MADE IN DAGENHAM Lib Vocal Book JW Sept 2015 - PERUSAL PDF

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,

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United Kingdom
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Version Dagenham Previews 8.4 (04 Nov 2014)

This edition: September 2015
MADE IN DAGENHAM
Cast
FORD FACTORY WORKERS:
Rita OGrady Eddies wife
Beryl
Connie Riley Shop Steward
Sandra Beaumont
Clare
Cass
Eddie OGrady Ritas 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 OGrady / Sharon OGrady Rita and Eddies 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.
Im 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.
Tooleys 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 Payers 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
MADE IN DAGENHAM
ACT ONE
SCENE ONE
Music No. 0: OPENING
Coming up to 7 a.m. in the bedroom of Eddie and Rita OGrady. 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
WHERES MY, WHERES MY,
CANT FIND MY THINGS
CANT FIND MY, WHERES IT GONE?
WHYS IT ALWAYS ME?
WHAT HAVE YOU DONE WITH ALL MY THINGS?
MUM!!!
MUM!!!
MUM!!!

(Whatever theyre looking for, Rita finds it and hands it to them. She
hangs out the washing, makes the breakfast, tidies the house, etc. The
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 cant 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 YOURE WASTING YOUR TIME
ASKING A MAN
SHE CAN DO IN ONE HOUR
WHAT HE CANT DO IN TEN
ITS 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.
Graham (To Sharon.) Biology homework?

(Sharon hands it over.)
Rita
What are you doing Grahams 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. Thats why we got you that nurses outfit.
Sharon
I want to be a consultant gastroenterologist!
Rita
Youre 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 youre making us late.
OH DAGENHAM, DAGENHAM
WITH YOUR ANCIENT BYLAWS
Eddie
ROME WASN'T BUILT IN A DAY
BUT DAGENHAM DEFINITELY WAS
(On the last line of her song Rita puts a little present into Eddies
snap tin. This is no ordinary present, but something wrapped, with a
ribbon special.)
Act One
Eddie
Cup of tea eh, doll?
Rita
Yes please, Id 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 YOURE WASTING YOUR TIME
ASKING A MAN
SHE CAN DO IN ONE HOUR
WHAT HE CANT DO IN TEN
ITS 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 Sharons face.)
Sharon (Fighting her off.) Uurgh!
Rita Whatsamatter?
Sharon
Its spit!
Rita
This aint spit, this is mothers spit
(The chorus line of mothers spit into hankies, and wipe their childrens
faces.)
Chorus
MOTHERS SPIT!
MOTHERS SALIVA!
AINT 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.)

Hes hit you again aint he?!
Chorus (Sung.)
BASTARD!
Graham
Mum! It dont hurt.
Chorus (Sung.)
BASTARD!
Rita (To Eddie) Eddie, Grahams getting caned at school. Mister
Buckton
Chorus (Sung.)
BASTARD!
Rita
Hes paid to teach him Latin, not attack him with a stick.
Eddie
He cant treat him any different just cos hes a scholarship boy.
Graham
Dont come into school mum!
Rita (Overly dramatic.) Oh, youre ashamed of me are you?!

Graham Yes!
Sharon
Watch out Dad, Mums gone into one.
(And Graham is gone with a slam of the door.)

Rita
Alright, Eddie?
Eddie
Yeah. What?
Rita
Whats today?
Chorus
THINK, WHIRR, CLICK, CLICK, WHIRR
Eddie
Tuesday.
Rita Tuesday?
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. Hes 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 DONT LIVE ON A FARM
HOW DID YOUR LAST SERVANT DIE?
WHY? BECAUSE I SAID, THATS WHY
EAT YOUR GREENS OR YOU WONT GROW
THERES KIDS STARVING IN AFRICA, YOU KNOW
BEDS AINT MADE FOR JUMPING ON
Made In Dagenham
YOULL ALL MISS ME WHEN IM 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
SHES GOT MORE ENERGY
THAN THE SUN
SHES 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 AINT NO SPRINT ITS 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
ITS 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.)
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 OCLOCK MY LIFE IS MINE
A FANBELT, GEARBOX OR A CLUTCH
WERE MEN WHOVE GOT THE MIDAS TOUCH
WERE PROUD OF WHAT GOES INTO IT
GIVE IT A KICK IF IT DONT FIT
BLUE COLLAR CAR MEN
THATS WHO WE ARE
SHAME MOST OF US
CANT AFFORD A CAR
WHEY!
MADE IN DAGENHAM
LAID IN DAGENHAM
SHAME WERE 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 EUROPES LARGEST NEON SIGN
Solo 6
WERE 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
Solo 8
A HALF PINT THERMOS
Solos 3, 7, 5
AND MY STEEL CAP BOOTS
Solos 8, 2
OUR OVER ALLS PROTECTIVE
All Men
ITS THE WORKING MANS SUIT
STATE OF THE ART MACHINERY
HEALTH AND SAFETY GUAR ANTEE
MAINTAINED DAILY THROUGH AND THROUGH (Bang!)
BY ENGINEERING EXPERTS AND SOME SUPER GLUE!
10
Act One
MADE IN DAGENHAM
LAID IN DAGENHAM
COME GET YOUR CAT SPAYED IN DAGENHAM.
MADE IN DAGENHAM
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 WERE 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! Theres 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
Whats he do, your Ken?
Clare
Mothers Pride, he makes bread.
Beryl
So hes a master baker is he?
Clare
No, hes got me.
Cass
Are you gonna marry him?
Clare
I gotta save a bit up first.
Beryl
Bollocks, youve 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
Cmon, girl, I said in an ideal world.
Clare
Ive always wanted to get married in the countrySide.
Beryl
Woodford aint the countrySide!
Clare
But its near Chigwell . . .
Beryl
Yeah, and Chigwell aint the Seren-fuckin-geti!
Cass (Kisses her teeth.) You wanna get yourself some dreams, girl!
Rita
Cass is gonna be an airline pilot arent you, Cass?
Cass
Before Im thirty-five.
Beryl
Whos gonna get on your plane? A black woman pilot?! Fuck off!
(Enter Sandra.)
Cass
Heres 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
Itd be a lot easier if we had a whatsaname with a you know.
Jo
A transport system with a top feed?
Beryl
Thatd be a bit too fucking twentieth century, that would!
Made In Dagenham
Sandra
I put it on seven and its 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
Whos this one then, Sandra?
13
Sandra Richard.
Cass
Whats he do?
Beryl
Everything by the sounds of it!
Sandra
Hes a driving instructor. At British School of Motoring.
Beryl
No! Hes not that British School of Motorings Richard?
Sandra
Yeah. What about him?
Beryl
Ive had him!
(Cheers. Enter Barry, a young apprentice.)

Girls
Woah! / Barry! / Woo!
Barry
Oh Jesus.
Rita
You look tired, Barry?
Barry
No, Im not tired.
Beryl
Alright, Barry. Are you getting any?
Barry
Please dont talk to me.
Rachel
Barry! My tension discs are rubbing together. Theyre getting hot.
Cass
Whats your job title, Barry?
14
Act One
Barry
Im 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 its skilled work, not like sewing.
Rita
Oi! This is skilled work.
Barry
Not any more, it aint.
(Barry exits.)
Beryl
Hes alright is Barry. Id 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
Its hot hot hot hot in here, Monty!
Beryl
Yeah, Im 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 couldnt put it down.
Rita
Put a sock in it, Beryl.
Connie
Me and Monty have been at the Pay Review Committee.
All along, Ive been asking for a re-evaluation of our grading
Monty
An Im 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
Thats an upgrade then, we were grade C.
Connie
No, it aint. Its an unskilled grade.
All
Unskilled? / Were skilled! / That aint right / Wot!?
Rita
You cant expect us to agree to that.
Sandra
Who else has signed up to this?
Monty
All the men. The TGWU, AEU, AUEW.
Beryl
I dont care if the RAC, the IOU and the PMT have signed, were
not signing!
Sandra
I aint 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 dont. We want templates for this leatherette.
Beryl
And new machines! Im not saying this machines old, but the
manuals in fucking Latin.
Monty
Alright, what do you want?
Music No. 3: THIS IS WHAT WE WANT

Sandra
I WANT A CHAIR THAT JUST DONT CREAK
I WANT A ROOF THAT JUST DONT LEAK
I WANT A BOSS THAT AINT A . . .
16
Act One
All
FREAK
Beryl
I WANT A BOG THAT DOESNT REEK
All
DOESNT REEK
DOESNT REEK
Monty
Ladies, are you going to be serious or what?
All
DOESNT REEK
DOESNT REEK
Rita
WE WANT MACHINES
THAT ARENT SO LOUD
YOU HAVE TO YELL
Cass
WE WANT TO WORK IN PLACES
THAT AINT HOT AS HELL
Solo (F4)
WE WANT SOME CHOCOLATE
THAT WONT MAKE US FAT
All
JUST GIVE US LOADS OF THAT
LOADS OF THAT
LOADS OF THAT
Solo (F2)
I WANT THE CANTEEN RUN BY
WIMPEYS 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
ITS NOT AS IF WERE ASKING FOR MUCH
SPREAD SOME JOY AROUND THE PLACE
PUT A SMILE ON MY FACE
DONT MESS WITH US
COS THIS IS WHAT WE WANT
Beryl
Go on, Clare, you say something.
Clare
A CHANGING ROOM THAT DOESNT
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
ITS NOT AS IF WERE ASKING FOR MUCH
SPREAD SOME JOY AROUND THE PLACE
PUT A SMILE ON MY FACE
DONT MESS WITH US
IM
IM
IM
IM
IM
IM
IM
PINING FOR,
WHINING FOR,
YEARNING FOR,
BURNING FOR,
ACHING FOR,
QUAKING FOR,
SICK OF BLEEDIN WAITIN FOR
CHANGE, CHANGE, CHANGE

BRING IT ON
IM MOANIN FOR
GROANIN FOR
PR AYIN FOR
BR AYIN FOR
SCHEMIN FOR
SCREAMIN FOR
AND STILL WERE ONLY DREAMIN FOR
KEEP DREAMING OF CHANGE
SO WHY DONT YOU GET ON THE CASE
BEFORE WE SMACK YOU IN THE FACE
DONT MESS WITH US
Made In Dagenham
19
DONT MESS WITH US

Beryl
Did you get that, Monty?
Monty
Yeah, loud and clear. As Ive always said if a jobs worth doing, it
can wait until tomorrow.
(Exit Monty. Beryl starts clapping.)

Beryl
Why didnt we know about this, Connie?
Connie
Ive 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
Whats their problem? Youve had her aint 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 wont sign?
Bill
No, Connies not happy.
Sid
Im not Sneezy.
Bill
And Im not Doc.
Made In Dagenham
Sid
Comrade, I represent two thousand engineers. Bill here
Bill
One thousand fitters
Sid
and every one of thems got a proper mans hairy arse.
Bill
Its only your two hundred effing women that are effing it up.
(Sid spots Mr Hopkins walking towards the Convenors office.)

Sid
Management. Hopkins?
Bill
Wahey! Mustve had the yanks on the blower, are we letting him
in?
Monty
I dont have a problem with Hopkins.
Bill
Thats because youre 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, whats this about the NUVB
not signing off the new grades?
Sid
My boys have signed.
Bill
Its the girls.
Hopkins Monty?
Monty
Yeah, the girls are not happy about being downgraded.
Hopkins
Who wouldnt be. Its your job, Monty, to persuade them of the
bigger picture. Management and Union. Its a long game.
21
22
Act One
Sid
Its test match cricket.
Hopkins
Its 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, its a done deal. The men are happy. The
vote was overwhelming.
Bill
Five thousand men. Two hundred women.
Hopkins
You cant win.
Bill / Sid Oooh!

Hopkins
Monty, your hands are tied and Ive got your balls in a Kenwood
Chef.
Monty
But I represent these women. Look, can we do something

procedural so things dont 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 Connies idea.
Sid
Shell 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 youre not back in half an hour well drag the river.
(Monty leaves.)
SCENE FOUR
In the factory, machines working, so theyre shouting at each other.
Sandra
Who else is B grade?
Connie
The cleaners. Unskilled assembly.
Rita
My Eddie.
Cass
We aint unskilled.
Beryl
It aint just anyone who can freddle a needle!
Rita
You have to take three tests to get in here.
(Enter Monty.)
Monty
Alright ladies, Ive spoken to the management
Beryl
bastards!
Monty
and were 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 Montys feet.)
Beryl
Like that!
Cass
Ill betcha Fords American factories aint like this boy!
Monty
We go to Head Office tomorrow, me, Connie, and Sid.
Connie
I dont want Sid. I want one of the girls.
Cass
Take Beryl.
Rita
Yeah, she can do the swearing for you.
(They laugh.)
Clare
Dont take Beryl, she could start a
Cass
fight.
Clare
in a
Beryl
plough field.
Rita
We want a fight!
Clare
Ill go. Ill tell em.
Beryl
What would you say, Clare?
Music No. 5: WOSSNAME

Clare (Starts speaking, and ends up singing.) Id say . . . er . . . er . . . hang
on . . . er . . .
WELL ERE IS THE FING
THE FING ERE IS THIS
25
Made In Dagenham
AND DONT NO-ONE START

TAKING THE PISS
COS WHEN SUMMINK AINT 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 IM ME, AINT 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
THERES 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 AINT 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
THATS DEEP INSIDE YOU
OUJAH, OUJAH
Clare (Huge, anthemic.)
I'M ME
Women
SHES HER
Clare
AINT I
Women
NO DUH
Clare
AND WE DON'T SEE EYE-TO-EYE
Women
SEE EYE . . . , GET HER!
Clare
AND YOU
Women
YOU WHO?
Clare
YOURE YOU
Women
US TOO!
Clare
AND WE AINT GOT
A BLEEDIN CLUE
Made In Dagenham
All
27
Speak for yourself, love!
Clare
THE PAST IS IN FRONT
AND THE FUTURES BEHIND
FANKS FOR HEARING ME OUT
ITS A WEIGHT OF MY CHEST
WEVE ALL BEEN THERE
AND NOW WERE HERE
THATS ALL IVE GOT TO SAY
DO I MAKE MYSELF CLEAR?
Rita
Your hearts in the right place, Clare.
Beryl
But they fucked everything else up.
Connie
It wont work, love.
Clare
Why not?
Beryl
Cause you couldnt find your own arse wiv both ands!
(Clare goes back to work, machining.)

Connie
What about you, Rita?
All
Rita! / Yeah Rita! / Rita OGrady! / Good idea!
Rita
Me? No! I cant talk union stuff.
Cass
Its a day off, girl!
Beryl
Berni Inn. Free lunch.
Rita
Yeah?! Ooh, alright then.
Beryl
Machine off ! Everyone. We aint doing no more work today.
Monty
No! All workplace disputes have to be arbitrated in accordance

with the grievance procedure. Or well be up shit creek without a
paddle.
28
Act One
Beryl
If all you wants a paddle mate, Ill fucking knit you one.
Sandra
You come in here, Monty, swinging your dick like youre running
the country, well you aint running the country.
Clare
Yeah. No. You aint running the country, thats 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
Were 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 theyre 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. Youre indoors.
Harold
Gannex pay me to wear it. At all times. Its work. Im trying to set
an example . . .
Made In Dagenham
Music No. 6: ALWAYS A PROBLEM

Harold
WHAT WOULD YOU DO IF YOU WERE ME?
WHATS 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?
THERES ALWAYS A PROBLEM
WAITING IN THE WINGS
THATS 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 LAYMANS 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
WERE REALLY IN THE SHIT.
Aides
THERES ALWAYS A PROBLEM
WAITING IN THE WINGS
THATS 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 dont need it, Im 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 AINT NO PLAN B
31
32
Act One
All
WE LOVE OUR COUNTRY
THE GREATEST ON THE EARTH
WITH ITS IMMORTAL INDUSTRIES
FROM MINING TO WOOLWORTHS
THEYLL STILL BE AROUND
WAY AFTER WERE GONE
WHICH, JUDGING FROM STATE OF THINGS,
WONT . . .
BE . . .
VERY . . .
LONG!
Harold
OH SHIT!
Aide 3
Printing money never solved anyones problems. Youre going to

have to take on the unions.
Harold
Ill create a new cabinet post. Secretary of State for Taking on the
Unions. Candidates?
Aide 1
Michael Foot.
Harold
Communist. He wont be happy until were eating pickled

beetroot, drinking petrol and shagging our sisters.
Aides 3
Barbara Castle!
Aide 2
But shes Minister of Transport.
Harold
Is she busy?
Aide 1
Shes learning to drive.
Harold
Get her in here.
Aide 2
Shes 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 HAVENT GOT ALL DAY YOU KNOW
JUST BROUGHT IN THE BREATHALYSER
ALL YOU HAVE TO DO BLOW
IM FIGHTING FOR AN IDEAL WORLD
AS WELL AS ALL THE HOUSEHOLD CHORES
AND DONT FORGET YOUR SEATBELT, PLEASE
I JUST PASSED THE SEATBELT LAWS
Barbara
What is it Prime Minister? Spit it out! Im a busy woman.
All
(Audience aside.) FIERY! LIKE HER HAIR!
Harold
Barbara, you know when youve 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 its his. He goes around

mowing other peoples lawns, hes 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 unions abuse of power, dont use silly
metaphors. I dont beat around the bush.
All
(Audience aside.) FIERY! LIKE HER HAIR!
Harold
The Labour Party is dependent on the trade union movement.
Barbara
You cant tell me anything about the trades unions. I paid my first
union dues when they were still on the tit!
Harold
Barbara, Barbara! Its easy being the opposition, its just a lot of
eating and drinking, but were the Government now.
Barbara
I came into politics to improve the lot of the working classes.
34
Act One
Harold
Rome wasnt 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
Ive never seen them.
Barbara
Ive been hiding them under a bushel.
Harold
Barbara, youre the right man for the job, dont 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
Well need six pork pies, twelve scotch eggs and a party can of
Watneys Red Barrel.
Barbara Good.
Aide 2
Anything for you maam?
Barbara
Ill 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 DYA 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 cant see a thing
without them.
Rita
Oi Connie, what are you doing over there? Come here.
Connie
Ive got to get this bloody speech done.
Rita Speech?
Connie
TUC conference next month. Unless I write it all down Ill never
get through it.
Beryl
Give the revolution a break will ya. Get pissed and forget. Were
celebrating.
Sandra
Ritas tenth wedding anniversary.
Connie
Rita! What did he get you?
Tracey Flowers?
Rita
Flowers? Youd 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
Dont let this put you off marrying Ken, Clare. I had seven
happy years wiv my husband, and seven out of twenty-five aint
bad.
(Eddie and Stan arrive with pints. They are greeted with silence.)
Stan
Go on then, why aint B grade good enough for you, then?
Clare
Cos were, you know . . .
Connie
skilled.
Eddie
Yeah, but youre sitting down all day.
Beryl
Did Ford give you a test to see if you could stand up?
Eddie No.
Beryl
Standing up aint a skill then is it!
Stan
None of you can lift three hundred Cortina wheels in a day.
Rita
You dont get it, do you?
Stan
You cant 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 Arent you gonna help? I said no, three
should be enough.
(Some laughter.)
38
Chubby
Act One
Shes 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 youve ruined my
life.
Rita
You got any jokes about fat men?!
Chubby
Oh hello gorgeous, womens libber, hey? Burn your bra Id pay to

see that.
Beryl
Dont you slag off our Rita or Ill come up there and sit on your
face!
Chubby
Im serious, if I was her dad, love, Id still be doing bath time.
All
Oi! / Watch it, you! / Whadyermean! / I cant believe he said that.
(Beryl takes the mic and improvises a gag.)

Beryl
Theres 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 theyre all really fat and ugly and smelly and then
the ceiling falls in and fucking kills them!
MC
Off the stage, off the stage. Weve got another act coming.
Eddie
Alright Rite, thats enough.
Rita
Dont you tell me what to do, Eddie OGrady.
Eddie
Whatve I done?
Rita
You dont even know what youve not done, do you?
Connie
Whats today?
Eddie
Oh no. Is it?
Made In Dagenham
Beryl
It fucking is.
Eddie
Im sorry love. What can I say?
39
HAPPY BIRTHDAY, TO YOU . . .

Men / Eddie
HAPPY BIRTHDAY TO YOU
Rita
Im going home. It aint my birthday!
(Rita leaves the stage, exits the club.)

Eddie
What? It aint her birthday?
Beryl
How long you been married, Eddie?
Eddie
Er . . . Millwalls last season in Division 3 South, so thats 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. Shes waiting for Eddie.)
Eddie (Into the night air.) Rite! Rita! Wait!
Rita
Its 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 dont 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.
IM JUST A MAN
WITH A FOOLISH BR AIN
I PROMISE THAT ILL NEVER, NEVER, NEVER, NEVER,
NEVER, NEVER, NEVER, EVER,
NEVER FORGET AGAIN
WHEN YOURE NOT HERE
IM NOT ALL THERE
THERE AINT A SINGLE THING I CAN DO
IM SORRY I LOVE YOU
Rita
EDDIE, I'M A SOFT TOUCH
Made In Dagenham
I DONT ASK FOR MUCH

AND THAT'S WHAT I GET IN RETURN
BUT ONE DAY A YEAR
I DONT GET IT, ED
WHY DONT 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
IM JUST A MAN
I PROMISE THAT ILL NEVER, NEVER, NEVER, NEVER,
NEVER FORGET AGAIN
YOU SUCKER PUNCH MY SOUL
WITHOUT YOU IM NOT WHOLE
THERE AINT A SINGLE THING I CAN DO
IM SORRY I LOVE YOU
Rita
IM SICK OF IT
Eddie
SORRY
Rita
IM TIRED OF IT
Eddie
SORRY
Rita
IVE HAD ENOUGH
Eddie
IM SORRY
41
42
Act One
Rita
OH COME ON, ED
Eddie
IM SORRY
Rita
IM SICK OF . . .
Eddie
SORRY
Rita
SICK OF IT
Eddie
SORRY
Rita
SICK OF IT
Eddie
SORRY
Rita
IM 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
IM SORRY
IM SORRY
BUT I LOVE YOU
Men (& Eddie ad lib.)
HES JUST A MAN
HE PROMISES THAT HELL NEVER, NEVER, NEVER, NEVER,
NEVER FORGET AGAIN
YOU SUCKER PUNCHED HIS SOUL
WITHOUT YOU HES A RIGHT ARSEHOLE
THERE AINT A SINGLE THING HE CAN DO
Eddie
IM SORRY I LOVE YOU
Men
IF YOU WANT HELL BEG
LOOK HES DOWN ON ONE LEG
NOW HES DOWN ON ALL FOURS
Eddie
WHATEVER THE WEATHER,
WHEREVER, FOREVER
WHEREVER, FOREVER
Men
WHEREVER, FOREVER
Eddie
IM SORRY, IM
ALWAYS YOURS
Men
ALWAYS YOURS
43
44
Act One
HES SORRY, HES ALWAYS YOURS

HES SORRY, HES 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
Were alright, aint we?
Eddie
Yeah were alright. Course were alright.
(Eddie gives Rita a kiss.)

Rita
Mr Buckton, is caning our Graham. It aint 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
Whats your point?
Eddie
It didnt do me any harm.
(Rita falls asleep on Eddie.)

Rita
I think he canes him cause hes a scholarship boy. Im 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
Theyre duck eggs.
Hopkins
Why am I eating duck eggs? Im not Albanian.
Lisa
For a change, Ive started buying whatever is one to the left of

what I usually buy. Thats why weve got no coffee but lots of
Domestos.
Hopkins
Lets go out for dinner tonight and we can talk then. Im sorry, I
have to go. Im at head office today.
Lisa
Mr. Buckton caned Perry yesterday. He can hardly sit down.
Hopkins
What had he done?
Lisa
Hed farted. In Latin.
Hopkins
Impressive! Most people cant even speak Latin.
Lisa
So youre quite happy for your son to be physically abused by a

sadist?
Hopkins
Its an expensive public school. Id be disappointed if he wasnt

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 Id wash up, do the ironing, polish off a couple of bottles

of vodka and then set fire to the Womens Institute.
Hopkins
Sorry darling, Ive got to rush.
46
Act One
Lisa
You werent listening, were you?!
Hopkins
Oh look, Snuggles, Im sorry
Lisa
I just want to know what Im supposed to do all day long in the

middle of the Essex countryside.
Hopkins
Dont start. Not now.
Lisa
When is a good time to start?
Hopkins
Look! I bought you a horse.
Lisa
It doesnt like me!
Hopkins
Listen, Im under a lot of pressure at the moment. And I need you

to stand by me. Got to go! Trouble at mill.
(Hes 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 ITS 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. OGrady.
Rita
Yeah. Well done.
Buckton
How can I help?
Rita
Im 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? Thats 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
Hes 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 dont want you caning him. Hes a child, ergo, it aint right.
Buckton
Im 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 youd be happier if he left at
sixteen and got a job in a factory? I dont know if youve 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. Im in a mood. Mister

Bucktons caning my boy.
Lisa
Mine too. Thats why Im here.
Rita
Rita OGrady.
(Handshake.)
Lisa
Lisa Hopkins.
Rita
I like that dress.
Lisa
Its Biba.
Rita
Someone should do summat about it. The caning, not the dress.
The dress is fab. Dont do anything about that. Leave the dress
alone! Its perfect! I love it! Dont touch the dress! Ha! Sorry, I go
weird when Ive got the hump.
Lisa
We should start a petition. What do you think? Shall we?
Rita
Oh God, I dunno. Im not political.
Lisa
Its not politics, Im 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 Cadburys chocolate finger.
Harold
So Barbara, youve had those lovely legs of yours under the desk for
a week now. Who do you blame for this countrys 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, its 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 cant 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, youve got this all wrong. Im going. And Im not
coming back until youve got a solution.
(Harold opens a door, goes in, closes the door. He opens the door,
comes back in.)

So thats a cupboard is it?
Aide 3
I think its a stationery cupboard, Sir.
50
Act One
Harold (Looks at cupboard.) Its certainly not moving.

Barbara
Dockers, miners, train drivers, dinner ladies. I dont mind the

TUC striking when the Tories are in, but were Labour, theyre
pissing on their own doorstep!
Harold
What about management? They have to take responsibility. It takes

two to tango.
Barbara
Dont try and bamboozle me with choreography! I dont care that

youre Prime Minister, Prime Minister. Youve given me this job,
you have to let me do it my way, or Ill turn on you, and you dont
want that because Im like a she-lion. And have you ever seen a
she-lion drag down a wildebeest?
Harold
Im 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 menus like reading the Karma Sutra. Everything sounds nice,
but I cant 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
Youre lying.
Connie
Yeah.
Monty
(Shouting.) Oi! Garon!
51
(Waiter goes over to Monty.)

Rita
Whys Monty not sitting with us?
Connie
He stays at the hotel next door.
Rita
Hotel?! He only lives in Barking.
Connie
You dont 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, dont drink and operate heavy machinery.
Rita
Woo! Its all going off behind the curtains! Why didnt you ever
marry?
Connie
Monty?
Rita
I dunno, he cant have been the only single fella in Essex.
Connie
He was a good dancer, but I didnt love him and Id already

married the Labour Party, and a lousy husband he turned out to
be.
Rita
You was tryna change the world.
Connie
I didnt want to be my mum. The drudge, the grind, low wages,

factory work.
Rita
Cheer up, Con, you cant 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 IM OLDER, LOOKING BACK
IT DOESNT SEEM SO FUNNY
SAME WORK, SAME HOURS
BUT HALF THE MONEY
ITS AN AGE-OLD STORY
ITS 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 DIDNT HAVE TIME TO WAIT
FIERCE, FEISTY, FULL OF FIGHT
A WARRIOR A DREAMER
THIRTY YEARS ON,
IM 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
ITS AN AGE-OLD STORY
ITS AN AGE-OLD TALE
STILL THE SAME OLD REASONS
ALWAYS ON THE OUTSIDE
KICKING AT THE DOOR
LOOKS LIKE A GLASS CEILING
FROM DOWN HERE ON THE FLOOR
Connie Women
ITS ALWAYS BEEN A WHISPER
A AHH . . . (etc.)
BUT CANT IT BE A ROAR
ALL THOSE UNHEARD VOICES
THAT WONT TAKE NO MORE
OH, RITA, PLEASE WAKE UP
I NEED YOU TO SEE
IT AINT ABOUT THE MONEY
ITS EQUALITY
Connie
This doesnt have to be just about C grade.
Rita
What do you mean?
Connie
If we got C grade tomorrow, wed still be earning less than a man

on C grade.
Rita
Eighty-seven per cent. That aint too bad.
Connie
Did Martin Luther King ask for eighty-seven per cent of rights for
black people?
Rita
You know they shot him? Im here to get C grade back, nothing
else. Women have never had equal pay.
54
Act One
Connie
What about your Sharon?
Rita
Shes six.
Connie
And when shes 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 isnt challenged.
Connie
YOU CAN THE CHANGE THE STORY
YOU CAN CHANGE THE TALE
DONT FALL FOR ALL THOSE REASONS
WE HAVE TO MAKE IT OUR TIME
CANT OUR TIME BE NOW?
AINT 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 THEMS
A TOTAL . . .
Made In Dagenham
Hopkins
Come in, come in.
(Enter Monty.)
Monty
Afternoon, gentlemen.
All
Afternoon. / Monty. / Alright? etc.
Monty
Right, today weve got the ladies.
Hubble Woooo!
Monty
One shop steward, Connie, shes 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
Ill have to lay off five thousand men if I dont 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 aint
gonna argue against it.
Hopkins
We can do what we like, then? Theyre under our thumbs.
Hubble
Ooh, Mucky.
Hopkins
Hubble! That remark is not worthy of a Personnel Director.
Hubble
Sorry, just a joke.
Monty
Youre management, Im union, but were all men, and this is our
world, the world of work. Its when we go home that were 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
Ill go round them up.
Hubble
Woof! Woof!
(In the corridor, Connie and Rita are waiting for Monty.)
Monty
Now theres three of them and three of us, so its a fair fight.
Connies done these meetings before. Its all collective agreements
and procedures, so leave the talking to us, eh Rita?
Rita
Ill keep me mouth shut, Im 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 OGrady, 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. Ill 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 theyre grave
enough.
Hubble Granted.
Monty
Great. Grand. Were very grateful. Gregory.
Hopkins
When is the next Grievance Committee?
Hubble September?
Monty Agreed.
Rita
Hang on! I aint working on a grade B for three months. Were

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 cant 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
whats that gotta do wiv anyfing?
Macer
Now come on, youre
58
Act One
Rita
dont you dare tell me my outrage is misplaced. Its 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 aint working from drawings neiver! Go through that shed, you

wont find a single template.
Monty
Rita
Rita (To Monty.) Dont you Rita me, Monty. Alright, so if we

aint skilled, yeah, you could do our jobs, yeah? Thats what youre
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.)
Dyer 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
Dont insult me, alright? You know what we want. Are you
gonna give us equal pay or not?
Hopkins
Equal pay?!
Macer
This isnt about equal pay?!
Monty Connie?
Connie
Why isnt this about equal pay?
Hopkins
This is not an equal pay issue.
Rita
It wasnt, but it is now.
Connie
Youve made it one.
Hopkins
But the grievance procedure was your idea.
Connie
Fifteen years ago. And youve been abusing ever since.
Rita
Come on, Connie, were going. You can stuff your grievance
procedure where the sun dont shine.
(Rita and Connie stand and make for the door.)

Good to meet you. A cup of tea wouldve been nice, but I guess
thats 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
Rita
I said, Ive had it up to here!
All
Rita
I said, were sick of talking about it, we want summat done.
All
Rita
So weve got to vote now.
Beryl
What we voting for?
Rita
A strike. Hands up, all in favour?
Music No. 12: EVERYBODY OUT

(Its 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
ITS A LONG TIME COMING
AND WE'RE READY FOR A SCR AP
ITS A LONG TIME COMING
AND WE AINT TURNING BACK
All Women
EVERYBODY OUT!
GET OUT ON THE STREET
AND ONTO THE PICKET LINE
EVERYBODY OUT!
LETS MAKE IT CLEAR
WERE HERE TO SEND A SIGN
EVERYBODY OUT!
Clare
IF THEY GET ANGRY, WELL I TELL YA
WELL GET MEAN
WELL 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? Theyre 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
THERES NO MORE TALKING
NO CONVERSATION (NO CONVERSATION)
DONT TREAT US GIRLS
LIKE A POOR RELATION
EVERYBODY OUT
(Phone rings chez Hopkins. Lisa answers, but Jeremy is frustrated
that he didnt 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
Its the girls. Theyve walked out.
Hopkins
Shit! Put Sid on.
(Monty hands phone to Sid.)

Hopkins (To Lisa.) Hey! What time is it in America?
Lisa
Im not the speaking clock!
(Lisa walks off in a huff.)

Sid
Sidney.
Hopkins
Is this a strike?
Sid
All the classic signs. Theres 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
ITS ALWAYS BEEN THIS WAY
NOW ITS GOT TO STOP
EVERYBODY OUT!
YOU STARVE THOSE AT THE BOTTOM
TO FEED THOSE AT THE TOP
EVERYBODY OUT!
WERE 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 wars over, why are women working?
Barbara
Theyre not working, theyre 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 YOULL 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
WERE BEHIND YOU ALL THE WAY
MAKE YOUR POINT THEN BACK TO WORK
BEFORE BANK HOLIDAY
WERE PROUD OF YOU AND WHAT IT IS
THAT YOU ALL GOT TO SAY
BUT MAKE IT QUICK GET ON WITH IT
COS WELL STRUGGLE ON STRIKERS 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
Id have had me hair done if Id known we were gonna be in the

papers.
Beryl
Id have had a shave.
Connie
Are you national press?
Reporter 2
The Guardian.
Beryl
Thats alright then, I dont know anyone who reads that.
Astro
Thats beautiful! Whats your name?
Sandra
Sandra.
Astro
Gissa bit of leg then, Stella!
Beryl
Oi! Shes on strike, shes not on the game!
Astro
My card, baby.
Rita
Let me see that.
(Rita snatches the card.)

Fiesta!?
Beryl
Thats a bleeding wank mag!
Astro
You dont 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
theyll 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
WERE 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 AINT ABOUT THE MONEY
ITS ALL ABOUT RESPECT
WOMEN ALWAYS COMING SECOND
THATS 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
Weve 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 didnt know.
Hopkins
The women are on strike. We have one weeks supply of car

seats. One week before I have to shut down the whole Ford UK
operation.
Tooley
Whos the ring leader?
Hopkins
Rita OGrady.
Tooley
Anarchist? Communist?
Hopkins
Housewife, and working mother.
Tooley
My God!? Theyre the worst! Okay, Im 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. Were alright, you do
what you have to do love.
All
EVERYBODY OUT . . .
EVERYBODY OUT . . .
EVERYBODY OUT . . .
EVERYBODY OUT,
EVERYBODY OUT!
Rita
We dont 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!
LETS MAKE IT CLEAR
WERE HERE TO SEND A SIGN
EVERYBODY OUT!
Men
WE WONT BE DISMISSED
AND WE WONT BE IGNORED
Women
WELL 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: TOOLEYS 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. Theyre into the management offices as music
and chopper end.
Tooley
Okay guys, the cavalrys here!
Hopkins
Hello, would you like some tea?
Tooley
No! Were not here to drink tea! Were here to play hardball! You!
Whats the name of this town?
Hubble Dagenham.
Tooley
Incorrect! (He turns to his sidekick.) Adams!? Whats 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
IM THE GO-TO GUY
WHEN THE GOING GETS TOUGH
AND THE GOINGS GONE MAD
AND IVE KINDA HAD ENOUGH
I SAY IT LIKE IT IS,
I TELL IT TO YOUR FACE
THE REASON I AM HERES
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 CARS THE ONLY WAY
YOU CAN GET AROUND TOWN
71
72
Act Two
WERE SO MUCH BETTER

AND I'M NOT BEING MEAN
WEVE GOT ROUTE SIXTY-SIX
YOUVE 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.
WERE ALL STR AIGHT
(WERE ALL STR AIGHT)
AND YOURE 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 WERENT FOR US
YOU'D BE SPEAKING GERMAN
AND WHILE WERE HERE
THERES 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)
(WERENT FOR US)
(WHILE WERE 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 CANT EVEN SPEAK ENGLISH!
(Women enter.)
Tooley Women / Two Men
THIS IS AMERICA,
THIS IS AMERICA
THE U. S. A.
NOW DONT FORGET THAT
. . . GET THAT
YOU DO AS WE SAY
WE GOT THE T-SHIRT
T-SHIRT
AND YOU GOT THE VEST
YOURE SIMPLY THE WORST,
AND WERE 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 CANT PICKET AND CHOOSE WITH FORD,
THAT'S YOUR TICKET TO LOSE WITH FORD
ONE THINGS CERTAIN,
ILL 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
THERED BE NO FREAKING
BEATLES WITHOUT ELVIS.
Tooley
YOURE DREARIER AND WEARIER
Made In Dagenham
75
YOU REMIND ME OF SIBERIA,

YOURE BASICALLY INFERIOR,
SO DAGENHAM,
SCREW YOU
All
THIS IS AMERICA.
Music No. 13a: THIS IS AMERICA Tag
Tooley
Okay. This Rita OGrady, whats she like, her?
Hubble
Put it this way, I wouldnt climb over her to get to you.
Tooley
Im pleased about that, faggot. Is she a commie?
Macer
We dont think shes a communist.
Tooley (To Macer.) Do you think Im screwing your wife, right now?
Macer
I know youre not because youre here.
Tooley
So you know more about your wifes 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 OGrady, is she married to a Ford worker?
Macer
Yes. Edward OGrady, hes on the line, unskilled.
Tooley
Theyve got two Ford incomes, and one of thems on strike. Faggot
ass! Whats 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
Youre cutting off the OGradys money completely.
Tooley
If you wanna eat steak, youve gotta shoot the horse.
Macer
I cant lay off five thousand men just because you want to stop
Eddie OGradys money.
Tooley
Maybe you cant. Maybe you aint 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
Im not a Marxist, Im not a Leninist, Im a machinist. (Into

phone.) I cant hear you . . . hang on.
(Puts the phone down.)

Go on, get some fresh air! Youre not spending all half term in the
house.
(Graham and Sharon exit with Eddie, who is going to work.)

Rita
Eddie, remember Sharons got the dentist at
Made In Dagenham
Eddie
77
Six oclock, Im on it, relax. (To Graham.) Graham, go to the

park, dont accept sweets from naked men.
(Door closed.

Doorbell. Rita opens the door to Lisa, dressed in an Andr Courrges

miniskirt.)
Rita
Oh, its you.
Lisa
Hello, I brought the petition against corporal punishment.
Rita
Come in.
Lisa
I just passed Graham in the street.
Rita
Yeah, theyve been driving me mad. Hard work half term, innit.
Lisa
Oh gosh yes, Ive had to send Perry up in a glider.
Rita
For a week?!
Lisa
Lessons. Now heres the petition.
(She hands it over to Rita.)

Rita (Reading.) If a man attacked a child with a stick in the street, hed
face legal action. Why is the same act permissible in this school?.
Thats brilliant. Ill sign that.
(Rita signs.)
Lisa
Rita? Do you know who I am?
Rita
Youre not Perrys mum?
Lisa
Im Jeremy Hopkinss wife. Ford Dagenhams general manager.
Rita (Beat.) Oh Jesus. Youd 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 womens libber?
Lisa
Yes. And so are you.
Rita
Me?! No, Im not political.
Lisa
Youre 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
Its an Andr Courrges design.
Beryl
Youd need couregge to wear it.
Lisa
Rita, Id better go. Good luck, girls. Youre 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 cant 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
Its gone quiet.
Connie
Theyve 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

DONT LET THE BASTARDS GRIND YOU DOWN
(The men start filing past, some walking, some cycling.)
Stan
You got some face, aintcha, after this?
Connie
Whats up?!
Stan
Five thousand men laid off, thats whats up.
Barry
You happy now?! Eh, eh!?
Clare
Whats going on?!
Ronnie
We ran out of seats, aint we.
Bill
Go back to work!
Barry
Youre only working for pin money! (Kisses teeth.)
Cass (Kisses teeth.) It aint 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
Managements fighting dirty.
Rita
Listen, this was always going to happen. No one said it would be

easy, weve got to stick together.
Ronnie
If youre a communist go and live in Russia!
Stan
You happy now, Connie Riley!? Youve closed down Dagenham.

Youve 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 ITS LIKE
EQUAL SHIT FOR EVERYONE
WHEN YOU GO ON STRIKE
Women
(Tooley and Hopkins. Tooley reading Montys file. Enter
Monty.)
Tooley
Your expense account. Youve had more fish dinners than Moby
Dick. Rail fares, dry cleaning. A Chinese massage?
Monty
Thats two separate items. A Chinese and a massage.
Tooley
I need you to bust this strike. Or Ill bust you.
Monty
You cant talk to me like that, mate.
Tooley
Mate, Ill eat you for breakfast and blow you out my ass.
Monty (Aggressive.) Do that and Ill 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
Mens jobs are at stake.
Monty Sandra.
Hopkins (To Tooley.) Sandra Beaumont. Shes a bit of a dolly bird.
Tooley
So one of these broads is short of money and doesnt look like

Walter Matthau. Can we offer her promotions work?
Monty
So Ford Americas 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
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 couldnt 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 dont spend that on shoes!
Eddie
Youre not gonna come off your shoes at ninety mile an hour are
you!
Rita
Dont you ever ever raise your voice at me in front of my kids,

Eddie OGrady.
Eddie Whassamatter?
Rita
Im on strike! Thats whats 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
Its a fondue, its a Swiss dish, like Lisa.
Tooley
Are you a Swiss dish, Lisa?
Lisa
No, Im not.
(Tooley proposes a toast with cheese forks.)

Tooley
Heres to the great British dolly bird!
Lisa
Excuse me!?
Hopkins
Mr. Tooley doesnt 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
Whats 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, thats enough. Please, bring in the dessert.
Tooley
Oh, wow! Whats for dessert?
Lisa (Standing.) Cheese.

[MONTAGE #5.]
All
TENSION IN THE TOWN
RUMOURS GOING ROUND
Harold Wilson
UNEASY LIES THE HEAD
THAT WEARS THE CROWN
Barbara Castle
DONT 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
Dont be like that, invite her in. Shes a friend.
(Enter Lisa.)
Lisa
Theyve offered Sandra a Ford promotions contract.
Rita What?
Made In Dagenham
Lisa
Theyre 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 DONT WERE OUTA HERE
WELL MOVE TO BELGIUM
Harold
THIS IS A ROUGH PATCH
I READILY ADMIT
BUT PLEASE DONT GO TO BELGIUM
All
COS BELGIUMS REALLY SHIT
(Enter Beryl.)
Beryl Rita!
Eddie
Bloody hell, its like Piccadilly Circus here!
Beryl
Its Connie. She fainted. Went unconscious. Shes in the Old

Church Hospital. Acute Unit. Listen, shes asking for you.
[MONTAGE #7.]
All
TENSION IN THE TOWN
RUMOURS GOING AROUND
MONEY RUNNING SHORT
DOWN TO OUR LAST POUND
DON'T LET THE BASTARDS
GRIND YOU DOWN
DONT LET THE BASTARDS
GRIND YOU DOWN
85
86
Act Two
IT AINT ABOUT YOU

IT AINT ABOUT THE LAW
IT'S THREE THOUSAND FAMILIES
UNEMPLOYED AND POOR
DONT LET 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 youre quick, we can be home by two.
Rita
Eddie?! Connies got breast cancer, Im not gonna be quick.
Eddie
I dint mean it like that, just that, you know, my mums got the
kids until five, thatll give us a bit of time.
Rita
On our own.
Eddie
Yeah. Go on. Im alright. Exchange and Mart, and Im 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
Theyll take them away. Theres bacteria in flower water.
Rita
Dont drink it then!
Made In Dagenham
87
Connie
I feel alright now, but they wont let me out.
Rita
Youre in no fit state to go nowhere.
Connie
I was going to Redbridge. Theyve got to Sandra. Shes been offered

marketing work.
Rita
I was gonna tell you that.
Connie
Ford dealership Redbridge, today, three oclock. Talk her out of it,
Rita. I know solidarity sounds like a slogan. But its all weve 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
Eddies 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 cant. Saturday is Grahams school concert,

hes singing.
Connie
Therell be other concerts.
Rita
Youre not a mother, Connie, you dont understand!
Connie
The reason women dont have their rights is cos they always put
the children first.
(Connie types slowly.)

This is the speech. Ill have it finished by 1971 at this rate.
88
Act Two
Rita
Youre a bully, Connie Riley, but I love you. Ill pick it up in the
morning.
(Rita leaves. Eddie stands, seeing her coming.)

Rita
Eddie
Eddie. Promise me you wont go into one.

What is it?
Rita
I need to get to Redbridge for three. Sandras doing a promotion

out there.
Eddie
What about the us?!
Rita
And I cant do Saturday.
Eddie
Its Grahams concert day. Hes singing.
Rita
One of us gotta make a speech, at the TUC. Connie cant.
Eddie
And youre the only woman in the world who can?
Rita
Eddie. This is important to me! Its about
Eddie
I know what its about, but youre not listening to me! We need
you. The kids need you.
Rita
Eddie, this isnt the time.
Eddie
No, it is the time and it needs saying . . . I know you think I aint
bothered about important things like wot you are, and that Im
only interested in the bike and Millwall, but Im trying to support
you in this. Rita, I aint out every night on the booze, I dont 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 Fords 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, thats 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
Im going nowhere mate!
Hubble
Im not your bloody mate. Dont mate me, mate!
Man
Can someone chuck her out!
Barbara
For Petes sake can we have a look at this bloody car!
Music No. 15: CORTINA!

(Lights, music, dance, action. Think Pans 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
ITS THE CAR FOR ME
ITS 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
ITS 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
LEATHERETTES 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
Cortina Man + Girls
CORTINA
OO WOO WOO WOO
Rita
Sandra! What do you think youre doing?!
Sandra
Earning a living!
Hubble
Oi! Whats your problem?
Rita
How long have you got?
Sandra
I cant 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
ITS SLIGHTLY SHORTER
BUT MORE ROOM INSIDE
Girls
WELL HOW THE HELLS THAT POSSIBLE?
Cortina Man
ITS NOW EXTR A WIDE!!
CORTINA,
Girls
OOH
Cortina Man
ITS 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
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
Rita
Youre letting us down Sandra, youre

letting yourself down!
Sandra
Im getting fifty quid for an hours

work!
Rita
You call this work? What about the

other girls, wheres your solidarity,
Sandra?
Cortina Man
COME ON, ACCELERATE
JUST DO IT, WHY WAIT?
BEFORE IT GETS
MUCH TOO LATE,
Sandra
Solidarity? That aint 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.)

Dont 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
ITS LEANER
AND IT'S MEANER
Girls
MORE FUN THAN ARRIVING
Hopkins Youve started now, have you!?

Sandra
Yeah, I have. It aint right paying

women less than men.
95
Made In Dagenham
Cortina Man
CORTINA
Girls
THERES NO SENSE IN DEPRIVING
Cortina Man
Hopkins Women dont do the

engineering.
Sandra
Girls
AFTER ALL THE NINE-TO-FIVING
What are you gonna sit on

then, if theres 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 FIVEA
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 dont understand. I cant pay the rent.
Rita
Were fighting for Equal Pay.
Sandra
If we get Equal Pay. It wont change nothing. Itll still be a shit

job, only a shit job with Equal Pay.
Rita
Thats 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, aint 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, were not gonna get any help from you then?
(Barbara stops.)
Barbara
Youre Rita OGrady, arent you?
Rita
I dunno. I dont know who I am anymore.
Barbara
(To driver.) Go on, Ted, Ill see you in a minute.
Barbara
Im in a difficult position, Rita, Ive got to balance the trade

figures, so I want you back at work, but Im also a woman.
Rita
Is that why you went into politics? To balance the trade figures?
Barbara (Beat.) Come to Westminster, tomorrow. Lets talk it through.

Rita
Can I bring some of the other girls?
Barbara
Yes, why not. One oclock. Tomorrow.
(Barbara gives her a card.)

Do you want a lift? Thats my Bentley.
Rita
No it isnt. Its my Bentley. I paid for it. As a taxpayer.
Barbara
Youre 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 PAYERS 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! Im gonna do fish fingers!
(Silence.)

Mash and peas! (Beat.) Alright! Ill 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 CANT TAKE THIS ANY MORE
IM GONNA TAKE THE KIDS AWAY
FOR A DAY OR TWO IM NOT SURE
I KNOW IM NOT ONE FOR TALKING
BUT I THINK YOU KNOW WE SHOULD
SO IF YOURE EVER AROUND
YOU NEVER KNOW,
MIGHT DO SOME GOOD
COS I CANT 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
ITS SUCH A SIMPLE THING
I NEED YOU IN MY LIFE
(Rita sits and starts to cry.)
YOU KNOW WHAT THEYRE SAYING AT WORK?
ID 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 ID TELL YOU IF YOU WERE EVER HERE
WHOS IN CHARGE? WHO WEARS THE TROUSERS?
MAYBE HES, YOU KNOW, A QUEER
COS I CANT 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
ITS 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, IVE 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 ITS MORE SHIT BROWN
Made In Dagenham
99
AND WHEN I HAD TO CLEAN THE BOG

I TELL YOU, MAN, ITS SCARY
I COULDNT FIND THE BLEEDING BLEACH
I HAD TO USE THE FAIRY!
AND I CANT 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 UNDERSTAND
YOURE THE LIGHT THAT LIGHTS MY LIFE
HOPE YOU DIDNT GET IN TOO LATE,
HOPE THE MEETING WENT ALRIGHT
I HOPE YOUVE DONE YOURSELF PROUD
AND BY THE WAY, THE KIDS SAY GOODNIGHT.
(Doorbell. She stands in hope that its Eddie, rushes to the door opens
it. Its Lisa.)
Rita
Oh, its you.
Lisa
Im sorry, is this a bad time?
(Rita is close to tears.)

Rita
Eddies left me! Hes taken the kids!
Lisa
Im sorry. That must be very painful, but
Rita
Im a mother and Ive lost my kids!
Lisa
Youre a brilliant mother and you have not lost your children.
Rita
This aint worth it.
(Rita hands Lisa the letter from Eddie.)
100
Act Two
Lisa
Rita, Rita. Youre caught up in something, and its 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. Youre 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 werent on their

own. You know what Gandhi needed?
Rita
A sandwich.
(They laugh.)
Lisa
A lot of women, not just working class women, theyve seen you in
the news, we want to support you.
Rita
I cant do it. Anyway I dont know how to talk this union stuff.
Lisa
Yes you do. Just be yourself and remember why youre doing it.
Rita
Why am I doing it?
Lisa
You have a daughter. Now, what are you going to wear? For the
TUC. Its on TV.
Rita
I dunno.
Made In Dagenham
Lisa
101
You know my Biba dress? You can borrow that and youll 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
Whos that?
Cass
Oliver Cromwell.
Clare
I like her boots.
Beryl
Are we early or is Rita late?
Cass
One oclock outside Parliament. Ritas late.
Clare
I cant 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 cant wear white, you daft slapper, youve already had it off!
Cass
Youll have to have peach.
Beryl
Or salmon.
Clare
My Ken dont like fish.
102
Beryl
Act Two
Its a wedding dress. He dont have to fucking eat it.
(Enter Rita.)
Rita
Sorry Im late.
Beryl
Are you alright?
Rita
Yeah, Im fine, thanks.
Beryl
Dont you lie to me, girl.
Rita
No, Im alright.
(Enter Sandra.)
Sandra
Am I late?
Beryl Yes!
Rita
I dont care about that, were just glad youre 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
Youd do Playboy then, would you?
Sandra
Yeah! This strike is about fairness, equality, right and wrong. Its
got nuffin to do with feminism. Whos that?
Clare Cromwell.
Sandra
I like her boots.
Rita
Honestly, come on then girls! Beryl, no swearing!
Beryl
I cant fucking promise.
Rita
Lets 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, thats what were striking for, innit?
Hack 2
And if she refuses, how will you cope with that?
Rita
How will we cope? Were women! We always cope!
(They go into the building. End of scene.)
SCENE EIGHT
Barbara Castles office. Tea Lady opens the doors and the girls come in.
Barbara
Come in! Rita, welcome. Sit down, all the furnitures old. And call
me Barbara, not maam, Im not the Queen, not yet. Ha, ha!
Rita
This is Beryl.
Beryl
Alright? Thats C & A, innit?
Barbara
This? Yes.
Beryl
I got one of them. The zip goes.
Barbara
Its only for work. Now girls I dont want to get your hopes up
(Enter Harold Wilson. They all stand.)

Harold
Dont stand, I wouldnt stand for you. I wont stay because I realise
that having a handsome powerful man sucking suggestively on a
pipe might be a distraction! Westminster is a boys club, Im afraid,
the ladies loos are in Clapham. But you can use the gents if you
dont mind standing up. I was breast fed and I like women, Ive
known several intimately, and my mother was a woman, though
I never slept with her after puberty, because thats not normal,
not yet, anyway. But Ive 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, Im going to do something unusual for a politician. Im

not going to lie to you. I want you to go back to work. Ive been
talking to Ford American who are offering you ninety-two per cent
of the male rate.
Clare
Oh, thats great!
Rita
No, we aint 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 youre a woman, and Labour.
Barbara
I cant do anything without the backing of the TUC, the men, and
men dont see equal pay for women as a priority.
Cass
Im an optimist
Rita
Cass wants to be an airline pilot.
Beryl
Before shes thirty-five.
Barbara
Thats fantastic. And when are you thirty five, Cass?
Made In Dagenham
Cass
Tuesday. But Im not giving up. Because, thats not an option is it,
giving up. Ritas 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 dont 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
THEYD SIT AND HAVE A LAUGH
THE SUN WOULD ALWAYS RISE AND SHINE,
THE SKIES WOULD BE DEEP BLUE
THERED 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,
WED WORK A FOUR-DAY WEEK
WED GET TO MEET THE PR AT
WHO PUT THE VAT UPON THE TAMPON
WED HAVE A CHAT AND AFTER THAT
HIS FACE WED DULY STAMP ON
IMAGINE A GREAT WORLD OF UNIMAGINABLE BLISS
WHERE MEN KNOW HOW AND WHERE TO FIND
A WOMANS 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
WED 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
THEYD 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
ITS A STRUGGLE EVERY DAY
IN THE REAL WORLD
YOURE LUCKY IF YOU MAKE OK AY
IN THE REAL WORLD
ITS NOT ABOUT THE NICE
ITS ABOUT TOUGH COMPROMISE
AND SACRIFICE
Made In Dagenham
107
LET ME TELL YOU; IT WAS SO MUCH TOUGHER

WHEN I STARTED OUT
WOMENS 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 YOURE 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 YOURE BR AVE AND TAKE THIS DEAL,
ONE DAY THOSE HAPPY ENDINGS
COULD BE REAL
SHOULD BE REAL,
WILL BE REAL
WELL 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
Youre saying no to ninety-two per cent?
Rita
Id say no to ninety-nine per cent.
Barbara
Youre tough, Rita, but youve got a real fight on your hands
because youll never change Government policy without the
backing of the TUC.
Rita
Im going to Eastbourne, to the TUC.
Barbara
Ill 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.
(Theyre out the door. End of scene.)

SCENE NINE
The hospital. The screens around Connies 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
Wheres 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 shed 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 werent love, not for her it werent.
Made In Dagenham
109
Rita
Im sorry. I didnt 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
didnt love me. So thats 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
Thats got my name on it.
(An envelope.)
Monty
Yeah. Thats for you.
Rita
I think I know what it is.
Monty
Ive read it. Its 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
Ive let all you girls down.
Rita
Hows 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
Dyou 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 hes got a handbag, he gets himself matching high heels.
Eddie
This is about me, youre having a go at me arent you.
Barry
What happened to Len?
Stan
He ended up having a sex change operation he didnt want.
Eddie
Alright! Alright! Whats your point, Stan?
Stan
Behind every powerful woman, theres a man waiting for surgery.
Barry
Sort her out, Eddie. Weve all got mouths to feed.
(Enter Rita. She is carrying the speech envelope from the previous
scene. Eddie is there, seemingly alone.)
Rita
Im sorry Im late.
Eddie
I knew youd be late.
Rita
Where are the kids? Ill take them.
Eddie
Theyre coming back to Mums.
Rita
The arrangement was that Id pick them up from here.
Eddie
Yeah, but being a mother to my kids aint enough for you, is it?
Saving the world
Made In Dagenham
Rita
Eddie, Ive got to do this. Ive got a lot on my plate at the

moment, but that wont last forever. Ive got to do this.
Eddie
Kids need looking after, feeding, washing, I dunno.
Rita
No, I know you, Eddie, its cos you didnt have a clean shirt.
Ironed the way your mother does.
Eddie
Dont blame me, you done this.
Rita
You stole my kids away in the middle of the night!
Eddie
It wasnt 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 mlove.
Eddie
Were going back to Grans.
Sharon
I dont want to go. Grandma licks her plate!
Eddie
If youd been through the war, youd lick your plate.
(Enter Graham.)
Graham
Hiya mum.
Rita
Hi. Do you understand why I cant be at your concert?
Graham
Its alright.
Eddie
Come on, get your stuff, were going.
Rita
Youve got to go with your dad, babe.
Eddie
Graham! Come on now!
Rita (To Sharon.) Its just for this week, Sugar. I promise.
Eddie
Its broken.
Rita
Whats broken?
111
112
Act Two
Eddie
Our marriage.
Rita
You walked out.
Eddie
I didnt walk out, you did.
Music No. 18: WE NEARLY HAD IT ALL

Rita
IM SUPPOSED TO HATE YOU BUT I DONT
YOU WANT ME TO BEG YOU BUT I WONT
Eddie
IM AT A LOSS
Rita
IM 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
IM STILL HERE, I AINT GIVEN UP
IM STILL A MOTHER AND A WIFE
BUT ALL THIS HAPPENED SUDDENLY
IT JUST DROPPED INTO OUR LIFE
I CANT LET ANYONE DOWN
SO WHAT AM I SUPPOSED TO DO?
DONT TURN YOUR BACK ON ME NOW
COS NOWS 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 WORLDS COLD AND SMALL
THOUGHT THAT WED 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 FUTURES FULL OF HOPE
SO SHE DONT END UP LIKE ME
IM FINDING A VOICE FOR THE FIRST TIME
I NEVER KNEW I HAD BEFORE
WELL IT STARTED AS A WHISPER
Rita / Women
BUT ITS 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 ISNT EASY
BUT WE COULD HAVE STOOD TALL
INSTEAD WE SEE THE MOMENTS
WHEN WE ALMOST HAD IT ALL
Rita
IT DONT MEAN I DONT LOVE YOU
IT DONT MEAN I DONT CARE
BUT ILL 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 Connies speech.
Men
VIVA EASTBOURNE
THE T.U.C. BY THE SEA
VIVA EASTBORNE
BEER AND CHIPS IN QUANTITY
WELL I PROMISE THAT YOU WONT 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 DONT WE KNOW IT
Women
JUST THIS ONE LITTLE CHANCE
Cass
I HOPE SHE DOESNT 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
IM PINING FOR,
IM WHINING FOR,
IM YEARING FOR,
IM BURNING FOR,
IM ACHING FOR,
IM QUAKING FOR,
IM 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
BRING IT ON
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
WELL 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 wont 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 Connies 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 Wilsons not here, is he?
Monty
Yeah, and that Bar bar bar bar barbara Castle.
Rita
Im so nervous, Monty.
Monty
Youll be great! Youre not gonna read it, are you?
Rita
Oh gawd. I cant learn it!
Monty
It looks terrible though, dunnit.
Tannoy (Distort) Composite five speakers, this is your two minute call.
Monty
Thats 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, its beautiful. How did you get back stage?
Lisa
I have a press pass! Im working for The Spectator Magazine.
Rita
Thats brilliant!
Monty (To Rita.) Youve 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 youre working? What did your husband say?
118
Act Two
Lisa
He doesnt know. I told him I was going to Monaco for the

weekend.
Rita
Dont walk out on him, Lisa, please, hating men isnt what this is
about.
Lisa
Absolutely, I dont hate all men. I just happen to have made an

exception for my husband. Look, I have a Double First from
Cambridge and he cant even imagine me working, never mind
being any good. This isnt 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
Youre not going to read it, are you?
Rita
Oh Jesus! Ive tried to learn it but with everything, its doing my

head in!
Lisa
Youre going to be brilliant.
Tannoy
Composite five speakers, Equal Pay Amendment, to the wings,

please.
Lisa
Youd better get ready. Good luck.
(Rita dives into the loo to change into the Biba dress. Enter Tooley,
hes smoking a cigar. He finds the speech, looks at it, and tears it up.
Rita comes out.)
Tooley (Whistles, impressed with her looks.) I didnt expect you to be a
looker.
Rita
Youre the yank, aintcha?
Tooley (Threatening / lecherous.) Yeah. And youre 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
Youre on.
(He blocks the door.)

Whos looking after your kids today, Mommy? Daddy I guess,

since hes laid off. I guess a strike must test a relationship. I never
married, I prefer horses.
Rita
Wheres my speech?
Tooley
Nervous, eh? I like a nervous broad. Frightened meat tastes better.
(Tooley edges towards Rita.)

Rita
Dont touch me!
Tooley
Bit of advice on public speaking, remember the three Ds. Drive,

Diction and Dont forget youre just a little girl!
(Tooley is gone. Rita crashes around the room in panic to piece

Connies speech back together. She collapses and starts to cry. Enter
Beryl, Sandra, Clare, and Cass.)
Beryl
What the fucks going on!?
Rita
Hes torn up Connies speech.
Beryl Who?
Cass (Kisses teeth.) The bumbaclot American?
Rita
I dont know what Im gonna say!
Beryl
Dont panic, we can put it back together again.
Tannoy
Composite five speaker, Rita OGrady to the stage now.
120
Act Two
Sandra
You didnt need a speech in Liverpool.
Beryl
No, you made it up.
Clare
And you was you know, fing!
Cass
Come on girl, youre on!
Rita
I cant do it. I cant . . .
Beryl
Rita OGrady! Get your fucking arse up there. Youre letting

Connie Riley down.
(Rita pauses.)
Rita
Alright. Im 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 OGrady 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, aint 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 aint 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.
Were not from out of space, you know. Were your wives, your
sisters, your daughters, in some cases your mothers, still working at
sixty, sixty five. I saw a woman, she mustve 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, thats all we wanted, but it
turned into Equal Pay. We deserve that, and were not ashamed to
ask for it.
Im not perfect. Me own daughter, I bought her a nurses uniform

and laughed at her when she said she wanted to be a doctor. That
nurses uniform is the only thing in her wardrobe that aint pink.
Whats that all about? Why cant she be a bloody doctor?
Music No. 20a: STAND UP

Rita
EVER GET THE FEELING
YOU'VE BEEN CHEATED FOR SO LONG?
YOU KNOW WHATS 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 YOURE WITH ME
THEN PUT YOUR HAND UP
122
Act Two
We women have always supported you men, every time you

needed us weve been there and you never had to ask. So weve
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

Were a family, the TUC, Brothers and Sisters, Comrades,

everyone. Thems 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 isnt challenged. So stand up for womens 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
WERE IN THE HEART OF EVERYTHING
BUT KEPT ON THE OUTSIDE
Rita / Women
SO IM 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
AND THEN YOU MAKE A STAND FOR EVERYONE
THEN THE BATTLE WILL BE WON
STAND UP
Rita Women
WE WONT RUN AND WE WONT HIDE
OOOH (etc.)
SO DONT 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 CANT WIN
BUT I TELL YOU THIS FOR NOTHING
WE AINT GIVING IN
WHAT I WANT TO SAY
IS THAT TODAY COULD BE THE DAY
Rita / Men
STAND UP
STAND UP
IF YOURE WITH ME
THEN COME ON PUT YOUR HAND UP
YOUVE GOT TO TURN AROUND AND FACE THE FIGHT
ONLY WAY TO LIVE YOUR LIFE
COME ON,
STAND UP
STAND UP
MAKE A STAND FOR EVERYONE
COME ON,
Rita / Women / Men
STAND UP
STAND UP
123
124
Act Two

AND THEN YOU MAKE A STAND FOR EVERYONE
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
IM 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
Im sorry Rite. I let you down. I let myself down. I dont suppose
youll have me back, but I love you Rita OGrady. Its amazing
what youve 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
YOUVE GOT TO TURN AROUND AND FACE THE FIGHT
ONLY WAY TO LIVE OUR LIVES
COME ON,
STAND UP
STAND UP
WELL YOU CAN MAKE A STAND FOR EVERYONE
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 WERE 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
All Rights Reserved
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.
Im 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.
Tooleys 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 Payers 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
Opening
(TACET)
CUE: Green light from SM
70's Rock (q = 162)
? #### 44 Uw
>
&J
J n
>
J n
>
(Timp roll)
# ##
&#
j
nn
n
>
####
&
20
>

>
714
1517
j
j
n #
n
J
>
> >
rall. . .
n n

J
J
U

n
n # w
w
w
w
1
CUE: Alarm clock stops
Busy Woman
Colla
b 4
& b bb 4
RITA
Hey
b
& b bb
love
you
there
loads
j
j
slee
py
ya
drea - mer
stu - pid
sod

Music and Lyrics Copyright 2014 by David G Arnold
All Rights Reserved
well
just
here
wa
2
4
goes,
nna
say
(3,4 in)
no
ther
-
4
4
Made in Dagenham Vocal Book
bb b 4
& b4
(q = 166)
b 4
& b bb 4
day
SHARON
13
bb
& b b
Mum
Can't
find
my
Can't
find
my
Mum
Mum
Why
is
it
al - ways
me?
you
done
wiv
all
mor - ning
same
bb
&b b
my
Mum
Mum
bb
&b b
Mum
SHARON & GRAHAM
What
Mum
GRAHAM
bb b
& b
Mum
b b4
& b b 4
EDDIE
Where's my, Where's my,
b 4
& b bb 4
17
things
Mum Mum Mum Mum
and
Can't
find
my
things
Where's that
gone?
Where's that
gone?
Mum Mum Mum Mum
Mum Mum Mum Mum
Mum Mum Mum Mum
RITA
Eve - ry
21
No - one
bb b
& b
25
knows where
is
Mum
Mum
Mum
Mum
we
but
play
our
guess
who
6
2732
RITA
Teeth
Mum
Mum
GRAHAM
Mum
no - thing
b SHARON
& b bb
rou - tine,
b
& b bb
bb
& b b
6
6
6
lit - tle
fam - 'ly
al - ways
gets
game
the
blame
RITA: In the airing cupboard!
j nnbb
RITA
If
nnbb
nnbb
nnbb
b
&b
34
you want some-thing done
b
&b
39
ask - ing
Ask
bu
sy
wo - man
'Cause you're wast - ing your time
man.
She can do
in one hour
b
&b
what he can't do in ten
44
bas - ic
e - ing di -'rence bet - ween
us
&
e - ing them.
SHARON: Mum, what do

you want for Christmas?
b
&b
48
bbb
If you want
it
b
&b b
bbbbb
EDDIE
We
b
& b bbb
65
With your parks
b
& b bbb
69
and
b
& b bbb
74
With your an - cient
bb b
& bb
bb
& b b b
wat - er - fronts.
EDDIE:
Cup of tea, eh doll?
was.
it
Oh,
Dag - en - ham,
by - laws.
Oh,
Rome
was - n't
RITA:
Yes please, Id love a cup of tea.
8081
bu
sy
Dag - en - ham
EDDIE / SHARON /
GRAHAM
once.
EDDIE:
love you, Dag - en - ham, Dag - en - ham,
RIT (Laughing) Stop it, Eddie- you're making us late.
good they named
79
ask
5059
RITA: You're just saying that.
10
[Underscore]
wo - man
60
done then
it's the
So
Dag - en - ham, Dag - en - ham

EDDIE / SHARON /
GRAHAM
3
j

3
built
#
nnnnn##
#
nnnnn##
in
a day,
But Dag - en - ham def' - nate -ly
RITA:
Is life like this everywhere?
n##
WOMEN
If
n##
#
&#
84
[ARISTON]
you want some -thing done
#
&#
89
ask
Ask
j
w
ing
nn
98
sy
wo - man
do
SHARON: Uurgh!
RITA: Whatsamatter?
SHARON: Its spit!
us and e - ing them. If you want
it
can't
do in ten,
done then
ask
4
4
WOMEN
101102
Mo -ther's
sa - li - va,
j
&
Mo -ther's
sa - li - va,
b6
& b b4
108109
Ain't
no
germs
Ain't
4
4
b w
&b b w
Ba
w
w
-
stard!
no
Mo - ther's
that can
germs
that can
3
4
sur - vive
her.
sur - vive
her.
4
4
stard
sy
Ba
spit,
spit,
2
4
bbb 46
2
4
bbb 46
RITA: (to Graham) Oi!

Come 'ere. Show me your hand.
He's hit you again, ain't he?
113114
stard
RITA: He's paid to teach him Latin, not attack him with a stick.
EDDIE: He can't treat him any dierent just 'cos he's a scholarship boy.
bu
GRAHAM:
Mum! It dont hurt. (WOMEN)
4
4
nnn
j

J

WOMEN
mp
Ba
(WOMEN)
115
f
Mo - ther's
104
j
& J
it's the
RITA: This aint spit,

this is mothers spit
nn
'Cause you're was - ting your time
in one hour what he
99100
wo - man
She can
e - ing di -rence bet -ween
##
&
man.
#
& # #
#
&#
bu
94
bas - ic
b
J

GRAHAM: Dont come into school Mum!
RITA: Oh, youre ashamed of me, are you?
GRAHAM: Yes!
122
&
& #.
RITA: Alright Eddie?

126 EDDIE: Yeah. What?
&
130
&
SHARON:
Watch out, Dad - Mum's gone in to one.
RITA: Whats today?
.
#. #
WOMEN
2
4
4
4 # n #
(WOMEN)
Think
EDDIE: Innit?
134 RITA: Is it a special Tuesday?
3
4
&
4 ##
4
##
Re
EDDIE:
140 (Kiss) "Love you"
&
Ev - 'ry
He
for - gets
year
and
Whirr,
for - gets
&
>
you
mem
took his
Click,
Whirr
Durr
play
138139
ber
We
EDDIE: (Beat) Pancake day?

RITA: Go to work you big lump.
Click,
j

J
Click,
the same rou - tine
re - mem -ber the day
WOMEN
151 WOMEN
ber,
Click,
j
nnJ
j
j j
###

&
He
j
j
n
J
J
Whirr,
##
mem
In 2 - Slower
### CRITA

145
###
&
a - gain
(WOMEN)
Think,
n n
>
EDDIE: Tuesday.
RITA: Tuesday?
#
. .
our
ann - i - ver - sary game
A Tempo (in 4)
nnn 4
4
nnn 4
4
rit. . . . .
stu - pid name
149150
Stu - pid name
Shut the door, were you born
in
a barn?
b
Wipe those boots you don't live
on a farm.

How did your last
156
&
ser - vant
161
&
die?
There's kids
&
You'll
all
miss
b
& b bbb
b w
w
& b bbb w
said, that's why.
me
when
I'm
gone.
bu
lose
the
plot,
j

J
The strength
b
& b b
188
day.
Tests our lov - ing
Beds
ain't
made
for
jump - ing

na - ture
on.
you want some - thing
She's got more
en
mat - ter
what,
j
J
er - gy

If you
than
The
the
lose your key
or
pa - tience of
rhi - no,
of
bbbbb
no
WOMEN (+ OFF-STAGE)
n
a
nun,
j
n
J
It
Half-time feel
nnbbb

ALL WOMEN
mar - a - thon.
you won't grow
j
J
b
& b bbb n n
no sprint it's
al - ways there
183
ain't
your greens or
wo - man
j

J
j
J
If
(with Ts)
Eat
sy
She's
bb
& b b b
RITA: Bus pass!
sun
180
Ask
175
Af - ri - ca, you know.
done
star - ving in
170
Why? Be - cause
165
Ev - 'ry
in
lov - ing
eve - ry
lov - ing
way
mi - nute
of
ev - 'ry
lov - ing
nnb

Moth - ers, sis - ters,
194
&b
daugh - ters,
b
&
Lov - ing - ly
200
fee
&b
ling
we
It's
go - nna be
M1+2 / M3
say,
j
J
We've
got this
fee
ling, this
ev - er lov - ing,
go - nna be

&b
204
moth - er lov - ing wor - king
&b
moth - er lov - ing...
& b
moth - er lov - ing...
a - no - ther
slug - ging, ev - er lov - ing,
kid - dy hugg -ing

ev - er lov - ing,
day
If you want
won - der - ful
a - no - ther
RITA
Heart tug - ging, tea
&
If you want
it
it
done then
done then
ask
ask
bu
bu
sy
sy
wo - man
wo - man
SEGUE
Made In Dagenham
CUE: SEGUE CLICK
Med. Pop Beat (q = 132)
4
&4
6
&
10
&
(Clicks)
(Drum fill)
b - .
J
b
J
MEN
&
I
18
&
&
sump
clock in
and
fan - belt,
gear
&
2
&4
30
Blue
what
j
bJ
col - lar
car
fills
^ ^
.
b-
the
j j

do
my
or
air,
goes
time;
&b
Made in
Da - gen - ham,
# j
&#
j j

is
At
it:
in
n
J
are
gift;
ga
in
my
life
it
got
love - ly
Mi
kick
us
if
it
ing
eight
das touch.
j
b
cant
af - ford a
hour shift.
2
4
car.
n
J
J
-
don't fit.
n##
in
Da - gen - ham.
n j
J
M1
stink
is mine.
j j
j
b
j
bJ
the
Da - gen -ham boys.

M5
my hair.
b
J
J
Da - gen - ham, Shame we're un - der - paid
we
clock
Shame most of

laid
o'
j
b
Give
men thats who we are,
Da - gen - ham,
five
b
J
J
We're men who've
in
j j
bj b bj
to
b
J
a clutch
^ ^
- .
b
J
One week's Swar - fe
j j

(MEN)
35
it
box
b 44
Made in
40
j j

b n
J
We're proud of
26
^ ^ - .

J
j j

oil
j j
bj b bj
A
22
just
^ ^ - .

The smell of
14
^ b - .
J
love my
n
J
EDDIE
See
how the
job,
fac -
# j
j j
&#
j
n

J
44
to - ry
#
& # J
shine
Hen - ry
ALL
Ford
# j
&#
From whom
j j

52
M8
- tion
That
he
#
&#
he
was
TEN /
59 BARI + BASS
#
&
Made
68
&
#
&
#
&
Health
#4
& 4
81
he
got
lit - tle
fa - mous and
in
Da - gen - ham,
laid
in
Da - gen - ham. Last
year
we
are
steel
ALL MEN
and
safe - ty
capped
we
from
the pol - lu -
ooh, Dud - ley Moore!
hol - i - dayed
ing man's suit.
guar - an - tee.
man
n#
j
n
J
in
Da - gen - ham.
j
#
My
half - pint ther -mos
M8
j #
ov - er - alls pro - tec - tive,
j j j
State
of the art
Main - tained
en - gin - eer - ing ex - perts and some
nJ
M8, M2
Our
fucked o pret - ty quick.
boots,
he
44 #J
J
By
M3
Da -gen -ham boys.
j
#
M3, M7, M5
It's the work
77
Mis - ter
n
J
ALL
#J
And
Da-gen - ham,
M7
fa -mous for
A - part
Thames.
And my
72
Made in
# n
But
TEN /
BARI + BASS
on sign. We're
stems,
n
J
ne
M4
slick,
#
&
63
gest
good -ness
dumps in - to the
56
lar
j
n
all
M6
From Eu -rope's
48
n
J J
J
M2
does
ma - chin - er - y,
3
4 #J
dai - ly
su - per - glue!
4
4
through -and - through
2
8485
10
#
&
Made in
TEN /
BARI + BASS
86
{&
Da -gen - ham, laid in
Hand claps
91
#
&
are
96
strayed in
# #
&
strayed in
# #
&
100
stayed
&
stayed
#
&
104
paid
&
#
paid
Life is
Da - gen - ham,
Life is
Da - gen - ham,
in
Da - gen - ham,
in
Da - gen - ham,
108
## j
&
Tem -pers get - ting frayed
Boys!
F6, F5+ SANDRA /

F2, F3, F7
We
are
Da - gen -ham
GIRLS
Girls!
BOYS
Boys!
(BOYS)
Played in
Da -gen - ham,
Da - gen - ham,
in
Da - gen - ham,
in
we

J
we
Da - gen - ham,
God knows why we
God knows why we
'cos we're still un - der -
Da - gen - ham,
'cos we're still un - der -
girls,
ooh
Da -gen - ham,
## w
w
w
w
girls,
Played in
(MEN)
in
in
Girls!
Da -gen -ham
##GIRLS

Tem -pers get - ting frayed
girls,
BOYS
read - y made
in
read - y made
3
#
Da - gen - ham,
in
##GIRLS

&
Girls!
Da -gen - ham,
WOMEN
Da - gen - ham,
Da -gen -ham boys.
#

&
we
TEN /
BARI + BASS
Da -gen - ham. Come get your cat spayed in Dag -en - ham, Made in
#
&
TEN + BARI /
BASS

J
Da - gen - ham
BOYS
Boys!
GIRLS
Girls!
BOYS
Boys!
we are Made in Da -gen - ham.
we are Made in Da -gen - ham.
11
This Is What We Want
CUE:
BERYL: . . . Latin!
MONTY: Alright, want to you want?
Rubato Gospel feel
# # 4U
& # #4
SANDRA
##
&##
just
##
&##
a chair that
that
does n't
just
Shue
reek
.
that
ain't
##
& # # j
17
give
##
&##
hot
as
loads
Wim - py's
of
res - tau
loud
rant,
want the
ain't
MONTY: Ladies . . .
Load - sa
yell.
freak
load - sa
want
We want to work in
that.
ov - er - alls
Spain,
make
you
fat
plac - es
RITA,
CASS, F4:
Just
j F2j

want my
South - ern
CASS
SANDRA
fac - t'ry moved to
BERYL
roof that
j j

I
Does - n't reek, does - n't
that
want
ALL
reek.
have to
F3
you
ALL
##
j
& # # j
23
We want some choc' late that dont
that
boss that
F4:
hell.
j j

us
20
Does - n't reek, does - n't
reek. We want ma - chines that ain't so
# ##
&#
SOP / MEZ / ALT
RITA
#### j j
&

don't creak,
want
11
14
don't leak,
A Tempo
bog
want
want the can - teen moved to
des - igned
BERYL
j

I
want my
by
Mar - y
doors blown
Quant,
by
12
26
####
&
Mich - ael
Caine.
####
&
ALL
Mich - ael
####
&
is "Throw a
Caine.
lit - tle crumb this
All
29
say
w
w
w
It's
# ##
w
&# w
w
touch,
36
place,
not
as
if
we're ask - ing
Put a smile on my
# ## j
& #
41
this is
what
we
want.
for much.
co - ton towels to
wipe
my
swea - ty
bits.
mess with us,
j

al - ways
##
&##
want Ba - rry
to
ser
vice
me.
##
&##w
w
w
say
j

is "Throw a
lit - tle crumb this
way."
j j

smell
of
shit,
Cha - nel
per - fume on
tap and
ALL
Ser -vice me.
52
'Cos
SANDRA
48
BERYL
3
####
j j
&
j j
served for free.
wee - ny
A chang -ing room that does - n't
Don't
tee - ny
Spread some joy a-round the
w
w
w
BERYL
E - gyp - tian
ti - ny
CLARE
##
j
&##
45
face.
to
lit - tle
want
SOP + MEZ /
ALT
#### j
j
&

32
real - ly
way."
All we real - ly want to
SOP + MEZ / ALT
ti - ny tee - ny wee - ny
## j
& # # j
56
lit - tle
touch,
##
w
&##w
w
60
It's
j j
## j
& # #
####
&
we're ask - ing
what
we
w
w
w
want.
ach - ing for,
##
& # #
74
change,
# ##
& # j
mess with us,
# ##
& #
for,
pi -ning for, whin -ing for,
moan - in' for,
yearn -ing for, burn -ing for,
Change,
change,
81
change,
pray - in' for,
case?
mess
##
& # #
92
mess
of
Change,
change,
Be - fore we smack you
with
us,
with
us,
'Cos
'Cos
this
the
Change,
change,
is
what
is
we
want.
what
we
why don't you
face.
for
So
j j

this
in
on
get
on
the
Don't
w
w
w
bray - in' for,
still we're on - ly dream - in'
##
w
&##w
w
##
& # #
and
Keep dream - ing
84
88
for
j
fi
Bring it
j j
groan - in' for,
change,
j j
I'm
scream - in'
'Cos
ALL
78
schem - in'
a -round the
Don't
sick of bleed - in' wait - in' for
change.
Spread some joy
fij
j
j j j j
I'm
quak -ing for,
for much.
face.
j j
Change,
if
Put a smile on my
65
70
as
place,
this is
not
13
Don't
w
w
w
want!
14
Made in Dagenham
Union Song
CUE:
CLARE: Yeah, and mind your whatsit.
RITA: Language.
BERYL: Bollocks.
TEN + BARI /
BASS
2 CLICKS IN
4
& b4

. .
for
your
fu
ture
and
& b
Fight
& b
rights
God
gave.
j
J
We
Broth - ers
and
sis -
work
to - geth - er
or
ters,
com - rades, ev - 'ry - one.
TEN /
BARI + BASS
the Un - i - on.
j
J
The
rights
of
man
are
die
as
slaves.
we
the
Wossname
CUE:
What would you say, Clare?
3,4 . . . Easy Shue
12
&8
Well,'ere
&
this,
9
&
&
strong.
And don't no - one start
right,
12
I been at this game
the
fing,
piss,
is
'Cos when sum -mink ain't
There's a smell in the
air
since I was four -
And the fing 'ere

tak - ing the
Then sum -mink is wrong.
is
CLARE
teen.
and the pong is quite
j

I know what my
Made in Dagenham
j
&
whats - it - called
18
&
do you know what I
21
I am what I
on.
&
&
24
Oo -
WOMEN
oo...
&
fing
Oo -
j
j
j
&
blah - de - blah - de - blah and lots of "Yeah,
&
and I talk it plain.
I know what's
wot - sit
Oo -
Oo -
oo...
no"
Oo -
There's lots - a ya
oo...
know,
j 2

and Ou - jah,
n' blah - de -
ou - jah.
j j j
What you see
But some fing in this
oo...
go - ing
oo...
a - bout the whats -its -
Oo -
oo...
30
j
j

Well, I dun - no ain't there.
And I know what's fair,

La - de - dah and good
I?
Oo -
ain't
and I know the
&
straight,
And I know what's right,
oo...
33
oo...
Oo -
27
'cos I'm me,
Yes, I know the game,
name.
&
am,
So, ou - jah kap - iv - u - wat,
j j
mean?
bye.
&
15
15
is what you whats - its - name
But I talk it
bb 44
16
Made in Dagenham
bb 4
& 4 n
Half-time feel
37
Life
ain't fair
WOMEN
Oooh...
bb j
&
41
b
w
& b w
w
...
bb nrit
&
&
bb
I'm
me,
bbbbb 12
8
bb b
& b b
bb b
& b b
eye.
get
b
& b bbb
57
You
I?
her.
you're
you,
front
2
4
side
4
4
you.
see
eye
See
eye,
to
And we ain't
got a bleed - in'
too!
and the fut -ure's
4
4w
And we don't
d'uh.
(durr)
Us
Meno
j
j

No
who?
C.V.
be - hind.
Fanks for hear -ing me
Speak for your - self, love!
b
& b bbb
here.
you
ain't
The past is in
ad lib.
out,
60
her!
54
clue.
And
bb b
& b b
bb
& b b b
She's
50
in
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
n

Yeah, yeah.
j
n
oooh...
3
j
Oooh...
yeah, yeah.
oo
get the blame,
true,
and peo - ple
b4
w
& b 4 w
w
j
n
it's a weight o my
chest.
That's all I got to
say.
We've all been there
Do I make
my
self
and now we're
clear?
17
5a
Big Ben
(TACET)
CUE:
CLARE: You ain't running the country, that's someone else.
Always A Problem
CUE:
HAROLD WILSON: I'm trying to set an example.
##C U
&
Colla voce
HAROLD WILSON
What would you
#
&#
gy?
#
&#
You need to
ve - lli.
#
&#
13
be?
#6
& #8
18
Ev -'ry
#
&#
#
&#
do
if
you
were
me?
a cri - sis
or
#j
Prime Min - is - ters
makes me ve - ry
tense,
is
the
What kind of
prob - lem of
But
the
the wings.
me
bal - ance of
stra - te -
your Mach - ia -
lead - er
would you
U 6
j
8

com - pro - mise?
That's al - ways been
what keeps
up
Do you stand firm or
wait - ing in
and Kings.
And brush
prob - lem
sur - prise
ty.
What's your po - li - ti - cal
j
#
al - ways
me?
#j
prob - lem for

29
sin - ce - ri
you were
A tempo (in 2)
There's
24
day
if
fake
do
j
#
What would you
up
at
pay
night,
and
ments.
the
it
18
## M2 + M6
&
35
Up - tight,
##
&
high - ly strung,
#
& #
pay
makes him ve - ry
ments.
tense.
tense.
When
When
it
it
comes
comes
to
the
to
the
Im - ports,
ex - ports,
bal - ance of
bal - ance of
Def - i - cit
or sur - plus.
M2 + M6
Ca - pi - tal
46
Ca - pi - tal
j
In
#
#
in - flows,
in - flows,
(in 4)
n # n # n # n # n
lay - man's terms, when it comes down to it,
M2 + M6 / M5
M5
ments.
##
&
HAROLD
pay
##
&
##
Colla voce (in 2)
41
&
makes him ve - ry
Up - tight,
##
&
high - ly strung,
M5
If you buy more than you sell then you are
e - co -nom-ic cir - cus.
#
& # #
50
real - ly
in
AIDE 1: Actually, Prime Minister, the

correct term is "visible trade deficit".
54
in
##
# n # n #
You can
A tempo (in 2)
6
8
call
3
j 68
#j
6
8
j
n #
M6
There's
al - ways
M2 + M5
al - ways
prob - lem
prob - lem
it
what you like,
the shit!
#
&#
&
the shit!
##
& #
real - ly
HAROLD
wait - ing in
son, we're
#j
J
wait - ing in
the wings.
the wings.
j
n
That's
That's
##
&
59
j
#
al - ways been
&
##
the
al - ways been
##
&
64
things
##
&
things
##
&
69
Ger
##
&
Ger
##
&#
prob - lem for
prob - lem for
Prime Min - is - ter's
we
sell
when
we
sell
when
we
can,
HAROLD
we
man.
man.
of
can,
### C
and
Kings.
and
Kings.
but
the
the
noth - er
world
whole
lit - tle prob - lem
world
make
great
make
great
wants
to
wants
to
with which we
all
### C
in - dus - tri - al
un - rest.
buy
Is
Strikes here, strikes thereit
are blessed
buy
We
We
whole
Colla voce Slower (in 2)
but
### C
73
great deal
j
n #
j
n #
the
which
j
#
Prime Min - is - ter's
which
#
& #
19
just a - maz - es me; When the
##
& # n # n # n # n # j j
77
daf - fo - dils come out the men come out in sym - pa - thy.
81
###
&
put
the
great
##
&#
in - to "Great Bri - tain".
We need
i - deas and we need
A tempo (in 2)
6
8
6
8
M2 + M6 / M5
Up - tight,
plan
To
high - ly strung, brings him
out in
J
a
20
86
###
&
###
&
When
he
91
###
&
>
sweat.
## #
& # ##
of
the
size
>
Ah
Debt!
94
thinks
Ah
##
& #
Debt!
HAROLD
Bril
## #
& # ##
100
li
## #
& # ##
plan
to
105
## #
& # ##
110
no
b
& b bb
116
it's
b
& b bb
121
round
will make
j

our
Plan
B.
im - mor - tal
way
of
the
j
j
n # n #
us
all
e - con - o - my.
nnnn nbb b
n b
HAROLD
It
in - dus - tries
n
J
J
af - ter we've
from
AIDE 2: Printing money?

HW: Printing money? Can we do that?
gone,
in those blood - y
than kings.
This
is
bet - ter blood - y
to
Wool- worths.
wings.
the mas - ter -
work 'cause there
love our coun - try, the great - est on
min - ing
j
j
j

nj
n
nj
n
debt.
HW: I don't need it, I'm very regular. In an

emergency I'll have two black coees and a cigarette.
HW + M6 / M2 / M5
We
AIDE 1: Sir, how do you feel about quantitative

easing?
had
Bri - tish
prob - lems
more pow - er - ful
j
j
n # n #
>
HAROLD
Ah
Great
fl # ## #
# #
No more blood - y
cure
ALL
ant!
Print - ing cash
Debt!
Agghhhh..
fl # ## #
# #
which judg - ing from
the earth.
They'll still
be
the
state
With
ain't
of things
a -
bbb
b
&
126
bbb
b
& b
133
ve
ry
won't
be
ve
Won't
be

n
ve
ry
long!
21
Won't
be
ry
long!
HAROLD
Oh
shit!
6a
Busy Woman (Barbara Castle)

CUE:
HW: Good. She can do her own typing.
(In 4)
j
fi
b2
b
& b bbb 4
4 r
4
BARBARA CASTLE
Here I
b
& b bbbb
am. Well, what d'ya want?
well as
hav - en't got
Just brought in the breath - a - ly - ser,
b
& b bbbb
all you have to do is blow
all the house - hold chores. Don't for - get your seat - belt, please.
all day you
know
Fight - ing for an i -deal world,
U
j r

rit.
just passed
the seat - belt laws.
As
22
Pay Day
CUE:
BARBARA CASTLE: . . . cup of tea & a chocolate finger.
Northern Soul Vibe

2 CLICKS Drum fill
? bb 44
b
b
&b b
&
b EMMA (GIRLS)
& b b
n
.
ENSEMBLE
10
Pay
day!
b
&b b
Our
day!
SANDRA (BOYS)
Pay
bb
& b
CASS
Pay
bb
& b
14
day!
Our
Our
day!
day
b
&b b
Pay
day
b
& b b n
day
Cash
day!
Pay
Pay
Cash
day!
Cash
whad ya say?
Run
whad ya say?
n
whad ya say?
Run
Run
n
in
my pock - et gon - na
in
n
in
n
to the bar and get
drink it
all
a - way.
drink it
all
all
n
n
to the bar and get
round in straight a - way.
a - way.
to the bar and get
a - way.

drink it
bb
& b # n b
18
Get
lit - tle
make
b
& b b # b
Get
lit - tle
mer - ry,
lit - tle
make
paid a
lit - tle less.
Pay
&b bn
paid a
bb
& b
26
lit - tle less.
Pay
Pay
day!
b
&b b
Pay
b
&b b
Pay
b
& b b
Pay
Our
day!
Our
day!
Pay
Our
day!
day!
day!
Our
now we're
hey The week
hey The week
hey The week
is
is
is
near - ly
near - ly
near - ly
done.
done.
done.
For - get
all your troub -les and kiss
For - get
day!
can't do quite as much
day!
we
j j j b n
J
For - get
j # n
now we're
j j
j
j
Hey
day!
now we're
Hey
day!
we
j j j b n
J
Hey
j #
lit - tle mess.
day!
we
lit - tle mess.
lit - tle less.
make
bb
& b n
paid a
21
lit - tle mess.
mer - ry,
bb
& b n
n n
b
& b b # n b
Get
j # n
mer - ry,
23
them all
them all
them all
a - way.
a - way.
a - way.
24
bb
& b
30
Pay
day
b
&b b
Pay
b
& b b n
Pay
day
day
b
& b b
Pay
Dee
Jay
Dee
Jay
Dee
Jay
day!
lit - tle mer - ry
b
& b b
b
&b b n
n
paid a
lit - tle less.
lit - tle less.
b n
& b b n
paid a
lit - tle less.
lit - tle less.
Play a - no - ther tune so we can dance the night a - way.
lit - tle mess,
we
now we're
now we're
# n
now we're
we
j ## n
lit - tle mess,
Pay - day!
we
lit - tle mess,
we
j j
Hey
Pay - day!
# n
Pay - day!
lit - tle mess,
Pay - day!
b
& b b n
paid a
make
paid a
make
Jay
make
lit - tle mer - ry
37
n n
lit - tle mer - ry
bb
& b n
make
b
& b b n b
Get
&b b

#
Get
Dee
34
b
& b b n b
Get
hey
j j

j
b
The
week
j
b
Hey
hey
The
week
Hey
hey
The
week
j j
j j
Hey
hey
j
b
j
b
The
week
bb
now we're
n
J
is
near - ly
is
near - ly
done.
is
near - ly
done.
is
done.
j
n
n
J
n
J
near - ly
done.
bb
& b
41
Wha -dya - say?
b
&b b
Cher -ry Bran -dy
b
& b b
STAN
Wat -neys
25
Sher-ry
Dou -ble Dia -mond
Du -bon -net
Root Beer
What you drink - in'?
bb
& b
45
San - gri - a
bb
& b
b
&b b
48
think there - fore
O - ver here! I
think there - fore
Brown Ale,
Ba - by -cham
Da - gen - ham
j

J
Brown Ale,
b
& b b
j r
We
all drink beer
Da - gen - ham
n n
n #
ba - by ba - by ba - by ba - by
#
#
Ba - by - cham,
n n
n #
j

J
and Ba - by - cham
2
5152
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
5368
26
7A
Club Music
CUE:
MC: . . . Loveable, larger than life, Chubby Cha"
Fanfare
4
&4
[DIALOGUE]
&
j
bfi
bb
rall.
.
.

fij
[DIALOGUE]
U
ww
w
w
CUE: Fanfare
after each gag!
[DIALOGUE]
>
w
ww
w
j
fi
j
fi
U
ww
w
w
[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..
&
CLUB SINGER
Moon
o - ver
Da - gen - ham,
shin - ing
Fills
up
on
rit. . . .
16
&
me
with
joy
and
love,
now
pass
me
that
pork
high
U
w
pie.
Made in Dagenham
27
I'm Sorry I Love You

CUE:
RITA: I don't need reminding that we loved each other ten years ago.
4
&4
EDDIE
j

I know I'm
&
3
it.
Ii ad -mit
RITA: Here it comes...
&
say
I'm a
13
with a
fool - ish
I'm
26
j
J
not all
&
&
for - get
that's what
get
in
re - turn.
can
man

nev - er, nev - er, nev - er, nev - er,
a - gain.
Triplet shue

just
But all
fl
pro - mise that I'll
When you're not
here
sin - gle thing
I can
do;
I'm sor - ry,
RITA
Ed - die, I'm
true
you. I'm
There ain't a
EDDIE
Well that much is
j j j
j
When it comes down to
nev - er
there.
clue
ad - mit
RITA
love
you.
3
ev - er,
love
30
I ain't got
But you have to
&
&
git
17
21
brain,
nev - er, nev - er, nev - er,
I'm sor - ry but I
&
git...
is...
Colla
But
soft
touch.
3
one day
year I don't
don't
3
ask for much And

3
get
it,
Ed, Why don't you
28
Made in Dagenham
34
&
EDDIE
learn?!
39
Look
&
That's got - ta
43
&
I'm
just
in
my
51
You suc - ker -punch my
56
&
sin - gle thing
&
60
A tempo
sick of
do;
can
it.
&
With -out you I'm not
I'm sor - ry,
I'm
tired of
come on Ed.
J
I'm sor - ry
I'm
sick of it.
I've
Sor - ry.
RITA
I'm
had e - nough.
Oh,

I'm sor - ry.
Sick of it.
a - gain.
you
Sor - ry.
There ain't a
love
for - get
Sor - ry.
63
nev - er
whole.
it.
EDDIE
& j
&
ev - er,
soul,
pro -mise that I'll
toy.
j

I
& j
cud - d - ly
brain,
48
full of joy.
choc -'lates or some stu - pid
with a fool - ish
&
yet
or
See they're re - gret - ful, but
man
eyes,
be worth more than flowers
Sor - ry.
Sick of it.
Sick of it.

Sor - ry.

Sor - ry.
Made in Dagenham
&
66
S..
I..
&
C..
I'll
S..
Y.
O..
R..
3
b
& b bbbb
122
R..
till I'm hoarse.
Tell me just how ma - ny times you want me
I'm
bb b b
& bb

133
MEN (+ EDDIE ad lib)
He's just
bbb
& b b b
sor - ry,
man
man
138
bbb
& b b b
141
You suc - ker -punched his
bbb
j
& b b b
You suc - ker -punched his
I'm

J
j
J
soul,
How ma - ny times I'm sor - ry;
sor - ry
But
love
brain,
brain,
ev - er,
ev - er,
you
you
nev - er
for - get
a - gain.
nev - er
for - get
a - gain.
j
j
J b
J
he's

With -out
j

J

With -out
He pro -mis - es he'll
soul...
you.
He pro -mis - es he'll
'cause I got
soul,
3
3
j

J
a - part from the bike of course.
with a fool - ish
bb b b
& bb
bb b b j
& bb

with a fool - ish
w
w

He's just
to tell you
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
bb
& b b bb
shout it
3
j r
125
128
121 (loose quavers)
3
3
bj bbbbbb
K..
(EDDIE)
scream it
29
he's
right
arse
right
arse
30
Made in Dagenham
bb b b
& bb
145
hole
There ain't a
j

J
bbb
& b b b
hole
bb b b
& bb
149
There ain't a

sin - gle thing

sin - gle thing
he can
j
J
he can
EDDIE
do;
I'm sor - ry,
j
J
love
do;
you.
bb b b
& b b
MEN
If you want he'll
bbb
&b b b
153
EDDIE
3
beg,
Look, he's down on one
the wea - ther, wher - ev - er, for - ev - er;
leg.
Now he
is down on
What - ev - er
What - ev - er
bb b b 3 3
& bb
J
157
ev - er, for - ev - er,
3
bbb b 3
b
& b

I'm sor - ry,
I'm
ev - er, for - ev - er,
al
all
(MEN)
the wea - ther, wher -
3
3
3
j
fours.
bbb
& b b b
3
3
3
3
j
What - ev - er
bb b b
& b b
ways
al
ways
al
ways
al
ways
the wea - ther, wher -
yours.
yours.
He's sor - ry, he's
J
J
al -ways yours.
Made in Dagenham
bb b b
& bb
31
EDDIE falsetto ri ad lib

V V V V V
6x to fade
162
bbb
& b b b
j j
w
b
& b bbbb w
He's sor - ry, he's
al - ways
He's sor - ry, he's
al - ways
yours.
He's al -ways
al - ways
j j
w
He's sor - ry, he's
yours.
He's sor - ry, he's
j
j
yours.
yours.
j
j

al - ways
yours.
He's al - ways
Slow 4 (rubato)
bb
& b b bb
166
yours
U
w
EDDIE
b
& b bbbb
say
j
I
love
j

you loads,
you
j
j
fl
stu - pid sod!
drea -mer
Maestoso
RITA
RITA: Whats your point?

EDDIE: It didnt do me any harm.
RITA: I think e canes him cause hes a scholarship boy.
Hey there slee - py
185
EDDIE: Remember Mr Perkins?

RITA: Virgin Perkins?
EDDIE: Yeah.Woodwork.
RITA: Im gonna go into the school to

complain. (Beat) I love you Eddie.
b
& b bbbb
180
EDDIE: He used to put me head

in a vice and burn me with cigarettes.
b
& b bbbb
176
RITA: Mr. Buckton is caning our Graham. It ain't right.

EDDIE: Remember Mr. Perkins?
RITA: Virgin Perkins?
b
& b bbbb
172
RITA: Were alright aint we?

EDDIE: Course were alright.
just
wa - nna
32
School Song
CUE:
HOPKINS: Trouble at mill.
(TACET)
2 CLICKS IN
4
&4
MEN
Where the
6
&
gown
Stands a school whose sons
11
&
through
all knocks and
all
hard - ship.
iron heart of Eng - land bleeds
#j
fight
with might to
fur - ther its
b
Do not
fear
&
nerve
and think of
Al - bion.
What -ev - er
when death stomps
j j
b

hap - pens
do
not
Be - neath
nj
rall. . . .
15
its nob - le
GRAHAM
re - nown.
On -ward
by.
Hold your
####
(DIALOGUE)
cry.
CUE: LISA: . . . we parents have to stand up to him.

RITA: Yeah, good luck, I gotta go.
##
&##
20
2 CLICKS IN
ALL
Do not
e e

cry,
# ##
&#
24
do not cry, Do not
gran - ny when you sleep.
##
&##
27
ca - re - er
in
do not weep, Do not howl for your mam -my or your
Crush
all
fee - ling
pare for
bawl,
the
cor
ri - dors
and
of
9a
Into The Berni Inn

(TACET)
nev - er,
U
w
w
w
pow'r.
ev - er cow'r.
Pre -
33
10
Same Old Story

CUE:
RITA: You got us the grievance procedure (Go)
b4
&b 4
Slow
CONNIE
j r

Yes - ter - day
b
&b
j
j r

knew it
b
&b
all,
I had no doubt.
Start -ed work
b
&b
10
mak - ing do
b
&b
Same as all
fun - ny,
mak - ing
jokes,
Same work,
But now I'm
tale,
Still the same old rea -sons
b
& b
b
&b
up the crumbs.
old - er,
al - ways pro - mised
It's an
age
old
sto - ry,
ty
It's an
Se -cond at the ta - ble,
But some - how
nev
er
On the shoul -ders of the
comes.
joined the La - bour par
the bone
Look - ing back it does - n't seem so
that are there to make us fail.
Change is
you want to be."
Worked our fin - gers to
same hours but half the mo - ney.
20
24
j
j
b
&b
Pick -ing
"Just be who
j
j
16
age - old
the blokes.
in front of me,
way too young,
by
Life was there
12
when I start - ed out,
great
E-
34
b
&b
27
man - ci -pa - ted teen - age - er
b
&b
30
b
&b

Thir - ty years
on,
33
say to me,
b
& b j
36
"Stick with it,
ce - dure?
b
&b
b
&b
we
fail.
Un - i - on
What did I
cei
ling
From down
j
n
The Grie -vance
Still the same old rea -sons
at
on
the
bb b bPiu mosso
r
j
& b b
Pro -
that are
the door,
accel....
here
You all
j j

Kick -ing
the out - side,
ac - hieve?
con - ve - nor.
need ya."
Al - ways on

a glass
am still
43
Looks like
to make us
fight,

It's an age old sto ry,
It's an age old tale,
there
Fierce, fei - sty, full of
a dream - er.
Who did - n't have time to wait.
war - ri - or,
40
floor.
bbbbbb
j
b
It's
46
al - ways been a whis - per

WOMEN
bbb
& b b b
w
w
Ahh
bb b b
& b b
49
take
bbb b
b
&
b
but can't it be
j j j
no more.
Oh,
a roar?
All those un -heard voic - es that won't
w
w
Ahh,
Ri - ta, please wake up,
w
w
Ahh,
need
you
to
see
It
35
CONNIE: This doesn't have to be just about C-Grade.
bb b b
& bb

[UNDERSCORE]
rall.
52
bbb
& b b b
ain't a - bout the mo - ney, It's
w
w
nnnnbb
e - qual - i - ty.
A tempo
nnnnbb
Ahh,
b
&b
57
b
& b b
64
w
w
& b

You can change the sto ry,
70
CONNIE
b
&b
73
there
to make us
You
can change the tale.
fail.
We
have to
&b

wait -
make
it
ing,
Ri
ta,
make
Don't
it
fall for
all those rea - sons
that are
our time.
76
Ain't got time for
RITA: No! What?

CONNIE: Nothing changes if it isn't challenged.
w
w
Can't our time be now?
now.
SEGUE
11
Union Song Reprise

3, 4 . . .
# 4 . . . . .
& 4
&
MEN / WOMEN
Broth - ers and sis - ters,

j
J

com - rades, ev - 'ry - one.
and the Un - i - on. When it comes down to
man - age - ment
Fight
for your fu - ture
Each and ev -'ry - one of them's a
tot - al...
36
11
Skilled Work
(TACET)
12
CUE:
Everybody Out
RITA: Hands up . . . All in favour?
70's rock (q = 162)
##4
& # #4
##
&##
1 2
BERYL: Clare?
J n
>
(Drums:)
RITA
>j

J n
>
J n
>
your life
You got - ta stand up for What you know
3
##
j
&##
is right
10
some -times in
# ##
&#
14
your life
long
18
(RITA)
####
&

It's
##
&##
com - ing and - a
we ain't
turn
the eye
for
ing
And scream the rea - son why
scrap.
back.
Ev - ry - bo
Get
out on the street
Let's make it
and
j j

clear
we're
on - to that pick
j j

here to
send
et line.
j

a sign.
dy
j

J
ALL WOMEN
Ev - 'ry - bo
ALL WOMEN
##
&##
26
a long time
com - ing And we're read - y
##
&##
22
time
And be pre -pared to fight And
You got - ta get up And look them in

It's
Some -times in
>
>
>
nJ J J
j

J
Ev - 'ry - bo
dy
dy
j

J
Ev - 'ry - bo
dy
j
>
out!
>j
out!
>j
out!
>j
out!
##
&##
30
CLARE
If
##
&##
34
they get
ALL WOMEN
46
&b
MEZ.
&b
50
WOMEN
&b
There's no more
54
& b
ALT.
ing,
j j

Don't treat us
SOP.
j
b

>
talk
girls
j
J
like
j j

J J
Don't treat us
ya
we'll
get
j

J
mean.
ma - chines
Ev - 'ry - bo
>j
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 unocial industrial action!
>
tell
to our sew - ing
3841
nnnnb
j
n
gry, well
We'll chain our - selves
##
&##
an
37
girls
like
j
b

>
no con - ver - sa -
>
j j
b
>
>
>
>
>
>
>
j
j
tion.
j
b
b>
no
con - ver - sa
a poor
(your)
re - la
a poor
(your)
re - la
j

J
Ev - ry - bo
j
>
dy
out!
dy
out!
>j
J
>
j

J
tion,
tion
tion,
Ev - 'ry - bo
58
&b
j
b
j
b
>
j
b
>
j
b
>
j
b
>
>
>
>
62
&b
>
j
b
>
>
>
38

HOPKINS: (to Lisa) Hey! What time is it in America?
LISA: I'm not the speaking clock!
(Lisa walks o in a hu.)
SID: Sidney.
HOPKINS: Is this a strike?
66
&b
& b
SAFETY
72
& b
Ev - 'ry - bo
dy
& b
Ev - 'ry - bo
85
&b
WOMEN
out!
dy
It's
al - ways
j j

been
These worms are turn
this
way;
tom to
worms
now it's got
feed
those
j j
That, you bet - ter
in
to
but
to stop
at
the top.
j j

rea
lise.
>j
j

J
J
ter - flies!
j
j j

J J J
- ing
We're the can of
out!
You starve those at the bot
>j

J
j

J
81
>j
j
J
j

J
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
& b
CUE to CONT:
BARBARA: They make the seats for the cars!
>
90
94
&b
>
>
>
>
>
>
>
WILSON: . . . and we can all drive standing up! Do I have to think of everything?
>
##
&#
97
>
WOMEN
La - dies,
>
>
>
j j

if your
fel
la
>
j j

starts
to
whinge
>
j

or
#>
>
>
J
j j

starts
to
>
moan
>
>
#
n##
#>
J
EDDIE: On
strike?! We need
the money!
##
&#
101
Tell
him
##
&#
105
Let
##
&#
do the
make him
##
&#
113
take
the
strike
cook
it
ing,
all
right
j j

Let
j j

do
j j

j j

back
him
try
in - to
long
in
pair
STAN:
Twenty-seven minutes.
the meals.
day
make
your home.
j j

to
j j

j j

of
five
And
inch
STAN: Better safe

than sorry.
heels.
TUTTI
SOP + MEZ / ALT
SOP / MEZ / ALT
F6 / SOP / MEZ / ALT
Ev - 'ry - bo - dy out
# # #
b
&b
117
that you'll
him
109
j j

39
EDDIE:
How long do you cook
an egg for?
MEN
Girls
b
&b
121
you
done the
j j
Make your point then
b
&b
125
proud
b
&b
129
make
of
it
right
back
you and
what
thing,
to

J
it
j j
quickget
on
with
j j

we're
be - hind
you
j j

j j

j j

work
is
be - fore
that
you
j j

it
bank
all
j j

all
the
j j

got
i - day.
to
We're
say
'cos we'll strug -gle on
nnnbb
way.
j j

hol
strik - er's
but
j

pay.
40
b
&b
133
TUTTI
SOP + MEZ / ALT
Ev - 'ry - bo
dy out
dy out
#
Ev - 'ry - bo
SOP / MEZ / ALT
Ev - 'ry - bo
dy out
Ev - 'ry - bo
nn#
dy out
VAMP - OUT ANY BAR
#
&
CUE to CONT:
JOURNALIST: Ladies, is it your intention to halt production on the new Ford Cortina?
137
141
&
#
J
#
J
#
J
### TUTTI
&
153
Ev - 'ry - bo
dy out
##
&#
b n.
b
&
157160
dy out
161162
. . . . . .
#. . #
dy out
n # #
RITA: Hello Liverpool!

ALL: Hiya queen!
j
n
#
b b
#
J
#
J
Ev - 'ry - bo
n n n
###
#
J
Ev - 'ry - bo
#
J
SOP / MEZ / ALT
#
J
Ev - 'ry - bo
SOP + MEZ / ALT
nnn b
b
. . . . . . .
n
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
VAMP - OUT ANY BAR
145
149
# #
& #
dy out
b b
RITA
j

We're here to ask
&b j

170
- vour,
And we need you all
a - board.
a fa -
j
j
j j j j j
We want to shove a
rock
et
up
the
arse
b
j j j
j j j j
& b j
j

175
of Hen -ry
Ford.
If
you stop mak -ing
seats
then you
stop our
pro - duc - tion line.
b
&b
180
j
b
But
b
&b
184
189
if
a - bout
j j

the
the
mo -
strike
ney.
It's
come
j bbj
J
J
j bb
J
al
ways
SANDRA + F2
Wo - men

J J
al
ways
come
TUTTI WOMEN
Dag - en - ham
and
j
b
& b b
J
j
n
J
197
La - dies, let
Liv
me
hear
b
&b
TUTTI
Ev - 'ry - bo
dy out
in'
sec
ond;
sec
ond;
j
J
you
say,
we
re - ject.
we
re - ject.
j

J
dy out
waste
we
res - pect.
j
j
J b
J
got
clout.
SOP / MEZ / ALT
Ev - 'ry - bo
Ev - 'ry - bo
dy out
dy
time.
w
w
w
of
j
j
J J
"Ev - 'ry - bo
SOP + MEZ / ALT
Ev - 'ry - bo
to - geth - er
j
j
j
J J
a - bout
That's what
j

J
er - pool;
just
all
That's what

J J
in'
is
j j

j b j
J
bJ J
J
bb
& J
202
on
j j

j j

RITA + F3 + F5
b
& b
car - ry
j
b J J
Ain't
Wo - men
193
you
j j
b
RITA + SANDRA + F2, F3, F5
bb j
& b
41
out!"
dy out
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
206
b
&b
j
.
-.
210
j
.
-.
-.
-.
J
.
42
ON CUE
b
&b
214
TUTTI
SOP + MEZ / ALT
SOP / MEZ / ALT
#
nn## #
EDDIE: I fed the kids.

(Eddie turns a romantic low lighting lamp on, and the main light o, 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
#### sotto voce

&

224
TUTTI
Ev - 'ry - bo - dy out...
230
####
&
Ev - 'ry - bo - dy out.
####

&

235
Let's make it
MEN
We won't be dis - missed
j j

un - der
####
&
>
the
and on - to that pick
j
j
j
j
j j j j

>
##
&##
245
#### j
&

w
w
w
- et line.
Ev - 'ry - bo - dy out!
240
Get out on the street
####

&
w
w
[STARBURST]
SOP / MEZ / ALT
SOP + MEZ / ALT
we're here to
j
j
j j

And

J J
lat
clear
est
we
won't be

J J
mod - el
send
a sign.
j
j
WOMEN
ig - nored.
j
j

>
We'll throw our - selves
>
SOLO GIRL
Ford!
Ev - 'ry - bo
MEN
>

J
J
Ev - 'ry - bo
dy
out!
dy out!

249
####
&
>
####
&

>
TUTTI
Ev - 'ry - bo
253
####
&
Ev
Ev - 'ry - bo
####
&
- 'ry
V V V V
- 'ry
j
j
nn nn
J
J
j

J
j

J
j
j
j
nn nn
J
J
J
w
nw
w
- 'ry
'ry - bo
bo
bo
Ev - 'ry - bo
dy out!
dy
>
Ev - 'ry - bo
dy out!
dy
V V
V V
V V
>

>
- 'ry - bo - dy
Ev
bo
j
j
j
j
nn nn
J
J
J
J
Ev
Ev
Ev
dy
>
j
j
j
j
nn nn
J
J
J
J
dy out!
>
####
&

>
262
####
&
V
dy
>
####
&

>
257
solo ad lib
####
&
V V V
dy out!
Ev - 'ry - bo
Ev - 'ry - bo
43
dy
out!
w
w
w
dy
j
#
J
F1 & M1 / F2 & M2 / F3 / M3
out!
FAST SEGUE
12a
Everybody Out Play Out

(TACET)
End of Act One
44
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
13
TOOLEY
I'm the
b
&b
go - to
go - ing's
b j
&b
10
to
your
gone
mad
and I've
j
n
face
The
and tax - es
rea - son
and the
Lord
20
end
b
& b
of
ve - ry
This
am here's to
The
tell
it
like
is
M6 / M1 j
nJ
line
nn#
-
mer
nn#
-
mer
on - ly
put you
in
it
your
And we will
The
U - S
i - ca
j
J
i - ca
say
it
Af - ter
j

Ford
nj
We
be right
is,
place.
o - ther cer - tain - ty, my friends, is
tough, And the
j
n nj
first pro - duc - tion

time.
e - nough.
b
&b
bb b
& J
gets
j
n
n bJ
17
gave the world the
had
go - ing
j
j
J
b
& b j
13
death
kin - da
guy when the
here
un - til
the

J
J
A.
We tell you
#
&
23
what
to do,
j
J
#
&
what
and you
top
to do,
are
our poo - dle,
the
fif - ty - first state.
j j

dog
you
top
love to
so much
sun
is
sun
is
bet -
ter, and our
# j
&
34
fur - ther
too.
&
b
&b
37
big
Ba
j
J
Ba
wet - ter, we move
ger,
fa
fa
hot - ter
ster
to
and his
TOOLEY
su - pe - ri - or
Team - ster scum.
on - ly
nbb
nb
b

J
We
We bought the pub - lic tran - sport,
way you
you.
b
Now the car's the
and
you.
A - nar - chists, com - mu - nists, We fought them 'till we won.
ster
su - pe - ri - or
we're
to
b
&b
b
& b j
sic' - ly we're to - tal - ly
ger,
sic' - ly we're to - tal - ly
3840
it down.
wa - ter's
j
J
43
shut
hot - ter and our
46
saw o Jim - my Hof - fa
And
dog
hate,
big
30
We're so much
# j
&
&
We are the
27
&
we say.
#

&
you
as
do
45
get
a - round town
we
j
We're
46
b
& b n
49
so
much
bet - ter
j n
and I'm
not
be - ing mean.
We've got Route
Six - ty
Six,
you've got
the
j
j
b j
j
& b j j n
52
A thir - teen.
bb b
& J
56
have her
We gave you rock 'n' roll, you gave us
nn#
back.
b
&b
This is
60
you're all
nJ nn#
&
We are the
64
fif - ty - first state.
j
J
top
Get
67
weren't for
#
&
us you'd all be
weren't for
us
spea -king
U - S - A.
dog
We're all straight,
and
We're all straight.
j j
you love to
hate,
And you are our poo - dle,
j
the
dog
high
high
#
&
the
Wellthanks a lot for no - thing. You can
ri - ca,
o your
Black.
j j
ri - ca,
top
#

&
&
me
j
J
gay.
me
M6 / M1
# j
&
Cil - la
horse,
put a - way your
ser
mon. If
it
horse,
j
j
Ger - man,
and while
while
we're here,
we're here,
j j

there's one thing more.
You
#

&
71
still owe us
&
mo - ney
from the
#
still owe us
TOOLEY
A-
nbb
mo - ney
b
& b
lu - mi - num, Ba - sel,
b
&b
3
j
j

Too - na, O-re - ga - no,
Pay - tro - nize, E - din - bro,
rib - be - an,
Neet - shee
Pe - cahn,
Ca -moh - meel,
b
& b
84
You - ri - nal, Vie - ta - min, Woo - ces - ta - shi - er Sauce?
b
&b
nbb
Se - cond World War.
75
80
47
Jag - war, Eye - raq,
Krass - ant, Yoo - ghurt, Ca
No - ta Dame,
Vayze,
j

3
You guys can't ev-en speak Eng - lish!
Pa -ree - shun,
#
J nn
TOOLEY
This is A -
j
#
n nn
WOMEN
This is A -
b
&b
n nn#
J
M6 / M1
This is A -
#
&
88
me
#
&
me
&
me
j j
J
J
J
ri - ca,
the
U - S - A.
Now don't for - get
ri - ca,
ri - ca,
j
j J
that
You
do as we say,
We have the
...get
get
that,
that
48
#
&
92
#
&
T
&
#
T
Hol
#
&
Hol
Pres
j
j
ly - wood
ly - wood
j j

ly - wood
j j

and
Ve - gas
#
&
Pres
&
You're sim - ply the worst,
100
#
&
and you have the vest.
shirt,
#
&
Pres
shirt,
96
#
&
#
&
Hol
And we're sim - ply the best.

We got
sim - ply the best.
shirt,
sim - ply the best.
and
and
Ve - gas
too,
Ve - gas
too,
too,
Su - per - man
j
J
i - dent, We got
104110
You got Thames T. - V.
to re
a - lise.
You got Prince Charles,
j j

j

J
j j

j
j

n #
j j

j
j
#
and Whip -s'nade Zoo.
We got
We got
We got
and
Des - pe - rate Dan.
and
and
nb nbb
SOP / MEZ / ALT + M1 + M6
b
w
& b w
w
thing you can do we have
A - ny
113
Su - per - man
Su - per - man
i - dent, We got
i - dent, We got
thing you can do
or want
to do,
a - ny -

Ev' -ry thing that you do or want to do,
ev' -ry
rall.
# w
b
w
& b w
117
thing that you do
b
& b J
121
with
b
& b J
125
this
bb
&
129
TOOLEY
we have
tic - ket to
A tempo
Get
Slower
3
A
This is A
M1 + M6 /
M2 + M3 + HOPKINS
# 3
This is
SOP / MEZ + ALT
b
&b
rea - dy Da - gen - ham,
#
nn##
lose
with
me
##
nn #
-
me
#
nn##
me
get
ri - ca,
j

J
j j

J J
j

J
j
J
j j

J J
j
J
the
the
the
U - S - A.
U - S - A.
U - S - A.
and Scoo -by
and Scoo -by
We got
Doo.
Doo.
Doo.
bike.
j j j j
J
J
J
J
and Scoo -by
choose
We got
### j #
&
J
We got the Ken - ne - dys
accel.
j
j
j j
J
J J
J
blow you a - way.
pic - ket and
We got
accel.
can't
j
##
& # J
blow you a - way.
You
One thing's cer - tain, I'll
j
J
J
J
133
###
& J
blow you a - way.
back to work, get on your
j
J
ri - ca,
Ford.
ri - ca,
TOOLEY
j
J
Steadier, quasi martial
Slow but insistent
sub - si - dise.
That's your
strike.
This is
b
&b
Ford,
to
49
bust
cops with guns who will

You got Ted Heath

You got Ted Heath
You got Ted Heath
j
and
j

J
and
j

J
and
50
137
###
J
&
Dan - ny
La
Rue.
We
got
A tempo
the
White
Dan - ny
La
Rue.
We
got
the
140
###
&
La
Em - pire
##
& #
143
###
& J
mem - ber
## j
& # J
mem - ber
### j
& J
mem - ber
got
State, which pis - ses
Em - pire
We
Em - pire
##
&#
Rue.
House, you've got
the
j
J
White
j

on
Big
j

J
on
Big
j
J
on
Big
When it comes to
mu
Ben.
#
#
When it comes to
j j

J
J
this:
this:
There'd be
There'd be
no
no
no
##
&#
and wea - ri - er,
frea - king Bea - tles
with - out

with - out
with - out
re - mind me
of
Si - be - ri - a, you're
We
Ten.
mu
We
sic
j

J
sic
mu
sic

El
got
the
got
the
j j
J
J
j
j
J
J
There'd be
j
J
j
J
Ten.
Num - ber
We
j
j

J
J
Num - ber
j

J
Ben.
Ten.
j

J
When it comes to
Ben.

J
J
Num - ber
this:
House, you've got
j
J
146
drea - ri - er
White
### j
J
&
Dan - ny
House, you've got
### j

&
J
vis.
got
the

just
re -

just
re -
just
re -
You're
j j
El
vis.
El
vis.
j j
to - ta - lly
in - fe - ri - or,
so
149
###
&
Dag - en - ham...
##
&#
Screw
51
you.
This is
This is
###
&
A - me - ri - ca!
A - me - ri - ca!
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 o.
3, 4 . . .
(q = 132)
4
&4
w
w
j #
#
n
#
J
M6 / M1 / TOOLEY
7
&
This
is
n
. .
>
A - me - ri - ca!
n
. .
52
14
Storm Clouds
WARN: BERYL: Are we?

----------------------------------------CUE: CONNIE: Your strike pay.
q. = 76
6
&8
&
Ev - 'ry - bo - dy out.
26
&
Ten
&
on

Don't let
the
bas
tards,
#
grind
you
pound
6
4146
down.
out.
zon.
- dy
Ru -mours go - ing
53
&
Down to our last
Pres -sure buil -ding up
47
&
the ho - ri
Mo - ney run - ning short
37
clouds
in the town.
&
round
Storm
- sion
32
out.
SOP + MEZ / ALT
Ev - 'ry - bo
dy
TUTTI WOMEN
2021
Ev - 'ry - bo -
SOP / MEZ / ALT
DIALOGUE
&
16
12
19
WOMEN
VAMP

On Cue
&
59
MEN
Wel
j
b
come
to
&
(this

&
is what its
j
b
This
E - qual shit
is
what its
b b
like)
69
e - qua - li - ty
64
j
b
53
for
ev - ry - one
like
b b
J
When you go
on
strike
&
83
&
91
&
Storm
75
&
ALL WOMEN
clouds
on
the ho - ri
zon.
TOOLEY: Do you understand domino theory?

MONTY: Yeah. Get rid of your double six as
soon as you can.
98
&
VAMP
(Out either bar)
101102
TOOLEY: If England falls to equal pay, the rest of the world will follow.
105
&
On Cue
ALL WOMEN
Storm
clouds
on the ho - ri
zon.
54
&
110
121
&
Pro
115
&
LISA
the
in
WILSON
Help me,
the e - co - no - my

&
131
is
&
ven on
42
[Dr. fill]
4
4
Ford
your trade
146
Cut -tin
down
in - di - cies
on booze and fags and e -
make the blood chill
foot - ball.
fi - gures
Tempo primo (in 2) (q. = 76)
6
&8
j
& b n b
With -out
e - co - no - mic
+ MEN
134
&
MEN
sim - ply in free - fall.
3
j3

TOOLEY
The
154
On Cue
Pi Mosso
4
& 4 j
&
VAMP
(Out either bar)
Pop Ballad (in 4) (q = 92)
128
138
home.
blems
are
sim - ply
w
#nw
w
road
6
8
kill.
rit.
2
160161
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.
&

VAMP
162
(Out either bar)
166 TUTTI
&
Storm
&
town.
& #
grind
189
&
the ho - ri
TOOLEY: Oh, wow! Whats for dessert?

LISA: (Standing) Cheese.
On Cue
zon.
sy
lies
the
you
head
that wears
Ten
sion
in
WILSON
Ru -mours go - ing round
the
Un -
CASTLE
Dont let that
crown.
the
bas - tard
down.
Pres -sure buil -ding up
178
183
on
clouds
172
&
ea
55
On Cue
Pi Mosso
42
VAMP
[Dr. fill]
4
4
In 4 - Pop Ballad (q = 92)
4
&4
195
TOOLEY
We have to bust the strike.
198
&
out
b b
of here.
n #
3
We will
j
Be ruth - less
move
to
get it
done.
Bel - gium.
j
And
if
you dont were
WILSON
This
is
6
8
56
In 2
6
& 8 #
201
j
#
rough patch,
&
212 WOMEN
on
j

J
ten - sion in
223
j

J
the
Mo -ney run -ning short
ding
& #
bas - tards
228
pres
grind
sure
buil - ding
you down.
Ru -mours go - ing round
pres
j

J
j

J
down
to our
last pound.
bas - tards
in,
buil - ding
sion
sure
bas - tards
in the
Dont let the
cos
sion
ten
Bel - gium
zon
to
Down to our last pound
Don't let the
up
pres
Ten
town
&
buil
go
ALL
dont
On Cue
TEN + BARI / BASS
Pres -sure buil -ding
&
the ho - ri - zon,
hor
218
&
&
town.
&
But please
shit.
clouds
&
rea - di - ly ad - mit.
(Out either bar)

j
Bel - giums real - ly
&
Storm
Tempo primo
VAMP
206
bas - tards
grind
grind
sure
Dont let the
you down.
j

J
you down.

&
235 [MAKE LAST SUPPER]
&

&
fam
you,
240
It aint a - bout
It aint a - bout
bas
bas

& b
bas
tards
grind
you
down
grind
you
down
it aint a -bout the
law.
and
poor.
and
poor.
grind
you
grind
you
the
bas
WOMEN
the
EDDIE /
TEN + BARI / BASS
down.
Its three thou -sand
Its three thou -sand
(WOMEN)
[G.P.]
Dont let
the
(MEN)
[G.P.]
j
J
grind
you
grind
you
bas - tards
EDDIE / TEN
U
>
tards
U
>
>
u
the
j b
J
the
grind you down
BARI / BASS
Dont let
law.
j
#
252
&
tards
&
tards
&
#
it aint a -bout the
un - em - ployed
245
un - em - ployed
fam - lies

& #
you,
- lies
&
6/8 Rock Feel
57
j

J
grind you down
j
J
j
J
down.
U
>
>
u
down.
SEGUE
58
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
2 CLICKS IN
GIRLS
Bah bah
##
&
7
##
&
12
&
da!
F1 + F2 /
F3 + F4 /
F5
##
CORTINA MAN
Ooh
Mark
nn
It's the
b
.
#
n#
Bah bah
Easy 4
car for me, it's the car for you.
Af - ter
the Mark One comes the...
Boo!
Mark Two.
Bah bah
>
j
##
b

&
.
.
Bah bah
nn #
n #
.
Two
Well, you buy a Mark Two 'cos you know you ough - ta.
Ooh
It's
##
&
17
like a Mark One, on - ly
#
&#
frac -tion -nal - ly short - er. "Cor
ti
21
mean
##
&
##
&
24
er.
Ooh

Comes in white or
##
&
cream
er.
you can
af - ford
more
Ooh
ti
na.

to
get.
Leath - er - ette's the one
Two - door,
j
n b
Leath - er - ette's the one
to
Two
door,
four - door.
Ooh
j
nn
Ooh
28
##
&
##

&
If
It's lean - er and it's
nj
n
Cor
j
n

F1 + F2 / F3 / F4 / F5
j
b
na.
frac -tion -nal - ly short - er
##
&
59
four - door
Wood - en dash - board? Yeah, you bet!
get
Yeah, you bet!
##GIRLS
& n n
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,
"Cor
&
##
b
60

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!
##
&
35
ti
&
##
na,
39
for those
woo
woo
1 only
w
w
#w
woo."
1 only
woo
tric - ky round - a - bouts.
It's
built
to
real - ly
last
Three
42
##
Ooh
46
##
##
&
short - er but more
It's now ex - tra wide.
Ooh
room in - side.
##
&
It's slight - ly
years!
50
Or there - a - bouts.
## j
& j
&
Self - ad - just - ing brakes
##
&
&
na
##
&
Oo - woo - oo woo - oo
nj
n
ti
#
&#
3x
"Cor
ti
na.
"Well, how the hell's that pos-si - ble?"
j
n

It's lean - er and it's
mean
er.
Ooh
CUE: HOPKINS: That woman

there, I want her thrown out"
j
n b

Ooh
nj
n
Cor
ti
na.
nj
n
Ooh
##
&
54

Comes in white or
##
&
cream
er.
j
n b
Ooh
##

&
58
it
will give
##
&
big
thrill.
61
the world and see
down - hill,
the sights with
the world and see
down - hill,
Up - hill,
See
Up - hill,

See
the sights with
twi - light night - sight side head - lights.
twi - light night - sight side head - lights.
#

& # n n
61
GIRLS
Dub - a - dub - a - dub - a - dub - a, dub a - dub - a - dub - a - dub - a,
#
& # b
63
MAN
# CORTINA
J
&#
Come on
ac - cel - er - ate,
68
##
&
dub - a - dub - a - dub - a - dub - a, dub
65
Just
do - it,
why d'you wait?
(SANDRA punches CORTINA MAN.)
Be - fore
it
GIRLS
Seize the mo - ment, ba - by, right
nfij
n
# nfij # nfij # nfij #

# n # n # n #
wow, wow, wow, wow,
nfij
n
gets much too
Seize the mo - ment, ba - by, right
##
&

# nfij # nfij # #fij

# n # n # n #
wow, wow, wow, wow,
late,
wow,
62
##
&
72
&
CORTINA MAN:
"Cor
ti
##
j n
na.
76
nJ
Cor
## n
riv
##
&
ti
Af - ter
all
sense
in
ing.
dep - riv
#
ti
ti
15a
Cortina Play Out

(TACET)
15b
Tax Payer's Bentley

(TACET)
U

J
-
na.
na.
Comes in
Cor
the nine - to - fiv
rall . . .
More fun than ar -
j
n
There's no
er.
na.
- in'
ing,
79
##
&
cream
It's lean - er and it's mean - er.

GIRLS
Driv
##
&
&
white
or
ing,
SEGUE
63
16
The Letter
CUE: RITA sees the letter.
b
& b bbb C
(In 2)
b
& b bbb
2nd X:
EDDIE:
I just
can't
take
this
a - ny - more
I'm go -nna take the kids a - way
b
& b bbb
sure.
14
know I'm not one
bb
&b b b
bb
&b b b
good.
23
need
b
& b bbb
33
need
j
b
& b bbb
37
tell you
I need
3

you
in
my
you
but I think you know
do
this

J
to be
my wife.
You
here,
on my
own
What is this all
life
for?
It's such a
sim -ple
know what they're say - in'
"Read her the riot
nev - er know
I'm not
act,
we should.
might do some
no more
J J

You
or else
if you were e - ver
tal - king
a - round,
j
b
& b bbb
side me,
can't
28
day or two,
a - round
'Cos I
you
for
So if you're ev - er
18
for a
j j
bb
&b b b
10
I need
you
thing.
to stand
be -
at work?
I'd
Keep her in
line,
Get
64
b
& b bbb
41
her
b
& b bbb
44
in
the
house
and
Well I'd
bbb 3
b
& b

tell you
48
on my
own
j
j
j
bb
&b b b
b
& b bbb
62
wife.
for?
sim -ple
3
3
b
& b bbb j
70
- fast was corn -flakes and wa - ter
state of your son and daugh - ter
yes, I've burnt the toast
3
b
& b bbb
stu - pid wa -shing ma -chine well it
on - ly e - ver li-stens to you
73
b
& b bbb
76
- ron in Ca -nning Town
and the
I need
you in my
do
3
Or else
you

J
to be
my
life.
Well,
j

3
We
ran out of milk last night so
break-
sau -sage and eggs too
And the
j

And
oh that love - ly shirt
3
3

Well it used to be pink but I
can't
a - round
need
And
you
be - side me,
you should see the state of the place, the
j
J
Freely - building
'Cos I
need
in charge?
Drive harder
to stand
thing,
"Who's
queer."
And I
3
b
& b bbb
67
I need you
3
J
J
It's such a
no more
57
all
you know,
here,
be -hind my
you were ev - er
May - be he's,
What is this
if
You know what they're gon - na say
this
for a beer."
Who wears the trou - sers?
bb
&b b b
out
3
j
back?
52
you
ir -oned it
we bought for Sha
and now it's more shit -brown
And
65
b

& b bbb
J
79
when I had to clean the bog I tell
b
& b bbb
82
to
b
& b bbb
use the Fai
own
no more,
And
b
& b bbb
95
you
need
bb
&b b b w
99
to
fl
can't
do
you
be - side
mee - ting went

3
bb
b
b
& b
107
the
way,
me,
I need
j
too
fuck
is
it
you
to
the
kids
say
Into Parliament
(TACET)
16b
Press Music
(TACET)
that lights
my
Hope the
And
good - night.
16a
my
for?
be
I hope you've done your - self proud,
all
late,
my
j j j
You're the light

3
al - right.
on
un - der - stand
What the
this
round
Hope you did - n't get in

3
could -n't find the blee - ding bleach, I had
Drive harder, ad lib.
need
bb
&b b b
by
And
to stand
life.
103
need you
wife.
And I
b
& b bbb
91
A tempo
rit.
ry!
86
you man, it's sca - ry
66
17
Ideal World
CUE:
CASS: "We should all be working towards our ideal world"
Colla Voce
4
&4
U BARBARA CASTLE:

In an
&
i
deal
world
love would
&
work - ers, boss
11
&
or
sta
In an
&
con - quer hate.
i - deal world they'd sit
In an
and have
In an
deal
world
the
laugh.
The
Bright (q = c. 154)
j r
j j
j
b
sun would al - ways rise and shine,

14
al - ways
ev - 'ry - thing would just be great.
i - deal world
The skies would be deep blue.
There would be
17
&
com - mon cold and flu.
trains would al - ways run on time, we'd work a
&
V.A.T. u - pon the tam - pon, We'd have a
23
&
mag - ine
great world of
chat,
cure for can - cer and the
four day week.
We'd
and af - ter that
un - im - a - gin - ab - le
get
wom -an's clit - o - ris.
In an
deal
bliss,
world
The
His
to meet the prat who put the
face we'd du - ly stamp
where men know how and where to
on.
I -
Half-time feel ma poco pi mosso
&
26
r j
no guns or crime; The strong would help the weak
j j
20
There'd be
ev - 'ry - thing would just
be
great.
find
In an

31
&
i
deal
love would al - ways
&
care and
43
&
share and heal,
&
so would
all com - mu - ni - ties.
No
hap - py
of
And

&
crushed And
b
& b bbb
63
b
& b bbb
68
real
b
& b bbb
74
fice.
real
world
it's
war
real.
The
in
The
pla - net would re - volve
The
a -round the
A -
East and West would do their best to

3
world
It's a
You're luck - y
In -
world
Vi - et - nam.
in the real
would kiss the oth - er cheek.
in
so would pov - er - ty,
we'd
No
But
In the
world
Half-time feel
live in har -mo - ny.
day.
in Cam - bo - di - a,
j bbbbb
Ci - vil rights would flour - ish well
Pro - tes - tants and Cath - o - lics
&
58
deal
o - ver - seas.
55
du - ly
would be
the meek,
part - heid would be
ty - rants
end - ings
Lu - ther King they'd shoot the Ku Klux Klan.
&
meek - est
bomb - ing
&
52
49
stead of Mar - tin
w

3
Normal feel
Ber - lin wall would fall and
In an
con -quer hate.
And our dreams of
46
world
37
67
if you make
strug -gle
ev - 'ry
O.
K.
In the
3
3
j
j
not a - bout
nnbbb
the nice.
It's a - bout tough com -pro - mise and
Click in
Let me tell you;
it was so much tough -er
sac - ri -
j
b
when I
start - ed out.
68
b
&b b j

80
Wo -men's
rights, My
b
&b b
84
bot - tom of
God,
the
chance to rise
####
&
and grow.
low - est
But you
Got - ta punch
for
b
&b b
is just
Half-time feel
b j
&b b
117
deal
lev - el
world,
near - ly
to
b
&b b
deal,
one
will be
With weight!
go -ing
belt
come to pass.
And our
3
day those
hap - py
end - ings,
deal
world,
could be
rall . . .
bw
3
We'll make our world
j j

I know
all you're ask - ing
n
b b nn nbbb
rall . . .
field.
In our
deal
world,

is so
if you're brave and take this
Ad lib Rock
w
3
real.
Should be
to keep on
bi - ting.
I know
And our
no
and do some
Lev - el play - ing
The
And you got
bw
it will sure -ly
my - so - gy - ny
re - pealed.
j
n
Be -low the
in
to keep on
fall and be
real.
Mired
low.
play -ing field.
in our grasp.
b
&b b
122
128
sex - ist laws
and scream and shout.
j
n
j
j
j
j j

105
111
is
j j
b
and bleed
the
got
a - bove your weight;
##
& # # j
all you want
of
beg
#
nnn## #
100
# ##
&#
to
j
j
fight - ing.
bot - tom and the
b
& b b j
you'll have
90
95
U
w
real,
deal.
ALMOST SEGUE
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
RITA
I'm sup - posed to hate you, but I don't.
RITA
#### EDDIE
&

:;
I'm
at a loss, I'm at a loss
RITA: Looks like

it, doesn't it.
U
##
&##
:;
through?
##
&##
12
##
& # #
can't

I'm still
EDDIE +
RITA
here
Some - thing we
ain't
giv - en
j j
this hap - pened sud - den - ly,
let an - y - one down,
up.
a - gree on
I'm
Is that it?
still a moth - er
It just dropped in - to our

Are we
So what am
but I won't.
too.
you
EDDIE
More movement (q = 72)
RITA
But all
17
You want me to beg
sup - posed
to do?
and a wife.
life.
Don't
70
##
& # #
21
turn
your back on me now
'Cos now's the time that
##
j
&##
##
j
&##
25
I thought I
28
had the fu
##
j
&##
31
##
&##
####
&
37
to - geth -
##
&##
40
a - bout
##
&##
44
full of
voice
fore.
Well, it
star - ted as
for the first
had it
all.
her
j
w
and
see
time
end
up like
me.

I nev - er knew I
had be
roar!
But it's got to
Thought that we'd
a whis - per,
hand.
So she don't
3
j
hope,
and small.
I want to look at
48
####
&
our daugh - ter;
I'm find - ing a
##
&##
planned.
Oh babe, we near - ly
j
j

w
That her fu - ture's
my
er;
And what
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
in the palm
me
ture
I thought you were be - side
be a
WOMEN
But it's got to
be a
roar!

52
####
&
####
&
(RITA)
56
#### j

&
We thought we had the fu - ture
(WOMEN)
in the palm of
We thought we had the fu - ture
We thought you were be - side
#### j

&
We thought you were be - side
is - n't ea
And we had
is - n't ea
sy
but we could
when we al - most
In - stead we see the mo - ments
all
when we al - most
planned.
planned.
have
stood
In - stead we see the mo - ments
#### j

&
it
but we could
sy
62
#### j

&
all
have
stood
j

j

tall.
all.
w
w
w
had it
tall.
had it
hands.
j
####

&

We know life
it
hands.
our
us
in the palm of
And we had
59
####
j
&
our
us
We know life
71
all.
Rubato
##
&##
66
(RITA)
It
don't
##
&##
see
this
70
mean
through,
I don't love you
with
or
It
with - out
don't
mean
I don't care
A tempo
you
U
w
there
Segue
But I'll
72
19
Viva Eastbourne
3,4 . . .
60s Rock
4
&4
13
MEN

Vi - va East
&
bourne,
&
In - dis - cre - tion is
East - bourne,
21
A week
SANDRA
w
& w
chance,
CASSj
&

26
I hope she doe - es - n't
by
the sea
we
know
blow

Well, I pro -mise that you
M SOLO
With the
T.
U.
C.
LADIES
it.
w
w
Just this one lit - tle
one
chance.
BERYL
We're with
We've on - ly got
LADIES
j
WOMEN
Just say what
30
it.
&
the sea.
Bed and break -fast sub - si - dized, Proph-y - lac - tics are ad - vised...
Yeah, and don't
&
as - sured.
j

J
by
&
17
T. U. C.
Beer and chips in quan - ti - ty.
13
bored,
The
Vi - va East - bourne,
won't be
j

J
you got - ta say
you all the way
&
WOMEN
Ri - ta
girl

go
all

the way.
MEN
In - fight - ing, out - fight - ing,
&
34
73
WOMEN
I'm
&
talk - ing
all
the
j
#fi
#
lin -
go.
In
37
&
pi - ning for, I'm whin - ing
be - tween the
Un - ion scene the
yearn - ing
for, I'm burn - ing
fij
&
40
sick
of bleed - in' wait - in'
&
bin - go!
for, I'm
ach - ing
for, I'm quak - ing
for, I'm
for
MEN
Don - keys
43
&
strip - pers and the
for, I'm
j
#fi
#
on
the beach,
Snog - ging
(WOMEN)
Change,

&
the
pier.
change,
on
change,
Bring it
on
nod, a wink, a prop - er drink, A - vom - it - ing on beer.

&
47
Change,
change,
&
51
change.
&
Oh
do
like
to be
HAROLD
bbb
WOMEN
Vi - va East
&
do
like
to be
be -side the...
MEN
bbb
Vi - va East
bbbbb
bourne,
be - side
bourne,
bbbbb
-
the
sea - side,
j
J
The
T. U. C.
j

J
The
T. U. C.
Oh

by
the sea.
by
the sea.
74
bb b
& bb w
w
55
60
64
air
our
views,
A week in which to
j
J
j

J
A week in which to
de - cide
Not ex - act - ly Tus - can - y
MEN
The one thing to
bb
& b b b
WOMEN
HOPKINS
bb b
& bb
bb
&b b b
bb w
& b b b w
bb b
& b b
up
here
j

J
We'll start
booze
and
the
re - vo - lu -
schmooze.
bb b
& bb
68
j
J
- tion,
bb
& b b b
Vi - va East -
Some - time next
w
w
w
year.
19a
Into TUC
(TACET)
Vi - va East -
bourne!
bourne!
75
20
Stand Up
CUE:
RITA: Why can't she be a bloody doctor?
Colla voce
b 4
& b bbbb 4
RITA
E - ver get
b
& b bbbb
You know whats
Se -cond
the
right
at
feel - ing you've been
but yet
they
make
cheat - ed
for
you
b
& b bbbb
prom - ised
b
& b bbbb
A Tempo
bb
& b b bb
ble
pi - cking
up
long?
it's
so
feel
nev - er comes
the crumbs
In 4
But some - how
wrong.
Change
Stand up,
RITA
Stand
up,
is al - ways
Stand up,
SAFETY
b
& b bbbb
stand up,
If you're with
me
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
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
the ta
14
21
In 2
b
j
& b bbbb
3439
put
your hand
SAFETY
up.
RITA
the first
76
b
& b bbbb
41
step
that you put
b
& b bbbb
b
& b bbbb
up.
And then you

make a stand for
ev - ry - one,
<b>
(RITA)
rides
on our shoul
- ders
while
were
ta
bb b b
& bb
73
ing
bbb
& b b b
WOMEN
ask - ing
of
for your
for your
ev
ry - thing
but kept
help
and
help
ken
for
on the
know
that
know
ride,
that
out
by
our
side
and
do
ing
So I'm ask-
j
n
mo -ney's tight
But we
mo -ney's tight
what
is
were
side.
j j
j
b
j
j j
j
& b bbbb J J j j j
stand - ing
77
you
The
b
& b bbbb j j j j
the heart
Stand up
69
in
5358
Stand up
A tempo (CLICK IN)
world
Stand up

accel. . . .
SAFETY
w
bb
& b b bb
65
hand
49
60
your
'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
right,
j

oh,
need
bb b b
& bb
bbb
& b b b
81
Stand up,
WOMEN
Stand up,
stand
stand
up,
if youre with me
85
a - round and face the fight,
bbb
& b b b
turn
bbb
&b b b
88
come
bbb
& b b b
come
on
on
bbb
& b b b
up.
And then you
95
up
b
& b bbbb w
got
to learn to
stand
On - ly
stand
On - ly
the first
up,
the first

make a stand for
ev - ry - one,
ev - ry - one,
Youve got to
up,
way to
live your life,
up,
up,
put things right,
j

>
yeah,
put your hand
put things right,
way to
live your life,
step is that you put
your hand
step is that you put
your hand

then the bat - tle
will
be won,
then the bat - tle
will
be won,
j
j
j
RITA
up
to learn to
We wont run
stand
got
make a stand for
stand
put your hand
up.
bb b b
& bb
bbb
& b b b
then
then
Stand up,
bbb
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92
Stand up,
up,
bb b b
& bb
turn
77
and
we wont hide,
TRIO WOMEN
pp
w
w
w
Ooh,
so dont pass
w
w
w
by
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w
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on the
78
bb b b j
& bb
100
oth - er
b b b
& b b b
bb b b
& bb
104
3
j
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side;
wo - men
we are
one,
w
w
w
we
are
(WOMEN)
just cant
but I
ni - on.
tell you this for noth -ing we aint
w
w
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MEN
w
w
w
w
w
w
win
w
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w
Ooh,
the U
w
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w
w
w
ooh,
b
& b bbbb
bbb
& b b b
men,
Ooh,
108
bb b b j
j j

& bb
giv - ing
b
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in,
b b b
& b b b
bb b b
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112
no
j j
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what
want
to
say
w
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Ooh,
w
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is that to - day could be
w
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ah,
w
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the day!
ah,
b
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RITA & MEN
Stand up,
j j
stand
up,
if youre with me then come on put your hand
b
& b bbbb w
w
w
b
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b
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b
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116
up,
Youve got
b
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b
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turn
On - ly way to live your life,

123
to
119
come
127
come
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133
is
that you put
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is
that you put
bb
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step
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Stand
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your
hand
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your
bb
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136
then the bat - tle will be won,
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hand
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MEN
stand
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up
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make
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make
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up
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ALL WOMEN
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make a stand for ev - ry - one,
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on.
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79
PRESIDENT: The equal pay amendment

is carried. Equal pay is TUC policy!
j

w
w
now!
now!
j w
w
J
now!
80
bb
&
142
stand
up
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stand
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up
can hold
my
hand
should have been there for your fight,
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up,
up
I'm with
147150
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.
b
&b
Meno mosso
stand
was wrong and you were right,
b
&b
165
stand
b

&b
158
now!
155
stand
now!
up
b EDDIE
&b
now!
up
151
Stand
MEN + WOMEN
Humming
life.
b 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 suragettes 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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171
Half feel
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b
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182
accel.
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&
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a tempo
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up,
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Stand
b
b
&
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190
up,
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On - ly way to live our lives,
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& b b
bb b
&
b
& b
is
that you put
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then come on
put
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put
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then come on
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got
to learn to
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put things right,
turn
got
to learn to
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come
on
come
on
come
on
up.
hand
hand
up,
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up,
Stand
hand
Stand
up.
wow
up,
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stand
stand
up.
hand
hand
hand
j
n

to learn to
got
your
your
turn

your
me
193
then come on
turn
that you put
bb
&
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to
up,
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197
if
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&

up,
up,
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stand
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MEN
81
stand
up,
up,
up,
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the first
the first
the first

make
stand for
ev - ry - one,
make
stand for
ev - ry - one,
make
stand for
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82
bb
&
200
b
& b
b
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stand
stand
205
why dont you join us, come on
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209
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stand
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now!
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Now
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up
stand
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F1+2
F3:
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up
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M1+2
M3:
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up
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now!
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now!
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stand

now!
up
stand
up
up
stand
b
b
&
up
stand
b
& b
up
stand
bb
&
J

b
&b
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(F1)
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(F1)
83
21
Bows
CUE:
APPLAUSE SEGUE
Med. Pop Beat (q = 132)
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(Clicks)
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(CLAPS)

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84
## WOMEN
&
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76
Made
in
##
&

Made in
Da - gen - ham,
laid
in
Da - gen - ham.
laid
in
MEN
Da - gen - ham,
##
&
85
Da -gen - ham,

Da - gen -ham
##
&
Girls!
WOMEN
we
are Da -gen -ham
Boys!
Now we're
MEN
Girls!
Boys!
WOMEN
Girls!
we
are
MEN
we
are
WOMEN
girls,
e - qual
paid
in
Dag - en - ham,
paid
in
Dag - en - ham,
Da - gen - ham
WOMEN
girls,
w
w
e - qual
w
w
TEN + BARI /
BASS
MEN
F6, F5 + SANDRA /
F2, F3, F7
##
&
Made in Da-gen - ham, we are Da-gen -ham
##
&
Now we're
Da - gen - ham.
80
Made in
ooh
22
Play Out
(TACET)
MEN
Boys!
Made in
Made in
girls,
WOMEN
Girls!
MEN
Boys!
Da - gen - ham.
Da - gen - ham.

MADE IN DAGENHAM Lib Vocal Book JW Sept 2015 - PERUSAL PDF

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MADE IN

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Version Dagenham Previews 8.4 (04 Nov 2014)

Woodwind 1 (Flute, Alto Sax, Tenor Sax)

Busy Woman (Rita, Sharon, Graham, Eddie, Women, Men)

Made In Dagenham (Factory Workers)

Union Song (Men)

Wossname (Clare, Women)

Big Ben (Instrumental)

Always A Problem (Harold Wilson, Aides)

Busy Woman (Barbara Castle) (Barbara Castle)

Pay Day (Ensemble)

Club Music (Club Singer)

Im Sorry I Love You (Eddie, Rita, Men)

School Song (Ensemble Men, Graham)

Into The Berni Inn (Instrumental)

Same Old Story (The People)

Union Song Reprise (Ensemble)

Skilled Work (Instrumental)

Everybody Out (Rita, Factory Workers)

Everybody Out Play Out (Instrumental)

Tooleys Entrance (Instrumental)

This Is America (Tooley, Ensemble)

This Is America Tag (Instrumental)

This Is America Reprise (Tooley, Two Men)

Storm Clouds Scene Change (Instrumental)

Car Showroom (Instrumental)

Cortina! (Cortina Man, Five Girls)

Cortina Play Out (Instrumental)

Tax Payers Bentley (Instrumental)

The Letter (Eddie)

Into Parliament (Instrumental)

Press Music (Instrumental)

Ideal World (Barbara Castle)

Into The Hospital (Instrumental)

Same Old Story Scene Change (Instrumental)

Nearly Had It All (Rita, Eddie, Women)

Viva Eastbourne (Beryl, Cass, Sandra, Men & Women)

Into TUC (Instrumental)

Stand Up (Rita, Eddie, Ensemble)

Play Out (Instrumental)

family home, as a well organised machine, but entirely dependent on

Rita! I cant find my favourite underpants!

I had to shoot em.

You shot my underpants.

I had to put them out of their misery.

In the airing cupboard!

Mum, what do you want for Christmas?

Graham (To Sharon.) Biology homework?

What are you doing Grahams homework for?

A shilling. (To Graham.) For a shilling.

(Graham gives her a shilling.)

She wants to be a doctor. Ha, ha!

I want to be a consultant gastroenterologist!

Youre just saying that.

Cup of tea eh, doll?

Yes please, Id love a cup of tea. Is life like this everywhere?!

This aint spit, this is mothers spit

Oi! Come here. Show me your hand.

(Graham shows his hand.)

Hes hit you again aint he?!

Mum! It dont hurt.