Direction of The Play: Roald Dahl's Charlie and The Chocolate Factory: A Play

Central Washington University
ScholarWorks@CWU
Graduate Student Projects Graduate Student Projects
Summer 2013
Direction of the Play: Roald Dahl's Charlie and the

Chocolate Factory: A Play
Teresa Jean Hansen
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Recommended Citation
Hansen, Teresa Jean, "Direction of the Play: Roald Dahl's Charlie and the Chocolate Factory: A Play" (2013). Graduate Student
Projects. Paper 5.
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Direction of the Play: Roald Dahl's Charlie and the Chocolate Factory: A Play
A Project Report
Presented to
the Graduate Faculty
In Partial Fulfillment
of the Requirements for the Degree
Master of Arts
Theatre Production
by
Teresa Jean Hansen
July 11, 2013
7:00pm
CENTRAL WASHINGTON UNIVERSITY
Graduate Studies
We hereby approve the project report of
Teresa Jean Hansen
Candidate for the degree of Master of Arts:
Theatre Production
APPROVED FOR THE GRADUATE FACULTY
Date of Signature Professor George Bellah

Committee Chair
Professor Scott Robinson
l '1- -rJ\} - ()-0 l 1.

Date of Signature Dr. Jay Ball
Please note:
The signatures have been redacted due to security reasons.
ABSTRACT
PROJECT REPORT
DIRECTION OF THE PLAY: Roald Dahl's Charlie and the Chocolate Factory: A Play
UDHAILIYAH SCHOOL
SAUDI ARABIA
Directed by
Teresa Jean Hansen
March 11, 12, 13, 2013
This project entailed the selection, background research and documentation, analysis,
casting, direction, and post-production analysis of Udhailiyah School's production of
Richard R. George's Roald Dahl's Charlie and the Chocolate Factory: A Play.
Documentation includes research and analysis of the play and an evaluation of the play as a
production vehicle for Udhailyah School. The analysis also includes a discussion as to the
non-traditional directorial vision of this production.

Graduate Studies
Final Examination of
Teresa Jean Hansen
B.Ed University of Victoria, 2000
for the Degree of
Master of Arts
Theatre Production
Committee in Charge
Professor George Bellah
Dr. Jay Ball
McConnell Classroom
Room 117
July 11, 2013
7:00 PM
COURSES PRESENTED FOR THE MASTER'S DEGREE
Number of Quarter
Course No. Course Title .t Instructor
Cre d1 s Completed
TH501 Introduction to Graduate Studies 1 Bellah Summer 2009
TH510 Studies in Dramatic Literature 4 McKay Summer 2009
TH539 Directing and Teaching Young Actors 3 Forier-Edie Summer 2009
TH540 Graduate Directing I 3 Brown Summer 2009
TH543 Acting Fundamentals 3 Edie Summer 2009
TH584 Puppetry in the Classroom 3 Hawkins Summer2009
TH511 Analysis & Criticism 4 Foster Summer 2010
TH 531 Mime and Movement 3 Bellah Summer 2010
TH534 Improvisational Techniques 3 VanAuken Summer2010
TH 541 Graduate Directing II 3 Hubbard Summer 2010
TH542 Musical Theatre Directing 4 Brown Summer 2011
TH566 Makeup and Masks 3 McMillen Summer 2011
TH568 Lighting Techniques 3 Barrigan Summer2011
TH580 Scenic Methods 3 Haniuk Summer 2011
TH502 Introduction to the Creative Project 1 Bellah Summer 2012
TH521 Integ Drama Curr & Program Devel 4 Forier-Edie Summer 2012
TH571 Design Methodology 3 Haniuk Summer 2012
TH700 Master's Thesis Project 6 Bellah Summer 2013
Total Credit Requirements - 56

BIOGRAPHICAL INFORMATION
Teresa Jean Hansen
Undergraduate Study:
University of Victoria, 1995-2000
Graduate Study:
Central Washington University, 2009-2013
Professional Experience:
Middle I Elementary School Drama, Theatre, Speech, and
Health Teacher: 2011-Present
Elementary School Drama Teacher: 2007-2011
Elementary School Classroom Teacher: 2000-2007

MASTER'S THESIS PROJECT
PLAYSCRIPT APPROVAL FORM
(PLEASE MAKE SURE THAT YOU HA VE READ THE PLAY SELECTION CRITERIA SECTION IN YOUR GRADUATE HANDBOOK)
~Student Name Teresa Hansen Anticipated Production Dates March 11, 12, 13, 2013
SCRIPT TITLE- - - Roald Dahl's Charlie and the Chocolate Factory: A Play_
PLA YWRIGHT(S) [If musical, list lyricist/composer] __Adapted by Richard R. George_ _ _ __
NUMBER OF ACTS_ _ __ APPROXIMATE TOTAL PLAYING TME_ _ HOUR_20_MIN.
CAST (fill in with the appropriate numbers)

MEN_ 6_ WOMEN_ _7_ _ NON-GENDER SPECIFIC ROLE (Narrator could play either) _ I _ (plus any number for the
Oompa Loompa's, which are adults, but dwarfs). CHILDREN_5_ OVER40_ 4__
ROLES REQUIRING PEOPLE OF COLOR_ _O_ _ ROLES COULD DOUBLE_ _ 5_
TOTAL NUMBER OF CAST_ _ 19 if not double cast, 14 if double cast (plus any number for Oompa Loompas)_ _
OTHER CASTING CONCERNS: This is a small community, and small school where there is a limited pool of students to draw from
(approximately 60 middle school students), thus causing students to overextend themselves and the problem of not having enough
students available to participate in various activities. Sporting event conflicts and other school events that arise will certainly occur.
Sporting events have traditionally taken precedence over any other school activities. Gender specific roles may need to be played by
opposite genders (E.g.: Charlie may be played by a girl). There are some roles that require a large amount of memorization. There are
several long monologues. I will need to ensure I cast students who are able to manage these roles. I will also need to consider
carefully how to best have children effectively play the adult and older people in the play so that the audience accepts children playing
~se roles.
ARTISTIC STAFF (check those needed for this play or production idea) double click on grey box; select checked to mark or use a pen
0M USICAL DIRECTOR ~DANCE CHOREOGRAPHER DnGHT CHOREOGRAPHER
D mALECT COACH DsPECIALTY HIRE (specify what kind)
~ORCHESTRA/BAND (specify what size)_Small Rock Band (POSSIBLY ifthe teacher and students are available I may
include a rock band during I for the Oompa Loompas ) _
Will you be fulfilling any ofthe above? Possibly Ifso, which? Dance Choreographer
Will a guest artist be fulfilling any of the above? Possibly, ifthere is a parent or other colleague willing and able to fulfill this
position If so, which? Dance choreographer and Band
*PLEASE NOTE: The previously noted are ideas merely at present, and they are subject to change. It is not certain that they will be a
part of the play as yet.
SCENERY/PROPS (check those needed for this play or your concept of the play)
UNIT SET? O vEs kSjNo NUMBER OF LOCATIONS- - I 0- -
HISTORICAL PERIOD Industrial Revolution GEOGRAPHICAL LOCATION London I UK

GRADUATE STUDIES & RESEARCH
Barge 305, (509) 963-3108
PERMISSION TO SCHEDULE FINAL EXAMINATION FOR DEGREE TO BE GRANTED SUMMER QUARTER 2013
VOID IF NOT SCHEDULED BY AUGUST 2, 2013
Advancement to Candidacy for: MA, Theatre Production
NAME: Teresa Hansen
ADDRESS:
The above named student has been admitted to candidacy for the master's degree. At the committee's discretion this student may be
admitted to final examination and for final processing for the degree.
Kevin Archer
DEAN OF GRADUATE STUDIES DATE SIGNED
THIS SECTION TO BE COMPLETED BY THE STUDENT:

1. Contact each member of your committee for the purpose of arranging a convenient date and time for the final examination. All
processing must be completed at least two weeks prior to the end of the quarter in which the degree is to be granted, and no later
than the void date given above. Examinations must be scheduled between 7 a.m. and 6 p.m., Monday through Friday, when the
University is in session (not between quarters).
2. Return this form to the Graduate Studies & Research Office, Barge 305, at least two weeks prior to the date of the examination.
Four copies of your brief are required two weeks before the examination.
3. The student must report to the Graduate Studies & Research Office after the final examination to complete the degree application
and pay the degree fees. The application and fees must be processed no later than August 2 for the degree to be granted Summer
Quarter.
4. Failure to complete all degree requirements by the dead~ date of the next quarter will require that the examination be retaken.
DATE OF ORAL EXAMINATION ~~ 'i _. TIME d~ PLACE !LiCtt l=t-

DATE OF' WRITTEN EXAMINATION (ifaPPLable)_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
Geor e Bellah si ned for Teresa Hansen who was out of the countr
SIGNATURE OF STUDENT 01\ TE SIGNED
TO BE SIGNED BY THE' STUDENTS GRADUATE COMMITTEE:

When you endorse this form you are agreeing to a specific date and time when you will conduct the Final Examination for the master's
degree of tile-above na1ned srudent. DO NOT SIGN FOR A DATE AND TIME FOR WHICH YOU KNOW YOU WILL NOT
BE AVAILABLE. Any chang~s ml.JS! be acceptable to the Graduate Office in uding committee substitutions.
George Bellah q,
COMMITTEE CHATR
Scott Robinson
COMMrTTEE MEMB ER DATE STONED
Jay Ball
COMMITTEE MEMBER
+( l (
DATE SIGNED
l:?
A Graduate Council Representative will be assigned to attend oral examinations.
GS&R: 1/12 Original to GS&R, yellow copy student.
Please note:
MASTER~STHESIS PROJECT
PLA YSCRIPT APPROVAL FORM
(PLEASE MAKE SURE THAT YOU HA VE READ THE PLAY SELECTION CRITERIA SECTION IN YOUR GRADUATE HANDBOOK)
Student Name Teresa Hansen Anticipated Production Dates March 11, 12, 13, 2013
SCRIPT TITLE___Roald Dahl's Charlie and the Chocolate Factory: A Play_
PLAYWRIGHT(S) [If musical, list lyricist/composer] __Adapted by Richard R. George_ _ _ __ _
NUMBER OF ACTS_ _ l_APPROXIMATE TOTAL PLAYING TME____HOUR_ 20_ MIN.

i ' • :. ~ -~.- ; •'\,. ~ - ·'
MEN_6_WOMEN_ _7_ _ NON-GENDER SPECIFiC'RbLE (Narrator 'i6uld play either) _ l _ (plus any number for the
Oompa Loompa's, which are adults, but dwarfs). CHILDREN_5__ OVER 40_ 4_· _
ROLES REQUIRING PEOPLE OF COLOR_ _o__ ROLES COULD DOUBLE_ _s_

• , ' ; . ~ . • - • ' I
TOTAL NUMBER OF CAST_ _ l9 ifnot double cast, 14 if double cast (plus any number for Oompa Loompas)_ _
OTHER CASTING CONCERNS: This is a small community', and small school where there is a limited pool of students to draw from
several long monologues. I will need to ensure I cast students who are able to manage these roles. 1 will also need to consider
these roles.
ARTISTIC STAFF (check those needed for this pl~; or prod~ction idea) double click on grey box; select checked to mark or use a pen
0MUS ICAL DIRECTOR (8JDANCE CHOREOG~PHER' ; 0FIGHT CHOREOGRAPHER

l ' . ~ '
DrnALECT COACH D sPECIALTY HIRE (~~ecify wh~t kind)

[8J ORCHESTRA/BAND (specify what size)_~mall
Rock ~~~~·(~~SSI~LY ifthe teacher and stud~~ts are availabl~ I may.
include a rock band during I for the Ootnpa Loompas ) _ ·· ·" · ; · ·
''·'
Will you be fulfilling any of the above? Possibly If so, which? Dance Choreographer
,.
Will a guest artist be fulfilling any of the above? Possibly; if there is a parent or other colleague willing and able to fulfill this
*PLEASE NOTE: The previously noted are ideas merely at present, and they a~e subject to change. It is not certain that they will be a
UNIT SET? NUMBER OF LOCATIONS 10
HISTORICAL PERIOD_ Industrial Revolution_ _ l' 'GEOGRAPHICAL LOCATION London I UK

BRIEF DESCRIPTION OF SET CONCERNS OR SPECIAL REQUIREMENTS:
lt is difficult and expensive to get wood, and sol may need to make creative alternations depending on wood availability. The stage
floor will be a challenge as it is currently cement. I would like to build overtop of it with wood so it can be painted. As I work in a
shared space, it is likely that I will need to clear the set after each rehearsal, so I will need to make things easy to move on and off
stage. I also may not be able to use the space for rehearsal at times due to various events. I will likely need to recruit parent
volunteers to help with set construction and I or decoration. The most 'challenging part will be creating a set that is easy and fast to
change scenes during the show with. Where I live, materials are not easy to obtain and I will need to ensure my set needs are assessed
and under way very early in the process.
APPROXIMATE NUMBER OF PROPS- 25- PERIOD . Industrial Revolution
DIFFICULT OR UNUSUAL PROPS? iX!YES

DESCRIBE:
Giant size chocolate bar
TV camera
TV Screen
WEAPONS OR FIREARMS? HOW MANY

---
2
DESCRIBE: Children's toy guns. North American gangster style pistols, such as Smith and Wesson .
COSTUMES (CHECK THOSE NEEDED FOR THIS PLAy OR YOUR CONCEPT OF THE PLAY)
APPROXIMATE NUMBER OF COSTUMES PER CHARACTER
. -.--.-
1 . .- .
HISTORICAL PERlOD_ _Industrial Revolution SEASON Winter
SPECIAL REQUIREMENTS:
Violet Beauregarde needs to turn blue and look like she's getting big and round like a blueberry.
JUSTIFICATION FOR CHOICE OF SCRIPT
HA VE YOU SEEN THIS SCRIPT PRODUCED? iX!YES
At a middle school production. I have also seen both the Gene Wilder and Johnny Depp version of the adapted movie.
HA VE YOU DONE THIS PLAY BEFORE? BRIEFLY DESCRIBE YOUR INVOLVEMENT IN THE PRODUCTION :
No, I have not.
WHY SHOULD YOUR ORGANIZATION PRODUCE THIS SCRIPT?
First and foremost, this is a familiar and fun story that the students will enjoy performing and the audience will enjoy watching. My
main objective is for students to find the playfulness within their characters and the story, and for them to transmit that fun feeling to
the audience. As an isolated and small compound community in Saudi Arabia, actors and audience alike need a fun way to escape,
something to make them smile and laugh, and help transport them away from the challenges faced in living where they do. In a home
away from home, this play will hopefully engender a sense of familiarity, joy and pleasure.
As drama is new to the school, and this is many students' first encounter with being on stage and working with a script, students need
to work with material that is both manageable and at an appropriate level with their acting abilities. The material should challenge
them to grow as actors, but not be impossible for them to carry out: The characters in this play appear accessible to students with
limited acting experience, and I believe will be fun for them to interpret and portray.
The story itself, and subject material is appropriate for middle level students to effectively comprehend, and, thus interpret. I~ is a stQry
that could be for anyone, anywhere in the world, and so is also appropriate for our multi cultural population.
Our venue is a small stage in the school gym that does not have a back stage area. This is a shared space that a production cannot
monopolize. The set can be made as simple or as complicated as needed, which works well with our venue and availability of
materials and manpower needed to help create the set. Likewise, lighting can be made as simple or complicated as needed, which
works well with our available lighting equipment. '
..
WHAT ARE THE DRAWBACKS (IF ANY) TO DOING THIS PRODUCTION AT YOUR SCHOOL?
With the number of actors needed, this could pose a problem, as there are limited numbers of students available to make the
commitment to being involved in a production over a longer period of time. Double casting may be needed, and I will likely need to
be flexible with the rehearsal schedule and location.
Competing for student time and use of space will be a challenge.
There is a possibility that students will not achieve the level of acting' ~ecessary to bring this play to life and truly make it fun,
energetic and engaging. I will need to develop effective strategies to help my actors believe in the world of the play and help them
become confident and outgoing.
There is a slight possibility for some sensitivity regarding the Oompa Loompa's being "imported" to work in the factory, as that is
what happens with the workers who live in Saudi Arabia. There also may be some sensitivity regarding "women" working in the
factory, so I may need to change that to "people."
PLEASE GIVE A BRIEF SYNOPSIS OF THE SCRIPT ON A SEPARATE SHEET OF PAPER AND ATTACH.
PLEASE INCLUDE A COPY OF THE SCRIPT FOR THE THESIS COMMITTEE TO REVIEW.
SUBMITTED BY: (Printed Name) - - - -- - -- - - - --------- Date Submitted:_ __ __ __
(Signature)
Thesis Chair Approval: George Bellah
Thesis Committee Members Approval: Terri L. Brown
Graduate Coordinator Approval: Scott Robinson Date Approved :
Please note:
TABLE OF CONTENTS
Section Page
I SECTION 1: PRELIMINARYINFORMATION .. .. ...... ......... .... ..... .... ... ..... l
Playscript Approval Form ... .... ........ .......... ... ..... .. .. .. .... .... ... ........ ... ... .... ... 1
Copy of Script ..... .... .. ....... .. .... .... ... ...... .................... ........... ....... ......... ..... 5
Committee and Option Approval Form .......... ................... .. ................. 71
Permission of Hiring Authority ............ .............. .......... ............. ..... ... ... 72
Performance Dates & Project Parameters ....... ... ....... .... ... ..... ..... ..... .... .. 73
Project Schedule ... ... .. .. .. ... .. .. .. ............... .. ....................... ...... .. .............. 78
Evaluation of the Play as a Production Vehicle ...... ... ......... .. .. .............. 83
Concept Statement .... ........ ... .. ... ... ........ ......... ................... ...... .. .......... .. . 86
II SECTION 2: PRE-PRODUCTION ANALYSIS ........... ....... ........ ..... ..... ... 88
Event and Conflict Framing Analysis ..... ..... ............... .......................... 88
Given Circumstances ......... ..... ........ .. ... .......... ....... .......... .. ....... ............. 89
Previous Action List ..... .. .. ............... ..... ... ..... .. ........ .. .. ... ............. .... ... . 101
Polar Attitudes ......................... ........ ... .......... ..... .. ..... ....... ......... .......... l 03
Analysis of Dialogue ........ .......... ... ......... ... .. ...... ....... .... ....... ........ ...... . 108
Analysis of Dramatic Action ............ ... ........ ... .. ... ....... ...... .. .. .. ....... ..... 120
Character Analysis ........................ ......... ...... ......... ...... ................ ........ 154
Ideas of the Play .................. ..... .. ......... ......... ........................ .. ............ . 165
Moods of the Play ... .. ......... .. ......... ......... ...... ..... ...... .. ........ ...... .. .......... 175
Tempo Rhythm ......... ........ ...... .... ..... ........... ......... ......... ... ........... .. .... .. 178
Tone ... .... .. ...... ........... .. ... ................. ............ ... ...... ..... .......................... 180
Summary of Previous Reviews ........ ............ ......... .... .... .... .... ... ........... 181
The Author .. .. ... .. .. ....... ......... ...... ... ............. .... .......... ... ..... ... ............ .. .. 186
The Playwright ...... ..................... .. ................... ............... ......... .. .. .... .... 191
List of Student Leaming Goals .... .... ..... .. ......... ......... ........ ... .... .. ...... ... 192
III SECTION 3: POST-PRODUCTION MATERIALS ... .. .............. .. ..... .. ... 194
DVD of Rehearsal. .. .... .... .. ........ ....................... ..... .. ....................... .. ... 194
DVD of Performance ............ .. .... .. .............. ......................... ....... .. ...... 19 5
Production Journal .... .. ...... .................. ........ ........ ......... ... .... ..... ........... 196
Committee Chair Evaluation .............. .............. ............................ ...... 277
Self-Evaluation ...... ...... .... .... ................ .. ..... ..................... .. ...... .. ... .... .. 281
Other Documentation ........ ........ .... .... ... ... ...... ...... ... .. .......... .... ............ . 288
IV BIBLIOGRAPHY ... ....... ................. ........ .......... ....... ............ ......... ........... 290
Works Cited .................. ............ .. ....... ... ... .... ..... ............ ........ .... .......... 290
Works Consulted .. .. ... .... ........... .... .. ...... ...... ................. .............. ..... ..... 294
V APPENDICES ............. ... ... ........ ................................. ....... ........... ... .... .... . 299
Appendix A - Information Given to Set Designer .. .......... ............... ... 299
Appendix B - Inspiration Images for Set Design ................................ 303
Appendix C - Design Renderings ... .. .. ...... .. ................................ .. ...... 304
Appendix D - Costume Design Images .............. ....... ........... .. .. .... ...... 309
Appendix E - Oompa-Loompa Music ........ .. ...... ...................... ....... .. . 336
Appendix F - Production Photographs .. ....... ...................... ................. 342
Appendix G - Program ............................................. .. ....... ....... ......... .. 366
Appendix H - Tickets .......................... ............ ;........ ....... .................. .. 367

)'
Appendix I - Superintendent and Administration Emails ...... .... ......... 368
Appendix J - Student Reflections ... ......... ........ ................................... 371
Appendix K - Production Poster ................ ......................................... 373
Appendix L - T-Shirt Design ...... ...................... .... .. .. ... ... .............. ...... 374
Appendix M - Reviews ................................. .......... ............ ... ..... ....... . 37 5

MASTER'S THESIS PROJECT
PLA YSCRIPT APPROVAL FORM
(PLEASE MAKE SURE THAT YOU HAVE READ THE PLAY SELECTION CRITERIA SECTION JN YOUR GRADUATE HANDBOOK)
Student Name Teresa Hansen Anticipated Production Dates March 11, 12, 13, 2013
SCRIPT TITLE- - -Roald Dahl's Charlie and the Chocolate Factory: A Play_
PLAYWRIGHT(S) [If musical, list lyricist/composer] __Adapted by Richard R. George_ _ _ __ _
NUMBER OF ACTS____APPROXIMATE TOTAL PLAYING TME__ _ _ HOUR_ 20_ MIN.

MEN_ 6_ WOMEN _ _7_ _ NON-GENDER SPECIFIC ROLE (Narrator could play either) _ I _ (plus any number for the
Oompa Loompa's, which are adults, but dwarfs). CHILDREN_5_ _ OVER 40_ 4_ _
ROLES REQUIRING PEOPLE OF COLOR_ _ O_ _ ROLES COULD DOUBLE_ _5_
TOTAL NUMBER OF CAST_ _ 19 if not double cast, 14 if double cast (plus any number for Oompa Loompas)_ _
OTHER CASTING CONCERNS: This is a small community, and small school where there is a limited pool of students to draw from
several long monologues. I will need to ensure I cast students who are able to manage these roles. I will also need to consider
%e roles .
ARTIS TlC STAFF (check th ose needed for this play or production idea) double click on grey box; select checked to mark or use a pen
DMUSICAL DIRECTOR [8'.]DANCE CHOREOGRAPHER 0 FIGHT CHOREOGRAPHER
OoIALECT coAcH OsPECIALTY HIRE (specify what kind)
[8J ORCHESTRA/BAND (specify what size)_Small Rock Band (POSSIBLY ifthe teacher and students are available I may
include a rock band during I for the Oompa Loompas ) _
Will you be fulfilling any of the above? Possibly If so, which? Dance Choreographer
Will a guest artist be fulfilling any of the above? Possibly, ifthere is a parent or other colleague willing and able to fulfill this
*PLEASE NOTE: The previously noted are ideas merely at present, and they are subject to change. It is not certain that they will be a
UNIT SET? DYES NUMBER OF LOCA TIONS_ _ IO_ _
HISTORICAL PERIOD_ Industrial Revolution_ _ GEOGRAPHICAL LOCATION_London I UK

BRIEF DESCRIPTION OF SET CONCERNS OR SPECIAL REQUIREMENTS:
It is difficult and expensive to get wood, and so I may need to make creative alternations depending on wood availability. The stage
floor will be a challenge as it is currently cement. Ideally, I would like to build overtop of it with wood so it can be painted. Another
~ lternative may be to use cloth to cover the floor. This may not be practical; however, as it may make moving set pieces challenging.
s 1 work in a shared space, it is likely that I will need to clear the set after each rehearsal, so I will need to make things easy to move
on and off stage. I also may not be able to use the space for rehearsal at times due to various events. I will likely need to recruit
parent volunteers to help with set construction and I or decoration . The most challenging part will be creating a set that is easy and
fast to change scenes during the show with. Where I live, materials are not easy to obtain and I will need to ensure my set needs are
assessed and under way very early in the process.
APPROXIMATE NUMBER OF PROPS_ 25_ PERIOD_ Industrial Revolution_
DIFFICULT OR UNUSUAL PROPS? i:gjYES

DESCRIBE:
Giant size chocolate bar
TV camera
TV Screen
WEAPONS OR FIREARMS? i:gjYES 0No HOW MANY 2_ _

DESCRIBE: Children's toy guns. North American gangster style pistols, such as Smith and Wesson.
COSTUMES (CHECK THOSE NEEDED FOR THIS PLAy OR YOUR CONCEPT OF THE PLAY)
APPROXIMATE NUMBER OF COSTUMES PER CHARACTER- - -- -
HISTORICAL PERIOD- -Industrial Revolution--- SEASON Winter
SPECIAL REQUIREMENTS:
'iolet Beauregarde needs to turn blue and look like she's getting big and round like a blueberry.
JUSTIFICATION FOR CHOICE OF SCRIPT
HA VE YOU SEEN THIS SCRIPT PRODUCED? i:gjYES
At a middle school production. I have also seen both the Gene Wilder and Johnny Depp version of the adapted movie.
HAVE YOU DONE THIS PLAY BEFORE? BRIEFLY DESCRIBE YOUR INVOLVEMENT IN THE PRODUCTION:
No, I have not.
WHY SHOULD YOUR ORGANIZATION PRODUCE THIS SCRIPT?
First and foremost, this is a familiar and fun story that the students will enjoy performing and the audience will enjoy watching. My
main objective is for students to find the playfulness within their characters and the story, and for them to transmit that fun feeling to
the audience. As an isolated and small compound community in Saudi Arabia, actors and audience alike need a fun way to escape,
something to make them smile and laugh, and help transport them away from the challenges faced in living where they do. In a home
away from home, this play will hopefully engender a sense of familiarity, joy and pleasure.
As drama is new to the school, and this is many students' first encounter with being on stage and working with a script, students need
to work with material that is both manageable and at an appropriate level with their acting abilities. The material should challenge
them to grow as actors, but not be impossible for them to carry out. The characters in this play appear accessible to students with
limited acting experience, and I believe will be fun for them to interpret and portray.
The story itself, and subject material is appropriate for middle level students to effectively comprehend, and thus interpret. It is a story
1t could be for anyone, anywhere in the world, and so is also appropriate for our multi cultural population.
Our venue is a small stage in the school gym that does not have a back stage area. This is a shared space that a production cannot
monopolize. The set can be made as simple or as complicated as needed, which works well with our venue and availability of
materials and manpower needed to help create the set. Likewise, lighting can be made as simple or complicated as needed, which
works well with our available lighting equipment.
'VHAT ARE THE DRAWBACKS (IF ANY) TO DOING THIS PRODUCTION AT YOUR SCHOOL?
With the number of actors needed, this could pose a problem, as there are limited numbers of students available to make the
commitment to being involved in a production over a longer period of time. I may cast the same student to play two roles, and I will
likely need to be flexible with the rehearsal schedule and location.
Competing for student time and use of space will be a challenge.
There is a possibility that students will not achieve the level of acting necessary to bring this play to life and truly make it fun,
energetic and engaging. I will need to develop effective strategies to help my actors believe in the world of the play and help them
become confident and outgoing.
There is a slight possibility for some sensitivity regarding the Oompa Loompa's being "imported" to work in the factory, as that is
what happens with the workers who live in Saudi Arabia. There also may be some sensitivity regarding "women" working in the
factory, so I may need to change that to "people."
PLEASE GIVE A BRIEF SYNOPSIS OF THE SCRIPT ON A SEPARATE SHEET OF PAPER AND ATTACH.
PLEASE INCLUDE A COPY OF THE SCRIPT FOR THE THESIS COMMITTEE TO REVIEW.
SUBMITTED BY: _,,,,eL'-"--~e~5=-~--'---'l'-\

(Printed Name) - -"--' -_,_CA.
_i"\-"-S"-"~
"-'--"----- Date Submitted: ~ ~~ .<_o/2,.
{Signature) _ __ _ __ _ _ _ __ _ _ _ _ _ _ _ _ __ 0
Thesis Chair Approval: - - - - - - - - - - - - - - - - - - - - - - Date Approved : - - - - - -
'1esis Committee Members Approval: - - - - - - - - - - - - - - - - - Date Approved:------
Graduate Coordinator Approval: - - - - - - - - - - - - - - - - - - - Date Approved : - - - - - -
Please note:
This signature has been redacted due to security reasons.
Hansen4
Brief Synopsis of Roald Dahl 's Charlie and the Chocolate Factory: A Play
Willy Wonka is a chocolate factory owner and a chocolate treat maker who invents
unusual and unique products. Competing chocolate makers send spies to work in Wonka's
factory. They discover his secret recipes and begin producing similar confectionary
products, forcing Wonka to close down his factory. After being idle for some time, Wonka' s
factory begins showing signs that it is once again in operation; however, it is not evident who
works there as no one is seen entering or leaving the factory. To interest the public and boost
his chocolate sales, Wonka runs a contest. Five golden tickets are wrapped in random
chocolate bars that are distributed worldwide. Whoever finds a golden ticket wins a lifetime
supply of chocolate and a tour of his factory. Five children find the golden tickets: Agustus
Gloop, Violet Beauregarde, Veruca Salt, Mike Teavee and Charlie Bucket. Four of the
children who find the tickets are ill mannered, selfish, and spoiled, but Charlie, who is very
poor, is a kind and well-mannered child. He and his grandfather go to the factory together.
During the factory tour, various ill-fated things happen to the other children due to their
mischievous behavior and they are eliminated from the tour. In the end, Charlie is the only
child left. W onka reveals to Charlie the true reason for his contest: to find a suitable person
who loves his chocolate factory, as much as he does, to assume ownership and keep it
running after he is gone. Charlie graciously accepts the gift and he and his family's
misfortunate life is forever transformed for the better.

,,-
GRADUATE COMMITTEE AND OPTION APPROVAL FORM ' ;' I
(Submit the original) W_j
'' I
""his form is to be completed as soon as the student has formed a committee and selected an
Jption from the list below. Submit original'to the Office of Graduate Studies in Barge 305.
lame: Teresa Hansen Birth Date:

1ddress: Student ID:
Email:
~heck option: Indicate credits to be received for the thesis or option:
0 Written Exam* TH 700 Master's Thesis
- 6Credits
--
0 Project Course No. Title
[81 Creative Project
0 Studio Project Course No. Title Credits

0 Portfolio Review MLA 7th edition
0 Thesis (standard) Style Manual for Thesis/Project
D Thesis uournal-
ready)
O Provide journal guidelines plus a recent article from that journal in student's field of study.
'Students taking written exam option may omit items 1-5 below.
I . Proposed Direction of the Production Roald Dahl's Charlie and the Chocolate Factory: A
Title (and Play
title of ====~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~_,
· 9ted journal if appropriate):
The direction of the theatre production Roa Id' Dahl's Charlie and the Chocolate Factory:
2. Purpose of A Play serves as the cu lminating experience in theatre arts graduate studies.
Study:
Documentation based upon the preparation of pre-production research, post-production
3. Scope of evaluation, the direction of the production {including casting and rehearsal of actors,
Study: preQaration for the Director's Prodiuction Book, and oral examination} shall benefit both
the student and theatre arts department.
4. Procedure Three phases of study shall be included: 1 }Pre-Production Research and Thesis
to be used: Documentation in MLA style, 2)Rehearsal and direction of production, 3}Post,.Production
Evaluation and Documentation
5. Does the procedure involve collection of data obtained from
Human Subjects (including use of surveys)? .............. ... ... ... .................. .... Yes** D No~
Use of Animals? .. .. .. ..... ... ......... .... ... ... ........................ .... ....... .. ....... ..... ....... Yes** D No 181
"*If yes, your procedures must be approved in writing by the Human Subjects Committee or the Animal
Care and Use Committee before you initiate your research
Professor George Bellah

Committee Chair (typed or printed) Committee Chair(:$ignature)
Committee Member (typed or printed) Committee Member (signature)
Dr. Terri Brown
Cc lttee Member (typed or printed) Committee Member (signature)
Approved by: Please note: Approved by:

•in the case of interdisciplinary programs, this form should be signed by the relevant Program Director/Co-Director AND relevant Dept chair. In
cases where they cannot agree to sign for approval, the approval will be made or denied by the relevant interdisciplinary program advisory
committee. GS&R 04/10
•
••
••
•
••
Saudi Aramco Schools
May 14, 2012
To whom it may concern,
Teresa Hansen has administrative approval to continue with her planned production
of Willie Wonka and The Chocolate Factory on March 11-13, 2013. I am aware that
this production is a part of her Master's thesis project for Central Washington
University, and has permission to use the facilities at the Udhailiyah School to
complete this endeavor. Furthermore, Ms. Hansen has permission to include
activities for this project in the curriculum of her Drama classes at the Udhailiyah
School.
Sincerely,
Ian D. Russell EdD.

Udhailiyah School Principal
Please note:
This signature has been redacted due to security reasons.
• • • • •• • • • • • • • • • • • • • • • • • • • • • •
Hansen 73
Performance Dates & Project Parameters
Roald Dahl's Charlie and the Chocolate Factory: A Play is scheduled to run from
March 11 - 13, 2013. Rehearsals will begin on December 1, 2012 and will be held every
Saturday through Tuesday from 3: 15 to 5: 15 pm. The weekday runs Saturday through
Wednesday in Saudi Arabia, with weekends being Thursday and Friday. As an isolated
community, weekday rehearsals are preferable, as many families need to travel off camp
during the weekends for various reasons. An early March production time works best with
the Saudi Aramco district activities calendar, and Udhailyah School's sporting and music
events and gym usage. Since most of the rehearsals, and the production itself, will occur
during the cooler months in Saudi Arabia, there will be less competition for the space.
Outdoor sports usually take place during this time such as golf and track and field. Last year
was the first year Udhailiyah School had a major production. The December performance
date was too early in the year, and there were many conflicts with the availability of space.
A March performance date allows an appropriate amount of time to adequately prepare for
all aspects of the production including time to promote the play in the community and build
excitement for this unique event.
There is not a true budget for this production, as when something is needed, the
school is usually able to provide it. That being said, production costs are expected to be
reasonable and as minimal as possible. Considerations will be made based on need and the
director's justification for that need. Tickets may be sold, but a profit is not permitted.
Middle level students in grade 6 through 9 will be invited to audition for the 19
character roles in the play (15 if characters are doubled). There are roughly only 60 middle
school students; therefore, there is the chance that all roles may not be filled. If this is the
Hansen 74
case, suitable elementary students may need to be recruited, or adults may need to play some
roles. At present, it is planned that the Oompa Loompa roles will be cast from the
elementary grades 3 to 5 students. There has been much interested in drama at the
elementary level this past year and it is expected these roles will be easy to fill. Also the
Oompa Loompa roles may be as large or small in number as is available.
Parents in the community are traditionally very supportive and will hopefully serve as
helpful resources for production needs such as set construction and decoration, costumes,
choreography, refreshments, promotions, and so on, where needed. Teachers are equally
supportive and, if available, will also hopefully contribute in various ways such as helping
with sound and lights, acting as music director and choreographer, videographer, promotion
of the show, and helping with set, costumes and props needs and so on. Students may also be
recruited to fulfill these roles. Although this is a small school, and a small community, there
are several events that constantly keep our small number of faculty and parents very busy,
and in many instances, cause people to overcommit themselves. It will be difficult to ask the
same people who always volunteer for everything to yet again volunteer their precious time
to help with this production. This may pose challenges, as it will result in the director solely
fulfilling most roles in order to mount this production. This may result in the need to keep
several production aspects simple and manageable for a single person.
The production venue is the stage in the school gym. It is a shared space and there is
much competition for its use. The PE teacher uses the stage as a warm up area for his regular
PE classes, and so the set may need to be cleared after each rehearsal. It will also likely need
to be simple and easy to move. He may be a little more flexible this year, however,
considering the parameters surrounding this production. Various after school sporting events
Hansen 75
use the gym for practice, but it is not certain yet how much this will conflict. The community
also uses the gym during the evening for other sporting activities such as badminton. It is
likely that a scale outline of the set will need to be taped out in the drama room, or elsewhere,
so that rehearsals can occur there. The stage performance area is 22 feet deep and 30 feet
wide. The stage wings are 4 feet wide downstage and 8 feet wide upstage, with the width
changing at the door, which is 10 Yz feet back from the edge of the stage. There is no back
stage area and so one will need to be created by possibly using scenery flats. The storage
rooms and one dressing room are currently used for storing gym and gymnastics equipment,
and there is currently nowhere else to store these items. These rooms will need to be cleared
for the production and this may be a problem. Even with these rooms cleared, because they
are too small to accommodate the full cast, students will likely need to put costumes on in
school lavatories and get makeup on in the drama room. There are no costume changes
during the play, if students only play one character role. Actors will likely need to enter the
stage through the back stage door that leads from outside directly to the stage area, so this
will need to be concealed from audience view. The curtain is three and a half feet from the
edge of the stage. The curtain that runs across the length of the proscenium arch poses a
problem as it hangs down too far (roughly 1 to 2 meters) and causes the lighting to cast
shadows on scenery and, depending on set levels, actor's faces. If possible, the curtain will
need to be raised without revealing ceiling scaffolding and electrics, and lighting will need to
be adjusted accordingly. The stage also gives the feeling of swallowing up actors, and so it
will be an effective choice to construct a thrust stage to bring actors forward toward the
audience if this is an appropriate choice that matches the play concept. The cyclorama
curtain is about 2 Yz feet from the back wall, but curves out to between 5 and 6 feet from the
Hansen 76
wall. It is an off white color, which is not ideal and may pose further lighting challenges.
There is a chance, however, that curtains may be replaced before the production opens. The
gym itself, and thus the audience space, is 100 feet long and 68 feet wide. Seating is not
raked, and so obstructed sight lines will likely remain one unavoidable frustration. There are
bleachers in the gym, but they are on the sidewall at a 90-degree angle to the stage. It may be
appropriate to use this seating, and in fact may have been intended as such, as the left stage
wall is 22 feet across and the right stage wall is only 16 feet. However, this will be
determined later. The proscenium arch is 31 feet across and 13 Yi half feet high. The stage
flooring is white speckled stone-colored cement tile. If the wood is available, the floor will
be covered with plywood and painted, which will remove its reflective quality.
The main lighting that is planned for use in this production includes 5 scoops, 18 par
cans at 500 Watts, 2 ellipsoidal' s on stage, and 12 ellipsoidal' s off stage. There is also one
Altman Comet follow spot, which is new and has never been used. The lighting controller is
old, not computerized, and requires manual operation. Located on the stage, it poses a
problem for the person running lights to follow any visual lighting cues. Cues will therefore
need to be carefully marked in a script and associated with particular dialogue, sound effects,
or music. Focusing the lights and adding color gels is also a major challenge. Community
maintenance requires a formal request, which usually takes time and politics, and only
specifically trained individuals are permitted to use the man-lift to reach the lights. This
posed a considerable problem during last year's production. In addition, time will be needed
to receive the parts from overseas should any lamps need replacing. Therefore, lighting
needs will need to be assessed early enough to anticipate any delays or further problems.
There are also other LED lights available, but these are intended more for deejay light shows
Hansen 77
and may be unsuitable for stage use as they are bright and cause discomfort to actor's eyes.
Each individual light also requires its own power source, which is problematic depending on
the number of lights needed. There are 20 whites and 30 RGB LED Pro-Par 56. There are
also 10 X-Scan LED Plus lights with gobo effect capabilities. The lighting boards for these
are the Elation DMX 512 and Elation Professional Magic 260.
Available sound equipment includes one Yamaha MX 2016 Mixer and one Mackie
Onyx 1620i Mixer board, 4 Mackie HD 1531 (96 lb) speakers, 2 Mackie 250 (45 lb)
speakers, and 6 Mackie 150 (monitor) speakers, 12 Shure ULS wireless lapel microphones, 2
flex wand condenser microphones, 10 M-Audio Nova condenser microphones, 6 Crowne
PCC 160 pressure zone microphones, between 8 and 10 Shure 5 8' s, and between 4 and 6
Shure 57's. Sound is always an issue in a large space such as the gym, and there are always
problems with microphones working properly, having enough lapel microphones available
for all actors, and figuring out how to share them.
The greatest challenge with sound and lights, however, is the availability of
knowledgeable and trained people to run the equipment. The music teacher is the most
knowledgeable, and has spent some time this year during second and third trimester training
students. It is hoped that by the time of the production, there will be enough students able to
help. Overall, however, there is insufficient support for the effective operation of sound and
light equipment. In addition, the director's knowledge of the light and sound systems, ability
to effectively use them, and time available to learn, is limited. Therefore, the best choice will
be to keep those aspects of the production very simple.

Hansen 78
Project Schedule
All rehearsals will run from 3: 15 - 5: 15 pm, except for the Oompa Loompa' s who will
rehearse during a lunch club activity from 11 :45 am to 12:40 pm. See Oompa Loompa
Schedule below Project Schedule.
Date Details
Tuesday September 11, 2012 Section ONE of thesis project due to George
Wednesday October 17, 2012 Post audition posters
Begin running audition notice on emailed daily bulletin
Thursday November 1, 2012 Section TWO of thesis project due to George
Saturday November 3, 2012 Send home audition invitation notices with rehearsal
schedule
Monday November 12, 2012 Audition permission forms due
Tuesday November 13, 2012 Send home audition packages
Wednesday November 14, 2012 Send home audition packages
Saturday November 17, 2012 (ML) Auditions
Sunday November 18, 2012 (ML) Auditions
Monday November 19, 2012 Elementary Lunch Time Auditions
Tuesday November 20, 2012 Call back auditions for all. Costume designs due (meeting
with parent volunteers)
Saturday November 24, 2012 Full cast list posted and scripts distributed
Commitment contracts (due Saturday)
Meeting with parent volunteers for costumes
Saturday December 1, 2012 Full cast read through and welcome I ensemble party.
Review rehearsal expectations and student responsibilities
(make blocking I character notes etc. in scripts). Discuss
deadlines for memorizing scenes (learn lines over winter
break - deadline for lines is February 3).
Collect commitment contracts
Sunday December 2, 2012 Costume Measurements, collect costume fee
Table work - Full cast discussions, exploration of themes
in the play, characters, and scenes. Games. SQUIRRELS
ANDOOMPA'S
Monday December 3, 2012 Block Scene 1 p. 5-10, Scene 2 p. 11-12 (to narrator exit) I
Scene 6 p. 33 (to narrator exit)
Narrator, Augusta, Violet, Veruca, Michelle, Bucket
Family (including Charlie).
Tuesday December 4, 2012 Work I run scene 1 p. 5-10, Scene 2 p. 11-12 (to narrator
exit) I Scene 6 p. 33 (to narrator exit)
Narrator, Augustus, Violet, Veruca, Michelle, Bucket
Family (including Charlie).
Saturday December 8, 2012 Block scene 2 p. 12-14 (from narrator exit to end scene)
All Grandparents, Mr. and Mrs. Bucket, Charlie
Sunday December 9, 2012 Block scene 3 p. 15 - 18 All Grandparents, Mr. and Mrs.
Bucket, Charlie
Hansen 79
Monday December 10, 2012 Run scene 2 I 3 p. 11 - 18 All Grandparents, Mr. and Mrs.
Bucket, Charlie
Tuesday December 11, 2012 Block scene 4 p. 19-21 (to "I guess everyone else is
arriving together"). Block scene 6 p. 33-36 Charlie,
Grandpa Joe, Wonka, Violet, Mrs. Salt, Michelle Teavee,
Veruca, Mrs. Beauregarde, Mrs. Teavee
Saturday December 15, 2012 Run scene 4 p. 19-21 (to "I guess everyone else is arriving
together"). Run scene 6 p. 33-36 Charlie, Grandpa Joe,
Wonka, Violet, Mrs. Salt, Michelle Teavee, Veruca, Mrs.
Beauregarde, Mrs. Teavee
Sunday December 16, 2012 Block Scene 7 p. 37 -42 Willy Wonka, Charlie, Grandpa
Joe, All ticket winners EXCEPT Gloops).
Monday December 17, 2012 Run Scene 7 p. 37 - 42 Willy Wonka, Charlie, Grandpa
Joe, All ticket winners EXCEPT Gloops).
Tuesday December 18, 2012 Run I work scene 1-4 (to p.21 "I guess everyone is
arriving together) Narrator, Bucket family, Violet, Veruca,
Michelle Teavee.
..
Thursaay December l O- Friday Winter b'reak: N o Students
January 11 , 2013
Saturday January 12, 2013 Block scene 4 p. 21 - 23. Grandpa Joe, Charlie, Wonka,
All ticket winners and their parents.
Sunday January 13, 2013 Work I run scene 4 p. 21 - 23 . Grandpa Joe, Charlie,
Wonka, All ticket winners and their parents.
Monday January 14, 2013 Block scene 5 p. 24-28 (to where Augustus leans over the
river) Charlie, Grandpa Joe, Willy Wonka, All ticket
winners and their parents.
Tuesday January 15, 2013 Run scene 5 p. 24-28 (to where Augustus leans over the
river) Charlie, Grandpa Joe, Willy Wonka, All ticket
Sunday January 20, 2013 Block scene 5 p. 28-31 (from where Augustus leans over
the river to end scene). Charlie, Grandpa Joe, Willy
Monday January 21, 2013 Run scene 5 p. 28-31 (from where Augustus leans over the
river to end scene). Charlie, Grandpa Joe, Willy Wonka,
All ticket winners and their parents.
Tuesday January 22, 2013 1. Run I work scene 4 15 p. 21-31. Grandpa Joe, Charlie,
2. Block scene 8 p. 45-48 (to "she is going down the

chute") Willy Wonka, Charlie, Grandpa Joe, All ticket
winners EXCEPT Gloop & Beauregarde), SQUIRRELS.
Saturday January 26, 2013 Run Scene 8 p. 45 - 48 (to "she is going down the chute")
Willy Wonka, Charlie, All ticket winners EXCEPT
Gloops & Beauregardes), SQUIRRELS.
Sunday January 27, 2013 Block Scene 8 p. 48 - 50: (from "She's gone" to end
scene). Willy Wonka, Charlie, Grandpa Joe, All ticket
Hansen 80
winners, & Mrs. Salt, EXCEPT for Veruca Salt, Gloop

and Beauregarde family), SQUIRRELS.
Monday January 28, 2013 Run Scene 8 p. 48 - 50 (from "She's gone" to end scene).
Willy Wonka, Charlie, Grandpa Joe, All ticket winners, &
Mrs. Salt, EXCEPT for Veruca Salt, Gloop and
Beauregarde family) SQUIRRELS.
Tuesday January 29, 2013 Block Scene 9 p. 52- 54: Willy Wonka, Charlie, Grandpa
Joe, Michelle Teavee and Mrs. Teavee.
Saturday February 2, 2013 Run Scene 9 p. 52 - 54: Willy Wonka, Charlie, Grandpa
Joe, Mike Teavee and family.
Sunday February 3, 2013 Block Scene 10 p. 55 - 58 (to "See you later alligator"):
Willy Wonka, Charlie, Grandpa Joe, Michelle Teavee and
Mrs. Teavee.
Due date for all lines to be memorized.
Monday February 4, 2013 Run Scene 10 p. 55 - 58 (to "See you later alligator!"):
Willy Wonka, Charlie, Grandpa Joe, Michelle Teavee and
Mrs. Teavee.
Tuesday February 5, 2013 Block Scene 10 p. 58 - 60 Willy Wonka, Charlie,
Grandpa Joe, Mrs. Teavee
Saturday February 9, 2013 Run Scene 10 p. 58 - 60 Willy Wonka, Charlie, Grandpa
Joe, Mrs. Teavee
Sunday February 10, 2013 Block Scene 11 p. 63 - 65: Willy Wonka, Grandpa Joe,
Charlie
Monday February 11 , 2013 Run Scene 11 p. 63 -65: Willy Wonka, Grandpa Joe,
Charlie
Tuesday February 12, 2013 Run Scene 6- 8: Narrator, Willy Wonka, Charlie,
Grandpa Joe, All ticket winners EXCEPT the Gloops.
SQUIRRELS .
Saturday February 16, 2013 Run Scene 9 - 11. Charlie, Grandpa Joe, Willy Wonka,
Michelle Teavee, Mrs. Teavee,
Sunday February 17, 2013 Walk Down. Full Cast (TRY ON COSTUMES)
Run Scene 1 - 2. Narrator, Augusta, Violet, Veruca,
Bucket Family
Monday February 18, 2013 Run Scene 3 - 5. Bucket Family, Wonka, All ticket
Tuesday February 19, 2013 Run Scene 6- 8. Narrator, Grandpa Joe, Charlie, All
ticket winners and their parents except for the GLOOP
family, SQUIRRELS.
Put up show posters around the community.
Send copy of poster to community services to send via
email to community employees. Remind her periodically.
Saturday February 23 , 2013 Run Scene 9 - 11. Charlie, Grandpa Joe, Michelle Teavee,
Mrs. Teavee, Wonka
Sunday February 24, 2013 Run Scene 1 - 5 Full Cast
Monday February 25, 2013 Run Scene 6 - 11 Full cast (EXCEPT for GLOOPS),
SQUIRRELS
Hansen 81
Tuesday February 26, 2013 Walk down. Full run through scenes 1-11. Full Cast,
SQUIRRELS.
Saturday March 2, 2013 Tech scenes 1-5. Full Cast (EXCEPT SQUIRRELS)
Sunday March 3, 2013 Tech scene 6-11. Full Cast (EXCEPT for GLOOPS)
SQUIRRELS
Monday March 4, 2013 Tech scene 1-11. Full Cast. SQUIRRELS.
Tuesday March 5, 2013 Full run with tech. Full Cast. SQUIRRELS.
Wednesday March 6, 2013 Costumes ready today and hung up in wardrobe
THURSDAY MARCH 7, 2013 Full run I dress rehearsal 9 am - 3 pm. SQUIRRELS.
Saturday March 9, 2013 Final Dress Rehearsal 3 :30 pm - finish SQUIRRELS
Monday March 11, 2013 Opening night 6:00 pm. Call time 4:45 pm
Tuesday March 12, 2013 Show night 6:00 pm. Call time 4:45 pm
Wednesday March 13, 2013 Closing night 6:00 pm. Call time 4:45 pm
Wednesday May 15, 2013 Section 3 due to George
Saturday June 1, 2013 DHL courier express mail binder to George
Saturday June 15, 2013 Physical Project Binder due to George (DHL express
post)
June,2013 Submit 4 copies of the Brief to Graduate office (at least 2
weeks prior to the orals).
Submit a request for a final folder check.
Register for 700 credits (6)
Return the oral defense permit to the graduate school at
least 3 weeks prior to the date of the oral examination.
July 9, 2013 Oral Defense
Oompa Loompa rehearsals will be every Saturday and Tuesday beginning November 2?1h
from 11 :45 am to 12:40 pm. Starting February 1?1h Oompa Loompas will join regular after
school rehearsals from 3: 15 pm - 5: 15. No lunch rehearsals after this point.
Rehearsal Details
Tuesday November 27, 2012 Learn Augustus and Violet songs
Saturday December 1, 2012 Learn Veruca and Mike's songs
Tuesday December 4, 2012 Practice all songs (singing only)
Saturday December 8, 2012 Block scene 5 p. 31-32: Gloop
Tuesday December 11, 2012 Work/run scene 5 p. 31-32: Gloop
Saturday December 15, 2012 Block Scene 7 p. 42-44: Violet
Tuesday December 18, 2012 Work I run scene 7 p. 42-44: Violet
Saturday January 12, 2013 Block scene 8 p. 50-51: Veruca
Tuesday January 15, 2013 Work I run scene 8 p. 50-51
Tuesday January 22, 2013 Block scene 10 p. 60-62: Mike
SaturdayJanuary26, 2013 Work I run scene 10 p. 60-62: Mike
Tuesday January 29, 2013 Work I run scene 5 p. 31-32: Gloop I and scene 7 p. 42-
44: Violet
Saturday February 2, 2013 Work I run scene 8 p. 50-51: Veruca and scene 10 p. 60-
62
Hansen 82
Tuesday February 5, 2013 Singing practice only for all songs

Saturday February 9, 2013 Work I run all scenes
Tuesday February 12, 2013 Work I run all scenes
Saturday February 16, 2013 Work I run all scenes
All Oompa Loompas wUJ now attend after school rehearsals. No more lunch time
rehearsals.~fte:r thb date.
Sunday February 17, 2013 Walk Down, Run Scene 1 -2 Full Cast (try on
costumes)
Monday February 18, 2013 Run Scene 3 - 5 Full Cast
Tuesday February 19, 2013 Run Scene 6 - 8 Full Cast
Saturday February 23, 2013 Run Scene 9 - 11 Full Cast
Sunday February 24, 2013 Run Scene 1 - 5 Full cast
Monday February 25, 2013 Run Scene 6 - 11 Full cast
Tuesday February 26, 2013 Full run through I walk down
Saturday March 2, 2013 Tech scenes 1-5
Sunday March 3, 2013 Tech scene 6-11
Monday March 4, 2013 Tech scene 1-11
Tuesday March 5, 2013 Full run with tech
THURSDAY MARCH 7, 2013 Full run I dress rehearsal 9 am - 3 pm
Saturday March 9, 2013 Final Dress Rehearsal 3 :30 pm - finish
Monday March 11, 2013 Opening night 6:00 pm. Call time 4:45 pm
Tuesday March 12, 2013 Show night 6:00 pm. Call time 4:45 pm
Wednesday March 13, 2013 Closing night 6:00 pm. Call time 4:45 pm
Hansen 83
Evaluation of Roald Dahl's Charlie and the Chocolate Factory: A Play
as a Production Vehicle
Roald Dahl's Charlie and the Chocolate Factory: A Play will take place in
Udhailiyah School, which is located in Saudi Arabia on a small and isolated oil company
compound. There are approximately 170 students from grades K-3 to 9. Only Aramco, or
contractor, employee children are permitted to attend, and after Kindergarten, Saudi children
are not admitted. The community itself consists mainly of oil company employees, their
families, and some medical and recreation staff from various countries around the world. A
small and isolated community creates the unique situation where everyone seems to know
everyone else, with colleagues, students and friends fulfilling multiple roles, often becoming
more like family. While this common shared experience unites community members, it also
creates the need to explore creative ways to sustain a positive mindset. Therefore, the
primary objective in selecting Roald Dahl's Charlie and the Chocolate Factory: A Play for a
thesis project is to provide a fun, engaging and entertaining experience for actors and
audience alike. While there is an underlying dark and serious side to this play, it will be
important to highlight the humor and playfulness. This may be achieved through over-
exaggerating character traits, making the Ooompa Loompa parts energetic, developing
creative and humorous ways to show how the children are eliminated throughout the play,
and creating playful and fun costumes, scenery and props.
One theme explored in this play is the transformation from misfortune to fortune.
This is an appropriate theme for this community for two reasons: first, there are people who
have experienced this and can therefore relate well to the play, and second, there are people
who need to better understand this. First, many people who work and live here come from
Hansen 84
less fortunate backgrounds. Like the Bucket family, they have experienced great financial
struggle, thus resulting in feelings of despair and hopelessness. Securing a job with Saudi
Aramco is somewhat like finding the golden ticket. For example, within the international
teaching community, it is well known that teaching at an Aramco school is one of the most
financially rewarding jobs that is possible for a school teacher to obtain anywhere in the
world. On the contrary, there are people who have always lived a privileged life, and who
continue to do so by working for Aramco. In particular, Aramco children are extremely
privileged. Most do not know or understand what it is like to want for anything. Working
with this theme will hopefully help them become more aware and sensitive to those less
fortunate, and promote an attitude of gratitude toward their comparatively fortunate life
circumstances.
One motif in the play is the powerful representation of the factory serving as the
livelihood for the community. The Udhailiyah community will relate and connect to this
since it is the only reason anyone is here: to work for the oil company. If anything were to
happen to it, as with Mr. Bucket and the closing of the toothpaste factory or the closing of
Willy Wonka's chocolate factory, everyone who lives in our community would lose their job.
The audience will consist mostly of supportive parents and teachers who live in the
community. There may be students from other Aramco camps who come to see the show,
although it will be a challenge due to travel time required. It is anticipated that other
community members who do not have children at the school will also be attracted to watch
the show, especially given the unique nature of a live theatre event. Selecting this familiar
and well-known universal story will assist with the intention of this production: to delight,
Hansen 85
entertain, and joyfully invite audience members into the world of the play, thus transporting
them away from the reality faced in living in an isolated community in a foreign country.
Actors will consist mostly of middle school students in grades 6 through 9.
Elementary students may be cast to play the role of the Oompa Loompa's. A familiar story,
the play's content and reading level is appropriate for these ages. Students are exposed to
Roald Dahl's works as early as first grade. Themes and ideas presented, as previously
discussed, will provide the opportunity for students to discuss and explore deeper
connections while retaining the main objective of the play. As drama is new to the school
and this will be many students' first experience performing on stage, this material is
appropriate for beginning and inexperienced young actors to work with. While this script
will challenge students to grow as actors, it is not beyond their reach. There is the concern,
however, that students will fail to achieve the desired energy level necessary to make this
play work. It will be important for the director to experiment with creative strategies to
achieve this goal.
The venue for this production is the school gym stage. This play is appropriate for
our shared space since the set will need to be kept simple and easy to move. Lighting and
sound needs are also appropriate for the equipment we have available and people to run it.
Selecting a suitable play for my Creative Project has been a difficult personal journey.
I began working at Udhailiyah School in August 2011 and had originally selected A
Thousand Cranes before experiencing the school and community. After relocating, I felt it
would not be an appropriate choice, and that I needed to select something more light-hearted,
fun, imaginative, and realistic to student's acting levels. I had previously seen Roald Dahl's
Charlie and the Chocolate Factory: A Play successfully performed at the middle school level
Hansen 86
in Kuwait and felt it would be an appropriate choice for my students and community. I also
needed to consider that I would, for the most part, be solely responsible for all aspects of this
production. Therefore, with my main focus being on quality acting, I needed to select a play
with setting, props, light and sound needs that would allow me to concentrate on directing.
Hansen 86
Director's Concept Statement
A central theme explored in Roald Dahl's Charlie and the Chocolate Factory: A Play
is that virtue is a desirable human quality that is rewarded accordingly, ~hereas vice, being
undesirable is also punished accordingly. The underlying mood is the feeling of innocence
and ignorance. The goal is to move the characters from ignorance to knowledge to help them
make virtuous life choices. It also serves to protect the innocent from being taken advantage
of.
Although the script is not time or place specific, it may be inferred that it is set during
the Industrial Revolution in London. The play juxtaposes virtue with vice, right with wrong,
rich with poor, and fantasy with reality. Similar to fables that are intended to teach through a
removed perspective, this play is intended to instruct through the use of things that appeal to
children, such as candy, fantasy and humour. While the characters in the play are
distinctively pinned as either good or bad, they are themselves unaware, or ignorant. It is
only through the result of their actions that they gain awareness and, therefore, it is suggested
that once corrected, these children have a chance at salvation.
Charlie, who is innocent and virtuous, makes right choices and is rewarded for his
good behaviour. The other children, who are also innocent yet possess non-virtuous
qualities, are punished for their bad behaviour. Willy Wonka is a virtuous character who has
been taken advantage of and suffered the consequences of his ignorance. The parents of the
golden ticket winners have failed to properly educate their children, yet they are ignorant of
their shortcomings as parents. Charlie's family are also ignorant, yet they are virtuous, and
are innocent victims of society. The Oompa-Loompas are virtuous beings who are also
victims of society, but who are saved.

Hansen 87
Characters will be portrayed as childlike, playful, innocent and ignorant of their virtue
or vice. Willy Wonka, who has gained knowledge that he wishes to teach others, will retain
a childlike innocence. Students who play the elderly Bucket family members may also
double roles as the other children who win the golden tickets.
The set design will reflect the juxtapositions presented in the play. Hard textures
will contrast with soft. Curves and soft lines will contrast with straight and sharply angled
lines. Muted and grey colors will be set against vibrant and brilliant colors. Fantasy locations
and objects will contrast with reality. Places like the Bucket home will be presented as bare,
humble, and reflect simplicity and innocence. Within the chocolate factory, a fantasy world
will contrast the outside walls of the realistic looking factory. Costumes colors and design
will reflect the dominant characteristics of each character and display a childlike innocence.
Natural white lighting will contrast colors and simple lighting effects.
Hansen 88
Initial Action and Conflict Analysis
• Protagonist: Charlie Bucket
• Opposing Force: Charlie's externally imposed life situation; the oppr.ession of an
industrial, consumer based society; Charlie's blind acceptance of a life less fortunate
and his perceived helplessness.
• Introductory Incident: Wonka holds a contest in which five lucky winners will tour
his factory and receive a lifetime supply of confections.
• Moment of Engagement I Inciting Action: Charlie uses some money he finds to buy a
Wonka Chocolate Bar, in which the final Golden Ticket is enclosed.
• Crisis: Charlie considers Wonka's offer to move to the factory and take over its
operation.
• Climax: Charlie accepts Wonka's offer.
• Denouement: Charlie fantasizes about how wonderful their lives will be.
• Major Dramatic Question: Will Charlie win the contest and change his life forever?
Hansen 89
Research on the Given Circumstances
I. Given Circumstances
A. Environmental Facts:
1. Geographical Location & Climate:
Beginning with the narrator's introduction that welcomes the audience to a "tale of a
delicious adventure in a wonderful land" the geographical location is not specified (Dahl and
George, Charlie [Knopf] 5). The director is left to imagine a fictitious factory that exists in
an unnamed town. Upon further exploration, however, it can be inferred that the play is
likely set in industrial-age England, where factories are the central source of livelihood.
In the exposition, Cadbury, Rowntree, and Fry's are listed as familiar chocolate
brands. These chocolate companies all have British origins, with the real life Cadbury factory
located in Boumeville, only about sixty-four miles south of where Roald Dahl attended
Repton School from age thirteen to eighteen ("1800-1850"; Dahl, Boy 121, 153). In his
autobiographical book, Boy, Dahl recalls Cadbury sending boxes of chocolate bars to the
school for the students to appraise (133).
Also revealed in the exposition is Wonka's forced factory closure. Spies steal his
secret recipes and profit from selling Wonka' s inventions as their own. This event parodies
real life "industrial espionage ... [which was] a huge problem in the chocolate industry ... "
(Smith). In his article "Chocolate Wars: The Inspiration for Charlie and the Chocolate
Factory," Joel Glenn Brenner states: "During Dahl's childhood, the two largest British candy
firms, Cadbury and Rowntree, sent so many moles to work in competitors' factories that their
spying became legendary."
Other geographical clues include language and currency. There are several
Hansen 90
distinctive British words or phrases such as: using "rubbish" instead of garbage, the spelling
of "m-u-m" instead of m-o-m, the use of idioms such as "quite" and "good heaven's," using
"cross" instead of angry or mad. The currency referenced to in the play is British Pounds.
The only reference to climate in the play is to the cold, harsh winters. This supports
the suggested geographical location. English climate varies between regions, but generally
shares the same characteristics of chilly, wet winters from December to February, and
moderately warm, dryer summers from June to August. Winters are also dark, receiving as
little as fifty-two hours of sunlight in December (UK. Public Weather Service).
The staging notes explicitly state the play takes place in an un-named town, and so
the Bucket home may be represented with simple furniture props. The factory design may
contain several creative, fantasy-like machines to excite the audience's imagination.
Costumes should suggest a cold, winter climate, while inside the factory is warm and cozy.
Actors can, therefore, remove coats and scarves upon entering.
2. Date: Year, Season, Time of Day:
The Dramatic Publishing Company's script includes staging notes stating that the
play takes place in the present time. However, it can be inferred ·that the play is likely set
sometime in early to mid-1900.
Emulating real-world chocolate company developments during this time are Wonka's
imaginative, inventive product ideas and the machines used to make them. For example,
Cadbury began utilizing increasingly technologically advanced and efficient machinery.
This enabled the company to improve, experiment with, and mass produce new products
such as boxes of assorted chocolates called a "Milk Tray" ("1800-1850"). Similarly, Wonka
is able to mass-produce and export products worldwide.

Hansen 91
Chocolate production advancements also made it possible for companies to introduce
products affordable to the general public, rather than remaining an exclusive, wealthy class
luxury (Alberts and Cidell 220). These early industrial-era machin7s required thousands of
workers to operate during production. Just as Willy Wonka careS-for the Oompa-Loompas,
Cadbury built an entire town to provide for company employees (Ella). Increased
productivity and competition necessitated companies to develop strategic marketing schemes
(Blaschke; Bunn 577). Similarly, Wonka's Golden Ticket contest boosts sales as people
worldwide fanatically buy thousands of his chocolate bars hoping to strike gold.
The play takes place during winter. Charlie's family suffers because they must sleep
on "mattresses on the floor [which] can be very cold in the wintertime" (Dahl and George,
Charlie [KnopfJ 11-12). When describing how he finds the fifth Golden Ticket, Charlie
refers to the "wind[ ... ] so cold ... and the snow[ ... ] blowing so hard ... " (16). Wonka
invites all his guests out from the cold into his factory where "it's nice and warm inside" (23).
From Scene Four onwards, the play occurs on "the first day in the month of February
[beginning] at ten o'clock ... in the morning" (21). Scene One takes place after four Golden
Tickets are found, likely sometime in January since Charlie is the fifth Golden Ticket finder.
Scene Two and Three likely occur in January as well, since they occur just before and during
the time Charlie finds the ticket. Scene One is not time-specific. It consists of exposition
and monologues that set the Scene up before the play's action begins. Since Charlie is home
and not at school, Scenes Two and Three likely occur sometime in the afternoon or evening
during the dreaded cabbage soup suppertime.
Because it is explicitly stated that the play occurs in the present time, it is possible to
adapt costumes, set, and props accordingly. Blankets, scarves, jackets and hats will show the
Hansen 92
season. Lighting will give the feel of late afternoon or evening in the Bucket household, and
mid-morning outside the chocolate factory.
3. Economic Environment:
Factory employment has a strong influence on the economic environment in the play.
Before being forced to close down his factory, Wonka is an important figure in the town,
whereas afterwards, "a lot of people [say] some unkind things about him ... " (19). Similar
to Bourneville, where the Cadbury factory moved to in 1879, Wonka probably employed
many people in the surrounding town ("1800-1850"; Morris). It is likely that thousands of
workers lost their jobs, increasing unemployment rates and poverty in the area. Wonka's
factory closure also directly impacts the toothpaste factory. It is forced to shut down causing
many more people to lose their jobs, including Mr. Bucket. Like most factory laborers,
Mr. Bucket is not paid enough to even afford decent housing, and so the family has no
savings (Trueman). It seems unlikely that Mr. Bucket will secure employment anytime soon
since "there aren't any better jobs" (Dahl and George, Charlie [Knopf] 12). Assuming that
the other unemployed people in the town are in a similar predicament, it is likely that the
economy is in distress.
While Charlie and the Bucket family are impoverished and starving, the other contest
winners and their families are comparatively wealthy, oblivious and unaffected. This
extreme difference heightens, and separates the rich from the poor, the advantaged from the
disadvantaged and the upper from lower class.
Because of this black and white portrayal of poverty versus wealth, it is important to
visually and aurally distinguish these differences. This can be accomplished by highlighting
each character's specific virtuous or wicked traits in performance, possibly making use of
Hansen 93
widely accepted stereotypical behavior associations. The Bucket family costumes should
appear ragged, worn and old, whereas the others should look newer, fashionable, and costly.
Personal props may be used to emphasize the ability to purchase for pleasure. Finally, the
Bucket household should look sparse and simple.
4. Political Environment:
Although the political environment is not stated outright, particular events and
circumstances in the play suggest possible political unrest and the need for reform.
A victim of espionage, it appears there are no legal measures in place to protect Willy
Wonka or his products. When the other chocolate makers steal his secret recipes and begin
replicating them, Wonka's entire factory operation and livelihood are threatened. Unclear on
what action to take, Wonka "[does] the only thing he [can]; he [sends] all the workers home
and [closes] the factory" (6).
While traveling abroad, presumably considering possible solutions, Wonka discovers
the Oompa-Loompas who live in less than favorable conditions. He convinces them to live
and work in his factory in exchange for "all the cocoa beans they [want] ... " (27).
Immigrants who usurp native residents' employment is cause for political unrest. While the
community's response is not expressed in the play, upon learning that Wonka employs
foreigners, it is likely to have caused some upset. In British history, for example, "the Aliens
Act of 1905 ... was [created] to keep Britain 'British' from 'asylum seeking' Jews fleeing
persecution in Russia and Poland .... [R]acist riots against blacks can be traced to 1919 in
Liverpool" (Barn-Hutchison). Ruth Brown, who wrote in the International Socialism
Journal, best expresses concern over immigrants overtaking job opportunities:
As with all subsequent immigration controls in Britain, the Aliens Act was
Hansen 94
thus designed primarily to create an easy target for an increasingly
impoverished and unemployed working class and marks one of the first
institutionalized attempts by the British ruling class to divide and rule the
working population by means of overt racism. Of course, it was never clearly
stated that the act was aimed only at Jews, but nobody was left in any doubt as
to who its intended targets would be. Crucially the act was aimed only at
keeping out working class Jews, those 'without visible means of support'.
With the Oompa-Loompas help, Wonka begins production once again, although he
does so in complete secrecy. "Nobody [knows] who [is] running the place. Nobody ever
[goes] in and nobody ever [comes] out" (Dahl and George, Charlie [Knopf] 6). "Secrecy is
not indigenous to fictional representations of the candy industry, but is widespread
throughout its real-world confectionary counterparts" (Fromer).
Because many candy firms are privately held, and, more important,
because candy recipes are not patentable ... it is impossible to stop
competitors from stealing hot products and selling them as their own. Take
the American coconut bar Mounds. Forrest Mars Sr., patriarch of the Mars
candy empire, stole the idea for Mounds in the 1950s and took it to Britain,
calling his version Bounty. Bounty remains a bestseller today; the Brits have
never heard of Mounds ....
The real-life espionage became so pervasive that candy makers in
Europe-where virtually all of the important industry innovations were taking
place-began routinely employing detectives to keep track of workers.
Sensitive manufacturing processes were off-limits to all but the most loyal
Hansen 95
workers. And outsiders dealing with candy makers were forced to sign strict,
highly punitive confidentiality agreements. (Brenner)
Several instances in the play relate to a variety of employment issues such as
unemployment insurance and minimum wage laws. First, closures of both the chocolate
factory and the toothpaste factory presumably cause a sudden surge in the town's
unemployment rate. As with the Bucket family, this in turn is likely to cause an increase in
poverty and poorer living conditions. Finally, with the majority of the lower class population
experiencing extreme strife, the threat of protest looms.
It is unclear whether unemployment insurance, or other government assistance, is
available to these factory workers. Mr. Bucket appears not to receive any as the family is
starving. Even if it is available, it is probably inadequate. Under the 1911 National
Insurance Act, amended in 1920, "With a duration limit of 15 weeks, many of the
unemployed exhausted their insurance benefits and remained jobless or unable to obtain
sufficient work to qualify for further unemployment insurance. The conditions for receipt of
local relief were onerous and local governments were unable to finance it for the large
numbers who were unemployed and uninsured" (Wu).
With more people living in squalor, malnutrition, disease, crime rate, alcoholism and
prostitution likely also saw an increase. In their book, Poor People's Movements: Why They
Succeed, How They Fail, Cloward and Piven discuss similar conditions that occurred in the
United States. Upon discussing the impact of unemployment on daily life, they summarize
and refer to Bernstein's research:
One dramatic sign was the spread of malnutrition and disease. Surveys of
school children showed that one quarter suffered from malnutrition, new
Hansen 96
patients in tuberculosis clinics almost doubled, and a study by the U. S. Public
Health Service revealed that the families of unemployed workers suffered 66
percent more illness than the families of employed workers. In 1931 New
York City hospitals reported about one hundred cases of actual starvation
(331 ). Another sign was the weakening of family life as ties wore thin under
the strains and humiliations of poverty. Desertions became common and
divorce rates rose, while marriage rates and the birthrate dropped. And as
poverty deepened and morale weakened, the crime rate rose, as did
drunkenness and sexual promiscuity, and the suicide rate (Bernstein, 1970,
332). (ref. in Cloward and Piven 48)
Since the Bucket family clearly is not morally weakened by their substandard
conditions, Charlie Bucket's character becomes all the more endearing and heroic. However,
should these distressed townspeople band together to organize protests, which often was the
case under such extreme conditions, perhaps the Bucket family would have refused to
continue suffering in silence (Cloward and Piven 48, 49). As a result, government
institutions that exist within the world of the play would be unable to ignore the need for
change and reform under these conditions.
The next employment issue relates to fair wages. As with many factory workers in
Britain during this time, Mr. Bucket is not paid enough at the toothpaste factory to even
afford decent housing. In its report, The Case for a Legal Minimum Wage, the Fabian
Society publication discusses working conditions and the need to establish fair wages to
sustain a minimum standard of living. Upon researching social conditions, the report
concludes that:
Hansen 97
It is glaringly apparent that an alarming proportion of the mass of the people,
in spite of the efforts of the State by indirect and partial means to raise the
standard of life, do not receive sufficient wages to provide for a healthy
physical existence. The researches of Mr. Charles Booth and Mr. B.S.
Rowntree [of Rowntree' s chocolate company] indicate that it is probably that
at least twelve millions of our population are living just on or below a level of
bare subsistence. (3)
In another report, Home Work and Sweating, the Fabian Society defines the condition
of sweating work as "unduly low rates of wages, excessive hours oflabor, and [the]
insanitary state of the workplaces" (3). These are likely similar conditions to what Mr.
Bucket endured, as well as the women who work in Mr. Salt's factory. The report states
that:
Sweated workers are sweated because either by reason of sex, age infirmity or
want of organization and support, they have to let their work go cheap. They
are compelled by need to sell their labor to the first purchaser who will take it,
and cannot make conditions. They must work at the rates of pay the employer
thinks good enough for them, and the smallness of the pay automatically
extends the hours of work. (4)
The report goes on to give examples of wages from the Daily News Exhibition
Handbook stating, "such wages could be multiplied ad nauseam:"
A. Trouser maker, widow with 4 children, works 10 or 12 hours a day, her
best earnings (exceptional) are 10 [shillings]. 6 [dollars] a week; more often 3s.
or 4s.; receives parochial relief.

Hansen 98
B. Match-box maker, works 12 hours a day, earns on an average less than 5
[shillings] a week. Highest earnings 8 [shillings]. 2 [dollars] for a full week
including Sunday.
C. Button carder. Two old people work together, earn 3 [shillings]. 6 [dollars]
per week. (6)
Mr. Salt only employs women, which provides a clear insight into his character. It is
evident in the Fabian Society Report The Case for a Legal Minimum Wage that women's
work is considered less valuable than a man's, and as such, they are paid less (10, 11). It is
probable that Mr. Salt wants to get away with paying his workers as little as he possibly can.
5. Social environment:
The social environment in the play revolves around the behavioral and moral
differences between the privileged wealthy class and the poor working class. Charlie and the
Chocolate Factory is overtly morally didactic, both from within the world of the play, and
from the audience's point of view. As Anita West Moss states in her article Crime and
Punishment, or Development, in Fairy Tales, it is "clearly a descendent of the British
didactic fairy tale ... [that] incorporates the archetype of departure and return and the
conventions of fairy tale, as well as terrifying effects, in order to teach children, as Gillian
A very notes, 'quite ordinary moral lessons."' In the play, the benevolent and virtuous
Charlie Bucket is rewarded, whereas the other immoral children are punished.
It can be said that the Seven Deadly Sins, as represented in the Christian Faith, are
manifest in the four immoral children. Augustus Gloop is greedy and gluttonous; Violet
Beauregarde is proud and envious; Veruca Salt exhibits anger and lust, while Mike Teavee
exemplifies sloth. Charlie Bucket, on the other hand, represents everything morally desirable
Hansen 99
·~ such as faith, hope, charity, prudence, temperance, fortitude and justice (Wheeler).
The adults in the Bucket family comment on how so many children seem to behave
like these undeserving "brats" (Dahl and George, Charlie [Knopf] 12, 13). As the
underprivileged in society, they likely resent the oppor~tmities exclusively available to the
wealthy class that they can only dream of. To the Buckets, it seems unjust that Charlie, who
is a "nice boy," will likely never receive the good things he deserves in life (12).
The Oompa-Loompas sing playful, cautionary songs that warn children against
exhibiting immoral behaviors. They simultaneously accuse parents of spoiling their children
and not implementing proper discipline. Wonka has no tolerance for such objectionable
misbehavior. While the harsh punishments inflicted on the mischievous children are
seemingly coincidental, Wonka appears to know their fate before they even enter the factory.
Once the offending child commits a mischievous deed, Wonka is indifferent, and does
nothing to interrupt the horrifying consequences. He suggests, with proper discipline, "[the
children will] all come out in the wash in the end, every one of them" (60).
From this, it is possible to infer that the social environment, with particular regard to
privileged children's behavior and lack of parental discipline, is perhaps in need of reform.
Wonka appears to take it upon himself to implement such reform.
6. Religious environment:
Within the dialogue, there is very little direct reference to the religious environment
and its impact on the characters' lives. The only religious reference the characters make
occur after the Television Chocolate Machine zaps Mike Teavee, and when Violet
Beauregard is transformed into a blueberry. Wonka consoles Mr. Teavee suggesting that
they "must pray that [his] little boy will come out unharmed at the other end" (58). The
Hansen 100
Oompa-Loompas refer to praying in the Mike Teavee song as they plead with the audience to
dispose of their television sets. Finally, Mrs. Beauregarde says, "Good heavens, girl! ...
Mercy save us!" (40). This may suggest that their only hope of salvation is beyond their
control.
It is possible to suggest that Willy Wonka acts as a God-like symbol, the factory
synonymous with a utopian, and heaven-like promise land. A fundamental goal of religion is
for the moral instruction, and social control, of human beings (Gauchet 40). In like manner,
Wonka tests his guest's moral integrity. He tempts them with metaphorical apples from the
Tree of the Knowledge of Good and Evil within his child-like version of the Garden of Eden.
Those who pass the test are promised to receive rewards beyond their "wildest dreams ... "
(Dahl and George, Charlie [Knopf] 20). Wonka, the Oompa-Loompas and the Bucket family
espouse similar desirable moral behaviors throughout the play, and are rewarded. The other
morally corrupt characters are judged, punished, and banished to live their lives in repentance.
Hansen 101
B. Previous Action:
Willy Wonka is a famous chocolate maker who invents many new and unique
products. Three competing chocolate makers send spies to steal Wonka' s secret inventions
and market them as their own. Because Wonka is unable to discern who the spies are, he
fires all his employees and closes the factory. After months of closure, the factory
mysteriously begins operating again; however, no one is seen entering or exiting.
Unbeknownst to anyone, Wonka has convinced 3,000 Oompa-Loompas to move from their
homeland, called Loompaland, to live and work in his factory. With their help, Wonka's
factory produces chocolate treats once again. To increase sales, Wonka conducts a contest
where the winners will tour his factory and take home a lifetime supply of chocolate. He
conceals five Golden Tickets in five chocolate bars, randomly hiding them among his
worldwide exports. When the action of the play begins, four children have already found
Golden Tickets, which leaves only one remaining ticket. Augustus Goop likely finds the
Golden Ticket because he eats so much chocolate. Violet Beauregarde always has a piece of
gum in her mouth. Determined to be a winner, ever competitive Violet finds her Golden
Ticket because she stops chewing gum and starts eating chocolate instead. Veruca Salt finds
her Golden Ticket because her father buys thousands of Wonka bars and has his factory
workers look for it. It is the only way he can stop her from throwing temper tantrums. Mike
Teavee only cares about being left alone to watch television. It is likely that he finds his
Golden Ticket after eating only one bar.
The Bucket family lives in poverty because, as the sole provider, Mr. Bucket's salary
is inadequate, and he recently lost his job. Charlie walks past Wonka' s factory daily on his
way to school daydreaming about the delicious chocolate. Despite their hardships, the family
Hansen 102
manages to save enough to buy Charlie a Wonka chocolate bar for his birthday present, just
as they do every year.

Hansen 103
C. Polar Attitudes:
Charlie Bucket:
• Beginning: "But I guess I should realize that dreams don't come true. [... ]me
imagining that I could win the fifth Golden Ticket. Why, it's ... it's ... it's pure
imagination" (Dahl and George, Charlie [Knopf] 13, 14).
• End: "This is more than I could have ever imagined! ... It's going to be our
chocolate factory! And we're never ever going to starve again!" (65).
Charlie's journey helps him move from believing that his family will never overcome
their ill-fated life to believing that anything is possible, even for him. His most notable
transformation is his improved financial situation.
Willy Wonka:
• Beginning: I don't know what to do! I don't know who the spies are. I must close
the factory before all of my most precious secrets are stolen. I cannot trust anyone ..
• End: "I'm not getting any younger, and it isn't as easy to carry out my ideas as ...
as ... it once was. I need some help.[ ... ] I would like to have someone who will
take over ... after I've gone. [... ] This would be after I've trained you and taught
you everything I know, of course! [... ] [E]verything that I have is yours" (64, 65).
Willy Wonka begins his journey betrayed and vulnerable. As a result, he halts
production and becomes a recluse. In the end, Wonka understands that the joy his treats
bring to others is more important than keeping all his secrets to himself. He realizes that he
needs to trust someone, but not just anyone. The person must be virtuous, care about the
chocolate factory as much as he does, and be capable of continuing his legacy.

Hansen 104
Grandpa Joe:
• Beginning: "Well my boy, it may be pure imagination, but I've heard tell that what
you imagine sometimes comes true" (14).
• End: "It's absolutely fantastic! It's ... it's ... it's a miracle!" (57).
Grandpa Joe is a positive, child-like and warm hearted elderly man who loves his
grandson. Although he encourages Charlie to keep believing in his dreams, it is possible he
does not completely believe this himself. He may say it more to keep Charlie's spirits up as
he would "do anything" (16) for him. In the end, Grandpa Joe also believes that dreams
really can come true.
Grandma Josephine, Grandma Georgina, Grandpa George, Mr. & Mrs. Bucket:
• Beginning: "You know, it sure would have been nice if Charlie had won that fifth
Golden Ticket" (15).
• End: "Hurray! ... It's off to the chocolate factory!!!" (18).
Augustus Gloop:
• Beginning: "I MUST EAT ALL THE TIME ... Ummmmmmmmmmmmm .. .
CHOCOLATE! This Golden Ticket is my meal ticket to ... uh ... eat ... and eat ...
and eat ... and EAT!!!" (7).
• End: "This stuff is teee-rrific! Oh boy, I need a bucket to drink it properly! (28).
Violet Beauregarde:
• Beginning: "To tell you the honest truth, I simply wouldn't feel comfortable ifl
didn't have that little wedge of gum to chew on every moment of the day, I really
wouldn't. My mother says it's not ladylike and it looks ugly to see a girl's jaws going
up and down like mine do all the time, but I don't agree" (8).
Hansen 105
• End: "Oh, be quiet, mother, and let me finish!" (40).
V eruca Salt:
• Beginning: "Oh ... it was terrible! I got more and more upset each day, and every
time he came home I would scream at him, 'Where's my Golden Ticket! I want my
Golden Ticket!' And I would lie for hours on the floor, kicking and yelling in the
most disturbing way" (9).
• End: "Who says I can't [have one]?! I'm going in to grab me a squirrel this very
minute! (46).
Mike Teavee:
• Beginning: "Of course I've got a Golden Ticket, but why can't everyone leave me
alone? I want to watch television!!! [... ] It's the life, I tell you. It's terrific!" (10).
• End: "Look at me! I'm going to be the first person in the world to be sent by
television!" (58).
Roald Dahl's novel Charlie and the Chocolate Factory, shows what happens to the
children and how they change. However, in Richard R. George's adapted play, it is not clear
what becomes of them. Wonka often tells the children's parents not to worry as "they all
come out in the wash ... every one of them" ( 60).
Mrs. Gloop:
• Beginning: "There he is! That's him! It's Willy Wonka!" (21).
• End: "Oh, my poor Augustus! ... How dare you laugh like that when my boy's just
gone up the pipe! You monster! You think it's a joke, do you?" (30).
Mrs. Gloop's attitude toward Willy Wonka changes from star struck to calling him a
monster. She is quick to blame everyone but herself for her son's misdeeds. It appears that
Hansen 106
the ordeal may not influence her parenting methods.
Mrs. Beauregarde:
• Beginning: "Keep chewing, kiddo! ... This is a great day for the Beauregards! Our
little girl is the first person in the world to have a chewing-gum meal!" (40).
• End: "But I don't want a blueberry for a daughter!" (41 ).
Mrs. Beauregarde cheers her daughter on and encourages her disrespectful behavior
in the beginning. In the end, she may only start to become aware that she does not want her
daughter to continue behaving this way. However, she may not know what to do to correct
her daughter's behavior.
Mr. & Mrs. Salt:
• Beginning: "All right, Veruca, all right. But I can't get it for you this second, sweetie.
Please be patient. I'll see that you have [an Oompa Loompa] before the day is out"
(28).
• End: "My daughter may be a bit of a frump - I don't mind admitting it ... What a lot
of rubbish there's going to be today!" (48, 49).
Mr. and Mrs. Salt spoil their daughter and, at the first sign of a temper tantrum,
promise to get her whatever she wants. By the end, they admit their daughter's faults, and
may begin to take steps not to give into her every whim in the future.
Mr. & Mrs. Teavee:
• Beginning: "Shut up!" (55).
• End: "No, you will not be able to watch television! I'm throwing the television set
right out the window the moment we get home. I've had enough of television! ... I
don't care what you want ... or how much you jump and scream!" (59).
Hansen 107
Mr. and Mrs. Teavee use television to keep Mike quiet and entertained. In the end,
they decide to throw the television set away and most likely become more involved parents.
Hansen 108
II. Dialogue
A. Choice of Words:
The most notable choice of words is the use of repetition. Repetition occurs as
repeating the same word several times, or repeating the same idea using different words.
Repetition is often used in children's stories. It appeals to them, while playfully emphasizing
important words and ideas. Specific words that are repeated throughout the play include
"magical," "imagination," "imagine" and "terrific." Many of the words used add emphasis
and exaggerate ideas. They build momentum, with each word adding to the emotional
intensity.
• "Willy Wonka himself is the most amazing, the most fantastic, the most extraordinary
chocolate maker the world has ever seen" (Dahl and George, Charlie 5).
• "After months and months went by" (6).
• "Mr. Willy Wonka, in order to sell a lot of candy once again, was running a contest.
Yes sir, that's right ... a contest!" (6).
• "The candy bars were said to be found anywhere ... in any shop ... in any street ...
in any town ... in any country in the world" (6).
• CHARLIE. "Just imagine! Me imagining that I could win the fifth Golden Ticket.
Why, it's ... it's . . . it's pure imagination."
GRANDPA JOE. "Well my boy, it may be pure imagination, but I've heard tell that
what you imagine sometimes comes true" (13-14).
• "Mystic and marvelous surprises that will entrance, delight, intrigue, astonish, and
perplex you" (20).
• "Welcome! Welcome! Welcome! Hello, everyone!" (21).

Hansen 109
• "Delighted to meet you both! Delighted! Delighted!" (22).
• "Nothing wrong with it, my boy! Nothing! Nothing at all!" (25).
• "Thousands of gallons an hour, my dear children! Thousands and thousands of
gallons!" (25).
• "I want an Oompa-Loompa! I want you to get me an Oompa-Loompa! I want an
Oompa-Loompa right away!" (28).
• "You can put an Everlasting Gobstopper in your mouth and you can suck it and suck
it and suck it and suck it and suck it and ... (37).
• "It's a stick of the most amazing and fabulous and sensational gum in the world! This
gum is a fantastic gum" (39).
• "Oh, I do congratulate you! I really do! I'm absolutely delighted! It couldn't be
better! How wonderful this is!" (63).
There are several invented, nonsensical names that add imagination and delight,
including names that reflect a character's nature. They include:
• Loompaland
• Oompa-Loompa
• Homswogglers
• Snozzwangers
• Whangdoodles
• whipple-scrumptious fudgemallow delight
• Prodnose, Slugworth, Fickelgruber - all refer to their nosey, sneaky, evil
characteristics
• Gloop - gluttonous
Hansen 110
• Salt - spoiled
• Beauregarde - arrogant
• Teavee - lazy
• Wonka - eccentric
B. Choice of Phrases and Sentence Structures:
Phrases used are generally short, clipped and repetitive. The characters often speak
as though they are calling out random thoughts without paying much attention to what others
are saying, yet they are all commenting on the same topic. For example, upon seeing the
Oompa-Loompas for the first time, they begin to shout over one another:
MRS. BEAUREGARDE. There's more than two! There's four or five!
MR. TEAVEE. What are they doing?
MRS. GLOOP. Where do they come from?
VIOLET BEAUREGARDE. Who are there?
CHARLIE. Aren't they fantastic?
GRANDPA JOE. No higher than my knee!
CHARLIE. Look at their funny long hair! They can't be real people. (26)
When they are in the boat, all the characters except for Charlie and Grandpa Joe have
their own way of calling Wonka crazy:
MRS. SALT. He's gone off his rocker!
ALL. He's crazy!
MIKE TEAVEE. He's balmy!
VERUCA SALT. He's nutty!
VIOLET BEAUREGARDE. He's screwy!

Hansen 111
MRS. BEAUREGARDE. He's batty!
MRS. TEAVEE. He's dippy!
MR. SALT. He's dotty!
MIKE TEAVEE. He's daffy!
VERUCA SALT. He's goofy!
VIOLET BEAUREGARDE. He's buggy!
MRS. BEAUREGARDE. He's wacky!
MR. TEAVEE. He's loony! (34)
Other phrases are generally simple conversational phrases. Wonka and the Narrator
are the only characters to use longer, drawn out phrases that are less clipped and more fluid.
Wonka often hushes the children, telling them to "stop interrupting" him (55).
With the exception of Charlie, many of the phrases the children use reflect their
negative characteristics. They demonstrate their spoiled, unappreciative and selfish nature.
Their phrases also imply sarcasm and arrogance. For example, Augustus Gloop is
unimpressed with the chocolate room. He rudely comments, "Uhh ... I don't see anything
but that old river over there. Where's the food? I'm hungry!" (25). When rowing through
the tunnel in the boat, Violet comments on how dark it is and wonders how the "dumb" (33)
Oompa-Loompas can see where they are going. In the invention room, upon revealing the
stick of chewing gum, Mike Teavee says, "You mean that's all?" (38). Later, in response to
Wonka telling Violet that he does not want her to try the gum, she says, "Oh, to heck with
that!" (40). When Veruca sees the squirrels in the nut room, she demands that her father "get
[her] one of those squirrels!" (46). After Wonka transports a chocolate bar across the room
into the television screen, he tells Charlie to take it out of the television. Laughing, Mike
Hansen 112
Teavee says, "How can you take it? It's just a picture on a television screen!" (57).
One noticeable sentence structure is the overuse, and possible misuse, of exclamation
marks, ellipses and dashes. It seems that a majority of the play is expressed in a constant
state of excitement and bubbling enthusiasm. In the following passage alone, seventeen out
of twenty sentences end in an exclamation!
WILLY WONKA. How do you do, Mr. Grandpa Joe. How do you do! Well
now, is that everybody? Hmmmmmm ... why ... I guess it is! Good!
Now will you please follow me! Our tour is about to begin! But do keep
together! Please don't wander off by yourselves! I shouldn't like to lose
any of you at this stage of the proceedings! Oh, dear me, no! Here we are!
Through this big red door, please. That's right! It's nice and warm inside!
I have to keep it warm inside the factory because of the workers! My
workers are used to an extremely hot climate! They can't stand the cold!
They'd perish if they went outdoors in this weather! Why, they'd freeze to
death! (23)
The ellipses interrupt the flow of dialogue, and at times appear misplaced causing
sentences to sound awkward. For example, in scene six the narrator explains that "in just a
second ... you should ... be able to see [the boat] coming ... up the tunnel ... yes ...
yes ... here it comes now!" (33). If spoken in this way, it may sound similar to how William
Shatner sounds in the original Star Trek television series. It is therefore preferable to avoid a
literal interpretation of the punctuation.
Ellipses are also used to indicate a pause, a change of thought, a slowing of speech, or
an addition to a previous thought. For example:

Hansen 113
• Pause: "Sure, Charlie ... let me see ifl can find it ... ah, here it is" (19).
• Change of thought: "Quite so ... and just as sure as I'll be having cabbage soup for
supper tomorrow[ ... ]" (13).
• Slowing of speech for effect: "What ... other ... elevator?" (53).
• Addition to previous thought: "Especially when they start pumping each other full of
lead ... or flashing the old stilettos ... or giving each other the one-two-three[ ... ]"
(10).
Dashes are often used to show an interruption, as a pause or as an additional thought,
or an interjection:
• Interrupting:
WONKA. They want to sit there all day long ... staring and staring at
the screen -
MIKE TEAVEE. That's me! (55)
• Pause: "You never know - they might be lucky" (49).
• Additional thought: "She'll come out of the de-juicing machine just as thin as a
whistle - and she'll be purple" (42).
• Interjection: "My daughter may be a bit of a frump - I don't mind admitting it - but
that doesn't mean you can roast her to a crisp" (48).
C. Choice of Images:
Imagery is used to evoke feelings of pity, empathy, wonderment, excitement and
grandeur. It also appeals to the sense oftaste and smell. In the beginning of the play, the
Bucket household description illustrates a small, two-roomed cramped space that is barren
with a donated bed and mattresses upon the floor. The reference to cabbage soup evokes an
Hansen 114
unpleasant smell that is synonymous with Grandma Josephine's disgust at not having other
food choices. Charlie's favorite chocolate is a Whipple-Scrumptious Fudgemallow Delight
bar. This name alone sounds more delicious than an ordinary chocolate bar. In describing
the chocolate river, Wonka' s imagery helps convey the vastness and incredibleness of it:
WONKA. It's all chocolate! Every drop of the river is hot melted chocolate
of the finest quality. The very finest quality. There's enough chocolate in
there to fill every bathtub in the entire country! And all the swimming pools
as well! ... Thousands of gallons an hour ... thousands and thousands of,
gallons! (25).
The description Wonka gives of the Oompa-Loompas helps illustrate the environment
he rescues them from. Particularly effective is his description of the disgusting food they
have to eat such as "gn:t:n calt:rpillars, red beetles, eucalyptus leaves, and the bark of the
bong-bong tree" (27). Whenever one of the naughty children is eliminated, imagery
illuminates their impending punishments, making them sound even more horrific, but in a
humorous way. When Augustus Gloop gets sucked up one of the pipes, Wonka explains to
Mrs. Gloop:
WONKA. Go over to one of the Oompa-Loompas and ask him to show you to
the Fudge Room. When you get there, take a long stick and start poking
around inside the big chocolate-mixing barrel. He should be there. Don't
leave him in there too long though, or he's liable to get poured out into the
fudge boiler, and that really would be a disaster, wouldn't it? My fudge
would become quite uneatable! (31)
When Violet turns violet and inflates, Mrs. Beauregarde narrates what happens to her
Hansen 115
daughter:
MRS. BEAUREGARDE. Good heavens, girl! What's happening to your
nose? It's turning blue! ... Your cheeks! Your chin! Your whole face is
turning blue! Mercy save us! The girls' going blue and purple all over!
Violet, you're turning violet, Violet! What is happening to you? You're
glowing all over! The whole room is glowing! ... Violet you're swelling
up! You're blowing up like a balloon! (41)
Wonka describes what happens when Veruca enters the nut room:
WON.KA. No - no - no! They've all jumped on her! All of them! Twenty-
five of them have her right arm pinned down. Twenty-five have her left arm
pinned down. Twenty-five have her right leg anchored to the ground.
Twenty-four have her left leg. And the last squirrel ... it's ... it's climbed
up on her shoulders and started tap-tap-tapping on Veruca's head with its
knuckles! (47).
Wonka explains how he invented television chocolate:
WONKA. The very first time I saw ordinary television working, I was struck
by a tremendous idea. If a photograph could be broken up into millions of
pieces, and the pieces sent whizzing through the air until they hit an
antenna, and then put together again on a screen - why couldn't I send a real
bar of chocolate whizzing through the air in tiny pieces, and then put the
pieces together at the other end, all ready to be eaten? (55-56)
Because it is challenging to make the action appear realistic on stage, this detailed
imagery is necessary to assist the imagination.

Hansen 116
D. Choice of peculiar characteristics:
One strange characteristic occurs in the lack of some character's dialogue. There are
long stretches in the script, often spanning several pages, where characters are on stage and
they do not speak. They are completely disregarded, and there are no clues given about their
action. For example, Grandpa Joe says, "Oh, no he's not!" on page 34 and then does not
speak again until page 49, and even then he only says, "Oh, yes!" With particular note, it is
odd that Charlie, the hero of the story, hardly speaks between Scene Five and Eleven! This
poses an enormous challenge for inexperienced actors and a beginning director to address.
First, actors need specific stage business to engage in; however, the director must be careful.
Any interpreted action can unintentionally communicate an incorrect subtext. Second, it is
important for actors to help direct the audience's attention to the desired focal point.
Another peculiar characteristic is the pruiicular habits of the naughty children.
Augustus Gloop says, "Uhhhh," a lot. This may imply that he is either dim witted, or
extremely derogatory. It could also imply that he does not speak English well. Violet
Beauregarde is impatient. In the beginning, she urges Wonka to hurry up with the
introductions and get on with things. When in the invention room, she insists he hands over
the gum, ignores his warnings, and even interrupts him before he is finished speaking.
Veruca Salt calls her parents "Mummy and Daddy" (28). This implies she is British since it
is the British spelling for Mommy. It also implies that she is of upper class, and
mollycoddled. Adding to this impression, her parents call her names like "my pet" and
"sweetie" (28). Finally, Mike Teavee often interrupts Wonka and asks him questions. This
may be because he is not kept occupied watching television during the factory tour.
The use of absurdity and humor in the children's disappearances is also a peculiar
Hansen 117
characacteristic. When considered realistically, what happens to the children is actually quite
horrific. Augustus Gloop is sucked into a pipe where he faces being boiled and chopped into
bits and pieces. Violet is grossly enlarged and then squeezed. It is disturbing to imagine
how the juice is squeezed out of her. After being attacked by squirrels, Veruca and her
parents face incineration. Finally, after Mike is shrunk to the size of his father's thumb, he is
subject to stretching torture. Despite the horror and absurdness, the play is considered
humorous and light hearted. It is odd how such traumatic events are framed within a
children's story, and meant to induce laughter. This is the story's fairytale like quality that
instructs and warns through playful storytelling.
The Oompa-Loompas use of song, rhyme and dance is another peculiar characteristic.
Similar to Brecht's technique of alienation, the Oompa-Loompas disconnect the audience
from the horrific events awaiting each child after they disappear. It may prevent the audience
from identifying with the characters, and give them time to consider what action they should
make in their own lives.
A final peculiarity is in Wonka's strange inventions and the factory's mysterious and
magical secrets. Besides the Oompa-Loompas, some peculiar features inside the factory
include a river of chocolate, a glass elevator that moves in multiple directions, and trained
squirrels that remove nuts from their shells. Some of Wonka's strange inventions include:
ice cream that never melts, gum that is like a full meal, hair toffee for bald children,
television chocolate, and gobstoppers that last forever.
E. The sound of the dialogue:
Many words are repeated within the same lines of dialogue, which adds to the
alliterative quality. For example:

Hansen 118
VERUCA SALT. Whips? What on earth do you use whips for?
WILLY WONKA. For whipping cream, of course! How can you whip cream
without whips? Whipped cream isn't whipped cream at all, unless it's been
whipped with whips ... " (35).
Most of the dialogue has a staccato sound to it due to being comprised mostly of
monosyllabic words. It is non-rhyming dialogue for the most part, with the exception of
Wonka's dialogue while they are in the boat. It is ten lines long; with an eight syllable per
line rhyming couplet that has a musical quality to it:
WONKA. There's no earthly way of knowing
Which direction they are going!
There's no knowing where they're rowing,
Or which way the river's flowing!
Not a speck of light is showing,
So the danger must be growing,
For the rowers keep on rowing,
And they're certainly not showing
Any signs that they are slowing ... (34)
The Oompa-Loompas also only speak, or sing, in 8 syllable rhyming couplets. Their
narrative poetic tales are funny, entertaining and exaggerated. This is reminiscent of
children's nursery rhymes. Often cautionary stories cloaked in the guise of playful singsong
type games, they are catchy and easy to remember. It is also similar to Greek choral songs
that comment "on the action just seen or [forecast] what is to come. Shakespeare [also]
ended his scenes with rhymed couplets and may have followed them with brief musical
Hansen 119
interludes" (Hodge and McLain 30).
F. Structure of Lines and Speeches:
The beginning of the play opens with an exhaustive narration of previous action,
followed by each ticket winner giving a monologue of how they find their Golden Tickets.
The structure changes to shorter, interactive dialogue when the Bucket family begins to speak.
Charlie then reads Wonka's extremely wordy Golden Ticket speech that continues for nearly
two pages. Charlie's speech structure is not as clipped or harsh like the other children. Most
of the language in the play is prose, with the exception of Wonka's boat scene and the
Oompa-Loompas dialogue. There are also instances of short, rapid-fire dialogue such as that
found in the boat scene.

Hansen 120
III. Dramatic Action
A. Analysis of the Dramatic Action:
1. Titles of the Units and Summary of the Action:
• Unit 1: "The Clouds of Darkness"
The Narrator sets the scene and tells what happens before the action of the play
begins.
• Unit 2: "Spoiled Brats Strut Their Stuff''
The four Golden Ticket winners are introduced. They share their ticket finding story
and show their reaction to winning.
• Unit 3: "Pulling Heartstrings"
The Narrator introduces the family and sets the scene for how poor they are.
• Unit 4: "Nasty Little Beasts"
The Bucket family talks about how repulsive the ticket winners are. Charlie admits
he would love to find the fifth Golden Ticket.
• Unit 5: "New Year's Eve Fireworks"
Charlie reveals that he found the fifth Golden Ticket.
• Unit 6: "Boarding the Rollercoaster of Dreams"
Grandpa Joe and Charlie wait outside the chocolate factory gate. Charlie reads the
details of the contest written on the Golden Ticket.
• Unit 7: "The Great and Powerful Oz"
Willy Wonka greets the winners at the factory gate. Each of the children reveals
more of their character.
• Unit 8: "Swiss Alps on Steroids"

Hansen 121
Wonka shows the winners around the chocolate room, the heart of his factory. He
reveals that the river is actually chocolate.
• Unit 9: "Entering Munchkinland"
After spotting the Oompa-Loompas, Wonka reveals that they are his workers. He
tells the story of how he met them and how they came to work in his factory. V eruca
demands her parents get her an Oompa-Loompa.
• Unit 10: "Piggy in a Blanket of Chocolate"
Even after he is told not to, Augustus Gloop leans too far out while drinking from the
chocolate river. He falls in and is sucked up by the pipes that lead to the fudge room.
Wonka sends Mrs. Gloop with an Oompa-Loompa to get her son out of the fudge
machine. The Oompa-Loompas sing about the greedy Gloop boy.
• Unit 11: "Diving Deeper into the World of Imagination"
The boat takes everyone further along the journey. Except for the Buckets, everyone
thinks Wonka is crazy.
• Unit 12: "Bursting Big Bubbles"
Wonka leads the group into the invention room where he shows them the Great Gum
Machine that makes a chewing gum meal. Violet chews the gum after Wonka tells
her not to. She turns blue and swells up like a blueberry. Wonka sends the
Beauregarde' s to the de-juicing room to squeeze her back to normal. The Oompa-
Loompas sing about the repulsive girl.
• Unit 13: "Down the Rubbish Chute"
Wonka takes the group to the nut room. V eruca demands to have a squirrel. When
she is denied, she enters the nut room to grab one for herself. The squirrels throw her
Hansen 122
down the rubbish chute. When Mr. and Mrs. Salt go after her, the squirrels also push
them into the chute. The Oompa-Loompas sing about "Veruca Salt, the little brute"
(Dahl and George, Charlie 50).
• Unit 14: "High Flyers"
The remaining few take a frightening and nauseating elevator ride to the Television-
Chocolate Room.
• Unit 15: "Zapped Into Oblivion"
Wonka demonstrates how his "latest and greatest invention - Television Chocolate"
works (55). Mike Teavee is amazed. Against Wonka's protests, he is determined to
be the first person to be sent by television. This causes Mike to shrink small enough
to fit in his father's pocket. Mr. Teavee resolves to get rid of the television. Wonka
sends the Teavee's to stretch him back to normal. The Oompa-Loompas sing about
useless Mike Teavee.
• Unit 16: "Dreams Become Reality"
Charlie is the only child left as all others have been eliminated. Wonka reveals the
real contest is to find a suitable person who can take over running his chocolate
factory and care for the Oompa-Loompas when he is no longer able to.
CHARLIE AND THE CHOCOLATE FACTORY
good spies because soon afterwards, these three

chocolate makers began making such delicious
Wonka favourites as ice cream that never melts,
NA R RAT o R
SCENE I
enters in front of curtain.

chewing gum that never loses its flavour, and
candy balloons that you could blow up to huge
sizes before you popped them with a pin and
\
I
gobbled them up[Mr Wonka didn't know what to

NARRATOR: Welcome to the tale of a delicious adven- do. He didn't know who the spies were, and if he
ture in a wonderful land. You can tell it will be continued to operate his factory all his secrets might
\} . l\tlu<es delicious - can't you smell it already? [Sniffs] Oh, be stolen. So he did the only thing he could; he sent
o..uct.:~"ce how I love that gorgeous smell! You've all heard of all the workers home and closed the factory. You
Cadbury's, Rowntree, Fry's, Nestles, Wonka-what's might think that that would be the end of Mr Willy
that? You say, what's Wonka? You mean you don't _ _ _ __W_o_n_k__,~ but no sireeee - not him. After monthS and
know what Wonka is? Why ... Wonka Chocolate months went by; the factory suddenly began oper-
... of course! I admit that Willy Wonka's Choco- ating again. But nobody knew who was running the
late is fairly new but it's also the greatest chocolate place. Nobody euer went in and nobody ever came
ever invented. Why, Willy Wonka himself is the out. The only thing anyone could see were shadows
most amazing, the most fantastic, the most extra- dancing around in front of the li hted windows ...
ordinary chocolate maker the world has ever seen. mi h ell anyway, to get back to the
He's invented things like ... say ... why ... I'm story, soon there was a big article in the town paper
not going to tell you what he's invented. You came saying that Mr Willy Wonka, in order to sell a lot of N. (,xc~te.S
to see for yourself! So I'll let you do just that.fBut candy once again, was running a contest. Yes sir, Cu. 1c\,;. e11 (('._
e ore o, s ould perhaps fill you in on what's that's right ... a contest! He had secretly wrapped a
i\J ·Deki(·.fs been happening around here lately. Because Mr Golden Ticket under ordinary wrapping paper in
o.. 1..tJ. \er, l € Willy Wonka makes the best chocolate in the whole five ordinary candy bars. The candy bars were said
wide world, three other great chocolate makers to be found anywhere ... in any shop . . . in any
known as Mr Fickelgruber, Mr Prodnose, and Mr street . . . in any town . . . in any country in the
Slugworth sent spies to work for Mr Wonka in order world, upon any counter where Wonka's candies are
to discover his secrets. Well, they must have been sold. The five winners will tour Mr Wonka's new
5 6
SCENE ONE CHARLIE AND THE CHOCOLATE FACTORY
factory and take home enough chocolate for the rest switched to candy bars in the hope of stri illg~it=---------
of their lives. Now that, my friends, is where our lucky . .Now, of course, I'm right back on gum. I just V. 3 . o)I ujr es;·
story begins. Four of the tickets have already been adoreg um. fcan't do ; ithout it. I munch it all day C\..l,,(cl/e11.CQ..
found. Oh, by the way, would you like to meet the long except for a few minutes at mealtimes when I
four lucky people? All right, listen and watch care- take it out and stick it behind m ear for safe-
fully! I think they're here somewhere. [Looks out keeping. To tell you the honest truth, I simply l), e' Assec+s
over audience] Let's see ... Augustus Gloop! Where are wouldn t feel comfortable if I didn't have that little
you, Augustus Gloop? wedge of gum to chew on every moment of the day,
[Fromsomewhereinaudience]: Choco- I really wouldn't.I My mother says it's not ladylike V. B. Cntt 1 LI
A) 5 l( ,.,., ,., Oil s AUGUSTUS GLOOP
and it looks ugly to see a girl's jaws going up and
etifl1
J
late . . . chocolate . . . chocolate . . . CH 0 C 0-
AJ.r or.d A .(r. down like mine do all the time, but I don't agree.
LA TE!!! I ... LOVE ... CHOCOLATE!
.8 e <"-1; le/(/.s And who's she to criticize, anyway, because if you
Ummmmmmmmmmmmmmmmmmmm ... food
. . . F 0 0 D ! [Smacks lips repeatedly] Ummmmmmmm- ask me, I'd say that her jaws are going up and down
mmmmmmmmmmmmmmmmmmmmmmm ... I MUST almost as much as mine are just from ye/ling at me
EAT ALL THE TIME ... Ummmmmmmmmmm- every minute of the da yJ And now, it may interest l),'b. Ir-•/N.s ses
mm ... CHOCOLATE! This Golden Ticket is you to know that this piece of gum I'm chewing
my meal ticket to ... uh ... eat ... and eat .. . right at this moment is one I've been working on for
and eat . .. and EAT!!! Ummm.mmmmmmmm .. . over three months solid. That's a record, that is. It's
CHOCOLATE ... chocolate ... chocolate .. . beaten the record held by my best friend, Miss
Cornelia Prinzmetel. And was she ever mad !/r;-I-:t,-s-m_y_ _ _ __ __ _
NARRATOR: Well, uh, friends, that was our first
N . s \..t.('v$v\(J/\S most treasured possession now, this piece of gum is. U, B, ·pr 0 d~MS
Golden Ticket finder - Augustus Gloop . . Let's see
At nights, I just stick it on the end of the bedpost,
\J. $. arid V. B now if the lucky girl who found our second Golden
and it's as good as ever in the mornings ... a ...
ltptA..15€5 Ticket is here. Oh Violet ... Violet Beauregarde?
bit ... hard ... at ... first ... maybe .. .
VIOLET BEAUREGARDE [Chewing ferociously on gum,
waving arms excitedly, talking in a rapid and loud NARRATOR: Such a, uh, lucky, uh, girl. Isn't she, uh,
\I,'&. manner, from somewhere in audience]: I'm a gum- uh, wonderful? The third Golden Ticket was found
l : ()tUUi -z..r-5 chcwer normally, but when I heard about these N- su.. ..... Mo/'IJ
by another lucky girl. Her name is Veruca Salt. Is
ticket things of Mr Wonka's, I laid off the gum and Veruca here now ? v. s .
7 8
SCENE ONE CHARLIE AND THE CHOCOLATE FACTORY
and gave it to me, and now ... I'm all smiles .. .

v,.s.
VS, DQf'\oJ0;::, VERUCA SALT [From somewhere in audience]: Wher r e""''s.____+---- ( ' ,, l (.' 1'1''''(5
my Golden Ticket? I want my Golden Ticket! Oh and we have a happy home ... once again.
yes ... here it is ijAs soon as I told my father that I NARRATOR: Thank you, Veruca. Isn't she a lovely
, simply had to have one of those Golden Tickets, he girl? Now the fourth and last ticket was found by a
V· S. C.ft0tr1"1S ·
went out mto t he tovm an d started buying up all the boy named Mike Teavee. I wonder if Mike's got his
Wonka candy bars he could lay his hands on. Thou- ticket with him? Where are you, Mike? fV7.
sands of them, he must have bought. Hundreds of
thousands! Then he had them loaded on to trucks M r KE TE Av EE [From somewhere in audience] : Of course
and sent dire<:tly to his own factory Jt:H
:-::-
e,~s":'i-
n t~
h-e_p_e_a--------- I've got a Golden Ticket, but why can't everyone / "') . Shoves.
1J ':::>c • -r r
nut business, you see, and he's got about a hundred leave me alone? I want to watch television!!! [He
._...j,.f) t()(f"lS pulls out his guns and fires into the ai111""]... _,_o_f__, ___<::_'_+
[ _w_a_t_c_h_a_U
, ,,... ___
women working for him over at his joint, shelling
peanuts for roasting and salting. That's what they the shows every day, even the crummy ones where }( · .As,,<:£ S
do all day long, those women ... they just sit there there's no shooting.\.I i )ike the gangsters best. They're M. E,;,,c,·{es
shelling peanuts. So he says to them, ·okay, girls,' terrihc, those gangsters! Especially when they start
he says, 'from now on, you can stop shelling pea- pumping each other full of lead ... or flashing the
nuts and start shelling the wrappers off these crazy old stilettos ... or giving each other the one-two-
candy bars instead!' And they did. He had every three, with their knuckledusters! Oh boy, what
worker in the place yanking the paper off those bars wouldn't I give to be doing that myself! It's the life,
of chocolate, full speed ahead, from morning 'til I tell you. It's terrific!
_ _ _ __ _ n=i~gh_t......1.)But three days went by, and we had no luck. NARRATOR: And that folks is, uh, Mike Teavee.
Oh ... it was terrible! I got more and more upset Sorry for, uh, bothering you, Mike.
each day, and every time he· came home I would
V. S fZo..-<.< 1e5 scream at him, 'Where's my Golden Ticket! I want End ef Sce711! r
my Golden Ticket!' And I would lie for hours on
the floor, kicking and yellin in the most disturbin
_ _ _ _w_aJ-J. Then suddenly, on the evening of the fourth
day, one of his women workers yelled, 'I've got it!
.r A Golden Ticket!' And my father said, 'Give it to
V.S. Li11or015 me, quick!' And she did. And he rushed it home
9 10
wintertime. They can't buy a better house because

they don't have any money and there aren't any
better jobs. Mr Bucket is the only one that can work
SCENE 2 and, well, he lost his job a few weeks ago. Yes, it's
very sad, but you see, the toothpaste factory had to lJ, :Sc... c.(dQ/IS
NARRATOR enters in front of curtain. close down. Without Mr Willy Wonka's Chocolate Ot..tA. cLi e,,., c.Q._
Factory open, nobody ever got cavities any more
NARRATOR: Now we're going to take a look at the and they didn't buy any toothpaste and ... well,
hero of our story, Charlie Bucket, and his family. you know how it goes.IOh wait ... gee, I almost
Let me introduce them to you. [Curtain opens on forgot ... this is our hero - Charlie Bucket. Charlie's
Bucket home, a bare room with one chair and a bed. a nice boy. Of course he's been starving lately. In N. Uf'Si?.-f:~
Characters are frozen in place: the four GRAND- fact the whole family has. I'm worried about Ct-V< c{ < I? .--i uz._
PARENTS in the bed; MR BUCKET in chair, reading a Charlie, though. Why, did you know that Charlie is
newspaper, CHARLIE, and MRS BUCKET on other side so weak from not eating that he walks slowly
of room This is the home of Charlie Bucket. Seven instead of runnin like the other- kids so he can save
-
_ _ _ _ _ _p_e_o_p.,.e-tr1ve here. There are only two rooms and only his ener ? Well, I've said far too much already. . worr ..e ~
Let's find out what's happening at the Bucket house C' <-< d ,·(' /1 C..L
N. Con c.e r /lS one bed, so you can see that life is extremely un-
comfortable{ [Walks over to the bed] These two very now ... uhh, I'll see you later.
Cc.{..{ cl< e11ce.
old people are the father and mother of Mr Bucket. [NARRATOR exits. BUCKET FAMILY comes to
Their names are Grandpa Joe and Grandma life]
· . tf: Josephine. And these two very old people are the Well, I see that four children have found
A),. A 9_uo..; / :5 father and mother of Mrs Bucket. Their names are MR BUCKET: f1R. 13
Golden Tickets. I wonder who the fifth lucky person s -/- ·'!:;
; ri ot-1-es
Grandpa George and Grandma Georgina. The bed
will be?
was given to the four old grandparents because they
were so old and tired - and of course they're all over GRANDMA JOSEPHINE: I hope it's no one like that
ninety years old.I [Goes to MR BUCKET] This is Mr repulsive Gloop boy!
Bucket. This is Mrs Bucket. They and little Charlie
Bucket sleep in the other room, upon mattresses on GRANDPA GEORGE: Or as spoiled as that Veruca
fJ · ··:D··1f tlS.S ~Q?i_s the floor. As you know, this can be very cold in the Salt girl!
II 12
SCENE TWO CHARLIE AND THE CHOCOLATE FACTORY
1-le ,'t;fi/(115 GRANDMA GEORGINA: Or as beastly as that bubble- Golden Ticket. Why, it's ... it's . . . it's pure
v popping Violet Beauregarde ! imagination.
/vtf.3. C...r"otAse.s MRS BUCKET: Or living such a useless life as that GRANDPA JOE: Well my boy, it may be pure imagin- C J-. .T:r1 {';.rer
Teavee boy! ation, but I've heard tell that what you imagine C.
sometimes comes true.
rJ,13. ro&r.ses MR BUCKET [Looking up from his paper]: It makes you
wonder if all children behave like this nowadays CHARLIE: Gee, you really think so, Grandpa Joe? C. (~,n{.J!,;t.<p-·
... like these brats we've been hearing about. Gee ... I wonder . . . { C-<.·kS,
G-. :r. n?je d:s GRANDPA JOE: Of course not! Some do, of course. End of Scene 2
In fact, quite a lot of them do. But not all.
(1.8 d.e..f/ec.f:; MRS BUCKET: And now there's only one ticket left.
GRANDMA JOSEPHINE: Quite so ... andjust as sure
as I'll be having cabbage soup for supper tomorrow,
that ticket'll go to some nasty little beast who
doesn't deserve it!
G.J. E' 11 UitAS<-'s: GRANDPA JOE: I bet I know somebody who'd like to
C. o. ,,., c:( find that Golden Ticket. How about it, Charlie?
You love chocolate more than anyone I ever saw!
(. 3l°'cl:cie/L5
(TS. CHARLIE: Yes, I sure would, Grandpa Joe! You
know ... it just about makes me faint when I have
to pass Mr Wonka's Chocolate Factory every day
as I go to school. The smell of that wonderful choco-
late makes me so dreamy that I often fall asleep
and bump into Mr Wonka's ferice- .- -u-t- -gu - e-ss- . - - - - - - - - -
s ou realize that dreams don't come true. Just
C -r~jeds imagine! Me imagining that I could win the fifth
G. -. .
.)
13 14
e
SCENE 3 even -
Bucket home, several days later. GRANDPARENTS, MR c H ARLIE [Running in excitedry] : Mum ! Dad ! Grand-
and MRS BUCKET, as before. pa Joe! Grandfolks ! You'll never believe it! You' ll
never believe what happened!
MR BUCKET: You know, it sure would have been nice
Hr 8. Nu_d3e~ if Charlie had won that fifth Golden Ticket. MRS BUCKET: Good gracious, Charlie - what hap- f1s . B Pioht?S
pened?
1 MRS BUCKET: You mean with that 10p we gave him
MsJ3 j o1'r1S for his birthday present yesterday? c HARL IE: Well ... I was walking home ... and the
wind was so cold ... and the snow was blowing so c . e )( (, j f es
MR BUCKET: Yes, the one we gave him to buy the
hard ... and I couldn't see where I was going ...
VJ(, 8 Pr€S ff S one piece of candy he gets every year.
and I was looking down to protect my face . .. and f
c
/& /'M f°'S'S<-,J t1:::,GRANDMA GEORGINA: And just think how long it ... and- '
~· took you two to save that 10p.

MR Bu c KET [ Excited!y] : Go on, Charlie . . . go on, Mr. B. ?res51!S
G-,C,. _ o.f{;r/V/S GRANDPA GEORGE: Yes, now that was really a Charlie ... what is it?
shame.
GRANDMA JOSEPHINE: But think of how Charlie c HARL IE: And there it was ... just lying there in the
eajoyed the candy. He just loves Willy Wonka snow ... kind of buried ... and I looked around ...
chocolate. and no one seemed to look as if they had lost any- 1
thing ... and .. _and .. _and so I picked it up and r
Ar 8, ello..lua..fes MRS BUCKET: He didn't really act that disappointed. wiped it off ... and I couldn' t believe my eyes -
--'--------_;.._;.....;;.;...~....-....;;~-
A - CheeI
Mr.6 co 17 fer-rrJc..ll'S MR BUCKET: No, he didn't - ALL [Except c HARL IE] (Shouting and screaming] : You
-$ GRANDPA JOE: Well, he might not have acted dis- found the Golden Ticket! Charlie found the Golden
C.J. rehtAkes appointed, but that's because he's a fine boy and Ticket! Hurray! Hurray! He did it! He did it!
15 16
SCENE THREE CHARLIE AND THE CHOCOLATE FACTORY
c. ft.is!P 1
"1.5 CHARLIE: No ... no ... I ... I found a sop piece. c HARL IE: I did! I did! I really did! I found the fifth
[Eve~ybo& looks let down and sad] But, but, but ... Golden Ticket! !
then I thought it wouldn't hurt if I bought a
C . €1t/1ces Wonka Whipple-Scrumptious Fudgemallow Delight ALL [Everyone yelling and dancing around]: Hurray!
since it was ... my 50 pence ... and I was just sooo Hurray! Hurray! rippppppeeeeeeeeeee! It's off to the
hungry for one. chocolate factory! ! !
A. COoJ< ALL [Getting excited again] : Yes ... yes ... go on .•.
End of Scene 3
goon.
CHARLIE: Well ... I took off the wrapper slowly ...
and-
ALL [Shouting and screaming]: YOU FOUND THE
GOLDEN TICKET! Charlie found the Golden
Ticket! Hurray! Hurray! He did it! He did it!
CHARLIE: No ... no ... no ... I ate the candy.

There wasn't any Golden Ticket. [ Everyboqy groans
and sighs, acting very sad again] But then ... I still had
45 pence left and ... well ... you know how I love
chocolate -
MRS BUCKET: Oh Charlie, you're not sick are you?

/f{5 /3. S cold.:s You didn't spend all of the money on -
CHARLIE: Well no, as a matter of fact ... I bought

C- app(!o.ses another Whipple-Scrumptious Fudgemallow De-
light ... and ... and . . . and I FOUND THE
c.;:s{C/1.,r,;;)°"' S FIFTH GOLDEN TICKET!!!
~ 6.x/'..A· tr?C-C?.-/e.5 - -------------------
(' ALL: You what?
A. Lu.esfronS
17 18
U'(\·,.\.- '$ix. ~ ~ Bov..cd~ '2:) l~ 'Rol\erlo~ ~f.(
1
CHARLIE: Let's see now ... it says, 'Greetings to you,

o-' l)rel>./l'\S 'i~ the lucky finder of this Golden Ticket, from Mr
Willy Wonka! I shake you warmly by the hand!
SCENE 4 Tremendous things are in store for you! Many
wonderful surprises await you! \f'or now, I do invite
In front of the Chocolate Factory. CHARLIE and GRANDPA you to come to my factory and be my guest for one
JOE enter together as scene opens. whole day - you and all others who are lucky 1 1 I r \
enough to find my Golden Tickets. I, Willy Wonka, V~. C y){\0,'()Ce5
C &a.l+s CHARLIE: Boy, Grandpa Joe, I sure am glad that
will conduct you around the factory myself, show-
Dad let you take me today.
ing you everything that there is to see, and after-
GI 'r.lo.rratrf5 GRANDPA JOE: Well, Charlie, I guess he just feels
that we understand each other.
wards, when it is time to leave, you will be escorted
home by a procession of large trucks. These trucks,
I can promise you, will be loaded with enough
CHARLIE: Plus, you seem to know all about Willy
delicious eatables to last you and your entire house-
Wonka and what's happened to him.
hold for many years. If, at any time thereafter, you
L .fc S Well, he's b~en an important man ~n
GRANDPA JOE: should run out of supplies, you have only to come
ti O( M this town for a good long time. A lot of people sru.d back to the factory and show this Golden Ticket,
some unkind things about him after he closed down and I shall be happy to refill your cupboard with
the factory, but I always felt that he had his reasons. whatever you want. In this way, you will be able to
Actually I'm quite exci ted about this 'Golden keep yourself supplied with tasty morsels for the rest
(a i1t~\ub, Ticket' thing. It's a good exc~se to s~e w~at is going _ _ _ _ __o_f~y_
our
_ _IW S l\
_e~lBut this is by no means the most exciting , t !_· ... .l .c
on in that factory and how hes runrung 1t. thing that will happen on the day of your visit. I am W · f12- l'.Jtl IU.7
preparing other surprises that are even more mar-
CHARLIE: Speaking of the Golden Ticket, Grandpa
vellous and more fantastic for you and for all my
Joe, could I read it one more time? I know it sounds
beloved Golden Ticket holders - mystic and mar-
silly, but the whole thing seems so magical.
vellous surprises that will entrance, delight, in-
a RAN op A Jo E [Searching his pockets] : Sure, Charlie •.. trigue, astonish, and perplex you beyond measure.
let me see if I can find it ... ah, here it is. In your wildest dreams you could not imagine that
[He pulls out a small ticket] such things could happen to you! Just wait and see!
19 20
\ j I
V\J .I rfl.s-\-ruds
SCENE FOUR
And now, here are your instructions: the day I have

chosen for the visit is the first day in the month of
WILLY WONKA: Delighted to meet you both! De-

lighted! Delighted! [Turns to VIOLET] You're w
C-rj
{J.)~
ca.le. 1cJ12..
February. On this day, and on no other, you must Violet Beauregarde. ' I
\/B.~~s
come to the factory gates at ten o'clock sharp in the
VIOLET BEAUREGARDE: So what if I am - let's just
morning. Don't be late! And you are allowed to
get on with the whole thing, huh?
bring with you either one or two members of your
V\l. ~Ce \fJClfl\s own family to look after you and to ensure that you WILLY WONKA: And you must be Mrs Beauregarde. W. a_c\dc~~
don't get into mischie( One more thing - be certain Very happy to meet you! Very happy! [Turns to
to have this ticket with you, otherwise you will not VERUCA] I think you are ... yes ... you're Veruca , 1 -.-- \ ~
1,,v ~ +-· ""'5 \' e c...-x ~
be admitted. Signed, Willy Wonka.' Salt. And you must be Mr and Mrs Salt.
GRANDPA JOE: And today is the first of February, VERUCA SALT: Don't shake his hand, Daddy - it's
and say, Charlie - look, we're here already ... and probably all sticky and chocolatey from working in
I guess everyone else is arriving together. the factory. After all, he does only run a silly little
(AUGUSTUS GLOOP, VIOLET BEAUREGARDE, factory. He's not important enough for you to
VERUCA SALT, MIKE TEAVEE, MRS GLOOP, bother shaking hands with, anyway!
and and
MR
BEAUREGARDE
MRS TEA VEE, MR
enter.
MRS SALT, MRS
WILLY WONKA enters
WILLY WONKA: You're Mike Teavee. Enchanted to W,Ac\<:not.)-
meet you! Yes ... enchanted.
from opposite side]
\ ed-3 e.s.
MIKE TEA VEE [Blasting his guns]: Come on! I'm miss-
MRS GLOOP: There he is! That's him! It's Willy ing all my favourite TV shows! t't Sh'ir\<$
Wonka! and MR s TE Av EE: And we're the Teavees. Pleased
MR
MT. Si \ev1ce,,
WILLY WONKA: Welcome! Welcome! Welcome! to meet you.
Hello, everyone! Let's see now. I wonder if I can WILLY WONKA: Overjoyed! Overjoyed! [Tums to
recognize all of you by the pictures of you in the CHARLIE] And you must be the boy who just found
newspaper. Let's see. [Pause] You're Augustus the ticket yesterday. Congratulations! You're .••
Gloop. Charlie Bucket - aren't you?
AUGUSTUS GLOOP: Uhhhhh y-e-a-hhhhh and CHARLIE: Yes sir, thank you. And this, sir, is my
this is ... uhh ... my mother. Grandpa Joe.
21 22
SCENE FOUR
a1 Ad,.,,;res GRANDPA JOE: Howdy, Mr Wonka. I'm real pleased
to meet you!
WILLY woNKA: How do you do, Mr Grand a oe. SCENE 5
_ _ _ _ _ _.........H.._o._w
_.d.i._o_.y_.o""'u"...d.._o.__!. ell now, is that everybody? Hmm-
mmmm ... why ... I guess it is! Good! Now will The Chocolate Room. The Chocolate River runs across the
W. Beoko115 you please follow me! Our tour is about to begin! stage, surrounded by trees and pipes. All enter as scene opens.
But do keep together! Please don't wander off by
lw. cau +io()s yourselves! I shouldn't like to lose any of you at this
stage of the proceedings! Oh, dear me, no! Here we
AUGUSTUS GLOOP: I'm tired! It seems like we've
been turning left, turning right, turning left, and
are! Through this big red door, please. That's right! turning right again for a whole hour or so. When
It's nice and warm inside! I have to keep it warm are we going to eat? I'm hungry! I want to eat right
inside the factory because of the workers! My work- now! Do you all hear me? Now! !
ers are used to an extremely hot climate! They can't
stand the cold! They'd perish if they went outdoors
CHARLIE: Did you notice that we've been going C.Def) ec.fs
downward for the longest time, Grandpajoe?
in this weather! Why, they'd freeze to death!
GRANDPA JOE: Yes, Charlie, I think I heard Mr
A.G. Qv.es+io115AuGusTus GLooP: But ... who ... are these ...
Wonka say that we were going underground and
uhh ... workers?
that all the most important rooms in his factory are
A), be\o.'fS WILLY WONKA: All in good time, my dear boy! Be deep down below the surface.
patient! You shall see everything as we go along!
CHARLIE: I wonder why? (,. Pro 'bes.
[All exit with w ILLY w o N KA remaining alone] Are
all of you inside ? Good ! Would you mind closing GRANDPA JOE: Well, I think he said that there
the door? Thank you! wouldn't be nearly enough space for them up on
[Exit] top. He said that the rooms we are going to see are
enormous. Some are supposed to be larger than foot-
End of Scene 4 ball fields !
WILLY WONKA: Here we are everybody! This is the vJ E~"G\.f~
Chocolate Room. This room is the nerve centre of
23 24
SCENE FIVE CHARLIE AND THE CHOCOLATE FACTORY I
C. Co,.,fi: }-fol.).
the whole factory. It's the heart of my whole oper-
ation!
CHARLIE: She's right, Grandpa! It is a little man!
Can you see him ? I
AG. Cor)fes..J-.s AUGUSTUS GLOOP: Uhh ... I don't see anything but GRANDPA JOE: I see him, Charlie! er. :r. v~1. tt!..S
I
that old river over there. Where's the food? I'm [All now shout in tum]
hungry!
MRS GLOOP: There's two of them! M .r;. HeJ3J,,f~l't.S
"1 G. Icrt?ores MRS GLOOP: And just look at those enormous pipes MR SALT: My gosh, so there is! h , S . Afl2\rmS
.J over there. There must be ten or eleven of them. I
wonder what they're for? MRS BEAUREGARDE: There's more than two! There's M ,13 . EY'l I ivtll.
four or five!
C Q'Ae..shwl.S CHARLIE: Gee, Mr Wonka, what's wrong with your
river? It's all brown and muddy-looking. MR TEA VEE: What are they doing? M,,I. a_,""'et;f1'(/);1. .r
WILLY WONKA: Nothing wrong with it, my boy ! MRS GLOOP: Where do they come from? )-'\ .G'. Pro }:;>e5
Nothing! Nothing at all! } It's all chocolate! Every
VIOLET BEAUREGARDE: Who are they? V •B. C'~V\ (?... '2..£.S
drop of that river is hot melted chocolate of the
finest quality. The very finest quality. There's enough CHARLIE: Aren't they fantastic? C.. ProMpfS
chocolate in there to fill every bathtub in the entire GRANDPA JOE: No higher than my kneel G·J'·. Exo........ ~/le.5
l,v, AM4t7-eS country! And all the swimming pools as well! Isn't
it terrific? And just look at my pipes! They suck up CHARLIE: Look at their funny long hair! They can't C., Ch oJlerijeS
the chocolate and carry it away to all the other be real people !
rooms in the factory where it is needed! Thousands
of gallons an hour, my dear children! Thousands
WILLY WONKA: Nonsense! Of course they are real
people! They are some of my workers!
w. Pt-tizles
and thousands of gallons!
MIKE TEAVEE: That's impossible! There are no l'-\4 I.
l .. ~ VER u c A s ALT [Screaming as she looks over lhe edge of the
U nit. ~":11e:~ river]: Look! Look over there! What is it? He's
people in the world as small as that! vlsM\sses
~'- .\tu" moving! He's walking! Why, it's a little person! It's WILLY WONKA: No people in the world as small as
!::::' (\ '"3 a little man! Down there behind one of the pipes! that? Then let me tell you something. There are
1::10 nc,h k;n knd • I [Everyone rusms to the edge of the river to get a more than three thousand of them in my factory!
better look] They are Oompa-Loompas!
V. 5. Stc..r }/es
25 26
SCENE FIVE CHARLIE AND THE CHOCOLATE FACTORY
c. Cross~ e~~(l1itSiARLIE: Oompa-Loompas! What do you mean? workers. They all speak English now. They love
dancing and music. They are always making up
W. IJypno·fiseS WILLY woNKA: Imported direct from Loompaland . songs. I expect you will hear a good deal of singing
And oh, what a terrible country it is! Nothing but today from time to time.
thick jungles infested by the most dangerous beasts VERUCA SALT: Mummy! Daddy! I want an Oompa- v .5 .. ~\.dl1.4S
in the world - hornswogglers and snozzwangers and Loom pa! I want you to get me an Oompa-Loompa ! J
those terrible wicked whangdoodles. A whangdoodle I want an Oornpa-Loompa right away! I want to
would eat ten Oompa-Loompas for breakfast and take it home with me! Go on, Daddy! Get ... me
come galloping back for a second helping. When I ... an ... Oompa-Loornpa!
went out there, I found the little Oompa-Loompas
MRS SALT [Mildry]: Now, now, my pet. We mustn't )--\S . Pt'\dti e_s
living in tree-houses. They had to live in tree-houses
interrupt Mr Wonka.
to escape from the whangdoodles and the hom-
swogglers and the snozzwangers. When I found them VERUCA SALT [Screaming]: But I want an Oompa· ,V,S
they were practically starving to death. They were Loompa ! ! ! -rhr€°'~
living on green caterpillars, red beetles, eucalyptus MR SALT: All right, Veruca, all right. But I can't get
K.5 .
leaves, and the bark of the bong-bong tree. They it for you this second, sweetie. Please be patient. I'll
M 01\ir;es
loved cacao beans too, but only found about one or see that you have one before the day is out.
two a year. They used to dream about cacao beans [AUGUSTUS GLOOP leans ouer river]
all night and talk about them all day., It just so MRS GLOOP; Augustus! Augustus, sweetheart! I don't J(l.(r .
happens that the cacao bean is the thing from which think you had better do that~ c
(>..\A+; 01\5
W. C'40-ti va-k.s all chocolate is made. I myself use billions of cacao
WILLY WON KA: Oh, no! Please, Augustus, p-1-e-a-s-e! W , T,t"\flo<t..S
I beans every week in this factory. So I talked to the
I beg of you not to do that. My chocolate must be
leader of the tribe in Oompa-Loompish and told
untouched by human hands!
him that his people could have all the cacao beans
they wanted if they would just come and work for MRS GLOOP: Augustus! Didn't you hear what the man
me and live in my factory. Well, the leader was so said? Come away from that river at once!
happy that he leaped up in the air and threw his AUGUSTUS GLOOP [Leaning over further]: This stuff is
bowl of mashed caterpillars ri ht out of his tree- teee-rrific ! Oh boy, I need a bucket to drink it A.& .
house window. So, here they are! They're wonderful properly! De~\eS
27 28
W. Repr:mMds WILLY WONKA: Augustus ... you must come away! WILLY WONKA: Because that pipe doesn't go any- W. / o.,.u. "\f:S
You are dirtying my chocolate! where near the Marshmallow Room. It leads to the
MRS GLOOP: Augustus! You'll be giving that nasty room where I make a most delicious kind of
ft(-,, Aterf.s cold of yours to about a million people all over the strawberry-flavoured chocolate-coated fudge.
country l Be careful Augustus! You're leaning too far MRS GLOOP: Oh, my poor Augustus! They'll be sell-
out!! ing him by the pound all over the country to-
[AUGUSTUS shrieks as hefalls in] morrow morning! [WILLY WONKA is laughing and
MRS GLOOP: Save him! He'll drown! He can't swim MRS GLOOP begins to chase him, tr~ing to hit him with
a yard! Save him! Save him! her purse] How dare you laugh like that when my
boy's just gone up the pipe! You monster! You
AUGUSTUS GLOOP: Help! Help! Fish me out! think it's a joke, do you? You think that sucking my
A&. G-o o-.ds MRS GLOOP [To everyboqy]: Don't just stand there! boy up into your Fudge Room like that is just one
/'1&-CoMMWlcl.S Do something! great colossal joke?
C' \I .
VERUCA SALT: Look! He's being sucked closer to one WILLY WONKA: He'll be perfectly safe. W , ~.:.<> 01\l\JI S.
\./3. 'Pro-JoKe.>. of the pipes ! MRS GLOOP: He'll be chocolate fudge! M .G, ''.i>, Sf> v....\ t' s
M . T nC) ovvtlS MIKE TEAVEE: There he goes! WILLY WONKA: Never! I wouldn't allow it! \;\.) . 'Re·j ec..ts
( MRS GLOOP: Oh, help! Murder! Police! Augustus! MRS oLooP: And why not? MG:-. -Il"ltecro~c:Jes
'
fl G. P~r1i'c.s
I
Come back at once! Where are you going? [Pause]
He's disappeared. He's disappeared! Where does that
WILLY WONKA: Because the taste would be terrible!~; HO( rifies
Just imagine it! Augustus-flavoured chocolate-
pipe go to ? Quick! Call the fire brigade! coated Gloop ! No one would buy it.
WILLY WONKA: Keep calm. He'll come out ofitjust MRS OLOOP: I don't want to think about it! M.&. D od3e_s
fine, you wait and see.
MRS GLOOP: But he'll be turned into marshmallows!
WILLY WONKA: Nor do I, and I do promise you, \,A), ~ \C\ LQ+es
f\1. 6. Co (ltes-ks madam, that your darling boy is perfectly safe.
WILLY WONKA: Impossible!
tJ. Re.-.Jc'K:Q.s M~s GLOoP: If he's safe, then where is he? Lead me M.G-. Ot~e...rs
MRS GLOOP: And why not, may I ask? to him this instant!
('1&, Vroc\s
29 30
L WILLY woNKA: Go over to one of the Oompa- Although, of course, we must admit
\\J ·,'fnstrlACIS Loompas and ask him to show you to th e F u d ge He will be altered quite a bit.
Room. When you get there, take a long stick and He'll be quite changed from what he's been,
start poking around inside the big chocolate-mixing When he goes through the fudge machine:
barrel. He should be there. Don't leave him in there Slowly, the wheels go round and round,
too long though, or he's liable to get poured out The cogs begin to grind and pound ;
w. Vexes into the fudge boiler, and that really would be a A hundred knives go slice, slice, slice;
disaster, wouldn't it? My fudge would become We add some sugar, cream, and spice;
quite uneatable! Then out he comes! And now! By grace!
A miracle has taken place!
M· G-.\Q<.,\::: \es MRS GLooP [Shrieking]: What ... what ... what did
This boy, who only just before
you say?
Was loathed by men from shore to shore,
. • WILLY WON KA: I'm joking - forgive me. Good-bye, This greedy brute, this louse's ear,
W· D 1 SMisse..s. Mrs Gloop ... see you later. Is loved by people everywhere!
[MRS GLOOP exits. All others exit in opposite
For who could hate or bear a grudge
direction] Against a luscious bit of fudge?
OOMPA-LOOMPAS:
Augustus Gloop ! Augustus Gloop ! End of Scene 5
The great big greedy nincompoop!
How long could we allow this beast
0- . )(~ \ e_,, To gorge and guzzle, feed and feast
On everything he wanted to?
Great Scott! It simply wouldn't do!
So what we do in cases such
As this, we use the gentle touch,
'Come on!' we cried. 'The time is ripe
To send him shooting U]J thep,_1·p
_,._e_!_' _ _ __
But don't, dear children, be alarmed;
0 . f'- \0\ \-,~
1 Augustus Gloop will not be harmed,
31 32
There's no earthly way of knowing VJ, "Dl~o(](eJ.\-S

Which direction they are going!
There's no knowing where they're rowing,
Or which way the river's flowing!
Not a speck of light is showing,
NARRATOR enters infront of curtain. So the danger must be growing,
For the rowers keep on rowing,
And they're certainly not showing
~ 'b1sen3~..SNARRAT0R: Poor Augustus .. . well I bet we've
Any signs that they are slowing ...
seen the last of him for a while. Now you folks are
really in for a treat! Did you know that Willy MRS SALT: He's gone off his rocker!
Wonka had his very own yacht? That's right! His ALL. He's crazy!
very own! And boy, is it sharp! It's bright pink and
has about ten Oompa-Loompas inside, pulling all MIKE TEAVEE: He's balmy!
of the oars! Well there's no point telling you all VERUCA SALT: He's nutty!
about the boat, because in just a second ... you
should ... be able to see it coming ... up the tunnel VIOLET BEAUREGARDE: He's screwy!
... yes ... yes ... here it comes now! MRS BEAUREGARDE: He's batty!
[NARRATOR exits. Curtain opens to Chocolate
MRS TEAVEE: He's dippy!
River, now stage front. There are three doors behind
the river which say 'Cream Room', 'Whip Room', MR SALT: He's dotty!
and 'Bean Room'. Boat with visitors enters as scene MIKE TEA VEE: He's daffy!
opens]
VERUCA SALT: He's goofy!
VIOLET BEAUREGARDE: It sure is dark in here! VIOLET BEAUREGARDE: He's buggy!
How can these dumb Oompa-Loompas see where
they're going? MRS BEAUREGARDE: He's wacky!
MR TEAVEE: He's loony!
WILLY WON KA [Hooting with laughter]: There's no
knowing where they're going! GRANDPA JOE: Oh. no he's not!
33 34
SCENE SIX
w WILLY WONKA:
Faster!
Switch on the lights! Row faster! WILLY WONKA: You're one yourself! No time for W .Jre\
arguing! Press on! Press on! [Pause] Stop the boat!
[The boat moves along] We're there! W . 5·,~ 0 0...\s
C, Observes CHARLIE: Look, Grandpa! There's a door in the MIKE TEA VEE: We're where? M . Gl.u..es\'·, 0 ojs
wall! It says . . . Cream Room - dairy cream,
WILLY WONKA: Up there!
whipped cream, violet cream, coffee cream, pine- W. F\.A"Z..?.\.es
apple cream, vanilla cream, and ... hair cream? MIKE TEA VEE: What's up there? M · PtAs'h~s
M, 'Ricli.cult) MIKE TEAVEE:
cream!
Hair cream? You don't eat hair WILLY WONKA: You'll see.
w.\\ +·, \\ a.\-e-s
End of Scene 6
W. s )°'fS WILLY WONKA:
silly questions!
Row on! There's no time to answer
[The boat moves along]

C. • ~ou..ses CHARLIE: Look ... another door! Whip Room!
Whips? What on earth do you use
V. S . sco~~~
VERUCA SALT:
o.ik- whips for?

WILLY WONKA: For whipping cream, of course!
w. Ot.Atw~tS How can you whip cream without whips? Whipped
cream isn't whipped cream at all, unless it's been
whipped with whips - just as a poached egg isn't a
poached egg unless it's been stolen from the woods
in the dead of night! Row on, please!
[The boat moves along]
CHARLIE: Bean Room! Cacao beans, coffee beans,
C'c;,f.)1._J·J°S
1
Of\
3e y eans, andH as Beans.
• 11 b
~.B . Ql1es+;o(l5 VIOLET BEAUREGARDE: Has Beans?
35
VIOLET BEAUREGARDE: It's like gum!
WILLY WONKA: It is not like gum! Gum is for chew- W. 0ro.,1ro0

\ -?b~
..:.~
ing, and ·if you tried chewing one of these Gob-
SCENE 7
stoppers here, you'd break your teeth off. But they
taste terrific! And they change colour once a week!
The Invention Room. It is filled with stoves and pipes, pots and
Now that machine over there makes hair toffee
kettles, and marry strange machines. All enter as scene opens.
but it's not quite perfected yet. But I'll get the
WILLY WONKA: This is the most important room in
mixture right soon! And whe~ I do, then ther~'ll W. b<A..#le.5
be no excuse any more for little boys and girls
the entire factory! All my most secret new inven-
going about with bald heads!
tions are cooking and simmering in here! Old
Fickelgruber would give his front teeth to be MIKE TEAVEE: But Mr Wonka, little boys and girls M. Corre.cts
allowed inside, just for three minutes! So would never go about with -
Prodnose and Slugworth and all the other rotten
chocolate make~ut now, listen to me! I want no WILLY woNKA: Don't argue, my dear child .. . vJ, RepriMc.cJ
messing about when you go in! No touching! No please don't argue! Now over here, if you will all
W. w :r'l''s
o. meddling! And no tasting! Is that agreed? step this way' I will show you something I am
terrifically proud of. Oh, do be careful! Stand back!
w.I ~re sses
ALL CHILDREN: Yes, yes! We won't touch a thing! [He stops at centre stage in front of the Great Gum
[Everyone looks around in amazement. w ILLY Machine]
WONKA runs around and jumps in excitement from
place to place. He approaches and gazes into a WILLY WON KA: Here we go!
machine] [He begins pushing buttons, and all kinds of noises
and lights occur. Finally a small strip of grey card-
WILLY WONKA: Everlasting Gobstoppers! They're board appears from side qf machine]
completely new! I am inventing them for children
who are given very little pocket money. You can MIKE TEAVEE: You mean that's all?
W. Urz2le.5 put an Everlasting Gobstopper in your mouth and
you can suck it and suck it and suck it and suck it WILL v wo N KA [Proudly]: That's all! Don't you know
what it is?
and suck it and ... it will never get any smaller! w. Lu.r.e.s
37 38
SCENE SEVEN CHARLIE AND THE CHOCOL ATE FACTORY
VIOLET BEA UREGARDE [Yelling]; By gum, it's gum!!! VIOLET BEAUREGARDE: I \'orant the gum! What's so
It's a stick of chewing gum! silly?
WILLY WONKA: Right you are! [Slapping VIOLET WILLY WONKA: I would rather you didn't take it. 111
vv.
co t.Hl eG
\ r
hard on the back] It's a stick of the most amazing and You see, I haven't got it quite right yet. There are
fabulous and sensational gum in the world! This still one or two things -
gum is a fantastic gum - in that it's a chewing-gum
VIOLET BEAUREGARD E [Interrupting]: Oh, to heck VD,
meal! It's a whole three-course dinner all by itself!
with that! 't)u.\ ~o?_('.S
When I start selling this gum in the shops, it will
[She grabs the gum and pops it i11to her mouth]
change everything. It will be the end of cooking,
marketing, forks, plates, washing up, and garbage! WILLY WONKA: Don't! yV, ( 0MIV'CA(\d S
This piece of gum I've just made happens to be VIOLET BEAUREGARDE: fabulous! It's great! v'tt;. 1,:y·lo(Q..$
tomato soup, roast beef, and blueberry pie! But you
can have almost anything you want! WILLY WONKA: Spit it out! \f-). \) (C1\ef 5
MRS BEAUREGARDE: Keep chewing, kiddo! Keep j'l\,\3.

Voo "Drushes I VIOLET BEAUREGARDE:
that?
What do you mean by
right on chewing, baby! This is a great day for the EAWU{O..jlS
Beauregardes ! Our little girl is the first person in
WILLY WONKA: If you were to start chewing it, you the world to have a chewing-gum meal!
W , (.::) si-01..tllclS. would actually taste all of those things. And it fills
you up! It satisfies you! It's terrific! WILLY WON KA [Wringing his hands]: No - no - no - \J. D\JQ,fb
no - no! It isn't ready for eating! It isn't right! You
VS "4<G?.'oU:&:c;'5 VERUCA SALT: It's utterly impossible! mustn't do it!
VIOLET BEAUREGARDE: Just so long as it's gum, Good heavens, girl! What's M 'f:,. Ak~rrv-,5
\) .'1 . and I can chew it ... then that's for me! [She takes
MRS BEAUREGARDE:
happening to your nose? It's turning blue!
her own piece of gum out of her mouth and sticks it behind
her left earJ Come on, Mr W onka, hand over this VIOLET BEAUREGARDE: Oh, be quiet, mother, and v B\oc~s
magic gum of yours . , . and we'll see if the thing let me finish!
works! MRS BEAUREGARDE: Your cheeks! Your chin! Your
MRS BEAUREGARDE: Now, Violet ... let's not do whole face is turning blue! Mercy save us! The girl's
H.B. Aduise.s anything silly. going blue and purple all over! Violet, you're turn-
39 40
SCENE SEVEN CHARLIE AND THE CHOCOLATE FACTORY
ing violet, Violet! What is happening to you? You're WILLY WON KA: Tell the Oompa-Loompas over there
glowing all over! The whole room is glowing! to roll Miss Beauregarde into the Juicing Room at
[Blue lights on only] once!
WILLY w o N KA [Sighing and shaking head sadly] : I told MRS BEAUREGARDE: The Juicing Room? What for? Ml). Qv~ -z.i'te'S
you I hadn't got it quite right. It always goes wrong WILLYWONKA: To squeeze her! We've got to squeeze W. P\C\.(.°'-..\-c
when we come to the dessert. It's the blueberry pie the juice out of her immediately. After that, we'll
that does it. But I'll get it right one day, you wait just have to see how she comes out. But don't worry.
and see! We'll get her repaired if it's the last thing we do. I
MRS BEA UREGARDE: Violet ... you're swelling up! am sorry about it all ... I really am ...
M'e . A\er.\-s [MRS BEAUREGARDE walks off following VIO-
[VIOLET begins backing off stage]
LET]
VIOLET BEAUREGARDE: I feel most peculiai!
\). '.i6• C00 tafl'\ f\c..\e S [ v IO LET now disappears off stage] CHARLIE:
again?
Mr Wonka? Will Violet ever be all right ( , T Vit\_i.>(r~~
MRS BEAUREGARDE: You're swelling up! You're

WILLY WONKA: She'll come out of the de-juicing W ·C..\t\~d es
MB S'h cc...~S
1 blowing up like a balloon!
machine just as thin as a whistle - and she'll be
W. F,1'1\' vet\S 1 WILLY WONKA: Like a blueberry! purple. Purple from head to toe! But there you are!
That's what comes from chewing disgusting gum all
f"\<6. COM/>1CY)0S MRS BEAUREGARDE: Call a doctor!
day long!
Ms , F\olv is.ts MR SALT: Prick her with a pin!
MIKE TEAVEE: If it's so disg;;ting, then why do you fv\. A3'.::f~.Jo....(e
Mi?J. P\ec._cl $" MRS BEAUREGARDE [Wringing her hands helplessly]: make it in your factory?
Save her!
WILLY WONKA: I can't hear a word you're saying.
WILLY WONKA: It always happens like this. All the Come on! Off we go! Follow me! W .. o; :;,,'{" e (\ c/d S-
Oornpa-Loompas that tried it finished up as blue- [All exit] .___.)
berries. It's most annoying. I just can't understand it.
OOMPA-LOOMPAS:
MRS BEAUREGARDE: But I don't want a blueberry Dear friends, we surely all agree
for a daughter! Put her back this instant! There's almost nothing worse to see
41 42
SCENE SEVEN CHARLIE AND THE CHOCOLATE FACTORY
Than some repulsive little bum This sleeping woman's great big trap
Who's always chewing chewing gum. Opening and shutting, snap-snap-snap!
This sticky habit's bound to send Faster and faster, chop-chop-chop,
The chewer to a _sticky end. The noise went on, it wouldn't stop.
Did any of you ever know Until at last her jaws decide
A person called Miss Bigelow? To pause and open extra wide,
This dreadful woman saw no wrong And with the most tremendous chew
In chewing, chewing all day long. They bit the lady s tongue in two.
And when she couldn't find her gum, And that is why we'll try so hard
She'd chew up the linoleum, To save :Miss Violet Beauregarde
Or anything that happened near - From suffering an equal fate.
A pair of boots, the postman's ear, She's still quite young. It's not too late,
Or other people's underclothes, Provided she survives the cure.
And once she chewed her boyfriend's n0se. We hope she does. We can't be sure.
For years and years she chewed away,
Consuming fifty packs a day, End of Scene 7
Until one summer's eve, alas, \,_
A horrid business came to pass.
Miss Bigelow went late to bed,
For half an hour she lay and read,
At last, she put her gum away
Upon a special little tray,
And settled back and went to sleep -
(She managecl. this by counting sheep.)
But now, ho 1 ~ strange! Although she
slept,~
Those m ive jaws of hers still kept
On che ng, chewing through the night.
Even with nothing there to bite.
43 44
each walnut with their knuckles - to be sure it's not
a bad one! If it's bad, it makes a hollow sound, and
they don't bother to open it. They simply throw it
SCENE 8 down the garbage chute.
VERUCA SALT: Hey Daddy! I've decided I want a \j ,S. I
In front of the Nut Room. At centre stage, facing stage left,
squirrel! Get me one of those squirrels! D e~l'l els
is a door with a glass panel; behind it, a pile of nuts and a
rnbbish chute [inside the room]. All enter as scene opens. MR SALT: Don't be silly, sweetheart. These all belong M ~' Rt)~c+..:
to Mr Wonka.
vJ. C0-1.A..-~\OA.S WILLY WONKA: All right, stop here for a moment
VERUOA SALT: I don't care about that! I want one! V, S.
and catch your breath. And take a peek through the
glass panel of this door. But don't go in! Whatever
All I've got at home is two dogs, and four cats, and 0 I/ ltj'.)owC.(.5>
six bunny rabbits, and two parakeets, and three
you do, don't go into ... The Nut Room! If you go
canaries, and a green parrot, and a turtle, and a
in, you'll disturb the miniature squirrels!
bowl of gold-fish, and a cage of white mice, and a
(.... En\~ v<U\S CHARLIE [Peeking through the pane[]: Oh look, Grandpa! silly old hamster! I ... want ... a ... squirrel! ! !
Look!
MR SALT: All right, my pet, Daddy'll get you a MS, ?ll:.\LlA.+e
VS. S~u..ee.\ S VERUCA SALT: Miniature squirrels! squirrel just as soon as he possibly can.
M. {\sse:sse5 MIKE TEAVEE:jeepers! There must be a hundred of VERUCA SALT: But I don't want any ... old . .. \) .s. weSec\\s
them around that pile of walnuts over there.
squirrel! I want a trained squirrel.
W. I rv"pr~s e
5 5 WILLY w.oNKA: These sqmrrels are specially trained
MR SALT: Very well. [Taking out a wallet full of money] ?-'\ S . Cr IAM\p lQ.
for gettmg the nuts out of walnuts.
Wonka? !fow much d'you w~nt for one of these H s~ .. De M&J\CLS
MIKE TEAVEE: Why use squirrels? Why not use crazy sqmrrels? Name your pnce !
\"'\. Q \A es+ I Wl.5 Oompa-Loompas?
WILLY WONKA: They're not for sale. She can't have W. Re\'<-tl';e.S
WILLY WONKA: Nobody can get walnuts out of one.
walnut shells in one piece, except squirrels. I insist
on using only whole walnuts in my factory - so I use VERUCA SALT [Furious]: Who says I can't?! I'm going VS.
squirrels to do the job. And see how they first tap in to grab me a squirrel this very minute! u is <ejc..rde .S
45 46
SCENE EIGHT
CHARLIE AND THE CHOCOLATE FACTORY I
WILLY WONKA: Don't! MR SALT: By golly ... she is going down the chute! MS, Cof\-0~MS
[ v ER u c A goes through the door and approaches the
squirrel she wants]
[v u c wriggles herself into chute and out ofsight]
ER A I
VERUCA SALT: All right, I'll have you!
wrLLY woNKA: She's gone! W, Asseri s
[As she reaches out, she acts as if all the squirrels are MRS SALT: Where do you suppose she's gone to? MS.l[Vlq_V; rR...S
leaping on to her. She struggles and wriggles and
screams] WILLY woNKA: That particular chute runs directly W,ThtorMS
into the great big main rubbish pipe which carries
WILLY WONKA: No - no - no! They've all jumped away all the rubbish from every part of the factory-
on her! All of them! Twenty-five of them have her all the floor sweepings and potato peelings and
right arm pinned down. Twenty-five have her left rotten cabbages and fish heads and stuff like that.
arm pinned down. Twenty-five have her right leg
anchored to the ground. Twenty-four have her left MIKE TEAVEE: Who eats fish and cabbage and M. Scoffs
leg. And the last squirrel ... it's ... it's climbed potatoes in this factory, I'd like to know?
up on her shoulders and started tap-tap-tapping on
Veruca's head with its knuckles! WILLY WONKA: I do, of course. You don't think I W. ~offifie.5
live on cacao beans, do you? And of course, the
. Q \. MRS SALT: Save her! Veruca! Come back! What are pipe goes to the furnace in the end.
Ms. u.es11oY15 . h ?
they domg to er.
'- / c ) - WILL y woNKA: They're testing her to see if she's a
MR SALT: Now see here, Wonka ... I think you've MS . Yi (l'1 ek
VV' C:..KP O..i (l
5 bad nut - watch! [vERUCA now acts as if she's being
gone just a shade too far this time, I do indeed. My U. M ·
daughter may be a bit of a frump - I don't mind
dragged across the floor towards the rubbish chute] My admitting it - but that doesn't mean you can roast
vJ, 'Proc\diMS goodness! She is a bad nut after all. Her head must her to a crisp. I'll have you know I'm extremely
have sounded quite hollow! cross about this - I really am.
[v ER u c A kicks and screams but to no avail]
MS, Q\,\eS~~ifYI~ MRS SALT: Where are they taking her? WILLY WONKA: Oh, don't be cross, my dear sir! I W,. Pa..c.. ~f=/ei.S
expect she'll tum up again sooner or later. She may
WILLY woNKA: She's going where all the other bad not even have gone down the pipe at all. She may
W• S usf:t~S nuts go - down the rubbish chute! be stuck in the chute, just below the entrance hole.
47 48
SCENE EIGHT CHARLIE AND THE CHOCOLATE FACTORY
And if that's the case, all you'll have to do is go in MIKE TEAVEE: My feet are getting tired! I want to
and pull her up again. watch television!
I
[MRS SALT runs into the Nut Room and looks into
the hole, bending over]
WILLY WONKA: If you're tired then we'd better take W.co(Y\pl i6
the elevator. It's just down the hall. Come on!
MS , Ba..\low_s MRS SALT: Veruca! Are you down there? [All exit]
[She leans over further and falls into the chute, as if
OOMPA-LOOMPAS:
pushed by the squirrels]
Veruca Salt, the little brute, Q · J\ffG\."
W Anri.ouflCe.5
1
WILLY woNKA: Oh no! The squirrels have pushed Has just gone down the rubbish chute,
her, too! (And as we very rightly thought
MR SALT: Good gracious me! What a lot of rubbish That in a case like this we ought
there's going to be today! [He leans over the hole and To see the thing completely through,
peers in] What's it like down there, Angina? [Acts We've polished off her parents, too.)
as if being pushed by the squirrels too] Help! Down goes Veruca ! Down the drain!
[He also falls into the chute] And here, perhaps, we should explain
That she will meet, as she descends,
C. t="r eJs CHARLIE: Oh dear! What on earth's going to happen
to them now?
A rather different set of friends:
Some liverwurst so old and grey Q . ~~Cle.A
W. C°'lms WILLY WONKA: I expect someone will catch them at
the bottom of the chute.
One smelled it from a mile away,
A rotten nut, a reeky pear,
c.Q u.e~Ji Ul'1~ CHARLIE: But what about the great fiery incinerator?
A thing the cat left on the stair,
And lots of other things as well,
u
W nse.-ti-les
1
WILLY WONKA: Oh that! They only light it every
other day. Perhaps this is one of the days when they
Each with a rather horrid smell.
These are Veruca's new found friends
let it go out. You never know - they might be That she will meet as she descends,
lucky. I've never seen anything like it! The children And this 1s the pnce she has to pay Q , F\· c.M.H~
J . ,·
are disappearing like rabbits! Oh well, shall we For going so very far astray.
move on? But now, my dears, we think you might
CHARLIE and GRANDPA JOE: Oh, yes! Be wondering-is it really right o_ C<Art;"J<A.\c..
49 50
SCENE EIGHT
That every single bit of blame

And all the scolding and the shame
Should fall upon Veruca Salt?
Is she the only one at fault? SCENE 9
For though she's spoiled, and dreadfully so,
A girl can't spoil herself, you know. By the Great Glass Elevator. Elevator is at centre stage, and
Who turned her into such a brat? all enter and gather around it as scene opens.
Who are the culprits? Who did that?
Alas! You needn't look so far CHARLIE: Wow! Look at that! It's a Great Glass C. Re~k.S
To find out who these sinners are. Elevator! And look at all the buttons all over.
0 . APf°"\\ They are (and this is very sad) WILLY WONKA: This isn't just an ordinary up-and- w. Amc(Z,~
Her loving parents, Mum and Dad. down elevator! This elevator can go sideways and
And that is why we're glad they fell longways and slantways and any other way you can
Into the rubbish chute as well. think of! It can visit any single room in the whole
factory, no matter where it is! You simply press the
End of Scene 8 button and zing! You're off!
GRANDPA JOE: Fantastic!
CHARLIE: Look! Each button is labelled! C • EV!'.]fOS~
WILLY WONKA: And each button stands for a room! v),;Ev1-fhtal!.$
MIKE TEA VEE: Yeah ... let's see. It says, Strawberry- M. l-15./-5
juice Water Pistols, Exploding Candies for your
enemies, Stickjaw for talkative parents, Invisible
Chocolate Bars for eating in class, Rainbow Drops -
suck them and you can spit in six different colours -
WILLY WONKA: Come on! Enough! Enough! We
can't wait all day!
[They enter the elevator]
51 52
SCENE NINE CHARLIE AND THE CHOCOLATE FACTORY
MIKE TEA VEE: Isn't there a Television Room in all WILLY WONKA: No! No! Not now! We're nearly W, De..\e.
this lot? there! Don't spoil my hat!
[Elevator stops shaking]
w. ftl+ices WILLY WONKA: Certainly! Right here!
Some ... ride!
[He points to a button] MIKE TEAVEE: M· Arplcu.ds
M,Svz.es MIKE TEAVEE: Whoopee! That's for me! MR TEA VEE: Never again! fv\T. Avol).)S.
[He presses a button and the elevator shakes] WILLY WONKA: Just a minute now! Listen to me! W.
~ . ectv.ticf\'1 s WILLY WON KA [Laughing]: Hang on, everybody! Before we go into this Television-Chocolate Room, Fore_wc..r/'l).
I want to warn you. There is dangerous stuff
MT. A\trb MR TEAVEE: I'm going to be sick!
around in here and you must not tamper with it!
\-J. F\v.e,/t--s WILLY WONKA: Please don't be sick. [Pause] Okay, everybody out!
[All leave elevator and exit]
IV\\. BlcxJ(<;. MR TEAVEE: Try and stop me!
w. A~sist.5 WILLY WON KA [Holding his hat in front of MR TEA-
End of Scene 9
VEE]: Then you'd better take this!
~1 'P\eo.ds MR TEA VEE: Make this awful thing stop!
ltJ. UnVIUv'lS WILLY woNKA: Can't do that! It won't stop 'til we
get there. I only hope no one is using the other
elevator at this moment.
M'· ~e«.KtllS MIKE TEAVEE: What ... other ... elevator?

The one that goes the opposite way
w."Turr~ie,s
WILLY WONKA:
on the same track as this one !
Holy mackerel! You mean we might
M\- fo-Aid<~ MR TEAVEE:
have a collision ?
w. Fl LAc.ters. WILLY woNKA: I've always been lucky so far.
fl\T, CfllCJ<.5 MR TEA VEE: Now I am going to be sick I
53 54
antenna, and then put together again on a screen -

why couldn't I send a real bar of chocolate whizzing
through the air in tiny pieces, and then put the
SCENE IO
pieces together at the other end, all ready to be
eaten?
The Television-Chocolate Testing Room. It is completely
bare except for a large television camera at one end, a large MIKE TEAVEE: Impossible!
television screen at the other, and several bright .floodlights.
All enter as scene opens. WILLY WONKA: Think so? Watch me send a bar of V~- \)G.\.;Jo.~Q.<:,
chocolate from one end of this room to the other -
W. Re..veC\lS WILLY WONKA [Hopping up and down with excitement]: by television. Bring me that chocolate bar, please.
Here we go! This is the Testing Room for my very [ c HARL IE brings over an enormous bar of chocolate
latest and greatest invention - Television Chocolate! from off stage] It has to be big, because whenever you 'N, -::S v.s \· ~ ~ : t.S
send something by television, it always comes out
}1. Qu.ec::.4ta<1 5 MIKE TEAVEE: But what is Television Chocolate? much smaller than it was when it went in. Here we
W '(( , • cl WILLY WONKA: Good heavens, child, stop inter- go then! Get ready! [MIKE wanders curiously towards
. e.~r lMM $ rupting me! It works by television. I don't like the camera] No! No! Stop! You there! Mike Teavee! W. \-\o. . \tS
television myself. I suppose it's all right in small Stand back! You 're too close! There are dangerous
doses, but children never seem to be able to take it rays coming out of that thing! They could break you 1. I 0 r· I
· ·ii· · · . d, [ Y'V, Ge p 1MMC1..'S
in small doses. They want to sit there all day long ... up mto a n:u ion tmy p1eces m one secon . M 1KE
staring and staring at the screen - backs away] T hat's better! Now then ... switch on! W. °'DeMOfls{-fc...W
--r- 1 tr> MIKE TEAVEE: That's me!
[Lights flash and bar. disappears through slit in
M, -lfl'!:~((Uf curtain]
'f~' -\e.,s MR TEA VEE. Shut up!
1-\\, > I
WILLY WONKA: Thank you. Now then! The very

GRANDPA JOE [Waving his arms and shouting]: The G,:}_ Mo..dt\_s
chocolate's gone!
first time I saw ordinary television working, I was
struck by a tremendous idea. If a photograph could WILLY WONKA: It's on its way! It's now rushing \/J, \::0.><.~f\o....\-Q
be broken up into millions of pieces, and the pieces through the air above our heads in a million tiny
sent whizzing through the air until they hit an pieces. Quick! Come over here ! [All dash over to the
55 56
SCENE TEN CHARLIE AND THE CHOCOLATE FACTORY
[ M 1 KE is a1f and moving when lie hears w ILLY
other side of the stage, to TV screen] Watch the screen!
[Small bar of chocolate appears through slit in curtain and WON KA say' I'm pretty sure']
lighted screen] Take it! MIKE TEAVEE: Look at me! I'm going to be the first
MI KE TEA VEE [Laughing]: How can you take it? It's person in the world to be sent by television!
just a picture on a television screen! WILLY WONKA: No! No! No! Nol
[c HAR LIE reaches out and the chocolate miracu-
lously goes into his hands-] MR TEAVEE: Mike! Stop! Come back! You'll be
turned into a million tiny pieces! MT. P\el/\d,S
GRANDPA JOE: It's absolutely fantastic! It's ... it's
... it's a miracle! MIKE TEA VEE: See you later, alligator! M' f90 0 res
[He Jumps into the glare of the light and then dis-
\tJ. E \ , . . WILLY WONKA: Just imagine - ":'hen .r start using this appears through foldr in curtain]
e_c:\'{\~e_s across the country, a commercial will flash on to the
screen and a voice will say, 'Eat Wonka's Choco- MR TEA VEE [Running to spot where MIKE disappeared]: MT.
lates! They're the best in the world! If you don't He's gone! AnnDU(}Ce..5
believe us, try one for yourself .•. now! ! ! ! '
WILLY WONKA [Placing a hand on MR TEAVEE's w.
G-J:' AclM~(l~ GRANDPA JOE: Terrific! shoulder]: We shall have to hope for the best. We CM15o k..s
must pray that your little boy will come out un-
M . 1 n ~LAire.eS MIKE TEA VEE [Shouting]: But Mr Wonka, can you
harmed at the other end. We must watch the
send other things through the air in the same way?
television screen. He may come through at any
Like people? Could you send a real live person
moment.
from one place to another in the same way?
[Everyone stares at the screen]
VJ· \..._o..""'\o°'s-\-s. WILLY WONKA: A person? Are you off your rocker?
MR TEA VEE [Wiping his brow nervously]: He's taking Ml.
MIKE TEA VEE: But could it be done? a heck of a long time to come across. \.,JU r <I e5
f". Pr0bes
\rJ. r.O"'S.\ \ "(<.. WikLLY WONIKA: Goo~t heavldens, child.I'! realltyt don't WILLY woNKA: Hold everything! Watch the screen! W .D\vec..\-s.
~ •• <:fa'C, - ' now . . . suppose i cou ... yes, m pre y sure Something's happening!
it could ... of course it could. I wouldn't like to
risk it though - it might have some very nasty results.
MR TEA VEE: Here he comes! Yes, that's him all right! l"\"T. Cof\~·1rM..5
57 58
SCENE TEN CHARLIE AND THE CHOCOLATE FACTORY I
~ [Pause] But he's a midget! Isn't he going to get any MR TEAVEE: How far do you think he'll stretch? MT ?roc\S j
f{\T, :f<rte<(03" bigger?
WILLY WONKA: Maybe miles! Anyway, he'll be vJ .Ta..u.A :S
W, 'f..eo.ssures WILLY woNKA: Grab him! Quick! [MR TEAVEE acts awfully thin! But we'll fatten him up with all my
as if he grabs something] He's completely okay! super vitamin candy. It contains all the vitamins vJ , !Y1o;.\-r1.Ac.ts
from A to Z ! [Writing instructions on a sheet of paper]
AA,.,.., D, b . MR TEA VEE [Acting as if something is in his hand]: You
e he,..,e ~ call that okay? He's shrunk! Mr Teavee, just hand these orders to the Oompa- , .
1
r' • \ '<>
Loom pas over there ... and don't look so worried! W. \',(:'.'ClSSl.A(e.5
WILLY woNKA: Of course he's shrunk. "What did you They all come out in the wash you know- every one
W. \-l·H cv:,\c.S expect? of them.
[All exit]
MR TEA VEE: This is terrible! I can't send him back to
school like this! He'll get squashed! He won't be OOMPA-LOOMPAS:
able to do anything! [He acts as if he is listening to The most important thing we've learned,
M. De().·11;;._11Js MIKE, in his hand] What did you say, Mike? [Pause] So far as children are concerned,
Never! No, you will not be able to watch television!
r•(\. Ctn; des I'm throwing the television set right out the window
Is never, never, never let
Them near your television set -
the moment we get home. I've had enough of tele- They loll and slop and lounge about,
fl · ?-.d·CA Iicde> vision! What, Mike? [Pause] I don't care what you And stare until their eyes pop out.
r-r .s~ \enu:5 want •.. or how much you jump and scream! [He
puts him in his pocket, acting as if he is secure there, slap-
Oh yes, we know it keeps them still,
They don't climb out the window sill,
ping his pocket] There! They never fight or kick or punch,
They leave you free to cook the lunch
CHARLIE: Gee, how will Mike ever grow again?
C. Ioq\A·ire.s And wash the dishes in the sink -
But did you ever stop to think,
WILLY WONKA [Stroking his beard thoughifully]: Well
To wonder just exactly what
w. R!ll1SlfY1S ... small boys are extremely springy and elastic, so
maybe he'll stretch if we put him on a special This does to your beloved tot?
machine I have for testing the tough stretchiness It rots the senses in the head!
of chewing gum 1 It kills imagination dead!
59 60
SCENE TEN
His brain becomes as soft as cheese!
His powers of thinking rust and freeze!
P.S. regarding Mike Teavee, Q. S CO\ ol
We very much regret that we
He cannot think - he only sees! Shall simply have to wait and see
'Al] right!' you'll cry. 'All right !' you 11 say, If we can get him back his height.
'But if we take the set away, But if we can't - it serves him right.
What shall we do to entertain
Our darling children? Please explain !'
End of Scene 10
We'll answer thls by asking you,
What used the darling ones to do?
They ... used ... to ... read! They'd read and
read,
And read and read, and then proceed
To read some more. Great Scott! Gadzooks !
One half their lives was reading books !
Such wondrous, fine, fantastic tales
Of dragons, gypsies, queens, and whales
And pirates wearing purple pants,
And sailing ships and elephants,
And cannibals crouching 'round the pot,
Stirring away at something hot.
Oh, books, what books they used to know,
Those childr en living long ago I
So please, oh please, we beg, we pray,
0, 'P\eClo\ Go throw your TV set away,
Fear not, because we promise you
That, in about a week or two
Of having nothing else to do,
O Assure.. They'll now begin to feel the need
Of having something good to read.
61 62
~(,
Dreo..MS day is out! Just think of the arrangements that have
to be made!
CHARLIE: Wait, Mr Wonka ... I'm afraid I don't c-
·:c.-, t rr~lpb.
SCENE II understand all of this! What are you talking about? C, Que s\-~· oY\S
WILLY woNKA: Oh ... do forgive me! I get carried w.A olo ,,(zes
Somewhere in the Chocolate Factory. WILLY WONKA, away at times. I forgot that you didn't know - f· ~
CHARLIE and GRANDPA JOE enter as scene opens.
CHARLIE: Know what? Q. Probes
WILLY WON KA [Becoming quiet and serious]: You know, W, S o\oe rs.
VJ, Ho.s+!!/1S WILLY WONKA: Which room shall it be next? Hurry
Charlie, I love my chocolate factory. [Pause] Tell W - r ~
up! We must be going! And how many children are
v0, f\s9)sses left now? [Looks around] Hmmmmmmmmmmmm-
me, Charlie, do you love my chocolate factory? · 1 € S 1.S
Think carefully, because it's very important - how
mmmm !
you feel.
GRANDPA JOE: I guess there's only Charlie left now, CHAR LIE [Very thoughtfully]: Well, Mr Wonka, all C, ?oncters
MrWonka. that I can say is that I've never spent a more fantastic
WILLY WONKA [Pretending to be surprised]: You mean day anywhere . . . in my whole life. I've been very,
... you're the only one left? very happy. Do I love this factory? [Pause] Yes ... C. f\-·Hesi-s
yes, I think I do! It means ... a great deal to me.
c. CHARLIE: Why ... yes.
GRANDPA JOE: Why do you ask, Mr Wonka? G-.J r
01.Aes--\-\o-(lS
WILLY WONKA [Suddenly exploding with excitement]: WILLYWONKA: Well ... of course Charlie and all of W. D"1sc\ose5
But my dear boy, that means you've won! [He shakes the others will receive all of the candy I promised,
CHARLIE's hand furious{Y] Oh, I do congratulate but I want Charlie to receive much more! You sec,
you! I really do! I'm absolutely delighted! It this whole day has been a contest. It's been a contest
couldn't be better! How wonderful this is! I had a to find out who would be the best person for the job.
hunch, you know - right from the beginning - that
CHARLIE: What job?
it was going to be you! Well done, Charlie ... well
done! But we mustn't dilly! We mustn't dally! We WILLY WONKA: Well you see, I'm tired, Charlie. I'm \]J .En-\·; C E'S;.
have an enormous number of things to do before the not getting any younger, and it isn't as easy to carry
63 64
SCENE ELEVEN
out my ideas as ... as ... it once was. I need some

help. That means ... you!
r>
\....- • Q · <:. \ .
~e,,··n c:m..,
<.CHARLIE: Me?
, +z, WILLY WONKA: Yes! I would like you and Grandpa
W ·~e5 WS Joe and, of course, all the rest of your family, to
W . E.ni \.,(Ct l \.s move here - and live here - permanently! I would like
to have someone who will take over ... after I've
gone. I have no family, and I can think of no one I
W. Co0-~es would like to run the factory more than you. This
would be after I've trained you and taught you
everything I know, of course! I've watched you all
W, E xo-.Hs day, and you are the type of person that will ap-
w. E .,,. ,..,·, \ ( (/e es preciate this factory ... and care for it as I have, all
these years. Will you accept my offer? If you do,
W. ()\{'e>(S everything that I have is yours.
CHARLIE: Will I? Wow! This is more than I could
have ever imagined ! Will I? Of course I will, Mr
Wonka ! Thank you! Thank you! Just think of it,
Grandpa Joe! Wait until we tell Dad and Mum and
the grandfolks ! It's going to be our chocolate factory!
And we're never ever going to starve again! Just
think of all that chocolate! Oh, just you ·w ait and
see!
Curtain
65
Hansen 154
IV. Characters
Willy Wonka:
A. Desire: Wonka wants to find someone who is like-minded, imaginative, and
shares his excitement and joy in creating and inventing new candy products to carry on his
legacy after he is gone.
B. Will: Wonka's will is strong because he is willing to risk exposing his secrets to
achieve his goals. He runs a contest that makes it possible for anyone from anywhere in the
world to find a Golden Ticket and be allowed into his factory. It is random and he does not
know what the results will be. He shows he is willing to go to extremes to find what he is
looking for. He reveals all his most prized inventions and allows the contest winners to,
through their own free will, show their true colors.
C. Moral stance: Wonka is the most morally opinionated character in the play, with
the Oompa-Loompas acting as a chorus to reflect his beliefs. He often comments on
children's misbehavior, disgusting habits and greediness. He blames parents for not properly
disciplining their children. Wonka' s ideal world is one where all children, and adults, are
well-mannered, polite, respectful, humble, honest, selfless, trustworthy, appreciative, kind,
useful, creative and imaginative. He knows this is impossible, and takes it upon himself to
punish those who are bad, and reward those who are good.
D. Decorum: As a businessman and chocolate treat inventor, Wonka likely dresses
respectable. However, because he is an eccentric, his clothes probably reflect this part of his
personality. They are likely multi-colored, consisting of contrasting color schemes such as
purple contrasting orange. He may wear a long coat and gloves. He wears a hat that is large
enough to offer to Mr. Teavee should he need to be sick. It is likely a top hat. Although he
Hansen 155
is getting older and tired, he often runs, jumps, or hops around with excitement. He probably
speaks quickly, often with some hint of sarcasm showing through his genuine delight. He has
a beard that he strokes while he thinks. He shakes hands a lot, and is very enthusiastic. He is
likely a spritely man with a slight build, yet looks bigger than he is because of his
overwhelming personality and presence.
E. Summary List of Adjectives: Willy Wonka is dedicated, a risk taker, self-
righteous, high-class, successful, confident, disciplined, energetic, imaginative, larger than
life, creative, loquacious, and eccentric.
Charlie Bucket:
A. Desire: Charlie wants to win a Golden Ticket.
B. Will: Charlie's will is medium. Charlie dreams of winning a Golden Ticket, but
he does not do anything to actively pursue this dream. When he finds money in the snow
while walking home from school, it is by chance. However, rather than using it all to buy
food for his starving family, he risks having his hopes shattered for one more chance at
winning a Golden Ticket.
C. Moral stance: Charlie exhibits every good quality Wonka feels all children should
be instructed to achieve. These qualities include polite manners, respect for others, patience,
obedience, humbleness, kindness, and imagination. While Charlie's family has good moral
values, and they expect him to behave properly, Charlie's moral stance is not really a
conscious choice. He is innately good.
D. Decorum: Charlie is probably very skinny because he is starving and weak. He
walks slowly to conserve his energy. Because he is poor, he probably wears dull colored,
second hand, ragged and dirty clothes that are too small for him, yet still look baggy. They
Hansen 156
are likely mismatched, and of no particular style. Charlie is fairly quiet most of the time, and
probably quite observant. His eyes likely sparkle and are open wide. He speaks using proper
English, and does not use slang words. His tone is polite and respectful. He always says
please and thank you. He has a youthful, and kindred spirited energy in his voice.
E. Summary List of Adjectives: Charlie is altruistic, curious, selfless, virtuous, a
daydreamer, devoted, kind, respectful, frail, humble, lovable, happy, imaginative, and
appreciative.
Grandpa Joe:
A. Desire: Grandpa Joe wants Charlie to win the fifth Golden Ticket.
B. Will: Grandpa Joe's will is medium. The only thing that Grandpa Joe does to
actively help Charlie win is to buy him the usual birthday present chocolate bar. He
encourages Charlie to keep believing in his dreams.
C. Moral stance: Grandpa Joe is proud of Charlie and pleased with how he is
growing up. His moral values are similar to Wonka's. He believes that Charlie deserves to
be rewarded for his virtuous qualities. He is repulsed by the other ticket winners, and feels it
is unfair that such undeserving children should win.
D. Decorum: Grandpa Joe is over 90-years old. Although he is old, he maintains a
youthful spirit. His eyes sparkle. He often waves his hands in excitement, or gets sudden
bursts of energy. He is probably thin from malnourishment and wrinkled. Because he has
not left his bed in several years, he is probably weak, flabby and frail. His skin is probably
pasty white because he does not go outside. He lives in his pajamas, except for when he
goes to the factory. He probably wears an old wool or tweed, muted brown suit with pockets
in his pants.
Hansen 157
E. Summary List of Adjectives: Grandpa Joe is caring, curious, devoted, proud, wise,
knowledgeable, and although he is physically old and frail, he has a youthful spirit.
Augustus Gloop:
A. Desire: Augustus wants to eat as much chocolate as he possibly can. In fact, his
only care and interest in the world is eating.
B. Will: Augustus' will is so strong that he stuffs his face with as much chocolate as
he possibly can. He has no control over his desire to eat. Because he is so gluttonous, he
falls into the chocolate river and thus ends his factory tour.
C. Moral stance: Augustus believes that eating is the most important thing to do in
life.
D. Decorum: Augustus is constantly hungry and when he eats, he probably shovels
food into his mouth with his hands like he is starving. It is likely that he snorts when he eats.
He tires easily. Augustus is probably a very overweight child. He probably wears clothes
that are especially tailor made to fit him. They are likely green. His speech is probably slow
or delayed. His mouth is probably open much of the time with his tongue sticking out. He
may even drool and slurp.
E. Summary List of Adjectives: Augustus is gluttonous, greedy, selfish, overweight
and weak.
Violet Beauregarde:
A. Desire: Violet wants to beat the gum chewing record.
B. Will: Violet's will is so strong that she is hardly ever without a piece of gum in
her mouth. The piece she chews in the play is one she has chewed for three months, only
taking it out to eat and sleep. When she does take it out of her mouth, she sticks it behind her
Hansen 158
ear for safe keeping rather than throwing it out.
C. Moral stance: She believes that competition, and gaining social status and
recognition is the most important thing in life.
D. Decorum: Violet is always chewing gum, probably with her mouth open, making
loud smacking, and popping noises. When she needs to take her gum out of her mouth for
any reason, she sticks it behind her ear to save it for later. Her clothes are probably the same
color as the gum she chews, likely blue. She talks with an arrogant tone, sometimes using
slang words. Her speech is probably fast. Her skin turns blue and she swells up to be as
round as a giant blueberry. She is probably energetic and lively since she is so competitive.
It is likely that she cannot stand still for long because she is so impatient.
E. Summary List of Adjectives: Violet is competitive, arrogant, rude, outspoken,
revolting and disgusting.
Veruca Salt:
A. Desire: Veruca wants everyone to bend to her beck and call. When she says she
wants something, others better get it for her!
B. Will: Veruca's will is very strong. She is so stubborn that she throws wild temper
tantrums to coerce her parents into submission. In the chocolate factory, she cannot stand
being told that she cannot have a squirrel. Without knowing anything about them, she goes
into the nut room to simply take a squirrel for herself. The squirrels attack her and throw her
down the rubbish chute, which ends her factory tour.
C. Moral stance: Veruca believes that her every wish and demand should be fulfilled,
immediately.
D. Decorum: Veruca probably dresses like a princess, all in pink. Her clothes are
Hansen 159
likely expensive designer clothes. She probably only wears pretty party dresses, with
matching accessories. Her hair is probably curly and cute. She talks with an upper class
snobbish tone and a confidence unusual in a child's voice. She loses her temper easily and
throws temper tantrums, while screaming and kicking on the floor. She speaks loud,
trumpeting her voice over everyone else's. She has a multitude of pets that she easily gets
bored of.
E. Summary List of Adjectives: Veruca is demanding, manipulative, prissy, selfish,
self-centered and spoiled.
Mike Teavee:
A. Desire: Mike wants to be left alone to watch television as much as he pleases.
Mike's only care in the world is the world of television.
B. Will: Mike's will is medium. While he complains throughout the tour that he
wants to watch television, he does not sneak off to find a television. After he is shrunk, Mike
still asks to watch television. It appears he will not learn his lesson.
C. Moral stance: Mike believes that watching television is the highest achievement in
life.
D. Decorum: Mike carries around his gangster guns with him and periodically pulls
them out to shoot them around the room. Because he likes violence on television, and wants
to be just like the gangster's in the shows, Mike probably behaves very physically rough.
Although he seems to have energy to shoot his guns, he tires easily. He probably dresses like
his favorite gangster television character, in dark clothes. He speaks loud and with little
respect. He habitually interrupts people when they speak and constantly asks questions.
E. Summary List of Adjectives: Mike is addicted, slothful, lazy, selfish and violent.
Hansen 160
Mr. Bucket:
A. Desire: Mr. Bucket wants Charlie to win the Golden Ticket.
B. Will: Mr. Bucket's will is weak. Although he wants Charlie to win a Golden
Ticket, he does nothing other than to buy him the usual birthday present chocolate bar.
C. Moral stance: Mr. Bucket believes that an idle life is a wasted life.
D. Decorum: Mr. Bucket is an unemployed toothpaste factory worker. His hands are
probably rough and worn. He probably looks tired, and older than his years. He sits in a
chair reading a newspaper. He might squint because he probably needs glasses but cannot
afford them. He is starving and probably skinny. He may have back problems from
performing such a menial job for hours on end, and so his movement might be slow and
labored. His clothes are probably simple, plain and worn-out. He is fairly quiet, and
probably soft-spoken.
E. Summary List of Adjectives: Mr. Bucket is a provider, oppressed, honest,
hardworking, passive and frail.
Mrs. Bucket:
A. Desire: Mrs. Bucket wants Charlie to win the Golden Ticket.
B. Will: Mrs. Bucket's will is weak. She cares for Charlie and worries about him,
but she does not encourage him to believe in his dreams. She may even be considered
slightly pessimistic because she initially thinks Charlie spends all the money he finds on
chocolate. She also only buys him the usual birthday present chocolate bar.
C. Moral stance: Mrs. Bucket believes in being a good wife, mother, daughter and
homemaker. She cooks all meals, even if it is only cabbage soup, cares for her and her
husband's elderly parents, and is concerned about bringing up her son properly.
Hansen 161
D. Decorum: Mrs. Bucket is the homemaker, performing all the household duties and
cooks. Her hands are probably worn and red. She is starving and so is probably skinny and
malnourished. She probably looks older than her years. Her eyes likely look tired and
worried. Her clothes are likely old and ragged. They may even be clothes that she hand
sews herself, from old, discarded material or clothes. She probably wears an apron and a dull,
oversized wool sweater borrowed from her husband.
E. Summary List of Adjectives: Mrs. Bucket is a good mother, caring, pessimistic, a
caregiver and homemaker, frail and tired.
Grandma Josephine, Grandpa George, Grandma Georgina:
A. Desire: They want Charlie to win the fifth Golden Ticket.
B. Will: The other grandparent's will is weak. They do nothing to encourage or help
Charlie other than to buy him the one chocolate they give him every year for his birthday.
They are also quite pessimistic since they believe their circumstances will not change. This
is evident when Grandma Josephine says, "Quite so ... and just as sure as I'll be having
cabbage soup for supper tomorrow, that ticket'll go to some nasty little beast who doesn't
deserve it!" (Dahl and George, Charlie [Knopf] 13).
C. Moral stance: The grandparents believe that children should be polite, respectful,
and kind. They believe only deserving children should be rewarded.
D. Decorum: The grandparents are very old and tired. They are all over 90-years old
and never get out of bed. They are probably huddled together in the tiny, donated bed, and
hunched over. They are starving, so they probably look malnourished and thin. Their skin is
probably pasty white from never going outside, and wrinkled. They may sound a bit crabby,
grumpy and negative, but when speaking to Charlie, the love is evident in their voice. They
Hansen 162
are wrapped in old quilted heirloom family blankets to keep warm.
E. Summary List of Adjectives: The grandparents are loving, pessimistic, altruistic,
old, tired, and poor.
Mrs. Gloop:
A. Desire: Mrs. Gloop wants her son to eat as much food as he wants.
B. Will: Mrs. Gloop's will is weak. She is passive and does nothing to stop Augustus
from eating. When he falls into the chocolate river, she shouts at everyone else telling them
to "do something" while she does nothing herself to help her son (29).
C. Moral stance: Mrs. Gloop believes that food is love.
D. Decorum: Mrs. Gloop carries a purse that she chases Wonka with and tries to hit
him. Her purse is probably filled with chocolate bars for herself and Augustus. She is
probably very overweight like her son, and has trouble moving. She probably waddles. Her
clothes may be too small for her because she probably tries to fit into sizes too small so she
can hide from the truth. She probably has a muffin top popping over the waist of her skirt.
She probably wears too makeup. She may sound weak, insecure and shallow.
E. Summary List of Adjectives: Mrs. Gloop is an enabler, passive, unaccountable,
and reactive.
Mrs. Beauregarde:
A. Desire: Mrs. Beauregarde wants Violet, and the whole Beauregarde family, to
achieve the highest social status.
B. Will: Mrs. Beauregarde's will is strong. She encourages Violet to disobey Wonka,
and keep chewing the gum after he warns her against it. Mrs. Beauregarde even goes so far
as to say, "This is a great day for the Beauregardes! Our little girl is the first person in the
Hansen 163
world to have a chewing-gum meal!" (40).
C. Moral stance: Mrs. Beauregarde believes in doing whatever it takes to get to the
top, even if it is at another's expense.
D. Decorum: Mrs. Beauregarde is talkative, critical, and yells at her daughter. Her
movements and voice are probably domineering and forceful. She probably dresses younger
than she should to show that she is hip and trendy. She also likely has the best of everything.
Her hair is probably bleach-blonde. Her voice may sound snobbish, and she may eye people
up and down while turning up her nose at them.
E. Summary List of Adjectives: Mrs. Beauregarde is arrogant, disrespectful,
aggressive, selfish, competitive and critical.
Mr. & Mrs. Salt:
A. Desire: Mr. and Mrs. Salt want to avoid Veruca's temper tantrums, and keep her
placated.
B. Will: Mr. and Mrs. Salt's will is weak because in avoiding Veruca's temper
tantrums they allow her to control their lives.
C. Moral stance: Mr. and Mrs. Salt believe that money and things are love and
happiness.
D. Decorum: Mr. and Mrs. Salt are peanut factory owners. They only employ
women. Mr. Salt has a sharp tongue when he speaks with anyone other than his daughter.
He is demanding and commanding. Mr. Salt carries a full wallet of money: a symbol of his
extreme wealth. He loses his temper easily like his daughter, and expects that he can bribe
anyone with money. Because the family is so concerned with material possessions, Mr. and
Mrs. Salt probably dress very posh and wear expensive clothes. Mrs. Salt likely wears a lot
Hansen 164
of jewelry and carries a fashionable purse. They both probably talk with airs.
E. Summary List of Adjectives: Mr. and Mrs. Salt are mollycoddlers, ignorant,
impatient, shallow, weak and materialistic.
Mr. & Mrs. Teavee:
A. Desire: The Teavees want to keep their son quiet and not have to deal with him.
B. Will: Their will is weak and passive because they are uninvolved parents.
However, toward the end of the play, their will becomes strong. After Mike is shrunk, Mr.
Teavee takes an active and firm parenting role, asserting that once they get home, he is
getting rid of the television set.
C. Moral stance: The Teavees are uninvolved parents who believe that television can
raise their son. For them, as long as Mike is quiet and entertained, slothfulness is acceptable.
D. Decorum: Mr. Teavee has a weak stomach. He gets motion sickness, nervous
easily and sweats. Mr. Teavee is likely frail with a slender build. He probably dresses in
boring colors so as not to stand out in a crowd. His voice probably sounds tired and quivers
at times. It is likely that he wears glasses. His fingers are probably long and spindly. He
probably walks awkwardly and hides in the back of the group. Mrs. Teavee only has two
lines of dialogue in the entire play, and one of the two she says simultaneously with Mr.
Teavee. It is likely that Mrs. Teavee is the female version of her husband.
E. Summary List of Adjectives: The Teavees are uninvolved, passive, weak,
irresponsible and nervous.

Direction of The Play: Roald Dahl's Charlie and The Chocolate Factory: A Play

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Central Washington University

Direction of the Play: Roald Dahl's Charlie and the

Follow this and additional works at: http://digitalcommons.cwu.edu/thesis_projects

the Graduate Faculty

Central Washington University

of the Requirements for the Degree

Teresa Jean Hansen

July 11, 2013

We hereby approve the project report of

Teresa Jean Hansen

Candidate for the degree of Master of Arts:

APPROVED FOR THE GRADUATE FACULTY

Date of Signature Professor George Bellah

Professor Scott Robinson

l '1- -rJ\} - ()-0 l 1.

Teresa Jean Hansen

March 11, 12, 13, 2013

casting, direction, and post-production analysis of Udhailiyah School's production of

non-traditional directorial vision of this production.

Teresa Jean Hansen

B.Ed University of Victoria, 2000

for the Degree of

Professor George Bellah

Professor Scott Robinson

Dr. Jay Ball

July 11, 2013

TH501 Introduction to Graduate Studies 1 Bellah Summer 2009

TH510 Studies in Dramatic Literature 4 McKay Summer 2009

TH539 Directing and Teaching Young Actors 3 Forier-Edie Summer 2009

TH540 Graduate Directing I 3 Brown Summer 2009

TH543 Acting Fundamentals 3 Edie Summer 2009

TH584 Puppetry in the Classroom 3 Hawkins Summer2009

TH511 Analysis & Criticism 4 Foster Summer 2010

TH 531 Mime and Movement 3 Bellah Summer 2010

TH534 Improvisational Techniques 3 VanAuken Summer2010

TH 541 Graduate Directing II 3 Hubbard Summer 2010

TH542 Musical Theatre Directing 4 Brown Summer 2011

TH566 Makeup and Masks 3 McMillen Summer 2011

TH568 Lighting Techniques 3 Barrigan Summer2011

TH580 Scenic Methods 3 Haniuk Summer 2011

TH502 Introduction to the Creative Project 1 Bellah Summer 2012

TH571 Design Methodology 3 Haniuk Summer 2012

TH700 Master's Thesis Project 6 Bellah Summer 2013

Total Credit Requirements - 56

Teresa Jean Hansen

University of Victoria, 1995-2000

Central Washington University, 2009-2013

Middle I Elementary School Drama, Theatre, Speech, and

Health Teacher: 2011-Present

Elementary School Drama Teacher: 2007-2011

Elementary School Classroom Teacher: 2000-2007

PLA YWRIGHT(S) [If musical, list lyricist/composer] __Adapted by Richard R. George_ _ _ __

NUMBER OF ACTS_ _ __ APPROXIMATE TOTAL PLAYING TME_ _ HOUR_20_MIN.

CAST (fill in with the appropriate numbers)

ROLES REQUIRING PEOPLE OF COLOR_ _O_ _ ROLES COULD DOUBLE_ _ 5_

0M USICAL DIRECTOR ~DANCE CHOREOGRAPHER DnGHT CHOREOGRAPHER

D mALECT COACH DsPECIALTY HIRE (specify what kind)

UNIT SET? O vEs kSjNo NUMBER OF LOCATIONS- - I 0- -

HISTORICAL PERIOD Industrial Revolution GEOGRAPHICAL LOCATION London I UK

SUBMITTED BY: (Printed Name) - - - -- - -- - - - --------- Date Submitted:_ __

NUMBER OF ACTS__APPROXIMATE TOTAL PLAYING TME _ _ HOUR_ 20_ MIN.