men
ALWAYS YOURS
43
44
Act One
HE’S SORRY, HE’S ALWAYS YOURS
HE’S SORRY, HE’S ALWAYS YOURS (Repeat 6 times to fade.)
(Huge, lush orchestral sweep as they exit into the sunset.)
Eddie Enough!
(During the song they sit on a park bench.)
Rita
We’re alright, ain’t we?
Eddie
Yeah we’re alright. Course we’re alright.
(Eddie gives Rita a kiss.)
Rita
Mr Buckton, is caning our Graham. It ain’t right.
Eddie
Remember Mr Perkins?
Rita
Virgin Perkins?
Eddie
Yeah. Woodwork. He used to put me head in a vice and burn me
with cigarettes.
Rita
What’s your point?
Eddie
It didn’t do me any harm.
(Rita falls asleep on Eddie.)
Rita
I think he canes him ’cause he’s a scholarship boy. I’m gonna go
into the school to complain. (Beat.) I love you, Eddie.
Eddie
HEY THERE SLEEPY DREAMER
I JUST WANNA SAY
I LOVE YOU LOADS
Rita
YOU STUPID SOD
(They both fall asleep. End of scene.)
Made In Dagenham
45
SCENE SEVEN
The Hopkins house, breakfast.
Hopkins Snuggles?
Lisa
Yes, darling.
Hopkins
These eggs taste funny.
Lisa
They’re duck eggs.
Hopkins
Why am I eating duck eggs? I’m not Albanian.
Lisa
For a change, I’ve started buying whatever is one to the left of
what I usually buy. That’s why we’ve got no coffee but lots of
Domestos.
Hopkins
Let’s go out for dinner tonight and we can talk then. I’m sorry, I
have to go. I’m at head office today.
Lisa
Mr. Buckton caned Perry yesterday. He can hardly sit down.
Hopkins
What had he done?
Lisa
He’d farted. In Latin.
Hopkins
Impressive! Most people can’t even speak Latin.
Lisa
So you’re quite happy for your son to be physically abused by a
sadist?
Hopkins
It’s an expensive public school. I’d be disappointed if he wasn’t
getting abused. I remember one time we were playing Rugby at
Rugby in Rugby. We lost seventy-three nil. To be honest, we were
lucky to get nil. We were all given six of the best on the hand. On
the hand. Now that does hurt. Bottoms are for girls. Now what
have you got today darling? Tupperware Party?
Lisa
I thought I’d wash up, do the ironing, polish off a couple of bottles
of vodka and then set fire to the Women’s Institute.
Hopkins
Sorry darling, I’ve got to rush.
46
Act One
Lisa
You weren’t listening, were you?!
Hopkins
Oh look, Snuggles, I’m sorry –
Lisa
I just want to know what I’m supposed to do all day long in the
middle of the Essex countryside.
Hopkins
Don’t start. Not now.
Lisa
When is a good time to start?
Hopkins
Look! I bought you a horse.
Lisa
It doesn’t like me!
Hopkins
Listen, I’m under a lot of pressure at the moment. And I need you
to stand by me. Got to go! “Trouble at mill”.
(He’s gone. Lisa stabs the carving knife into the chopping block.)
SCENE EIGHT
The school.
Music No. 9: SCHOOL SONG
Ensemble Men
WHERE THE IRON HEART OF ENGLAND BLEEDS
BENEATH ITS NOBLE GOWN
STANDS A SCHOOL WHOSE SONS ALL FIGHT WITH MIGHT
TO FURTHER IT’S RENOWN
Graham
ONWARD THROUGH ALL KNOCKS AND HARDSHIP
DO NOT FEAR WHEN DEATH STOMPS BY
HOLD YOUR NERVE AND THINK OF ALBION
WHATEVER HAPPENS – DO NOT CRY.
(Rita finds herself alone with Mr. Buckton.)
Rita
Mr. Buckton?
Made In Dagenham
Buckton
Ah! Let me guess. Mrs. O’Grady.
Rita
Yeah. Well done.
Buckton
How can I help?
Rita
I’m not . . . what I want to say is . . . you bin caning my son?
47
Buckton Yes.
Rita
Oh. You admit it then.
Buckton
An integral element of an elite education is discipline. Ergo,
Rita
– Ergo? That’s Latin, is it?
Buckton
Yes, it means therefore. Ergo, it is incumbent on me to cane your
son, and constrain his natural recalcitrance.
Rita
I dunno what that word means either.
Buckton
He’s insolent, he kicks against tradition. Like most of the
scholarship boys he conforms to the current fashion of
individualism, which is antithetical to the core values of the
school.
Rita
I don’t want you caning him. He’s a child, ergo, it ain’t right.
Buckton
I’m afraid your outrage is misplaced.
Rita
My outrage?
Buckton
Do you want your boy to do A levels, sixth form, to go to
university? I do. Are you saying you’d be happier if he left at
sixteen and got a job in a factory? I don’t know if you’ve ever been
in a factory but –
Rita
– I work in a factory!
Buckton
Then you should know better. Is there anything else I can help
with?
Rita No.
48
Act One
(Rita is defeated. The teacher turns his back on her. Rita leaves. She
bumps into Lisa Hopkins. Lisa is wearing a red Biba dress.)
Lisa
Excuse me!
Rita
Oh piss off!
Lisa
I beg your pardon!
Rita
Sorry, I thought you were a teacher. I’m in a mood. Mister
Buckton’s caning my boy.
Lisa
Mine too. That’s why I’m here.
Rita
Rita O’Grady.
(Handshake.)
Lisa
Lisa Hopkins.
Rita
I like that dress.
Lisa
It’s Biba.
Rita
Someone should do summat about it. The caning, not the dress.
The dress is fab. Don’t do anything about that. Leave the dress
alone! It’s perfect! I love it! Don’t touch the dress! Ha! Sorry, I go
weird when I’ve got the hump.
Lisa
We should start a petition. What do you think? Shall we?
Rita
Oh God, I dunno. I’m not political.
Lisa
It’s not politics, I’m not asking you to stand for Parliament. This is
cruelty, we parents have to stand up to him.
Rita
Yeah, good luck. I gotta go.
Men
DO NOT CRY, DO NOT CRY
DO NOT BAWL, DO NOT WEEP
DO NOT HOWL FOR YOUR MAMMY
OR YOUR GR ANNY WHEN YOU SLEEP
Made In Dagenham
49
CRUSH ALL FEELING AND NEVER EVER COWER
PREPARE FOR A CAREER
IN THE CORRIDORS OF POWER
(End of scene.)
SCENE NINE
Barbara Castle and Harold Wilson and Aides. Harold is smoking a pipe with a
cup of tea in his hand. Barbara has a cup of tea and a Cadbury’s chocolate finger.
Harold
So Barbara, you’ve had those lovely legs of yours under the desk for
a week now. Who do you blame for this country’s pitiful record of
industrial productivity?
Barbara
The problem as I see it is we have to get our people to go to work
and stay there. We need a no-strike agreement with the TUC.
Harold
Are you mad, woman? I told you the Labour Party is dependent on
the TUC.
Barbara
This is not easy for me either, it’s tearing me apart. This is my draft
white paper, ‘In Place of Strife’. We have to ban strikes.
(Harold stands in a huff.)
Harold
We can’t ban strikes! The TUC have six million block votes at the
Labour Party conference. They bought me this pipe. They pay for
my holidays in the Scilly Isles. They underlay in my bathroom!
Barbara
But Harold . . .
Harold
No, Barbara, you’ve got this all wrong. I’m going. And I’m not
coming back until you’ve got a solution.
(Harold opens a door, goes in, closes the door. He opens the door,
comes back in.)
So that’s a cupboard is it?
Aide 3
I think it’s a stationery cupboard, Sir.
50
Act One
Harold (Looks at cupboard.) It’s certainly not moving.
Barbara
Dockers, miners, train drivers, dinner ladies. I don’t mind the
TUC striking when the Tories are in, but we’re Labour, they’re
pissing on their own doorstep!
Harold
What about management? They have to take responsibility. It takes
two to tango.
Barbara
Don’t try and bamboozle me with choreography! I don’t care that
you’re Prime Minister, Prime Minister. You’ve given me this job,
you have to let me do it my way, or I’ll turn on you, and you don’t
want that because I’m like a she-lion. And have you ever seen a
she-lion drag down a wildebeest?
Harold
I’m from Huddersfield.
Barbara
Get out.
Harold
I would if I could.
Barbara
That door there! Men!
(End of scene.)
Music No. 9a: INTO THE BERNI INN
SCENE TEN
A Berni Inn. Rita and Connie sat at the table reading menus. Monty is in the
background laughing and drinking.
Rita
This menu’s like reading the Karma Sutra. Everything sounds nice,
but I can’t picture any of it.
(They laugh. Connie takes a couple of pills from a pot and washes
them down with water. Rita sees this.)
Rita
Headache?
Connie
Yeah.
Made In Dagenham
Rita
You’re lying.
Connie
Yeah.
Monty
(Shouting.) Oi! Garçon!
51
(Waiter goes over to Monty.)
Rita
Why’s Monty not sitting with us?
Connie
He stays at the hotel next door.
Rita
Hotel?! He only lives in Barking.
Connie
You don’t understand expenses, do you?
Rita
So come on did you and Monty ever?
Connie
Once. Scarborough, 1953, Labour Party conference.
Rita
But only once. You learned your lesson, eh?!
Connie
Yeah, don’t drink and operate heavy machinery.
Rita
Woo! It’s all going off behind the curtains! Why didn’t you ever
marry?
Connie
Monty?
Rita
I dunno, he can’t have been the only single fella in Essex.
Connie
He was a good dancer, but I didn’t love him and I’d already
married the Labour Party, and a lousy husband he turned out to
be.
Rita
You was tryna change the world.
Connie
I didn’t want to be my mum. The drudge, the grind, low wages,
factory work.
Rita
Cheer up, Con, you can’t be miserable in the Berni Inn! You done
a lot. You got us a grievance procedure.
52
Act One
Music No. 10: SAME OLD STORY
Connie
A grievance procedure is not changing the world.
Connie
YESTERDAY WHEN I STARTED OUT
I KNEW IT ALL, I HAD NO DOUBT
LIFE WAS THERE IN FRONT OF ME
“JUST BE WHO YOU WANT TO BE”
STARTED WORK WAY TOO YOUNG
SAME AS ALL THE BLOKES
WORKED OUR FINGERS TO THE BONE
MAKING DO BY MAKING JOKES
BUT NOW I’M OLDER, LOOKING BACK
IT DOESN’T SEEM SO FUNNY
SAME WORK, SAME HOURS
BUT HALF THE MONEY
IT’S AN AGE-OLD STORY
IT’S AN AGE-OLD TALE
STILL THE SAME OLD REASONS
THAT ARE THERE TO MAKE US FAIL
SECOND AT THE TABLE
PICKING UP THE CRUMBS
CHANGE IS ALWAYS PROMISED
BUT SOMEHOW NEVER COMES
I JOINED THE LABOUR PARTY
ON THE SHOULDERS OF THE GREAT
EMANCIPATED TEENAGER
WHO DIDN’T HAVE TIME TO WAIT
FIERCE, FEISTY, FULL OF FIGHT
A WARRIOR A DREAMER
THIRTY YEARS ON,
I’M STILL A UNION CONVENOR
Made In Dagenham
53
YOU ALL SAID TO ME
“STICK WITH IT, WE NEED YA”
WHAT DID I ACHIEVE?
THE GRIEVANCE PROCEDURE
IT’S AN AGE-OLD STORY
IT’S AN AGE-OLD TALE
STILL THE SAME OLD REASONS
THAT ARE THERE TO MAKE US FAIL
ALWAYS ON THE OUTSIDE
KICKING AT THE DOOR
LOOKS LIKE A GLASS CEILING
FROM DOWN HERE ON THE FLOOR
Connie Women
IT’S ALWAYS BEEN A WHISPER
A AHH . . . (etc.)
BUT CAN’T IT BE A ROAR
ALL THOSE UNHEARD VOICES
THAT WON’T TAKE NO MORE
OH, RITA, PLEASE WAKE UP
I NEED YOU TO SEE
IT AIN’T ABOUT THE MONEY
IT’S EQUALITY
Connie
This doesn’t have to be just about C grade.
Rita
What do you mean?
Connie
If we got C grade tomorrow, we’d still be earning less than a man
on C grade.
Rita
Eighty-seven per cent. That ain’t too bad.
Connie
Did Martin Luther King ask for eighty-seven per cent of rights for
black people?
Rita
You know they shot him? I’m here to get C grade back, nothing
else. Women have never had equal pay.
54
Act One
Connie
What about your Sharon?
Rita
She’s six.
Connie
And when she’s twenty-six do you want her to be on eighty-seven
per cent?
Rita
She wants to be a doctor. Ha!
Connie
She could be. Nothing changes if it isn’t challenged.
Connie
YOU CAN THE CHANGE THE STORY
YOU CAN CHANGE THE TALE
DON’T FALL FOR ALL THOSE REASONS
THAT ARE THERE TO MAKE US FAIL
WE HAVE TO MAKE IT OUR TIME
CAN’T OUR TIME BE NOW?
AIN’T GOT TIME FOR WAITING
RITA MAKE IT NOW
(End of scene.)
SCENE ELEVEN
The management offices at Warley. Initially there are the three managers sat at a table. One
of these is Mr Hopkins. Monty, Connie and Rita arrive in the corridor outside this
office.
Music No. 11: UNION SONG – Reprise
Men / Women
BROTHERS AND SISTERS,
COMR ADES EVERYONE
FIGHT FOR YOUR FUTURE
AND THE UNION
WHEN IT COMES DOWN TO MANAGEMENT (manage-munt)
EACH AND EVERY ONE OF THEM’S
A TOTAL . . .
Made In Dagenham
Hopkins
Come in, come in.
(Enter Monty.)
Monty
Afternoon, gentlemen.
All
Afternoon. / Monty. / Alright? etc.
Monty
Right, today we’ve got the ladies.
Hubble Woooo!
Monty
One shop steward, Connie, she’s alright, she knows and respects
the procedures, and er . . . one of the trouble makers.
Hubble
Are they fit?
Hopkins
Hubble, please!
Hubble
Just a joke.
Hopkins
They threatened to walk out yesterday, that is not a joke.
Macer
I’ll have to lay off five thousand men if I don’t get a continuous
supply of Cortina seats.
Monty
We can park this in the grievance procedure. Connie was
instrumental in setting up the grievance procedure, so she ain’t
gonna argue against it.
Hopkins
We can do what we like, then? They’re under our thumbs.
Hubble
Ooh, Mucky.
Hopkins
Hubble! That remark is not worthy of a Personnel Director.
Hubble
Sorry, just a joke.
Monty
You’re management, I’m union, but we’re all men, and this is our
world, the world of work. It’s when we go home that we’re in the
dog house.
Macer
I hate going home.
55
56
Act One
(A beat of time. All three men drop their heads in a moment of tragic
introspection.)
Monty
I’ll go round them up.
Hubble
Woof! Woof!
(In the corridor, Connie and Rita are waiting for Monty.)
Monty
Now there’s three of them and three of us, so it’s a fair fight.
Connie’s done these meetings before. It’s all collective agreements
and procedures, so leave the talking to us, eh Rita?
Rita
I’ll keep me mouth shut, I’m just making up the numbers.
Monty
Terrific!
(Monty turns and enters the room. This time the management
stand.)
Monty
You know Connie Riley, shop steward, River Plant. This is
Rita O’Grady, er . . . machinist. Rita, this is, Gregory Hubble,
Personnel Director, Ron Macer, Production Manager and Jeremy
Hopkins, Managing Director, Ford Dagenham.
Rita
Oh! Never met you before. Hello. Sorry. I’ll shut up now!
Macer
The NUVB executive supported the job evaluation exercise.
Monty
True, but my members at the River Plant –
Hubble
– the girls.
Connie
Yes, the girls, are reluctant to sign it off.
Rita
Yeah. Sorry.
Hopkins
Fortunately, we have a grievance procedure now, partly due to your
efforts in the past, Connie.
Connie
Yes. We do wish to register a formal grievance.
Made In Dagenham
57
Hubble
We have no objections to grading grievance hearings being granted
under the formerly agreed formal grievance procedure.
Monty
So you agree to grant the girls their grading grievance before the
grading committee on the grounds that their grading grievance
gripes can be grieved in the grievance procedure if they’re grave
enough.
Hubble Granted.
Monty
Great. Grand. We’re very grateful. Gregory.
Hopkins
When is the next Grievance Committee?
Hubble September?
Monty Agreed.
Rita
Hang on! I ain’t working on a grade B for three months. We’re
skilled workers.
Hopkins
That is to be discussed in September.
Rita
You have to take three tests before you get in the door. Ergo we
must be skilled.
Hopkins Ergo?
Rita
Yes, bloody ergo.
Hopkins
Do they take three tests?
Macer
Of course we test them.
Rita
He tests us cos he can’t afford to let just anybody loose on his
expensive leatherette. And what about the girls at Dunton? They
got C grade.
Hubble
– there are only two girls at Dunton.
Rita
– what’s that gotta do wiv anyfing?
Macer
Now come on, you’re –
58
Act One
Rita
– don’t you dare tell me my outrage is misplaced. It’s the principle.
Macer
The girls at Dunton have to work under pressure.
Rita
– I have to make three hundred pieces a day. You try working with
that monkey on your back!
Macer
Dunton is a Research and Development facility, there are no
drawings –
Rita
We ain’t working from drawings neiver! Go through that shed, you
won’t find a single template.
Monty
Rita –
Rita (To Monty.) – Don’t you “Rita” me, Monty. Alright, so if we
ain’t skilled, yeah, you could do our jobs, yeah? That’s what you’re
saying innit? (Beat.) So – what kind of needle would you use for
leatherette?
(Silence.)
Ballpoint, or a crewel?
(Silence.)
Macer
Look –
Rita
– What would you set the dog teeth on for real leather? (Beat.)
D’yer know what the dog teeth are? Alright. Last question. What
kind of brush would you use to sweep the yard?
Hubble
A yard brush?
Rita
Correct! Well done, Mister Hubble, you could be a cleaner.
Hopkins
Every job has been analysed across twenty-eight characteristics.
Rita
Twenty-eight characteristics and the sex of whoever does it.
Macer
£17 for a forty-hour week is not –
Made In Dagenham
Rita
– Don’t insult me, alright? You know what we want. Are you
gonna give us equal pay or not?
Hopkins
Equal pay?!
Macer
This isn’t about equal pay?!
Monty Connie?
Connie
Why isn’t this about equal pay?
Hopkins
This is not an equal pay issue.
Rita
It wasn’t, but it is now.
Connie
You’ve made it one.
Hopkins
But the grievance procedure was your idea.
Connie
Fifteen years ago. And you’ve been abusing ever since.
Rita
Come on, Connie, we’re going. You can stuff your grievance
procedure where the sun don’t shine.
(Rita and Connie stand and make for the door.)
Good to meet you. A cup of tea would’ve been nice, but I guess
that’s skilled work.
(Rita and Connie exit. End of scene.)
SCENE TWELVE
Music No. 11a: SKILLED WORK
Music underscore factory rhythm. All machines off. A tense silence. Rita stands on a box.
Rita
So we met the management . . .
Beryl
– Bastards!
Sandra
What did you say?
59
60
Act One
Beryl
Machine off everyone! Rita wants to make a speech.
Rita
I said the girls at Dunton are on C grade.
All
Yeah! / (Supportive noises.)
Rita
I said we must be skilled, cos you test us.
All
Yeah! / (Supportive noises.)
Rita
I said, I’ve had it up to here!
All
Yeah! / (Supportive noises.)
Rita
I said, we’re sick of talking about it, we want summat done.
All
Yeah! / (Supportive noises.)
Rita
So we’ve got to vote now.
Beryl
What we voting for?
Rita
A strike. Hands up, all in favour?
Music No. 12: EVERYBODY OUT
(It’s almost unanimous, but Clare is stalling.)
Beryl Clare!?
SCENE THIRTEEN
This scene segues out of Act 1 Scene 12 and is set across two weeks as a rapidly moving
montage of events, the spine of which is the song “Everybody Out”. Locations switch quickly
here, and there is musical underscoring throughout the whole scene.
Rita
SOMETIMES IN YOUR LIFE
YOU GOTTA STAND UP FOR
WHAT YOU KNOW IS RIGHT
AND BE PREPARED TO FIGHT
Made In Dagenham
AND SOMETIMES IN YOUR LIFE
YOU GOTTA GET UP
AND LOOK THEM IN THE EYE
AND SCREAM THE REASON WHY
IT’S A LONG TIME COMING
AND WE'RE READY FOR A SCR AP
IT’S A LONG TIME COMING
AND WE AIN’T TURNING BACK
All Women
EVERYBODY OUT!
GET OUT ON THE STREET
AND ONTO THE PICKET LINE
EVERYBODY OUT!
LET’S MAKE IT CLEAR
WE’RE HERE TO SEND A SIGN
EVERYBODY OUT!
Clare
IF THEY GET ANGRY, WELL I TELL YA
WE’LL GET MEAN
WE’LL CHAIN OURSELVES
TO OUR SEWING MACHINES
All Women
EVERYBODY OUT!
Bill
Oi, Monty! Your girls have gone mad.
Monty
What is it?
Sid Drugs.
Bill
What are you gonna do about it, Monty? They’re your flock.
Sid
Yeah, what the flock are you gonna do about it?
Monty (Moves to tannoy.) Your union does not support independent
industrial action!
61
62
Act One
Women
THERE’S NO MORE TALKING
NO CONVERSATION (NO CONVERSATION)
DON’T TREAT US GIRLS
LIKE A POOR RELATION
EVERYBODY OUT
(Phone rings chez Hopkins. Lisa answers, but Jeremy is frustrated
that he didn’t get there first.)
Lisa
Lisa Hopkins.
Hopkins
Give me the phone!
Monty
Monty here, N.U.V.B. from the River Plant.
(Lisa hands over the phone.)
Hopkins Hopkins.
Monty
It’s the girls. They’ve walked out.
Hopkins
Shit! Put Sid on.
(Monty hands phone to Sid.)
Hopkins (To Lisa.) Hey! What time is it in America?
Lisa
I’m not the speaking clock!
(Lisa walks off in a huff.)
Sid
Sidney.
Hopkins
Is this a strike?
Sid
All the classic signs. There’s a brazier, a picket line, and a barricade.
If we had an orchestra it could be a musical.
(Phone down.)
Made In Dagenham
63
Women
IT’S ALWAYS BEEN THIS WAY
NOW IT’S GOT TO STOP
EVERYBODY OUT!
YOU STARVE THOSE AT THE BOTTOM
TO FEED THOSE AT THE TOP
EVERYBODY OUT!
WE’RE THE CAN OF WORMS
THAT, YOU BETTER REALIZE
THESE WORMS ARE TURNING INTO BUTTERFLIES
EVERYBODY OUT!
Barbara
Prime Minister, the Ford women have walked out.
Harold
But the war’s over, why are women working?
Barbara
They’re not working, they’re on strike.
Harold
No Labour government will be pushed around by a lot of women
with dyed hair.
Barbara
They make the seats for the cars!
Harold
Fit the cars with sunroofs and we can all drive standing up! Do I
have to think of everything!?
Women
LADIES IF YOUR FELLA
STARTS TO WHINGE OR STARTS TO MOAN
Eddie
On strike?! We need the money?
Women
TELL HIM THAT YOU’LL TAKE THE STRIKE
RIGHT BACK INTO YOUR HOME
(Eddie is trying to cook.)
Eddie
How long do you cook an egg for?
64
Act One
Women
LET HIM DO THE COOKING,
LET HIM TRY TO MAKE THE MEALS
Stan
Twenty-seven minutes.
Women
AND MAKE HIM TO DO IT ALL DAY LONG
IN A PAIR OF FIVE-INCH HEELS
(Eddie looks quizzically at Stan.)
Stan
Women
EVERYBODY
EVERYBODY
EVERYBODY
EVERYBODY
Better safe than sorry.
OUT
OUT
OUT
OUT
Men
GIRLS, YOU DONE THE RIGHT THING
WE’RE BEHIND YOU ALL THE WAY
MAKE YOUR POINT THEN BACK TO WORK
BEFORE BANK HOLIDAY
WE’RE PROUD OF YOU AND WHAT IT IS
THAT YOU ALL GOT TO SAY
BUT MAKE IT QUICK GET ON WITH IT
COS WE’LL STRUGGLE ON STRIKER’S PAY
All
EVERYBODY
EVERYBODY
EVERYBODY
EVERYBODY
OUT
OUT
OUT
OUT
(On the picket line. Fleet Street Reporters and Photographers.
One sleazy, Astro.)
Reporter 1
This way, ladies. Smile for the camera.
Made In Dagenham
Rita
I’d have had me hair done if I’d known we were gonna be in the
papers.
Beryl
I’d have had a shave.
Connie
Are you national press?
Reporter 2
The Guardian.
Beryl
That’s alright then, I don’t know anyone who reads that.
Astro
That’s beautiful! What’s your name?
Sandra
Sandra.
Astro
Gissa bit of leg then, Stella!
Beryl
Oi! She’s on strike, she’s not on the game!
Astro
My card, baby.
Rita
Let me see that.
(Rita snatches the card.)
Fiesta!?
Beryl
That’s a bleeding wank mag!
Astro
You don’t have to.
(Astro has gone.)
Reporter 2
Ladies, is it your intention to halt production on the new Ford
Cortina?
Connie
I know this management –
Beryl
– Bastards!
Connie
– they’ll just get their finished seats from Liverpool.
Sandra
What can we do then?
65
66
Act One
Connie
We need some working class solidarity.
Beryl
’Kinnel!
Connie
We need the girls in Liverpool to strike.
All
EVERYBODY
EVERYBODY
EVERYBODY
EVERYBODY
OUT
OUT
OUT
OUT
Beryl
Hello Liverpool!
All
Hiya queen!
Rita
WE’RE HERE TO ASK A FAVOUR
WE NEED YOU ALL ABOARD
WE WANT TO SHOVE A ROCKET
UP THE ARSE OF HENRY FORD
IF YOU STOP MAKING SEATS
THEN YOU STOP OUR PRODUCTION LINE
BUT IF YOU CARRY ON
THE STRIKE IS JUST A WASTE OF TIME
Rita, Sandra, Women
IT AIN’T ABOUT THE MONEY
IT’S ALL ABOUT RESPECT
WOMEN ALWAYS COMING SECOND
THAT’S WHAT WE REJECT
All Women
DAGENHAM AND LIVERPOOL
TOGTHER WE GOT CLOUT
LADIES LET ME HEAR YOU SAY
EVERYBODY OUT!
EVERYBODY OUT
EVERYBODY OUT
Made In Dagenham
67
EVERYBODY OUT
EVERYBODY OUT
(Tooley is at the shooting range.)
Tooley
Yeah? Tooley.
Hopkins
We’ve got a strike.
Tooley
Oh Lord Jesus!
Hopkins
Two strikes, actually.
Tooley
What? You only had one strike a minute ago.
Hopkins
Dagenham and Liverpool.
Tooley
What do the men want?
Hopkins Women.
Tooley
Men always want women, tell me something I didn’t know.
Hopkins
The women are on strike. We have one week’s supply of car
seats. One week before I have to shut down the whole Ford UK
operation.
Tooley
Who’s the ring leader?
Hopkins
Rita O’Grady.
Tooley
Anarchist? Communist?
Hopkins
Housewife, and working mother.
Tooley
My God!? They’re the worst! Okay, I’m coming over. Put the kettle
on.
All
EVERYBODY
EVERYBODY
EVERYBODY
EVERYBODY
OUT
OUT
OUT
OUT
68
Act One
(Eddie at the end of a long hard day of domestic chores, holding a
basket of washing.)
Eddie
I fed the kids.
Rita
What did you cook for them?
Eddie
Chips on toast.
Rita
Why?
Eddie
Cos I can cook chips, and I can cook toast. We’re alright, you do
what you have to do love.
All
EVERYBODY OUT . . .
EVERYBODY OUT . . .
EVERYBODY OUT . . .
EVERYBODY OUT,
EVERYBODY OUT!
Rita
We don’t want pin money we want proper money.
Equal pay for equal work! What do we want?
Equal Pay! When do we want it? Now!
GET OUT ON THE STREET
AND ONTO THAT PICKET LINE
EVERYBODY OUT!
LET’S MAKE IT CLEAR
WE’RE HERE TO SEND A SIGN
EVERYBODY OUT!
Men
WE WON’T BE DISMISSED
AND WE WON’T BE IGNORED
Women
WE’LL THROW OURSELVES
UNDER THE LATEST MODEL FORD.
Men
EVERYBODY OUT!
Solo Woman
EVERYBODY OUT!
Made In Dagenham
All
EVERYBODY OUT!
Solo Woman
EVERYBODY . . .
All
EVERYBODY . . .
Solo Woman
EVERYBODY OUT!
All
EVERYBODY OUT!
EVERYBODY . . .
EVERYBODY OUT!
EVERYBODY . . .
OUT!
Music No. 12a: EVERYBODY OUT – Playout
(End of Act One.)
69
70
Act Two
ACT TWO
SCENE ONE
Music No. 12b: TOOLEY’S ENTRANCE
Helicopter rotors getting louder, dry ice, chopper lands, Tooley stands in the hatchway,
tall, besuited, shades, cowboy hat, cowboy boots. He is followed by an enforcer type, Adams,
also in shades, besuited, but no cowboy hat. They’re into the management offices as music
and chopper end.
Tooley
Okay guys, the cavalry’s here!
Hopkins
Hello, would you like some tea?
Tooley
No! We’re not here to drink tea! We’re here to play hardball! You!
What’s the name of this town?
Hubble Dagenham.
Tooley
Incorrect! (He turns to his sidekick.) Adams!? What’s the name of
this town?!
Adams
Sir! America! Sir!
Tooley (Banging the table.) Lesson one! This is America! And in America
everything is American.
Music No. 13: THIS IS AMERICA
Tooley
I’M THE GO-TO GUY
WHEN THE GOING GETS TOUGH
AND THE GOING’S GONE MAD
AND I’VE KINDA HAD ENOUGH
I SAY IT LIKE IT IS,
I TELL IT TO YOUR FACE
THE REASON I AM HERE’S
TO PUT YOU IN YOUR PLACE
AFTER DEATH, TAXES
AND THE LORD
Made In Dagenham
THE ONLY OTHER CERTAINTY,
MY FRIENDS, IS FORD
WE GAVE THE WORLD THE
VERY FIRST PRODUCTION LINE
AND WE WILL BE RIGHT HERE
UNTIL THE END OF TIME
Tooley Two Men
THIS IS AMERICA, (AMERICA)
THE U. S. A.
WE TELL YOU WHAT TO DO
(WHAT TO DO)
AND YOU DO AS WE SAY
WE ARE THE TOP DOG
(TOP DOG)
YOU LOVE TO HATE
AND YOU ARE OUR POODLE
THE FIFTY-FIRST STATE.
WE'RE SO MUCH BIGGER
WE'RE SO MUCH BETTER
AND OUR SUN IS HOTTER
OUR WATER'S WETTER
WE MOVE FASTER
AND FURTHER TOO
(BIGGER)
(SUN IS HOTTER)
Tooley / Solos
BASICALLY WE'RE TOTALLY
SUPERIOR TO YOU
Tooley
ANARCHISTS, COMMUNISTS,
WE FOUGHT THEM TILL WE WON
WE SAW OFF JIMMY HOFFA
AND HIS TEAMSTER SCUM
WE BOUGHT ALL THE PUBLIC TR ANSPORT,
WE SHUT IT DOWN
NOW THE CAR’S THE ONLY WAY
YOU CAN GET AROUND TOWN
71
72
Act Two
WE’RE SO MUCH BETTER
AND I'M NOT BEING MEAN
WE’VE GOT ROUTE SIXTY-SIX
YOU’VE GOT THE A-THIRTEEN
WE GAVE YOU ROCK AND ROLL
YOU GAVE US CILLA BLACK
WELL THANKS A LOT FOR NOTHING
YOU CAN HAVE HER BACK
Tooley Two Men
THIS IS AMERICA, (AMERICA)
THE U. S. A.
WE’RE ALL STR AIGHT
(WE’RE ALL STR AIGHT)
AND YOU’RE ALL GAY
WE ARE THE TOP DOG
(TOP DOG)
YOU LOVE TO HATE
AND YOU ARE OUR POODLE,
THE FIFTY-FIRST STATE.
GET OFF YOUR HIGH HORSE,
PUT AWAY YOUR SERMON
IF IT WEREN’T FOR US
YOU'D BE SPEAKING GERMAN
AND WHILE WE’RE HERE
THERE’S ONE THING MORE
YOU STILL OWE US MONEY
FROM THE SECOND WORLD WAR
Tooley
ALUMINUM,
BASEL,
TOONA,
OREGANO,
PAY-TRONIZE,
EDINBRO,
JAGWAR,
EYE-R AQ,
(HIGH HORSE)
(WEREN’T FOR US)
(WHILE WE’RE HERE)
(STILL OWE US MONEY)
Made In Dagenham
KR ASSA ANT (CROISSANT),
YOOOOHGURT,
CARRIBEAN,
ERB,
PECAHN,
CAMOMEEL,
NOTA DAME,
VAYSE,
PAREESHUN,
YOURINAL,
VIE-TAMIN,,
WOO-CEST-A-SHIRE SAUCE,
YOU GUYS CAN’T EVEN SPEAK ENGLISH!
(Women enter.)
Tooley Women / Two Men
THIS IS AMERICA,
THIS IS AMERICA
THE U. S. A.
NOW DON’T FORGET THAT
. . . GET THAT
YOU DO AS WE SAY
WE GOT THE T-SHIRT
T-SHIRT
AND YOU GOT THE VEST
YOU’RE SIMPLY THE WORST,
AND WE’RE SIMPLY THE BEST
All
WE GOT HOLLY WOOD
AND VEGAS TOO,
YOU GOT THAMES T.V.
AND WHIPSNADE ZOO
WE GOT A PRESIDENT,
WE GOT SUPERMAN
YOU GOT PRINCE CHARLES,
AND DESPER ATE DAN
(Guitar solo.)
SIMPLY THE BEST
73
74
Act Two
All
ANYTHING YOU CAN DO
OR WANT TO DO,
ANYTHING YOU CAN DO
I HAVE TO REALISE
EVERYTHING THAT YOU DO
OR WANT TO DO,
EVERYTHING THAT YOU DO
WE HAVE TO SUBSIDIZE
Tooley
YOU CAN’T PICKET AND CHOOSE WITH FORD,
THAT'S YOUR TICKET TO LOSE WITH FORD
ONE THING’S CERTAIN,
I’LL BUST THIS STRIKE
GET READY, DAGENHAM,
GET BACK TO WORK,
GET ON YOUR BIKE
All
THIS IS AMERICA,
THE U. S. A.
WE GOT COPS WITH GUNS
WHO WILL BLOW YOU AWAY
WE GOT THE KENNEDYS
AND SCOOBY DOO
YOU'VE GOT TED HEATH
AND DANNY LA RUE
WE GOT THE WHITE HOUSE,
YOU'VE GOT NUMBER TEN
WE GOT THE EMPIRE STATE,
WHICH PISSES ON BIG BEN
WHEN IT COMES TO MUSIC,
JUST REMEMBER THIS
THERE’D BE NO FREAKING
BEATLES WITHOUT ELVIS.
Tooley
YOU’RE DREARIER AND WEARIER
Made In Dagenham
75
YOU REMIND ME OF SIBERIA,
YOU’RE BASICALLY INFERIOR,
SO DAGENHAM,
SCREW YOU
All
THIS IS AMERICA.
Music No. 13a: THIS IS AMERICA – Tag
Tooley
Okay. This Rita O’Grady, what’s she like, her?
Hubble
Put it this way, I wouldn’t climb over her to get to you.
Tooley
I’m pleased about that, faggot. Is she a commie?
Macer
We don’t think she’s a communist.
Tooley (To Macer.) Do you think I’m screwing your wife, right now?
Macer
I know you’re not because you’re here.
Tooley
So you know more about your wife’s sex life than you do about
your job, Mister Production Manager?! You faggot, gimme the
facts.
Hubble
One hundred and eighty-seven Dagenham women are on strike,
backed by the NUVB.
Tooley
What are they like?
Hubble
Normal English women. Irrational, moody –
Tooley
Are they local?
Macer
Dagenham, most are married to men working at Fords.
Tooley
Rita O’Grady, is she married to a Ford worker?
Macer
Yes. Edward O’Grady, he’s on the line, unskilled.
Tooley
They’ve got two Ford incomes, and one of them’s on strike. Faggot
ass! What’s the finished unit stockpile situation?
76
Act Two
Hubble
Ten thousand.
Tooley
So we got ten thousand new Cortinas going rusty on an old
airfield. Okay. Stop the line. Lay the men off.
Music No. 13a: THIS IS AMERICA – Reprise
Hopkins
You’re cutting off the O’Gradys’ money completely.
Tooley
If you wanna eat steak, you’ve gotta shoot the horse.
Macer
I can’t lay off five thousand men just because you want to stop
Eddie O’Grady’s money.
Tooley
Maybe you can’t. Maybe you ain’t man enough. Maybe this is a
job for an American.
Tooley / Two Men
THIS IS AMERICA
(End of scene.)
SCENE TWO
The maisonette. A week later. Graham is playing with a football and Sharon is
attempting to play the recorder. Rita is on the phone to a reporter.
Rita
I’m not a Marxist, I’m not a Leninist, I’m a machinist. (Into
phone.) I can’t hear you . . . hang on.
(Puts the phone down.)
Go on, get some fresh air! You’re not spending all half term in the
house.
(Graham and Sharon exit with Eddie, who is going to work.)
Rita
Eddie, remember Sharon’s got the dentist at –
Made In Dagenham
Eddie
77
Six o’clock, I’m on it, relax. (To Graham.) Graham, go to the
park, don’t accept sweets from naked men.
(Door closed.
Doorbell. Rita opens the door to Lisa, dressed in an André Courrèges
miniskirt.)
Rita
Oh, it’s you.
Lisa
Hello, I brought the petition against corporal punishment.
Rita
Come in.
Lisa
I just passed Graham in the street.
Rita
Yeah, they’ve been driving me mad. Hard work half term, innit.
Lisa
Oh gosh yes, I’ve had to send Perry up in a glider.
Rita
For a week?!
Lisa
Lessons. Now here’s the petition.
(She hands it over to Rita.)
Rita (Reading.) “If a man attacked a child with a stick in the street, he’d
face legal action. Why is the same act permissible in this school?”.
That’s brilliant. I’ll sign that.
(Rita signs.)
Lisa
Rita? Do you know who I am?
Rita
You’re not Perry’s mum?
Lisa
I’m Jeremy Hopkins’s wife. Ford Dagenham’s general manager.
Rita (Beat.) Oh Jesus. You’d better go. I got the girls coming round for
their strike pay in a minute.
Lisa
I want to help.
78
Act Two
Rita
How can you help?
Lisa
Did you know that women in America have had equal pay since
1963.
Rita Really?
Lisa
History is my subject.
Rita
Are you a women’s libber?
Lisa
Yes. And so are you.
Rita
Me?! No, I’m not political.
Lisa
You’re fooling no-one but yourself.
(Enter Beryl wielding a paper. Connie, Cass, Clare and Sandra
follow.)
Beryl
Rita, have you seen this? I look like a fucking dinner lady!
All
Hi / Alright? / Hello / Hiya
Sandra
I seen that dress in Vogue.
Lisa
It’s an André Courrèges design.
Beryl
You’d need couregge to wear it.
Lisa
Rita, I’d better go. Good luck, girls. You’re fighting a battle for all
women.
Beryl
Are we?
Lisa Tarra!
All
Bye / See you / Thanks
(Lisa is gone. Connie starts distributing envelopes containing the
strike money and ticks off names in her union book.)
Connie
Your strike pay.
Made In Dagenham
79
Music No. 14: STORM CLOUDS
Sandra
– How much is it?
Connie
Two pounds a week.
Sandra
Two quid?
Connie Each.
Sandra
I thought strike pay was like a salary. I can’t live on two quid a
week.
Women
EVERYBODY OUT
EVERYBODY OUT
EVERYBODY OUT
(End of scene.)
SCENE THREE
Outside the factory. Thump, thump, thump of rhythmic industrial production – specifically
the sound of the continuous production line. The girls on the picket line outside the River
Plant. Suddenly the sound design cuts, the plant has stopped running.
Cass Whappen?
Beryl
It’s gone quiet.
Connie
They’ve stopped the assembly line.
[MONTAGE #1.]
Women
STORM CLOUDS ON THE HORIZON
TENSION IN THE TOWN
PRESSURE BUILDING UP
RUMOURS GOING AROUND
MONEY RUNNING SHORT
80
Act Two
DOWN TO OUR LAST POUND
DON’T LET THE BASTARDS GRIND YOU DOWN
(The men start filing past, some walking, some cycling.)
Stan
You got some face, ain’tcha, after this?
Connie
What’s up?!
Stan
Five thousand men laid off, that’s what’s up.
Barry
You happy now?! Eh, eh!?
Clare
What’s going on?!
Ronnie
We ran out of seats, ain’t we.
Bill
Go back to work!
Barry
You’re only working for pin money! (Kisses teeth.)
Cass (Kisses teeth.) It ain’t pin money for me, boy!
Barry
Wa?! You caannn’ get a man!
Connie
Bill!? You told me there was enough seats for another week.
Bill
There is.
Connie
Management’s fighting dirty.
Rita
Listen, this was always going to happen. No one said it would be
easy, we’ve got to stick together.
Ronnie
If you’re a communist go and live in Russia!
Stan
You happy now, Connie Riley!? You’ve closed down Dagenham.
You’ve put five thousand men out of work!
[MONTAGE #2.]
Men
WELCOME TO EQUALITY
Made In Dagenham
THIS IS WHAT IT'S LIKE
THIS IS WHAT IT’S LIKE
EQUAL SHIT FOR EVERYONE
WHEN YOU GO ON STRIKE
Women
STORM CLOUDS ON THE HORIZON
(Tooley and Hopkins. Tooley reading Monty’s file. Enter
Monty.)
Tooley
Your expense account. You’ve had more fish dinners than Moby
Dick. Rail fares, dry cleaning. A Chinese massage?
Monty
That’s two separate items. A Chinese and a massage.
Tooley
I need you to bust this strike. Or I’ll bust you.
Monty
You can’t talk to me like that, mate.
Tooley
Mate, I’ll eat you for breakfast and blow you out my ass.
Monty (Aggressive.) Do that and I’ll register a grievance!
Hopkins
What Mr Tooley wants to know is – which girls are feeling the
pinch?
Monty
My job is to represent these women –
Tooley
– Men’s jobs are at stake.
Monty Sandra.
Hopkins (To Tooley.) Sandra Beaumont. She’s a bit of a dolly bird.
Tooley
So one of these broads is short of money and doesn’t look like
Walter Matthau. Can we offer her promotions work?
Monty
So Ford America’s worried are they?
Tooley
Do you understand domino theory?
81
82
Act Two
Monty
Yeah. Get rid of your double six as soon as you can.
Tooley
If England falls to equal pay, the rest of Europe will follow.
[MONTAGE #3.]
All Women
STORM CLOUDS ON THE HORIZON
Lisa
PROBLEMS IN THE HOME
(Domestic. Eddie washing up in his wife beater top. Enter Rita.)
Sharon
Mum, some men came and took the television!
Eddie
We couldn’t pay the monthly.
Rita
There was ten quid in the kitchen pot.
Eddie (Raising his voice.) I had to get a new tyre for the motorbike.
Rita
Ten quid on a motorbike tyre?! I don’t spend that on shoes!
Eddie
You’re not gonna come off your shoes at ninety mile an hour are
you!
Rita
Don’t you ever ever raise your voice at me in front of my kids,
Eddie O’Grady.
Eddie Whassamatter?
Rita
I’m on strike! That’s what’s the matter!
[MONTAGE #4.]
Harold Wilson
HELP ME, THE ECONOMY
IS SIMPLY IN FREEFALL
Men
CUTTING DOWN ON BOOZE AND FAGS
AND EVEN ON FOOTBALL
Made In Dagenham
83
Tooley
THE ECONOMIC INDICIES
MAKE THE BLOOD CHILL
WITHOUT FORD YOUR TR ADE FIGURES
ARE SIMPLY ROADKILL
(Tooley, Hopkins, Lisa have just finished a fondue at the Hopkins
house.)
Tooley
I never knew eating cheese could be both dangerous and exciting.
Hopkins
It’s a fondue, it’s a Swiss dish, like Lisa.
Tooley
Are you a Swiss dish, Lisa?
Lisa
No, I’m not.
(Tooley proposes a toast with cheese forks.)
Tooley
Here’s to the great British dolly bird!
Lisa
Excuse me!?
Hopkins
Mr. Tooley doesn’t mean you, darling. One of the strikers, we
offered her a cash contract with the promotions department.
Lisa
And she accepted?
Hopkins
Yes, the launch of the 1600E Cortina.
Lisa
What’s her name?
Hopkins
Why do you want to know her name?
Lisa
Because if I choose to join in this conversation I would like to use
her name and not refer to her as the “dolly bird”.
Hopkins
Sandra Beaumont.
Lisa
And when does this promotion happen?
Tooley
Friday. You see, Lisa, breaking a strike is like breaking a horse. You
gotta break its will.
84
Act Two
Lisa
I thought Ford was in the habit of simply shooting strikers.
Tooley
Michigan 1932 is history.
Lisa
Which is my subject. Five strikers dead, and sixty chained to their
hospital beds with shotgun wounds.
Hopkins
Darling, that’s enough. Please, bring in the dessert.
Tooley
Oh, wow! What’s for dessert?
Lisa (Standing.) Cheese.
[MONTAGE #5.]
All
STORM CLOUDS ON THE HORIZON
TENSION IN THE TOWN
PRESSURE BUILDING UP
RUMOURS GOING ROUND
Harold Wilson
UNEASY LIES THE HEAD
THAT WEARS THE CROWN
Barbara Castle
DON’T LET THAT BASTARD GRIND YOU DOWN
(Domestic. Eddie opens the door to Lisa.)
Lisa
Could I speak to Rita, please?
Eddie
Why? Who are you?
Rita
Don’t be like that, invite her in. She’s a friend.
(Enter Lisa.)
Lisa
They’ve offered Sandra a Ford promotions contract.
Rita What?
Made In Dagenham
Lisa
They’re trying to crack your solidarity. The launch of the 1600 E
Cortina on Friday.
[MONTAGE #6.]
Tooley
WE HAVE TO BUST THE STRIKE
BE RUTHLESS GET IT DONE
IF YOU DON’T WE’RE OUTA HERE
WE’LL MOVE TO BELGIUM
Harold
THIS IS A ROUGH PATCH
I READILY ADMIT
BUT PLEASE DON’T GO TO BELGIUM
All
COS BELGIUM’S REALLY SHIT
(Enter Beryl.)
Beryl Rita!
Eddie
Bloody hell, it’s like Piccadilly Circus here!
Beryl
It’s Connie. She fainted. Went unconscious. She’s in the Old
Church Hospital. Acute Unit. Listen, she’s asking for you.
[MONTAGE #7.]
All
STORM CLOUDS ON THE HORIZON
TENSION IN THE TOWN
PRESSURE BUILDING UP
RUMOURS GOING AROUND
MONEY RUNNING SHORT
DOWN TO OUR LAST POUND
DON'T LET THE BASTARDS
GRIND YOU DOWN
DON’T LET THE BASTARDS
GRIND YOU DOWN
85
86
Act Two
IT AIN’T ABOUT YOU
IT AIN’T ABOUT THE LAW
IT'S THREE THOUSAND FAMILIES
UNEMPLOYED AND POOR
DON’T LET THE BASTARDS
GRIND YOU DOWN
THE BASTARDS GRIND YOU DOWN
THE BASTARDS GRIND YOU DOWN
THE BASTARDS GRIND YOU DOWN
Music No. 14a: STORM CLOUDS – Scene Change
SCENE FOUR
Hospital. Rita and Eddie with flowers. Eddie is carrying motorbike helmets.
Eddie
If you’re quick, we can be home by two.
Rita
Eddie?! Connie’s got breast cancer, I’m not “gonna be quick”.
Eddie
I din’t mean it like that, just that, you know, my mum’s got the
kids until five, that’ll give us a bit of time.
Rita
On our own.
Eddie
Yeah. Go on. I’m alright. Exchange and Mart, and I’m on a
promise!
(Rita kisses him, it feels like a promise. Eddie sits and reads. Rita
moves on to the ward and finds Connie, who is in a bed with a
typewriter on her lap, tapping away painfully slowly. Rita shows the
flowers, triumphantly.)
Rita
Da, da!
Connie
They’ll take them away. There’s bacteria in flower water.
Rita
Don’t drink it then!
Made In Dagenham
87
Connie
I feel alright now, but they won’t let me out.
Rita
You’re in no fit state to go nowhere.
Connie
I was going to Redbridge. They’ve got to Sandra. She’s been offered
marketing work.
Rita
I was gonna tell you that.
Connie
Ford dealership Redbridge, today, three o’clock. Talk her out of it,
Rita. I know solidarity sounds like a slogan. But it’s all we’ve got.
Rita
Oh no. Today is not a good day.
Connie
Sandra doing cash work for Ford is not solidarity.
Rita
Alright, alright, leave it with me.
Connie
You can get a 145 –
Rita
– Eddie’s here with the bike.
Connie
And The TUC conference. Saturday.
Rita
You can forget about that.
Connie
I want you to give my speech.
Rita
Piss off! The TUC?! I can’t. Saturday is Graham’s school concert,
he’s singing.
Connie
There’ll be other concerts.
Rita
You’re not a mother, Connie, you don’t understand!
Connie
The reason women don’t have their rights is ’cos they always put
the children first.
(Connie types slowly.)
This is the speech. I’ll have it finished by 1971 at this rate.
88
Act Two
Rita
You’re a bully, Connie Riley, but I love you. I’ll pick it up in the
morning.
(Rita leaves. Eddie stands, seeing her coming.)
Rita
Eddie
Eddie. Promise me you won’t go into one.
What is it?
Rita
I need to get to Redbridge for three. Sandra’s doing a promotion
out there.
Eddie
What about the us?!
Rita
And I can’t do Saturday.
Eddie
It’s Graham’s concert day. He’s singing.
Rita
One of us gotta make a speech, at the TUC. Connie can’t.
Eddie
And you’re the only woman in the world who can?
Rita
Eddie. This is important to me! It’s about –
Eddie
– I know what it’s about, but you’re not listening to me! We need
you. The kids need you.
Rita
Eddie, this isn’t the time.
Eddie
No, it is the time and it needs saying . . . I know you think I ain’t
bothered about important things like wot you are, and that I’m
only interested in the bike and Millwall, but I’m trying to support
you in this. Rita, I ain’t out every night on the booze, I don’t sleep
around . . .
Rita
Oh I married a bleeding saint, did I?
Eddie
Rita
I never hit you or the kids.
You want me to be grateful for that? That, Eddie, is how it should
be.
(Rita storms off. End of scene.)
Made In Dagenham
89
Music No. 14b: CAR SHOWROOM
SCENE FIVE
A Ford Dealership showroom in Redbridge. A Cortina covered in a glitzy drape.
Petrolheads mull around, Press. Lighting for a show.
Hopkins
Ladies and Gentlemen, welcome to the launch of the 1600E
Cortina. The presence of the Minister today reflects the
importance of Ford’s manufacturing base to the British economy.
Please welcome the Secretary of State for Employment, Mrs
Barbara Castle.
(Applause.)
Barbara Castle Thank you. Ford may be American but the Cortina is British!
Designed by Roy Haynes, this new model, the 1600E, has a G and
T engine, and a lowered suspension, I know how it feels –
(Laughter.)
Ford employs thirty thousand men in this country –
Rita
– And women!
Barbara
– Yes, and women.
Rita
And we women are paid less than the men!
Man
Shutup, will ya!
Barbara
We do have a dispute with the women at Ford, and we are losing
nine thousand cars a week, that’s nine thousand cars we could be
exporting to balance our trade figures.
Rita
Equal Pay and we go back to work!
Macer
Equal Pay for women, are you mad?!
Hubble
Go and live in Russia!
90
Act Two
Rita
I’m going nowhere mate!
Hubble
I’m not your bloody mate. Don’t mate me, mate!
Man
Can someone chuck her out!
Barbara
For Pete’s sake can we have a look at this bloody car!
Music No. 15: CORTINA!
(Lights, music, dance, action. Think Pan’s People but with additional
boys. The message of the dance is that if you buy a Mark II Cortina
1600E you’ ll get laid. Cue undressing dance moves, girls losing
dresses, and a dance gag of every time a girl sits in the driving seat she
is dragged out and the man replaces her. The comedy maths on this
would be – girl sits in driving seat / is removed by boy taking over;
girl sits in driving seat / is removed by boy taking over; girl sits in
driving seat and boy removes steering wheel and takes it to passenger
seat. Sandra could lead on this feminist agenda vis a vis the driving
seat. Other gags would be reclining seats and legs in air. Could go
very raunchy. Girls in the boot. Screen wash at climax of action. Post
climax, suspension sinks and puffs of smoke come out of the engine.)
Girls
BAH BAH
BAH BAH
BAH BAH
BAH BAH DA! BOO!
Cortina Man Girls
IT’S THE CAR FOR ME
IT’S THE CAR FOR YOU
AFTER THE MARK ONE
COMES THE . . .
OOH
MARK TWO
MARK TWO, OOH
WELL YOU BUY A MARK TWO
COS YOU KNOW YOU OUGHTA
IT'S LIKE A MARK ONE,
ONLY FR ACTIONALLY SHORTER
FR ACTIONALLY SHORTER
Made In Dagenham
Cortina Man
CORTINA,
Girls
OOH
Cortina Man
IT’S LEANER AND IT'S MEANER
Girls
OOH
Cortina Man
CORTINA
Girls
OOH
Cortina Man
COMES IN WHITE OR CREAM-ER
Girls
OOH
Cortina Man + Girls
TWO-DOOR FOUR-DOOR
Cortina Man
IF YOU CAN AFFORD MORE
Cortina Man + Girls
LEATHERETTE’S THE ONE TO GET
Cortina Man
WOODEN DASHBOARD?
Cortina Man + Girls
YEAH YOU BET!
91
92
Act Two
Girls
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
Cortina Man + Girls
CORTINA
OO WOO WOO WOO
Rita
Sandra! What do you think you’re doing?!
Sandra
Earning a living!
Hubble
Oi! What’s your problem?
Rita
How long have you got?
Sandra
I can’t live on two pound a week strike pay!
Rita
No, Sandra! NO!
Cortina Man
SELF-ADJUSTING BR AKES
FOR THOSE TRICKY ROUNDABOUTS
BUILT TO REALLY LAST . . .
Girls
THREE YEARS!
Cortina Man
OR THEREABOUTS
Girls
OOH . . . OOH . . .
Made In Dagenham
93
Cortina Man
IT’S SLIGHTLY SHORTER
BUT MORE ROOM INSIDE
Girls
WELL HOW THE HELL’S THAT POSSIBLE?
Cortina Man
IT’S NOW EXTR A WIDE!!
CORTINA,
Girls
OOH
Cortina Man
IT’S LEANER AND IT'S MEANER
Hopkins (To Security Guard.) That woman there, I want her thrown out.
Girls
OOH
Cortina Man
CORTINA
Girls
OOH
Cortina Man
COMES IN WHITE OR CREAM-ER
Girls
OOH
Cortina Man + Girls
UPHILL, DOWNHILL,
Cortina Man
IT WILL GIVE A BIG THRILL
94
Act Two
Cortina Man + Girls
SEE THE WORLD SEE THE SIGHTS
WITH TWILIGHT, NIGHT-SIGHT, SIDE HEADLIGHTS
Girls
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
DUB-A-DUB-A-DUB-A-DUB-A
Rita
You’re letting us down Sandra, you’re
letting yourself down!
Sandra
I’m getting fifty quid for an hour’s
work!
Rita
You call this work? What about the
other girls, where’s your solidarity,
Sandra?
Cortina Man
COME ON, ACCELERATE
JUST DO IT, WHY WAIT?
BEFORE IT GETS
MUCH TOO LATE,
Sandra
Solidarity? That ain’t gonna pay the
rent!
Rita
We woman are paid 87 per cent of
the male rate –
Cortina Man + Girls
SEIZE THE MOMENT,
BABY, RIGHT . . .
Girls
WOW, WOW, WOW, WOW,
WOW, WOW, WOW, WOW,
WOW . . .
(Security Guard tries to grab Rita.)
Don’t you touch me, get your hands
off me!
Sandra
Oi! Leave her alone! She built this
car, yeah, a woman!
Cortina Man
CORTINA,
Girls
DRIVING
Cortina Man
IT’S LEANER
AND IT'S MEANER
Girls
MORE FUN THAN ARRIVING
Hopkins You’ve started now, have you!?
Sandra
Yeah, I have. It ain’t right paying
women less than men.
95
Made In Dagenham
Cortina Man
CORTINA
Girls
THERE’S NO SENSE IN DEPRIVING
Cortina Man
COMES IN WHITE OR CREAM-ER
Hopkins Women don’t do the
engineering.
Sandra
Girls
AFTER ALL THE NINE-TO-FIVING
What are you gonna sit on
then, if there’s no seats?
Your dick? You dick.
Cortina Man + Girls
CORTINA
Music No. 15a: CORTINA! – Play Out
(Security guard makes a grab for Rita, but Rita gets away. End of
scene.)
SCENE FIVE–A
Front cloth. Sandra walking away from Rita.
Rita
Sandra! Come here!
Sandra
You can't tell me what to do!
Rita
This is exactly what they want. Us to start fighting amongst
ourselves.
Sandra
What is it you don’t understand. I can’t pay the rent.
Rita
We’re fighting for Equal Pay.
Sandra
If we get Equal Pay. It won’t change nothing. It’ll still be a shit
job, only a shit job with Equal Pay.
Rita
That’s not the point.
96
Sandra
Act Two
It's all about you, innit. Little Miss bleeding Angry, but nice
looking, all over the papers. You're loving it, ain’t ya.
Rita No!
(Sandra exits. Enter Barbara Castle walking ahead of her
Driver. Barbara is carrying a briefcase. Barbara, considers, but
walks past.)
Rita (Angry.) Oi Barbra, we’re not gonna get any help from you then?
(Barbara stops.)
Barbara
You’re Rita O’Grady, aren’t you?
Rita
I dunno. I don’t know who I am anymore.
Barbara
(To driver.) Go on, Ted, I’ll see you in a minute.
Barbara
I’m in a difficult position, Rita, I’ve got to balance the trade
figures, so I want you back at work, but I’m also a woman.
Rita
Is that why you went into politics? To balance the trade figures?
Barbara (Beat.) Come to Westminster, tomorrow. Let’s talk it through.
Rita
Can I bring some of the other girls?
Barbara
Yes, why not. One o’clock. Tomorrow.
(Barbara gives her a card.)
Do you want a lift? That’s my Bentley.
Rita
No it isn’t. It’s my Bentley. I paid for it. As a taxpayer.
Barbara
You’re right. Love. (Beat.) Can you give me a lift?
Rita
Oh, alright then.
(They exit. End of scene.)
Made In Dagenham
97
Music No. 15b: TAX PAYER’S BENTLEY
SCENE SIX
Rita returns to the maisonette. She walks in the door, closes it, takes her coat off. A radio is
playing, radio one, chart hits, quietly.
Rita
Eddie, Eddie!?
(She looks at her watch. Goes to the foot of the stairs.)
Graham! Sharon! I’m gonna do fish fingers!
(Silence.)
Mash and peas! (Beat.) Alright! I’ll do chips! Graham!? Sharon?!
(Deadly silence. She runs upstairs and straight back down again.)
(To herself.) Eddie!!!????
(She goes into the kitchen and then finds the letter on the table. She
opens the letter. Eddie sings.)
Music No. 16: THE LETTER
Eddie
I JUST CAN’T TAKE THIS ANY MORE
I’M GONNA TAKE THE KIDS AWAY
FOR A DAY OR TWO – I’M NOT SURE
I KNOW I’M NOT ONE FOR TALKING
BUT I THINK YOU KNOW WE SHOULD
SO IF YOU’RE EVER AROUND
YOU NEVER KNOW,
MIGHT DO SOME GOOD
COS I CAN’T DO THIS
ON MY OWN, NO MORE
I NEED YOU AROUND
OR ELSE WHAT IS THIS ALL FOR?
98
Act Two
I NEED YOU TO STAND BESIDE ME
I NEED YOU TO BE MY WIFE
IT’S SUCH A SIMPLE THING
I NEED YOU IN MY LIFE
(Rita sits and starts to cry.)
YOU KNOW WHAT THEY’RE SAYING AT WORK?
I’D TELL YOU IF YOU WERE EVER HERE,
“READ HER THE RIOT ACT, KEEP HER IN LINE
GET HER IN THE HOUSE, AND YOU OUT FOR A BEER”
YOU KNOW WHAT THEY'RE GONNA SAY BEHIND MY BACK?
WELL I’D TELL YOU IF YOU WERE EVER HERE
“WHO’S IN CHARGE? WHO WEARS THE TROUSERS?
MAYBE HE’S, YOU KNOW, A QUEER”
COS I CAN’T DO THIS
ON MY OWN, NO MORE
I NEED YOU AROUND
OR ELSE WHAT IS THIS ALL FOR?
I NEED YOU TO STAND BESIDE ME
I NEED YOU TO BE MY WIFE
IT’S SUCH A SIMPLE THING
I NEED YOU IN MY LIFE
WELL YOU SHOULD SEE THE STATE OF THE PLACE
THE STATE OF YOUR SON AND DAUGHTER
WE R AN OUT OF MILK LAST NIGHT
SO BREAKFAST WAS CORNFLAKES AND WATER
AND YES, I’VE BURNT THE TOAST
AND THE SAUSAGE AND EGGS TOO
AND THE STUPID WASHING MACHINE
WELL IT ONLY EVER LISTENS TO YOU
AND OH THAT LOVELY SHIRT
WE BOUGHT FOR SHARON IN CANNING TOWN
WELL IT USED TO PINK BUT I IRONED IT
AND NOW IT’S MORE SHIT BROWN
Made In Dagenham
99
AND WHEN I HAD TO CLEAN THE BOG
I TELL YOU, MAN, IT’S SCARY
I COULDN’T FIND THE BLEEDING BLEACH
I HAD TO USE THE FAIRY!
AND I CAN’T DO THIS
ON MY OWN, NO MORE
AND I NEED YOU AROUND
WHAT THE FUCK IS IT ALL FOR?
AND I NEED YOU TO STAND BESIDE ME
I NEED YOU TO BE MY WIFE
I NEED YOU TO UNDERSTAND
YOU’RE THE LIGHT THAT LIGHTS MY LIFE
HOPE YOU DIDN’T GET IN TOO LATE,
HOPE THE MEETING WENT ALRIGHT
I HOPE YOU’VE DONE YOURSELF PROUD
AND BY THE WAY, THE KIDS SAY GOODNIGHT.
(Doorbell. She stands in hope that it’s Eddie, rushes to the door opens
it. It’s Lisa.)
Rita
Oh, it’s you.
Lisa
I’m sorry, is this a bad time?
(Rita is close to tears.)
Rita
Eddie’s left me! He’s taken the kids!
Lisa
I’m sorry. That must be very painful, but –
Rita
– I’m a mother and I’ve lost my kids!
Lisa
You’re a brilliant mother and you have not lost your children.
Rita
This ain’t worth it.
(Rita hands Lisa the letter from Eddie.)
100
Act Two
Lisa
Rita, Rita. You’re caught up in something, and it’s taken over, for
now. You have to be strong, and sacrifices have to be made.
Rita
Not my children!
Lisa
Eddie will come back, with the children. You’re making history,
Rita.
Rita What?
Lisa
Yes, history. Like Rosa Parks.
Rita Who?
Lisa
Rosa Parks. She was a black woman, she refused to give her seat up
to a white man on a bus.
Rita
Where? Stoke Newington?
Lisa
Alabama. 1955. What she started, Martin Luther King finished.
Rita
You know they shot him?
Lisa
Gandhi, Rosa Parks, Martin Luther King, they weren’t on their
own. You know what Gandhi needed?
Rita
A sandwich.
(They laugh.)
Lisa
A lot of women, not just working class women, they’ve seen you in
the news, we want to support you.
Rita
I can’t do it. Anyway I don’t know how to talk this union stuff.
Lisa
Yes you do. Just be yourself and remember why you’re doing it.
Rita
Why am I doing it?
Lisa
You have a daughter. Now, what are you going to wear? For the
TUC. It’s on TV.
Rita
I dunno.
Made In Dagenham
Lisa
101
You know my Biba dress? You can borrow that and you’ll look
fantastic. You are not alone.
(They hug. End of scene.)
Music No. 16a: INTO PARLIAMENT
SCENE SEVEN
Outside Parliament, by the Oliver Cromwell statue. Clare, Beryl, Cass.
Clare
Who’s that?
Cass
Oliver Cromwell.
Clare
I like her boots.
Beryl
Are we early or is Rita late?
Cass
One o’clock outside Parliament. Rita’s late.
Clare
I can’t wear thigh length leather boots on me wotsit.
Beryl
On your head?
Clare
On me wedding day.
Beryl
Depends on the dress, dunnit.
Cass
In and ideal world, what would be your dream wedding dress,
Clare?
Clare
White o’ course.
Beryl
You can’t wear white, you daft slapper, you’ve already had it off!
Cass
You’ll have to have peach.
Beryl
Or salmon.
Clare
My Ken don’t like fish.
102
Beryl
Act Two
It’s a wedding dress. He don’t have to fucking eat it.
(Enter Rita.)
Rita
Sorry I’m late.
Beryl
Are you alright?
Rita
Yeah, I’m fine, thanks.
Beryl
Don’t you lie to me, girl.
Rita
No, I’m alright.
(Enter Sandra.)
Sandra
Am I late?
Beryl Yes!
Rita
I don’t care about that, we’re just glad you’re here.
Beryl / Cass /
Clare Hmmm!
Sandra
Gimme a break, you lot! They give me fifty quid to wiggle my arse!
Who can say no to that?
Cass
You’d do Playboy then, would you?
Sandra
Yeah! This strike is about fairness, equality, right and wrong. It’s
got nuffin to do with feminism. Who’s that?
Clare Cromwell.
Sandra
I like her boots.
Rita
Honestly, come on then girls! Beryl, no swearing!
Beryl
I can’t fucking promise.
Rita
Let’s do it!
Music No. 16b: PRESS MUSIC
Made In Dagenham
103
(They move towards the Parliament gates where there are press
gathered.)
Hack 1
Ladies, are you going to ask Barbara Castle for Equal Pay?
Rita
’Course we are, that’s what we’re striking for, innit?
Hack 2
And if she refuses, how will you cope with that?
Rita
How will we cope? We’re women! We always cope!
(They go into the building. End of scene.)
SCENE EIGHT
Barbara Castle’s office. Tea Lady opens the doors and the girls come in.
Barbara
Come in! Rita, welcome. Sit down, all the furniture’s old. And call
me Barbara, not ma’am, I’m not the Queen, not yet. Ha, ha!
Rita
This is Beryl.
Beryl
Alright? That’s C & A, innit?
Barbara
This? Yes.
Beryl
I got one of them. The zip goes.
Barbara
It’s only for work. Now girls I don’t want to get your hopes up –
(Enter Harold Wilson. They all stand.)
Harold
Don’t stand, I wouldn’t stand for you. I won’t stay because I realise
that having a handsome powerful man sucking suggestively on a
pipe might be a distraction! Westminster is a boys’ club, I’m afraid,
the ladies’ loos are in Clapham. But you can use the gents’ if you
don’t mind standing up. I was breast fed and I like women, I’ve
known several intimately, and my mother was a woman, though
I never slept with her after puberty, because that’s not normal,
not yet, anyway. But I’ve also met countless women on the stairs
during my lifetime up and down the length and great breasts of
104
Act Two
this nation. Welcome, and I hope you have a good girly bitch
about everything.
(He leaves.)
Barbara
Sherry anyone!?
All
Oh, nice. / Lovely. / Please.
Barbara
Now girls, I’m going to do something unusual for a politician. I’m
not going to lie to you. I want you to go back to work. I’ve been
talking to Ford American who are offering you ninety-two per cent
of the male rate.
Clare
Oh, that’s great!
Rita
No, we ain’t going back wivout equal pay.
Barbara
When I was young, like you, I thought I could change the world
overnight. I saw injustice all around me, lies, back-stabbing,
nepotism, corruption – and that was just the Labour Party. But all
my shouting, and banging tables, went for nothing. Real change
takes time. How do you eat an elephant?
Beryl
In a bagel!
Barbara
One bite at a time, and an awful lot of mastication.
Clare
Ooh! (Giggles.)
Rita
We came here today because you’re a woman, and Labour.
Barbara
I can’t do anything without the backing of the TUC, the men, and
men don’t see equal pay for women as a priority.
Cass
I’m an optimist –
Rita
– Cass wants to be an airline pilot.
Beryl
Before she’s thirty-five.
Barbara
That’s fantastic. And when are you thirty five, Cass?
Made In Dagenham
Cass
Tuesday. But I’m not giving up. Because, that’s not an option is it,
giving up. Rita’s right, we should all be working towards our ideal
world.
Music No. 17: IDEAL WORLD
Barbara
105
Aye, the only problem with that, love, is that you don’t live in
an ideal world – you live in the real world, where if you ask for
everything you get nowt.
Barbara
IN AN IDEAL WORLD
EVERYTHING WOULD BE JUST GREAT
IN AN IDEAL WORLD
LOVE WOULD ALWAYS CONQUER HATE
IN AN IDEAL WORLD
THE WORKERS, BOSS OR STAFF
IN AN IDEAL WORLD
THEY’D SIT AND HAVE A LAUGH
THE SUN WOULD ALWAYS RISE AND SHINE,
THE SKIES WOULD BE DEEP BLUE
THERE’D BE A CURE FOR CANCER
AND THE COMMON COLD AND FLU
THERE WOULD BE NO GUNS OR CRIME,
THE STRONG WOULD HELP THE WEAK
THE TR AINS WOULD ALWAYS RUN ON TIME,
WE’D WORK A FOUR-DAY WEEK
WE’D GET TO MEET THE PR AT
WHO PUT THE VAT UPON THE TAMPON
WE’D HAVE A CHAT AND AFTER THAT
HIS FACE WE’D DULY STAMP ON
IMAGINE A GREAT WORLD OF UNIMAGINABLE BLISS
WHERE MEN KNOW HOW AND WHERE TO FIND
A WOMAN’S CLITORIS
106
Act Two
IN AN IDEAL WORLD
EVERYTHING WOULD BE JUST GREAT
IN AN IDEAL WORLD
LOVE WOULD ALWAYS CONQUER HATE
IN AN IDEAL WORLD
WE’D CARE AND SHARE AND HEAL,
AND OUR DREAMS OF HAPPY ENDINGS
WOULD BE REAL
THE BERLIN WALL WOULD FALL
AND SO WOULD TYR ANTS OVERSEAS
CIVIL RIGHTS WOULD FLOURISH WELL
IN ALL COMMUNITIES
NO BOMBING IN CAMBODIA,
NO WAR IN VIETNAM
INSTEAD OF MARTIN LUTHER KING
THEY’D SHOOT THE KU KLUX KLAN
THE PLANET WOULD REVOLVE AROUND
THE MEEKEST OF THE MEEK
AND PROTESTANTS AND CATHOLICS
WOULD KISS THE OTHER CHEEK
APARTHEID WOULD BE DULY CRUSHED
AND SO WOULD POVERTY
THE EAST AND WEST WOULD DO THEIR BEST
TO LIVE IN HARMONY
BUT IN THE REAL WORLD
IT’S A STRUGGLE EVERY DAY
IN THE REAL WORLD
YOU’RE LUCKY IF YOU MAKE OK AY
IN THE REAL WORLD
IT’S NOT ABOUT THE NICE
IT’S ABOUT TOUGH COMPROMISE
AND SACRIFICE
Made In Dagenham
107
LET ME TELL YOU; IT WAS SO MUCH TOUGHER
WHEN I STARTED OUT
WOMEN’S RIGHTS – MY GOD, YOU'LL HAVE TO
BEG AND BLEED AND SCREAM AND SHOUT
THE BOTTOM OF THE BOTTOM,
AND THE LOWEST OF THE LOW
MIRED IN MISOGYNY,
NO CHANCE TO RISE AND GROW
BUT YOU GOT TO KEEP ON GOING
AND YOU GOT TO KEEP ON FIGHTING
GOTTA PUNCH ABOVE YOUR WEIGHT,
BELOW THE BELT AND DO SOME BITING
I KNOW YOU ALL WANT SEXIST LAWS
TO FALL AND BE REPEALED
I KNOW ALL YOU’RE ASKING FOR
IS JUST A LEVEL PLAYING FIELD,
LEVEL PLAYING FIELD
IN OUR IDEAL WORLD,
IT WILL SURELY COME TO PASS
AND OUR IDEAL WORLD
IS SO NEARLY IN OUR GR ASP
AND OUR IDEAL WORLD,
IF YOU’RE BR AVE AND TAKE THIS DEAL,
ONE DAY THOSE HAPPY ENDINGS
COULD BE REAL
SHOULD BE REAL,
WILL BE REAL
WE’LL MAKE OUR WORLD
IDEAL
Rita
No! Did Martin Luther King ask for ninety-two per cent of rights
for black people?
Barbara (Beat.) You know they shot him.
Rita
Yes, I do.
108
Act Two
Barbara
You’re saying no to ninety-two per cent?
Rita
I’d say no to ninety-nine per cent.
Barbara
You’re tough, Rita, but you’ve got a real fight on your hands
because you’ll never change Government policy without the
backing of the TUC.
Rita
I’m going to Eastbourne, to the TUC.
Barbara
I’ll see you there, then.
Music No. 17a: INTO THE HOSPITAL
Rita
Come on, girls.
Girls
See you, Barbara. / Bye. / Thanks, Barbara.
Beryl
I could murder a pint. Anyone?
Clare
What was all that in there about eating elephants?
Beryl
Oh Clare, for fuck sake.
(They’re out the door. End of scene.)
SCENE NINE
The hospital. The screens around Connie’s bed are open but there is no bed there. Monty
is in the bedside chair, praying, in a secular kind of way. Enter Rita, carrying some fruit
and a magazine.
Rita
Where’s Connie? (Beat.) Monty?! Oh, no. No, no, no!
Monty
We was talking. She seemed quite chipper. She smiled at me, and
I was talking, and I held her hand, and then I realised she’d gone.
(Beat.) I loved her.
Rita
Yeah, we all loved her, Monty.
Monty
No, no. I loved her. I asked her to marry me, 1956. We had a
thing, but it weren’t love, not for her it weren’t.
Made In Dagenham
109
Rita
I’m sorry. I didn’t know.
Monty
She was a very private woman. Bit old fashioned in some ways.
And she wanted to marry for love, I guess, and she knew that she
didn’t love me. So that’s was it for her. Some people get hitched
just not to be lonely, but she was a very principled, you might say,
idealistic woman. A dreamer.
Rita
That’s got my name on it.
(An envelope.)
Monty
Yeah. That’s for you.
Rita
I think I know what it is.
Monty
I’ve read it. It’s bloody brilliant.
Rita
Is it? Oh Jeez.
(Rita takes the envelope.)
Monty
She put her whole life into that speech. (Pause.) I let her down, you
know.
Rita
No, Monty, no.
Monty
I’ve let all you girls down.
Rita
How’s that?
Monty
Rita, in a million ways.
(End of scene.)
Music No. 17b: SAME OLD STORY – Scene Change
SCENE TEN
A playground or park. Eddie, Stan and Barry are sat on the park bench.
Barry
D’you remember Len Wilson? Red hair, freckles, glass eye.
110
Act Two
Stan
No. What he look like?
Eddie
I know him. West Ham.
Barry
His wife becomes Lord Mayor of Hornchurch so Len starts calling
himself Lady Mayoress.
Eddie Why?
Stan
To get his expenses.
Barry
He gets himself a handbag to carry all her stuff around, and
because he’s got a handbag, he gets himself matching high heels.
Eddie
This is about me, you’re having a go at me aren’t you.
Barry
What happened to Len?
Stan
He ended up having a sex change operation he didn’t want.
Eddie
Alright! Alright! What’s your point, Stan?
Stan
Behind every powerful woman, there’s a man waiting for surgery.
Barry
Sort her out, Eddie. We’ve all got mouths to feed.
(Enter Rita. She is carrying the speech envelope from the previous
scene. Eddie is there, seemingly alone.)
Rita
I’m sorry I’m late.
Eddie
I knew you’d be late.
Rita
Where are the kids? I’ll take them.
Eddie
They’re coming back to Mum’s.
Rita
The arrangement was that I’d pick them up from here.
Eddie
Yeah, but being a mother to my kids ain’t enough for you, is it?
Saving the world –
Made In Dagenham
Rita
– Eddie, I’ve got to do this. I’ve got a lot on my plate at the
moment, but that won’t last forever. I’ve got to do this.
Eddie
Kids need looking after, feeding, washing, I dunno.
Rita
No, I know you, Eddie, it’s cos you didn’t have a clean shirt.
Ironed the way your mother does.
Eddie
Don’t blame me, you done this.
Rita
You stole my kids away in the middle of the night!
Eddie
It wasn’t the middle of the night. It was the middle of the night
when you got home and first noticed them missing.
(A ball bounces across the stage, chased by Sharon.)
Rita
Hiya m’love.
Eddie
We’re going back to Gran’s.
Sharon
I don’t want to go. Grandma licks her plate!
Eddie
If you’d been through the war, you’d lick your plate.
(Enter Graham.)
Graham
Hiya mum.
Rita
Hi. Do you understand why I can’t be at your concert?
Graham
It’s alright.
Eddie
Come on, get your stuff, we’re going.
Rita
You’ve got to go with your dad, babe.
Eddie
Graham! Come on now!
Rita (To Sharon.) It’s just for this week, Sugar. I promise.
Eddie
It’s broken.
Rita
What’s broken?
111
112
Act Two
Eddie
Our marriage.
Rita
You walked out.
Eddie
I didn’t walk out, you did.
Music No. 18: WE NEARLY HAD IT ALL
Rita
I’M SUPPOSED TO HATE YOU BUT I DON’T
YOU WANT ME TO BEG YOU BUT I WON’T
Eddie
I’M AT A LOSS –
Rita
I’M AT A LOSS TOO
Rita / Eddie
SOMETHING WE AGREE ON
Eddie
IS THAT IT? ARE WE THROUGH?
Rita
Looks like it, doesn't it.
(Eddie exits.)
Rita
I’M STILL HERE, I AIN’T GIVEN UP
I’M STILL A MOTHER AND A WIFE
BUT ALL THIS HAPPENED SUDDENLY
IT JUST DROPPED INTO OUR LIFE
I CAN’T LET ANYONE DOWN
SO WHAT AM I SUPPOSED TO DO?
DON’T TURN YOUR BACK ON ME NOW
COS NOW’S THE TIME THAT I NEED YOU
I THOUGHT I HAD THE FUTURE
IN THE PALM OF MY HAND
Made In Dagenham
113
I THOUGHT YOU WERE BESIDE ME
AND OUR DREAMS WERE ALL PLANNED
THOUGHT WE WOULD WE STAY TOGETHER
NOW THE WORLD’S COLD AND SMALL
THOUGHT THAT WE’D GROW OLD AND GR AY TOGETHER;
OH BABE, WE NEARLY HAD IT ALL
AND WHAT ABOUT OUR DAUGHTER
I WANT TO LOOK AT HER AND SEE
THAT HER FUTURE’S FULL OF HOPE
SO SHE DON’T END UP LIKE ME
I’M FINDING A VOICE FOR THE FIRST TIME –
I NEVER KNEW I HAD BEFORE
WELL IT STARTED AS A WHISPER
Rita / Women
BUT IT’S GOT TO BE A ROAR
WE THOUGHT WE HAD THE FUTURE
IN THE PALM OF OUR HANDS
WE THOUGHT YOU WERE BESIDE US
AND WE HAD IT ALL PLANNED
WE KNOW LIFE ISN’T EASY
BUT WE COULD HAVE STOOD TALL
INSTEAD WE SEE THE MOMENTS
WHEN WE ALMOST HAD IT ALL
Rita
IT DON’T MEAN I DON’T LOVE YOU
IT DON’T MEAN I DON’T CARE
BUT I’LL SEE THIS THROUGH
WITH OR WITHOUT YOU THERE
(Eddie and the Kids are gone. Rita leaves. She takes the speech with
her. End of scene.)
114
Act Two
SCENE ELEVEN
Music No. 19: VIVA EASTBOURNE
Eastbourne – on-the-road song. An entirely musical, song-based scene, but we do see Rita
and the Girls and Monty and his Trade Union Friends with banners gathering for
the bus; Tooley and Hopkins are travelling first class in the train or by helicopter. The
Union Guys take the train; Castle and Wilson are limo driven by chauffeurs; Lisa
drives her mini. Throughout, Rita hugs and protects Connie’s speech.
Men
VIVA EASTBOURNE
THE T.U.C. BY THE SEA
VIVA EASTBORNE
BEER AND CHIPS IN QUANTITY
WELL I PROMISE THAT YOU WON’T BE BORED
INDISCRETION IS ASSURED
BED AND BREAKFAST SUBSIDISED
PROPHYLACTICS ARE ADVISED
EASTBOURNE
A WEEK BY THE SEA
Male Solo
WITH THE T.U.C.
Women
SHE'S ONLY GOT ONE CHANCE
Sandra
AND DON’T WE KNOW IT
Women
JUST THIS ONE LITTLE CHANCE
Cass
I HOPE SHE DOESN’T BLOW IT
Women
JUST SAY WHAT YOU GOT TO SAY
Made In Dagenham
Beryl
WE'RE WITH YOU ALL THE WAY
Women
RITA, GIRL, GO ALL THE WAY!
Men
IN FIGHTING, OUT FIGHTING
TALKING ALL THE LINGO
IN BETWEEN THE UNION SCENE
THE STRIPPERS AND BINGO!
Women
I’M PINING FOR,
I’M WHINING FOR,
I’M YEARING FOR,
I’M BURNING FOR,
I’M ACHING FOR,
I’M QUAKING FOR,
I’M SICK OF BLEEDIN’ WAITIN’ FOR . . .
Men
DONKEYS ON THE BEACH,
SNOGGING ON THE PIER,
A NOD, A WINK A PROPER DRINK,
A-VOMITING ON BEER
Women
CHANGE, CHANGE, CHANGE
BRING IT ON
CHANGE, CHANGE, CHANGE
Harold
OH I DO LIKE TO BE BESIDE THE SEASIDE
OH I DO LIKE TO BE BESIDE THE (SEA)
All
VIVA EASTBOURNE
THE T.U.C. BY THE SEA
VIVA EASTBOURNE
115
116
Act Two
Hopkins
NOT EX ACTLY TUSCANY
Men
A WEEK IN WHICH TO
Women
AIR OUR VIEWS
Men
A WEEK IN WHICH TO BOOZE AND SCHMOOZE
Women
THE ONE THING TO DECIDE UP HERE
WE’LL START THE REVOLUTION
Men
SOMETIME NEXT YEAR
All
VIVA EASTBOURNE
(End of scene.)
SCENE TWELVE
Barbara
In place of disagreements we need agreements, in place of
disruption we need production, and in place of strife we need
harmony! And I won’t take no for an answer!
All
Fiery like her hair!
(A green room situation, back stage at the TUC. Rita in a nervous
state, she is holding Connie’s speech.)
Rita (Reading.) “President, Congress, comrades, brothers and sisters” –
(Knock on the door. Rita opens it and Monty comes in.)
Monty!
Made In Dagenham
Monty
117
– Shhh! Can you hear that?
Rita What?
Monty
That is the sound of nuns booing the Pope. Three thousand trade
unionists booing a Labour Prime Minister.
Rita
Oh my gawd, Harold Wilson’s not here, is he?
Monty
Yeah, and that Bar bar bar bar barbara Castle.
Rita
I’m so nervous, Monty.
Monty
You’ll be great! You’re not gonna read it, are you?
Rita
Oh gawd. I can’t learn it!
Monty
It looks terrible though, dunnit.
Tannoy (Distort) Composite five speakers, this is your two minute call.
Monty
That’s you, composite five is the Equal Pay Amendment.
(Enter Lisa wearing a press badge around her neck.)
Lisa Rita.
Rita
Lisa?! What you doin’ here?
Lisa
I brought the Biba dress.
Rita
Oh my gawd, it’s beautiful. How did you get back stage?
Lisa
I have a press pass! I’m working for The Spectator Magazine.
Rita
That’s brilliant!
Monty (To Rita.) You’ve obviously not read The Spectator. Anyway as
they say in orthopaedics – break a leg!
(Monty is gone. Now alone, Rita and Lisa hug.)
Rita
So you’re working? What did your husband say?
118
Act Two
Lisa
He doesn’t know. I told him I was going to Monaco for the
weekend.
Rita
Don’t walk out on him, Lisa, please, hating men isn’t what this is
about.
Lisa
Absolutely, I don’t hate all men. I just happen to have made an
exception for my husband. Look, I have a Double First from
Cambridge and he can’t even imagine me working, never mind
being any good. This isn’t just about working class women, you are
doing this for all of us.
Rita
Would you mind listening to my speech?
Lisa
Of course.
Rita
President, Congress –
Lisa
– You’re not going to read it, are you?
Rita
Oh Jesus! I’ve tried to learn it but with everything, it’s doing my
head in!
Lisa
You’re going to be brilliant.
Tannoy
Composite five speakers, Equal Pay Amendment, to the wings,
please.
Lisa
You’d better get ready. Good luck.
(Rita dives into the loo to change into the Biba dress. Enter Tooley,
he’s smoking a cigar. He finds the speech, looks at it, and tears it up.
Rita comes out.)
Tooley (Whistles, impressed with her looks.) I didn’t expect you to be a
looker.
Rita
You’re the yank, aintcha?
Tooley (Threatening / lecherous.) Yeah. And you’re the Brit. We could have
a special relationship.
Made In Dagenham
119
(Rita goes to leave.)
Tooley
I love the dress. Are you a Red? Ya know, I could create a position
for you, baby.
Tannoy
Composite five speakers to the stage!
Tooley
You’re on.
(He blocks the door.)
Who’s looking after your kids today, Mommy? Daddy I guess,
since he’s laid off. I guess a strike must test a relationship. I never
married, I prefer horses.
Rita
Where’s my speech?
Tooley
Nervous, eh? I like a nervous broad. Frightened meat tastes better.
(Tooley edges towards Rita.)
Rita
Don’t touch me!
Tooley
Bit of advice on public speaking, remember the three D’s. Drive,
Diction and Don’t forget you’re just a little girl!
(Tooley is gone. Rita crashes around the room in panic to piece
Connie’s speech back together. She collapses and starts to cry. Enter
Beryl, Sandra, Clare, and Cass.)
Beryl
What the fuck’s going on!?
Rita
He’s torn up Connie’s speech.
Beryl Who?
Cass (Kisses teeth.) The bumbaclot American?
Rita
I don’t know what I’m gonna say!
Beryl
Don’t panic, we can put it back together again.
Tannoy
Composite five speaker, Rita O’Grady to the stage now.
120
Act Two
Sandra
You didn’t need a speech in Liverpool.
Beryl
No, you made it up.
Clare
And you was you know, fing!
Cass
Come on girl, you’re on!
Rita
I can’t do it. I can’t . . .
Beryl
Rita O’Grady! Get your fucking arse up there. You’re letting
Connie Riley down.
(Rita pauses.)
Rita
Alright. I’m ready.
(They all leave. End of scene.)
Music No. 19a: INTO T. U. C.
SCENE THIRTEEN
The TUC. The auditorium. Tooley and Hopkins leave.
Tannoy
Next composite number five, Equal Pay. Rita O’Grady of the
NUVB.
(Rita amateurishly taps the microphone.)
Rita
Hello. Is this thing on?
(Taps microphone. Whiney feedback.)
So yeah we went on strike because you know, you gotta do
something, ain’t ya. What Connie woulda said was we are the
working classes, men and women and we women have been
earning less, sometimes, half – what you men earn, doing the same
job, side by side. And that ain’t fair, is it?
Made In Dagenham
121
And none of us are working for pin money, I got enough pins,
thank you very much. We women are working to pay the rent, and
to feed and clothe our kids.
We’re not from out of space, you know. We’re your wives, your
sisters, your daughters, in some cases your mothers, still working at
sixty, sixty five. I saw a woman, she must’ve been seventy, waiting
on tables at the Wimpy bar up the road here. Broke my heart, it
did. Look, it started off with C grade, that’s all we wanted, but it
turned into Equal Pay. We deserve that, and we’re not ashamed to
ask for it.
I’m not perfect. Me own daughter, I bought her a nurse’s uniform
and laughed at her when she said she wanted to be a doctor. That
nurse’s uniform is the only thing in her wardrobe that ain’t pink.
What’s that all about? Why can’t she be a bloody doctor?
Music No. 20a: STAND UP
Rita
EVER GET THE FEELING
YOU'VE BEEN CHEATED FOR SO LONG?
YOU KNOW WHAT’S RIGHT
BUT YET THEY MAKE YOU FEEL IT'S WRONG
SECOND AT THE TABLE
PICKING UP THE CRUMBS
CHANGE IS ALWAYS PROMISED
BUT SOMEHOW NEVER COMES
STAND UP
STAND UP
In the war women worked as doctors, bus drivers, land girls. Ergo,
we won that war together and yet women are still being asked to
make do, to wait until tomorrow. Well when is tomorrow? Ten
years? Twenty years? Fifty years?
STAND UP
STAND UP
IF YOU’RE WITH ME
THEN PUT YOUR HAND UP
122
Act Two
We women have always supported you men, every time you
needed us we’ve been there and you never had to ask. So we’ve
come here to today because we need you to vote for this Equal Pay
Amendment.
THE FIRST STEP IS THAT YOU PUT YOUR HAND UP
THEN YOU CAN MAKE A STAND FOR EVERYONE
We’re a family, the TUC, Brothers and Sisters, Comrades,
everyone. Them’s your words not mine. You men, are you happy
that your daughters will grow up to be second class citizens? Your
daughters. You can change this, you can, cos nothing changes if
it isn’t challenged. So stand up for women’s rights because, you
know, if not now, when?
STAND UP
STAND UP
STAND UP
THE WORLD RIDES ON OUR SHOULDERS
WHILE THEY TAKE US FOR A RIDE
WE’RE IN THE HEART OF EVERYTHING
BUT KEPT ON THE OUTSIDE
Rita / Women
SO I’M ASKING FOR YOUR HELP
AND I KNOW THAT MONEY'S TIGHT
Rita
BUT WE NEED YOU STANDING BY OUR SIDE
AND DOING WHAT IS RIGHT, OH . . .
Rita / Women
STAND UP
STAND UP
IF YOU'RE WITH ME
THEN PUT YOUR HAND UP
YOU GOT TO TURN AROUND AND FACE THE FIGHT
GOT TO LEARN TO PUT THINGS RIGHT
ONLY WAY TO LIVE YOUR LIFE
COME ON,
Made In Dagenham
STAND UP
STAND UP
THE FIRST STEP IS THAT YOU PUT YOUR HAND UP
AND THEN YOU MAKE A STAND FOR EVERYONE
THEN THE BATTLE WILL BE WON
STAND UP
Rita Women
WE WON’T RUN AND WE WON’T HIDE
OOOH (etc.)
SO DON’T PASS BY ON THE OTHER SIDE
MEN, WOMEN WE ARE ONE
WE ARE THE UNION
Women / Men
YOU MIGHT THINK OOOH (etc.)
THAT WE JUST CAN’T WIN
BUT I TELL YOU THIS FOR NOTHING
WE AIN’T GIVING IN
WHAT I WANT TO SAY
IS THAT TODAY COULD BE THE DAY
Rita / Men
STAND UP
STAND UP
IF YOU’RE WITH ME
THEN COME ON PUT YOUR HAND UP
YOU’VE GOT TO TURN AROUND AND FACE THE FIGHT
GOT TO LEARN TO PUT THINGS RIGHT
ONLY WAY TO LIVE YOUR LIFE
COME ON,
STAND UP
STAND UP
THE FIRST STEP IS THAT YOU PUT YOUR HAND UP
MAKE A STAND FOR EVERYONE
THEN THE BATTLE WILL BE WON
COME ON,
Rita / Women / Men
STAND UP
STAND UP
123
124
Act Two
THE FIRST STEP IS THAT YOU PUT YOUR HAND UP
AND THEN YOU MAKE A STAND FOR EVERYONE
THEN THE BATTLE WILL BE WON
STAND UP NOW
President
Equal Pay Amendment is carried. Equal Pay is now TUC policy!
STAND UP NOW
STAND UP
Eddie
STAND UP
STAND UP
I’M WITH YOU
SO I CAN HOLD MY HAND UP
I WAS WRONG AND YOU WERE RIGHT
SHOULD HAVE BEEN THERE FOR YOUR FIGHT
YOU'RE THE LIGHT THAT LIGHTS MY LIFE
Eddie
Wow! You look amazing.
Rita
I only borrowed it.
Eddie
I’m sorry Rite. I let you down. I let myself down. I don’t suppose
you’ll have me back, but I love you Rita O’Grady. It’s amazing
what you’ve done. Amazing.
Rita
Eddie, you big lump.
Barbara
Emmeline Pankhurst won the vote for women, and is rightly
esteemed by history. The women of Ford Dagenham have changed
the world today, and history should place these ordinary working
women alongside the suffragettes for having achieved Equal Pay,
which is yet another step forward in the continuing story of
women standing up for their rights.
Rita / Women / Men
STAND UP
STAND UP
Made In Dagenham
IF YOU'RE WITH ME
THEN COME ON PUT YOUR HAND UP
YOU’VE GOT TO TURN AROUND AND FACE THE FIGHT
GOT TO LEARN TO PUT THINGS RIGHT
ONLY WAY TO LIVE OUR LIVES
COME ON,
STAND UP
STAND UP
THE FIRST STEP IS THAT YOU PUT YOUR HAND UP
WELL YOU CAN MAKE A STAND FOR EVERYONE
THEN THE BATTLE WILL BE WON
STAND UP NOW!
WHY DON'T YOU JOIN US, COME ON
STAND UP NOW!
WE NEED YOUR HELP SO COME ON
STAND UP NOW!
NOW, NOW!
NOW, NOW!
(The End.)
Music No. 21: BOWS
Company
MADE IN DAGENHAM
LAID IN DAGENHAM
NOW WE’RE EQUAL PAID IN DAGENHAM
MADE IN DAGENHAM
WE ARE DAGENHAM GIRLS / BOYS (etc.)
WE ARE MADE IN DAGENHAM
Music No. 22: PLAY OUT
125
MADE IN
DAGENHAM
Music by
DAVID ARNOLD
Lyrics by
RICHARD THOMAS
Book by
RICHARD BEAN
VOCAL BOOK
Josef Weinberger
MADE IN DAGENHAM
Music © Copyright 2014 by David G Arnold
Lyrics © Copyright 2014 by Richard Thomas
Book © Copyright 2014 by Richard Bean
Edition © Copyright 2015 by Josef Weinberger Ltd., London
All Rights Reserved
PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL
Applications to perform this work must be made,
BEFORE REHEARSALS COMMENCE, to:
JOSEF WEINBERGER LIMITED
12 - 14 Mortimer Street
London W1T 3JJ
United Kingdom
Tel: +44 (0)20 7580 2827
Fax: +44 (0)20 7436 9616
www.josef-weinberger.com
Version Dagenham Previews 8.4 (04 Nov 2014)
This edition: September 2015
Musical Numbers
ACT ONE
0.
Opening (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 1
1.
Busy Woman (Rita, Sharon, Graham, Eddie, Women, Men). .. .. .. .. .. .. .. .. .. 1
2.
Made In Dagenham (Factory Workers) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 8
3.
This Is What We Want (Sandra, Beryl, Rita, Cass, Clare, Factory Women) . .. . 11
4.
Union Song (Men). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.
Wossname (Clare, Women). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5a.
Big Ben (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.
Always A Problem (Harold Wilson, Aides). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6a.
Busy Woman (Barbara Castle) (Barbara Castle). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
7.
Pay Day (Ensemble) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 22
7a.
Club Music (Club Singer) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 26
8.
I’m Sorry I Love You (Eddie, Rita, Men). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 27
9.
School Song (Ensemble Men, Graham). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 32
9a.
Into The Berni Inn (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 32
10.
Same Old Story (The People) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
11.
Union Song – Reprise (Ensemble) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 35
11a.
Skilled Work (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 36
12.
Everybody Out (Rita, Factory Workers) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
12a.
Everybody Out – Play Out (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 43
ACT TWO
12b.
Tooley’s Entrance (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
13.
This Is America (Tooley, Ensemble). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 44
13a.
This Is America – Tag (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
13b.
This Is America – Reprise (Tooley, Two Men). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 51
14.
Storm Clouds (Lisa, Tooley, Harold Wilson, Barbara Castle, Men & Women). . . . . 52
14a.
Storm Clouds – Scene Change (Instrumental). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 58
14b.
Car Showroom (Instrumental). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 58
15.
Cortina! (Cortina Man, Five Girls) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
15a.
Cortina – Play Out (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
15b.
Tax Payer’s Bentley (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 62
16.
The Letter (Eddie) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
16a.
Into Parliament (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
16b.
Press Music (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
17.
Ideal World (Barbara Castle). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
17a.
Into The Hospital (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
17b.
Same Old Story – Scene Change (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
18.
Nearly Had It All (Rita, Eddie, Women). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
19.
Viva Eastbourne (Beryl, Cass, Sandra, Men & Women) . .. .. .. .. .. .. .. .. .. .. . 72
19a.
Into TUC (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
20.
Stand Up (Rita, Eddie, Ensemble). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
21.
Bows (Company). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
22.
Play Out (Instrumental) . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 84
Vocal Book
MADE IN DAGENHAM
ACT ONE
Lyrics by
Music by
RICHARD THOMAS
DAVID ARNOLD
0
Opening
(TACET)
CUE: Green light from SM
70's Rock (q = 162)
æ
? #### 44 Uwææ
æ
˙
œæ™
>œ
&J
œ
‰ œJ nœ œ œ œ
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‘
(Timp roll)
# ##
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>
####
&
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6
20
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8
3
7–14
15–17
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w
w
w
1
CUE: Alarm clock stops
Busy Woman
Colla
b 4
& b bb 4
RITA
œ
Hey
b
& b bb œ
5
love
œ
you
œ
there
Ϫ
loads
j
œ œj œ ™
Ϫ
slee
py
-
j
œ
ya
Ó
œ
drea - mer
œ
œ
stu - pid
I
œ
sod
Book © Copyright 2014 by Richard Bean
Music and Lyrics © Copyright 2014 by David G Arnold
Lyrics © Copyright 2014 by Richard Thomas
Edition © Copyright 2015 by Josef Weinberger Ltd., London
All Rights Reserved
PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL
Œ
œ
well
œ
just
œ
here
Ϫ
wa
-
2
4 ™
œ
goes,
œ
J
nna
‰ œj
Œ
˙
say
j
œ
a
I
(3,4 in)
-
œ
no
œ
ther
-
4
4
2
Made in Dagenham – Vocal Book
° bb b 4
& b4
(q = 166)
9
b 4
& b bb 4
œ
Œ
Ó
∑
day
∑
SHARON
Œ
¿
13
bb œ
¢& b b
¿
œ
œ
œ
œ
Mum
Œ
œ
œ
œ
Can't
find
my
œ
œ
œ
Can't
find
my
œ
œ
œ
œ
¿
Mum
Œ
Mum
¿
œ
œ
œ
Why
is
it
al - ways
me?
j
œ ‰ œ
œ
œ
œ
you
done
wiv
all
œ
œ
œ
œ
mor - ning
same
bb
&b b œ
œ
œ
œ
œ
œ
œ
œ
œ
my
œ
œ
œ
Œ
Mum
œ
œ
Œ
Mum
Œ
œ
bb
&b b
¿
Mum
Œ
SHARON & GRAHAM
What
Œ
¿
Mum
GRAHAM
° bb b Œ
& b
Œ
¿
Mum
b b4
¢& b b 4 Œ
EDDIE
∑
∑
Where's my, Where's my,
b 4
& b bb 4 ¿
17
∑
˙
things
Mum Mum Mum Mum
and
œ
œ
Can't
find
my
things
Œ
œ
œ
œ
œ
Where's that
Œ
œ
gone?
œ
œ
Where's that
gone?
œ
œ
œ
œ
Mum Mum Mum Mum
œœ
œ
Mum Mum Mum Mum
œ
œœ
œœ
œœ
Mum Mum Mum Mum
RITA
Eve - ry
21
No - one
° bb b
& b
25
knows where
œ
is
Œ
Œ
œ
Mum
œ
Œ
œ
Mum
Mum
Œ
Œ
œ
Mum
œ
we
œ
but
play
our
œ
œ
guess
who
6
27–32
RITA
¿
Teeth
Mum
Mum
GRAHAM
Mum
œ
no - thing
Ó
b SHARON
& b bb œ Œ œ
œ
œ
∑
∑
Œ
œ
rou - tine,
∑
b
& b bb
bb
¢& b b Œ
œ
Œ
Œ
6
6
6
œ
lit - tle
œ
œ
fam - 'ly
œ
œ
al - ways
gets
Œ
œ
œ
game
œ
the
˙
blame
RITA: In the airing cupboard!
Ó
Œ
‰
j nnbb
œ
RITA
If
∑
nnbb
∑
nnbb
∑
nnbb
Made in Dagenham – Vocal Book
b
&b œ œ œ œ
34
Œ
œ
you want some-thing done
b
&b
œ ™ œj ˙
39
˙
ask - ing
a
˙
œ œ
Ask
Ó
a
Ó
œ œ œ Œ
˙
bu
-
Œ
3
sy
wo - man
œ œ œ œ ˙
œ
'Cause you're wast - ing your time
œ œ œ œ œ œ œ œ œ œ
œ œ
œ œ œ œ
man.
She can do
in one hour
b
&b œ œ œ œ œ œ œ œ œ œ œ œ œ
what he can't do in ten
44
bas - ic
eff - ing diff -'rence bet - ween
us
&
eff - ing them.
SHARON: Mum, what do
you want for Christmas?
b
&b
48
∑
œ œ ˙™
œ œ œ œ œ œ
bbb
If you want
it
b
&b b
œ
œ
œ
œ
œ
Ϫ
œ
œ
J
œ
bbbbb ˙
œ
œ bœ
EDDIE
œ œ
We
b
& b bbb œ
65
œ
œ
With your parks
b
& b bbb œ
69
œ
and
œ œ œ
b
& b bbb œ œ œ œ
74
With your an - cient
° bb b
& bb œ
bb
¢& b b b
wat - er - fronts.
EDDIE:
Cup of tea, eh doll?
Œ
Ó
was.
∑
œ
it
œ
Œ
œ 3œ œ
Oh,
Dag - en - ham,
Ó
œ ˙™
by - laws.
∑
w
Oh,
˙
œ œ
Rome
was - n't
RITA:
Yes please, I’d love a cup of tea.
2
80–81
2
bu
-
sy
œ œ œ
œ œ œ
œ œ œ
Œ
Dag - en - ham—
EDDIE / SHARON /
GRAHAM
once.
EDDIE:
a
love you, Dag - en - ham, Dag - en - ham,
˙
œ œ ˙
RIT (Laughing) Stop it, Eddie- you're making us late.
good they named
79
œ
ask
j
œ
50–59
RITA: You're just saying that.
œ œ™
J
œ œ œ™
10
[Underscore]
wo - man
60
done then
it's the
œ œ
œ
œ
So
œ œ
œ
Dag - en - ham, Dag - en - ham
EDDIE / SHARON /
GRAHAM
3
œ œ œ œ ‰ œj œ œ œ œ
œ œ
3
built
#
nnnnn##
#
nnnnn##
in
a day,
But Dag - en - ham def' - nate -ly
RITA:
Is life like this everywhere?
∑
∑
Ó
n##
∑
Œ
WOMEN
œ
If
n##
4
Made in Dagenham – Vocal Book
#
&#œ œ œ œ
84
[ARISTON]
œ Œ
you want some -thing done
Ϫ
#
&#˙
89
ask
Ask
a
j
œ w
ing
-
a
nn
98
˙
œ œ œ Œ
sy
wo - man
œœ œœ nœœ œœ œœ
do
œ œ
∑
œ
SHARON: Uurgh!
RITA: Whatsamatter?
SHARON: It’s spit!
œ
œ
us and eff - ing them. If you want
it
can't
œ
do in ten,
œ
done then
ask
2
4
4 œœ
WOMEN
101–102
2
Mo -ther's
œ
2
sa - li - va,
j
¢& œ œ ‰ œ œ
Mo -ther's
œ
sa - li - va,
2
b6
& b b4
108–109
Ain't
no
germs
œ
œ
œ
Ain't
4
4
b w
&b b w
Ba
w
w
-
stard!
no
a
œœ
œœ
Mo - ther's
œ
that can
Œ
œ œ
germs
that can
3
4
˙˙
-
œ
œ
sur - vive
her.
sur - vive
her.
‰ œj
œ
4
4 ˙˙
∑
stard
œ œ
j
œ
-
sy
œ
Ba
spit,
˙™
œ œ
Ϫ
œ ˙
J
Œ
œ
œ
spit,
2
4
∑
bbb 46
2
4
∑
bbb 46
2
˙˙
-
Œ
RITA: (to Graham) Oi!
Come 'ere. Show me your hand.
He's hit you again, ain't he?
113–114
stard
RITA: He's paid to teach him Latin, not attack him with a stick.
EDDIE: He can't treat him any different just 'cos he's a scholarship boy.
˙™
bu
GRAHAM:
Mum! It don’t hurt. (WOMEN)
4
4˙
˙
nnn
j
œ œ ‰ œ œ
œJ œ
œ œ
Œ
WOMEN
mp
Ba
(WOMEN)
115
f
œœ œœ
œœ
Ϫ
œ
Mo - ther's
104
j
°
& œœ œœ ‰ œJ œ
it's the
RITA: This ain’t spit,
this is mother’s spit
2
nn
'Cause you're was - ting your time
in one hour what he
99–100
wo - man
œ œ œ œ ˙
œ
œœ œœ
œœ œœ œœ œœ œœ œœ œ œ œ
œ œ œ œœ œœ œœ
Œ
She can
eff - ing diff -rence bet -ween
° ##
& œ œ ˙™
¢
-
man.
# œ œ
& # œ œ œœ #œœ œœ œœ œœ œœ
#
&#
bu
Ó
94
bas - ic
˙
œ œ
Ϫ
œ œ œ œ œ b˙ ™
J
œ œ
Made in Dagenham – Vocal Book
GRAHAM: Don’t come into school Mum!
RITA: Oh, you’re ashamed of me, are you?
GRAHAM: Yes!
122
&
b˙ ™
°
& #œ.
bœ ™
œ
œ
RITA: Alright Eddie?
126 EDDIE: Yeah. What?
œ
.
œ
.
¢&
130
&
œ
J
œ
J
Ϫ
SHARON:
Watch out, Dad - Mum's gone in to one.
bœ ™
œ
J
RITA: What’s today?
.
#œ. #œ
œ
.
œ.
œ.
œ bœ
WOMEN
#œœ
Œ
2
4
4
4 #œœ nœœ #œœ
(WOMEN)
∑
Think
EDDIE: Innit?
134 RITA: Is it a special Tuesday?
3
4Œ
∑
&
4 ##˙˙
4
Œ ##œœ
Re
EDDIE:
140 (Kiss) "Love you"
∑
&
Ϫ
Ev - 'ry
He
for - gets
year
and
I
Whirr,
∑
for - gets
& œ œ œ œ œ
œ
>
you
mem
I
took his
∑
Click,
œ
œ
Œ
Whirr
Œ
œœ
Durr
2
˙˙
play
138–139
ber
-
j
œ œ
We
œ
EDDIE: (Beat) Pancake day?
RITA: Go to work you big lump.
˙˙
Ϫ
œ
Click,
j
œœ ‰
J
Click,
œœ
the same rou - tine
re - mem -ber the day
WOMEN
151 WOMEN
j
œ œ
ber,
Click,
j
nnœœJ ‰
Œ
j
œ œ œ œj œ œj œ œ œ œ
###
œœ œœ œœ Œ
&
¢
He
-
œ
j
j
nœœ ‰ œœ ‰ œœ
J
J
Œ
Whirr,
œœ
##œœ
mem
-
In 2 - Slower
### CRITA
œ œ
145
° ###
& œ œ œ™
a - gain
(WOMEN)
œ
∑
œœ
Think,
∑
nœ nœ
>
∑
∑
EDDIE: Tuesday.
RITA: Tuesday?
œ
œ
œ.
œ #œ
. .
∑
5
3
œ
our
œ œ œ
œ
œ
˙
ann - i - ver - sary game
2
A Tempo (in 4)
U
œ œ œ Œ
nnn 4
4
U
Œ
œ œ œ
u
nnn 4
4
rit. . . . .
stu - pid name
149–150
2
Stu - pid name
œ œ œ ˙
Shut the door, were you born
in
a barn?
œ œ œ œ œ bœ œ œ ˙
Wipe those boots you don't live
on a farm.
œ œ œœ œ
How did your last
6
Made in Dagenham – Vocal Book
156
& œœ
œ
ser - vant
161
& œœ
die?
There's kids
& œœœ
You'll
œœ
œ
œœœ
all
miss
b
& b bbb œ Œ
b w
w
& b bbb w
said, that's why.
œœ
œ
bœœ
œ
˙˙˙
me
when
I'm
gone.
˙˙˙
a
bu
˙˙˙
-
œœ
œœ
lose
the
plot,
j
œœ œœ ™™
œJ œ™
œœ
œœ
The strength
b
& b b ˙™
188
day.
Œ
a
Tests our lov - ing
œœœ
Beds
ain't
made
for
œœ
œ
œœ
jump - ing
Œ
œ ˙
na - ture
on.
bœ
you want some - thing
Ϫ
She's got more
en
œœ
œœ
œœ
mat - ter
what,
-
œœœ ™™
™
j
œJ ˙˙˙
er - gy
œœ œœ
If you
œœ
than
œœ
The
the
œœ
lose your key
or
pa - tience of
rhi - no,
j
œœ
œJ
œœ
of
a
Œ
bbbbb œ œ œ œ
œ œ ˙
no
Œ
WOMEN (+ OFF-STAGE)
Ó
œœ
œœ
œ
œœœ
œœ nœœ œœ œœ œœ
a
nun,
œœj
n
‰ J
It
Half-time feel
nnbbb œ œ
œ œ
ALL WOMEN
mar - a - thon.
œ œ œ œ
œœ
œ
œœ
you won't grow –
œœ œœ œœ œœ ‰ œjœ
J
b œ
& b bbb nœ nœœ œœ œœ œœ œœ œœ œœ Œ
no sprint– it's
œœœ
Œ
al - ways there
183
ain't
your greens or
œœ
œ
wo - man
j
‰ œœ œœ
J
j
‰ œœJ
œœ œ
œœ
If
(with Ts)
Œ
œ
œ
œœ
Eat
∑
sy
She's
bb
& b b b œœ
˙˙
œ
RITA: Bus pass!
˙˙
˙
sun
180
I
bœœœ
Ask
175
bœœ
Af - ri - ca, you know.
œ œ
done
œ
œ
œ
œœ œœ bœœ œœ ˙˙
œœ œœ
star - ving in
170
œœ
œ
Why? Be - cause
œœ
œœ
165
œœ
˙˙
Ev - 'ry
œ
in
lov - ing
œ œ œ œ
eve - ry
lov - ing
˙
way
œ ˙
œ
mi - nute
of
Ó
œ œ œ œ
ev - 'ry
lov - ing
nnb œ œ
œ œ
Moth - ers, sis - ters,
Made in Dagenham – Vocal Book
194
&b œ œ Ó
daugh - ters,
° b ˙˙
& ˙
Lov - ing - ly
200
fee
&b
Ϫ
-
ling
˙
œ œ œ œ
we
It's
go - nna be
∑
M1+2 / M3
Ó
say,
j
œJ œ œ œ œ œ
7
˙˙
œ œ
˙˙
We've
got this
fee
∑
œ
œ œ
-
ling, this
b
∑
ev - er lov - ing,
∑
go - nna be
° œ œ œ œ œ
&b
204
œ
moth - er lov - ing wor - king
&b
œ œ œ œ Œ
moth - er lov - ing...
¢& b œ œ œ œ Œ
moth - er lov - ing...
œ œ
Ó
œ
œ œ
œ œ œ œ Ó
œ
a - no - ther
œ œ œ œ œ œ
œ
slug - ging, ev - er lov - ing,
Ó
kid - dy hugg -ing
w
œ œ œ œ
ev - er lov - ing,
w
w
∑
day
œ
If you want
œ œ
won - der - ful
œ œ œ œ
a - no - ther
œ œ œ œ œ
œ œ
RITA
Ó
Heart tug - ging, tea
¢&
˙˙˙
œ
If you want
œ
it
œ
it
œ
œ
done then
œ
œ
done then
œ
ask
œ
ask
œ
a
œ
a
Ϫ
bu
Ϫ
bu
-
-
j
œ œ œ ˙™
∑
j
œ œ œ ˙™
∑
sy
sy
wo - man
wo - man
SEGUE
8
Made in Dagenham – Vocal Book
2
Made In Dagenham
CUE: SEGUE CLICK
Med. Pop Beat (q = 132)
4
&4
6
&
Œ
10
& Œ
(Clicks)
(Drum fill)
¿
¿
V
V
œ^
b -œ œ.
J
œ
J
j
œ
œ bœ œ
J
MEN
& Œ
I
18
& Œ
& Œ
sump
clock in
and
fan - belt,
gear
& Œ
‹
2
&4
30
œ
Blue
∑
what
j
œ œ bœJ
col - lar
car
fills
œ
J
œ
^ ^
.
œ œ b-œ œ ‰
j
œ œ
œ bœ
the
j j
œ œ œ
do
my
or
air,
œ
goes
time;
œ œ
J
&b œ œ œ œ œ
Made in
Da - gen - ham,
# j
&#œ œ
j j
œ œ œ
is
a
At
it:
Œ
œ
in
w
œ nœ œ
J
œ
J
are
j
œ œ
gift;
ga
in
my
life
it
got
A
love - ly
Mi
a
kick
us
if
it
œ Œ
ing
eight
das touch.
j
œ bœ œ œ
œ œ
J
can’t
af - ford a
Ó
hour shift.
2
4
car.
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œ #œ œ
œ œ nœ œ œ œ
J
J
-
-
don't fit.
n## Œ
in
Œ
Da - gen - ham.
œ nœ œ œj
J
M1
I
stink
is mine.
j j
j
œ œ œ bœ œ œ œ
j
œ œ bœJ
œ
the
Da - gen -ham boys.
M5
my hair.
œ œ bœ œ œ œ
J
J
Da - gen - ham, Shame we're un - der - paid
œ œ œ œ œ œ
we
-
clock
Shame most of
œ œ œ œ œ
laid
o'
j
œ bœ œ
Give
men that’s who we are,
Da - gen - ham,
five
œ bœ œ œ œ œ
œ œ bœ œ œ œ
J
J
œ
J
We're men who've
in
j
œ œ œ œ
œ
w
j j
œ bœj œ bœ œ œ bœj œ œ œ
Œ
j
œ œ
to
œ
J
œ œ
œ bœ œ
J
a clutch–
-
^ ^
- œ. ‰ œ
œ
œ bœ
J
œ
One week's Swar - fe
j Œ
œ
j j
œ œ œ
(MEN)
35
it
box
b 44 œ œ œ œ œ
Made in
40
-
j j
œ œ
œ bœ nœ
J
We're proud of
26
^ ^ - œ.
œ œ œ
‰ œJ
j j
œ œ œ
oil
j
œ œ
œ
j j
œ bœj œ bœ œ œ bœj œ œ œ
A
22
just
j
œ œ
œ œ
œ bœ
œ
J
^ ^ - œ.
œ œ œ
‰
œ
The smell of
14
Œ
œ^ b -œ œ.
J
love my
œ nœ œ
J
EDDIE
See
how the
job,
j
œ
fac -
Made in Dagenham – Vocal Book
# j
j j
&#œ œ œ œ œ
j
œ nœ œ
œ œ
J
44
-
to - ry
#
& # ¿J ¿
shine
Hen - ry
ALL
Ford
# j
&#œ œ
From whom
j j
œ œ œ™
52
œ
M8
- tion
That
he
#
&#œ œ œ œ œ
he
was
TEN /
59 BARI + BASS
#œ
& œ
Made
68
#
& Ó
#
& Ó
#
& œ
Health
#4
& 4Ó
81
he
got
a
lit - tle
fa - mous and
œœ œœ œœ œœ
œœ
in
Da - gen - ham,
laid
in
Da - gen - ham. Last
year
œœ œœ œœ œœ œ œœ
œ
we
are
steel
ALL MEN
œ
œ
and
œ
safe - ty
Œ
-
j
œ œ
capped
œ
we
œ œ
Ó
Œ
from
the pol - lu -
¿ ¿ ¿
ooh, Dud - ley Moore!
œœ
œœ
hol - i - dayed
Œ
ing man's suit.
j
œ œ
j
œ Ó
guar - an - tee.
œ
man
Œ
n#
j
‰ œœ œœ nœœ œ
J
in
Da - gen - ham.
‰ œj
j
œ œ #œ œ™
My
half - pint ther -mos
M8
‰ œj œ œ œ œ #œ œ Œ
ov - er - alls pro - tec - tive,
œ œ œ œ ‰ œj œj œ œj Ó
State
of the art
œ
œ
Main - tained
en - gin - eer - ing ex - perts and some
‰ nœJ
M8, M2
Our
∑
j
œ
fucked off pret - ty quick.
˙
boots,
œ œ œ œ ˙
-
˙w
he
œœ #œœ
‰ œ 44 œ œ œ œ œ œ œ œ #œJ œ
J
By
¿
M3
Da -gen -ham boys.
Ϫ
j
‰ #œ œ œ
M3, M7, M5
It's the work
77
‰ ¿J
Œ
Mis - ter
œ nœ œ
J
ALL
œœ
‰ #œJ œ œ
Œ
And
œœ
Da-gen - ham,
j œ
œ
M7
‰
¿ ¿
fa -mous for
A - part
Thames.
œœ œœ œ
œ
And my
72
œ
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Made in
Œ
¿ Œ
J
œ œ #œ œ œ œ œ œ œ œ nœ œ œ œ œ
But
TEN /
BARI + BASS
on sign. We're
-
stems,
j
œ
œ nœ œ
J
ne
˙
M4
slick,
#
& œœ œœ œœ œœ œœ
63
gest
-
j
œ
good -ness
dumps in - to the
56
-
lar
j
œ nœ œ
all
¿ ¿
J
M6
From Eu -rope's
‰ œj œ
¿ ¿
J
48
œ œ œ nœ œ œ œ ¿
J J
J
M2
does
9
ma - chin - er - y,
3
4 #œJ
œ
dai - ly
œ œ
J
su - per - glue!
œ
œ Œ
J
4
4
through -and - through
Œ
2
84–85
#
10
Made in Dagenham – Vocal Book
° # œœ œœ
¢&
‹ Made in
TEN /
BARI + BASS
86
{&
# Œ
œœ œœ
œœ œœ œœ
Da -gen - ham, laid in
Hand claps
¿ ¿ ‰ ¿
J
¿
91
∑
° #
& œ
are
96
œ
strayed in
# #œ œ
¢&
‹ strayed in
° # #œ
&
100
stayed
#œ
¢&
‹ stayed
° #œ
&
104
paid
¢&
‹
#œ
paid
Ó
œ œ œ
Ó
Ó
œ œ œ nœ œ œ
Life is
Da - gen - ham,
Life is
Da - gen - ham,
œ
œ œ #œ
in
Da - gen - ham,
œ
œ œ #œ
in
Da - gen - ham,
108
° ## œ ™ œj ˙
& œ™ œ ˙
Tem -pers get - ting frayed
¿
Boys!
#œ œ œ œ
Ó
F6, F5+ SANDRA /
F2, F3, F7
œ
œ
œ
œ
œ œ #œ
œ œ œ
We
are
Da - gen -ham
¿ Œ
GIRLS
Girls!
BOYS
¿
Boys!
(BOYS)
Œ
Played in
Da -gen - ham,
Da - gen - ham,
in
Da - gen - ham,
in
œ #œ œ
we
Œ
‰ œ
J
we
œ œ œ œ
œ œ #œ œ
Ó
Da - gen - ham,
œ #œ œ
‰ œj
Œ
God knows why we
œ #œ œ
œ
œ
Ó
God knows why we
Œ
‰ œ œ œ œ œ
J
'cos we're still un - der -
Œ
Da - gen - ham,
‰ œ œ œ œ œ
J
'cos we're still un - der -
œ
œ
girls,
œœ œ œœœ œœœ
œ
ooh
Ó
Da -gen - ham,
## w
w
w
w
girls,
œ œ œ œ œ
Played in
(MEN)
in
in
Girls!
Da -gen -ham
Ó
œ œ œ
##GIRLS
¿ Œ
∑
œ Œ œœ œœ œ
œ
œ
Œ
œ
Tem -pers get - ting frayed
girls,
BOYS
œ
œ œ œ œ œ
œ
œ
read - y made
#œ œ œ œ
Ó
œ œ #œ
in
read - y made
3
œ œ œ œ #œ œ
Da - gen - ham,
in
##GIRLS
¿ Œ
¢&
‹ Girls!
j
œ˙ œ ™
Da -gen - ham,
‘
WOMEN
3
Da - gen - ham,
œ œ œ
œœ œœ œœ œœ œœ
‘
∑
j
œ œ œ
Ϫ
w
œ #œ œ
œœ œœ œœ nœœ œ
‘
Da -gen -ham boys.
œ
œ
¿
∑
#œ œ œ œ œ œ
œ œ œ œ œ œ
&
¢
‹
we
œœ œœ #œœ œœ
TEN /
BARI + BASS
Da -gen - ham. Come get your cat spayed in Dag -en - ham, Made in
¿ ¿ ‰ ¿
J
Œ
f
° #
&
œœ œœ œœ
TEN + BARI /
BASS
œ œ
‰ œ œ œœ œœ œœ
J
Da - gen - ham
BOYS
¿
Boys!
œœ Œ œ œ
Œ
¿
GIRLS
Girls!
Œ
BOYS
¿
Œ
Boys!
œ œ œ œ œ
œ œ œ œ œ
∑
we are Made in Da -gen - ham.
œœ
œ Œ œ œ
œœ œœ œœ œœ œ
œ
we are Made in Da -gen - ham.
∑
Made in Dagenham – Vocal Book
11
3
This Is What We Want
CUE:
BERYL: . . . Latin!
MONTY: Alright, want to you want?
Rubato Gospel feel
# # 4U
& # #4 Œ
SANDRA
œ œ œ œ œ œ
I
##
&##œ
4
just
##
&##œ
7
œ
a chair that
Œ
œ œ
Œ
j
œ œ
œ
that
does n't
just
I
Shuffle
j
œ
reek
.
œ
œœ œœ œœ
œ œ œ
that
œ
ain't
##
& # # œj œ
17
give
##
&##œ
hot
as
loads
œ
j
œ
Wim - py's
of
j
œ œ
res - tau
loud
‰
-
rant,
want the
ain't
a
MONTY: Ladies . . .
Œ
Ó
Load - sa
yell.
freak
load - sa
want
œœœ œœœ œœ
œ
We want to work in
that.
ov - er - alls
j
œ œ
j ‰
œ
Spain,
I
a
œœœ œœœ
œ œ œ™
œ
make
you
fat
plac - es
RITA,
CASS, F4:
j
œ
Just
j F2j
œœœ œ œ œ œ œ œ
œ
want my
South - ern
œ œ œ
CASS
I
SANDRA
fac - t'ry moved to
BERYL
œ œ
Œ
roof that
‰ œj œ œ œ œ œ œ
j
œ
j j
œ œ œ œ œ œ œ œ
I
a
Does - n't reek, does - n't
œœœ œœœ
that
want
ALL
reek.
have to
œœœ œœœ œœœ
œ
F3
I
you
ALL
##
j
& # # œj œ œ œ œ œ œ œ
23
œœ
œ
œ
We want some choc' late that dont
that
j
œ
boss that
œ
j
œ œ œ œ œ œ œ
F4:
œ œ œ œ œ œ
I
j
œ œ
œ
œ
hell.
j j
œ œ œ
us
20
j
œ
j
œ œ
œœ œœ
œ œ
Does - n't reek, does - n't
reek. We want ma - chines that ain't so
# ##
&# œ
a
SOP / MEZ / ALT
RITA
#### œj j
&
œœ œ œ œ œ œ œ œ
Œ
don't creak,
want
11
14
Œ
œ œ
œ œ œ œ œ
œ
don't leak,
A Tempo
bog
want
œ
œ
want the can - teen moved to
des - igned
BERYL
j
œ œ œ
I
œ
œ
want my
by
œ
j
œ œ
Mar - y
œ
doors blown
œ
off
j
œ
Quant,
œ
by
12
Made in Dagenham – Vocal Book
26
° ####
&
œ
œ
œ
Mich - ael
œ
œ
Caine.
#### Ó
&
¢
∑
œ
ALL
œœœ
Œ
Mich - ael
#### ‰
&
is "Throw a
œœ
œ
Caine.
lit - tle crumb this
œœ
œ
All
j
œœ œœ ™™
œ œ™
j
œœ œœ œœ œœ œœ œœœ œœ
œ œ œ œ œ
œ
29
say
j
œœœ ‰
œœœ
w
w
w
œœ
œ
I
A
œœ œœ œœ œœj ‰ Œ
It's
# ##
w
&# w
w
j
œœ œœ œœ œœ œœ œœ œœ ™™
œ œ œ œ œ œ œ™
˙˙˙
touch,
36
Œ
place,
not
as
if
we're ask - ing
Put a smile on my
# ## j
& # œœœ œœœ
41
this is
j
œœ
œ
what
j
œœ œœ
œ œ
j
œœ
œ
we
want.
Œ
for much.
Ó
Œ
co - ton towels to
wipe
œ
j
œ œ
my
swea - ty
bits.
œœ œœ œœ œœ œœ
œ œ œ œ œ
mess with us,
j
œ œ
al - ways
¢
##
&##
I
want Ba - rry
∑
to
ser
∑
vice
-
Ó
me.
Œ
##
&##w
w
w
say
‰ œœj œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ
is "Throw a
lit - tle crumb this
j
œœ œœ ™™
œ œ™
way."
˙˙
˙
j j
œ œ œ
smell
of
j
œ
shit,
‰ œj œ œ œ œ œ
œ
Cha - nel
per - fume on
tap and
∑
j
œœœ œœœ œœœ ‰ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ
ALL
Ser -vice me.
52
'Cos
SANDRA
48
BERYL
3
° ####
j j
&
œ œ œ œ ‰ œj œ œ œ œj œ œ œ œ œ œ œ œ ™
served for free.
wee - ny
j
œœœ œœ œœ œœ ‰ œœ
œ œ œ
œ
œœ
A chang -ing room that does - n't
œ
œœ
œ
Don't
j
œ
tee - ny
Spread some joy a-round the
‰ œj œ œ œ œ œ
œ
w
w
w
BERYL
E - gyp - tian
ti - ny
CLARE
##
j
&##‰ œ œ œ œ œ œ
œ
45
face.
to
j
œœ œœ œœ œœ œœ œœ œœ
‰
j
œœ œœ œœ œœ œœ œœ œœ
lit - tle
want
SOP + MEZ /
ALT
#### j
j
&
œœ œœ œœ œœ ™™
32
∑
œœœ œœœ
real - ly
˙˙˙
way."
œœ
œ
All we real - ly want to
‰ œœj œœ œœ œœ œœ œ œ
œ œ
SOP + MEZ / ALT
A
ti - ny tee - ny wee - ny
Made in Dagenham – Vocal Book
## j
& # # œœ œœ œœj œœ ™™
56
lit - tle
j
œœ œœ œœ œœ œœ œœ œœ
touch,
##
w
&##w
w
60
It's
j j
## j
& # # œœœ œœœ œœœ œœœ œœœ
####
&
j
œœ
œ
we're ask - ing
what
we
w
w
w
want.
ach - ing for,
##
& # # ˙˙˙
74
˙˙
˙
change,
# ##
& # œ œ œj ‰
Œ
mess with us,
# ##
& # œœ ™™
Ϫ
for,
‰
pi -ning for, whin -ing for,
˙˙
˙
moan - in' for,
yearn -ing for, burn -ing for,
˙˙˙
Change,
change,
j
œœœ œœœ
81
change,
pray - in' for,
case?
mess
##
& # # œœœ
92
mess
of
œœ
œ
˙˙
˙
Change,
change,
Be - fore we smack you
œœ œœ œœ
œ œ œ
with
us,
œœ œœ œœ
œ œ œ
with
us,
j
‰ œœ
œ
'Cos
‰
j
œœ
œ
'Cos
j
œœ œœ
œ œ
this
j
œœ œœ ™™™
œ œ
the
˙˙
˙
Change,
change,
is
what
is
we
want.
j
œœœ œœœ œœœ œœœ
what
we
œœœ
œœœ
why don't you
˙˙˙
face.
j
œœ
œ
for
œœœ
So
j j
œœ œœ œœ
œ œ œ
j
œœ œœ
œ œ
this
in
œœœ
on
Ó
œœœ
get
œœœ œœœ
on
Œ
the
œœœ
Don't
Ó
w
w
w
bray - in' for,
˙˙
˙
œ œ œ
still we're on - ly dream - in'
j
‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
##
w
&##w
w
##
& # # œœœ
and
˙˙
˙
œœœ
Keep dream - ing
84
88
œœ
œ
for
j
œfi
Bring it
œ œ œj ‰ œ œ œj ‰
groan - in' for,
œ œ œ œ
œ œ œ œ
œœœ œœœ œœœ
˙˙˙
change,
œ œ œj ‰ œ œ œj ‰
j
œ
I'm
scream - in'
'Cos
ALL
78
schem - in'
a -round the
j
œœœ œœ œœ œœ ‰ œœ
œ œ œ
œ
œœ
Don't
sick of bleed - in' wait - in' for
change.
œœœ œœœ œœœ œœœ œœœ
Spread some joy
Ó
œ œ œ œ œfij œ œ œ
Œ
˙˙
˙
œœœ
Œ ‰ j œ
j‰ œ œ j‰ œ œ j‰ œ œ j‰
œ
œ
œ
œ
œ
œ
I'm
quak -ing for,
Œ
for much.
˙˙˙
face.
Ó
œ œ œj ‰ œ œ œj ‰
Change,
if
Put a smile on my
65
70
as
œœ œœ œœ œœ Œ
j
œœ œœ œœ œœœ œœ œœ œœ ™™™
œ œ œ
œ œ œ
Œ
place,
this is
not
13
Œ
œœ
Don't
w
w
w
want!
∑
14
Made in Dagenham
4
Union Song
CUE:
CLARE: Yeah, and mind your whatsit.
RITA: Language.
BERYL: Bollocks.
TEN + BARI /
BASS
2 CLICKS IN
4
& b4
f
œ
œ.
œ œ
œ. œ.
œ
œ.
œœ
œœ
œœ
œœ
Ϫ
Ϫ
for
your
fu
ture
and
4
& b œœ
Fight
7
& b œœ
rights
œœ
Ϫ
God
gave.
-
˙
˙
j
œJ
We
œœ œœ œœ
œœ
œ
œ.
Broth - ers
œœ ™™
œ œ
œ œ
and
œ
œ
sis -
work
œœ
œœ
œœ
to - geth - er
or
œ œ œ ˙
œ œ œ ˙
ters,
com - rades, ev - 'ry - one.
TEN /
BARI + BASS
j
œ
œJ
Ϫ
Ϫ
the Un - i - on.
œœj
J
Ϫ
Ϫ
œœ
œ
œ
œ
œ
œ
œ
œœ
The
rights
of
man
are
œœ
œœ
œœ
œœ
die
as
slaves.
we
œœ
the
Œ
5
Wossname
CUE:
What would you say, Clare?
3,4 . . . Easy Shuffle
12
&8
3
Ó™
Œ
j œ œ
œ
œ
Well,'ere
& Ϫ
6
Ϊ
Œ
this,
9
& Ϫ
& Ϫ
strong.
Ϊ
Ϊ
And don't no - one start
Ϊ
Œ
right,
12
j œ œ œ œ™
œ
j œ œ œ œ™
œ
Œ
j
œ œ œ œ
Ϫ
I been at this game
the
Ϊ
‰
Ϊ
Œ
‰
œ œ
fing,
Ϊ
‰
piss,
œ œ
is
œ œ œ
'Cos when sum -mink ain't
œ œ œ œ™
œ œ
There's a smell in the
air
j
œ œ œ œ
j
œ œ
since I was four -
œ œ œ
And the fing 'ere
œ œ œ œ™
tak - ing the
Then sum -mink is wrong.
Ϊ
is
Ϊ
Ϫ
CLARE
teen.
Ϊ
‰
œ œ
œ œ œ
and the pong is quite
Ϊ
Œ
j
œ œ œ œ
I know what my
Made in Dagenham
j
& œ œ œ™
whats - it - called –
18
& Ϫ
Ϊ
do you know what I
21
I am what I
Ϊ
on.
™
¢& Œ
°
& Ϫ
24
œœœ ™™™
œœ ‰ Œ ™
œ
Oo -
Ϊ
Œ
j
œ œ œ
œœ ™™
Ϫ
WOMEN
Ϊ
‰
œœœ ™™™
oo...
Ϊ
Œ
™
¢& Œ
œœœ ™™™
fing
Oo -
‰ Œ™
j
j
j
& œ œ œ œ œ œ œ œ œ
blah - de - blah - de - blah and lots of "Yeah,
& œ™ Œ ™
Œ
j
Ϊ
œ œ œ œ œ™
and I talk it plain.
I know what's
œœ ™™
Ϫ
œœ
œ
wot - sit
Ϊ
Oo -
Œ
‰
Ϊ
œœœ ™™™
‰
œœ
œ
Oo -
oo...
j
œ œ Œ™
Œ
no"
Ϊ
Oo -
There's lots - a– ya
Ϫ
œ œ œ œ œ
‰ Œ™
oo...
Ϊ
Œ
know,
j 2
œ œ œ
and Ou - jah,
j œ
œ
j
œ
n' blah - de -
Ϊ
∑
™
œ œ Œ
2
Œ
ou - jah.
œ œj œ œj œ œj œ ™ œ™
What you see
‰ Œ™
œœ ™™ œ
œ ™ œœ
Ϊ
j
œ œ œ œ
œ œ œ œ œ
But some fing in this
oo...
Ϊ
Ϫ
go - ing
oo...
Ϊ
œ œ™
œ œ
a - bout the whats -its -
Oo -
j
œ œ œ
œ
œ œ
‰
œœ ™™ œ ‰ Œ ™
œ ™ œœ
oo...
30
‰
j Ϊ
j
œ œ œ œ œ œ
Well, I dun - no– ain't there.
œœ
œ
Ϊ
And I know what's fair,
Ϊ
œ œ œ œ œ
La - de - dah and good
I?
œœ ‰ Œ ™
œ
Oo -
œ œ™
œ œ œ œ œ
ain't
and I know the
Ϊ
œœ ‰ Œ ™
œ
°
& Ϫ
straight,
Œ
And I know what's right,
oo...
33
Ϊ
oo...
Oo -
27
'cos I'm me,
Yes, I know the game,
name.
™
¢& Œ
am,
‰
So, ou - jah kap - iv - u - wat,
j‰ ‰ j‰ ‰
œ
œ œ œ
Ϫ
‰
j œ œ œ œ™
œ
Œ
j œ œ œ œ œ œ Œ™
œ
Œ
mean?
j œ œ œ œ™
œ
Œ
bye.
°
& Ϫ
Ϊ
‰ œ œ œ œ œ œ™
15
15
Ϫ
is what you whats - its - name
j
œ œ œ œ
But I talk it
Ϊ
Ó™
bb 44
16
Made in Dagenham
° bb 4
& 4 nœ ™
Half-time feel
37
j
œ ˙
œ
Life
ain't fair
WOMEN
Oooh...
° bb j
& œ œ™
41
b
w
¢& b w
w
Œ
œ
...
° bb nrit
& ¿ ¿ ¿ ¿ Œ œ
¢&
bb
I'm
me,
bbbbb 12
8 Ϊ
∑
° bb b
& b b ˙™
bb b Œ ™
¢& b b
eye.
Ϊ
œœ ™™ bœœ ™™ Œ ™
Ϫ Ϫ
get
b
& b bbb œ ™
57
Œ
œœ ™™ n˙˙ ™™™
œ™ ˙
You
I?
Ϊ
her.
j œ
œ œ œ
Ϊ
Ϊ
Ϊ
you're
you,
™
œ™ Œ
‰
front
2
4
œœœ ™™™ ˙˙˙ ™™™
side
4
4
∑
Ϊ
you.
∑
see
eye
See
eye,
œœ ™™™ œ™ œ ™
œ ˙˙ ™™
to
j
œ œ œ ™ ‰ œ œ œ™ œ ™
And we ain't
got a bleed - in'
∑
too!
™
œ œ ≈ œr œ™ Œ
œ œ
and the fut -ure's
∑
4
4w
And we don't
d'uh.
(durr)
Ϊ
Us
Meno
Ó
j
j
œ œ œ™ œ™ œ™ œ œ
œœ ™™ ˙ ™
œ ™ ˙˙ ™™
No
who?
C.V.
¿ ¿ ¿ ¿ ¿
J
‰
be - hind.
œ œ
œ œ œ
Fanks for hear -ing me
∑
Speak for your - self, love!
Ϊ
b
& b bbb œ ™ Œ ™
here.
Ϊ
you–
ain't
-
∑
˙™
‰ œ œ œ œ œ ˙™
The past is in
ad lib.
‰ œ œ œ œ œ ‰ œ Œ™
out,
60
2
œœ ™™ ˙˙ ™™™
œ™ ˙
Ϫ Ϊ
her!
54
clue.
Ϫ
And
° bb b
& b b œ™ Œ ™
bb ™
¢& b b b Œ
œ œ œ™
She's
50
in
Œ
A tempo
But you stay firm and
2
4˙
˙
to the whats -its -name that's deep
bbbbb 12
8 ˙™
46
Ou - jah, Ou - jah!
Stick
j
nœ
œ œ œ œ
Yeah, yeah.
˙
3
‰
j
‰ œœœ nœœœû Œ
ûû
oooh...
3
j
œ
œ œ œ œ œ œ œ
˙˙ ™™
˙™
Oooh...
yeah, yeah.
˙™
n˙˙ ™™
oo
Œ
j
œ ˙
get the blame,
ùùùœœœ
‰
true,
3
and peo - ple
˙˙ ™™
˙™
b4
w
¢& b 4 w
w
j
œ œ œ œ œ œ nœ ™
‰
it's a weight off my
‰
chest.
œ œ œ œ™ Œ ™
œ œ
That's all I got to
say.
Ϊ
Ϊ
œ œ œ œ™
Ϊ
Ϊ
œ œ œ
We've all been there
‰
œ œ œ™ œ™ ˙ ™
Do I make
my
self
and now we're
Ϫ
clear?
Ϊ
Ó™
Made in Dagenham – Vocal Book
17
5a
Big Ben
(TACET)
CUE:
CLARE: You ain't running the country, that's someone else.
6
Always A Problem
CUE:
HAROLD WILSON: I'm trying to set an example.
##C U
Ó
&
Colla voce
HAROLD WILSON
‰
j
œ œ œ
What would you
#
&#˙
5
‰
j
œ œ œ
gy?
#
&#œ
9
You need to
U
˙
ve - lli.
#
&#˙
13
be?
#6
& #8 Œ ™
18
Ev -'ry
#
&#œ
Ϫ
#
&#œ
j
œ œ
œ
˙
do
if
you
were
me?
a cri - sis
or
j
œ
a
œ #œj œ
Prime Min - is - ters
j
œ œ™
makes me ve - ry
tense,
œ
is
j
œ
the
‰
j
œ œ œ
What kind of
œ
Ϫ
j œ
œ
prob - lem of
œ
But
œ
J
the
j
œ œ™
Œ
the wings.
j
œ
œ
œ
j
œ
me
Ϫ
bal - ance of
stra - te -
œ
œ
œ
œ
your Mach - ia -
œ
œ
lead - er
would you
U 6
j
Π8
œ œ
Ϫ
com - pro - mise?
j
œ œ
j œ
œ
That's al - ways been
œ œ
J
what keeps
œ
œ
œ
up
Do you stand firm or
wait - ing in
and Kings.
j
œ œ
œ œ
And brush
j
œ œ
œ
prob - lem
œ œ œ
œ Œ ‰ œj œ œ œ œ
sur - prise —
Ϫ
Œ
ty.
-
œ
œ œ
j
œ œ œ
What's your po - li - ti - cal
˙
œ
j
œ œ #œ
al - ways
me?
œ
œ #œj œ™
Ϫ
j
œ œ
prob - lem for
29
sin - ce - ri
‰
˙
you were
A tempo (in 2)
There's
24
day
if
fake
œ œ
œ œ œ™
do
œ
œ
j
œ œ #œ
What would you
Œ
œ
Ϫ
3
œ
œ
œ
J
up
at
˙™
pay
-
Ϫ
œ
night,
and
Ϫ
ments.
Ϊ
j
œ
the
j
œ
it
18
Made in Dagenham – Vocal Book
° ## M2œ ™+ M6 œ ™
&
35
Up - tight,
##
¢& œ ™
œ
high - ly strung,
∑
#
& # ˙™
pay
j
œ œ
j
œ œ™
makes him ve - ry
Ϫ
ments.
tense.
tense.
When
œ
j
œ œ™
œ
j
œ œ™
When
it
it
œ
comes
comes
œ
J
to
the
œ
œ
J
to
the
œ
œ
Im - ports,
C
œ
œ
ex - ports,
œ œ #œ œ œ
j
œ
œ
Ϫ
bal - ance of
j
œ œ™
œ
bal - ance of
Def - i - cit
∑
∑
œ
or sur - plus.
M2 + M6
∑
#œ œ œ
Ca - pi - tal
Ϊ
C
∑
46
œ œ œ
Ca - pi - tal
Œ ‰ œj œ œ
In
j
œ œ œ
Ϫ
œ
œ œ #œ œ œ œ
œ #œ œ œ œ
œ
œ
œ
in - flows,
in - flows,
(in 4)
œ œ œ œ nœ #œ nœ #œ nœ #œ nœ #œ nœ
lay - man's terms, when it comes down to it,
M2 + M6 / M5
œ
M5
∑
ments.
-
° ##
& Ó
HAROLD
Ϊ
Ϫ
pay
C
∑
-
##
˙™
&
¢
##
j
œ œ™
Colla voce (in 2)
41
¢&
j
œ œ
makes him ve - ry
j
œ œ™
œ
Up - tight,
° ##
&
œ
high - ly strung,
Ϫ
M5
j
œ œ™
œ
∑
If you buy more than you sell then you are
∑
∑
e - co -nom-ic cir - cus.
#
& # #œ
50
œ œ œ œ
real - ly
in
AIDE 1: Actually, Prime Minister, the
correct term is "visible trade deficit".
54
in
##
Ó
Œ
œ œ #œ nœ #œ nœ #œ
You can
A tempo (in 2)
6
8
Œ
∑
call
∑
Œ
3
‰ ‰ j 68 œ™
œ
œ #œj œ™
6
8 Ϫ
j
œ nœ #œ ™
M6
There's
∑
al - ways
M2 + M5
al - ways
a
a
Ϫ
prob - lem
Ϫ
prob - lem
it
what you like,
∑
the shit!
#
&#Ó
¢&
∑
the shit!
° ##
& #œ œ œ œ œ
real - ly
Œ
HAROLD
œ
œ
j
œ œ
wait - ing in
son, we're
∑
œ œ #œj œ ™
J
wait - ing in
œ nœ
Œ
the wings.
j
œ œ™
the wings.
j
nœ
That's
Œ
j
œ
That's
Made in Dagenham – Vocal Book
° ## œ
&
59
œ œ
J
j
#œ
j
œ œ
j
œ
al - ways been
¢&
##
œ
the
al - ways been
° ##
& Ϫ
64
things
##
Ϫ
&
¢
things
° ##
&
69
Ger
##
¢& ˙ ™
Ger
##
&# œ
prob - lem for
œ
j
œ
œ
prob - lem for
Prime Min - is - ter's
j
œ
Ϫ
j
œ
œ
we
sell
when
we
œ
j
œ
Ϫ
œ
j
œ
Ϫ
sell
when
we
can,
Œ
HAROLD
we
Ϊ
-
man.
œ
man.
œ
œ
of
Ϫ
can,
### C
Ϫ
and
Kings.
and
Kings.
but
the
œ
j
œ
the
noth - er
Ϫ
world
Ϫ
Ϫ
whole
j
œ œ œ œ œ œ
lit - tle prob - lem
Ϫ
j
œ
world
make
great
j
œ
make
great
Ϫ
wants
to
œ
j
œ
wants
to
with which we
all
### C
∑
∑
œ
œ œ œ
œ
in - dus - tri - al
un - rest.
œ
œ
Ϫ
buy
Is
œ œ œ œ œ
œ œ
Strikes here, strikes there—it
œ œ
are blessed
‰ Œ™
œ
buy
j
œ œ œ œ œ œ
∑
Œ
Ϫ
j
œ œ™
œ
∑
œ
Ϫ
We
We
whole
Colla voce – Slower (in 2)
-
Œ
Ϫ
œ
J
but
Œ
### C
73
great deal
A
‰ Œ™
œ
-
j
œ
œ
j
œ
j
nœ #œ ™
j
nœ #œ
the
œ
which
j
#œ œ
Prime Min - is - ter's
j
œ œ
œ
œ
J
which
∑
#
& # ˙™
œ œ
J
œ
19
a
œ œ
just a - maz - es me; When the
##
& # œ nœ #œ nœ #œ nœ #œ nœ #œ œ œ œ œ ‰ œj œ œ œ œ œ œ œ œ ‰ œj
77
daf - fo - dils come out the men come out in sym - pa - thy.
81
° ###
& œ
œ
œ
put
the
great
¢
##
&#
∑
œ œ
œ
œ
œ
in - to "Great Bri - tain".
∑
Œ
We need
i - deas and we need
A tempo (in 2)
6
8
∑
6 œœ ™™
8
M2 + M6 / M5
œœ ™™
Up - tight,
a
∑
œœ
œœ œ
J œ
plan
To
∑
j
œœ œœ
high - ly strung, brings him
œœ œœ
J
out in
œœ
J
a
20
Made in Dagenham – Vocal Book
86
° ###
&
∑
∑
### œ ™
Ϫ
&
¢
œ
j
œ
When
he
91
° ### Œ ™
&
>¿ ™
sweat.
¢
Ϊ
## #
& # ##
œ
œ
J
Ϫ
of
the
size
>¿ ™
Ϊ
Ah
¿™
Debt!
94
thinks
Ϊ
Ah
##
& # ¿™
Ϫ
∑
Ϊ
Debt!
HAROLD
¿™
Bril
## #
& # ## œ
100
-
¿™
li
œ œ
J
## #
& # ## Ϫ
œ
plan
to
105
## #
& # ## œ ™
110
no
b
& b bb œœœ
116
it's
b Ϫ
& b bb œœ™™
121
round
Ϊ
will make
j
œ œ
our
Plan
Ϫ
Ϊ
B.
œœœ œœœ
J
j
œœ
œ
œœœ
Ϫ
im - mor - tal
œœœ
way
of
the
j
j
œ nœ #œ nœ #œ ™
œ œ
J
us
all
j
œ œ
Ϫ
œ
J
Ϫ
e - con - o - my.
nnnn nbb b œ ™
n b œœ ™™
HAROLD
œ
It
œœœ œœœ
J
in - dus - tries
œœ nœœœ œœœ œœœ
J
J
af - ter we've
œœœ
J
from
œœ
œ
J
AIDE 2: Printing money?
HW: Printing money? Can we do that?
œ
j
œ œ
gone,
j
œ œ™
œ œ
J
in those blood - y
j œ
œ
Œ
than kings.
This
j œ
œ
œ
J
is
œ
bet - ter blood - y
Œ
to
œœ ™™™
œ
j
œœ
œ
Œ
Wool- worths.
j
œ
bœœ
wings.
œ œ
J
œ
J
j
œ œ
j
œ
the mas - ter -
work 'cause there
love our coun - try, the great - est on
min - ing
Ϊ
j
j
j
œœ œœ œœœ œœœ œœœ œœœ œœœ ™™™
œ œ
œœ nœœj œœ ™™™
œ nœ œ
œœ nœœj œœ
œ nœ œ
œœ ™™
Ϫ
debt.
HW: I don't need it, I'm very regular. In an
emergency I'll have two black coffees and a cigarette.
HW + M6 / M2 / M5
We
‰ Œ™
AIDE 1: Sir, how do you feel about quantitative
easing?
Ϫ
had
œ.
Bri - tish
prob - lems
more pow - er - ful
j
œ
œ
j
j
œ nœ #œ nœ #œ ™
œ
J
>¿ ™
HAROLD
Ah
Great
fl # ## #
# #
No more blood - y
j
œ œ
cure
j
œ
ALL
ant!
Print - ing cash
U™
Œ
œ
Debt!
¿™
-
Agghhhh..
¿™
∑
fl # ## #
# #
U™
¿
Ϊ
œœœ
j
œœœ œœœ
which judg - ing from
Œ
the earth.
œœ
œ
They'll still
be
j
œœœ
the
œœ
œ
state
j
œœ
With
œœ ™™
Ϫ
j
œ
ain't
œœj œœœ™™™
œ
of things
œœ
œ
J
a -
Made in Dagenham – Vocal Book
bbb ˙˙˙™™™
b
&
œœ ™™
Ϫ
126
bbb ˙˙ ™™
b
& bœ ™
133
ve
-
Ϫ
ry
˙ ™™
˙
˙˙ ™™™
˙
˙˙ ™™™
˙
won't
be
ve
Ϊ
˙˙ ™™
Ϫ
Ϫ
Won't
be
˙˙ ™™
nœ ™
ve
-
Ϫ
ry
˙˙ ™™
b˙ ™
long!
21
œœ ™™™
œ
˙˙ ™™
˙™
Ϊ
Ϫ
Won't
be
Ϊ
ry
-
˙˙ ™™
Ϫ
long!
HAROLD
¿™
¿
Oh
shit!
‰ Œ™
6a
Busy Woman (Barbara Castle)
CUE:
HW: Good. She can do her own typing.
(In 4)
˙
j
fi
b2 œ ˙
b
& b bbb 4
4 ¿ ¿ ¿ ™ ¿ ¿ ¿ ¿ ‰ ≈ r
4
¿
BARBARA CASTLE
Here I
b
& b bbbb œ
4
am. Well, what d'ya want?
7
¿ ¿ ¿ ¿ œ
well as
hav - en't got
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰
Just brought in the breath - a - ly - ser,
b
& b bbbb
I
j ‰
œ
œ œ œ
œ œ œ œ
œ
œ
all you have to do is blow
j
œ™ œ œ œ œ œ œ ‰
all the house - hold chores. Don't for - get your seat - belt, please.
all day you
know
¿ ¿ ¿ ¿ ¿ ¿ ¿
‰ ≈ r
¿
Fight - ing for an i -deal world,
U
j ≈ œr
œ œ œ
œ œ œ
rit.
I
just passed
the seat - belt laws.
As
22
Made in Dagenham – Vocal Book
7
Pay Day
CUE:
BARBARA CASTLE: . . . cup of tea & a chocolate finger.
Northern Soul Vibe
2 CLICKS Drum fill
? bb 44
b
b
&b b
6
Œ
3
Ó
œœ
.
œœœœ œ &
œ
œ
n ˙˙
° b EMMA (GIRLS)
& b b œ œû Ó
œœ ™™
œ
‰
j
œœ
œ
œ
œ
œ
Œ
n œœ ™™
n œœ
.
œ œ œ nœ
œ
n ˙˙
œ
Œ
œ
œ
œ
œ
œ bœ
œ
œ œ œ nœ
œ
œ
œ
ENSEMBLE
10
Pay
day!
b
&b b œ
‹
Ϟ
œ
Our
œû Ó
day!
SANDRA (BOYS)
Pay
bb
¢& b œ
CASS
Pay
° bb œ
& b
14
day!
œ
Our
Ϟ
Our
œ
œ œ œ
day!
day
b
&b b œ
‹
œ
Pay
day
b
¢& b b nœ
œ
day
Ó
œ
Cash
Ó
œ
day!
œû Ó
Pay
Pay
Ó
œ
Cash
œû Ó
œ
day!
Cash
Ó
whad ya say?
Ó
œ œ œ
Run
Ó
whad ya say?
Ó
nœ œ œ
whad ya say?
œ
œ
Run
Ó
œ
Run
œ œ œ nœ œ œ
in
my pock - et gon - na
œ œ œ œ œ œ
in
my pock - et gon - na
œ œ œ œ œ nœ
in
my pock - et gon - na
œ œ œ nœ œ œ
to the bar and get
a
œ nœ œ œ œ
drink it
all
a - way.
œ nœ œ œ œ
drink it
all
all
œ nœ œ œ œ
œ nœ œ œ œ
œ œ œ œ œ nœ
œ œ œ œ œ
to the bar and get
a
Œ
round in straight a - way.
round in straight a - way.
a
Œ
a - way.
œ œ œ œ œ œ
to the bar and get
Œ
a - way.
œ œ œ œ œ
drink it
Œ
round in straight a - way.
Œ
Œ
Made in Dagenham – Vocal Book
° bb
& b #œ nœ œ œ œ bœ Œ
18
Get
a
lit - tle
make
b
& b b # œ œ œ œ œ bœ Œ
‹
Get
a
lit - tle
a
mer - ry,
lit - tle
make
paid a
lit - tle less.
Pay
b
Œ
&b bnœ
œ
œ
nœ
œ
‹
paid a
° bb œ
& b
26
lit - tle less.
Pay
Pay
day!
b
&b b œ
‹
Ϟ
Pay
b
&b b œ
Pay
b
¢& b b Ó
Pay
œ
Our
Ó
œ
day!
Our
œû Ó
œ
day!
nœœ
œ
Pay
Our
œœû
œûû
day!
Ó
‰
Œ
day!
Œ
Œ
day!
nœœ
œ
Our
now we're
hey The week
hey The week
hey The week
is
is
is
near - ly
near - ly
near - ly
œ œ œ nœ œ œ
done.
done.
done.
œ nœ œ œ œ
For - get
all your troub -les and kiss
j
œ œ
œ œ œ œ œ œ
œ nœ œ œ œ
œ œ œ œ œ nœ
œ œ œ œ œ
For - get
œœû ‰
œJûû
day!
can't do quite as much
∑
‰ œj œ
day!
we
œ bœ
‰ œj œj œ œj bœ œ œ œ ‰ nœ
J
For - get
œû Œ
‰ œj #œ nœ œ œ œ
∑
‰ œj œ
‰
œ bœ
now we're
‰ j j
‰ j
j
œ
b
œ
œ
œ
œ
nœ
œ œ
œ
Hey
day!
can't do quite as much
now we're
∑
Hey
day!
Ϟ
we
œ bœ
‰ œj œj œ œj bœ œ œ œ ‰ nœ
J
Hey
Œ
can't do quite as much
j #œ œ œ œ œ
œ
lit - tle mess.
day!
œû Œ
we
lit - tle mess.
a
œ ˙ ™û
lit - tle less.
œû Ó
make
œ ˙ ™û
bb
Œ
¢& b nœ œ œ œ œ
paid a
a
œ ˙ ™û
21
lit - tle mess.
nœ œ œ œ œ
mer - ry,
° bb
& b nœ œ œ œ œ Œ
a
nœ nœ œ œ œ
b
¢& b b #œ nœ œ œ œ bœ Œ
Get
‰ œj #œ nœ œ œ œ
nœ œ œ œ œ
mer - ry,
23
all your troub -les and kiss
all your troub -les and kiss
∑
them all
them all
them all
Œ
a - way.
Œ
a - way.
a - way.
∑
Œ
24
Made in Dagenham – Vocal Book
° bb œ
& b
30
œ
Pay
day
b
&b b œ
‹
œ
Pay
b
& b b nœ
Pay
Ó
Ó
day
œ
Ó
day
œœ
œ
b
¢& b b Ó
Pay
œœû
œûû
œ
œ
Dee
Jay
œ
œ
Dee
Jay
nœ
œ
Dee
Jay
day!
a
lit - tle mer - ry
a
b
¢& b b
Ó
Ó
b
&b b nœ
nœ œ œ œ
‹
Œ
paid a
lit - tle less.
lit - tle less.
Œ
b nœ
œ
œ
¢& b b n œ œœ œ œœ œ
Œ
paid a
lit - tle less.
lit - tle less.
Œ
œœû
œûû
Play a - no - ther tune so we can dance the night a - way.
∑
a
œ
œ
a
lit - tle mess,
œ bœ
we
can't do quite as much
now we're
j
œ
can't do quite as much
now we're
#œ nœ œ œ œ
œ bœ
can't do quite as much
now we're
we
#œ œ œ œ œ
‰ œj ##œœ nœœ œœ œœ œœ
˙ ™û
a
a
lit - tle mess,
˙ ™û
˙ ™û
˙˙ ™™û
û
Pay - day!
we
lit - tle mess,
Œ
we
‰ œj œj œ
Hey
Œ
Œ
Pay - day!
œœ
‰
#œ nœ œ œ œ
nœœ œœ œœ œœ œœ
Pay - day!
œ
∑
‰ œj
lit - tle mess,
Pay - day!
b
& b b nœ œ œ œ œ
paid a
œ œ œ œ œ
‰ œj
make
paid a
œ œ œ œ œ œ œ nœ
nœ œ œ œ œ
make
∑
Œ
Œ
Jay
make
lit - tle mer - ry
37
œ nœ œ œ œ
nœ nœ œ œ œ
lit - tle mer - ry
° bb
& b nœ œ œ œ œ
œ œ œ œ œ œ œ œ
Play a - no - ther tune so we can dance the night a - way.
make
b
& b b œ nœ œ œ œ bœ Œ
Get
Œ
nœ œ œ œ œ
b
Œ
&b b
œ œ œ œ œ
#
œ
‹
Get
œ nœ œ œ œ
Play a - no - ther tune so we can dance the night a - way.
Dee
34
a
œ œ œ œ œ nœ œ œ
œœ
œ
Ó
° b
& b b œ nœ œ œ œ bœ Œ
Get
Ó
Œ
‰
hey
j j
œ œ œ
can't do quite as much
j
œ bœ
The
week
j
œ bœ
Hey
hey
The
week
Hey
hey
The
week
‰ œj œj œ
‰ œj œj œ
Hey
hey
j
œ bœ
j
œ bœ
The
week
œ
œ bœ
œœ bbœœ
now we're
œ œ ‰ nœ
J
is
near - ly
œ
œ œ
is
near - ly
done.
is
near - ly
done.
œ
œ
is
done.
‰
j
nœ
œ œ ‰ nœ
J
œ œ ‰ nœ
J
near - ly
done.
Made in Dagenham – Vocal Book
° bb
& b
41
∑
¿ ¿ ¿
Ó
Œ
Wha -d’ya - say?
b
&b b
‹
¿ ¿ Œ
Cher -ry Bran -dy
b
¢& b b Œ ¿ ¿ ¿ ¿ Œ
STAN
¿ ¿ Ó
¿ ¿ ¿ ¿ Ó
Wat -neys
¿ ¿ ¿ ¿ Ó
∑
25
¿ ¿ ¿
Sher-ry
∑
Dou -ble Dia -mond
¿ ¿
Ó
Du -bon -net
Root Beer
∑
∑
What you drink - in'?
° bb ¿ ¿ ¿
& b
45
Œ
‰ œj
San - gri - a
I
bb Ó
¢& b
‹
° b
&b b œ
48
think there - fore
O - ver here! I
œ
Ó
#œ
think there - fore
œ
Ó
Brown Ale,
œ œ œ
œ œ œ
Ó
Ba - by -cham
I
Da - gen - ham
œ œ œ œ œ œ œj ‰
œ œ œ œ œ œ œ
J
¿ ¿ ¿ œ
œJ
Brown Ale,
b
¢& b b Ó
‹
œ œ œ œ œ œ œj ≈ œr œ œ œ ‰ Ó
I
We
all drink beer
Œ
Da - gen - ham
Œ
n œ œ nœœ œœ
n œ œ # œœ œœ œœ œœ œœ œœ
ba - by ba - by ba - by ba - by
#œ œ œ
#œ œ œ
Ba - by - cham,
Œ
n œ œ nœœ œœ
n œ œ # œœ œœ œœ œœ œœ œœ
j
‰ œ œ œ œ
œJ œ œ
œ
and Ba - by - cham
2
51–52
2
nb
n
nb
n
ba - by ba - by ba - by ba - by
VAMP - CUT OFF ON CUE:
CUE: You can't have 6000 hairy-arsed blokes earning less than a woman.
MC: Ladies and Gentlemen . . .
°
& b ¢™™
16
53–68
™™ ü
†
26
Made in Dagenham – Vocal Book
7A
Club Music
CUE:
MC: . . . Loveable, larger than life, Chubby Chaff"
Fanfare
4
&4
œœ
œ
.
œœ
œ
œœ
œ
.
œ
œœ
U
∑
[DIALOGUE]
6
&
j
bœfi
bbœœ
œ
œ
œœœ
œœ
œ
rall.
œ
œœœ
.
œ.
œœœ œœœ
œ
œ
bœœœ
œfij
œœ
œ
U
∑
[DIALOGUE]
U
ww
w
w
CUE: Fanfare
after each gag!
U
∑
[DIALOGUE]
>
w
ww
w
j
œfi
œœ
#œ
j
œfi
œœ
œ
U
ww
w
w
U
∑
[DIALOGUE]
U
ww
w
w
CUE:
CONNIE: Go after her Eddie. All she needs is sorry.
Cheesey crooner swing!
11
COUNT IN:
3..4..1..
&
Œ
œ
CLUB SINGER
œ
˙
œ
Moon
#œ
œ
œ œ ˙™
o - ver
Da - gen - ham,
œ
shin - ing
Fills
œ
œ
up
on
rit. . . .
16
& ˙
œ
#œ
œ
œ
me
with
joy
œ
and
˙
love,
œ
now
œ
pass
œ
me
œ
that
œ
pork
œ
high
U
w
pie.
˙™
Made in Dagenham
27
8
I'm Sorry I Love You
CUE:
RITA: I don't need reminding that we loved each other ten years ago.
4
&4 Œ
EDDIE
‰
j
œ œ
œ œ
I know I'm
4
& œ Œ œ œ œ Œ œ œ œ
3
it.
3
Ii ad -mit
8
RITA: Here it comes...
Œ Ó
3
& œ œ
say
I'm a
Œ
13
‰
j
œ
with a
fool - ish
I'm
26
œ œ œj
J
not all
j
œ œ
& Ϫ
&
for - get
œ
œ
œ œ œ œ
œ œ
that's what
I
get
in
re - turn.
j
œ œ œ œ
can
w
a
man
œ œ œ œ œ œ œ œ
nev - er, nev - er, nev - er, nev - er,
œ
a - gain.
I
Triplet shuffle
œ œ œ œ
just
3
But all
fl
pro - mise that I'll
j
œ œ
œ
J
When you're not
w
here
3
sin - gle thing
I can
do;
I'm sor - ry,
I
RITA
Ó
œ œ œ œ œ
Ed - die, I'm
˙
œ
true—
you. I'm
There ain't a
Œ
‰
EDDIE
Well that much is
j Œ
œ
œ œ
‰ œj œ œ œ œ œ œj œ œj
‰ jœ
œ
œ œ
œ
Ó
w
œ œ œ
3
When it comes down to
3
œ œ œ
j
œ œ œ œ œ œ
nev - er
œ
j
œ œ œ œ
‰ œj œ
œ œ œ
Œ
there.
3
clue—
‰
ad - mit
RITA
love
you.
3
‰
œ
a
I
ev - er,
love
30
3
I ain't got
œ œ œ œ œ
But you have to
j
œ œ œ œ
w
& œ œ œ œ œ œ œ œ
™
& ‰ œ
git
3
j
œ œ œ œ œ ˙
17
21
a
brain,
nev - er, nev - er, nev - er,
‰
œ
I'm sor - ry but I
œ œ œ œ
J
& Œ
‰
git...
is...
Colla
3
Œ Œ
3
œ
But
a
3
soft
œ
touch.
3
œ œ œ œ œ œ
one day
a
year— I don't
œ
œ
I
don't
3
œ œ œ œ
ask for much And
3
œ œ œ œ œ œ
get
it,
Ed, Why don't you
28
Made in Dagenham
34
3
& œ ˙
EDDIE
∑
˙
learn?!
39
Look
‰ œj œ
œ œ œ
& Œ
That's got - ta
43
& Œ
œ
I'm
œ
œ
just
a
œ
in
my
œ
Œ
œ œ œ œ
J
j
œ
51
You suc - ker -punch my
56
& œ œ œ
sin - gle thing
°
3
Œ
& œ œ
œ
60
A tempo
sick of
j
œ œ
j
œ œ
I
do;
can
Œ
‰
it.
¢& Ó
œ œ œ œ œ œ
œ œ ˙
With -out you I'm not
‰
3
j œ œ œ
œ
I'm sor - ry,
j
œ
I'm
Œ
3
œ œ œ
tired of
œ œ Œ
‰
come on Ed.
‰ ¿J ¿ ¿ Œ
I'm sor - ry
Ϫ
œ
3
I'm
sick of it.
Œ
‰
j
œ
I've
Sor - ry.
‰ j
œ œ œ
œ
Œ
Œ
‰
RITA
j
œ
I'm
œ œ œ Œ
Œ
3
‰
had e - nough.
Œ
j
¿
Oh,
‰ ¿j
Œ
¿ ¿
I'm sor - ry.
3
œ œ œ Œ
Sick of it.
¿ ¿ Œ
a - gain.
you
Sor - ry.
Œ
j
œ œ œ œ
j
œ
There ain't a
love
Œ
for - get
œ œ Ó
j
œ œ
¿ ¿ Œ
Sor - ry.
63
I
nev - er
whole.
it.
Ó
EDDIE
°
& ¿ ¿ ¿j ‰ Œ
¢& Œ
ev - er,
soul,
pro -mise that I'll
j
œ œ œ œ œ œ
nev - er, nev - er, nev - er,
3
toy.
‰ œj œ
œ œ œ
I
œ œ œ œ œ œ œ œ
w
& ‰ œj œ œ œ œ
cud - d - ly
brain,
48
nev - er, nev - er, nev - er, nev - er,
œ œ œ ˙
Œ
w
full of joy.
3
3
choc -'lates or some stu - pid
with a fool - ish
& œ œ œ œ œ œ œ œ
yet
œ œ œ œ œ œ
or
œ œ ˙
Ϫ
See they're re - gret - ful, but
3
œ
man
3
œ œ œ œ œ œ
eyes,
œ
be worth more than flowers
w
œ
œ
œ
œ
3
¿ ¿
Sor - ry.
3
œ œ œ Œ
Sick of it.
Œ
3
œ œ œ Œ
Sick of it.
¿ ¿ Œ
Sor - ry.
¿ ¿
Sor - ry.
Made in Dagenham
°
& œ œ œ œ
66
S..
I..
¢&
C..
∑
∑
Ó
I'll
∑
œ œ œ #œ
w
S..
Y.
O..
R..
3
b
& b bbbb œ œ œ œ œ
122
R..
till I'm hoarse.
3
œ œ œ œ œ œ
Tell me just how ma - ny times you want me
3
I'm
° bb b b œ
œ
& bb
œ œ
133
MEN (+ EDDIE ad lib)
He's just
bbb
¢& b b b Œ
a
sor - ry,
w
Œ
man
a
Œ
man
138
nev - er, nev - er, nev - er, nev - er,
bbb
¢& b b b œ œ œ œ œ œ œ œ
nev - er, nev - er, nev - er, nev - er,
141
œ
œ
You suc - ker -punched his
bbb
j
¢& b b b ‰ œ œ œ
œ
œ
You suc - ker -punched his
I'm
œ œ œ œ™
J
œœ œœ œœj œ™
J Ϫ
soul,
How ma - ny times I'm sor - ry;
sor - ry
But
love
Œ
brain,
Œ
brain,
ev - er,
ev - er,
˙
you
you
œ
J
nev - er
for - get
a - gain.
nev - er
for - get
a - gain.
j
j
œ œ œ œ œJ œœ bœœ
J
he's
a
œœ œœ œœ œœ œœ œœ œœ
With -out
j
‰ œ œ œ œ œ
J
œ œ œ œ œ œ
J
œ œ œ œ œ œ œ
With -out
‰ œ œ œ œ
œ
J
He pro -mis - es he'll
œ œ œ œ œ œ œ œ
soul...
you.
He pro -mis - es he'll
œw œ ˙ ™
nev - er, nev - er, nev - er,
'cause I got
w
w
I
œ œ ˙™
nev - er, nev - er, nev - er,
soul,
Ów
3
3
j
‰ œ œ œ œ œ œ œ œ ≈ œ œ œ
J
œ œ œ œ œ œ œ œ
w
Œ
a - part from the bike of course.
3
with a fool - ish
° bb b b œ œ œ œ œ œ œ œ
& bb
° bb b b ‰ j
& bb
œ œ œ
∑
‰ œj œ œ œ Œ œ œ
with a fool - ish
w
w
œ œœ œœ
He's just
to tell you
‰ œj œ œ œ Œ
lost at nine -ty - two.
from the roof - tops, I'll
bbbbbb
∑
Ev - 'ry - thing that's mine is yours
3
bb
& b b bb œ œ œ œ œ œ œ œ œ
bb
& b b bb œ œ œ œ œ Œ
shout it
3
œ œ œ œ œ œ œj ≈ œr œ œ œ œ œ œ
Œ
125
128
121 (loose quavers)
3
3
Œ ‰ bœj bbbbbb œ œ ‰ œ œ œ œ œ
K..
(EDDIE)
scream it
29
he's
a
˙
n˙
right
arse
˙˙
˙˙
right
arse
-
30
Made in Dagenham
° bb b b ˙
& bb
145
‰ œ œ œ
J
hole
There ain't a
j
‰ œœ œœ œœ
J
bbb
¢& b b b ˙˙
hole
° bb b b
& bb œ
149
There ain't a
Œ
œ œ œ
sin - gle thing
œœ œœ œœ
sin - gle thing
Ó
œ œ
J
he can
œœj œœ
J
he can
œ
J
‰
œ
EDDIE
j œ œ œ
œ
do;
3
I'm sor - ry,
œj œ
œJ œ
Œ
I
œ œ
J
Ϫ
love
Ó
œ
∑
do;
∑
∑
∑
you.
bb b b
¢& b b
MEN
∑
œ
œ
œ œ œ
If you want he'll
° bbb
&b b b Ó
153
EDDIE
3
Œ Œ œ
beg,
Look, he's down on one
3
3
the wea - ther, wher - ev - er, for - ev - er;
Ó
∑
leg.
3
3
Now he
is down on
œ œ œ
œ
œ œ
What - ev - er
What - ev - er
° bb b b œ 3œ œ œ œ3 ‰ œ œ œ ˙
& bb
J
157
ev - er, for - ev - er,
3
bbb b œ 3œ
b
& b
œ œ œ Œ
œ
I'm sor - ry,
I'm
∑
ev - er, for - ev - er,
∑
∑
œ
˙
al
all
-
˙
(MEN)
the wea - ther, wher -
3
3
3
Œ Œ ‰ œj œ œ œ œ œ œ
Ó
fours.
bbb
¢& b b b
œ
3
3
3
3
œ œ œ œ œ ‰ œj œ œ œ œ œ œ
œ œ œ œ œ œ
What - ev - er
bb b b
¢& b b ˙
œ œ œ œ œ
Œ
ways
œ Œ
al
-
ways
al
˙
-
ways
al
-
ways
œ Œ
the wea - ther, wher -
w
∑
yours.
w
w
yours.
He's sor - ry, he's
Œ œ œ œ œ
œ œ œJ ˙
J
al -ways yours.
Made in Dagenham
° bb b b
& bb
31
°™ EDDIE falsetto riff ad lib
¢™ V V V V V
6x to fade
162
∑
∑
bbb
¢& b b b Œ
°™ Œw œ œ œ œ
¢™
j œ œj ˙
œw
b Œ
& b bbbb w œ œ œ œ
He's sor - ry, he's
al - ways
He's sor - ry, he's
al - ways
yours.
He's al -ways
V
al - ways
™™ ü
†
V
j œ œj ˙
œw
He's sor - ry, he's
yours.
He's sor - ry, he's
j
j
°
œ œ œ ˙
™Œ œ œ œ œ
Ó
‰ œ œ œ ¢™
Œ Ó
J
œ
œŒ œÓ œ œ
V
™™ ü
†
yours.
™™ ü
†
yours.
j
j
œ œ œ ˙
Ó
‰ œ œ œ
J
al - ways
yours.
He's al - ways
Slow 4 (rubato)
bb
& b b bb
166
œ
yours
˙
œ
œ
3
œ
œ
3
œ
œ
œ
œ
˙™
œ
œ
Ϫ
˙
œ
J
œ
3
œ
œ
œ
U
w
œ
œ
œ
œ
œ
3
EDDIE
œ
Ϫ
œ
œ
œ
œ
b
& b bbbb ˙
say
Œ
‰ œj œ ™
I
love
j
œ œ™
you loads,
you
œ
œ
œ
œ
˙
Ϫ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ
˙™
n˙
j
œ œj œ™
fl
stu - pid sod!
Ó
drea -mer
Maestoso
Ó
j
œ œ œ œ
RITA
j œ
œ
RITA: What’s your point?
EDDIE: It didn’t do me any harm.
RITA: I think e canes him ’cause he’s a scholarship boy.
Hey there slee - py
185
Ϫ
œ
J
EDDIE: Remember Mr Perkins?
RITA: Virgin Perkins?
EDDIE: Yeah.Woodwork.
RITA: I’m gonna go into the school to
complain. (Beat) I love you Eddie.
b
& b bbbb
180
˙
œ
œ
œ
EDDIE: He used to put me head
in a vice and burn me with cigarettes.
b
& b bbbb
176
Œ
RITA: Mr. Buckton is caning our Graham. It ain't right.
EDDIE: Remember Mr. Perkins?
RITA: Virgin Perkins?
b
& b bbbb
172
RITA: We’re alright ain’t we?
EDDIE: Course we’re alright.
U
Œ Ó
œ
œ
I
∑
U
∑
œ
just
œ
Ϫ
j
œ
wa - nna
∑
32
Made in Dagenham – Vocal Book
9
School Song
CUE:
HOPKINS: Trouble at mill.
(TACET)
2 CLICKS IN
4
&4
∑
Ó
MEN
Œ
Where the
6
& ˙
gown
j
œ œ œ
œ œ œ™
Œ
Stands a school whose sons
11
& Ϫ
œ œ
J
through
œ
œ
all knocks and
œ œ œ œ œ
œ œ
œ
all
Œ
hard - ship.
iron heart of Eng - land bleeds
œ™ #œj œ œ
fight
with might to
fur - ther its
œ œ bœ ™
Do not
œ œ
J
fear
& Ϫ
nerve
and think of
Al - bion.
What -ev - er
œ
when death stomps
n˙ ™
j ‰ ‰ j œ
œ bœ
œ œ
œ
œ œ œ
j
œ œ œ
hap - pens
œ
do
not
j
œ œ œ
Ϫ
Be - neath
œ™ nœj œ œ
rall. . . .
15
Œ
˙
its nob - le
˙
Œ
GRAHAM
œ œ
re - nown.
˙
On -ward
Œ
by.
Œ
œ nœ
Hold your
####
U
∑
(DIALOGUE)
cry.
CUE: LISA: . . . we parents have to stand up to him.
RITA: Yeah, good luck, I gotta go.
##
&##Ó
20
2 CLICKS IN
Œ
œ œ
ALL
Do not
e e œ œ œ œ œ
œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ
cry,
# ##
&# œ œ œ œ œ
24
do not cry, Do not
Œ
gran - ny when you sleep.
##
&##
27
a
ca - re - er
in
do not weep, Do not howl for your mam -my or your
œ
œ
œ œ ‰
Crush
all
fee - ling
œ
œœ
œ
œœ
œ
œ œ œ œ œ œ œ
pare for
bawl,
the
cor
-
œ
œ
œ
ri - dors
j
œ
and
#œ
œ
œ
of
9a
Into The Berni Inn
(TACET)
‰
œ œ œ œ œ
nev - er,
U
w
w
w
pow'r.
ev - er cow'r.
j
œ
Pre -
∑
Made in Dagenham – Vocal Book
33
10
Same Old Story
CUE:
RITA: You got us the grievance procedure (Go)
b4
&b 4
Slow
Ó
Œ
‰
œ
œ œ
œ
œ
œ
U
CONNIE
j ≈ r
œ œ œ œ œ œ œ œ œ œ
œ
˙
Yes - ter - day
b
&b
4
j ‰
j ≈ r
œ œ œœ œœ œ œœ
knew it
b
&b ‰
all,
I had no doubt.
7
œ œ œ
Start -ed work
b
&b
10
mak - ing do
b
&b
œ #œ ™
Same as all
Œ
fun - ny,
mak - ing
jokes,
Same work,
But now I'm
tale,
Still the same old rea -sons
b
& b œ œ™ œ œ œ œ
b
&b Ó
Œ
up the crumbs.
Œ
‰
j
œ
I
‰
old - er,
3
œ œ œ™ œ œ œ œ
œ œ œ œ
œ œ œ
œ
al - ways pro - mised
œ œ œ œ œ œ œ œ
‰
‰ œ
œœ œ œ œ
œ
œ
It's an
Œ
age
old
sto - ry,
-
ty
It's an
Œ
œ œ™ œ œ œ œ
Ϫ
Se -cond at the ta - ble,
œ
But some - how
Ϫ
nev
-
j
œ ˙™
er
On the shoul -ders of the
Œ
comes.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
joined the La - bour par
the bone
Look - ing back it does - n't seem so
that are there to make us fail.
œ œ œ œ œ œ œ ‰ œj œ
Change is
you want to be."
Worked our fin - gers to
same hours but half the mo - ney.
œ œ œ œ œ œ
20
24
Œ
‰ j
‰ j
Œ
œ œ
œ œ™ œ œ ™ nœ œ œ ™ œ
b
&b œ œ œ Œ
Pick -ing
"Just be who
j ®
j
œ
œ œ œ œ œ™
16
age - old
the blokes.
œ
I
j ‰
œ
œ
œ
œ œœœ œ œ
in front of me,
œ œ œ œ œ
way too young,
by
Œ
Life was there
‰
œ œ œ
j
œ œ œ œ
œ œ œ
12
j ‰
œ œœœ œ œ œœ œ
when I start - ed out,
great
‰ ≈ r
œ
E-
34
Made in Dagenham – Vocal Book
b
&b
27
man - ci -pa - ted teen - age - er
b
&b
30
b
&b œ
œ œ œ
Thir - ty years
on,
33
say to me,
b
& b œj ™
œ
36
Œ
œ œ œ œ œ
"Stick with it,
‰
ce - dure?
b
&b
b
&b
we
Œ
œ #œ ™
fail.
Œ
a
Un - i - on
What did I
‰
cei
-
ling
From down
j
nœ
The Grie -vance
‰
Still the same old rea -sons
at
j
œ
on
the
° bb b bPiu mosso
‰ ≈ r
j ‰ Œ
& b b œ™ œ
œ
œ
œ
œ
œ
œ œ œ œ œ™
œ
œ
Pro -
3
œ œ
that are
Œ
the door,
accel....
Ϫ
œ
here
You all
j j
œ œ œ
œ œ œ œ œ œ
Kick -ing
A
œ œ
œ œ™ œ œ œ œ
the out - side,
œ
‰
ac - hieve?
-
j
œ
‰
con - ve - nor.
œ œ œ œ œ
need ya."
Al - ways on
œ œ œ œ œ
a glass
am still
Œ
œ œ œ œ œ œ
Ϫ
43
Looks like
Œ
-
to make us
œ œ
I
fight,
œ œ œ œ œ œ œ
‰ œ œ
Œ
œœ œ œ œ œ
œ
œ œ
It's an age old sto ry,
It's an age old tale,
œ™ œ œ œ œ
there
Fierce, fei - sty, full of
œ œ œ œ œ œ œ œ œ
a dream - er.
œ œ œ œ œ œ œ
œ
Who did - n't have time to wait.
Œ
œ œ œ œ œ œ œ
war - ri - or,
40
Œ
œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ
‰
˙™
floor.
bbbbbb
j
bœ
It's
46
al - ways been a whis - per
WOMEN
bbb
¢& b b b ˙™
w
w
œ œ
Ahh
° bb b b
& b b Ϫ
49
take
bbb b
b
&
b ˙™
¢
˙˙™™
but can't it be
j œj ‰ ‰ œj
œ
no more.
Oh,
Œ
œ™ œ œ œ œ œ œ
œ œ
a roar?
˙™
˙˙™™
All those un -heard voic - es that won't
Œ
˙™
w
w
Ahh,
œ œ œ œ œ œj ‰ œ œ
Ri - ta, please wake up,
I
w
w˙ ™
œ œ
Ahh,
œ œ
need
Ϫ
you
˙™
˙˙™™
j
œ œ
to
‰ œj
see
It
Œ
Made in Dagenham – Vocal Book
35
CONNIE: This doesn't have to be just about C-Grade.
° bb b b
& bb œ œ œ
œ œ œ ™ œ œ œ™
[UNDERSCORE]
rall.
52
bbb
¢& b b b
j
œ œ™
˙˙ ™™
˙™
œ
œ
ain't a - bout the mo - ney, It's
w
w
˙™
‰ nnnnbb
e - qual - i - ty.
A tempo
˙™
nnnnbb
Œ
w
œ œ
˙™
∑
œ œ
∑
∑
Ahh,
b
&b
57
w
˙™
w
b
& b bœ
64
œ
œ
œ œ
œ
w
w
˙™
w
˙™
b
Œ
& b œ™ œ œ œ
œ œ
You can change the sto ry,
70
CONNIE
b
&b
73
œ™ œ œ œ œ
there
to make us
‰
œ
˙
You
can change the tale.
fail.
We
have to
b
Œ
&b œ œ
œ œ œ œ œ
wait -
œ
˙
‰
make
it
ing,
œ
Ri
-
Ϫ
œ
ta,
make
œ
˙
j
œ
œ nœ œ œ œ
Don't
it
˙
˙
œ œ œ œ œ œ™ œ œ œ
fall for
all those rea - sons
that are
Œ
œ œ œ œ œ
our time.
j
œ
œ
3
Œ
œ œ œ œ œ œ œ œ œ
76
Ain't got time for
œ
˙
œ
œ
œ™ œ œ œ œ
-
œ
RITA: No! What?
CONNIE: Nothing changes if it isn't challenged.
œ
œ
w
w
œ œ
Can't our time be now?
w
U
∑
now.
SEGUE
11
Union Song – Reprise
3, 4 . . .
# 4 œ. œ. œ. œ. œ. ˙
& 4
# ™
™
& œœ™ œœ œœ œœ œœ™
5
MEN / WOMEN
œœ
œœ œœ œœ
œœ
Broth - ers and sis - ters,
œ œ
j œ œ
œJ
œœ™™ œ œ œ ˙
œ œ œ ˙
com - rades, ev - 'ry - one.
œ œœ œœ œœ œ
œ
œ ˙
and the Un - i - on. When it comes down to
man - age - ment
œœ
Fight
œœ œœ œœ
œœ
for your fu - ture
œœ œœ œœ œœ œœ œœ œ œ œœ œ Ó
œ œ
œ
Each and ev -'ry - one of them's a
tot - al...
36
Made in Dagenham – Vocal Book
11
Skilled Work
(TACET)
12
CUE:
Everybody Out
RITA: Hands up . . . All in favour?
70's rock (q = 162)
##4
& # #4
##
&##
6
1 2
Ó
œ
4
Œ
BERYL: Clare?
œ
œ
‰ J nœ œ œ œ
œ >
¿ ¿ ¿ ¿
(Drums:)
RITA
>j
‰ œ
3
œ
œ
‰ J nœ œ œ œ
œ >
‰ œj œ œ œ œ
œ œ œ œ
œ
œ
œ
‰ J nœ œ œ œ
œ >
your life
œ œ œ œ œ
You got - ta stand up for What you know
3
##
‰ j œ œ œ
&##œ œ œ
œ
œ œ
œ œ
is right
10
some -times in
# ##
&# Œ
14
your life
a
long
18
(RITA)
° #### Œ
&
œ œ œ
It's
##
&##
j
œ œ œ œ œ œ
com - ing and - a
we ain't
œ
J
turn
the eye
for
a
œ œ
J
ing
-
And scream the rea - son why
j
œ œ
∑
j
œ ˙
∑
œ
j
œ œ œ œ
scrap.
œ ˙
J
back.
Ev - ry - bo
œ
Get
œ
œ œ œ œ
œ
œ
∑
out on the street
j
œ œ
Let's make it
and
j j
œ œ œ
clear
we're
œ œ œ œ
œ œ ˙
on - to that pick
-
j j
œ œ œ
œœ
œ
here to
send
Œ
et line.
j
œ œ œ ˙
a sign.
dy
-
j
œœ œœ œœ œœ
œ œ œJ œ
ALL WOMEN
Ev - 'ry - bo
ALL WOMEN
##
&##Œ
26
a long time
com - ing And we're read - y
∑
##
&##Œ
22
time
œ
j
œ
œ œ œ œ œj œ
œ
And be pre -pared to fight And
‰ j
œ œ œ œ
œ œ œ
œ œ œ œ œ
You got - ta get up And look them in
œ œ œ
It's
¢
‰ j
œ œ œ œ
œ œ œ
3
Some -times in
>
>
>
‰ nœJ ‰ œJ ‰ œJ Œ
œœ
œ
j
œœ œœ œœ œœ
œ œ œJ œ
Ev - 'ry - bo
Œ
œœ
œ
dy
-
-
dy
j
œœœ œœœ œœœ œœœ
J
Ev - 'ry - bo
-
dy
j
œ>
out!
>j
œœ
œJ
out!
>j
œœ
œJ
out!
>j
œœ
œJ
out!
Made in Dagenham – Vocal Book
##
&##Œ
30
CLARE
œ
If
##
&##Œ
34
j
œ œ
j
œ
they get
j
œ œ
ALL WOMEN
œ
j
œ
4
46
&b
œœ
j
œœ œœ
° MEZ.
&b Œ œ
j
œ œ
50
WOMEN
&b Œ
j
œœ
There's no more
54
¢& b Œ
ALT.
œ
œ
j
œ œ
‰
ing,
-
j j
œ œ œ
Don't treat us
SOP.
j
œ bœ œ
œ
œ œ
>
œ
‰
j
œœ œœ
talk
girls
œj œ
œJ œ
like
j j
œœ œœ œœ
J J
Don't treat us
ya
j
œ œ
we'll
œ
J
get
j
œ ˙
∑
œœ
œ
j
œœ œœ œœ œœ
œ œ œJ œ
mean.
œ œ ˙
Œ
ma - chines
Ev - 'ry - bo
-
>j
œœ
œJ
dy
out!
BILL: Look at this! Your girls have gone mad.
MONTY: What Is it?
SID: Drugs.
BILL: What are you gonna do about it, Monty? They're your flock.
SID: Yeah, what the flock are you gonna do about it?
MONTY: (Monty moves to the tannoy.) Your union does not support unofficial industrial action!
œ
>
œ
tell
to our sew - ing
38–41
œ nœ
I
j
œ œ œ œ œ œ
nnnnb
j
œ œ nœ
‰
gry, well
-
We'll chain our - selves
##
&##
j
œ
œ œ œ œ œj œ
an
37
girls
like
œ
‰
œ nœ
j
œœ œœ
œ
j
œ bœ œ
œ
œ œ
>
œ
œœ œœ
no con - ver - sa -
j
œ œ
œ
j
œ œ
‰
œ
>
œ
œ
j ‰ j ‰ ™
bœ
œ
œ
>
>
>
j ‰
œ
>
‰
œ
>
‰
j ‰
œ
>
Ϫ
>
j
‰ œj œœ œœ œœ œœ œœ œ
œ
tion.
œ
j
œ bœ œ
œ œ b>œ
œ
œ nœ
œœ œœ ˙˙
no
œ œ ˙
con - ver - sa
Œ
a poor
(your)
re - la
-
œ œœ
œ
œ œœ ˙™
˙™
œ
a poor
(your)
re - la
-
j
œœ œ
J œ
‰
Ev - ry - bo
j
œ>
-
dy
out!
-
dy
out!
>j
œ
œJ
>
j
œ œ œ œ
œ œ œJ œ
œ
œ
tion,
tion
j
œ œ œ œ
œ
tion,
-
‰
Ev - 'ry - bo
58
&b
‰
j
œ bœ
œ
œ
œ
‰
j
œ bœ
œ
œ
œ
œ
œ
>
‘
‰
j
œ bœ
œ
>
‘
‰
j
œ bœ
œ
œ
œ
œ
œ
>
‰
j
bœ
>
‰
j
œ
>
‰
j
œ
>
j
œ
>
‰
62
&b
œ
œ
œ
œ
œ
œ
>
‰
j
bœ
>
‰
j
œ
>
‰
j
œ
>
Œ
38
Made in Dagenham – Vocal Book
HOPKINS: (to Lisa) Hey! What time is it in America?
LISA: I'm not the speaking clock!
(Lisa walks off in a huff.)
SID: Sidney.
HOPKINS: Is this a strike?
66
&b
œ.
œ.
°
& b ¢™™
œ
œ
™™ ü
†
SAFETY
72
œ
∑
& b œœœ
Ev - 'ry - bo
dy
-
& b œœœ
Ev - 'ry - bo
-
∑
Œ
85
&b
œ.
∑
WOMEN
Œ
out!
œ.
dy
œ
œ
j
œ œ
It's
al - ways
œ
j j
œ œ œ
been
œ œ œ
These worms are turn
œ.
this
way;
tom to
-
j
œ œ
worms—
œ
œ
now it's got
feed
those
j œj œ
œ
That, you bet - ter
œ
J
in
to
-
but
Œ
to stop
at
Œ
the top.
j j
œ œ œ
j
œ œ
rea
lise.
-
Œ
>j
j
œœ œœ œœ œœ œœ œœ
œ œ œ œJ œ œ
J
ter - flies!
-
w
œ œ ˙
j
j j
œ œ
œ œ œ œ œ J J œ œJ œ Œ
- ing
œ
j
œ œ œ œ œ œ œ ˙
j
œ œ œ œ œ œ
j
œ
We're the can of
œ.
w
œ œ œ œ
j
œ œ œ œ
out!
œ
œ
You starve those at the bot
>j
œœ Œ
œJ
j
œœ œœ œœ œœ
œ œ œJ œ
81
w
>j
œœ ‰ j œ
œJ
œ
j
œœ œœ œœ œœ
œ œ œJ œ
77
SID: All the classic signs. There's a brazier,
a picket line, and a barricade. If we had an
orchestra, it could be a musical. (Phone down)
Ev - 'ry - bo - dy
out!
VAMP - out any bar
°œ
& b ¢™™
CUE to CONT:
BARBARA: They make the seats for the cars!
>
90
94
&b
œ œ
œ
>
>œ
œ
>œ
œ œ
œ œ
œ
>
>œ
œ
>œ
œ œ
œ œ
œ
>
WILSON: . . . and we can all drive standing up! Do I have to think of everything?
>œ
œ
##
&# œ
97
œ œ
>œ
œ
WOMEN
œ
La - dies,
>œ
œ
œ
œ
>
>œ
œ
‰ œj œj œ
œ œ
if your
fel
-
la
œ
œ
>œ
œ
j j
œ œ œ
starts
to
œ
j
œ
whinge
œ
>
œ
j
œ œ
or
‰
œ
#>œ
>œ
œ œ
>œ
J
j j
œ œ œ
starts
to
>œ
œ
J
j
œ
moan
œ œ
>œ
œ
>
œ
™™ ü
†
#
n##
#>œ
J
EDDIE: On
strike?! We need
the money!
∑
Made in Dagenham – Vocal Book
##
&# œ
101
Tell
œ
him
##
&# œ
105
Let
œ
##
&# œ
do the
œ
make him
##
&#
113
take
the
strike
œ œ
J
cook
-
it
ing,
all
right
j j
œ œ œ
Let
‰ œj œj œ
œ œ
do
j j
œ œ œ
j j
œ œ œ
back
œ
J
him
try
in - to
œ œ
J
long
in
a
pair
STAN:
Twenty-seven minutes.
œ
J
Ó
‰ œj
Œ
the meals.
j
œ œ
j
œ œ œ œ œ
day
make
∑
your home.
j j
œ œ œ
to
j
œ
j j
œ œ œ
j j
œ œ œ
of
five
And
j
œ
inch
STAN: Better safe
than sorry.
∑
heels.
TUTTI
SOP + MEZ / ALT
SOP / MEZ / ALT
F6 / SOP / MEZ / ALT
Ev - 'ry - bo - dy out
Ev - 'ry - bo - dy out
Ev - 'ry - bo - dy out
Ev - 'ry - bo - dy out
œ
œ œ œ œ œ œ # œœ œœ œœ œœ œœ œœ # œœœ œœœ œœœ œœœ œœœ œœœ # œœœ
b
&b œ
117
that you'll
œ œ ‰ œJ
him
109
‰ œj œj œ
œ œ
39
EDDIE:
How long do you cook
an egg for?
MEN
Girls
b
&b œ
121
œ
‰ œj
œ
œ
you
done the
œ
‰ œj œj œ
œ
œ
Make your point then
b
&b œ
125
proud
b
&b œ
129
make
j
œ œ
œ
of
œ
it
right
back
œ œ ‰ œJ
you and
what
thing,
to
œ œ
J
it
‰ œj œj œ
œ
œ
quick–get
on
with
j
œ
j j
œ œ œ
we're
j
œ œ
be - hind
you
j j
œ œ œ
j j
œ œ œ
j j
œ œ œ
œ
J
work
is
be - fore
that
you
j j ‰ œ œ
œ œ
it
bank
œ œ
J
all
œœ
œœ
j j
œ œ œ
all
the
œœ
œœ
j j
œ œ œ
œ
J
got
∑
Œ
‰ œj
i - day.
to
We're
Ó
Œ
‰ œj
say
œ œ œ œ œj œ
'cos we'll strug -gle on
nnnbb
œœ
œœ
way.
j
œ Ó
-
œœ
œœ
j
œ
j j
œ œ œ
hol
œœ
œœ
strik - er's
but
j
œ ˙
pay.
Ó
40
Made in Dagenham – Vocal Book
b
&b
133
TUTTI
SOP + MEZ / ALT
œ œ œ œ œ œ
Ev - 'ry - bo
dy out
-
dy out
-
#œœœœ
#œœœ œœœ œœœ œœœ œœœ œœœ
#œœ œœ œœ œœ œœ œœ
Ev - 'ry - bo
F6 / SOP / MEZ / ALT
SOP / MEZ / ALT
Ev - 'ry - bo
dy out
-
œœœ
œ
œœœ
œ
œœœ
œ
Ev - 'ry - bo
œœœ
œ
nn#
œœœ
œ
dy out
-
VAMP - OUT ANY BAR
#°
& ¢™™ œ
CUE to CONT:
JOURNALIST: Ladies, is it your intention to halt production on the new Ford Cortina?
137
141
&
#
‰
‰
œ
‰
Ó
#œ
J
œ
Ó
j
œ
j
œ
Ó
‰
#œ
J
‰
œ
Ó
#œ
J
### TUTTI
& œ œ œ œ œ œ
153
Ev - 'ry - bo
dy out
4
##
&#
b nœ.
b
&
-
œ
œœ
157–160
j
œ
j
œ
Ó
‰
‰
œ
Ó
œœœ
dy out
2
Ó
161–162
. . . . . .
#œ. œ. œ œ #œ œ œ œ
œœœ œœœ œœœ œœœ œœœ
Ϫ
œ
œ
-
dy out
œ nœ #œ #œ
RITA: Hello Liverpool!
ALL: Hiya queen!
j
nœ
#œ œ
bœ bœ
Ó
#œ
J
™™ ü
†
Ó
#œ
J
F6 / SOP / MEZ / ALT
œœœ
œ
œœœ
œ
œœœ
œ
Ev - 'ry - bo
nœ nœ nœ
œ
™™ ü ###
†
Ó
‰
‰
œ
Ó
j
œ
j
œ
œ
Ó
#œ
J
Ev - 'ry - bo
œ
‰
œ
#œ
J
‰
œ
SOP / MEZ / ALT
œœ œœ œœ œœ œœ
-
‰
œ
Ó
#œ
J
Ev - 'ry - bo
‰
Ó
SOP + MEZ / ALT
nnn b
b
. . . . . . .
œ œ œ nœ œ œ œ
‰
œ
œ
SANDRA: What can we do then?
CONNIE: We need some working class solidarity.
BERYL: 'kinnel!
CONNIE: We need the girls in Liverpool to strike.
##
&#
165
‰
œ
VAMP - OUT ANY BAR
145
149
‰
œ
Ó
j
œ
# #°
& # ¢™™ œ
Ó
j
œ
œœœ
œ
-
œœœ
œ
œœœ
œ
dy out
œ bœ bœ
œ
RITA
Ó
Œ ‰ j
œ œ œ œ œœ
We're here to ask
b
Œ
&b j
œ œ œ œ œ
œ œ™
œ œ
170
- vour,
And we need you all
a - board.
œ
œ
a fa -
Œ Œ ‰ j
j
œ œ œj œ œj œj œ œj œj œ
œ
œ
We want to shove a
rock
-
et
up
the
arse
b
Œ Œ ‰ j œ œ œj œ œj œ
j œ œj œ œ œ œj œ œj
& b œ œ œj
j
œ œ œ
œ œ œ
œ
175
of Hen -ry
Ford.
If
you stop mak -ing
seats
then you
stop our
pro - duc - tion line.
Made in Dagenham – Vocal Book
b
&b œ
180
Œ
Œ
‰
j
bœ œ
But
b
&b
184
œ
189
if
a - bout
j j
œ œ œ
the
the
mo -
strike
ney.
It's
‰ bœ
come
œ
J
œ œ
J
‰
œœ œœ œœj œœ bbœœj
œ œ œJ œ œ
J
œœj bbœœ
œJ œ
al
ways
SANDRA + F2
Wo - men
œ œ œ
J J
al
-
ways
come
TUTTI WOMEN
Dag - en - ham
and
j
b
& b bœœœ œœœ œœœ œœœ œœœ
J
j
nœœœ
J
197
La - dies, let
Liv
me
hear
b
&b œ œ œ œ œ œ
TUTTI
Ev - 'ry - bo
dy out
-
in'
-
sec
ond;
sec
-
ond;
œœj œœ
œJ œ
you
say,
œœ œœ œœ œœ œœ œœ
-
œ
œ
œ œ
we
re - ject.
œ
œ œ
we
re - ject.
œ
j
œœ œœ
œJ œ
dy out
waste
j
œœ
œJ
we
res - pect.
j
œœ œœ œj
œJ œ bœœ
J
got
œ
Œ
Ó
œ
Œ
Ó
œœ
œ
Œ
Ó
clout.
˙˙ ™™
˙™
SOP / MEZ / ALT
œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ
F6 / SOP / MEZ / ALT
œœœ
œ
œœœ
œ
œœœ
œ
Ev - 'ry - bo
Ev - 'ry - bo
-
dy out
dy
-
time.
œ Œ Ó
w
w
w
-
j
œ
of
j
œœ œœ œœ œœj œœ œœ
œ œ œ œJ œ œJ
"Ev - 'ry - bo
SOP + MEZ / ALT
Ev - 'ry - bo
œ
to - geth - er
j
j
œœ œœ œœ œœj œ ™
œJ œ œJ ˙ œ ™
a
a - bout
That's what
j
‰ œœœ
J
er - pool;
-
just
all
That's what
œ œ œ
J J
in'
-
-
is
j j
œ œ œ
Œ ‰ œj bœ œ œ œj œ œ
J
œ œ bœJ œJ œ
J
bb œ œ
¢& J
202
on
j j
œ œ œ
j j
œ œ œ
œ
J
RITA + F3 + F5
bœ
& b œœ
car - ry
j
bœ œ œ œ œ œJ œJ œ ™
Ain't
Wo - men
193
you
j j
œ œ bœ
RITA + SANDRA + F2, F3, F5
Œ Ó
° bb j
& bœ œ
j
œ œ
œ
41
Œ
out!"
œœœ
œ
dy out
œœœ
œ
œœœ
œ
bb
VAMP - OUT ANY BAR
HOPKINS: Housewife and working mother.
TOOLEY: My God! They're the worst!
OK, I'm coming over, put the kettle on.
b°
& b ¢™™ œ ™
206
b
&b
j
œ.
œ
-.
œ
Œ
210
Ϫ
j
œ.
œ
Œ
-.
œ
-.
œ
-.
œ
.
œ
œ.
œ
.
Ϫ
œ
œ.
œ
j
œ
w
Ϫ
œ.
œ
œJ
.
œ.
œ
œ.
Œ
œ.
œ.
w
œ.
˙
™™ ü
†
42
Made in Dagenham – Vocal Book
ON CUE
b
&b
214
TUTTI
SOP + MEZ / ALT
œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ
Ev - 'ry - bo - dy out
F6 / SOP / MEZ / ALT
SOP / MEZ / ALT
bœœœ
œ
œœœ œœœ œœœ œœœ œœœ œœœ
Ev - 'ry - bo - dy out
Ev - 'ry - bo - dy out
œœœ
œ
œœœ
œ
œœœ
œ
œœœ
œ
#
nn## #
œœœ
œ
Ev - 'ry - bo - dy out
EDDIE: I fed the kids.
(Eddie turns a romantic low lighting lamp on, and the main light off, he then swivels
the pinny round to the back, getting ready for business.)
RITA: What did you cook for them?
KIDS: Chips on toast.
RITA: Eddie, chips on toast! Why?
EDDIE: Cos I can cook chips and I can cook toast. We're alright, you do what you have to do, love.
##
&##
218
œ
œ
œ
#œ
˙
w
#### sotto voce
&
œ œ œ œ œ œ
224
œ
TUTTI
Ev - 'ry - bo - dy out...
230
° ####
&
#œ
œ
˙
w
œœ œœ œœ œœ œœ œœ
F6 / SOP / MEZ / ALT
œœ
œœ
œœ
œœ
Ev - 'ry - bo - dy out.
####
œœ œœ œœ
&
œ œ œ
235
j
œœ œœ œœ œœ œœ
œ œœ œœ
Œ œ œ œœœ
œ œ œœ œœ
∑
∑
Let's make it
MEN
We won't be dis - missed
j j
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un - der
¢
####
&
j
œœ
>œ
∑
the
w
and on - to that pick
j
j
j
j
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œ œ œ
>
##
&##Œ œ œ œ œ œ
245
° #### j
&
œ œ
˙
w
w
w
œœ ˙
Œ
- et line.
∑
Ev - 'ry - bo - dy out!
Ev - 'ry - bo - dy out!
240
#œ
Ev - 'ry - bo - dy out...
Get out on the street
####
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&
¢
œœ œœ œœ œœ
œ
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w
w
[STARBURST]
∑
œ
SOP / MEZ / ALT
Ev - 'ry - bo - dy out...
∑
œ
SOP + MEZ / ALT
Œ
˙™
œ
we're here to
j
j
j j
œ œ œ œ œ œ œ œ ˙
And
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J J
lat
clear
-
est
we
won't be
œ œ œ
J J
mod - el
∑
send
Œ
a sign.
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Ev - 'ry - bo - dy out!
j
œ œ œj
WOMEN
∑
Œ œ
ig - nored.
œ
J
j
j
œœ œœ œœ œœ œœ œœ
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>
We'll throw our - selves
˙™
œ
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SOLO GIRL
Œ
Ford!
Ev - 'ry - bo
œœ
œ
MEN
œœ œœ œœ œœ >œœ
œ œ œ œ œ
J
J
Ev - 'ry - bo
-
dy
out!
-
∑
dy out!
Made in Dagenham – Vocal Book
249
° ####
&
œ œ œ œ œ
J
∑
>
#### œ œ œ œ œ œ
¢&
œ œ œ œ œ œ
>
TUTTI
Ev - 'ry - bo
253
° ####
&
-
Ó
Œ
-
Ev
Ev - 'ry - bo
-
Ó
Œ
V
#### Ó
&
¢
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V V V V
Ó
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j
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j
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w
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j
j
j
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J
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w
nw
w
- 'ry
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bo
bo
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dy out!
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dy
œ œ œ œ œ >œ
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dy out!
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dy
V V
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V
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>
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nœ
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Ev - 'ry - bo - dy out!
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dy
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‰ nnœœœ ‰ nnœœœ ‰ œœœ ‰ œœœ Œ
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dy out!
>
#### œ œ œ œ œ œ
¢&
œ œ œœ œ œ
>
262
° ####
&
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dy
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257
solo ad lib
° ####
&
V V V
-
dy out!
∑
Ev - 'ry - bo
Ev - 'ry - bo
‰
43
Ev - 'ry - bo - dy out!
w
dy
œ ‰ Œ
J
Ó
out!
w
w
w
dy
œœj ‰ Œ
#œœ
J
F1 & M1 / F2 & M2 / F3 / M3
Ó
out!
FAST SEGUE
12a
Everybody Out – Play Out
(TACET)
End of Act One
44
Made in Dagenham – Vocal Book
ACT TWO
12b
Tooley's Entrance
(TACET)
13
CUE:
This Is America
TOOLEY:
And in America everything is American.
Driving Rock (q = 132)
2 CLICKS IN
b4
&b 4
3
Ó
1–3
TOOLEY
Œ
œ
œ œ
I'm the
b
&b œ œ œ œ œ
œ
go - to
7
go - ing's
b j
&b œ œ
10
to
your
gone
mad
j
œ œ
and I've
j
nœ
‰
face
The
and tax - es
rea - son
and the
Lord
20
end
b
¢& b Ó
of
ve - ry
This
Œ
am here's to
The
I
tell
it
like
is
A
M6 / M1 j
œ
‰ nœJ
A
line
nn# Ϫ
-
mer
-
Ϫ
nn# Ϫ
-
mer
on - ly
put you
in
-
it
your
And we will
j
œ œ
The
U - S
i - ca
œœj œœ
J
i - ca
Œ
I
say
it
œ œ
Af - ter
j
¿ ¿
j
¿ Œ
Ford
‰ nœj
We
j
œ œ œ œ œ
be right
‰ œj
is,
place.
o - ther cer - tain - ty, my friends, is
œ œ
J
œ œ
tough, And the
œ œ œ
j
œ œ nœ œ œ nœj œ
first pro - duc - tion
œ œ œ œ œ œ
time.
e - nough.
j
œ œ
b
&b œ œ œ œ œ œ œ œ
° bb bœ œ
& J
I
gets
j
œ nœ œ œ œ œ œ œ œ
œ nœ œ œ œ œ œ œ bœJ œ
17
gave the world the
had
go - ing
j
j
œ œ œJ œ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
b
& b œ ‰ œj œ ¿ Œ
13
death
kin - da
œ œ œ œ œ
œ œ
guy when the
‰
œ œ œ #œ œ
œ œ
œ
here
-
un - til
the
œ ‰ œ œ œ
J
J
A.
We tell you
∑
Made in Dagenham – Vocal Book
° # œ™
&
j
œ œ
23
what
¢
to do,
œœj œœ
J
# Ϫ
& Ϫ
what
œ œ
and you
top
to do,
are
j
œ
‰
our poo - dle,
œ œ œ œ ‰
the
fif - ty - first state.
j j
œ œ œ
dog
you
œj œ™
Ϫ
top
#
love to
so much
œ
sun
is
œœ
œœ
sun
is
bet -
#
ter, and our
∑
° # j œ
& œ
34
fur - ther
œ Œ
J
too.
#
¢& Ó
b
&b ˙
37
Œ
‰ œJ
œ œ œ
J
Ϫ
big
-
˙œ™
Ba
œœj
‰ J
Ba
-
wet - ter, we move
ger,
œ˙ ™
-
fa
-
fa
∑
hot - ter
œ Œ
J
ster
œj œ™
Ϫ
to
and his
TOOLEY
¿ ¿ ¿
su - pe - ri - or
¿ ¿ ¿ ¿
¿
Team - ster scum.
‰ ¿
J
on - ly
nbb
nb
b
‰ ¿
J
We
œ œ œ œ œ œ ‰ œj
We bought the pub - lic tran - sport,
way you
‰
you.
¿ ¿ ¿ ¿
œ œ œ œ œ œ œ œ bœ œ œ
Now the car's the
and
you.
A - nar - chists, com - mu - nists, We fought them 'till we won.
‰ ¿ ¿ ¿ Œ
J
‰ œj
ster
œ œ œ œ ˙
su - pe - ri - or
j
œ
we're
to
b
&b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
b
& b œ œ œ œ œj ‰ Œ
Œ
Ϫ
œ œ œ œ
œ
J
œœ œœ
Œ
sic' - ly we're to - tal - ly
œ œœ
J
ger,
sic' - ly we're to - tal - ly
38–40
it down.
wa - ter's
‰
œœ œœ œœ œœ œœj
J ‰ Œ
43
shut
hot - ter and our
-
œ œ
J
œœ œœ œœ œœ œœ œœ œœ œœ
3
Ó
46
j œ
œ œ œ
œ œ œ œ œ œ
œ œ
-
saw off Jim - my Hof - fa
œ œ
And
dog
∑
œ œ œ œ œ œ
J
hate,
∑
big
30
‰ œj
œ Œ
J
‰
We're so much
∑
° # j œ
& œ
¢&
œ˙ ™
We are the
∑
27
¢&
we say.
Œ
° #œ œ
œ œ œ
&
you
as
œ œ™
J
Ϫ
œ œ œ œ ‰ œJ œ œ
do
45
get
œ œ
a - round town
we
‰ œj
We're
46
Made in Dagenham – Vocal Book
b
& b nœ
49
œ
so
much
œ œ œ
nœ
bet - ter
œ œ œ œ ‰ œj nœ œ
and I'm
not
be - ing mean.
j
œ œ ‰ ¿ ¿ ¿
œ
We've got Route
Six - ty
Six,
you've got
the
j
j
b j
j
& b ¿ ¿ ¿ Œ ‰ œj œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œj œ nœ œ œ œ œ œ œ
52
A thir - teen.
° bb bœ œ
& J
56
have her
¢
We gave you rock 'n' roll, you gave us
œœœ œ œ œ
nn# Ϫ
back.
-
b
&b Ó
This is
Œ
60
you're all
œj
Ϫ
‰ nœJ nn# œ™
¢&
#
We are the
∑
64
fif - ty - first state.
#
œœj œœ
J
œ˙ ™
top
œ œ œ
J
Get
∑
67
œ
weren't for
#œ
& œ
œ œ œ œ œj œ
us you'd all be
œœ œ œœ
weren't for
us
Œ
spea -king
œ Ó
J
œ
U - S - A.
Œ
dog
œ
œ
We're all straight,
œœ
∑
œœ
œœ
‰ œj
and
Œ
We're all straight.
‰ œj œj œ
œ Œ
J
you love to
hate,
Œ
‰ œj œ œ œ œ
œ
And you are our poo - dle,
∑
‰ œj
the
∑
dog
Ϫ
high
˙œ™
high
° #œ
&
the
Wellthanks a lot for no - thing. You can
ri - ca,
-
œj œœ
off your
Black.
‰ œj œj œ
ri - ca,
-
œ œ
J
top
° #œ
œ œ œ ‰
&
¢&
me
-
j
œ ‰ œJ œ œ œ™
gay.
me
M6 / M1
A
° # j œ
& œ
¢
A
œ œ
J
Cil - la
œ œ™
J
j
œ œ œ œ
horse,
œ œœ
J
put a - way your
∑
ser
Œ
-
mon. If
it
∑
horse,
j
œ œ œ ‰ œj œ™
Ger - man,
œ œ œ œ œ
J
œœ™™
and while
while
œ œ™
J
we're here,
œœj œ™
Ϫ
J
we're here,
j j
œ œ œ
œ Œ
J
there's one thing more.
‰
∑
‰ œj
You
Made in Dagenham – Vocal Book
° #œ œ
œ œ œ
&
71
still owe us
¢&
œ œ
mo - ney
from the
# œœ œœ œœ œœ œœ
still owe us
œ
∑
Ó
‰ ™ ¿r
TOOLEY
Œ
A-
nbb
∑
∑
∑
mo - ney
b
& b ¿™ ¿ ¿ ¿ ¿
lu - mi - num, Ba - sel,
b
&b ¿ ¿ ¿ Œ
3
j
j
¿ ¿ ¿ ¿ Œ
¿ ¿™ ¿ ¿™ ¿ ¿
¿™ ¿ ¿ ¿™ ¿ ¿
Too - na, O-re - ga - no,
Pay - tro - nize, E - din - bro,
¿™ ¿ Œ
rib - be - an,
Neet - shee
3
¿ ¿ Œ
¿ ¿
Pe - cahn,
Ca -moh - meel,
° b
& b ¿™ ¿ ¿ ¿™ ¿ ¿™ ¿ ¿ ¿ ¿ ¿ ¿ Œ
84
You - ri - nal, Vie - ta - min, Woo - ces - ta - shi - er Sauce?
b
&b
Œ
œ
nbb
Se - cond World War.
Œ
75
80
œ œ
47
∑
¿ Œ
¿ ¿ ¿ ¿™ ¿
Jag - war, Eye - raq,
j
¿ ¿
j
¿ Ó
Krass - ant, Yoo - ghurt, Ca
‰ ™ ¿r ¿ ¿ Œ
¿
No - ta Dame,
Vayze,
j
¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ‰ Ó
3
You guys can't ev-en speak Eng - lish!
∑
∑
Pa -ree - shun,
#
‰ œJ œ œ nn
TOOLEY
This is A -
Ó
j
#
‰ nœœœ œœœ œœœ nn
WOMEN
This is A -
¢
b
&b
∑
∑
∑
Ó
‰ nœœ œœ œœ nn#
J
M6 / M1
This is A -
° # œ™
&
88
me
#
& œœœ ™™™
me
¢&
-
# œœ™™
-
me
-
œ œ ‰ œj œj œ œ ‰ œ œ œ œ ™
J
J
J
ri - ca,
the
U - S - A.
Now don't for - get
j
œœ œœ Œ
œ œ
∑
œœ œœ Œ
J
∑
ri - ca,
ri - ca,
j
œ œ ‰ œj œ œ œ œ ‰ œJ œ œ
that
You
do as we say,
We have the
œœ ™™
˙
j
œœ œœœ Œ
∑
˙œ ™
œ œœ Œ
J
∑
...get
get
that,
that
48
Made in Dagenham – Vocal Book
° # œ™
&
92
T
#
& œœ˙ ™™
T
¢&
# ˙œ™
T
-
Hol
# œœ™™
&
¢
Hol
Pres
-
j
‰ œj œ œ
-
œ œ
J
ly - wood
-
j
œœ œœ
œ œ
ly - wood
‰ œj œœj œœ
œ œ œ
-
œœ œœ
J
ly - wood
‰ œj œj œ
œ œ œ
and
Ve - gas
œ œ
j
œ œ
-
œ œ
J
¢
-
# Ϫ
& Ϫ
Pres
&
#
-
‰ œj œ œ œ œ Œ
œ œ œ œ Œ
œ œ
You're sim - ply the worst,
∑
œ œœ Œ
J
100
#
& œœœ ™™™
and you have the vest.
shirt,
° # œ™
&
Pres
shirt,
-
96
#
& œœœ ™™™
j
œ œ œ œ œ Œ
j
œœ œœœ Œ
° # œ™
&
Hol
œ œ™
J
And we're sim - ply the best.
œ œ
We got
œœ œœ œœ œœ Ó
œ œ œ œ
∑
sim - ply the best.
∑
œ œ œ œ Ó
∑
shirt,
sim - ply the best.
and
and
œ Œ
J
Ve - gas
too,
j
œœ Œ
œ
Ve - gas
too,
j
œ Œ
œ
too,
Su - per - man
j
œœœ œœœ
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j
œœœ œœœ
j
œœœ Ó
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J
œŒœ œœ
j
œœ œœ
j
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i - dent, We got
104–110
‰
œœ œœ
œœ
œœ
œœ
‰
You got Thames T. - V.
You got Thames T. - V.
œ œ œ
to re
-
a - lise.
œ Œ
You got Prince Charles,
j j œ
œ œ
j
œ ‰ œ œ œ
J
j œj œœ
œ œ œ
j
j
œœ ‰ œœ œœ œœ
œ nœ #œ œ
j j œ
œ œœ œ
j
j
œœ ‰ œœ #œœ œœ
and Whip -s'nade Zoo.
œœ
œ
and Whip -s'nade Zoo.
and Whip -s'nade Zoo.
We got
We got
We got
and
Des - pe - rate Dan.
and
Des - pe - rate Dan.
œœ Œ
œ
j
‰ œœœ œœœ œœœ œœœ œœœ Ó
œ œ œ
œ Œ
‰ œj œ œ œ œ Ó
You got Prince Charles,
a
a
a
‰ œj œ œ œ œ Ó
œœ œœ œœ
œ œ œ
You got Prince Charles,
and
Des - pe - rate Dan.
‰ nbœœœ œœœ nbb œœœ œœœ œœœ œœœ œœœ œœœ ≈ œœœ œœœ ‰ œœœ œœœ
SOP / MEZ / ALT + M1 + M6
Œ
bœ œ œ œ
w
& b œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ w
w
thing you can do we have
‰
œœ
œ
A - ny
113
œ
œœ
œ
Su - per - man
Ó
œ
œœœ œœ
Su - per - man
7
œ
You got Thames T. - V.
œ Ó
J
i - dent, We got
i - dent, We got
œ œ
Ó
-
thing you can do
or want
to do,
a - ny -
Œ ‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ≈ œœœ œœœ ‰ œœœ œœœ
Ev' -ry thing that you do or want to do,
ev' -ry
Made in Dagenham – Vocal Book
rall.
#œ w
bœ œ œ œ
w
& b œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ w
117
thing that you do
b
& b œJ œ
121
with
b
& b œJ œ
125
this
° bb Ó
&
129
TOOLEY
we have
j
œ œ
¢
tic - ket to
A tempo
Get
Slower
œ 3œ œ
A
œœ 3œœ œœ
This is A
M1 + M6 /
M2 + M3 + HOPKINS
#œœ 3œœ œœ
This is
œ œ œ œ
œ
‰ œj œ œ œ œ œ
SOP / MEZ + ALT
b
&b Ó
œ
A
rea - dy Da - gen - ham,
#
nn## œ ™
lose
œ œ
J
with
me
-
##
nn # œœ™™
-
me
# ™
nn## œœ ™
-
me
-
-
∑
j
œ œ
get
ri - ca,
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J
j
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J
j j
‰ œ œœ œœ
J J
j
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J
œœj œœ
J
j j
‰ œœ œœ œœ
J J
œœj Œ
J
the
the
the
U - S - A.
U - S - A.
œ
U - S - A.
and Scoo -by
and Scoo -by
We got
Doo.
Doo.
Doo.
bike.
œœ œœ
œœj œœ ‰ œj œœj œœ œœj œœ Œ
œ J
J
J
J
and Scoo -by
choose
œ œ œ œ
œ
j
œ œ™
We got
### œ œœ œœ œœ ‰ œœj #œœ œ œœ ™™
œ
¢& œ
J
We got the Ken - ne - dys
accel.
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j
j
œœ œœ ‰ œj œœj œœ œœ œœ Œ
J
J J
J
blow you a - way.
pic - ket and
We got
accel.
We got the Ken - ne - dys
can't
œ œ
j
##
™
& # œ œ œ œ ‰ œœJ œœ œ œœ ™
blow you a - way.
You
One thing's cer - tain, I'll
œ œ ‰ œj œ œ œ œ Œ
J
J
J
We got the Ken - ne - dys
œ œ œ œ
Œ
133
° ###
™
& œ œ œ œ ‰ œJ œ œ œ
blow you a - way.
œ
back to work, get on your
‰ œj œ œ
J
ri - ca,
œ
Ford.
œ œ
J
ri - ca,
TOOLEY
‰ œj œ œ œ œ œ œ
J
Steadier, quasi martial
-
Slow but insistent
sub - si - dise.
That's your
strike.
This is
b
&b Ó
Œ
Ford,
j
œ œ
to
49
œ
œ
bust
œ ˙
J
œ
œ œ
cops with guns who will
œœ
œœ
œœ
œ œ
cops with guns who will
œœ
œœ
œœ
œ œ
œ œ
cops with guns who will
œ œ œ œ Œ
You got Ted Heath
œœ œœ œœ œœ Œ
You got Ted Heath
œœ œœ œœ œ Œ
œ
You got Ted Heath
‰ œj
and
j
‰ œœ
J
and
j
‰ œœ
J
and
50
Made in Dagenham – Vocal Book
137
° ### œ œ œ
œ ‰ œJ œ œ
&
Dan - ny
La
Rue.
We
got
Ϫ
A tempo
the
White
Dan - ny
La
Rue.
We
got
the
140
° ### œ
&
La
œ
Em - pire
##
& # œœ
¢
œ
œœ
143
° ###
& œJ œ
mem - ber
## j
& # œœJ œœ
mem - ber
### œœj œœ
¢& J
mem - ber
got
œ œ œ
œ œ œ
State, which pis - ses
œœ
Em - pire
We
State, which pis - ses
œœ
Em - pire
##œ
&# œ
Rue.
œœ
œ œ œ
œ œ œ
State, which pis - ses
œ œ
House, you've got
œœ ™™
the
œœj œœ
J
White
j
œ œ
on
Big
j
œ œ
J
on
Big
œœj œœ
J
on
Big
When it comes to
mu
Ben.
œœ œœ #œ œ
œ #œ
When it comes to
œœ œœ œœ œœ œœ
œœj ‰ œj œ œœ
œ œ
J
J
œœ œœ œœ œ œ
œ œ
this:
this:
There'd be
There'd be
no
no
no
##
&# œ œ œ œ œ œ œ œ
and wea - ri - er,
frea - king Bea - tles
frea - king Bea - tles
frea - king Bea - tles
œ
œ
with - out
œœ œœ
with - out
œ œœ
œ
with - out
œ œ œ œ œ œ
œ œ
re - mind me
of
Si - be - ri - a, you're
We
Ten.
mu
-
-
˙œ ™
We
œ œ
J
sic
j
œœ œœ
J
sic
œ œœ
J
mu
sic
-
œ œ œ œ Œ
El
got
the
got
the
œœj ‰ œœj œœ œœ
J
J
Ϫ
œœ ™™
j
œœ ‰ œj œ œœ
J
J
There'd be
œœj œœ
J
œ œ œ
#œ
œœj ‰
J
Ten.
Num - ber
œ œ œ #œ
We
j
j
œœ ‰ œœ œœ œ
J
J
Num - ber
j
œ ‰
J
Ben.
Ten.
j
œœ œœ
J
When it comes to
Ben.
œ ‰ œ œ œ
J
J
Num - ber
œ ‰
J
œ œ œ œ
œ
this:
œ œ
J
œœ œœ
House, you've got
œ ‰ œj œ œ
J
146
drea - ri - er
j
œ œœ
White
### œœ œœ œœ œ ‰ œœj œœ œœ
œ
J
¢&
Dan - ny
œ œ
House, you've got
œ˙ ™
### œ œ œ œ ‰ œj œ œ
œ œ œ
& œ œ œ œ
J
œ œ
J
-
vis.
got
the
œ œ
just
re -
œœ œ
just
re -
œœ œ
œ
just
re -
‰ œj
You're
œœj œœ œ œœj Ó
El
-
vis.
El
-
vis.
œœj œœ œ œj Ó
œ
œ œ œ œ œ œ
œ œ
to - ta - lly
in - fe - ri - or,
so
Made in Dagenham – Vocal Book
149
° ### œ œ œ Œ
&
Ó
Œ
Dag - en - ham...
##
&#
œ
œ œ™
J
Screw
∑
Ó
51
‰ œJ œ œ œ œ œ Ó
Ó
you.
∑
This is
∑
‰ œœ œœ œœ œœ œœ œœ Ó
J
Ó
This is
###
&
¢
∑
∑
∑
A - me - ri - ca!
A - me - ri - ca!
‰ œœJ œœ œœ œœ œœ œœ Ó
Ó
This is
A - me - ri - ca!
SEGUE
13a
This Is America – Tag
13b
This Is America – Reprise
CUE:
TOOLEY: Okay. Stop the line. Lay the men off.
3, 4 . . .
3
(q = 132)
4
&4
Ó
-œ
œ
J
‰
-œ
œ
-œ
œ
œœ
œœ.
˙˙™™
w
w
Ó
œœœj œœœ œœœ #œœœ œœ
#
n
#œ
‰ J
M6 / M1 / TOOLEY
7
&
w
˙
Ó
∑
Ó
This
is
œ nœ
. .
>
œœ
œ
A - me - ri - ca!
Ó
œ nœ
. .
52
Made in Dagenham – Vocal Book
14
Storm Clouds
WARN: BERYL: Are we?
----------------------------------------CUE: CONNIE: Your strike pay.
6
q. = 76
6
&8
4
& ˙˙ ™™
Ev - 'ry - bo - dy out.
˙˙ ™™
26
& Ϫ
‹ Ten
& Ϊ
‹
Ϊ
4
œ œ œ œ
on
Ϊ
#œ ™
œ œ œ
Don't let
the
bas
Ϫ
tards,
-
˙™
˙™
œ œ œ œ œ
œ
‰ Œ™
Ϫ
#œ
grind
you
Ϫ
Ϫ
Ϫ
˙™
Ϫ
Ϫ
Ϫ
Ϊ
œ œ œ œ
4
4
nœ œ œ œ
Ϊ
Ϫ
pound
6
41–46
down.
j
Ϫ
œ
out.
Ϊ
Ϫ
zon.
˙™
‰™
- dy
Ru -mours go - ing
Ϊ
53
&
Ϫ
Down to our last
œ
J
4
˙˙˙ ™™™
Pres -sure buil -ding up
˙™
˙™
-
‰ Œ™
4
47
&
Ϫ
the ho - ri
Mo - ney run - ning short
37
4
œœ œœ œœ œœ œœ œœ
˙˙˙ ™™™
œ™ œ œ
Ϫ
clouds
in the town.
Ϊ
& Ϫ
‹ round
Storm
Ϫ
œ œ œ ˙™
Ϫ
- sion
32
Ϫ
out.
SOP + MEZ / ALT
Ev - 'ry - bo
˙˙˙ ™™™
4
dy
Ϊ
Ϫ
œœœ œœœ œœœ œœœ œœœ œœœ
TUTTI WOMEN
20–21
Ϫ
4
Ev - 'ry - bo -
2
U
∑
˙™
SOP / MEZ / ALT
Ϊ
œœ ™™
DIALOGUE
&
‹
˙™
4
œ œœœœ œ
1–6
12
19
WOMEN
Ϫ
2
œ
Ϫ
˙™
Ϫ
Ϫ
Ϫ
°™ VAMP
¢™ ˙ ™
Ϫ
™™ ü
†
Made in Dagenham – Vocal Book
On Cue
& Ϫ
59
MEN
Wel
Ϫ
j
bœ
œ
come
-
to
& Œ
(this
° œ™
& Ϫ
is what it’s
Ϊ
j
œ œ œ bœ
Œ
This
œ œ œ œ
E - qual shit
∑
is
what it’s
œ bœ bœ Œ ™
4
like)
Ϊ
69
Ϊ
œ bœ œ
e - qua - li - ty
œœ™™
œœ œœ œœ œœ
J
64
j
bœ
œ
53
for
Œ
ev’ - ry - one
∑
Ϊ
Ϫ
like
œ œœ bœœ bœœ
J
When you go
∑
∑
on
∑
strike
¢&
‹
∑
∑
Ϫ
Ϫ
Ϫ
83
&
91
&
Ϫ
Ϫ
Storm
75
&
ALL WOMEN
Ϫ
œœ
Ϫ
Ϫ
2
œœ
œœ™™
Ϫ
Ϫ
Ϫ
Ϫ
˙˙™™
clouds
on
˙™
Ϫ
V™
Ϫ
‰
2
œœ
J
Ϫ
Ϫ
Ϫ
Ϫ
œœ
Ϫ
the ho - ri
Ϫ
˙™
Ϫ
V™
œ™ œ œ
Ϫ
2
Ϫ
zon.
-
Ϫ
Ϫ
Ϫ
Ϫ
Œ
Ϫ
Ϫ
Ϫ
‰
˙™
2
œœ
œœ
2
œœ
œœ™™
‰
œœ
J
œœ
˙˙™™
2
œœ
∑
TOOLEY: Do you understand domino theory?
MONTY: Yeah. Get rid of your double six as
soon as you can.
98
&
‰
2
œœ
J
œœ
2
œœ
œœ
2
œœ
œœ™™
VAMP
° (Out either bar)
2
˙˙™™
™
¢™ œ
101–102
œ
œ œ œ
Ϫ
™™ ü
†
˙™
TOOLEY: If England falls to equal pay, the rest of the world will follow.
105
&
‹
On Cue
œ
œ
œ œ œ
œ
ALL WOMEN
œ
œ œ œ
œ
œ œ œ
œ œ œ œ
œ œ œ
Ϫ
Storm
Ϫ
clouds
Ϫ
œ™ œ œ œ™
on the ho - ri
-
Ϫ
zon.
54
Made in Dagenham – Vocal Book
& Ϫ
‹
110
Œ
‰
121
&
‹
Ϫ
Ϫ
Pro
115
&
‹
LISA
Ϊ
˙™
Ϊ
˙™
œ
œ œ œ
#œ ™
Ϫ
the
Ϊ
˙™
œ
œ
in
°™
¢™ œ
œ
œ
J
#œ
WILSON
Help me,
the e - co - no - my
° Ó
&
131
Œ
‰
is
¢& œ œ œ œ œ œ
ven on
-
œ
œ
™™ ü42 ¿
†
[Dr. fill]
Ϫ
Ϫ
Œ
4
œ
œ
¿
¿¿
¿
4
4
Ϫ
Ford
your trade
Ϫ
œœ
Ϫ
Ϫ
2
Ϫ
Ϫ
146
œœ
œœ™™
Cut -tin
down
in - di - cies
on booze and fags and e -
œ œ œ
œ Ó
make the blood chill
∑
foot - ball.
fi - gures
Tempo primo (in 2) (q. = 76)
6
&8
œ œ œ œ œ œ œ œ œ œ
∑
j
& bœ œ œ œ œ œ œ nœ œ œ bœÓ œ ™
With -out
Œ
œ œ œ œ
e - co - no - mic
+ MEN
134
&
‹
Ϊ
MEN
sim - ply in free - fall.
3
j3 œ
‰ œ
œ
œ
j
œ
TOOLEY
The
154
œ
œ
œ
On Cue
Più Mosso
œ
œ œ œ
Ϫ
4
& 4 œ œ ‰ ≈ œ œ œ œ œ ‰ œj œ œ œ œ œ
&
˙™
œ
œ
VAMP
(Out either bar)
Ϫ
4
œ
Pop Ballad (in 4) (q = 92)
128
138
Ϊ
home.
4
œ
Ϊ
Ϫ
œ œ œ
blems
-
4
œ
Ϫ
Ϫ
Ϫ
˙˙™™
Ϫ
Ϫ
are
˙˙
˙
sim - ply
Ϫ
˙™
∑
‰
Ϫ
Ϫ
2
œœ
J
œœ
w
#nw
w
road
˙™
Ϫ
-
œœ
œœ
2
6
8
∑
kill.
Ϫ
Ϫ
Ϫ
2
rit.
Ϫ
Ϫ
Ϫ
Ϫ
Ϫ
œœ
œœ™™
˙˙™™
Ϫ
Ϫ
‰
˙™
2
œœ
J
œœ
2
2
160–161
œœ
Made in Dagenham – Vocal Book
TOOLEY: Michigan 1932 is history.
LISA: Which is my subject. Five strikers dead, and
sixty chained to their hospital beds with shotgun wounds.
CUE to CONT
HOPKINS: Darling, that's enough. Please, bring in the dessert.
°
& ¢™™
‹ œ
™™ ü
†
VAMP
162
(Out either bar)
œ
œ œ œ
Ϫ
166 TUTTI
& Ϫ
‹ Storm
Ϫ
& ˙™
‹ town.
-
& #œ ™
‹ grind
189
&
Ϫ
the ho - ri
4
œ œ œ œ œ
TOOLEY: Oh, wow! What’s for dessert?
LISA: (Standing) Cheese.
On Cue
œ
œ œ œ
œ
œ
Ϫ
Ϫ
zon.
-
‰ Œ™
Ϊ
j
œ
j
œ œ
sy
lies
œ
œ
the
œ
J
you
head
Ϫ
that wears
Ϊ
œ
œ œ œ
œ œ œ œ
œ œ œ
Ϫ
Ϫ
Ten
-
Ϫ
œ œ œ
sion
in
Ϊ
4
Ϊ
j
œ
WILSON
Œ
Ru -mours go - ing round
the
Ϊ
Ϊ
Ϫ
j
œ
Ϊ
Un -
CASTLE
Don’t let that
Ϫ
∑
j
œ œ™
œ œ œ #œ
crown.
Ϫ
Ϫ
the
œ
bas - tard
Ϫ
œ
J
Ϫ
down.
Ϫ
˙™
j
œ œ
œ
œ œ œ
œ œ œ œ œ™
Pres -sure buil -ding up
178
183
on
Ϊ
Ϫ
œ™ œ œ
Ϫ
clouds
172
& œ
‹ ea
Ϫ
55
Ϫ
Ϫ
œ
œ
J
On Cue
Più Mosso
°™ ˙™
¢™
™™ ü42
†
VAMP
˙™
[Dr. fill]
¿ ¿ ¿ ¿ ¿
4
4
In 4 - Pop Ballad (q = 92)
4
&4 Œ
195
TOOLEY
Œ
œ œ œ œ œ œ
We have to bust the strike.
198
& œ
out
œ™ bœ bœ
of here.
‰ nœ #œ
3
We will
‰ œj œ œ ‰ ‰ œ œ œ
Be ruth - less–
˙
n˙
move
to
get it
œ
done.
#œ
Bel - gium.
‰ œj œ œ œ œ
And
Œ
if
you don’t we’re
WILSON
3
œ œ œ
This
is
a
6
8
56
Made in Dagenham – Vocal Book
j ™
œ Œ
In 2
6
& 8 #œ
201
4
j
œ #œ œ œ œ œ
Œ
rough patch,
& œ
œ
212 WOMEN
Ϫ
œ
∑
Ϊ
on
Ϊ
j
œœœ œœœ
J
ten - sion in
223
Ϊ
j
œœœ œœ™™
J
the
‰ œ œ œ œ
‰ Œ™
Mo -ney run -ning short
b œœ ™™
Ϫ
-
ding
°
& #œ ™ œ ™
‹ bas - tards
228
∑
pres
#œ ™
grind
-
Ϊ
-
Ϊ
-
sure
buil - ding
-
Ϊ
you down.
Ϊ
-
œœœ ™™™
œœ ™™
Ϫ
Ϊ
Ru -mours go - ing round
pres
Ϊ
Ϊ
n œœ
j
œœ œœ
J
j
œœ œœ ™™
J
down
to our
last pound.
Ϫ
bas - tards
œœ ™™
Ϫ
in,
Ϫ
buil - ding
œ œ œ œ™
‰
œœœ
sion
4
sure
bas - tards
in the
œ œ œ œ
b œœ ™™
Don’t let the
œ œ œ œ™
‘cos
œ œ œ
sion
ten
b Ϫ
Ϫ
œ ™™
j
œ
œ
Bel - gium
Ϫ
œœ ™™
zon
œœ ™™
Ϊ
to
Ϫ
Down to our last pound
b œœ ™™
Don't let the
Ϫ
4
œ œ œ œ œ™
b Ϫ
Ϫ
œ œJ ˙™
∑
œœ
‰
up
pres
œ
‰
Ten
‰ Œ™
œ
b œœ ™™
town
4
¢& œ ™
Ϫ
buil
4
œ œ œ œ
i
-
go
œ
ALL
œ
œ
œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
Œ
Ϫ
Ϫ
Ϫ
Ϫ
don’t
j
œ Œ
On Cue
TEN + BARI / BASS
Pres -sure buil -ding
œœ
°
& Œ
‹
Ϫ
the ho - ri - zon,
Ϊ
™™ ü
†
˙™
j
œ œ™
hor
218
¢&
œ™ œ œ
∑
°
& Ϫ
‹ town.
¢&
Ϫ
œ œ œ œ
J
But please
shit.
clouds
¢&
rea - di - ly ad - mit.
(Out either bar)
j
°
œ
œ
™
™
œ
‰ Œ ¢™
œ
œ œ œ
œ œ œ œ œ™
Bel - gium’s real - ly
°
& Ϫ
‹ Storm
‰ Œ
Tempo primo
VAMP
j
œ
œ
206
I
j
œ œ
œœœ ™™™
bas - tards
Ϫ
grind
œœ ™™
Ϫ
grind
Ϫ
Ϫ
-
sure
œ œ œ
Ϊ
Don’t let the
œ œJ ˙™
you down.
œœ
œ
j
œœ ˙˙ ™™
œJ ˙™
you down.
Made in Dagenham – Vocal Book
° Œ
&
‹
235 [MAKE LAST SUPPER]
œ œ œ œ
J
¢& Œ
° œ
&
‹ fam’
you,
j
œ œ œ œ
œ
j
œ œ
240
œ
It ain’t a - bout
It ain’t a - bout
‰
‰
j
œ œ
‰
‰
bas
bas
# œœœ™™™
° œœ ™™
& bϪ
‹ bas
∑
? ™
¢ Œ
-
œ œ œ
œ œ œ
Ϊ
tards
œ
bœ
œj
œ
J
Ϫ
Ϫ
grind
you
down
œœ
j
œœ
J
Ϫ
Ϫ
grind
you
down
it ain’t a -bout the
law.
j
œ œ œ œ œ
œ
and
poor.
j
œ
˙˙™™
and
poor.
™
#˙˙˙ ™™
grind
you
# ˙˙˙™™™
# ˙˙˙™™™
grind
you
œœ ™™™
œ
the
bas
Ϊ
Ϊ
Ϊ
œœœ ™™
™
WOMEN
the
EDDIE /
TEN + BARI / BASS
œœœ™™™
Ϊ
down.
It’s three thou -sand
‰ Œ™
Œ
j
œ œ œ œ
It’s three thou -sand
Ϊ
Ϊ
(WOMEN)
[G.P.]
Ϊ
œœœ œœœ œœœ
Don’t let
Ϊ
the
(MEN)
[G.P.]
œœ
œœj
J
grind
you
œœ
j
œœ
J
grind
you
œœœ ™™
™
œœœ œœœ œœœ
Ϊ
œœ
bas - tards
EDDIE / TEN
Ϊ
U
>˙ ™
˙˙™™
tards
œœ ™™
Ϫ
U
>
˙˙™™
>
u
?
œœ
the
Ϊ
bœœœ™™™
œœj bœœ™™
J
the
Ϊ
grind you down
BARI / BASS
∑
œœœ™™™
-
œ œ œ œ
J
Œ
Don’t let
∑
nœœ ™™™
œ
Ϊ
Ϊ
Ϊ
∑
‰ Œ™
law.
Ϊ
j
œ #˙™
˙™
#˙˙˙ ™™™
∑
œœœ™™™
252
& Ϊ
œœ ™™
Ϫ
Ϊ
tards
-
¢&
Ϊ
tards
-
& Ϫ
# œœ™™
œœœ ™™
™
œ
it ain’t a -bout the
un - em - ployed
#œœœ ™™™
245
Œ
un - em - ployed
fam’ - lies
° œ ™™
& #œœ ™
‹
‰ Œ™
œ œ œ œ œ
J
Œ
you,
- lies
¢& œ
‰ Œ™
6/8 Rock Feel
57
Ϊ
j
œœ œ™
J Ϫ
grind you down
‰
‰
Ϊ
œœj
J ‰
‰
Ϊ
œj ‰
œJ
‰
Ϊ
œœ
œ
J
down.
U
>
˙™
˙™
>
u
down.
SEGUE
58
Made in Dagenham – Vocal Book
14a
Storm Clouds – Scene Change
(TACET)
14b
Car Showroom
(TACET)
15
Cortina!
CUE:
Barbara Castle:
For Pete's sake, can we have a look at this bloody car!
Fanfaric!! (q = 132)
## 4
& # ## 4 Œ
2 CLICKS IN
GIRLS
œœ ˙˙˙
œ.
˙˙
˙
Bah bah
° ##
&
7
∑
Ó
° ## Ó
&
12
¢&
da!
Œ nœ
F1 + F2 /
F3 + F4 /
F5
## Œ
˙˙˙
CORTINA MAN
Ooh
Mark
nn
Ó
Œ
œ œ
It's the
b Œ œœ ˙˙
œ. ˙
˙˙
˙
Ó
#
n#
Bah bah
Easy 4
Œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
car for me, it's the car for you.
∑
∑
Af - ter
œ
the Mark One comes the...
∑
Boo!
w
Ó
Œ
Mark Two.
œœœ
˙˙
˙
Bah bah
>
j
## Œ
b
œ
Œ
¿û Ó
œœœ œœœ ™™™ œœ
¢&
.
.
Bah bah
nn #
n # Œ œœ ˙˙
œ. ˙
Ó
˙˙
w
Two
œ œ œ œ œ œ œ œ œ ‰ œj
œ
œ
œ œ
Well, you buy a Mark Two 'cos you know you ough - ta.
n˙˙
Œ œœ nœœ Ó
œ
Ooh
∑
∑
It's
Made in Dagenham – Vocal Book
° ##
& œ œ œ œ œ œ œ œ œ œ œ œ
œ
17
like a Mark One, on - ly
¢
#
&#
frac -tion -nal - ly short - er. "Cor
∑
j
œ ˙
Ϫ
ti
-
œœ œœ œœ œœ œœ œœ Œ
œ œ œ œ œ œ
j
œ
21
mean
## Ó
&
¢
° ## Ó
&
24
-
Ó
˙
er.
‰
œ
nœœœ
Ooh
œ œ œ œ
Comes in white or
##
˙˙˙
&
¢
˙
Ó
cream
-
er.
you can
af - ford
œ
more
∑
Ó
Ooh
œ
Ó
j
œ
Ϫ
-
ti
˙
na.
-
Ó
˙˙
˙˙
Ó
œ œ œ œ œ œ œ
to
get.
œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ
Leath - er - ette's the one
œ
Two - door,
j
‰ nœœœ bœœœœ
œ
Leath - er - ette's the one
œ
to
œœ
œ
Two
door,
œ
œ
œ
four - door.
œœ
œ
nœœœ
œ œ œ
Ooh
j
nnœœœœ
œœœœ
‰
∑
Ooh
28
##
&
¢
j
œ ˙
Ó
° ## œ
œ œ œ œ
&
If
Ϫ
It's lean - er and it's
‰ œœœ nœœœj ˙˙˙
œ nœ ˙
Ó
Cor
˙˙˙
˙
‰ j
nœ
œ œ œ œ
F1 + F2 / F3 / F4 / F5
Œ
j
bœœœ
œ
Œ
na.
-
frac -tion -nal - ly short - er
° ##
& Ϫ
59
œœœ
four - door
œ œ œ
Wood - en dash - board? Yeah, you bet!
œœ œœ œœœ
œ œ
Ó
get
Yeah, you bet!
##GIRLS
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
31
Dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
° ##
&
33
∑
dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
Ó
Œ
œ
"Cor
¢&
-
## œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
60
Made in Dagenham – Vocal Book
RITA: Sandra! What do you think you're doing?
SANDRA: Earning a living!
PETROLHEAD 1: Oi! What's your problem?
RITA: How long have you got?
SANDRA: Can't live on two quid a week strike pay
RITA: No, Sandra, NO!
° ##
& Ϫ
35
ti
¢&
## Ó
j
œ ˙
na,
-
Œ
-
39
for those
œœœ
œ
woo
woo
°™ w
¢™
1º only
°™ w
w
¢™#w
woo."
1º only
™™ ü
†
∑
woo
‰
œ œ œ œ œ
tric - ky round - a - bouts.
∑
™™ ü
†
∑
j
œ
It's
œ œ œ œ œ
Œ
Ó
¿
built
∑
to
real - ly
last–
Œ
Three
42
## ¿
‰
j
œ œ
œ œ
w
Ó
Œ
Ó
n˙˙
Œ
Ooh
46
## Ó
Ó
##
˙˙˙
&
¢
˙
œ œ œ œ
œ
short - er but more
œœ nœœ Ó
œ
∑
‰ œj œ œ œ œ œ
Œ
It's now ex - tra wide.
‰ ¿J
Œ
j
œ œ
Ooh
room in - side.
° ## Œ
&
‰
It's slight - ly
˙˙
w
years!
50
Œ
Or there - a - bouts.
° ## j
& œ œ œj œ Œ
¢&
œ œ
Self - ad - just - ing brakes
° ## Œ
&
¢&
nœœœ
œ
na
° ##
& œ œ œ œ œ
¢
Oo - woo - oo woo - oo
‰ œœœ nœœœj ˙˙˙
œ nœ ˙
ti
#
&#
‰ œj œ œ œ œ
3x
¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ
œ
"Cor
j
œ ˙
Ϫ
-
∑
ti
-
na.
Ó
"Well, how the hell's that pos-si - ble?"
‰
j
nœ
œ œ œ œ
It's lean - er and it's
Ó
j
œ ˙
Ϫ
mean
Ó
-
er.
Ooh
CUE: HOPKINS: That woman
there, I want her thrown out"
Ó
j
‰ nœœœœ bœœœ ˙˙˙
œ ˙
Ooh
‰ œœœ nœœœj
œ nœ
Œ
œ
Cor
Ó
j
œ ˙
Ϫ
-
ti
Ó
-
na.
‰ œœœ nœœœj
œ nœ
Ooh
Made in Dagenham – Vocal Book
° ## Ó
&
54
œ œ œ œ
Comes in white or
##
˙˙˙
&
¢
˙
cream
er.
-
Ó
∑
j
‰ nœœœ bœœœœ
œ
Ooh
° ## œ
œ œ œ œ
&
58
it
j
œ ˙
Ϫ
Ó
will give
##
&
¢
a
big
œ
thrill.
∑
61
˙˙˙
˙
the world and see
œœœ
œœ
œ
down - hill,
œ
œ œ œ œ œ œ
the sights with
the world and see
œ
down - hill,
œœœ
Up - hill,
œœ œœ œœ œœ œœ œœ œœœ œœ
œ œ œ œ œ œ
œ
See
nœœœ
Ó
œ
œ
Up - hill,
œ œ œ œ œ œ œ œ
See
œ
the sights with
twi - light night - sight side head - lights.
œœ
œ
œœ œœ œœ œ œœ œœ
œ œ œ œœ œ œ
twi - light night - sight side head - lights.
# °œ œ
œ œ
& # ¢™™ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
61
GIRLS
Dub - a - dub - a - dub - a - dub - a, dub a - dub - a - dub - a - dub - a,
dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
#
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ
63
dub - a - dub - a - dub - a - dub - a, dub - a - dub - a - dub - a - dub - a,
MAN
# CORTINA
œ œ œ œJ œ ™
&#œ
Come on
ac - cel - er - ate,
68
° ## œ œ œ œ œ œ œ œ
&
dub - a - dub - a - dub - a - dub - a, dub
œ œ œ œ œJ œ
65
Just
do - it,
why d'you wait?
(SANDRA punches CORTINA MAN.)
∑
œ œ œ œ œJ œ ™
j
œ
Be - fore
it
GIRLS
Seize the mo - ment, ba - by, right
nœfij
nœ
#œ nœfij #œ nœfij #œ nœfij #œ
#œ nœ #œ nœ #œ nœ #œ
wow, wow, wow, wow,
nœfij
nœ
gets much too
∑
Seize the mo - ment, ba - by, right
## œ
&
œ œœ œœ œœ œœ œœ œœ œœ
¢
Œ
#œ nœfij #œ nœfij #œ #œfij œ
#œ nœ #œ nœ #œ nœ #œ
wow, wow, wow, wow,
late,
∑
œj œ ™
œ œ™
wow,
˙
˙
™™ ü
†
62
° ## Ó
&
72
¢&
CORTINA MAN:
Ϫ
"Cor
ti
Œ
##
œ
∑
œ ˙
J
‰ œj œ œ œ nœ
Œ
na.
-
Ó
76
Œ
œ œ Œ
‰ nœJ
Œ
Cor
## nœ ™
riv
œ
J
## Œ
&
¢
Œ
-
ti
-
Af - ter
all
œ
sense
in
Œ
-
œ
œ œ
J
ing.
Œ
dep - riv
-
Ϫ
#œœ ™™
ti
ti
-
15a
Cortina – Play Out
(TACET)
15b
Tax Payer's Bentley
(TACET)
-
U
œ ˙
J
-
na.
œœ
œ
J
na.
œ
Comes in
nœ ™
œ
Ϫ
œ
Cor
nœ ™
the nine - to - fiv
œ
rall . . .
Ó
nœ œ œ œ œ œ
More fun than ar -
Ó
j
œ nœ
‰
nœ œ œ œ
Ó
˙
There's no
er.
Ó
na.
-
Œ
œ ˙
J
œ ˙
J
- in'
œ
J
ing,
-
79
° ## œ ™
&
cream
œ
Ϫ
œ
Ϫ
It's lean - er and it's mean - er.
GIRLS
Driv
° ## Ó
&
¢&
-
Made in Dagenham – Vocal Book
U
˙˙
˙
œ
J
œ
œ
œ
white
or
Œ
ing,
SEGUE
∑
∑
Made in Dagenham – Vocal Book
63
16
The Letter
CUE: RITA sees the letter.
b °
& b bbb ¢™™ C
(In 2)
b
& b bbb Ó
6
Œ
∑
Ó
ü
œ œ ™™ † ˙
2nd X:
EDDIE:
Œ
I just
can't
≈ œ œ œ œ
Œ
œ œ œœœ
˙
˙™
take
this
Ó
Œ
‰ œœ ˙
a - ny - more
‰
œ œ œ Œ
œœ
I'm go -nna take the kids a - way
Œ
b
& b bbb Ó
‰ ™ œr œ œ
sure.
14
I
know I'm not one
bb
&b b b ˙
Œ
bb
&b b b ˙
Ϫ
‰
good.
23
need
3
œ œ
b
& b bbb ˙
33
need
j
b
& b bbb œ œ
37
tell you
I need
3
œ œ œ
you
in
my
Ϫ
you
but I think– you know–
Œ
‰ j ¿ ¿
¿ ¿
¿
˙
do
this
œ œ™
J
to be
Œ
œ ˙
J
my wife.
‰
j
œ
You
here,
˙™
on my
own
What is this all
life
j
œ œ œ œ œ™ ˙
œ 3œ œ
œ œ œ œ™ ˙
Ó
Ó
for?
It's such a
sim -ple
œ œ œ
know what they're say - in'
œ œ œ œ œj
Ϫ
"Read her the riot
nev - er know–
I'm not
act,
we should.
j
œ œ œ
might do some
‰ œj ˙ ™
‰ œj
no more
Ϫ
j
‰ œ œ
‰ œJ œ œ œJ œ ™
œ œ
‰
3
You
or else
˙
if you were e - ver
tal - king
Ó
˙
œ 3œ œ
a - round,
j
b
& b bbb œ œ ‰ œ œ
side me,
can't
œ ˙
J
28
Œ
day or two,
œ œ
‰ œœ œ œ œ œ œ œ
a - round
˙
'Cos I
you
for
œ œ œ
œ œ
So if you're ev - er
18
for a
‰ j œ œ œ œ œ ‰ œj œ œ œ Œ
œ
bb
&b b b ˙
10
Ó
I
œ œ™
J
I need
you
˙
œ Œ Œ ‰ œJ
thing.
œ œ
to stand
œ
J
be -
I
Ó
Œ
‰ œj
at work?
I'd
œ œ œ œ œ
Keep her in
line,
‰
j
œ
Get
64
Made in Dagenham – Vocal Book
b
& b bbb œ œ œ œ œ
41
her
b
& b bbb ˙
44
in
the
j œ œ œ œ œ œ™
œ
‰
3
house
and
Well I'd
bbb œ 3
b
& b
œ œ œ
tell you
48
on my
own
‰ œj ˙ ™
j
j
j
bb
&b b b ‰ œ œ œ œ œ œ ˙
b ˙
& b bbb
62
wife.
Œ œ œ
for?
sim -ple
Ϫ
3
3
b
& b bbb œ œ œ œ œ œ œj œ
70
- fast was corn -flakes and wa - ter
j
œ œ œ œ œ œ œ œ
state of your son and daugh - ter
yes, I've burnt the toast
3
b
& b bbb œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ™
stu - pid wa -shing ma -chine well it
on - ly e - ver li-stens to you
73
3
b
& b bbb œ œ œ œ œ œ œ
76
- ron in Ca -nning Town
3
and the
I need
3
you in my
˙
do
œ 3œ œ
Or else
Ϫ
you
œ œ™
J
to be
Œ
˙
œ
J
my
‰ j
œ
life.
Well,
j
œ œ œ œ œ œ œ œ œ
3
We
ran out of milk last night so
3
œ œ œ œ œ œ
break-
‰ œ œ
sau -sage and eggs too
And the
j
œ œ œ œ œœœ œ œ œœ
And
oh that love - ly shirt
3
3
‰ œ œ œ™ œ œ œ œ œ œ œ œ œ œ
Well it used to be pink but I
can't
a - round
œ œ œ
need
j
œ œ œ œ œœœ œ œ
And
you
‰ œ ˙
J
˙
œ ˙
J
be - side me,
3
you should see the state of the place, the
Ϫ
œ œ œ ‰ œj œ
J
I
Freely - building
œ œ
'Cos I
need
in charge?
Drive harder
‰
œ œ ˙
to stand
thing,
Œ
3
œ œ™
J
Œ
"Who's
queer."
And I
œ Œ
3
b
& b bbb œ œ œ œ œ œ œ œ œ
67
‰
I need you
œ 3œ œ œ œ œ ˙
J
J
It's such a
a
no more
57
all
you know,
œ œ œ ˙
here,
˙
be -hind my
3
Ó
˙
you were ev - er
May - be he's,
˙™
What is this
if
œ œ œ œ™ œ œ œ
You know what they're gon - na say
œ œ œ ‰ œ œ œ œ
œ
œ 3œ œ
this
for a beer."
3
Who wears the trou - sers?
bb ˙
&b b b
out
j œ œ
œ
j
œ œ œ œ œ™
3
‰ œ œ œj œ
Œ
back?
52
you
3
ir -oned it
we bought for Sha
œ œ œ œ œ œ™
and now it's more shit -brown
œ
J
And
Made in Dagenham – Vocal Book
65
b œ
œ œœœ œ œ œœ œ œ œ œœœ œ ‰ œ œ œ œ œœœ œ
& b bbb œ
J
œ œœ
79
when I had to clean the bog I tell
b œ œ œ œ œ œ™
& b bbb
œ
J
82
to
b
& b bbb ˙™
use the Fai
own
Œ
no more,
And
b ˙
& b bbb
95
I
I
you
need
bb
&b b b w
99
I
to
fl
˙
can't
do
˙
you
œ
be - side
œ
mee - ting went
3
bb
b
b
& bœ œ œ œ
107
the
way,
œ œ
j
‰ œ œ
me,
Œ
I need
œ œ œ œ œ œ
‰
œ
‰ œj
too
œ
fuck
Ϫ
is
it
you
to
Œ
j œ
œ
the
kids
œ
Œ
say
‰
j
œ
Into Parliament
(TACET)
16b
Press Music
(TACET)
j
œ
that lights
my
œ œ
Hope the
Ó
Œ
‰
j
œ
And
œ
good - night.
16a
my
j
œ œ™
Œ
for?
œ
J
be
I hope you've done your - self proud,
Ó
all
œ œ™
J
late,
œ œ œ œ Ó
my
‰ œ œj œj œ œj
You're the light
3
al - right.
on
‰ œ œ œ™
Œ
un - der - stand
r
‰™ œ œ
Ó
What the
œ
œ 3œ œ
this
œ 3œ œ
round
œ
J
œ œ
˙
˙
Hope you did - n't get in
3
could -n't find the blee - ding bleach, I had
Drive harder, ad lib.
˙
need
œ œ
J
∑
bb
&b b b œ œ œ Œ
by
And
to stand
life.
103
œ
œ œ™
J
need you
Ϫ
œ
˙
œ œ
Ϫ
3
Œ œ œ
wife.
3
And I
j
‰ œ œ œ
b
& b bbb ˙
91
˙
I
A tempo
rit.
ry!
-
‰ œj ˙
86
you man, it's sca - ry
Œ
U
Ó
66
Made in Dagenham – Vocal Book
17
Ideal World
CUE:
CASS: "We should all be working towards our ideal world"
U
Ó
Colla Voce
4
&4 Ó
U BARBARA CASTLE:
Œ ‰
œ œ œ œ
Ó
In an
5
& œ
i
œ
-
deal
world
love would
8
‰
& œ œ œ œ œ
work - ers, boss
11
&
or
staff
In an
&
œ œ
œ
œ œ œ œ œ
œ
con - quer hate.
œ œ œ œ œ
i - deal world they'd sit
œ œ
In an
and have
i
a
Ϫ
œ
-
In an
deal
œ œ
world
Œ
the
Œ
‰
j
œ
laugh.
The
Bright (q = c. 154)
j ≈ r
j ‰ ‰ j
œ
œ
b
œ
œ
œ œ œ œ
œ œ œ œ œ
œ
œ œ œ œ nœ œ œ œ
j ‰ Œ
b
œ
œ
œ œ œ
œ
sun would al - ways rise and shine,
14
al - ways
‰
œ œ œ
œ
ev - 'ry - thing would just be great.
‰
3
œ œ œ
œ œ œ
i - deal world
œ œ œ œ œ œ
3
œ
Ϫ
The skies would be deep blue.
There would be
17
& œ
œ œ œ œ œ œ œ
œ
com - mon cold and flu.
trains would al - ways run on time, we'd work a
& œ œ œ œ œ
V.A.T. u - pon the tam - pon, We'd have a
23
& œ œ œ œ œ œ œ œ
mag - ine
a
great world of
chat,
cure for can - cer and the
four day week.
We'd
and af - ter that
œ œ œ œ œ
un - im - a - gin - ab - le
get
wom -an's clit - o - ris.
In an
i
-
˙
deal
j
œ
bliss,
‰ œj
˙™
world
The
His
to meet the prat who put the
œ œ œ œ œ
face we'd du - ly stamp
where men know how and where to
œ œ œ
œ œ
on.
I -
œ œ œ œ œ œ œ œ
Half-time feel ma poco più mosso
& œ œ œ œ œ ‰ œœ ˙
26
‰
œ œ œ bœ
œ œ œ œ œ œ œ œ
œ œ œ ‰ ≈ œr œ œ œ ‰ œj
œ œ
a
no guns or crime; The strong would help the weak
j ‰ ‰ j
œ
œ œ œ œ œ
œ œ œ œ œ œ nœ
20
There'd be
œ œ œ
ev - 'ry - thing would just
be
˙
great.
find
Œ
a
œ œ
In an
Made in Dagenham – Vocal Book
31
& ˙
i
˙
˙
deal
-
Œ
œ œ œ œ œ œ œ ˙
love would al - ways
Œ
3
& œ œ œ œ œ ˙
care and
43
&
share and heal,
&
œ œ œ œ œ œ œ œ
so would
‰
¿ ¿ ¿ ¿ b¿
all com - mu - ni - ties.
j
œ
No
hap - py
of
And
œ Œ
& œ œ œ œ
crushed And
b
& b bbb œ Œ Œ œ œ ˙
63
b
& b bbb ˙
68
˙
real
b
& b bbb ˙
74
fice.
Ó
˙
real
˙™
œ
world
it's
∑
Ó
war
real.
The
¿ n¿ ¿ ¿ ¿
in
The
pla - net would re - volve
The
a -round the
‰ œj
A -
œ œ œ œ œ
East and West would do their best to
3
˙™
œ œ œ ˙
world
It's a
3
You're luck - y
In -
œ œ œ œ œ
‰ j
œ œ œ œ™
œ œ œ
world
j
œ
Vi - et - nam.
j
‰ œ œ œ œ
in the real
‰
would kiss the oth - er cheek.
œ
in
œ œ œ œ œ™ œ œ ™ œ
‰ œj
so would pov - er - ty,
˙
we'd
Œ ‰ j
œ
œ œ œ œ bœ œ
No
œ œ œ œ œ œ
But
In the
world
Half-time feel
live in har -mo - ny.
day.
in Cam - bo - di - a,
Œ ‰ j bbbbb œ ˙
œ
bœ
Ó
œ œ
Ci - vil rights would flour - ish well
Pro - tes - tants and Cath - o - lics
& œ œ œ œ œ œ œ œ œ
58
deal
¿ ¿ ¿
o - ver - seas.
œ œ œ œ œ œ œ œ œ
55
du - ly
would be
Ó
œ œ œ œ œ
œ
‰ œj
the meek,
part - heid would be
ty - rants
end - ings
Lu - ther King they'd shoot the Ku Klux Klan.
& œ œ œ œ œ
meek - est
œ œ œ œ bœ
bomb - ing
& œ œ œ œ œ œ œ
52
-
3
œ œ œ œ œ œ œ œ œ
49
stead of Mar - tin
i
œ œ œ œ œ œ œ Œ œ œ w
œ œ
3
Normal feel
Ber - lin wall would fall and
In an
˙™
˙
œ œ ˙
con -quer hate.
3
And our dreams of
46
Œ
3
world
37
67
if you make
Œ
strug -gle
3
œ œ
ev - 'ry
j
Œ Œ
œ œ
œ œ
O.
K.
In the
3
3
j
œ œ™ œ ™ œj œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ
not a - bout
nnbbb
the nice.
It's a - bout tough com -pro - mise and
Click in
œ œ œ œ
Let me tell you;
œ œ œ œ
œ œ
it was so much tough -er
Œ
sac - ri -
Ó
j
œ œ ™ bœ œ œ
when I
start - ed out.
68
Made in Dagenham – Vocal Book
b
&b b j
œ œ™
80
œ
Wo -men's
rights, My
b
&b b œ œ œ œ
84
bot - tom of
‰
œ
œ
God,
the
chance to rise
####
&
nœ ™
Œ
and grow.
low - est
But you
Got - ta punch
for
b
&b b ˙
is just
a
Half-time feel
i
˙
-
b j
&b b œ œ™
117
deal
lev - el
˙™
world,
œ œ œ
3
near - ly
to
Œ œ
b
&b b Ó
Œ œ œ w
deal,
one
will be
With weight!
‰ j
œ œ œ
go -ing
belt
Ó
come to pass.
œ Œ
œ œ ˙
Œ
And our
3
day those
hap - py
Ó
end - ings,
i
-
˙
˙
deal
world,
3
œ œ œ
could be
rall . . .
œ œ œ bw
3
We'll make our world
j‰ j
œ œ œ
I know
œ œ œ œ
all you're ask - ing
n
Œ bœ bœ nn nbbb
rall . . .
˙
field.
i
In our
-
˙
˙
deal
world,
œ œ
3
Œ œ œ
is so
œ œ œ œ
if you're brave and take this
Ad lib Rock
Ó
w
Œ œ œ w
3
real.
Should be
Ó
to keep on
bi - ting.
I know
And our
no
œ œ œ œ œ œ
and do some
Lev - el play - ing
The
3
And you got
œ œ œ œ bw
it will sure -ly
j
œ
my - so - gy - ny
œ Œ ‰ ¿j ¿
re - pealed.
‰
œ œ œ œ
‰ j
œ œ œ nœ ™
œ
Be -low the
in
Œ Œ
œ œ
to keep on
fall and be
œ œ œ œ œ œ ˙
real.
Mired
j
œ œ œ œ™ œ œ œ œ Œ Œ œ œ ˙
3
3
low.
play -ing field.
in our grasp.
b
&b b ˙
122
128
sex - ist laws
œ nœ
˙
œ œ œ œ
j Œ
œ
and scream and shout.
Ó
j
œ œ œ œ œ œ nœ
j
j
j
j j
œ™ œ œ™ œ œ œ™ œ œ œ ˙
105
111
is
œ
j j
œ bœ œ
and bleed
the
got
a - bove your weight;
##
& # # œ œ œ ‰ œj œ œ œ™
all you want
of
‰
j
œ œ
beg
#
nnn## #
nœ œ
100
# ##
&#
to
‰ j
jŒ
œ
œ œ œ
œ œ œ
fight - ing.
‰
œ
œ œ œ œ b˙
bot - tom and the
b
& b b œ œ œ œ ™ œj ˙
œ
you'll have
œ œ œ œ
90
95
j
œ œ
U
w
˙
i
-
real,
∑
deal.
ALMOST SEGUE
Made in Dagenham – Vocal Book
69
17a
Into The Hospital
(TACET)
17b
Same Old Story – Scene Change
(TACET)
18
Nearly Had It All
CUE:
EDDIE: I didn't walk out, you did.
Rubato
# ##4
j
j
& # 4 ‰ œ œ œ œ œ œ œœ œ Œ Ó
“‘
‰ œ œ œ œ œ œ œ™ œ œ œ œ Œ Ó
RITA
3
I'm sup - posed to hate you, but I don't.
RITA
#### EDDIE
™
œ
&
œ œ œ™ œ œ œ œ
:“;
5
I'm
at a loss, I'm at a loss
RITA: Looks like
it, doesn't it.
U
##
&##œ Œ Œ
:“;
8
through?
##
&##Ó
12
##
& # # Ϫ
can't
œ Œ
œ œ
I'm still
Œ
Œ
EDDIE +
RITA
here –
Some - thing we
œ œ œ œ œ
˙
3
I
ain't
giv - en
Œ ‰ j œ ™ œj œ
œ
œ œ œ™ ˙
this hap - pened sud - den - ly,
j
œ œ œ œ œ
let an - y - one down,
œ
‰
up.
a - gree on
I'm
Is that it?
still a moth - er
j
œ ™ œ œ œ œ œ™
It just dropped in - to our
I
‰ œ œ
Are we
‰ œj œ œ œ œ œ™ œ œ œ œ Œ
“‘
Œ ‰ œœ
“‘
j œ œ œ œ
œ
So what am
but I won't.
œ œ œ œ œ ‰ ‰ œ œ œ
œ
too.
you
EDDIE
More movement (q = 72)
RITA
But all
17
œ
You want me to beg
Ϫ
sup - posed
œœ ˙
to do?
and a wife.
Ó
Œ ‰ j
œ
life.
Ó
I
Œ
‰
j
œ
Don't
70
Made in Dagenham – Vocal Book
##
& # # Ϫ
21
j
œ œ œ œ œ
turn
your back on me now
‰
œ
j œ œ œ œ
œ
'Cos now's the time that
##
j
&##‰ œ œ œ œ œ œ œ œ
Œ
##
j
&##‰ œ œ
Œ
25
I thought I
28
had the fu
-
##
j
&##‰ œ œ œ
31
‰ œ œ
Œ
##
&##œ œ œ œ œ œ œ œ œ œ
#### ‰
&
37
to - geth -
##
&##Œ
40
a - bout
##
&##
44
∑
Œ
full of
voice
Œ
fore.
Well, it
∑
star - ted as
for the first
Ó
œ œ ˙
had it
all.
3
her
j
œ w
and
see
3
≈
œ
Œ
≈
time –
≈
end
up like
me.
3
œ œ œ œ œ
œ œ œ
I nev - er knew I
had be
œ œ œ œ™
œ œ
˙
˙
roar!
œ œ œ œ™
œ œ
˙˙˙
˙˙˙
But it's got to
Œ
œ œ
œ
Thought that we'd
3
a whis - per,
∑
Œ
‰ œ œ œ™ œ œ œ
œ w
œ œ™ œ œ
Œ
Ó
hand.
˙
So she don't
3
‰ œ œ œ™ œ œ ™ œ œj œ ™
˙
œ œ œ œ œ œ
hope,
‰ œj œ
œ œ œ
˙
and small.
I want to look at
3
48
° ####
&
˙™
¢
œ
our daugh - ter;
I'm find - ing a
##
&##
≈
j
œ œ™
planned.
Oh babe, we near - ly
Œ
Ó
œ œ œ
j
j
‰ œ œ œ œ œ œ
‰ œ œ œ œ œ œ œ w
That her fu - ture's
my
œ™ œ œ œ
‰ œ œ
er;
j œ œ œ œ œ œ œ
œ
And what
œ
˙
you.
of
Now the world's cold
34
and gray
need
and our dreams were all
Thought we would stay to - geth - er;
grow old
I
in the palm
me
œ œ œ œ œ
œœœ ˙
‰ œ œ œ™ œ œ œ
ture
œ œ œ œ œ œ
I thought you were be - side
œ
be a
WOMEN
But it's got to
be a
roar!
Made in Dagenham – Vocal Book
52
° ####
˙
&
Ϫ
####
˙˙˙
&
¢
œœœ ™™™ ‰
‰ œj œ
(RITA)
‰
56
° #### ‰ j
œ œ
&
œ œ œœ œ œ Œ
‰ œ œ œ ™ œ œ œ œj œ ™
˙
œœœ œœœ œœ œœœ œœœ œœœ Œ
œ
‰ œœœ œœœ œœœ ™™™ œœ œœ œœ œœj œœ ™™
œ œ œ œ œ™
˙˙
˙
We thought we had the fu - ture
j
‰ œœœ œœœ
(WOMEN)
in the palm of
We thought we had the fu - ture
œ œ œ œ œ œ
We thought you were be - side
#### ‰ œj œ
œœ œœ
&
¢
Œ
We thought you were be - side
is - n't ea
And we had
is - n't ea
-
sy
but we could
‰ œ œ œj œ
Œ
when we al - most
j
‰ œœ œœ œœ œœ
œ œ œ œ
Œ
In - stead we see the mo - ments
all
when we al - most
œ œ
planned.
˙˙
˙
˙˙˙
planned.
have
stood
‰ œœœ œœœ œœœ ™™™ œœ œœ œœ
œ œ œ
Œ
In - stead we see the mo - ments
#### ‰ œj œ œ œ œ œœ œœ œ
œœ œœ œœ œœ œœ œ œ œœ
&
¢
it
but we could
sy
62
° #### ‰ j
œ œ œ œ œ œ œ œ
&
all
have
stood
j
œ œ™
j
œœ œœœ ™™™
œ
tall.
all.
w
œœ œœ w
œ œ w
had it
˙
tall.
œ œ w
had it
hands.
˙™
‰ œ œ œ™ œ œ œ
Œ
j
####
œ œ
‰
œ
&
œ
¢
œ œœœ œœœ œœœ œœœ œœ œœ œœœ
We know life
it
hands.
our
‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
Œ
us
-
in the palm of
And we had
59
° ####
‰ œj œ œ œ œ œ œ œ
&
our
‰ œ œ œ œ œ œ œ
us
œœœ œœœ œœœ œœœ œœœ œœœ
We know life
71
all.
˙˙
˙
U
˙™
Œ
U
˙˙ ™™
˙™
Œ
Rubato
##
&##
66
(RITA)
œ
It
œ
don't
##
&##œ
œ
see
this
70
Œ
3
œ
mean
Ϫ
œ œ œ œ œ ˙
through,
œ
I don't love you
j
œ
with
Ϫ
or
It
j
œ œ
with - out
œ
don't
œ
mean
œ œ œ ˙™
3
I don't care
A tempo
œ
you
U
w
there
Segue
‰
3
œ œ
But I'll
72
Made in Dagenham – Vocal Book
19
Viva Eastbourne
3,4 . . .
60s Rock
4
&4
3
Ó
1–3
MEN
‰ œœœ ™™™
œœ œœ œœ
œ œ œ
Vi - va East
œœ œœ œœ ‰ œœ ™™
œ œ œ
Ϫ
8
& Ó
bourne,
-
œœ
œ
& Œ
In - dis - cre - tion is
œœ
œ
East - bourne,
21
A week
SANDRA
w
& w
‰ œ
chance,
° ‰ CASSj
&
œ œ œ œ œ œ œ
26
I hope she doe - es - n't
œ œ
œ œ
by
the sea
we
know
œ œ Œ
blow
œ œ œ œ œ œ
Well, I pro -mise that you
j
œ œ œ œ
M SOLO
Œ
With the
j
œ œ™
˙
T.
U.
œ
J
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
‰
C.
LADIES
j
œ œ œ œ
it.
œ œ œœ
œ œ œ
w
w
Ó
Œ
Just this one lit - tle
Ó
∑
one
chance.
BERYL
œ
œ
We're with
∑
Œ
œ
We've on - ly got
LADIES
Œ
Ó
‰ œj œ œ
WOMEN
Just say what
30
Œ
it.
∑
°
& œ œ œ œ œ
the sea.
Bed and break -fast sub - si - dized, Proph-y - lac - tics are ad - vised...
œ
œ
j
œ œ œ
œ œ
Yeah, and don't
¢&
as - sured.
j
‰ œœ œœ
J
Œ
by
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ Œ
17
T. U. C.
Beer and chips in quan - ti - ty.
13
bored,
The
œ œ œ œ œœ œ œ œ Œ Ó
œ œ œ œ
œ œ œ
Ó
Vi - va East - bourne,
won't be
j
Œ ‰ œœ œœ œœ œœ œœ œ œœ œœ œœ Œ Ó
J
∑
œ œ œ œ œ
Œ
you got - ta say
∑
∑
you all the way
¢&
∑
WOMEN
œœœ
œœœ
œœœ
Ri - ta
girl
œœœ œœœ
go
all
œœœ œœ œœ
œ œ
the way.
Ó
MEN
œ
œ
œ œ œ
œ œ œ
œ œ
œ œ
In - fight - ing, out - fight - ing,
Made in Dagenham – Vocal Book
°
&
34
∑
73
∑
Ó
j
œ
WOMEN
Œ
‰
I'm
œ œ
œ
¢& œ œ œœ œ œ
œ
talk - ing
all
the
j
#œfi
#œ
lin -
œ
œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
go.
In
37
& œ œ œ œ œ œ œ œ
pi - ning for, I'm whin - ing
be - tween the
Un - ion scene the
yearn - ing
for, I'm burn - ing
° œ œ œ œ œfij œ œ œ
&
40
sick
of bleed - in' wait - in'
¢&
bin - go!
for, I'm
ach - ing
for, I'm quak - ing
for, I'm
∑
for
MEN
œ œ œ œ œ
œ œ œ œ œ
Don - keys
43
œ
œ
œ œ œ œ œ œ œ œ
∑
∑
°
&
strip - pers and the
œ œ œ
œ œ œ
œ
œ
for, I'm
j
#œfi
#œ
œ œ œ œ œ
œ œ œ œ œ
∑
on
œ œ œ œ œ
œ œ œ œ œ
Œ
the beach,
Snog - ging
˙˙˙
(WOMEN)
∑
Change,
œ œ
œ œ
¢& œ œ œœ œ œ œ œœ œ
œ
œ
œ œ œ œ œ
œ œ œ œ œ
˙˙
˙
the
pier.
A
œœœ œœœ œœœ
˙˙
˙
change,
Œ
on
j
œ
œ
‰
change,
Bring it
∑
on
∑
nod, a wink, a prop - er drink, A - vom - it - ing on beer.
° ˙
& ˙˙
47
˙˙˙
Change,
change,
¢&
51
œœœ
Ó
Œ
change.
∑
°
&
˙˙
˙
Œ
Ϫ
#œ
œ
nœ ™
œ
Oh
I
do
like
to be
HAROLD
∑
Ó
∑
bbbœœœ œœœ œœœ
WOMEN
Vi - va East
¢&
œ
nœ ™
œ œ™
œ œ™
do
like
to be
be -side the...
œ
Ó
MEN
bbbœœœ œœœ œœœ
Vi - va East
Ϫ
bbbbb ‰ œœ ™™
Ϫ
-
œ
bourne,
Ϫ
be - side
Œ
bourne,
™
bbbbb ‰ œœœ™™
-
∑
‰
œ
the
˙
sea - side,
j
œJ œœ œœ œœ
The
Œ
œ
T. U. C.
j
‰ œœ œœ œœ œœ
J
The
T. U. C.
Ϫ
#œ
Oh
I
œœ œ œœ œœ
by
the sea.
œ œ œ œœ
œ
œ
by
the sea.
74
Made in Dagenham – Vocal Book
° bb b
& bb w
w
55
Ó
œœœ œœœ œœœ ‰ œœœ™™™
œœ œœ œœ
™
œ œ œ ‰ œœœ™™
Ó
60
∑
64
‰
˙˙˙
œœœ
air
our
views,
j
œ
œJ œ œ
œ
∑
Œ
Œ
‰
A week in which to
‰ œj œ œ œ œ
J
Œ
Ó
∑
j
œ œ
œJ œ œ
A week in which to
˙˙
˙
de - cide
Ó
Ó
Not ex - act - ly Tus - can - y
˙˙˙
MEN
The one thing to
bb
¢& b b b œœœ
œ œ œ œ œ œ œ œ Œ
Ó
WOMEN
∑
HOPKINS
Vi - va East - bourne,
° bb b
& bb
° bb
&b b b Œ
∑
Vi - va East - bourne,
bb w
¢& b b b w
bb b Œ
¢& b b
Ó
˙˙˙
œœœ
up
here
Œ
j œ
‰ œ œœ
J
Œ
We'll start
∑
˙˙
˙
˙˙
˙
booze
and
œœœ
the
œ
œ œœ
œœœ
re - vo - lu -
∑
∑
schmooze.
° bb b
& bb
68
œœœj œœ ™™
J Ϫ
Ó
∑
∑
Ó
- tion,
bb
¢& b b b
œœ
œ
œœ œœ
œ œ
Vi - va East -
∑
Œ
œ
œœ
œ
œœ
œ
Some - time next
w
w
w
year.
19a
Into TUC
(TACET)
Ó
œœ
œ
œœ œœ
œ œ
Vi - va East -
‰ œœ™
œ ™™
Ó
™
‰ œœœ™™
Ó
bourne!
bourne!
Made in Dagenham – Vocal Book
75
20
Stand Up
CUE:
RITA: Why can't she be a bloody doctor?
Colla voce
b 4
& b bbbb 4 Œ
RITA
¿ ¿ ¿
¿
E - ver get
b
& b bbbb Œ
5
j
¿ ¿ ¿ ¿
You know what’s
Se -cond
¿
¿
j
¿ ¿ ¿ ¿
j
¿
j
¿ ¿
the
j
¿ ¿
right
œ œ œ œ
at
¿
feel - ing you've been
but yet
they
make
¿
¿
cheat - ed
¿
for
j
¿ ¿
you
b
& b bbbb œ œ Œ Œ œ
prom - ised
b
& b bbbb
A Tempo
bb
& b b bb
ble
pi - cking
up
Ó
long?
¿™
it's
Œ
¿
so
¿
feel
œ œ œ œ œ w
nev - er comes
œ œ
the crumbs
œ ˙™
In 4
3
But some - how
wrong.
j
¿ ¿
Œ
œ
œ
œ œ œ
œ œ œ
Change
Stand up,
œ
œ
œ œ œ œ œ œ
RITA
Stand
œ
up,
œ
œ œ
is al - ways
œ ˙™
∑
∑
Stand up,
œ
œ
œ œ œ
œ œ œ
œ
œ
œ œ œ
œ œ œ
°
œ ™™
¢œ
œ
œ
œ œ œ
œ œ œ
SAFETY
b
& b bbbb œ
Ó
œ
œ
œ œ œ œ œ œ
œ
œ
stand up,
œ
œ œ œ œ œ œ
‰ œj œ œ
If you're with
œ
me
œ œ œ
then
RITA: We women have always supported you men, every time you needed us we've
been there and you never had to ask. So we've come here today because we need
you to vote for this Equal Pay Amendment.
b
& b bbbb
œ
w
RITA: In the war, women worked as doctors, bus drivers, land girls. Ergo we won that war together,
and yet women are still being asked to make do, to wait until tomorrow. Well when is tomorrow?
Ten years? Twenty years? Fifty years?
25
30
œ œ œ œ
˙™
the ta
14
21
¿
In 2
b
j
& b bbbb œ œ™
9
¿
6
34–39
put
œ
œ
œ œ œ œ œ
œ œ
your hand
™™ ü
†
˙
w
œ œ œ
°™ ÓSAFETY ‰
¢™
˙
Ó
up.
j
œ œ
RITA
the first
™™ ü
†
76
Made in Dagenham – Vocal Book
b
& b bbbb œ œ œ œ œ
41
step
that you put
b
& b bbbb
œ
œ
œ
œ
b °
& b bbbb ¢™™
up.
And then you
œ œ œ œ œ œ œ
make a stand for
ev - ’ry - one,
<b>œ ™
(RITA)
Ó
œ
œ œ œ œ
rides
œ
Ó
œ
on our shoul
œ
Ó
œ
Ó
j
œ œ
j
œ œ
œ
Ϫ
- ders
while
we’re
ta
° bb b b
& bb œ
73
œ
ing
-
bbb œ
¢& b b b œœ
WOMEN
œœ
œ
ask - ing
of
j
œ œ
for your
j
œœœ œœœ
for your
ev
-
’ry - thing
j
œ Ó
but kept
j
œ
j
œ œ
help
and
j
œœœ Ó
Œ
help
I
j
œ œ œ œ œ
ken
-
for
on the
œ
know
œ
that
‰ œœœ
J
œœ
œ
know
a
ride,
œœ
œ
that
out
-
by
our
side
and
‰
do
-
ing
Œ
j
œ œ™
j
œ
‰
So I'm ask-
j
œ œ
j
œ Ó
j
œœœ nœœœ
j
œœœ
mo -ney's tight
j
œ œ
But we
∑
mo -ney's tight
what
is
j
œ
we’re
side.
j j
j
b
j
j j
j
& b bbbb œ œ œ œ œ œJ œJ œ œ œ œ œ œj œ œj œj œ œ
stand - ing
Œ
‰ j œ œ
œ
œ œ œ
77
you
œ
J
The
b
& b bbbb œ œ œ œ œ œ œj œ œj œ ‰ œj œ œ œ œj œ ™
the heart
Ϫ
Stand up
69
in
œ
œ
53–58
Stand up
A tempo (CLICK IN)
world
6
∑
œ œ œ w
‰ Œ
Stand up
œ
œ
œ
œ
œ
œ œ œ œ œ œ
œ œ œ œ œ œ
accel. . . .
™™ ü œ
†
SAFETY
w
bb
& b b bb œ
65
hand
j
œ œ œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
49
60
your
‰
œ œ œ
'We're a family, the TUC. Brothers and sisters, comrades everyone, them your words, not mine.
You men, are you happy that your daughters will grow up to be second class citizens? Your daughters.
You can change this, you can, cos nothing changes if it isn't challenged. so stand up for women's
rights because, you know, if not now, when?'
b
& b bbbb
44
is
œ œ
right,
Ϫ
j
œ œ œ œ
oh,
j
œ
need
Made in Dagenham – Vocal Book
° bb b b
& bb œ œ Œ
‰ œj
bbb
¢& b b b œœœ œœœ Œ
j
‰ œœœ
81
Stand up,
WOMEN
Stand up,
stand
stand
œ œ ‰ œj œ œ œ œ œ œ œ œ
œ œ œ ‰ œj œ œ
œœ œœ Ó
œ œ
œœ
œ
up,
if you’re with me
85
a - round and face the fight,
bbb
¢& b b b œœœ œœœ œœœ œœœ œœœ œœœ œœœ
turn
° bbb ™
&b b b œ
88
a - round and face the fight,
j
œ ˙
come
bbb ™
¢& b b b œœ˙ ™
come
œ
on
œœœ
on
‰
bbb œ
¢& b b b œœ
Ó
up.
nœœ
œ
j
œ œ œ
And then you
95
j
œ ‰
up
b
& b bbbb ˙˙w™™
got
to learn to
œ
j
‰ œœœ
œœ
œ
Œ
stand
∑
On - ly
j
œœ ‰
œ
stand
On - ly
‰ œj œ
œœ
œ
j
‰ œœœ œœœ
the first
up,
the first
œ œ œ œ œ œ œ
make a stand for
ev - ’ry - one,
ev - ’ry - one,
You’ve got to
œœ Ó
œ
up,
way to
live your life,
œœ œœ œœ œœ œœ œœ œ
œ œ œ œ œ œ œœ
œ
up,
up,
œ œ œ œ œ œ œ
put things right,
j
‰ œ œ œ
>
yeah,
put your hand
put things right,
œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ
way to
live your life,
œ œ
œ œ œ œ œ
step is that you put
your hand
œœœ nœœœ
œœœ œœ œœœ œœœ œœœ
step is that you put
your hand
œ œ œ œ œ œ œ
then the bat - tle
will
be won,
œœ œœœ œœœ œœœ œœœ œœ œœ
œ
œ œ
then the bat - tle
will
be won,
j
j
œ œ œ œ œ œ œ œ œ ‰ œj œ œ œ œ œ
RITA
j
œœœ ‰
up
∑
to learn to
We won’t run
œœ œœ ˙˙ ™™
˙™
stand
got
œœ œœ œœœ
œ œ
j
œ ‰
œ œ œ œ œ œ
make a stand for
œ œ ˙™
stand
œœ
œ
put your hand
œ œ œ œ œ œ
b œœ œœ œœ œœ œœ œœ œœœ
up.
° bb b b ˙ ™
& bb
bbb
¢& b b b
œœœ
then
then
Stand up,
° bbb
&b b b œ œ œ
92
œ
Stand up,
j
œœ ˙˙˙
Œ
up,
° bb b b
& bb œ œ œ œ œ œ œ
turn
77
and
we won’t hide,
∑
TRIO WOMEN
pp
w
w
w
Ooh,
so don’t pass
∑
w
w
w
by
∑
w
w
w
on the
78
Made in Dagenham – Vocal Book
° bb b b j
& bb œ œ
100
oth - er
b b b ˙™
¢& b b b ˙˙ ™™
° bb b b
& bb ˙
104
3
j
œ œ œ ‰ œj œ œ œ ‰ œj œ
side;
Œ
wo - men
we are
one,
w
w
w
Ó
œ
œ
∑
we
are
(WOMEN)
just can’t
but I
ni - on.
tell you this for noth -ing we ain’t
w
w
w
w
w
w
MEN
w
w
w
w
w
w
-
œ œ œ œ œ œ œ œ œ œ
win
w
w
w
Ooh,
the U
w
w
w
j
œ œ
j
œ œ œ œ
œ
You might think that we
j
œœ ‰
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w
w
w
ooh,
b
& b bbbb ˙˙˙ ™™™
bbb
¢& b b b
men,
Œ
˙
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108
° bb b b œj
j j
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& bb
giv - ing
b
& b bbbb ˙˙˙ ™™™
in,
b b b ˙™
¢& b b b ˙ ™
° bb b b
& b b ˙™
112
no
j j
j
œ œ œ œ œ œ œ œ ˙
what
j
œœ ‰
œ
j
œœ ‰
I
want
to
‰ j œ
œ
œ œ œ œ œ œ œ
say
w
w
w
Ooh,
w
w
w
w
w
w
w
is that to - day could be
w
w
w
ah,
w
w
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the day!
ah,
b
nnb bb œ œ Œ
RITA & MEN
Stand up,
‰ œj œ œ ‰ œj œ œ œ œ œ œ œ œ œ
stand
up,
if you’re with me then come on put your hand
b
& b bbbb w
w
w
b
nnb bb
∑
∑
∑
bbb
¢& b b b w
w
b
nnb bb
∑
∑
∑
Made in Dagenham – Vocal Book
b
& b bb œ œ œ
116
‰ œj œ œ
up,
You’ve got
b
& b bb œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ
& b bb œœ œœ œœ œœ œœ œœ nœœ
turn
Ϫ
On - ly way to live your life,
123
œ œ œ œ œ œ œ
to
119
come
˙˙˙™™™
127
come
b
& b bb
∑
∑
133
is
that you put
b
& b œœœ œœ œœœ œœœ œœœ
step
is
that you put
bb œœœ œœœ œœœ œœœ œœœ
¢&
step
is
that you put
œœœ
œœœ
Stand
up,
got
to learn to
‰ œœœ
J
Œ
∑
your
œ œ œ
hand
up.
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œ
œœ
œ
œœœ nœœœ
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œ
your
your
° bb œ œ œ œ œ œ œ
&
136
then the bat - tle will be won,
b
& b œœœ œœœ œœœ œœœ œœœ œœœ œœœ
then the bat - tle will be won,
b œœ œœœ œœœ œœœ œœœ œœ œœ
b
&
œ
œ œ
¢
then the bat - tle will be won,
hand
hand
˙™
˙˙ ™™
w
stand
stand
w
˙˙ ™™
stand
nœœ
œ
then the bat - tle will be won,
b
nnb œœœ œœœ Œ
‰ œœœ
J
œœ œœ ‰ œœ œœ
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J
stand
Stand up,
MEN
stand
œ
‰ œœ
J
b œ œ
nnb œœ œœ Œ
‰ œj œ œ
And then you
up.
œœ œœ ˙˙ ™™
˙™
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up
up
the first
up,
the first
up,
the first
œœ œœ
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œ œ ‰ œœ œœ
J
œ œ œ œ œ œ œ
make
a
stand for
ev - ’ry - one,
make
a
stand for
ev - ’ry - one,
make
a
stand for
ev - ’ry - one,
bœœ œœœ œœœ œœœ œœœ œœ œœ
œ
œ œ
Ó
up
stand
up,
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bœœ œ œ œ œ œœ œœ
up.
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the first
œ œ ‰ œj œ
Ó
nœœœ
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J
‰ œ
J
Stand up,
œ œ
œœ
œ
nnbb œ œ Œ
Stand up,
ALL WOMEN
∑
put things right,
up,
CLICK STOPS
∑
j
œ ‰
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œ
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make a stand for ev - ’ry - one,
w
w
w
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stand
bœœ œœœ œœœ œœœ œœœ œœ œœ
œ
œ œ
∑
∑
° b
&b œ œ œ œ œ
step
on
on.
∑
bb
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œ ˙
J
up.
œœœ œœ w
œ w
w
œ œ œ œ œ œ
a - round and face the fight,
œœœ nœœœ Ó
step is that you put your hand
° bb b w
w
& b w
79
PRESIDENT: The equal pay amendment
is carried. Equal pay is TUC policy!
œ ˙™
˙
Ó
∑
j
œ ˙™
œœœ ‰ œw
w
˙˙
˙
Ó
∑
˙˙˙
Ó
∑
œ‰ œ
J
now!
now!
œœj ‰ w
wœ œ ˙ ™
œ
J
now!
80
Made in Dagenham – Vocal Book
° bb œ ™
&
142
stand
up
b ™
& b œœ˙ ™
j
œœ ˙˙˙
b ˙œœ ™™
b
&
¢
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stand
stand
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w
˙˙
˙
Ó
w
wœ œ ˙ ™
˙˙˙
Ó
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up,
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J
œ
stand
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up,
j
œœ ˙˙˙
˙œœ ™
™
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J
you so
I
4
up
œ œ
can hold
my
œ œ œ
hand
should have been there for your fight,
˙
œ
œ
˙
˙
˙
œ
œ
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œ
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˙™
w
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up,
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œ œ œ œ œ œ
œ
4
up
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I'm with
147–150
up
you're the light that lights my
EDDIE: I'm sorry, Rite. I let you down. I let myself down. I don't suppose you'll have
me back, but I love you Rita O'Grady. It's amazing what you've done. Amazing.
RITA: Eddie, you big daft lump.
Ó
b
&b
∑
4
Meno mosso
œ ˙
J
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˙
stand
Œ
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was wrong and you were right,
b˙
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165
∑
stand
b
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&b œ
158
∑
now!
155
I
Ó
stand
now!
up
b EDDIE
&b œ œ
˙
now!
up
151
Stand
œ œ ˙™
œ ˙
J
Ϫ
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MEN + WOMEN
Humming
U
Ó
w
œ
œ
˙™
˙
˙
life.
Œ bœ œ bbbb
BARBARA CASTLE: Emmeline Pankhurst won the vote for women, and is rightly esteemed by history. The
women of Ford Dagenham have changed the world today, and history should place these ordinary working
women alongside the suffragettes for having achieved Equal Pay, which is yet another step forward in the
continuing story of women standing up for their rights.
b
& b bb ˙
171
Half feel
b
& b bb œ
177
b
& b bb ˙
182
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accel.
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Made in Dagenham – Vocal Book
° bb œ
&
187
a tempo
Stand
œ
Œ
œœ
œ
Œ
œœœ
Œ
‰
up,
b
& b œœœ
WOMEN
Stand
b œœœ
b
&
¢
Stand
‰
190
up,
bœ
& b œœ
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‰
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J
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On - ly way to live our lives,
b œ œ œ œ
& b bœœœ œœ œœ œœ œœ œœœ œœœ
On - ly way to live our lives,
bb bœœœ œœœ œœœ œœœ œœœ œœœ œœœ
&
¢
On - ly way to live our lives,
b
& b œœœ œœœ œœœ œœœ œœœ
is
that you put
b œœœ œœœ œœœ œœœ œœœ
b
&
¢
step
is
that you put
œ
then come on
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put
your
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œ
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œ
Ó
‰
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J
put
your
œœœ
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then come on
put
your
œœœ
œ œ œ œ œ œ
a - round and face the fight,
got
to learn to
put things right,
put things right,
turn
a - round and face the fight,
got
to learn to
put things right,
œ ˙
J
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˙
come
on
j
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come
on
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™
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come
on
up.
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hand
hand
up,
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Stand
up,
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Stand
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hand
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œœœ
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up.
wow
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up,
Well you can
Ó
Ó
stand
stand
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up.
nœœœ
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hand
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hand
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to learn to
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got
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your
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your
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82
Made in Dagenham – Vocal Book
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200
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