Elfis and the Sleigh Riders

ES-117 Teacher’s Handbook

Elfisand

The Sleigh Riders

A Rockin’ Holiday Musical For Young Voicesby

Teresa Jennings

© 2000 Plank Road Publishing, Inc.International Copyright Secured • All Rights Reserved

Story, Music, Teaching & Production Notes – Teresa Jennings

Editor – Nancy Belongia

Orchestrations – Teresa & Paul Jennings

Typesetting/Production – Mark Riggio, Bruce Kling, Nancy Belongia, Teresa Jennings

Music Copyist – Bruce Kling

Cover Illustration – Teresa Jennings

Interior Illustrations – Teresa Jennings

Recording Production – Teresa & Paul Jennings, John Riggio

Recording Engineers – David Price, Mike Wilson; Aire Born, Inc.

Recording Singers/Actors – Nathan Bayless, Kelsey Duke, Anne Ellsworth, Abbie Haffner,Marcia Hetrick, Trevor Leslie, Michelle Martin, Reid Morgan (Santa Claus), Amy O’Connell, Shelbie Phillips, Melissa Schott, Brianna Staley (Mrs. Claus), Ryan Staley,Jonathan Stombaugh (Elfis)

Background Vocalists – Kelsey Duke, Michelle Martin, Melissa Schott

Recording Instrumentalists – Dane Clark, Jim Farrelly, Loy Hetrick, Paul Jennings, Kevin Kaiser, Kent Leslie, Randy Melson, Jared Rodin, Sandy Williams, Larry Wiseman

Credits

Products Available For

Elfis and The Sleigh Riders

ES-116 PERFORMANCE KIT - Teacher’s Handbook/CDES-111 Teacher’s Handbook with Reproducible Student EditionES-115 Performance/Accompaniment CDES-117 DOWNLOADABLE KIT - Teacher’s Handbook/RecordingES-119 Convenience Combo Kit (Print and Downloadable Kit)

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Table of Contents

Teacher StudentScript 1/Introduction ……………………………………… 4 1

UH-HUH-HUH Piano/Vocal Score ………………………………… 5 2UH-HUH-HUH Lyric Sheet ……………………………………… 9

Script 2/Scene 1 …………………………………………… 10 5EV’RYBODY’S GOIN’ ON A SLEIGH RIDE Piano/Vocal Score 12 7EV’RYBODY’S GOIN’ ON A SLEIGH RIDE Lyric Sheet……… 17

Script 3/Scene 2 …………………………………………… 18 10SO SAD AT SANTA’S PAD Piano/Vocal Score ………………… 19 11SO SAD AT SANTA’S PAD Lyric Sheet ………………………… 22

Script 4/Scene 3 …………………………………………… 23 13ARE YOU LONELY AND BLUE? Piano/Vocal Score ………… 24 14ARE YOU LONELY AND BLUE? Lyric Sheet ………………… 30

Script 5/Scene 4 …………………………………………… 31 18NORTH POLE ROCK ’N’ ROLL Piano/Vocal Score …………… 32 19NORTH POLE ROCK ’N’ ROLL Lyric Sheet ………………… 39Poster 11 x 17 Reproducible ……………………………………… 28Teacher’s Guide …………………………………………………… 40Program Cover Reproducible ……………………………………… 52Poster 8 1/2 X 11 Reproducible …………………………………… 53CD Information Sheet Reproducible ……………………………… 54Survey Reproducible ………………………………………………… 55


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An Important Notice About Your Rights To DuplicateWith the purchase of this product, you (one teacher or director) may legally duplicate the reproducibleposter, program, student parts, lyric pages, and illustrations for use with your students, no matter howmany students you have, even if you teach in more than one school. Permission to duplicate and/orshare this book or recording with anyone else is not granted and is considered a copyright infringement.Permission is granted to duplicate the accompanying recording for back-up purposes only.

Please don’t teach your students to steal.

The people who write and publish this music depend on its sales for their livelihood. Not only is itillegal for you to freely duplicate their work without their permission, it is also unfair and it sets a badexample for your students. We will always fight for your rights to better pay and working conditions,and as one of the few publishers of children’s music, we invest most of our profits in new music andresources for you. We also take care to provide real value in our products. In return, we ask for yoursupport of our rights. Thank you.

CHARACTERS:ElfisSanta ClausMrs. ClausStanley, the bass playerJerry Lee, the piano playerBix, the drummerAretha, a background singerMariah, a background singerCeline, a background singerElves, any number, 4 speaking Reindeer, any number, 8 speaking

SETTING: The North Pole

TIME: The Holiday season

Most of the elves and reindeer are gathered onstage. They begin chanting, quietly at first, then gettinglouder and louder. They pronounce “Elfis” distinctly with two syllables in a rhythmic manner. Thissegment can continue as long as needed.

All: Elfis! Elfis! Elfis! Elfis!...

Elfis enters the area with his guitar. He waves at the gathered crowd. The moment he appears, thechanting stops and cheering and clapping begins, ad lib.

Elfis: Thank you very much. Thank you.

The opening song begins as the cheering is dying down.

OPENING SONG: “Uh-huh-huh”4

Elfisand

The Sleigh RidersA Rockin’ Holiday Musical For Young Voices

by Teresa Jennings


Uh-huh-huh

CD Full Performance - tracks 2 & 12;Accompaniment only - tracks 18 & 24

Student Edition, page 2

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Teresa Jennings

Uh-huh-huh.

Oh-ho yeah. Uh-huh-huh.Ho ho ho. Hey hey hey.

Uh-huh-huh. Oh-ho yeah. Uh-huh-huh.Hey hey hey. Ho ho ho. Hey hey hey.

Uh-huh-huh

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Yeah yeah yeah! Uh-huh-huh. Oh-ho yeah. Uh-huh-huh.Yeah yeah yeah! Hey hey hey. Ho ho ho. Hey hey hey.

Yeah yeah yeah! Uh-huh-huh. Oh-ho yeah.Yeah yeah yeah! Hey hey hey. Ho ho ho.

Yeah yeah yeah! Ooh wah ooh wah oop.Yeah yeah yeah! Ooh wah ooh wah oop.

Uh-huh-huh. Yeah yeah yeah! Ooh wah ooh wah oop.Hey hey hey. Yeah yeah yeah! Ooh wah ooh wah oop.

Uh-huh-huh. Hey hey hey.Hey hey hey.

Uh-huh-huh.Hey hey hey.

Uh-huh-huh

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Hey hey!

Hey hey! Hey hey!

Hey hey! Ooh -

wah. Hey hey! Uh-huh-huh.

Uh-huh-huh

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Ooh wah ooh wah oop.

Hey hey hey. Ooh wah ooh wah oop.

Hey hey hey. Uh-huh-huh.

Hey hey hey. Uh-huh-huh.

Uh-huh-huhpart 1: Uh-huh-huh. part 2: Uh-huh-huh.part 1: Oh-ho yeah. part 2: Oh-ho yeah.part 1: Uh-huh-huh. part 2: Uh-huh-huh.

all: Yeah yeah yeah!

part 1: Uh-huh-huh. part 2: Uh-huh-huh.part 1: Oh-ho yeah. part 2: Oh-ho yeah.part 1: Uh-huh-huh. part 2: Uh-huh-huh.

all: Yeah yeah yeah! Ooh wah ooh wah oop.part 1: Uh-huh-huh. part 2: Uh-huh-huh.

part 1: Hey hey hey. part 2: Hey hey hey.part 1: Ho ho ho. part 2: Ho ho ho. part 1: Hey hey hey. part 2: Hey hey hey.



all: Yeah yeah yeah! Ooh wah ooh wah oop.part 1: Hey hey hey. part 2: Hey hey hey.

all (add claps on beat 2 and 4, opt.): Hey hey! Hey hey! Hey hey! Hey hey!

Ooh wah. Hey hey!




all: Yeah yeah yeah! Ooh wah ooh wah oop.part 1: Uh-huh-huh. part 2: Uh-huh-huh.




all: Yeah yeah yeah! Ooh wah ooh wah oop.part 1: Hey hey hey. part 2: Hey hey hey.

all: Ooh wah ooh wah oop.part 1: Hey hey hey. part 2: Hey hey hey.

all: Uh-huh-huh.

UH-HUH-HUH, Teresa Jennings © 2000 Plank Road Publishing, Inc. • All Rights Reserved

After the song, the group claps again.

Elfis: Thank you very much.

Elf #1: Elfis, you were wonderful!

Elf #2: You’re the best!

Elf #3: Santa Claus likes you, too!

Elf #4: Wait till you see the surprise he has for you!

Jingle bells are heard offstage. They continue as Santa and Mrs. Claus enter the stage with a fewreindeer. With them are Stanley, Jerry Lee, Bix, Aretha, Mariah, and Celine. When they stop, so dothe jingle bells. (One of the reindeer could either be carrying the bells, or wearing them.)

Santa: Ho ho ho! Hello everyone!

All: Hi, Santa!

Reindeer #1: We have a surprise for Elfis today!

Santa: Elfis, how would you like to have your own band?

Elfis: Yeah. That’s cool.

Mrs. Claus: We found you some musicians!

Reindeer #2: Would you like to meet them?

Elfis: Uh huh.

Reindeer #3: This is the bass player. His name is Stanley.

Stanley: (with a contemporary coolness) Yo. What’s up?

Stanley and Elfis shake hands.

Reindeer #4: This is the piano player. His name is Jerry Lee.

Jerry Lee: (enthusiastically) Hey man! How’s it goin’?

Jerry Lee and Elfis shake hands.

Reindeer #5: This is the drummer. His name is Bix.

Bix: (in a laid-back, beatnik-like manner) Hey. Like, nice to meet you, man.

Bix and Elfis shake hands.

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Reindeer #6: And these are your background singers: Aretha, Mariah, and Celine.

Aretha picks a pitch and hums it on Hmmmmm. Mariah joins her a third above. Celine joins on thefifth of the chord to form a triad.

All three in their triad: Hello.

(One of the three directs and cuts off the greeting. Listen to the recording for an example. Optional: just have the three speak the word.)

Elfis: (waving to them) Howdy.

Reindeer #7: Wow! This is great! Elfis has a band!

Reindeer #8: Yeah! Now all they need is a name.

Elf #1: Good point. What should we call them?

All (ad lib): Hmmmm., I don’t know., What do you think?, What would be a good name?,Let’s see?, A name for a band., etc.

Elf #2: How about “Sled Doggie Dog”?

All (ad lib): No., Nah., I don’t think so., etc.

Elf #3: How about “The Reindeer Wranglers”?

All Reindeer: (in an insulted tone) Hey.

Elf #3: Never mind.

Elf #4: Well, how about “Smashing Icicles”?

All (ad lib): Naw., That’s not it either., It’s been done., etc.

Elf #1: How about “The Rolling Snowballs”?

All (ad lib): Huh-uh., That’s not it., No., Nope., etc.

Elf #2: I’ve got it! How about “Elfis and The Sleigh Riders”?

All (ad lib): Yeah!, That’s it!, That’s great!, Elfis and The Sleigh Riders!, What a terrificname!, That’s a good idea!, Oh, I like that name!, That fits them perfectly!, etc.

While the group is cheering, the band comes together in formation.

Mrs. Claus: Elfis, could we hear a song?

Elfis: Uh huh.

SONG: “Ev’rybody’s Goin’ On A Sleigh Ride”11


Ev’rybody’s Goin’ On A Sleigh Ride



12

Teresa Jennings

1. Ev’ - ry - bod - y’s go - in’ on a sleigh ride.2. Slip - pin’ and a - slid - in’ on a sleigh ride.3. Hear the bells a - ring - in’ on a sleigh ride.4. Ev’ - ry - bod - y’s wel - come on a sleigh ride.

ooh.______________________________________________________ Ah

ooh.___________________ Ah ooh._________________ Ah

featuring Elfis’ new band - The Sleigh Riders

Be sure to locate the new band in a featured position as they “play.” Singers can either pretend to sing (with recording) or they can actually perform. See teacher’s guide.


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Ev’ - ry - bod - y’s go - in’ on a sleigh ride.Slip - pin’ and a - slid - in’ on a sleigh ride.Hear the bells a - ring - in’ on a sleigh ride.Ev’ - ry - bod - y’s welcome on a sleigh ride.

ooh.__________________________________________________________ Ah

Ev’ - ry - bod - y’s go - in’ on a sleigh ride.Slip - pin’ and a - slid - in’ on a sleigh ride.Hear the bells a - ring - in’ on a sleigh ride.Ev’ - ry - bod - y’s wel - come on a sleigh ride. }

ooh.___________________________________________________________ Ah


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oop. Ride with us! Let’s ride! Doot doo doot.

Come on a - long and ride with us! Let’s ride!

Yeah,__ let’s ride!

Doot doo.___ Doot doo doot. Doot doo._

Up an ol’ hill and down_______ the oth - er side. Let’sBuck - le up tight, we’re gon - na slip and slide. Let’sUp an ol’ hill and down_______ the oth - er side. Let’s

Buck - le up tight, we’re gon - na slip and slide. Let’s

Ooh.___________________________________

(1.)(2.)(3.)(4.)


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ride!ride!ride!

Ah

Doot doo doot. Doot doo. Ah Doot doo.__


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ride! Up an ol’ hill and down___ the oth-er side. Let’s

Doot doo doot. Doot doo._ Ooh._______________________

ride! Buck - le up tight, we’re gon -

Doot doo doot. Doot doo.__ Ooh.__________________________

na slip and slide. Let’s ride! Let’s ride!

_____ Doot doo doot. Doot!


all:Ev’rybody’s goin’ on a sleigh ride.Ev’rybody’s goin’ on a sleigh ride.Ev’rybody’s goin’ on a sleigh ride.Come on along and ride with us!Let’s ride! Yeah, let’s ride!Up an ol’ hill and down the other side. Let’s ride!

Slippin’ and a-slidin’ on a sleigh ride.Slippin’ and a-slidin’ on a sleigh ride.Slippin’ and a-slidin’ on a sleigh ride. Come on along and ride with us!Let’s ride! Yeah, let’s ride!Buckle up tight, we’re gonna slip and slide. Let’s ride!

piano solo/movement

Hear the bells a-ringin’ on a sleigh ride.Hear the bells a-ringin’ on a sleigh ride.Hear the bells a-ringin’ on a sleigh ride.Come on along and ride with us!Let’s ride! Yeah, let’s ride!Up an ol’ hill and down the other side.Let’s ride!

Ev’rybody’s welcome on a sleigh ride.Ev’rybody’s welcome on a sleigh ride.Ev’rybody’s welcome on a sleigh ride.Come on along and ride with us!Let’s ride! Yeah, let’s ride!Buckle up tight, we’re gonna slip and slide.Let’s ride!

Up an ol’ hill and down the other side.Let’s ride!Buckle up tight, we’re gonna slip and slide.Let’s ride!yell: Let’s ride!

background vocals:Ah ooh. Ah ooh.

Ah ooh.Ah ooh. Ah ooh.Ah oop. Ride with us! Let’s ride! Doot doo doot. Doot doo. Doot doo doot. Doot doo.Ooh. Doot doo doot. Doot doo.




Ooh. Doot doo doot. Doot doo.Ooh. Doot doo doot.Doot!

EV’RYBODY’S GOIN’ ON A SLEIGH RIDE, Teresa Jennings© 2000 Plank Road Publishing, Inc. • All Rights Reserved

featuring Elfis’ new band - The Sleigh Riders

After the song, the gang applauds and cheers again. When they stop, Aretha speaks.

Aretha: Elfis, I think you should let me sing a solo.

Jerry Lee: That’s a great idea!

Mariah: No, no, no. I think I should sing a solo.

Stanley: You go, girl.

Celine: Excuse me. I think I deserve a solo.

Bix: Like, now you’re talkin’.

Celine: (sings a little in an anthem-like voice) Near, fa...

Aretha: (interrupting Celine) Oh, be quiet!

Celine: Don’t you tell me to be quiet!

Mariah: Both of you be quiet! I’m going to sing a solo.

Aretha, Mariah, Celine (ad lib): (bickering) I am., No, I am., Me., It’s my solo., etc.

Jerry Lee: I think Aretha should sing.

Stanley: No, Mariah should sing.

Bix: Like, no way. Like, Celine’s got the pipes.

Jerry Lee: Aretha!

Stanley: Mariah!

Bix: Celine!

Jerry Lee, Stanley, Bix (ad lib): (continuing to argue for their respective favorites) Aretha!,Mariah!, Celine!, etc. Aretha, Mariah, and Celine argue simultaneously.

Aretha, Mariah, Celine (ad lib): I should sing!, No, me!, No, me!, I’m the best soloist., Myvoice deserves to be heard., etc. When Jerry Lee speaks, the bickering stops.

Jerry Lee: (loudly)Well, if Aretha doesn’t sing, I don’t play!

Stanley: Fine! If Mariah doesn’t sing, I don’t play!

Bix: Like, big deal. If Celine doesn’t sing, my sticks don’t ring.

All of the band members except Elfis cross their arms and turn away from each other in a pout. Theyhuff and harrumph a bit as they are doing it.

Santa: Ohhh nooo. This is not good at all.

Mrs. Claus: Everyone is so upset!

SONG: “So Sad At Santa’s Pad”

Everyone sings the song except Elfis and the band members. Elfis just looks sad and depressed while theband members are still angry at each other. Their arms are still folded and their noses are in the air.

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So Sad At Santa’s Pad



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Teresa Jenningsarr. Paul Jennings

1. We’re not ver - y hap-py. We’re not ver - y glad. You can tell we’re not well2. We’re not ver - y cheer-ful. Some of us are mad. You can see there’s no glee3. If you come to see us, you will know we’re sad. We con-fess, it’s a mess

here at San - ta’s pad. We’re sad. (1.) So so sad. We’re sad.here at San - ta’s pad. We’re sad. *spoken solos, 2nd time: I’m miserable. Me, too.here at San - ta’s pad. We’re sad. (3.) So so sad. We’re sad.

*Exaggerate all spoken solos and crying in a comic manner. Use several different soloists.Stop in time for vocal entrance at measure 17.


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We feel bad. So bad. So sad.We’re supposed to be happy here. I’ve got the blues. This is awful.

We feel bad. So bad. So sad.

At San-ta’s pad.I feel like crying. I think I am gonna cry. (cries–others cry, too)

At San-ta’s pad.

We are mis -er - a - ble. We are sad.


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Things aren’t de-sir - a - ble here at San-ta’s pad.

So bad. So sad.

At San-ta’s pad. So sad.___

So Sad At Santa’s PadWe’re not very happy. We’re not very glad.You can tell we’re not well here at Santa’s pad. We’re sad.So so sad. We’re sad.We feel bad. So bad.So sad. At Santa’s pad.

We are miserable.We are sad.Things aren’t desirablehere at Santa’s pad.

We’re not very cheerful. Some of us are mad.You can see there’s no glee here at Santa’s pad. We’re sad.

spoken solos:I’m miserable. Me, too.We’re supposed to be happy here. I’ve got the blues.This is awful. I feel like crying. I think I am gonna cry. (cries–others cry, too)

all sing:We are miserable.We are sad.Things aren’t desirablehere at Santa’s pad.

If you come to see us, you will know we’re sad.We confess, it’s a mess here at Santa’s pad. We’re sad.So so sad. We’re sad.We feel bad. So bad.So sad. At Santa’s pad.

So bad.So sad. At Santa’s pad.

So sad.

SO SAD AT SANTA’S PAD, Teresa & Paul Jennings© 2000 Plank Road Publishing, Inc. • All Rights Reserved

Reindeer #1: This is terrible.

Reindeer #2: I know. Elfis just met his band.

Reindeer #3: And now he’s lost them.

Reindeer #4: What can he do?

Reindeer #5: I don’t know.

Reindeer #6: They’re all so mad at each other.

Reindeer #7: Maybe Santa can talk to them.

Reindeer #8: Won’t you try, Santa?

Santa: Well, okay. (to band members) Can’t we sit down and discuss this reasonably?

Aretha: There’s nothing to discuss.

Mrs. Claus: But you’re all friends. Doesn’t that mean something?

Jerry Lee: Huh. Not anymore.

Elf #3: You can’t mean that!

Elf #4: All friends have arguments sometimes.

Elf #1: But they can work things out.

Elf #2: Friends can forgive each other.

Elf #3: Even when they disagree or accidentally hurt each other.

Elf #4: They just have to be open to communication.

Reindeer #1: And they have to remember how important their friendship is.

Reindeer #2: Elfis, can you help them remember?

Elfis: Uh huh.

SONG: “Are You Lonely And Blue?”

During the song, the band members slowly drop their crossed arms and resume their formation into aband. By the end of the song, they are playing and singing along.

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Are You

Lonely

And Blue?



24

Teresa Jennings

Are you

Are You Lonely And Blue?

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(2nd time - Background vocalists sing melody on “ooh.”)

* Elfis can continue the solo, if you prefer. Or, you can use characters other than Santa and Mrs. Claus for the solos starting at measure 13. In any event, Elfis should continue to “lead” the song. He’s the inspiration.

lone - ly and blue when your friends turn from you? Tell me,

Elfis (2nd time, spoken): I wonder… Are you feeling lonely and blue? Is your heart achin’? Don’t be cruel.

how does it feel in your heart? Is it

We all make mistakes. We don’t mean to hurt the ones we care about – the ones we love.

real - ly worth - while to be miss - ing your smile? Tell me,

But when we do hurt them, and they hurt us, we must remember how dear they are to us.


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does - n’t it tear you a - part? You don’t

Let us forgive... and be forgiven. Let us be friends again.

have to be an - gry or mad, if you choose. When you’re

Ah - hah. Oh._____________________

an - gry with peo - ple you love, then you lose. Put a -

Ah - hah. Oh._________________


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side fool - ish pride. Let your arms o - pen wide! And you’ll

Ooh.__________________ Ooh._________________

nev - er feel lone - ly and blue.

(Ooh.____ )

nev - er feel lone - ly and blue.

Ooh._____________________ Ooh. Ooh.

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Are You Lonely And Blue?Elfis:Are you lonely and blue when your friends turn from you?Tell me, how does it feel in your heart?

Santa:Is it really worthwhile to be missing your smile?

Mrs. Claus:Tell me, doesn’t it tear you apart?

all:You don’t have to be angry or mad, if you choose.When you’re angry with people you love, then you lose.Put aside foolish pride. Let your arms open wide!And you’ll never feel lonely and blue.

Elfis speaks (while background vocalists sing melody on “ooh”):I wonder... Are you feeling lonely and blue? Is your heart achin’? Don’t be cruel.We all make mistakes. We don’t mean to hurt the ones we care about–the ones we love. But when we do hurt them, and they hurt us, we must remember how dear they are to us.Let us forgive... and be forgiven. Let us be friends again.

ARE YOU LONELY AND BLUE?, Teresa Jennings© 2000 Plank Road Publishing, Inc. • All Rights Reserved

all:You don’t have to be angry or mad, if you choose.When you’re angry with people you love, then you lose.Put aside foolish pride. Let your arms open wide!And you’ll never feel lonely and blue.

background vocals:Ah hah. Oh.Ah hah. Oh.Ooh. Ooh.Ooh. Ooh.

(opt):Ooh.

After the song, the group applauds.

Aretha: Sorry about the attitude.

Mariah: Me, too.

Celine: Me, too.

All three girls hug each other.

All: Awwwwww.

Stanley: Yeah. That wasn’t cool.

Jerry Lee: No way.

Bix: Like, let’s put it behind us.

Jerry Lee, Stanley, Bix (ad lib): (nodding and slapping palms together in friendship) Yeah., Allright., That’s cool., I’m hip., etc.

Santa: Thank goodness!

Mrs. Claus: Elfis, you have reminded us all about the value of friendship.

Reindeer #3: Yes indeed. Our friends are very important to us!

Reindeer #4: If we ever have arguments, we should make up as fast as we can!

Reindeer #5: We should try to understand each other better.

Reindeer #6: And we should apologize if we hurt each other.

Reindeer #7: Our time together is too precious to waste fighting!

All (ad lib): Yeah., We agree., No more fighting., Not gonna do that anymore., Nope., etc.

Reindeer #8: Hey! Now that the band is back together, how about another song?

All (ad lib): Yeah!, Another song!, We want to hear Elfis and the Sleigh Riders!, Cool!,Neat!, Nifty!, More music!, etc.

Mrs. Claus: Elfis, you are an inspiration to us all!

Santa: Will you lead us in one more song?

Elfis: Oh ho yeah, man!

SONG: “North Pole Rock ’n’ Roll”

BOW MUSIC: Reprise: “North Pole Rock ’n’ Roll”

THE END

31


North Pole

Rock ’n’ Roll



32

Teresa Jennings

Yes, we wan-na rock at the

Do you wan-na rock at the North Pole?

North Pole Rock ’n’ Roll

33

North Pole!


Yes, we wan-na rock at the North Pole! Yeah!

Do you wan-na rock?

Yeah! Do you wan-na rock ’n’ roll?

Do you wan-na rock? Do you wan-na rock ’n’ roll?


34


Yes, we wan-na rock at the North Pole!

Ooh._____________________ Hoo._____________________


Yes, we wan-na rock at the North Pole!

Ooh._____________________ Hoo._____________________


35

Do you wan-na rock? Do you wan-na rock? Do you wan-na rock ’n’ roll?

Yeah! Yeah! Do you wan-na rock ’n’ roll?

Ooh. Hoo. Do you wan-na rock ’n’ roll?

North Pole rock and

North Pole rock and


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roll. Rock ’n’ roll.

roll._____________________ Rock ’n’ roll._______________________

Rock and roll.

Rock and roll.

North Pole rock ’n’ roll. North Pole rock ’n’ roll.



37



North Pole rock ’n’ roll. Do you wan-na rock ’n’ roll?

North Pole rock ’n’ roll. Do you wan-na rock ’n’ roll?


38

Do you wan-na rock? Do you wan-na rock? Do you wan-na rock ’n’ roll?

Yeah! Yeah! Do you wan-na rock ’n’ roll?

Ooh. Hoo. Do you wan-na rock ’n’ roll?

Do you wan-na rock? Do you wan-na rock? Do you wan-na rock ’n’ roll? Yeah!

Yeah! Yeah! Do you wan-na rock ’n’ roll? Yeah!

Ooh. Hoo. Do you wan-na rock ’n’ roll? Yeah!

North Pole Rock ’n’ RollAretha: Do you wanna rock at the North Pole? all: Yes, we wanna rock at the North Pole! Mariah: Do you wanna rock at the North Pole? all: Yes, we wanna rock at the North Pole!

Celine: Do you wanna rock? all speak: Yeah! Celine: Do you wanna rock? all speak: Yeah! all sing with background vocals (Aretha, Mariah, and Celine): Do you wanna rock ’n’ roll?

add movement part 1: Do you wanna rock at the North Pole? (background vocals: Ooh.)part 2: Yes, we wanna rock at the North Pole! (background vocals: Hoo.)part 1: Do you wanna rock at the North Pole? (background vocals: Ooh.) part 2: Yes, we wanna rock at the North Pole! (background vocals: Hoo.)

part 1: Do you wanna rock? (background vocals: Ooh.)part 2 speak: Yeah!part 1: Do you wanna rock? (background vocals: Hoo.)part 2 speak: Yeah!all sing with background vocals: Do you wanna rock ’n’ roll?

North Pole rock and roll. Rock ’n’ roll.Rock and roll.

North Pole rock ’n’ roll. North Pole rock ’n’ roll.North Pole rock ’n’ roll. North Pole rock ’n’ roll.North Pole rock ’n’ roll.Do you wanna rock ’n’ roll?

part 1: Do you wanna rock at the North Pole? (background vocals: Ooh.)part 2: Yes, we wanna rock at the North Pole! (background vocals: Hoo.)part 1: Do you wanna rock at the North Pole? (background vocals: Ooh.) part 2: Yes, we wanna rock at the North Pole! (background vocals: Hoo.)

(3 times):part 1: Do you wanna rock? (background vocals: Ooh.)part 2 speak: Yeah!part 1: Do you wanna rock? (background vocals: Hoo.)part 2 speak: Yeah!all sing with background vocals: Do you wanna rock ’n’ roll?

part 1 and 2 speak: Yeah! (background vocals sing: Yeah!)

NORTH POLE ROCK ’N’ ROLL, Teresa Jennings© 2000 Plank Road Publishing, Inc. • All Rights Reserved

Getting Started

• Know your Teacher’s Handbook.It’s a good idea to start by reading this book all

the way through. You should know what you’re upagainst before you do anything else at all. Becomefamiliar with the script and music by listening andfollowing along with the full performance on thePerformance/Accompaniment recording, or byplaying through it on piano and reading the script.

• Write it down!As you read and study this book, keep a notebook

and pen handy. Jot down any ideas, notes, plans, etc.,that occur to you as you go. Keep your notes handy toadd more ideas as you think your way through yourproduction in more detail later. The more you planeach aspect of your production now, the smootherthings will probably be when you get down to thenitty gritty.

• Get organized.Once you’ve got all your notes down on paper,

convert them to a list in a somewhat chronologicalorder, if possible. You may wish to create several lists,in fact, based on categories. Try to include everydetail of things that must be done, remembered, ordealt with and when. Leave room to keep additionalnotes for each item as you go. Remember:Organization is critical! It makes all the difference in the world between a smoothly run, well-plannedproduction and total chaos. In addition, you willfind that your organization will allow you to relaxand enjoy the experience with your students instead of feeling stressed or pressured atperformance time.

• Create a time line.To assist you in your organization, create a

time line of events from now until the date ofyour production, as well as afterwards. Postyour time line where you can see it easilyand often. Check it off as you go to makesure you aren’t forgetting any productiondetails. Hint: Be sure to save your lists,plans and time lines when yourproduction is through to help you survivefuture productions as well. File them safelyaway where you can lay your hands onthem easily when you need them. Eventhough the specifics of your nextproduction may differ, many of the basics will be

the same and you can benefit from your ownexperiences. Add to your file with each productionyou do and before you know it, you will be well-equipped to handle any production you decide totake on.

• Get help!If your production is a large one, don’t try to do it

yourself, if you can help it. If you’re only using oneclass or a few kids from several classes, you may beable to handle it. In any case, it’s always better torecruit assistance. Ask your fellow teachers, parents,administrators, or even older students to pitch in.Again, organization will be most beneficial whenworking with others. Plan the tasks with which youneed help, then assign or delegate accordingly.

Options for Performance

As with most of the musicals we present, Elfis and The Sleigh Riders is meant to be flexibleenough to use in a variety of situations with avariable number of performers.

While we highly recommend that you use thePerformance/Accompaniment recording for the bestresults, it is not absolutely necessary. We do providepiano/vocal parts in this book for you to use inrehearsals or performances, as you wish. You may alsoconsider mixing and matching the use of therecording with live accompaniments.

The performance itself can be as elaborate as youcan afford in time, money and effort, or as simple as itneeds to be given your situation. The rules are yoursto make. If you need to adapt the script or the music,

here are a few ideas:• Add or remove songs as needed to lengthen orshorten the production. For example, a well-known Christmas song, such as “Jingle Bells,”added at the end would add a few minutes.• Lengthen or shorten songs by repeating or

deleting repeats. Of course, this would onlywork if you didn’t use the recording on aparticular song.• Alter the speaking parts to give somestudents more to say, and/or others less. Forexample, the 4 speaking parts for elves could

be turned into 8 speaking parts.• Some lines could be eliminated entirely.

Others could be enhanced with your ownadditional lines.• You could completely rewrite the story line

if you wanted to, adapting the music as necessary.

Elfis and The Sleigh RidersTeacher’s Guide

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Special Help and Ideas

• When you hand out student scripts, let eachspeaker highlight her or his own lines with ahighlighter pen.

• Discuss enunciation with your performers andreinforce it regularly during rehearsals. The songsand the lines need to be easily understood from theaudience’s perspective.

• Projection is equally important. Practice byhaving some students stand in the back of theauditorium or performance area and listen. Havethem offer tactful commentary on both projectionand enunciation.

• Remind your speakers to take it slowly. Toooften, a performer’s nerves will take over and thelines are blurted out in a rapid, unintelligiblefashion. Have them take a deep breath beforespeaking to calm themselves down. Even if theprojection is not as strong as it could be, if thelines are spoken slowly enough, they may carryjust fine.

• Keep a copy of the scripthandy for prompting youngperformers.

• Teach your performers torespect each other’s lines and notupstage each other.

• If you are using a largenumber of students in yourproduction, you may wish to have one or moreconductors to assist you. Position yourself centrallyand have your assistant conductors watch youcarefully, imitating you as exactly as they can for thebest results.

• If you are using the recording, make yourself asafety back-up. (The publisher grants permission forduplication of this type as long as it is not shared orloaned to anyone else. Please refer to the Table ofContents page for more information.)

• Devise a plan for the bows and rehearse them.Figure out how each group or individual will enter tobow and exit afterward with a minimum of collisionand confusion. Think “traffic flow.”

• Make plans for a post-concert reception withjuice and cookies or something equally fun.

Using Microphones

Though using microphones can be more of ahindrance than a help in most situations, you mayfeel that you absolutely must have them in yours. Ifso, teach your students how to use microphones moreeffectively by following these guidelines:

• Before you begin speaking, stop completely infront of the microphone.

• Speak slowly.• Wait until you’re done speaking to leave.• Wait for others to finish before you begin.

• Don’t get too close to the microphone. Thesound will distort. Practice the proper distance foryour particular sound system and performance area.

• Don’t stand too far away from the microphoneeither, or you may as well not use it at all.

Programs and Publicity

You will find reproducible posters and a programcover on pages 28, 29, 52 and 53 in this book. If youdon’t have access to a copier at your school, you canusually have your duplicating done ratherinexpensively at a local quick copy shop. To catchmore attention with your posters and programs,consider reproducing them on colored paper. Orhave your students color and customize each poster.

We have left lots of coloring options, includingthe costumes for the band andbackground singers, and Elfis himself.

Don’t stifle students’ creativity when itcomes to color usage either. For

example, if they don’t use any red orgreen at all, that’s perfectly

okay. (Coloring probablywouldn’t be feasible foryour programs, however,

unless you have a veryactive art program. Thisassumes that you will have a

manageable number of posters, but ahuge quantity of programs.)

In any event, try to use recycled paper for bothposters and programs. Not only will you bereinforcing the importance of recycling to yourstudents, but you will also be bringing the messageacross the curriculum. Be sure to let your audienceknow that your paper is recycled by using a recyclingicon somewhere on the printed materials. No doubt,your audience could stand a little reinforcement, too.

You may also wish to reproduce any of the otherillustrations found in this book for your production.You have the publisher’s permission to use suchreproductions in this manner only. Any otherduplication is an infringement of copyright laws.

Don’t forget to contact your local media aboutyour upcoming production, too! Include all pertinentinformation for concert-goers, and encouragereporters to come and photograph rehearsals, as wellas the production itself.

The Performance/Accompaniment

CD or Cassette

There are four versions of Elfis and The SleighRiders on the Performance/Accompaniment CD andcassette. Version one is a full performance withdialog. Version two is a full performance withoutdialog. Version three is an instrumental only version.Version four is an instrumental version which

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includes the background vocals. Use any and all ofthese versions as you need to for both rehearsal andperformance settings.

We have included a reprise of the last song,“North Pole Rock ’n’ Roll,” to be used as bow musicafter all four versions to give you optimum flexibility.

If you don’t have the recording yet and wouldlike to get one, just give us a call at 1-800-437-0832.

Duplicating the CD or Tape

As mentioned earlier, making your own version ofthe CD or tape is acceptable as long as you havepurchased it first. Making copies of it for anyone else isnot legal. Please refer to the Duplication Notice onpage 3 for more information.

You may, however, wish to duplicate your CD orcassette as a safety back-up. If your original is lost ordamaged, a back-up may prove invaluable.

Another suggestion we can make for ease ofrehearsing and performing when using the tape isto make a copy of each song on a single cassette.For example, dub the song “Uh-huh-huh” onto asingle cassette, putting the full performanceversion on one side and the tracks on the other.Then, label it and keep it in order in a box sothat all you have to do is pull it out and popit into the tape player when you need it. Ifyou do this for each song, you will havea “library” of music at your fingertipswithout the hassle of searching for tunes. Short, blankcassettes are available in bulk at reasonable prices frommany tape manufacturers (including MUSIC K-8MARKETPLACE – call toll-free 1-800-437-0832, or shopsecurely online at MusicK8.com).

The advantage of using a CD, besides theobvious superior fidelity, is the ability to locate atune easily. You may not find it necessary to separateeach tune, thanks to the instant gratification of thismodern format.

One final note about the recording: If you’re goingto use it in performance, be sure you turn the volumeup so that your students can hear the backgroundtracks despite their own enthusiastic singing. It’s veryeasy for young singers to get away from the beat or thepitch if they can’t hear it well.

Background Vocals

There are background vocals on three of thetunes in this musical. Since the background singersare integral to the plot, you can either let yourstudents sing them live, or you can have them mouththe words to the recorded background singers. Thefourth version of the musical on the recording willallow this latter option.

The parts for the background singers are includedin the Piano/Vocal scores in this book. They are alsoincluded in the Student Editions, which are availableseparately (call 1-800-437-0832 to order).

Lyric Pages

You will find lyric pages in this handbook,included for your convenience when teaching byrote. They can also be used as a quick reference whenmemorizing songs. However, if, like most musicteachers, you prefer to have your students read musicwhen learning the songs, student parts are alsoavailable for this musical. (These parts contain thevocal lines without the piano parts, as well as thescript, without the detailed teacher’s notes.)

Combining “Elfis and

The Sleigh Riders” with

“The Elves’ Impersonator”

The Elves’ Impersonator was the first K-4Christmas musical to feature Elfis the elf. It waspublished a few years prior to Elfis and TheSleigh Riders. The plot of the first musical wasone that focused on acceptance. Elfis was new tothe North Pole and played rock ’n’ roll music. He

was “different” and the citizens of the North Polehad to learn to accept him, which they did, of

course, by the end of the musical.The second musical, Elfis and The

Sleigh Riders, focuses on friendshipand working through differences. We

feel this is a logical extension of thefirst musical. Both have to do with matters of theheart (tolerance, compassion, forgiveness). It alsofeatures Elfis, our star elf, once again.

To combine the two musicals, we recommendyou begin with The Elves’ Impersonator, and haveit segue into Elfis and The Sleigh Riders. After thesong “The Santa Claus Rock!” at the end of The Elves’ Impersonator, have Elfis take his bowsand leave the stage. Let your onstage audiencecontinue to applaud and cheer after he goes.

At the beginning of Elfis and The Sleigh Ridersthe audience is now beginning to chant, “Elfis! Elfis!Elfis!,” etc. If they have been clapping and cheering,they don’t have to start quietly, as indicated on thescript, but rather, can go full volume right away. Ifcombining the musicals, Elfis can “re-enter” thestage, where the awaiting audience cheers him onand he starts singing “Uh-huh-huh.” Just keep goingfrom there. It will work.

You will definitely note the difference betweenthe two halves of the combined musical, due to thedifferent plot lines, but we think it’s a small point.The costumes are the same. The characters are thesame, with further development. The setting can bethe same. The time is the same. And the music isdefinitely in the same style.

The best reason to do this combination is for thelength of the performance. You’ll probably havecloser to 40 minutes than 20, depending on youradditions and cuts.

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Rehearsal & Performance Suggestions

Uh-huh-huh

At the beginning of the musical, most of the elvesand reindeer are gathered onstage where they arechanting for their favorite performer to enter. Assoon as Elfis appears, the chanting becomes cheeringand clapping and Elfis thanks the crowd. The firsttune starts even as the crowd is still active. A fewseconds into the song, and the cheering should stopin a natural manner.

Since the song is so contagiously lively, perhapsthe audience who was cheering mere moments beforecould continue with swaying, rocking, bobbing,clapping, or otherwise perpetuating the action. It isan energetic way to start the show, to be sure!

In theory, Elfis is playing his guitar. Whether ornot he sings along with part 1 is up to you. He cancertainly join them, or he can sing the first part as asolo if your Elfis is a strong soloist. He could also justplay his guitar in a rather extroverted manner whilethe rest of the crew sings out.

There is, of course, a guitar solo in the middle ofthe tune. If you are using the Performance/Accompaniment CD or cassette, your Elfis can playalong, miming the solo and adding his own brand ofinterpretive movement. He should bestanding/moving around out front through the entiresong, but particularly during his big solo.

The song is a series of nonsense syllablesperformed in mostly a call and response style. Divideyour singers into two groups (usually left and rightworks best). Lead with the strongest group, if such athing is an issue for you. Give them cues as needed toget them rolling.

The best and easiest way for them to learn thesong is by singing along with the recording. They willquickly see that the words, though funny-looking onthe music and lyric page, are easy to learn and easy tosing. They will also be able to project withconfidence while they are singing along with ourrecorded voices while they are learning. When youfeel they are ready, try letting them sing with theinstrumental accompaniment only.

Whether you have added claps at anyother point in the song or not, duringthe guitar solo, they would beparticularly effective. Be sure tohave them clap on beats 2 and 4, ifthey can.

Despite the fact that this song has arollicking triplet feel and that theeighth notes are swung, you don’teven have to mention it unless youwant to. Again, singing along withthe recording will help them feel the

triplets underneath the beat without even realizingit! If you are studying triplets or swing style with anyof your classes, this would make an excellentreinforcement. The style marking at the top of thetune shows how to interpret the eighth notes. Canthey hear this interpretation in their ownperformance or on the recording?

If you happen to have your own live rock ’n’ rollband for this musical, lucky you! A few trumpets,trombones, and saxes would be very cool, too.Perhaps you could use your group for the wholemusical, or perhaps you could use it for select pieces.Or maybe you just use your group to “beef up” therecording as it is playing. In any event, given thesimplicity of the music, we feel it is actually do-able,if you have the players. All of the tunes have ratherbasic progressions, as they would have a few decadesago in this genre. Think 60’s rock ’n’ roll with a bluesinfluence, and you’ll be right in sync with the style.

Of course, if you don’t have your own live group,that’s okay, too! We have gone to great lengths togive you pretty darn cool tracks for this musical, if wedo say so ourselves. Our guitarist, Sandy Williams,just loves to play this kind of music, and you can surehear it in his performance. Just remember to turn thevolume up on the recording so your kids can reallybelt out the songs.

And speaking of belting, this is one musicalwhere uninhibited, all-out, fun fun fun singing isallowed and encouraged! While we would allcertainly appreciate correct pitches, proper breathsupport and nice tone quality, if those thingsendanger the pure joy of the performance, werecommend not worrying about them too much – atleast not this time. We can almost guarantee you’llhave happy participation if you just let them sing out.

A Note About Ad Libs:

This musical is full of ad libs, that is, improvisedor freely presented dialog that usually occurs withseveral speakers simultaneously. Our recording offersexamples of how we performed the ad libs, so yourstudents can get an idea of what we mean. The

recording and the script are merely suggestions,however. They indicate the approximate tone ofthe dialog, but your performers can certainly come

up with their ownresponses (as some ofours did).

Despite the fact that wecall them “ad libs,” we

suggest you have performerscreate what they will be saying ahead oftime. That way you can rehearse the

timing and presentation so that it sounds43

natural. We have found that cuing these sections forbeginning and ending is helpful. Remind them not tojust clip their sentences at the end of the ad libswhen you cut them off. Have them finish what theywere saying for a staggered effect.

Scene 1

There’s quite a bit of activity after the first song.Santa, has decided to surprise Elfis by coming upwith a band, including background singers, to joinhim in his music making. Elfis is very happy aboutthis (though you can’t really tell by his demeanor),and he shakes hands with the instrumentalists asthey are introduced. Each band member displays ahint of his respective personality during hisintroduction to Elfis.

The three background singers sing their greeting(see script and listen to the recording for anexample). If you are not actually using realbackground singers, or if they are notcomfortable with this part, they can all justsmile, wave at Elfis, and say hello to him.

Indeed, if you wish to have more bandmembers than the ones we have included, youmay do so. You will hear trumpets, trombones,saxes, and percussionists on the recording, so anyof these would be in keeping with the spirit of themusical. If you do use more, you will needto come up with names and additionalscripting for them.

Speaking of names – feel free to useany you like for the band members,singers, or any characters, for thatmatter. For example, maybe you wantto name your piano player after theband director at your school who plays the piano. Orafter the mayor. Or the principal. Or some localcelebrity. Use whatever will get the best responsefrom your audience.

The gathered group next decides that the bandneeds a name. Several attempts are made at decidingone. While we have included a number of these inthe script, we would like to encourage you to let yourstudents come up with their own versions, as well.Each idea should be met with appropriate dismissal,but nothing too negative. When the name “Elfis andThe Sleigh Riders” is finally mentioned, everyoneresponds enthusiastically, cheering and agreeing thatit’s perfect.


The song that follows is the opportunity to let thewhole band play together. The band should belocated front and center, or at least in a featuredposition, depending on your performance area layout.

As noted on the music, your background singerscan either pretend to sing (version four of therecording will facilitate this), or really sing

themselves. They could also sing along with the oneson the recording for reinforcement.

The song itself is light and fluffy and just plainfun to sing. The melody and lyrics are very easy andrepetitious. Once again, there is a certain bluesyquality to the song which will allow your students todo a little scooping and a little belting. They willenjoy singing this one.

After the second verse, there is a piano solo foreight measures. We have indicated an optionalmovement idea for this section, which you can use asis, change to suit your needs, or leave out, if youprefer. If you use it, it’s quite simple. Just pick aleader, much like a conga line, and have her movearound a predetermined area in a predetermined waywhich her followers imitate. They should be in asingle file line with their hands poised as if they areholding onto reins. It’s a short section, so don’t letthem get too carried away. This is another good

reason to plan the choreography ahead of time.They can just move randomly about like aconga line does. Or they can actually do a

“step,” like a hop or a side kick on certain beats.They could do a wave-like motion, pretending to

“slip and slide” as the lyrics indicate. Add a fewgleeful “Whee’s!” to the action for even more fun.

Just be sure they’re ready to singagain at the D.S. To be certain ofthis, you might only use select

performers to do the movement whilethe others are poised and ready to

sing again. Your challenge here will be to

have the action occur in avisible place without obscuring the

band. Perhaps the band could be off to one side andthe action on another. Or the band is set back farenough, but still in front, for the action to occur yetin front of it. Maybe you can just have the bandmembers step aside for the eight measures and thenresume their position when the movement is over.

Here’s another thought. If you want to use asleigh as a prop for this song, you could have areindeer or two or more “pull” it around during thesong. The sleigh could even be stationary while thereindeer move a lot, pretending to be pulling it. Forhumor, they could be having a rough time doing this.Or they could just be hopping around a bunch. Havesome performers, like elves or other reindeer, ride init (or behind it, if it is a 2-dimensional prop). Addsome sleigh bells of your own, and let your reindeerdo the “whinny” at the end for pure silliness.

Scene 2

The cheerfulness of the entourage is not long-lived. After the song, one of the background singersdecides to let Elfis know she wants to sing a solo. Theother singers also want to sing a solo. The bandmembers take sides and an argument breaks out.

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Each of the band members is so set in his or heropinion about how things should be, that they refuseto perform together anymore.

There are several ad libs during this section. Wethink our actors did a very good job of portraying theconceit, anger, and other unpleasantness, so be sureto let your actors listen for reference. Also, keep thisin mind when casting your band members: They haveto be able to act upset at each other ratherconvincingly during this scene (but without gettingtoo carried away, of course). It might be best to letthem hear the recording before they audition so theyknow what will be expected of them.

The crowd is horrified at the conflictand responds in song (of course).


What better way to express awoeful attitude than with the blues?Once again, the style is swing, only thistime, the tempo is slower, which beliesthe mournful quality of the singers.

You will find that the melody is quiteeasy to learn, and we think your studentswill enjoy the opportunity to possiblyoverdo it with the scoops and falls wehave indicated. A few well-placed handsto the brows, sniffs, and head shakingswould be totally appropriate, too, forrandom performers.

The real fun for a select few of your students willbe the execution of the spoken lines during the guitarsolo the second time at measure 9. Elfis is playing in adown and out mood (but he’s not singing) and anumber of elves and/or reindeer chime in with theircomplaints. Select a different speaker for each one ofthe comments, or at least use a few for the best effect.Have them exaggerate their misery with a poor-meattitude and really let them ham it up. We have nodoubt you will have volunteers for this part. At theend of the section, someone starts to cry and they alljoin in. If singers are involved, they will need to stopat the next singing section, which is measure 17. Ifyou wish though, you could let a few of themcontinue to whimper and sob even after the singinghas continued for humorous effect. If you have anyreal extroverts in your midst, this will be a good placeto let them shine.

At the end of the tune, all of the participants(except the angry band members who just continueto huff in self-righteous indignation) cry freely untilyou stop them. Let a few blow their noses into big ol’cloth handkerchiefs before the next section begins.

Scene 3

In this brief scene, the elves and reindeer ponderthe problem. Despite their pleadings, the members ofthe band are not to be consoled. Everyone is quite

upset. Not even Santa can get them to talk to eachother. In desperation, one of the reindeer turns toElfis for help. With characteristic confidence, Elfisdetermines that he knows just what to do.


In this vaguely familiar tune, the entire point ofthe musical is made and all conflicts are miraculouslyresolved. Just amazing, isn’t it?

Start by having Elfis switch to an acoustic guitar,if possible. In theory, he is the one playing it, but you

could have someone else “play” while he justsings. No electric guitar in this one.

This is the only quiet tune inthe musical, and should be treatedwith the proper, er, um, dignity. It’s avery emotional song with a veryemotional message, but it’s trulyonly effective if it’s done in atongue-in-cheek humorous manner.

Elfis should exaggerate his emotionaldistress when he’s singing or speaking,

as should all of the performers.We have suggested that Elfis sets the

tone at measure 5 with a solo, but thenSanta takes over, followed briefly byMrs. Claus. If you prefer, Elfis could justkeep singing, or you could assign the

other solos however you like. The restof the elves and reindeer join in at

measure 21 until the first ending. All the while, the band members are visibly

softening. The background singers are the first tobuckle under the pressure of song. (It’s a musicalcomedy thing.) When the tune goes back to measure5 for the repeat, the background singers croon themelody on “ooh.”

Elfis tells us all at this point about the importanceof friendship and forgiveness. Be sure your Elfisspeaks slowly, deliberately, and over-emotionally.Work on his timing and delivery with him. Again,the recording offers a good example for learning. OurElfis, Jonathan Stombaugh, added a little vibratowhen singing, and vocal inflection when speaking toemphasize the “seriousness” of his message.

At measure 21, when the chorus joins in again,the members of the band who hadn’t previously doneso, also begin to join in. You can have them do thistogether or one at a time. Just make sure it’s visible tothe audience. Maybe an elf could lead each one to hisrespective instrument, thereby helping him decide to“do the right thing.” By the end of the song,everyone is participating again, as you would expect.

Scene 4

It doesn’t take long after that moving tribute forall of the band members to apologize and forgive eachother. The girls hug each other to the accompanying

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“Awww’s” of the gathered crowd. The guys slap theirhands together, giving high 5’s, and agreeing to put itall behind them. Whew. All is okay again.

And since it is, what better way to celebrate therecapturing of lost friendships than with a rousingfinale? None that we know of!


Hey, guess what? It turns out that our threebackground singers get to have solos after all. Notonly that, but so do the other band members as well!Now, that’s a positive conclusion based on a win/winsituation. (Oops. Too many self-improvement bookscreeping in here. Time to shift paradigms...)

This final tune is a rock tune with a straight 8thnote emphasis as opposed to the triplet emphasis inprevious songs. Again, the form is simple, familiar,and utilizes basic chord progressions. It should bevery easy to learn and perform with gusto. And yes, ifyou are using live instrumentalists, they will enjoythe simplicity of this one.

It’s pretty important that the first three solos aresung accordingly by the three background ladies. Wedo include these solos on the version withinstrumental and background vocals only if you wantyour singers to pretend to sing. The solos are veryshort – one line each – but it does give each one achance for a moment in the spotlight.

At measure 17, the entire chorus joins in with acall and response section that repeats what hasalready been sung prior to measure 17. Very simple.Very catchy. And easy to add movement to.

The ideas we have suggested for movement areincluded on the music itself. They are located aboveeach of the vocal lines. The movements are such thatthey can be performed with varying degrees ofenthusiasm as your space and situation allow. We dorecommend that students don’t lift their feet, lestthey lose the beat. Rather, they should just bend fromthe knees, particularly when bouncing.

As always, our movement suggestions are just

that – suggestions. You can make up your own oradapt ours anyway you like.

Now about those other solos. After measure 29,there is a guitar solo at measure 33. It’s only two barsand is followed by two bars of bass solo, two bars ofpiano solo, and two bars of drum solo. See? Everyonegets a turn, albeit a brief one.

The section at measure 41 does continue tofeature the drums a bit more. Only this time, he’splaying on his toms. Both he and the singers get toexecute dramatic shifts in dynamics, going frompiano to forte before going back to 17 for the D.S.Feel free to use this section as a reinforcement of yourteachings of dynamics. It’s a sort of a call andresponse here, too, as the singers do the call and thedrummer responds. What fun!

As at the end of The Elves’ Impersonator, if youwould like to have a sack of sunglasses at the ready, itwould be a hoot to give them out to all performers atthis time. (If you are combining the two musicals,you might wish to eliminate this from the song, “TheSanta Claus Rock!,” so that you can do it at this point instead.)

On the final, “Yeah!” of the tune, we suggest thatyou have performers thrust one of their fists up intothe air. This will let the audience know that the songand the musical is definitely over. Plus, it’s a great cuefor applause, which you will no doubt gets tons of.

For the bow music, which is a reprise of the lastsong, you could either have the students sing alongfor all or part of the song while they take their bows,or you could just let it be an instrumental all the waythrough. Have the soloists do their thing again, ornot, whichever works.

You could even invite the audience to join inwith either the words (print them in the program), orthe movements. It wouldn’t take much to geteveryone involved! Have a few characters go into theaudience and pull people to their feet to join in.(Seeding the audience with willing volunteerscouldn’t hurt either.)

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North Pole rock and roll!

Technically, you don’t really need a setting toperform Elfis and The Sleigh Riders. Theimportance of the plot is in the characters, whichwill reveal the probable setting to your audiencewhether you actually use one or not. If you feel thatyou would like to include a setting for yourproduction, you can make it a simple one or youcould get totally carried away, depending on yourtime and resources – especially people. If you are oneof the lucky few who have volunteers like parents,other teachers, or students to help with yourproduction, you could do just about anything withyour sets. You could create backdrops with greatdetail. If this is the case, here are some ideas.

Since the setting is The North Pole, you couldfocus on an outdoor setting filled with ice and snow.Perhaps Santa’s workshop could be seen in thebackground. Or cottages for the elves. Or a lot ofpine trees covered with snowy puffs. Perhaps thetrees are even decorated for the holiday.

If you’d rather have an indoor scene, you could gowith the interior of Santa’s workshop, complete withworkbenches, presents, projects in progress, etc. Or

maybe it’s inside Santa’s house, only in the livingquarters, which would include living room furniture,or tables and chairs, and so on. A grouping of large“windows” on the back wall with multiple panespainted on and lots of falling snow “outside” wouldalso lend itself to a cozy interior setting. Add drapes(real or illustrated), garlands of evergreen, big bows,or other swags of decorative materials.

Truly, a stage setting would not be out of lineeither. Elfis is a performer, after all. A well placedmicrophone (real or not, useful or not) might be inorder as a setting device. And though you mightusually think of a drum set as a prop, it could add tothe stage-like ambience. It’s a bonus if your Bix cansit behind them and “play” at the appropriate times.Same thing goes with electronic keyboards.Anything that you might ordinarily find in a theateror on a stage for a musical event would be right athome here. Lighting? Curtains? Amps? Platforms? Ifthese are things that are actually useful to you in yourperformance, all the better. Otherwise, mock stagesets are absolutely okay.

Setting Ideas

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The equipment for The Sleigh Riders plus a few Christmas decorations around the performance area would make a simple, but effective, setting.

Now let’s assume you’re one of the music teacherswho is on a tight budget and has limited otherresources as well. The need for a setting does indeedbecome less important in this case. For a minimallook, a sign that says “North Pole” will do just fine.A decorated Christmas tree would also do. Or justdrape garland and lights across the whole stage area.If you are lucky enough to have a back wall behindyour performance area, you could add artwork fordecoration. Generic items, such as stars or candycanes would be simple enough. Your students couldeven create them themselves, if you have the time.

Talk to your art teacher early on and find out heravailability for helping with set design andexecution. For example, perhaps you decide to coverthe back wall with posters from the musical. Orother seasonal posters, for that matter. The artteacher could oversee the creation of dozens, if nothundreds of these posters with her art classes. Thatway, students who are not involved directly with theperformance as singers or actors can be involvedindirectly. It makes it more of an all-school event.Remind her that each artist should sign his work.

An outdoor setting could be used as well. Hang a large mural done on paper, canvas, cardboard, etc., on the back wall.

Attach a “window” with a view of the falling snow to the back wall for an instant setting. If using risers for your chorus,set them on either side of the main performance area for ease of movement into and out of the area by main characters.

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CostumesYou will have a variety of costuming needs for this

musical, but they need not be extravagant. Except forElfis, of course. Your most common characters are theelves and reindeer, and you can create costumes forthem in a number of simple, inexpensive ways.Costuming options for Santa, Mrs. Claus, theinstrumentalists, and the background singers are alsoonly limited by your resources.

Again, if you have the luxury of helpers withtime, financial backing and/or sewing machines atthe ready, good for you. You will probably have verynice costumes and you might not even lose any sleeptrying to be sure each performer has one.

(A note of caution in general when draftingparents: We have known more than one teacher whohas directed children to inform their parents thatthey need a specific costume which the parents aretotally responsible for thinking up and procuring, andthat’s that from the teacher’s point of view. Keep inmind, this does not make parents happy. Most ofthem are willing to help, in our experience, but justto put it entirely in their laps might not be the mostpolitically correct thing you could do. Remember,

these are the people who control your musicprogram’s fate. It would be wiser for you tocommunicate directly with your costuming sourcesand give them plenty of time, direction, andassistance in the process.)

A good many teachers are not as fortunate whenit comes to costuming options. Keeping the costumessimple and basic will at least partially contribute tothe success of this part of your program. Especially ifyou are dealing with a lot of children, simplicity maykeep you sane. If the assistance you get withcostuming doesn’t come from parents, but is done atschool, you will definitely need help. Again, the artteacher is someone to approach. She may have someexcellent ideas. And her students could possibly assistwith the creation of costumes or components. In anyevent, you should credit all of your helpers in theprogram if you want them to help again next year!

Following are some suggestions for mostly quick,simple and cheap ideas. Keep in mind, however, thatElfis should “shine” above all and outfitting himmight be your biggest challenge.

Elfis

pointedears

gold ornament on hat

large goldnecklace

sunglasses,black or fancy

flowingsleeves

large beltbuckle

flared pants

shoes can be boots, or blue “suede”and/or affixed with points for elf quality

In general, Elfis should be very showy - use whiteand gold, black and gold, black and silver, etc.

Using things that sparkle, like jewelry and sequinsis a good idea. Even his guitar could sparkle.

flowingcape

pointed red hat

hair up into bun - couldbe wearing a bonnet

spectacles(glasses)

lace collar

lace apron,white and fancy

red orgreen dress

with longsleevesand long

skirt

lacepetticoat

under skirt,optional

medium highheel boots or

shoes

hat istrimmed with

cottonwhite

mustacheand beard

red suit,overstuffed

cotton trimon sleeves large black

belt with bigbuckle

big black boots (black shoes okay, too)

highcollar

pointed hat - notnecessarily red orgreen like others

Santa Claus

Mrs. Claus

50

Bix

Jerry Lee Stanley

beanie (hat)

pointed ears

goatee

black turtlenecksweater

jeans withrolled cuffs

collarturned up

rolledsleeves

onbuttoned

shirt

letterjacket orsweater(worn orused as

prop)

visiblewhite socks

pointed shoespointedshoes

vest or othercontemporary

overshirt

pointed hatpointed ears

pointed ears

loose-fittingT-shirt

loose-fittingvery baggy

pants

pointed hat withduller point

black pants-straight leg

black shoes -add points made ofpaper or cardboard

Bix likes to think ofhimself as a beatnik.

pointed hat

pointed ears -these can bepurchased or

made andattached to ears

red orgreentunic

red orgreenshirt

elaboratehairdo

lots of jewelry -shiny, sparkly,

gold, etc.

long, flowinggown

evening shoes -can have points

The three background vocalists should besimilarly attired in ultra-glamorous outfits.

They could wear different colors of thesame type of dress for variety.

pointedears

makeup,includinglipstick

red or greenpants or tights

pointed shoes areclassic for elves

Reindeer

Elf

BackgroundSinger

antlers can bemade of paper or

cardboard andattached to a

headband

brownsweat suitor just shirtand pants

attach a tailto the backof the shirtor pants

hooves can also bemade and attachedto feet and/or hands

Since the real defining part of the reindeer costumeis the antlers, it is really all that is absolutely

needed. Inexpensive costume antlers are readilyavailable at many stores these days.

a “snout” couldbe fabricated,or just paint a

big black dot onthe nose

Jerry Lee could dress asany 50s rock star.

Stanley is a product oftoday’s culture -

adjust costume ascurrent fashion dictates.

Staging/Blocking

The most important thing you can do for yourselfand your students is plan thoroughly. This especiallyincludes staging and blocking. Staging is thepresentation itself of a production, and blocking isthe organization of the positions and movements ofthe characters within the production. Consideringthat you will possibly have hundreds of studentsparticipating, you can see how critical your plans are.

We have noted often through the years thatwhen teachers use our musicals pretty closely to theway they are originally written, they have formulasthat seem to fit. One popular formula is the use of achoir or large ensemble, frequently on risers, eitherbehind the action area or in front of it in a “pit” infront of a stage. Another option is to locate them tothe sides of the stage, dividing them into two or moregroups. Then, the main characters and incidentalcharacters are focused on within the action area only.This lets a lot more students participate in themusical than just using the few who are featured inthe script and music. (Your chorus could be costumedor not, of course, depending on your situation.)

If you don’t have risers, but would like to have achoir, consider staggering their positions so that youcan see each child’s face from the audience. Youcould also have them sit during the action sequencesand stand for the songs. If you choose the latter,practice having them sit and stand on your cue.

As the musical begins, all speaking charactersshould have access to the front of the stage. If youchoose to use all of the ones we suggest (remember,you can change this any way you like), they willpretty much fill the performance area. Plan whereyou would like them to be standing and whichactivities which character should be involved in. Forexample, where do they stand to deliver their linesand where do they stand while waiting to delivertheir lines? It’s perfectly fine to leave them in thesame spot or to relocate them to speak. Obviously,you will need to plan the entrance of Elfis as itoccurs, as well as the entrance of Santa, Mrs. Claus,the members of the new band (unless they are alreadyonstage and just move to the front as needed), andany other characters that are with them.

Performers who have multiple lines or actionsshould be located so that they can quickly and easilybe seen and heard, even if you have had to relocatethem temporarily. Players who only have one lineshould move to areas of less focus, if possible. Theycan then remain in the same position throughout.

Props

There are a few necessary props for this musical,which include:

– a guitar for Elfis – a bass for Stanley

– a piano for Jerry Lee– a drum set and sticks for Bix

(Any of these instruments can be real, cardboard,inflatable, toy, whatever.)

Other props that would enhance your programmight include:

– microphones, especially for the soloists– toys and presents around the area– at least one Christmas tree– decorations for the tree – a sleigh– sunglasses (for all for the finale)

Characters

Elfis is the most important and distinctivecharacter. Not only is he dressed with pizzazz, hewalks and talks in a unique manner as well. He is,after all, a star. He doesn’t have much to say, butwhat he does say should reflect his style. Therecording offers a good example of voice quality,though you should not limit or inhibit your Elfis’creativity when designing his own character.

The background singers should be female (unlessyou do a rewrite, which is fine). They should bedressed in a very flashy way – lots of glitter andshowbiz quality. Their characters should be slightlyflawed, recognizing their own talents to excess earlyin the show. You know – conceited. Even so, theirability to learn and become forgiving and tendertoward their friends at the end should also shinethrough. Exaggerated acting will help in these roles.

As indicated in the script, Jerry Lee should beoutgoing and should play his piano with panache.Stanley should be a bit more laid back and have aquiet confidence in his abilities. Bix should be a littlereminiscent of a beatnik or equally cool dude.Costuming will help with the attitudes of all three.

Santa is a classic character and should beapproached accordingly. Same thing with Mrs. Claus.(While you could change the common approach toeither character, it might just confuse your audiencein this context.)

The elves can have variable personalities. Tokeep them somewhat uniform, we recommend lettingthem alter their voices similarly to each other. High,chipmunk-like voices are frequently recognized as elfvoices, but your students should experiment.

The reindeer might also have commoncharacteristics in their voices and mannerisms, suchas slow, steady speech. Of course, neither the reindeernor the elves need to have any voice characterizationor outward personality traits at all. We just think itwould be fun for your actors if they could try.

In the case of all characters, you can’t exaggeratetoo much. This is a very light musical and the humorwill shine through especially if you just let the kidsrelax and have a good time with it!

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Elfisan

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The S

leig

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iders

©2000 P

lank Road P

ublishing, Inc.

A R

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by

Teresa J

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COMPACT DISC

INFORMATION SHEET

FIRST - Photocopy this page tokeep your book intact.

THEN - Just cut out the box to the

left (on the copy)and slip it into the

back of yourSafety-Sleeve™

Binder Page.(Cutting on the lines is

a real talent...so youshould feel great if your copy fits in the

pocket correctly.)

k

If you purchased the CD with this collection, your CD arrived in a neat littleSafety-Sleeve™ Binder Page that is padded, and has a pocket in the back

for literature and two holes on the side so that it will fit into aspecial binder.

This system is ideal for teachers faced with carryingaround many resources from room to room, school toschool, and all of it back home again. In each binder youcan store up to 15 CDs and their booklets or inserts in theirpadded binder pages. This is the most compact, lightweightway to store or travel with your CDs. We also make extrabinder pages available so that you can use them for otherfavorite CDs. These binders have been so popular that wemake them available in four colors: white, textured black, blue velvet, andtextured burgundy. You can actually see color photos of these binders on our

web site: MusicK8.com Here are the details for ordering your binders and extra binder pages:

MP-CDBW White CD Binder (with 3 FREE extra CD Binder Pages)MP-CDBB Black CD Binder (with 3 FREE extra CD Binder Pages)MP-CDBU Blue CD Binder (with 3 FREE extra CD Binder Pages)MP-CDBR Burgundy CD Binder (with 3 FREE extra CD Binder Pages)MP-CDBP CD Binder Pages - 10 pack

These products are available from dealers who carry Plank Road products, or directly from us. Toorder, visit the online store at our web site, or call us toll-free at

1-800-437-0832

BinderBinderPage

Full Performance with Dialog

1 Introduction........................................................................................... :132 Uh-huh-huh ........................................................................................ 2:103 Scene 1 ................................................................................................ 2:014 Ev’rybody’s Goin’ On A Sleigh Ride .................................................. 2:155 Scene 2 ................................................................................................ 1:106 So Sad At Santa’s Pad......................................................................... 2:477 Scene 3 ................................................................................................ 1:018 Are You Lonely And Blue? ................................................................. 2:399 Scene 4 ................................................................................................ 1:030 North Pole Rock ’n’ Roll .................................................................... 1:59- Bow Music ........................................................................................... 1:59Full Performance without Dialog

= Uh-huh-huh ........................................................................................ 2:12q Ev’rybody’s Goin’ On A Sleigh Ride .................................................. 2:16w So Sad At Santa’s Pad......................................................................... 2:46e Are You Lonely And Blue? ................................................................. 2:40r North Pole Rock ’n’ Roll .................................................................... 1:59t Bow Music ........................................................................................... 1:59Instrumental Accompaniment Only

y Uh-huh-huh ........................................................................................ 2:12u Ev’rybody’s Goin’ On A Sleigh Ride .................................................. 2:16i So Sad At Santa’s Pad......................................................................... 2:46o Are You Lonely And Blue? ................................................................. 2:40p North Pole Rock ’n’ Roll .................................................................... 1:59[ Bow Music ........................................................................................... 1:59Instrumental Accompaniment with Background Vocals

] Uh-huh-huh ........................................................................................ 2:12\ Ev’rybody’s Goin’ On A Sleigh Ride .................................................. 2:16a So Sad At Santa’s Pad......................................................................... 2:46s Are You Lonely And Blue? ................................................................. 2:40d North Pole Rock ’n’ Roll .................................................................... 1:59f Bow Music ........................................................................................... 1:59


LET US HEAR FROM YOU!We hope that you and your students are enjoying and learning from Elfis and The SleighRiders and that it will provide you with years of good use. In order for us to better serve yourneeds in the future, we ask you to let us know more about how you used this musical and howwell it suited your needs. It will be most helpful to wait until after you have performed it, thenreturn this questionnaire to...

Teresa JenningsPLANK ROAD PUBLISHING, INC.P. O. Box 26627Wauwatosa, WI 53226

NAME_______________________________________________________________________

SCHOOL_____________________________________________________________________

ADDRESS____________________________________________________________________

CITY____________________________________ STATE_________ ZIP__________________

Are you a music specialist?

Are you a subscriber to MUSIC K-8 magazine?

With which grades did you use this musical?

What were your (and your students’) favorite songs?

What parts of the musical did not work well for you?

What improvements would you like to see in future musicals?

What other types of resources would you like to see in the future?

Thanks again for buying Elfis and The Sleigh Riders!

P. S. - When you send in this survey, we would love to see a copy of your program and/or anypictures or videos made from your production.

...Please photocopy this survey to preserve your Teacher’s Handbook...

PLANK ROAD PUBLISHING, INC. • P. O. Box 26627 • Wauwatosa, WI 53226 • (262) 790-5210 • Fax: (262) 781-8818

The Downloadable Editions of the Soundtrack/Preview Recordings contain the full performance (withdialog) of these wonderful Christmas musicals. They are very useful as an aid for your young performerslearning the music, or for personal listening enjoyment. (Please remember that this is a performance demo –NOT an accompaniment recording.)

You can download a single copy for your own use or as a present, but we also offer licenses that allow youto burn multiple copies for your students at a substantial savings per copy. The pricing works like this:

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Soundtrack/Preview Recording - download with rights for burning 11 or more CDRs @ $2.95 per CDRThese Soundtrack/Preview Recordings can only be purchased with a credit card and are only available

online. You will find full information and detailed instructions on downloading at our amazing web site:

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Now Available!Downloadable Editions of the

Soundtrack/Preview RecordingsFor These Great Christmas Musicals

Reasonably Priced, with Substantial Savingsfor Rights to Burn Multiple CDs.

...and they’d be great Christmas presentsfor your students and their families!

Elfis and the Sleigh Riders

Documents

Transcript of Elfis and the Sleigh Riders