Alice's Common Sense Song by Frank Millward

Score and parts

For Solo or Duet young voice and Chamber Orchestra  
(Violin 1, Violin 2, Viola, ‘Cello, Double Bass, Trumpet Bb, Horn in F, Bass Trombone, Keys, Percussion)
This piece is ideally suited to young girl performers and can be presented as either a solo or duet.
Technical difficulty - level five standard

As part of the complete production of Hilary Westlake's  "Dining with Alice",
other pieces from the Suite are available online.

Download samples
Alice's Common Sense Song - sheet music

 

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 ISMN 9790720167589

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Brightside by Frank Millward

Score and parts

Five pieces from the full work for Soprano and Baritone, Choir and Chamber Orchestra
 
In Brightside a poem, written to a pre-prepared scenario, was interpreted using music, song, dialogue and movement. Synthersising these so that no one form dominates another, Brightside develops themes of blind optimism, obstructive cynicism and misguided treachery. This work was originally performed by Lumiere and Son Theatre Company London.
 
The score presented here is a re-orchestration of the original score that was performed as an electro-acoustic piece, disseminated through an immersive quadraphonic system. This re-orchestration is ideally suited to an acoustic concert presentational format and works well in accompanying a solo or small ensemble dance component.
 
Approximately 18’00” in duration there are five major sections scored for Choir (or Quartet with microphones) S.A.T.B. and Chamber Orchestra consisting of Violin 1, Violin 2, Viola, ‘Cello, Double Bass, Trumpet Bb, Horn in F, Bass Trombone, Keys and Percussion.
 
The sections of the work are
1.     No One Knows How Fine They Are – Duration 4’ 32”
2.     Ella – Duration 3’ 46”
3.     Your Will Never Waivers – Duration 3’ 30”
4.     All I Want – Duration 2’ 00”
5.     Stella – Duration 3’ 36”
 
There are opportunities for solo parts in Ella (Soprano) and in All I Want (Baritone), however these can also be sung by combined ensemble voices. The poem ‘Pale fingers…’ by David Gale is a part of the full poem of the work and can be spoken to fit within the section Ella. It is offered as a performance choice if spoken word were to be included in the performance.

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Brightside - sheet music


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Comets and Chocolates (high) by Houston Dunleavy

score

High voice and piano
Six songs from the music-theatre by the same name staring Greg Shand with words by Laura E Goodin.  The songs convey the theme of:  'people we love make us, for good or for ill, into who we are'.
Special, Me and Mum, I am My Own Self, Talking to Dinosaurs, Never Again, Not What I Expected.
Composed 2012
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Comets and Chocolates - sheet music





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 ISMN 9790720133898

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Comets and Chocolates (low) by Houston Dunleavy

score

Low voice and piano
Six songs from the music-theatre by the same name starring Greg Shand with words by Laura E Goodin.  The songs convey the theme of:  'people we love make us, for good or for ill, into who we are'.
Special, Me and Mum, I am My Own Self, Talking to Dinosaurs, Never Again, Not What I Expected.
Composed 2012
Download samples
Comets and Chocolates - sheet music




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 ISMN 9790720133911

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Comets and Chocolates (medium) by Houston Dunleavy

score

Medium voice and piano
Six songs from the music-theatre by the same name starring Greg Shand with words by Laura E Goodin.  The songs convey the theme of:  'people we love make us, for good or for ill, into who we are'.
Special, Me and Mum, I am My Own Self, Talking to Dinosaurs, Never Again, Not What I Expected.
Composed 2012
Download samples
Comets and Chocolates - sheet music




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 ISMN 9790720133904

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Dining with Alice by Frank Millward

Score and parts PDF

Dining With Alice Suite  - the complete production available as PDF on disc.
For Soloists, Choir and Chamber Orchestra

This work is ideally suited to being presented in a concert format, approximately thirty minutes in duration – not including the String Quintets. If the performance is staged as a concert the String Quintets would aptly be played as pre-concert or interval music.

The music presented here has been taken from the 2011 Artichoke production and comes from that section of the work which took place as a concert performance in an outdoor setting ‘grounds of a 15th-century moated manor house’ performed by the eight characters (Queen of Hearts, Red Queen, White Queen, the Duchess, King of Hearts, White Knight, Mad Hatter, Tweedle (Dum Dee), a choir of waiters and a Chamber Orchestra consisting of Violin 1, Violin 2, Viola, ‘Cello, Double Bass, Trumpet Bb, Horn in F, Bass Trombone, Keys, Percussion.

‘Dining with Alice was one of the earliest instances of immersive (where spectators are part of the action), site-specific (the place is part of the subject) theatre. It was a landmark.’ First performed in 1999 at the Salisbury Festival, the piece was conceived and directed by Hillary Westlake and staged in the Victorian pleasure gardens of Salisbury as part of the Salisbury Festival, commissioned by the then festival director Helen Marriage.  In 2011 the work was part of the Norfolk and Norwich festival, produced by Artichoke, transplanted to the beautiful grounds of a 15th-century moated manor house. ‘Lewis Carroll's characters unleashed from Alice's dream, wandering through a landscape accompanied by an audience whose walk is punctuated by the courses of a meal.’ (Quotations from Susannah Clapp - Observer Newspaper U.K. 15 May 2011).

The entire suite is available on a CD disc.


Individual pieces from "Dining with Alice" Suite are available online.

Download samples
See individual music samples on this page

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

$145.00 for instant PDF Download 681 pages, see:Buy Now

 ISMN 9790720167602

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Flight of the Cornish Dog, The by Frank Millward

Score and parts

For Solo Spoken Voice and Chamber Orchestra  
(Violin 1, Violin 2, Viola, ‘Cello, Double Bass, Trumpet Bb, Horn in F, Bass Trombone, Keys, Percussion).  Words by David Gale
Technical difficulty - level six standard
Duration 2’ 15”

As part of the complete production of Hilary Westlake's  "Dining with Alice",
other pieces from the Suite are available online.

Download samples
The Flight of the Cornish Dog - sheet music





$35.00 for instant PDF download see:Buy Now
 ISMN 9790720167565

$40.00

Incidental Music for Peter Pan by Vivien Arnold

score and part

Flute and Piano.  Ideal Music Theatre work for primary and secondary school students and adults.
The Peter Pan script is available from the internet copyright free throughout the world (except USA until 2023). Some additional lyrics have been included.
Music composed c.1980

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Incidental Music for Peter Pan samples



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 ISMN 9790720172194

$120.00

Inde soete suikerbol by Meta Overman

Score

Of the sweet sugarbun
14 pieces for children's music theatre. Translation of the work
Composed c.1923.  Researched and edited by David Wickham

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Inde soete suikerbol - sheet music samples

 

 

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Isabella by Vivien Arnold

score and libretto

Ideal Music Theatre work for primary and secondary school students and adults.
Isabella [or The trials of a convicts maid] is a cross-genre piece - a combination of melodrama, pantomime and G&S.  The humour, using caricature, pun and slap-stick, is designed to cater for all ages.  Over the past three decades it has been regularly performed in schools and adult drama and operatic societies throughout Australia.
Composed 1977 rev 1979

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Review copy libretto

Music samples



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 ISMN 9790720171838

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Job Pilgrim by Vivien Arnold

score and libretto

Ideal Music Theatre work.
This work was informed and inspired by many contemporary theologians, psychologists, scientists and poets including Cynthia  Bourgeault, Richard Dawkins, Richard Rohr, John Saxbee, Eckhart Tolle, and Keith Ward, and those now dead including Meister Ekhart, TS Eliot, John Greenleaf Whittier, Hafiz, G M Hopkins, Rainer Rilke, Rumi,  and  in particular Carl Jung.  I have used their words both as quotes and libretti throughout.  I have also used Biblical texts.  The work is based on the Book of Job.
Inspiration also came from doctors, nursing staff and patients.
The script is loosely modelled on a miracle play. The music is enigmatic in the use of keys: Bb (be flat); C (see); C# (see sharply), B (Be); although, for the sake of variety, this idea isn’t used exclusively.
The choir of pilgrims, the quartet and many of the solos and duets by Christof and Sophia, act like a Greek chorus, commenting on the play
Although this is conceived as a dramatised oratorio, the music could stand alone as a whole or as separate items.  A second script - Faith Re-Found - (included as an addendum) is provided to hold much of the music together for performance as an oratorio with no dramatics.
Written and music composed 2014

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Libretto and Music samples













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Man Called Thunderbolt, The by Vivien Arnold

score and libretto

 Ideal Music Theatre work for higher school students and adults.

Fred Ward - alias Captain Thunderbolt - was Australia's longest lasting and most successful bushranger.  Over seven years he held people up in the New England area and was rumoured to have taken twenty thousand pounds.  Naturally this peeved a great many people.  However there were others who truly held him in esteem - even some of his victims.
This arose from admiration of his superb horsemanship, his unfailing politeness, his eschewed non-violence, his good humour and sense of fun, his soft-heartedness, his kindness to the orphaned, his championship of the underdog, and his sense of fair play.  In short, he was Australia's real life Robin Hood.
In sharp contrast, the authorities showed him no leniency at any stage.  Moreover, after his death, some believe accounts of his life were deliberately suppressed and expunged because he was a natural inspiration for the sort of republican rebellion they dreaded.  
His strong and passionate relationship with Maryanne Bugg - Queen Yellow Long - pointed to reconciliation with the first Australians.  Sadly their children were farmed out and the lineage lost.
This opera traces the story of their lives as a reality, albeit somewhat romanticised.  At the same time it examines attitudes and interests of the day in the young colony of New South Wales through using both anecdotes and written records.
Its large cast features people documented in the stories told about Ward.  All chorus members are required to have speaking or solo/ensemble singing roles so this is not a production that asks people to sit around back-stage for slabs of time.  The original staging comprised large blocks that could be quickly rearranged for set changes.  This too was the job of the entire cast, who sometimes turned their backs to the audience forming human walls as part of the set.  Costuming is inexpensive.  
The work was written for an amateur society with a cast of around 50 (good for ticket sales!).  It received critical acclaim when it was staged in 1988 for the bicentennial.  Being an historic piece it has not dated.

 

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Review copy

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


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