ALL IS CALM THE CHRISTMAS TRUCE OF 1914 BY PETER ROTHSTEIN WITH MUSICAL ARRANGEMENTS BY ERICK LICHTE & TIMOTHY C. TAKACH CAST SCRIPT/VOCAL BOOK BROADWAY ——LICENSING—— 08/26/19Alls Cale (Copyright © 2016 Peter Rothstein, Erick Lichte, Timothy C. Takach ALL RIGHTS RESERVED Copyright Protection. This play (the “Play") is fully protected under the copyright Isws of the United States ‘of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or mulilateral treaties or otherwise, and including, but aot limited to, ll countries covered by the Pan- ‘American Copyright Convention, the Universal Copyright Convention, and the Bere Convention Reservation of Rights. 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US. copyright law also provides for possible criminal sanctions. Visit the website of the U.S. Copyright Office (www.copyright.gov) for more information, THE BOTTOM LINE: If you break copyright law, you are robbing a play- wright and opening yourself to expensive legal action. Follow the rules, and when in doubt, ask us. Broadway Licensing toll-free phone: 1-866-NEW-PLAY |7 Penn Plaza, Suite 904 email: [email protected] New York, NY 10001 website: www.broadwaylicensing.comALL IS CALM: The Christmas Truce of 1914 Vocal Ranges ACTORI ft ACTOR 2 ACTOR3 te = == 3 ACTORS ACTORS ACTOR 6 x 355 yy ACTOR? be ACTORS ACTOR 9 ——— — SS a ---*— = f ACTOR 10 ———le —— ———ALLIS CALM. ‘THE CHRISTMAS TRUCE OF 1914 The first year of World War I a remarkable truce occurred along the Western Front. I ‘believe music was an essential factor creating trust and a common language as the men sang to each other across No Man’s Land, and eventually exchanged Christmas carols as they put down their rifles, stepped out of their trenches and celebrated Christmas together. This is their story told entirely in their words and their songs. A NOTE ON PRODUCTION All Is Calm: The Christmas Truce of 1914 was created as a radio musical docudrama. It has proved successful as a work for radio as well as live-performance. I have favored the audio experience above the visual, performing the work on a relatively bare stage without extensive costumes or scenery, but I encourage each director to bring their theatrical impulses to the work. ANOTE ON CASTING ‘The work could be performed by any number of singers and actors. In the original production there were three actors and nine singers. There are 39 characters in the script; I strongly recommend engaging a dialect coach, as there are numerous countries and classes represented. The various dialects are a vital part of the musicality and the storytelling. ANOTE ON THE TEXT I would like the citations to be spoken throughout as scripted. I've put in parenthesis the few times, primarily in The Truce section, when I think they should be omitted. Most of these men's names never appeared in history books or major newspapers, but they are indeed heroes, and this is my humble attempt to have their names go down in history. Trust that there is payoff in hearing their names out loud and in their repetition. The names become part of the musicality and power of the piece. It is also a constant reminder to the listener that the play is told entirely in the words of the men who lived it. ANOTE ON THE MUSIC Alls Calm: The Christmas Truce of 1914 was created for Cantus, an ensemble of nine male singers. The music is a wide selection of material, including 30-plus songs ranging from Celtic ballads to iconic World War I songs, and Christmas Carols from the participating countries, Feel free to add as many voices as you see fit. The work was created for male chorus, as there were very few women in the trenches along the Western Front during the first winter of the War. An all-male sound and performing the piece a cappella are essential to the honesty of the work.PEOPLE CITED Dick Barron, 24 London Mounted Brigade Private Frank Bass, 9" Battalion Norfolk Regiment Andrew Bowie, Queens Own Cameron Highlanders Robert Burns, 7** Queens Own Cameron Highlanders Captain A D Chater, 2nd Battalion Gordon Highlanders Winston Churchill, First Lord of the Admiralty Private W. T. Colyer, Artists’ Rifles Lance Corporal Coulson, London Rifle Brigade Cyril Drummond, Royal Field Artillery Corporal John Fergusen, Seaforth Highlanders General Sir John French, British Expeditionary Force Count Gleichen, Brigadeir General, 15" Brigade Captain Sir Edward Hulse, Scots Guards Hugo Klemm, 133rd Saxon Regiment Maurice Laurentin, commandant 6e compagnie Francis Edward Ledwidge, Royal Inniskilling Fusiliers Geoffrey Lillywhite, Royal Engineers George Littlefair, Durham Light Infantry Private Tom Macdonald, 9 Batalion Royal Sussex Regiment Patrick MacGill, London Irish Regiment Lt. General C.F.N. Macready, British Army Private Peter McGregor, 14" Battalion Argyle and Sutherland Highlanders Albert Moren, 24 Queen’s Regiment Sgt. G. H. Morgan, Royal Warwickshire Regiment Oberstleutnant Johannes Niemann, 133 Royal Saxon Regiment Wilfred Owen, Manchester Regiment Second Lieutenant Arthur Pelham-Burn, 6 Gordon Highlanders Private W.R.M. Percy, London Rifle Brigade Pope Benedict XV Private Edward Roe, East Lancashire Regiments Jack Rogers, Sherwood Foresters Siegfried Sassoon, Royal Welch Fusiliers Captain Joseph Seward, 17th Bavarian Regiment Private Frank Sumpter, London Rifle Brigade Private Jack Sweeney, 1* Batallion, Lincolnshire Regiment G. T. Forrestier-Walker, Brigadier General H.GR. Williams, London Rifle Brigade Henry Williamson, London Rifle Brigade Frank and Maurice Wray, London Rifle BrigadeTHE SONGS PROLOGUE Will Ye Go to Flanders? Scottish Traditional PART I: THE OPTIMISTIC DEPARTURE Come on and Join (Alexander’s Ragtime Band) Music: Irving Berlin, Words: Anonymous God Save the King English Traditional Good-Bye-Ee RP. Weston and Bert Lee PART II: THE GRIM REALITY It’s a Long to Tipperary Jack Judge and Harry Williams Les Godillots Pau! Briollet and Eugene Rimbault Pack up Your Troubles in Your Old Kit Bag George Henry and Felix Powell The Old Barbed Wire English Traditional I Want to Go Home Lieut. Gitz Rice When this Bloody War is Over Music: Charles Crozat Converse (What a Friend We Have in Jesus) Words: Anonymous Raining, Raining, Raining Music: John B. Dykes (Holy, Holy, Holy) Words: Anonymous Deutschlandlied Franz Joseph Haydn Keep the Homefires Burning Ivor Novello O Come, © Come Emmanuel 12 Century Chant PART II: CHRISTMAS Christmas in the Camp Harrington and Scott ‘We Wish You a Merry Christmas English TraditionalPART III: CHRISTMAS (CONT'D) Die Wacht Am Rhein Christmas Day in the Cookhouse © Tannenbaum (O Christmas Tree) Stille Nacht Angels We Have Heard on High Eris een Kindeke geboren Un flambeau, Jeannette, Isabelle The First Noel Ihr Kinderlein, kommet Wassail ‘Minuit chrétiens Will Ye Go to Flanders? (Reprise) Es ist ein Ros entsprungen Wie schén leuchtet der Morgenstern Good King Wenceslas Karl Wilhelm English Traditional German Traditional PART IV: THE TRUCE Franz Gruber French Traditional Flemish Traditional French Traditional English Traditional Music: Johann Abraham Peter Schultz Words: Christoph von Schmid Erick Lichte Based on Traditional English Texts Adolph Adam Scottish Traditional German Traditional Philip Nicolai Piae Cantionis PART V: THE RETURN TO BATTLE Aulde Lang Syne We're Here Because We're Here (Aulde Lang Syne) Scottish Traditional Music: Scottish Traditional Words: AnonymousEPILOGUE The Last Post English Bugle Call Stille Nacht (Reprise) Franz GruberThe music of All is Calm is composed into suites. This allows the show to flow from one piece into the next without having to repitch each song. The score has been marked with a note in parenthesis (Pitch F#) where someone in the cast needs to reset the pitch. It is recommended that tuning forks are used so as not to disrupt the show with the sound of a pitch pipe. ‘Also, solos are assigned in the score to specific actors only as a suggestion. Directors should feel {free to assign solos and parts based on each individual cast.ALLIS CALM Will Ye Go to Flanders (Scottish Brogue) By Peter Rothstein itch: C) Scottish folksong ‘Simple, freely, optimistically, as an invitation =50 ‘arr, Erick Lichte ACTOR I: ™P (solo) a Will ye go to Flan - ders a Baritone (Bass part should emulate a bagpipe open vowel continually, {ah and eres fo m.4l checking in with vowel markers along the way.) L a my Mal-ly 0? There well get wine and bran + dy and sack and super can = dy z In tempo, marcato, proud — m of Me 1 = Will ye go t0 ™ Bar- Will Ye Go to Flanders - 1 1 ¢ S 0? They'll gfe the pipes a blaw wi their plaids and kits so SS ‘wi thei plaids and ‘its so (ot,- Will Ye Go to Flanders - ALLIS CALM nw f 1 ny Le ™ ny Nr Be, i © and see the chief com-mand = ders my Mal- ly 0? Yell see the bul-les St B ) — ACTOR: 8 — Pa a and the Ia - dies how they PP ‘ly and the sod jers how they bs aS fly and the sod-jers how they= Will Ye Go to Flanders - ALLIS CALM Za my Mal - ly 0 snd join the bold Hei-lan - des my___ Mal-ly 0? Yell — my Mal - ly 0 ye gow Flan - = dew? Yell Dear the cap-tnins cal - lin! and see the sar - geanis craw = lin! and a! the sod-jers fal lin.= Will Ye Go to Flanders - ALLIS CALM my Mal = yO, my Mal - y 0, ny Mal - yy attacca [GO #2]ALLIS CALM 2 amt Erick Lichte Come on and Join (Working Class British) Repeat as needed until ee line of "Fall in” This may happen anywhere depending on timing of tines Then go attaca into God Save The King ‘Tenor = Baritone come on and join come on and join Lord Kitch-nee's ar - Bass im dum dum dum dum T& Bar Come on and join come on and join Lord Kitch-ners ar~ 3 dum dim dum dum dum dum dum dum dum dum . T& Bar : vy eth aw pmvpm wot teerygm ton mt 3 dum dum dum dum dum dum dum dum dum dum »ALLIS CAL: Come on and Join IS CALM [Over mm. 1-12, second time & all repeats] ACTOR 9 (British Working Class): Britons, Kitchener wants you! Join Your Country's Army! God save the King! ACTOR 8 (Standard British): Your King and Country Need You! A call to arms! An addition of 100,000 men is immediately necessary in the present grave National Emergency. ACTOR 8, ACTOR 9: God save the King! ACTOR 7 (British Upper Class): Old Public School and University Men’s Committee makes an urgent appeal to their fellow Public School and University men to enlist at once. ACTOR 7, ACTOR 8, ACTOR 9: God save the King! ACTOR 4 (British Working Class): Down with the Germans, down with them all! © Army and Navy, be sure of their fall! Spare not one, the deceitful spies, cut out their tongues; pull out their eyes! ACTOR 4, ACTOR 7, ACTOR 8, ACTOR 9: Down, down, down with them all. ACTOR 9 (British Working Class): Your army is still calling! Fighting men! Fall in! [co #3]ALL IS CALM God Save the King 3 (Upper Class British) . Erick Licht Upper class British accent ¢=140 (in one) arr, Erick Lichte Fax: Tenor 1 % : ‘ God save our grac- ious King, long live our Sf no - ble King, God save the Tenor 2 God save our gracious King, long live our no - ble King, God save the King. tf Baritone 2 God save our gracious King, long live our no - ble King, God save the King. Bass God save our gracious King, long live our no - ble King, God save the King, 7 Tl ‘Send him vie -tor-i-ous, ap-py and glor--i-ous, long to reign o- ver us God save the King T2 Send him vie -tor -i-ous, hap-py and_glor~i-ous, long to reign 0 ver us God save the King ~ ‘Send him vie -tor-i-ous, hap-py and glor-i-ous, long to reign o- ver us God save the King. ~ Send him vie -tor-i-ous, hap-py and glor-i-ous, long to reign 0 ver us God save the KingALLIS CALM God Save the King (Repeat 3x, ending should time out with "Cameron Highlanders” ‘first two repeats should be marcato, second time legato but in tempo.)ALLIS CALM God Save the King [Over mm. 15-28] ACTOR 3 (Standard British): You can’t imagine the war fever in those days. Everyone thought we would beat the Germans - the war would be over by Christmas. I wanted to be a soldier ~ wanted to fight for England so I went with my friends to the Duke of York’s Headquarters in Sloane Square and enlisted. = Dick Barron, 2"4 London Mounted Brigade ACTOR 10 (British Working Class): I wished to goodness I were in the Army. I felt restless, excited, eager to do something desperate for the cause of England. And then the impulse came, sending the blood tingling all over my body: why not join the Army now? A great and glorious suggestion. I might not be too late. - Private W. T. Colyer, Artists’ Rifles ACTOR 1 (Scottish): I think it was excitement more than anything that made me join up. Ilived in the country and there were not many boys my age, so I thought it would be nice to be with a lot of lads on something of a picnic, because we all thought the war would be over by Christmas. ~ Robert Burns, 7!" Queens Own Cameron Highlanders [SINGING OUT] ALL (Standard British): | swear by Almighty God, that I will be faithful and bear true Allegiance to Hlis Majesty King George the Fifth, and that I will, as in duty bound, faithfully defend His Majesty against all enemies, and will observe and obey all orders of the Generals and Officers set over me. So help me God. [Go #4] 10ALLIS CALM Good-bye-ee! (Upper Class British) 4 Allegro 2=80 R.P. Weston and Bert Lee (clipped and staccato, arr. Erick Lichte ACTOR 2: almost in the style of Noel Coward) solo Bass Broth - er Bert-ie went a - way todo his bit the other day, with a B smile on his lips and his Lieu-ten-am's pips on his should-ers bright and gay. As the train moved out he » rit B sid, -ber me to all the birds!" Then he wagged his paw and went a-way to war, shout-ing a atempo fout these path-et - ie words: Good - bye-2ee__ Good ~ bye-eoe wipe the tear bab-y dear fiom your eye-ec though i's hard to part I know, how I know Ill be tear bab-y dear fiom your eye-eee_ though is hard to part I know. Tl be 2” 3 tick-led to death 10 go. ont sigh-co there's a sil-ver lin-ing in the 7 Hick-Ied to death to go . Dost ery-ece—_—dontt_sigh-oee__ there's a sil-vor lin-ing in the "ALLIS CALM Good-bye-ee! sky-ee— Bon - soir old thing, Cheer-i- 0 chin chin Na - pooh tood-le loo Good bye-ee. doo doo sky-ee_ Bon - soir old thing Cheer-i - 0 chin chin Na - pooh tood-le loo Good - bye-ee doo do doo ete. 2ALL IS CALM Good-bye-ce! [Over mm. 33-56] ACTOR 6 (British Working Class): All the villages en route were out to welcome us and say farewell. Among them was an old aunt of mine, my Aunt Fliza, who I was very pleased to see. When the time came to march off I threw my arms around her and said ‘Good-bye Aunt Eliza.’ This was heard by my pals and they all took up the cry, ACTOR 2, ACTOR 7, ACTOR 8 (British Working Class): ‘Good-bye Aunt Eliza, good old Aunt Eliza’ ACTOR 6 (British Working Class): The old lady was laughing and crying. She never forgot that farewell. - Tom MacDonald, Royal Sussex Regiment [GO ON TO pickup to m. 57 "Don't dont sigh-ee there's a sil ver lin- ing in the sky-ce_ exy-ee_ don't there's a silver lining in the skye Bon = soir old thing, Cheer -i- 0 chin chin Na - pooh tood - le-loo Good - bye-er, soir old thing, Cheer - i - 0 chin chin Na - pooh tood - le loo Good = bye-ee. ACTOR 3 (Standard British): The whole of the ship’s company from the top deck right down, including ourselves, suddenly burst into song. [Go #5] 13ALLIS CALM It's a Long Way to Tipperary 5 British Lower Class) Optinisicaty <0 amr Erick Lichte Tenor 1 ‘Tenor Ws 8 bog way Tipper = at - y its a long way © @ lis 8 long wy Tipper sae sy to the sweet et gil oT know Good = bye Pic-ca = dil - iy fae ~ well Leics = serALLIS CALM It’s a Long Way to Tipperary 18ALLIS CALM It’s a Long Way to Tipperary [Over mm. 17-32, first time] ACTOR 3 (Standard British): Up to then the whole thing had been most enjoyable, but my heart stood still. I suddenly realized that this was warfare - I may not return, you know. It had been a field day up till then, I enjoyed everything, but now we were on our way. - Dick Barron, 2"4 London Mounted Brigade (st sie acct, nde legato and more tender but same temp} 16ALLIS CALM It’s a Long Way to Tipperary [Over mm, 17-32, second time] ACTOR 10 (British Working Class): Nothing could have been more romantic than our passing out into the open sea. The moving boat left a visible track on the calm water, which seemed to stretch right back to the shore, as though to remind us that we could never be entirely cut off from the dear land of our birth. Good-bye, good ol England, good-bye! - Private W. T. Colyer, Artists’ Rifles 7ALLIS CALM I's a Long Way to Tipperary Foe = well Leice - ster Square, is a tong, dong way Tip = per [SEGUE TO #6] 8ALL IS CALM Les Godillots 6 arr. Erick Lichte Rich, proud and full J= 120 S actors: ALL: Voice La haut sur la col-lin-e lest un jo-li moul-ti. La haut sur ta col-in-e lest un jo-Ii moul-lin. Leg Slaps (Actors) ALL: 5. ACTORS: qui hab-ite est un char-mant_blon- din. Ye Meun-ier qui bab-ite est un char-mant blon-din, Le Meun- Leg Slaps repeats necessary fading (bon by xe “ad ou begin ear) 8 Les god-il- lots sont lourds dans sac. ‘Leg Slaps Leg Slaps “Translation {(Atthe top ofthe hill i a nice mill. ‘The miller who lives there is a charming blond. ‘The boots are heavy in the bag. TyALLIS CALM Les Godillots [Over mm. 9-12] ACTOR 2 (Standard British): When we went up it was pouring with rain, I remember, raining hard. We had no idea what we were going into, we were just on foot, marching, laden with all our equipment, all you could carry, and suddenly you begin to see the sky, lighting up, flashing, flashing, flashing, and you begin to hear the noise of the guns. You know you are getting near. ~Jack Rogers, Sherwood Foresters [co #7] 20Tenor | Tenor 2 Baritone Bass ALL IS CALM Pack Up Your Troubles in Your 7 Old Kit Bag art, Brick Lichte British lower class [Over mm. 1-16] ACTOR 4 (British Working Class): Well, dad, Ihave been in the trenches from last Friday until Tuesday and would have enjoyed it very much only for the rain, which made us look like Mudlarks. We had a few narrow escapes - last Sunday the Germans sent us a few presents from the Kaiser, they were shrapnel shells or as we call them Jack Johnsons, they came very near our trenches but never hurt anybody, and the boys were laughing every time one bursted, there seems to be no fear in the old LincoIns, No one seems to realize it is active service. PS, We get a nice Drop of Rum every day. - Private Jack Sweeney, 1* Battalion, Lincolnshire Regiment tek: D) Moderato (Jc. 108) PALL: legato foo 100 foo ete 2ALL IS CALM. Pack Up Your Troubles in Your Old Kit Bag HOLD until: "- Private Jack Sweeney, 1* Battalion, Lincolnshire Regiment” [ONTO m.17] a 13 Tl T2 Allegro (=c. 82) vf Tl your tou «es T2 yur troub - les your troub - les Pack up your troub- les in your old kit bag and smile, smile smile 2ALLIS CALM Pack Up Your Troubles in Your Old Kit Bag 2 while youve a lu-i- fer t light your fag, smile boys that’s the style, worth - while Whats the use of wor-1y- ing? It nev - er was worth = while, So yur troub = les peck up your troubles in your old Kit bag and smile smile smileALLIS CALM Pack Up Your Troubles in Your Old Kit Bag . [Over mm. 33-48, first time] ACTOR 7 (British Upper Class): There are the greatest rats in the trenches that you ever saw. They are so tame they won't run away but just toddle along in front of you just out of reach. ‘One of our men went up to one the other day and kicked it like a football. ~ Second Lieutenant Geofiey Lillywhite, Royal Engineers 33, P staccato, playful TI : 72a ALLIS CALM Pack Up Your Troubles in Your Old Kit Bag [Over mm. 33-44, second time] ACTOR 5 (Scottish): I had a lice hunt this forenoon and oh my I caught thousands ~ quite big fat ones ~ and wee fellows - they get into the folds of your kilt, down the seams of your shirt - the devils, how they get there I don’t know - nothing kills them ~ powders etc. have no effect, the only way is to heave a few Rum Jars at them. - Private Peter McGregor, 14" Battalion Argyle and Sutherland Highlanders (ries second time only) pick up your twoub- les in your old Kit bag and smile smile smile (8. "Barbed Wire" begins on downbeat of. 48 second time: these songs overlap for one bar) 5The Old Barbed Wire 82 Tenor 1 ‘Tenor 2 smile ACTOR 10: Som Baritone Bass 1 know where he is 1 know where he is 1 know where he is 1 know where he is Tl T2 1 know where he is want British working class to find the sar - gent-maj - or now where you I ALLIS CALM 8 arr. Brick Lichte know where he is the sar- gent-maj = oF the sar gent-maj - or the squad - dies! thigg, = int all the squad = dies!The Old Barbed Wire ALLIS CALM seen him Ive seen him thiev - in’ all the squad - dies the squad - dics! in) all the squad - dies’ mim Te seen him thiew ~ in’ all the squad - dies’ ram want to find the buck shee Pri - vate 1 know where he is a 1 know where he isTl 72 11 12 Tl ‘The Old Barbed Wire ALLIS CALM » fhe buck - shee pri vate 1 know where he is if you want to find the buck-shee pri- vate I know where he is I know where he is if you want to find the buck-shee pri- vate know where he is 1 know where he is if you want to find the buck-shee pri vate [know where he is rit 2 Bur - ied in a deep shell hole Wwe seen him Ive seen him bur - ied ina deep shell hole Ive seen him 8The Old Barbed Wire ALL IS CALM 2 bu atin a deep stall toe [In the clear] ACTOR 6 (British Working Class): At night we would be on sentry, head and shoulders above the trench gazing into No Man's Land, which was lines of tangled barbed wire in front of our trench and also in front of the Germans. Only yards at times separated us. In fact so close you could hear a chap coughing, - Private Tom Macdonald, 9*" Battalion Royal Sussex Regiment ACTOR 4 (British Upper Class): Five minutes ago I heard a sniper fire. Why did he do it? Starlight overhead - Blank stars. 1'm wide awake; and some chaps dead. - Siegfried Sassoon, Royal Welch Fusiliers [ON TO pickup to m. 31] they are 1 you want to find the whole bat-tal - lion 1 know where they are 2The Old Barbed Wire ALL IS CALM 33 Tl F sow whore they are 1 know where they are If you want to find the whole bat-al - lion 2 z Fy oow where they are 1 know where they are If you want to find the whole bat-l - lion B 1 know where they are 1 know where they are If you want to find the whole bat-al - tion B I know where they ere 1 know where they are If you want to find the whole bat-tal - lion the old 1 know where they are hhang - int on the old barbed wire Ive Tl T2 seen em Ive seen ‘com bang - in’ on the old barbed 30The Old Barbed Wire ALL IS CALM val 2 wire Tve seen [in the clear] ACTOR 1 (British Working Class): Joe and I We were a pair of good pals, We shared everything down to the paper and pen we needed to write home with and the blacking to polish our buttons, we were like that. It was long distance shelling that got him. Joe had one fault, he was too careless, he stood up instead of keeping down in the trench, he stood up and a lump of shrapnel got him. Poor Joe. He moaned. I wanted to attend to him but I couldn't. I just said that the stretcher bearers were coming, they’d take him away. He'd already gone over when they came. I never touched anything he had, you know, to remember him by, I let it all go with him. That was me pal gone and I was too full to speak to anybody after that. [never palled up with anybody else, not after you got that feeling. - George Littlefair, Durham Light Infantry [Go #9] 3tALLIS CALM I Want to Go Home 9 (British Lower Class) arr, Erick Lichte Pitch: Fe) Fea tempo i igh wat singsmetyand simply o=52 Pau: Tenor 1 whize-bangs and shrap-nel_a Tenor 2 whize-bangs and shrap-nel_ a Baritone vwhize-bangs and. shrapnel Bass. 1 want 0 go home 1 want fo go home. the whize-bangs and shrap-nel_ a 1 deat want this old war = ny moreALLIS CALM I Want to Go Home Toke me far oer the sea__ where the AN- Je-man can-not get me get me don't want 38ALL IS CALM 1 Want to Go Home [Over mm. 17-28] ACTOR 9 (Standard British): ‘War broke: and now the winter of the world With perishing great darkness closes in For after spring had bloomed in early Greece ‘And Summer blazed her glory out with Rome An autumn softly fell, a harvest home . .. But now, for us, wild winter, and the need Of sowings for new spring, and blood for seed - “1914” by Wilfred Owen, Manchester Regiment 34ALLIS CALM 1 Want to Go Home » rit xf «bit faster, bt more surley TL 72 OF my 1 dont want de, 35ALLIS CALM T Want to Go Home pri vate won't get you so ‘Take me fir oer the oh ay, want to go home, (SEGUE to #10] *NOTE: m. 47 overlaps with m. 1 of next song 36ALL IS CALM When This Bloody War Is Over/ Raining, Raining, Raining '10| (Working Class British) arr, Brick Lichte Freely, with sarcastic energy 4-108 Tenor? |F Baritone |= Bass m1 ff SWhen 1 get_omyci-wy thes on chow up-py we salle‘When This Bloody War Is Over ALLIS CALM But the fame is in the god = room, andthe med-als made of tin, ACTOR 10 (Scottish): We were in the trenches on iron rations, and were due to leave the line, when some bright spark at Divisional Headquarters said,Tl 2 When This Bloody War Is Over ALLIS CALM ACTOR 10 (Scottish) CONT'D: “Oh, keep the men on iron rations when they come out on rest.” And why was that? Oh, it was to “Make the men hardy, don’t you know.” Now this was winter, November, well, the men didn’t like this at all and they stuck a notice up and it said, “No hot rations, no f***ing fight.” ~ Andrew Bowie, Queens Own Cameron Highlanders ————— = —#-* = a Pee ——— ———— ee a ———— ae =———= 2‘When This Bloody War Is Over ALLIS CALM (all enter staggered and slightly mess) a, dens ie tatty msn) al Grout - ing, grous = ing, gousTl 72 ALLIS CALM ‘When This Bloody War Is Over [Over mm. 40-47] ACTOR 4 (Standard British): Dearest Mater, With a hey-ho, the wind and the rain The rain it raineth every day Except when it’s snowing - Captain Harry Yoxall, King’s Royal Rifle Corps 0,” —— i f f f ; too too - mp = Sa Ss ooo a‘When This Bloody War Is Over ALLIS CALM 4, t te TI — = ze = ? f al = ways blood = y well rain = ing. f — T2 = SS —= : $ Z = ; in - ing, in - ing, min = ing a> aye Mandy wel raining a 2 2 eo — B | Dette z —— ¥ Tin = ing, in ing, rain = ing d= ys Body wernt = ig f. = a B Se —— ——S} fain ~ jag rain = ing, rin = ing ak = ye Bnd = y wel rin = ing rain - ing all the = morn ACTOR 8 (BRITISH UPPER CLASS) The heavy rain has almost flooded the trenches, particularly in the neighborhood of Ploegsteert. The Germans are suffering as much as we are! The men in the trenches say the Saxons call across to them and say they ‘have had enough of it!" ~ General Sir John French, British Expeditionary Force‘When This Bloody War Is Over ALLIS CALMWhen This Bloody War Is Over ALL IS CALM the clear] ACTOR 2 (Standard British): During the winter of 1914 it was not unusual for little groups of men to gather in the front trench, and there hold impromptu concerts, singing patriotic and sentimental songs. The Germans did much the same... [Go #11] 44ALLIS CALM Deutschlandlied (some productions may opt to have only Germans sing) ACTOR 2 (CONT'D): and on calm evenings the songs from one line floated to the trenches on the other side, and were there received with applause and sometimes. calls for an encore. arr. Erick Lichte - Official History, 6 Gordon Highlanders PdJ=10 ‘Tenor Deutsch - Jand Deutsch-land W- ber al - les b-er al-les in der Welt P Bass + Baritone Deutsch - land Deutschland ber al - les b-er al-les in der Welt 5 . ~ T von der Maas bis an die Me-mel von der Etsch bis an den Belt Deutsch-land Deutsch-and B+B von der Maas bis an die Me-mel von der Etsch bis an den Belt Deutsch-land Deutschland 10 5 : Toes. ae ~ T = ber alles Ger al- les in der Welt Deutsch-land Deutschland i - ber al - les a : PN B+B = ber alles i ber al - les in der Welt Deutsch-land Deutsch-land @ - ber al - les x a a as — T B+B a+ br al es in dec Welt ACTOR 5 (British Working Class) Bravo, Fritz, Bravo. (‘Bravo Fritz" begins on fermata. 6 Hold fermata until "Keep the Homefires" begins There should be some overlap to the songs.)ALLIS CALM Keep the Home Fires Burning 12 (Standard British) 62 art. Erick Lichte mp Tenor 1 year ~ ing though your lads are Keep the home-fires mp ‘Tenor 2 Keep the home-fires bur - ing while your hearts are year ~ ing though your lads are mp Baritone 2 Keep the home-fires bum - ing while your hearts are yearn ~ ing though your lads. are mp Bass Keep the home-fies bum - ing while your hears are year - ing though your lads. are There's a sil-ver fs through the ask There's a sil- ver There's a sil- ver far a-way they dream of home. There's a sil-ver lin - ing through the dark clouds in = side - out the dark cloud shin = ing tum the dark cloud in side - out ‘il the boys come 46 homeKeep the Home Fires Burning AL ISCALM lover mm. 17-24] ACTOR 5 (British Working Class) Dear Son, Cheer up and look after your mother for dad. Say your prayers for me every night so dad will come back to you. Bless you and Good night. Dad, a7ALL IS CALM Keep the Home Fires Burning [over mm. 25-32, first time] ACTOR 7 (British Working Class): This is a red-letter day. My parcel came this morning with a tin of peaches, loaf and butter, fish paste, tobacco, sleeping helmet, chocolate, a pair of socks and a towel. Had peaches for sweet at dinner and fish paste for tea. Grand. - Private Frank Bass, 9"" Battalion Norfolk Regiment [over mm. 25-32, second time] ACTOR 3 (Irish): Lwish the sea were not so wide ‘That parts me from my love, wish the things men do below ‘Were known to God above. I wish that I were back again In the Glens of Donegal, ‘They'll call me coward if Ireturn, Buta hero if I fall. Patrick MacGill, London Irish Regiment &Keep the Home Fires Burning ALLIS CALM [in the clear] ACTOR 9 (British Upper Class): What would happen, I wonder, if the armies suddenly and simultaneously went on strike and said some other method must be found of settling this dispute? - Winston Churchill, First Lord of the Admiralty. November, 1914 [co #13] 49ALL IS CALM O Come, O Come Emmanuel [over mm. 4-19] art, Erick Lichte ACTOR 8 (Italian): In the name of the Divinity, I beseech thee to cease the clang of arms while Christendom celebrates the Feast of the World’s Redemption. - Pope Benedict XV. December 7th, 1914 ACTOR 2 (Standard British): The German leaders accepted the Holy Father's appeal for a cease-fire at once, but the leaders of the Allied Forces did not. The Pope's request for the signing of a Christmas truce was arrogantly rejected. Voice abruprly cut off on cue "friendly intercourse” [in the clear] ACTOR 4 (British Upper Class): With great authority) Friendly intercourse with the enemy, unofficial armistices and the exchange of tobacco and other comforts, however tempting and occasionally amusing they may be, are absolutely prohibited. -G.T. Forrestier-Walker, Brigadier General. December. 1914. (The following is a bogus radio broadcast from 1914; we should hear an insincerity in the schmaltz transitioning to something more sincere with “We Wish You a Merry Christmas.”) ACTOR 6 (Standard British): Dear Mothers of England, your soldier sons send their fond love to you overseas this Christmas Day in the chorus we now unite in singing: [GO #14] 50ALL IS CALM Christmas in the Camp / 14 We Wish You a Merry Christmas slighty over-the-top posh British radio accent art. Erick Lichte ACTOR 3: oe) Ef onde Voice ed ‘round the camp fire on a Christmas Day a band of Britsish sold-iers in a ¥ fn the dear home - land STANDARD BRITISH: wish them merzy Christmas and take them by the hand As the camp-fire burs ev'ry sold-ier yeams for the ae ones fra uty Got Wes mother ier snr trther at home om Chistnas Allegro (in 1) 16 d.=60 day We wish you a merry Christ mas we = wish = you mer -ry Christ-mas we wish you a mer-ry Christ- mas and 2 ap py new year doo. stChristmas in the Camp / ALLIS CALM We Wish You a Merry Christmas [Over mm. 25-32, repeat as needed] ACTOR 2 (British Upper Class) December 24, 1914, Thave got a select little party together who, led by my stentorian voice, are going to take up position in our trenches where we are closest to the enemy, about 80 yards, and from 10 PM. onwards we are going to give the enemy every conceivable song in harmony, from carols to ‘Tipperary’ .. . My fellows are most amused with the idea, and will make a rare noise when we get at it [Go #15] 2 repeat as needed fad out om cue “when we get oti” ‘Tenor BarALL IS CALM Die Wacht am Rhein 15 ("same productions may opt to only have Germans sing) arr, Erick Lichte [Over mm. 1-9] ACTOR 2 (CONT'D): Our object will be to drown the now too-familiar strains of “Deutschland uber Alles’ and the ‘Wacht am Rhein’ we hear from their trenches every evening. - Captain Sir Edward Hulse, Scots Guards d=10 PALL: Tenor wie Schwert-ge - Kir und Wo = gen-prall: zum PALL: Baritone Es braust cin Ruf wie Don - ner-hall wie Schwert-ge - klir und Wo = gen-prall:- zum PALL: Bass Es brst cin Ruf wie Don - ner-hall wie Schwer-ge - klir und Wo = gen-prall: mam Rhein, zum Rhein, zum Deutsch-en Rhein! wer will des Stro-mes Hi-ter sein? Lie Va - ter-and magst Rhein, zum Rhein, zum Deutsch-en Rhein! wer will des Stro-mes Hi-ter sein? Lieb Va - ter-land magst Lieb Va - ter-land magst Rhein, zum Rhein, zum Deutsch-en Rhein! wer will des Stro-mes Hi-ter_ sein?ALLIS CALM Die Wacht am Rhein ("Scots Guard” ends on m. 10) wo ‘mu hig sein lieb Va - terland magst ru - hig sein fest steht und treu die Wacht die Wacht_ am ru ~ hig sein Tied Va - terland magst ru - hig sein. fest stebt und treu die Wacht die Wacht am ‘hig sein lied Va - ter-land magst ro - hig sein fest steht und treu die Wacht die Wacht am Rhein! fest sieht und tren die Wacht, die = Waelt_ am Rein! [Over mm. 10-18] ACTOR 6 (German) (Shouting across No Man's Land) Frohe Weihnachten, Tommy! ACTOR 5 (British Working Class) And a Happy Christmas to you, Fritz! ACTOR 10 (British Working Class) But dina’ o’er eat yourself wi’ they sausages! (Translation: Don't over stuff yourself with all those sausages!) (Laughter) ACTOR 8 (German) Hey, Tommy, come over here! ACTOR 10 (British Working Class) Come over here yourself! [#16 BEGINS ON DOWNBEAT OF m. 20]ALLIS CALM Christmas Day in the Cookhouse 16 (Working Class British) ACTOR 4: arr. Erick Lichte S pets wn lly e482 Fe 2 eee eer = It was Crist-mas day in the cook-house the hap-pi-est day of the year men's. 4 Fears were fll of glad-ness and ther belies full of beer when in came Private Stor-house his [Over m. 7] ACTOR1 What did he say? a face as bold as bass saying we dont want your Christmas pudding, you can stick it up your. ACTORS: d=120 (solo) 10, yg ALL: orlando Tidings of com -fort and joy comfort and joy oh tid ings of comfort and joy. It was ¥ Christ-mas day in the har = em the eun-ichswere stand - ing ‘round and Iunereds of beawsisul women were stretched out on the ground when in came the lordly sultan gazing w ma? 8 on his might-y halls saying ~whatdo you want for Christ-mas boys? andthe cun-ichs answered... 2 ALL: d Tidings of com - fort and joy comfort and joy oh tid - ings of com - fort and joy. ['#17 BEGINS ON m,. 24 beat 2] 55ALLIS CALM O Tannenbaum 17 (*some productions may opt to only have Germans sing on verses) German Carol arr. Timothy C. Takach (2007) —— 7» ‘Tenor ‘Tan-nen - baum, wie treu sind dei - ne ? ——_ » © Tan-nen = baum, © Tan-nen-baum, 0 —Tan-nen-baum, wie treusind dei - ne T Tan-nen - baum, wie treu sind B Blt - ter! ° Tan-nen-baum, 0 Tan-nen-baum, wie treusind dei - ne 1 Blat - ter! Du grinstnicht mur zur Som-mers- zeit, nein auch im Win B Blat - ter! Du grtinsinicht nur mir Som-mers-zeit, nein auch im Win - ter, 1 Tan-nen-baum, 0 Tan-nen baum, wie treu sind dei - ne = wennes schneit. O Tan-nen-baum, wie treu sind dei - ne wennes schneit, O Tan-nen-baum, o___ 56ALLIS CALM [Over mm. 17-25] ACTOR 7 (French) Midnight. We arrive in single file, all quiet in line, The Germans opposite are singing, the Christmas carol is cut up by rifle fire, Poor little God of Love, born in this night, how could you ever have loved mankind? - Maurice Laurentin, commandant 6e compagnie Blat - ter! Blit - ter! 00... 87ALLIS CALM Tl ‘Tan-nen - baum, du kannstmir sehr ge - fall - ent B Tan-nen-baum, o—. Tan-nen-baum, du kannstmir sehr ge - fall - ent ° TI Tan-nen-baum, 0 B Tan-nen-baum, o— Tan-nen-baum, du kannstmir sehr ge - fall__ en! = Wie ue ————_ of Tl : oft hat nicht zur Weilnachts-zeit ein Baumvon dir mich hoch er-freut! O ———_ 12 ‘oft hat nicht zure Wei-nachts-zeit ein Baumvon dir mich hoch er-freut! B ‘oft hat nicht zur Weihnachts-zeit ein Baumvon dir mich hocher freut! O__ n du kannst mir sehr B Tan - nen-baum, du kennst mir sehr ge 58 Tan - nen-baum, 0.fall-en! Oo, 59ALLIS CALM. [Over mm. 41-57] ACTOR 8 (German) Then at darkness we marched forward to the trenches like Father Christmas with parcels hanging from us. All was quiet. No shooting. Little snow. We placed a tiny Christmas tree in our dugout~ the company commander, myself, the lieutenant, and the two orderlies. We placed a second lighted tree on the parapet. ~ Hugo Klemm of the 133rd Saxon Regiment ACTOR 3 (Standard British) Like the footlights of a theater. It was a beautiful moonlit night, frost on the ground, white almost everywhere; and there was a lot of commotion in the German trenches and then there were those lights - I don’t know what they were. And then they sang, “Stille Nacht” [GO #18] 60Silent Night Koab - © im lock - i-gen Haar, Schlaf in himm-liseh-er Ruhl 2 —_ Bar. Scblar in him = mlisch-er Ruht etALL IS CALM Im strict tempo 4=70 ALL: PP homing and distant 25 T 8 n + tes schlaft Bar B Si = emt night Ho = Wy night All is calm all is bright ‘round yon vir = gin mo ther and child Ho - Bar,ALL IS CALM [Over mm. 1-24] ACTOR 3: shall never forget it. It was one of the highlights of my life. ~ Albert Moren of the 2nd Queen’s Regiment ACTOR 1 (British Working Class): Looking out over the parapet, we could see that he had left his trench and was standing on the top bank, in the open and in full view. Hee then walked towards us and stood in the middle of No Man’s Land. He either had full confidence in the Christian spirit of Christmas Day, or was completely round the twist but, whatever it was, we admired his guts. [Over mm, 25-48] ACTOR 1 (Cont'd): One of our company followed suit and went out to meet him and there they were, shaking hands like a couple of long lost school chums. It was unbelievable. In no time at all, a whole crowd of Germans had left their trench and gathered around the two of them, where eventually, the whole of my company assembled. - Sgt. GH. Morgan, Royal Warwickshire Regiment ACTOR 9 (German): They came out of their trenches and walked across unarmed. What were ‘our men to do? Shoot? You could not shoot unarmed men. - Count Edward Gleichen, Brigadier General, 15th Brigade ACTOR 10 (British Working Class): Then one German took a chance and jumped up on top of the trench and shouted out ‘Happy Christmas, Tommy!’ So of course, our boys said, ‘If he can do it, we can do it’ and we all jumped up. A sergeant-major shouted ‘Get down!’ but we said 'Shut up, Sergeant, it’s Christmas time!" (- Private Frank Sumpter, London Rifle Brigade) 68ALLIS CALM. 1 Sebi’ inbinm shea Seblat in himm = ich et mb a = be Step inbeev-encly peace 5 Sleep inheav - en-Iy peace Sleep in heaven = ly peace PSTANDARD BRITISH: Ww = night Si = lent night n All is calm, All is bright Round yon All is calm, All is bright Round yonALLIS CALM virgin mo-ther and child Ho = ly im fim so ten-der and mild, Sleep in_——sheaven = Ty peace Sleep in (optional solo or solos, trading phrases) 2 i 1Bar, Bar, n Bar ALL IS CALM night Shep = ends fist saw the ight Heard re = soun = ding, = c& sac-com lit eos, clear and strong ‘The words of the An = gel's song Peace on clear and stong The words of the An - gels song Peace onALLIS CALM is All AllALLIS CALM 14, f. oe =p 2 Al is calm all is Bright " [GO #19]ALL IS CALM Truce Medley (Standard British) arr, Erick Lichte @itch: DE Bb) J=u0 AL Tenor doo doo doo doo doo doo ete. staceato doo doo doo ete _ doo doo doo ete ___ ©2015 6‘Truce Section ALLIS CALM 70Truce Section ALL IS CALM. [Over mm, 1-27] ACTOR 2 (Scottish): Out of the darkness we could hear laughter and see lighted matches. Where they couldn’t talk the language they were making themselves, understood by signs. Here we were laughing and chatting to men whom only a few hours before we were trying to kill. (Corporal John Fergusen, Seaforth Highlanders) ACTOR 3 (British Working Class): ...very nice fellows to look at, they looked more like university students than soldiers, and one of them said, ACTOR 6 (German): We don't want to kill you, and you don't want to kill us. So why shoot?" (Cyril Drummond, Royal Field Artillery) ACTOR 8 (German): You are Anglo-Saxons; we are Saxons. We not want to fight you. ACTOR 4 (British Working Class): What about the Kaiser then old lad? What do you think of the Kaiser, eh? ACTOR 6 (German): Bring him here and welll shoot him for you. (Laughter) ACTOR 10 (British Working Class): One German said to me, ACTOR 1 (German): Do you know where the Essex Road in London is? ACTOR 10 (British Working Class): Yes, my uncle had a shoe-repairing shop there. ACTOR 1 (German): That's funny. There's a barbershop on the other side where I used to work. ACTOR 10 (British Working Class): They could all speak very good English, because before the war Britain was ‘invaded’ by Germans. Every pork butcher was German, every barber's shop was German, and they were all over here getting the lowdown on the country. I's ironic when you think about it, that he must have shaved my uncle at times and yet my bullet might have found him and his bullet might have found me. (Private Frank Sumpter, London Rifle Brigade) nTruce Section ALLIS CALM 8 tutti T ¥ is een Kind-e-ke ge - bor-en op ward Er is een Kinde-ke ge - bor-en-op ard tutti Er is een Kinde-ke ge - bor-en-op aard 2 T S secwam op de aar-de voor ons al-ie-maar ‘Kwam op de oar-de voor ons a-le-maardoo doo tutti B ‘tKwam op de aar-de voor ons al-le-maar.doo RTruce Section ALLIS CALM teh: A) loo aTruce Section ALLIS CALM [Over mm. 36-80] ACTOR 2 (British Upper Class): Every sort of souvenir was exchanged, addresses given and received, photos of families shown, etc. One of our fellows offered a German a cigarette; the German said, ACTOR 9 (German): Virginian? ACTOR 5 (British Upper Class): Aye straight cut ACTOR 9 (German): No thanks. I only smoke Turkish! (He laughs uproariously) ACTOR 2 (British Upper Class): It gave us all a good laugh. (Captain Sir Edward Hulse, Scots Guards) ACTOR 7 (British Working Class): I annexed a tin of raspberry from the sergeant's dugout and gave it to a stodgy and bespectacled Saxon. In return he gave me a eather case containing five cigars. (Private Edward Roe, East Lancashire Regiment) ACTOR 4 (British Working Class): In my mouth is a pipe presented by Princess Mary. . . In the pipe is German tobacco. Ha, Ha, you say, from a prisoner or found in a captured trench. O, dear, no! From a German soldier. Yes a live German soldier from his own trench. (Henry Williamson, London Rifle Brigade) ACTOR 5 (British Working Class): The prize souvenir however was a German Regulars Dress Helmet, the celebrated Pickelhaube. Our currency in this bartering was Bully Beef and Ticklers Plum and Apple so called jam. They asked for marmalade but we had not seen any ourselves since we left England (Frank and Maurice Wray, London Rifle Brigade) ™Truce Section ALLIS CALM [Over m. 36-80 cont'd] ACTOR 10 (British Working Class): One of the German officers took a photo of English and German soldiers arm-in-arm with exchanged caps and helmets. They were really ent in the whole thing, and jolly good sorts. I have now a very different opinion of the Germans. (Private W.RM. Percy, London Rifle Brigade) ACTOR 1 (British Working Class): We are having another truce on New Year’s Day, as, the Germans want to see how the photos come out! (They alt laugh after) (Captain A D Chater, 2nd Battalion Gordon Highlanders) ACTOR 3 (British Working Class): We all sang every song we could think of, a bonfire was lit and everyone walked about as though it were a picnic. (Lance Corporal Coulson, London Rifle Brigade) ACTOR 7 (British Working Class): The First Noel, O Tannenbaum, and O Come All Ye Faithful. I thought this an extraordinary thing - two nations both singing the same carol in the middle of a war. (HGR. Williams, London Rifle Brigade) 8sl - No- al, Truce Section No - el, No - el ALLIS CALM T 102, No - el, No - el No - a, No - el Bom is the King of Is - ra- el ihr Kind - er-lein kom-met, 0 kom met doch all! tutth © Come to the man - ger in Beth le-hems stall, and see, with re-joie - ing this glor - i-ous sight, our Father in heaven has uth und seht was in dies - er hoch heil - i-gen nacht, der Vat - er in Him-mel ftir sent us this night. doo doo doo. Freud-e uns macht.doo doo doo. 76‘Truce Section ALLIS CALM [Over mm. 97-110] ACTOR 2 (British Upper Class): Commanding Officer George Paynter arrived on the scene with a hearty, ACTOR 5 (Scottish): Well, my lads, a merry Christmas to you! This is damned comic, isn’t it? I've brought you over something to celebrate this funny show with. ACTOR 2 (British Upper Class): And he produced from his pocket a large bottle of rum, not ration rum, but the proper stuff. ALL: Whoo hoo!! ACTOR 2 (British Upper Class): One large shout went up, he uncorked it and, in a heavy, ceremonious manner, drank our healths - in the name of his Kameraden. (Captain Sir Edward Hulse, Scots Guards) [GO #20] 7ALLIS CALM Wassail Working Class British Erick Lichte (abways frolicking forward) dase of au: Tenor [Oe of Baritone of Bass A was-suil a was-sail all 0-ver the town, our toast itis white and our Bar 7 it is made ftom the white mp -le tee le it is brown our bowl it is made fom the while maple tree withthe was-sil-ing bowl we'll 78ALLIS CALM to her broad hom may God send our mas-ter a good emp of com A goad crop of com mf . = . 2 00 73ALLIS CALM a Pew T ere ist Fill-pail and to her Je ear pray God send our masters hep-py new year @ aoe B SS SSS SSS _—— whetwn whee woes nee T with the vasa =ing bowl well B happy new year as ere did see with the was-sall-iag bowl well drink un - to. thee heres to our mare and to. her right eye ae z. > Bar, B T with the was-sail-ing how! well drink un to thee >, > Bar, B = = E =ALLIS CALM 4 Abit slower and freely Bar Thee! Come but - er come fill, «us a fowl oftheALLIS CALM all A/ was-sil a was-sail all 0 vor the town our toast it is white and our mp al A was sail a was-suil all over the town our toast itis white and our T Bar from the white ma - ple tee withthe was-sal-ing bowl well - SS B ale it is brown our bowl it is made fiom the white ma ple tee withthe was-sil-ing bow! well “ Sf ot T = : dink unto thee a was-sail & was-sail allover the town our smast is white and our ale itis brown our bowl it is mide fom the white maple tee with he was-sull-ing bowl wellALLIS CALM drink wm = to Well - drink un = to thee rink un = to thee attacca Minuit Chretiens % ——4 Theo! Bar,ALLIS CALM 21 Minuit Chrétiens (key for this song may be adjusted for the soloist) arr. Erick Lichte [Over mm. 1-25] ACTOR 3 (Standard British): And then a voice from across the trenches near Polygon Wood; it was Victor Granier of the Paris Opera. The troops: English, French, German, forgot to fire while listening to that wonderful tenor voice. attacca from Wassail @iteh: G) d.=58 AcToR7: Pee . ky oe GOI a ete HH a T¥ t — * Min-uitehé-iess ett Theu-rel-Ien-nel ~~~ le Od Thom-me Dien des en- 4 =s 9 solo SS SS ee rei e . f—4 ¥ = it jun qu’ nous Pour ef - fie «er In teche or-i = gi-nel =~ le Bide sonALLIS CALM solo ‘molto rubato soloALLIS CALM ACTOR 8 (German): It was then possible to take note of many fallen comrades, both German and English, who had lain between the two lines under a blanket of snow, the result of a battle of the previous November between Jager from our Corps and the English. So in the grey light of dawn our platoon commander Lieutenant Grosse met an English officer and agreed to bury the dead behind the two lines. - Hugo Klemm, of the 133rd Saxon Regiment [co #22]ALLIS CALM Will Ye Go To Flanders (Reprise) 22 (Scottish Brogue) arr. Erick Lichte (Pers) edly siowly — ™ xenon, ‘Tenor Will ye go to Fland Voices ‘© lin’ and join the bold Hei land - ers my Mal-ly Yell hear the capetsins cal = = R a T = = See the sear-gants crawl - in, and all the sod-jers fall - ins my___ Mal’- ly 0. eee eeeALLIS CALM Will Ye Go To Flanders (Reprise) [Over mm. 18-33] ACTOR 4 (Standard British): This officer kept on pointing to our dead and saying, ACTOR 9 (French): Les braves, c’est bien dommage. ACTOR 4 (Standard British): Those brave men, it’s such a shame. ACTOR 3 (Irish): Then in the lull of midnight, gentle arms Lifted him slowly down the slopes of death, Lest he should hear again the mad alarms Of battle, dying moans, and painful breath. And where the earth was soft for flowers we made A grave for him that he might better rest. So, spring shall come and leave it sweet arrayed, And there the lark shall turn her dewy nest. - Francis Edward Ledwidge, Royal Inniskilling Fusiliers, Artillery Wood Cemetery, Plat I, Row B, Grave 5 [GO #23] 88ALLIS CALM Es ist ein Ros Entsprungen 23 arr, Erick Lichte des8 mp ACTOR 6: mp ‘Tenor 2 Wie ist cin Ros ent - sprung -en art. ™P ctor 8: Baritone Wie T2 uns die Al-ten sung - en von Jes-se___ war die Ar. Und bat ein Bldm-lein bracht mit a B uns dic Al-ten sung - en von Jes-se__ war dic Art Und. hat ein Bliim-leinbracht mit B PP st: ———— mp TL loo loo loo 100 ete 12 ten jim kal-ten Win - ter wohl zu der hal - ben nacht B fen im kal-ten Win - ter wohl zu der__ hal - ben nach oo Joo Too loo 8Es ist cin Ros Entsprungen ALLIS CALM ge sf TI 12Es ist ein Ros Entsprungen ALLIS CALM [Over mm. 17-34] ACTOR 10 (German): An English lieutenant said there was a comrade who had been killed the previous afternoon, and they wished to bury this man. I said, "Why not? — of course you can do it,” and so they brought the dead man, laid him on the ground, and we all laid a handful of earth upon him. ~ Captain Joseph Seward, 17th Bavarian Regiment, ACTOR 1 (Brititsh Working Class): And I'm not afraid to tell you, when I was looking at his grave the tears was running down my face. I'm not afraid to say it ‘cos we were bosom pals and we never even said ‘so long’ to one another. - George Littlefair, Durham Light Infantry aALLIS CALM Es ist ein Ros Entsprungen Flow whose fragrance ten - der with sweet-ness_ fills the si, dis pel with glor-ious splen - dor the dark-ness ev - ry where, Tue man yet ver - y God, fom Sin and Death now saves,ALLIS CALM Bs ist ein Ros Entsprungen ACTOR 2 (British Upper Class): Burying the dead was awful, too awful to describe so I ‘won't attempt it, but the ceremony that followed was different, We had a most wonderful joint burial service. [GO #24]ALLIS CALM Wie Schén Leuchtet der 24 art, Erick Lichte ACTOR 2 (Cont'd): Our Padre arranged prayers and psalm. They were read first in English by our Padre and then in German by a boy who was studying for the ministry. ‘The Germans formed up on one side, the English on the other, the officers standing in front, every head bared. Yes, I think it was a sight one will never see again. - Second Lieutenant Arthur Pelham-Burn, of the 6 Gordon Highlanders ‘Tenor 1 voll Gnad! und Wahrbeit von ‘Tenor 2 schin leuch-tet Mor-genstern| voll Gnsd! und Baritone schin Teuch-tet voll Gnad! und Wahrheit von Bass Wie schon leuchtet der Morgenstern voll Gna? und Wahrheit von den Herm die 6 TL ks - 8 Du Sohn Da-vids aus Ja-kobs Stamm, mein K-nig, 12 Sr sis-se Wur-zl ks se Du Sohn Da-vids aus Ja-kobs Stamm, B sis-se Wur-zel des se Du Sohn Da-vids aus Ja-kobs Stamm, mein K6- nig B sis-se Wur-zel esse Du Sohn Da-vids aus Ja-kobs Stamm, mein K0-nigALLIS CALM Wie Schon Leuchtet der Morgenstern ACTOR 9 (Standard British): The LORD is my shepherd; I shall not want. He maketh me to lie down in green pastures. He leadeth me beside the still waters. ACTOR 10 (German): Der Hert is mein Hirt: mir wird nichts mangeln. Er weidet mich auf einer ‘gruenen Aue und fubrt mich zum frischen Wasser. ACTOR 9: Yea, though I walk through the valley of the shadow of death, I will fear no evil. ACTOR 10: Und ob ich schon wanderte im finstern Tal, fairchte ich kein Unglueck. ACTOR 6 (German): Later a Scottish soldier appeared with a football, which seemed to come from nowhere and a few minutes later a real football match got underway. [Go #25]ALLIS CALM. Good King Wenceslas 25 staccato (may be sung up aha tp) au, Erick Lichte d=120 teh: F) ALL: Tenor Bass dom dum dum ete repeat as neededALLIS CALM Good King Wenceslas [Over mm. 1-18] ACTOR 6 (German): The Scots marked their goalmouth with their strange hats and we did the same with ours. It was far from easy to play on the frozen ground, but we continued, keeping rigorously to the rules. Us Germans really roared when a gust of wind revealed that the Scots wore no drawers under their kilts - and we hooted and whistled every time we caught an impudent glimpse of one posterior belonging to one of ‘yesterday's enemies’, But after an hour's play, when our Commanding Officer heard about it, he sent an order that we must put a stop to it. ACTOR 9 (German): (A terrifying shout) HALT! [ABRUPT CUT OFF] ACTOR 6 (German): A little later we drifted back to our trenches, and the fraternization ended. (Afterthought) ‘The game finished with a score of three to two in favour of Fritz against Tommy. - Oberstleutnant Johannes Niemann of the 133rd Royal Saxon Regiment ACTOR 2 (British Upper Class:) And so we had sung everything from ‘Good King, ‘Wenceslaus’ down to the ordinary Tommies’ songs, and ended up with ‘Auld Lang Syne,’ which we all, English, Scots, Irish, Prussian, Wurttembergers, joined in. It was absolutely astounding, and if T had seen it on a cinematograph film I should have sworn that it was faked. - Captain Sir Edward Hulse, Scots Guards [GO #26] 7ALLIS CALM Auld Lang Syne 26 (Scottish Brogue) Trad. 16th e. / Robert Burns Scottish Folk Tune arr. Timothy C. Takach (2007) and Erick Lichte (2019) (may be sung, up a half step) ACTOR 4: anf (solo) _ Bass/Bar, Should auld ac-quaint - ance be for - got, 2 - = ‘And nev = erbrought to mind? Should auld ac-quaint ~ ance s~ be —for-got, And days of auld. lang syne? For auld lang__ 2 ACTOR2: For auld lang syne,____ Well tak’ a cup! ACTOR. ACTOR NS B syne, my dear, For auld lang syne, Well tak’ a cup J=90 16 inf ACTOR Solo We twa halerun a - boot the braes, And ™PALL: T kind - ness yet For auld___ lang B kind -nessyet For auld lang syne. Oo. 98ALLIS CALM Auld Lang Syne Solo But we've wan - derdmony a wear - y foot Sin’ Solo And there's a hand, my 9ALLIS CALM ‘Auld Lang Syne [Over mm. 26-34] ACTOR 1 (British Working Class): It was as if we had decided to end the fighting all by ourselves. Could it really have happened like this? If all the troops all along the line had refused to fight, on both sides, would the war have ended there and then? If we had all walked away at that point, could the result have been a truce? I doubt it, but it’s a thought. - Sgt. G. H. Morgan, Royal Warwickshire Regiment trust - yfiere, And gies a hand o! thine; We'll tak’ =a cup o'___ kind _nessyet, For trust - yfiere, And gie's a hand o! thine; Well tak’ a cup o' kind nessyet, For Sf a For auld lang syne my dear, for auld lang syne, Fe Sm 4 JT) I~ auld ang syne. For auld lang syne my dear, for auld___ lang ” mp vit pp molto rit. a —— welll take a cup of kind-ness yet, __ for auld__ lang syne. | 2P a well take acup of kind-ness yet, for auld lang syne. 100ALLIS CALM Auld Lang Syne [Over m. 52] ACTOR 7 (Standard British): There was general handshaking, arms were resumed, and everyone crawled back to his trench. ACTOR 9 (British Upper Class): (Shouting in condemnation) Cavalry Corps. [Abrupt cut off] ACTOR 9 (CONT'D): (with great authority) The Commander-in-Chief views with grave displeasure the reports he has received on recent incidents of unauthorized intercourse with the enemy and directs that the Officers concerned be so informed. It appears that troops, under an improper use of a flag of truce and, on occasions, without that formality, have entered into communication with the enemy, itis to be clearly understood that on no account will any officer or man take such action. -Lt. General CEN. Macready, British Army, January 1st 1915 (An extended silence) [Go #27] 101ALLIS CALM We're Here Because We're 27 Here/ Cacophony (may be sung up a half step) ALL: repeatas needed am Erick Lichte Voice Were ——here.-—be-cause we're here be-cause were © here be-cause wee ‘on cue "took deliberate aim" begin adding war songs from show and cresc. here wee here be-cause we're here be-cause were here be-cause we're here wee (Over mm. 1-8] ACTOR 1 (British Working Class): A German soldier was walking along his parapet carrying a bucket when one of the members of my company further up the line, took deliberate aim and shot him. Inevitable perhaps, ordered maybe, but I felt unhappy that it was one of us that had broken the unwritten trust. (A vocal cacophony, composed of many of the iconic war songs we have heard early, begins and crescendos) The unfortunate man no sooner hit the ground, when they hit us with everything they had, a rapid fire to exceed all previous firings. The war was on again and with a vengeance. (Sgt. G. H. Morgan, Royal Warwickshire Regiment) (The cacophony continues to build culminating in:) CHORUS: GOD SAVE THE KING (An extended silence. The absence of music should be chilling, as if music will never happen again.) 102We're Here Because We're Here/ Cacophony *The songs in the cacophony should all be sung at their own tempo and own key. If the chorus is large, then groups of singers should sing together so that the songs come out as somewhat distinct. songs to include might be- Le Godillot Good-byee It's a Long Way to Tipperary The Old Barbed Wire Deutschlandlied Die Wacht am Rhein God Save the King The effect shoud be an overall escalation of the war into a full assault, God Save the King should take over near the end of the cacophony, and come out over the texture. The last thing we should hear is a very loud "God Save the King" coming over the top of the rest of the musical noise. ‘The cutoff of the cacophony should be abrupt, and together with the cutoff of the final words of God Save the King. 108We're Here Because We're Here/ Cacophony ACTOR 2 (without accent): The men would hold to the same bit of earth for Christmas, 1915, 1916 and 1917; however, the Christmas Truce was never to be repeated. By the end of the War, 68 million men had been mobilized, more than 9 million killed ACTOR 4 (without accent): Today No Man’s Land is home to cattle, sheep, hundreds of cemeteries, and thousands of unmarked graves. From the air, the lines of the trenches are still visible. Drawn by a shift in the color patterns of the crops growing below. ACTOR 3 (without accent): In the small Belgian town of Ypres, World War One is remembered every single night of the year. At eight PM., people gather near the edge of town at the site of an old medieval gate, which the troops marched through en route to the Western Front. Each night of the year “The Last Post” is sounded. And four words are spoken, “We will remember them.” [Go #27] 108ALLIS CALM Last Post / Silent Night Reprise 28 arr. Erick Lichte Trumpet in C CTpt. Cpt. CTpt. CTpt BI B2 108ALLIS CALM Last Post Silent Night Reprise [Over mm. 42.51] ACTOR 6 (German): For a single night, No Man’s Land was Everyman's Land; and we, the lowest of the ranks, achieved what the Pope himself could not: In the middle of the War we had ourselves a merry Christmas. Sleep ~ in heavenly peace. __ Sleep - in heav-enly peace, Peace - on BI B2 Earth to all 108Appendix - Last Post part 2 *begin bumming here e 107CCLLECLOCCOCOCOECOCE COC LTS 3393395339393333333333339:BROADWAY ——LICENSING— Dedicated to the publication, licensing, and promotion of compelling contemporary musicals. 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