Or The Various Voyages, Loves and Losses, Trials and Tribulations of a Smuggler-lad-cum-Spy
A New Musical from Old Songs and Stories - by Tom Bliss
see also separate additional files “Songbook” “Song Backgrounds” “Production Notes” and Demo CD
The show employs existing traditional folk dance tunes, songs and legends (and narrative devices such as the ‘broken token’), from the relevant localities and time period when possible (see ‘Song
Backgrounds’). The songs have been selected for both the mood of their melodies and the relevance and/or resonance of the original words - and then adapted and/or completely rewritten
to help tell our story.
The Songbook and CD go into less detail than is usual - because this is a folk project. The Script and Production Notes go into more detail than is usual - to make life easier if timescales are tight
or there is a shortage of production resources.
The Production Notes are designed to make full use of the Hamptonne open air resource. Small adaptations will be required for any future performances in more conventional settings.
NORTH >
The audience sits to the eastern side of the south courtyard, with the stage area to the west. The front of the seating area lines through with the western corner of Hamptonne and the cowshed/cart shed boundary.
If possible a scaffolding stage is built to improve sight lines for when the action calls for actors to be sitting or lying on the ground (specially in the final scene). This would also facilitate construction of the collapsible ship. A possible area is marked on the plan. The height lines through with the level of the Cider House step in the North, and perhaps the second tread of the hay loft steps.
The action takes place to the front, but players do enter and exit by all available doorways, so the audience will need briefly to turn their heads to the side or to the rear, but only for a few seconds at any given time.
Fixed seating in rows - raked, if scaffolding can be supplied - will be acceptable, as long as there is clear access for players to the garden door in the northeast corner, and to the shed door (S1) in the southeast corner. If necessary, raked seating could even be carried back, over the garden wall.
The whole of the main entrance wall (where the large gates are) to the southwest is covered by a sailcloth backdrop, and if it can extend above the wall slightly, to hide the building over the road and shield the audience from the setting sun, so much the better. This is painted with impressionistic storm clouds, and a distant sea horizon. (Gobo and/or AV could be used, if available, once it gets dark enough).
In front of this is a rudimentary set which can be assembled (and dissembled) to suggest the midships section of a small ship. There is a wooden wall representing the gunwale, which runs from the corner of the cow stall steps to the end wall of the cider house (The cotoneaster will need to be removed). This gunwale can be dropped flat, and concealed under a brown cloth (as it is at the start of the show) if a stage is not built. Behind it is a mast (or two if room), again, hinged to allow it to be raised and also to fall when the ship is wrecked. The mast is mounted with free-swinging sails that can be hoisted on either side - to suggest that the bow is to audience left for the westward, outward voyage, and to the right for the return. A wooden ladder connects the top of the cow stall steps to the ship out of sight of the audience.
One of the two water butts stands against the wall, just east of OP. The other stands at the top of the steps against the wall.
If no stage is used, a grey/blue lightweight cloth is laid on the ground in front of the gunwale. This is manipulated by stage hands during the sea passages to suggest waves, and drawn over the fallen ship to indicate that she’s sunk. There are hooks attached to the backdrop to which the corners of the cloth are attached, to show only waves where the ship once was (and to hide Jacques when he is thought drowned).
If a stage is used, then the gunwale of the ship will rise behind it, with the wave effects created in the gap between stage and gunwale. Cloths will not be necessary, as everything - including the actors - can sink behind the stage.
A scaffold tower may be built in the road beyond the wall to allow players occasionally to appear above the set. (This is optional).
The musicians use H1 as their green room, but mostly stand to the left of the Hamptonne porch (or sit on the bench. if it fits), in front of the window. A stool is placed in the porch for the cellist when required.
All the players have a black cloak with hood in addition to their costumes. Stage hands and musicians use these routinely, as do the smugglers when they enter in Scene 1. The cloaks are also used to cover costumes and signal that actors are out of character when they need to escape from closed buildings, or return to them, within sight of the audience during scene breaks.
All of the cast wear cloaks and hoods in Scene 13 Song 35 and the subsequent narration.
Radio mics are (ideally) used for instruments and singers. The sound desk is located by the back wall off the ‘auditorium.’ Speakers are either flown above P and OP, or set below the stage, if used.
The show begins at about 7.00pm (or possibly 7.30). It will gradually grow dark during the performance, so lighting effects can be introduced to help build tension and impact towards the climax. This can be achieved with follow spots mounted behind the garden wall, high back lighting from behind the main back-drop and splashes from P and OP.
The programme explains:
Our story is an invention based loosely on the historical facts.
In spite of having common Jersey names, all of the characters are fictitious and have no connection whatsoever with anyone of the same name today. There were, however, one or two real people with very
similar names to those used in this show who played similar roles in the events of 1780/1.
Corbet, De Rullecourt and Pierson (who are merely referred to), were of course real people. We hope the reports of their actions are reasonably consistent with their contributions to the original events.
In reality all the dialogue would have been in Jèrriais, French or Canadian French
1 Le Rossignol - Bellman/Balladeer2 Jack Hamon - Jersey lad3 Claude Hamon - Jerseyman (Jack’s elder brother)4 Eli Jones - Jerseyman (one of Claude’s crew)5 Peter Barbier - Jerseyman (ditto)6 Philippe Mauger - Jerseyman (ditto)7 Avram Thwaites - British soldier from Yorkshire8 Chloe Barette - Jersey lass, betrothed to Jacques9 Lily Hamon - Jersey lass, sister to Jacques and Claude10 Rasquelle - Jerseyman, cousin to Journez11 Thompson - Customers Register12 Malzard - Constable Officer13 Officer14 Charles Larrivee - Bailiff15 Hacquoil - Jersey sea captain16 Le Gros - Jersey seaman17 Queree - Jersey seaman18 Flora - Jersey wife19 Jeannetton - Jersey wife20 Marthe - Acadian lass21 Collette - Acadian servant (Musician 1, fiddle and cello)22 Musician 2 (squeezebox)23 Musician 3 (guitar)24 Stage Manager
Additional parts played by the above (see reference number):
13 Stevadore18 Maria - Acadian woman15 Ricard - French sea captain16 Dupont - French seaman17 Pompidou - French seaman19 Bonafos - Granville Innkeeper18 Giselle - Barmaid13 Dubois - French soldier14 Journez - Jerseyman, cousin to Rasquelle11 Jean Rentier - Tenant of Chausey4 Doneil - Vigntenier of St Clement12 Cordeux - French soldier14 Le Grand - French soldier4 Smith - British soldier6 Ford - British soldier11 Le Cocq - Jersey Militiaman16 James - British officer17 Newton - British soldier13 Hardy - British soldier
1) ACT ONE INTRODUCTION - LE ROSSIGNOL (NO TUNE)Spread guitar chords follow speech (G)
LE ROSSIGNOL (speaking over spread chords)G D GOyez, oyez, oyez
C G (or as preferred)That means ‘I’ve got something to say’ Am G D Em (or as preferred)Mesdames Messieurs, you’re welcome here C D GWe do hope you’re planning to stay
But - just before we startPlease take these thoughts to heart:Your mobile phone (whatever that is when it’s home)Must now be set to ‘Quiet’
(If necessary: Actually - could you turn them right off, because the signals interfere with our radio mics? Thank you).
What’s more - should a fire occurThe exits are over there (he pronounces it “thur”, then indicates each exit in turn, aircrew style)And there, and there and there, and thereAnd there, and there (he pauses, then points straight up) and there!
And now - the play’s the thingIt’s 1780, SpringThe American StatesAre just making a break for itAnd France still has a king
To the French he’s Louis SixteenBut the Brits call him... something obscene‘Cos he’s helping the YanksTo attack Britain’s flanksA task he performs with great spleen
He even tried to invade us last yearBut went home with a flea in his earBecause we remain loyalTo George, England’s royal
So now Jersey and France are at warBut there’s nobody keeping a scoreSo any Tom Dick or HarryThat wants ‘cash and carry’ (he flicks his nose)Can fetch it – and go back for more.
Exit LE ROSSIGNOL (to P)
Percussion etc. [00:15]:
STAGE HAND 2 (on scaffold behind set)Howls like a wolf.
AVRAM (in garden behind audience)Three quick drum beats.
OTHERS (as available)Quick fire percussive sounds (from all doors and windows - it would be good to have a couple of extras willing to sit upstairs in the Cider House throughout).
STAGE HAND 2 (on scaffold behind set)Howls again.
The duplicate dog’s head appears above the main wall then vanishes.
Suddenly the rattle sounds again, this time from S2.
AVRAM (in the garden behind the audience) begins a steady, funereal drumbeat. After four beats, JACQUES, (in dog costume) leaps though the door (S2). He prowls the audience, snapping his jaws at the children.
2) THE DIRGE – CLAUDE, ELI, PETER, PHILIPPE AVRAM (Tune from King of the Fairies)A capella with drum (Am) [120 bpm]
The garden door flies open with a bang (or, if it’s stiff, after loud hammering and with an ominous creak). Enter CLAUDE, ELI, PETER and PHILIP, heads concealed under black hoods and carrying a full-sized coffin.
AVRAM (also in cloak) follows, drumming. The pallbearers carry the coffin towards the front. JACQUES joins the procession as they reach P and turn towards OP.
Enter CHLOE (from OP) carrying a basket of produce. Seeing the procession, she screams in terror, and faints.
JACQUES yanks off his dog's head. The pallbearers lower the coffin and pull off their hoods. AVRAM removes his cloak to reveal a red soldier’s uniform. LILY rushes in from OP. She reaches CHLOE first and kneels beside her.
LILYChloe! Oh my God she's fainted - quick fetch some water someone!
JACQUES sits on the ground and draws CHLOE gently onto his lap. He slaps her face softly. PHILIPPE hurries to the pump and splashes water into a dipper. The others gather round.
LILY takes water from PHILIPPE and sprinkles Chloe's face.
LILYChloe, it's me, Lily. Are you all right?
CHLOE (opening her eyes)(Groans). Lily? Jacques? – what.. (she sees the dog’s head on the ground and screams again).
JACQUESShhh – look, it’s not real (he kicks the head). It was just me dressed up!
CHLOEWhat? A costume, you mean? But... there was a coffin - and... men with no heads! (peers past the others and sees the coffin) There is! What are you playing at Jacques, scaring me so? I thought it was the... (drops voice) the Tchien du Bouoley!
JACQUESI’m sorry Chloe. We were just messing about.
CHLOEJacques.. The Tchien’s not a game – I know, I’m from Bouoley, remember?
JACQUES (shame-faced)I know. But the dog’s not real…
CHLOEOh yes it is! And I know people who’ve seen it, and lived to tell the tale – (drops voice) which many don’t.
Sweetheart… Lads, back me up on this. Look, The Tchien’s just a ploy. A ruse - to keep people from seeing things they shouldn’t.
CHLOEWhatever do you mean? It’s a ghastly ghostly black dog that comes out in the dusk and.. and.. It is. My Uncle even saw it once!
JACQUESI really don’t know how to tell you, Chloe. It’s not. It’s a trick, to keep everyone indoors, while... Look. Sit down there, and I’ll explain.
The singers take their positions. LILY and CHLOE sit on the steps. CLAUDE picks up a scythe then stands upstage sharpening it with a stone. AVRAM fetches his drum and gives four beats intro, which MUSICIAN 2 follows with three chords on his squeezebox.
3) THE SMUGGLING SONG – JACQUES (CHORUS: ELI, PHILIPPE, PETER and AVRAM) (Tune: Valapariso Round the Horn)Drum and Squeezebox, (Fiddle and Guitar join later) (G) [120 bpm]
JACQUESIt doesn't matter if it's glassy calm or gusty (CHORUS: Gusty)We've a business we intend to keep afloat(Keep afloat)Cos we're the fishermen of Jersey, true and trusty (And lusty)And we love to bring you treasure in our boat (In our boat)
ELI opens the coffin and removes various items of (plastic) sea life, which they toss between them.
There's halibut, wrasse(Halibut wrasse) And mullet and bass (Mullet n bass)Oyster, lobster, shanker1, spider crab galore (From the shore)Got goby, moray, ormer, prawn and dory (Blimey!)You just order - we deliver to the door (Just order - we deliver to the door)!1 “Shanker’ = Chancre, CI word for crab There is something else I think we ought to tell yer(Tell yer)Cos we’d like to seem as honest as you'd wish(As you wish)
Yet when we lie alongside in St Helier (St Helier)The only cargo they can find aboard is fish (Phewee! holding their noses) There's pollock and dab (Pollock and dab)And scollop and scad (Scollop and scad)Conger longer than you've ever seen before (Phwoar! With suitable gesture)Got flatfish, dog and cat and garfish (And starfish!)You just order - we deliver to the door(Order - we deliver to the door)!
Instrumental break (Fiddle and Guitar join in)
AVRAM, ELI, PETER and PHILIPPE caper about. CLAUDE steps upstage, takes JACQUES’ arm and mimes doubt about whether CHLOE really needs to know all this. JACQUES shrugs him off with a grin.
But if you really want to know about our income(Income - they beckon to the audience)We'll let you in upon a little lie (White lie)If you wish for fish we'll gladly go and fetch some(Fetch some)But it's not the only dish we can supply (We supply)
Cos in the interests of trade we have decided (Decided)Though George the Third he loves to have our tax (The Duke! - toasting)And King Louis may be screwy and misguided (And derided) He keeps a better cellar - and he's lax! (Vive La France!)
ELI takes contraband from the coffin and they toss this about instead of the fish.
We've backy and rum (Backy and rum) As good as it come (As good as it come)And the finest wine you're minded to imbibe (To imbibe)We can pop back with a drop of cognac (ELI: Or even tea – mimes cuppa)And all you have to do is to subscribe
(Sign here) We’ve whisky and gin (Whisky and gin) It isn't a sin (It isn't a sin)But we need to keep it secret from the law (You know the score)Which we trust explains the transportation (And sensation) It's the safest way to bring it to your door (To your door)It's the safest way to bring it to your doorIt's the safest way to bring it to your door!
ELI, PHILIPPE and PETER continue to juggle fish and contraband as JACQUES pulls CHLOE up to dance. AVRAM puts down his drum and dances with LILY. It’s clear from the choreography that AVRAM and LILY are also a couple.
4) THE SARK DANCE – JACQUES (CHLOE, AVRAM and LILY dancing) (The Sark Dance)Drum, Squeezebox, Fiddle, Guitar (G) [125 bpm]
While the dance is still in full flow, RASQUELLE enters and leans against the corner (P), watching the proceedings and paring his nails with a small sharp knife.
Suddenly ELI spots him. He slams shut the lid of the coffin (signalling an abrupt halt to music and dance), then sits on it. The others hide their bottles behind their backs.
RASQUELLEVery merry. Very jolly, I don’t think.
CLAUDEWhat do you want Rasquelle? You’re not welcome here.
RASQUELLE (bowing to CHLOE)Good evening Miss Barrette. (To Claude) Just taking care of some business, on behalf of a friend.
CLAUDEGet out. Clear off to France - like your murdering cousin Journez.
RASQUELLEI’ve no intention of doing anything of the sort. You’ve got a fine haul here. And my job’s to collect precisely one half.
CLAUDEHalf?! You scaly by-blow! Out! Before I baste you!
RASQUELLEI’m not afraid of you, Claude Hamon. You’ve set up in competition with a man of influence – and he wants his due. If you fail to oblige I will have need to speak with the Customs Register.
JACQUESThompson? Ha! He’s no more use than a butter lobsterpot!
RASQUELLE (moving to coffin)Just give it here…
RASQUELLE pushes ELI off the coffin and yanks it open.
RASQUELLEAha! Thought so!
PHILIPPE and PETER grab RASQUELLE and there’s a brief tussle during which he gets a look at the goods before breaking free.
RASQUELLEYou’ve not heard the last of this Hamon!
As he runs off (P).
AVRAMWhat did ‘ee mean, Claude? About ‘Customs Register? When you told me to bring me drum, you said Bailiff wouldn’t be bothered. Were just tradition to dress up. A lark, tha said…
CLAUDEAvram. Relax. Smuggling from France may be against the letter of the law, but it’s only a crime in Jersey if you then ship the goods on to England. And we never do.
AVRAM (unconvinced)Ah. England. I see…
JACQUESThere’s a healthy trade from France to Jersey, and no-one minds. In fact Larrivee, the Bailiff, is - secretly - our chief competitor.
AVRAMMebbe so. But if there’s even a mickle hint o’ bother, and my Sergeant hears on’t, I’ll be on a charge. At the very least.
LILY (taking AVRAM’s hand)Darling, I promise you, there won’t be any trouble. Rasquelle’s just making mischief. There’s a long and bloody feud between our families, and he misses no chance to do us down. (She draws AVRAM to the steps and they sit – she to stage left, he stage right by OP).
CLAUDEIndeed. Only last year his cousin Journez killed one of our cousins - with his bare fist.
JACQUESAnd then shabd-off1 to France before they could hang him - the slubber-degullion2! (1: 18th C for ‘flee’ 2: a dirty, nasty fellow)
PHILIPPEHe went single-handed, mind. In a gale...
CLAUDEAye. Journez’s a fair seaman, for sure.
PETERTrue.
CHLOEBut why have none of you told me? It’s been six months since I came to St Ouen, and no-one’s breathed a word.
CLAUDEAnd better that you still knew nothing, Chloe. We’re grateful that you came to help after Mother died, but you’d no need to get mixed up in this.
CHLOEBut Jacques – I think you might have said something… now we’re betrothed...
JACQUESSweetheart, I didn’t even know myself till recently. (grinning at Claude) My brother seems to think I’m not reliable...
CLAUDEYou’re getting there...
JACQUESThen why won’t you let me go to France? And meet the infamous Bonafos?
5a) TCHIEN DU BOUôLEY – CHLOE, JACQUES, ELI, PHILIPPE, PETER, AVRAM, LILY (Tune: The Ghost of Tom)A capella, Drum (Em) [120 bpm]
CHLOEHave you heard of the Tchien du Bouoley?Eyes blood red and his teeth death grey, And he couldRip your flesh and your bare bones flayWhen you see him coming, Sonny, run, run away.
JACQUES, ELI, PHILIPPE, PETER, AVRAM (+ drum), LILYjoin in as a round
Using gestures, the singers divide the audience into two or four groups and then encourage them to join in, in the correct places. JACQUES puts on the dog head again.
The song is still in full flood (1:00) when...
Enter MALZARD, OFFICER, RASQUELLE and THOMPSON from P. Seeing them, AVRAM, hidden by LILY, quickly bolts (exit OP).
OFFICER discharges his musket bringing song to abrupt halt.
MALZARDHold your stations! The first man moves will feel the bite of my musket!
RASQUELLE strolls across to the coffin, opens it, picks out a bottle and admires the label.
JACQUES (removing dog head and grinning)Here we go!
THOMPSONIt has been brought to my attention that persons here present may, in recent time, have - without declaration of excise or other duties due - been in receipt of taxable cargo from France, in flagrant contravention of the laws of Great Britain.
JACQUESThen why don’t you go and ask the Bailiff about it? (They all laugh)
THOMPSONNow then you young whippersnapper…
CLAUDEI can assure you Sir, that despite appearances, these goods are all the product of honest trade, in the traditional custom, (if you’ll pardon the expression),
RASQUELLE, in clear view of the audience, but hidden by his body from THOMPSON, draws a letter from his coat and drops it into the coffin, then immediately picks it out again.
RASQUELLELook what I’ve just found, in here, with all this incriminating contraband. (He doesn’t even pretend to read the letter properly). It appears to be a screeve1 – and... well I never! It’s in the hand of that notorious smuggler; Thomas Brown... Of Lulworth, England. It itemises the goods to be delivered, which, oh my, tally precisely with these here present. And what’s more, it provides the very time and place of delivery! (Darkly) In England.1: A letter
CLAUDE Now look here…
MALZARD (aiming his musket at Claude)That’s enough, you! Right. All you men. Come along with me. You’re all nibb’d. (Arrested)
THOMPSON (who wasn’t expecting this either)Yes, yes, quite right. Nibb’d. All of you.
The smugglers, looking perplexed and alarmed, are herded by MALZARD and OFFICER into CH. RASQUELLE, triumphant, exits P. LILY and CHLOE watch, aghast, then run off (OP).
5b) END OF SCENE ONE MUSIC. Squeezebox (0:09 secs).
