Introduction | Judy | Baby | Punch&Judy | Constable | Joey | Crocodile | Doctor | Hangman | Devil/Ghost | Ending

Introduction

In his book, Successful Punch and Judy, Glyn Edwards describes the development of a show as "building" it. By focussing on each separate sequence you construct a show, eventualling developing a balance between tradition and your own personal style.

A good way to gain an idea of what is traditional is to examine a range of Punch and Judy scripts that have been published over the years and identify the common elements for each routine.

To this purpose I shall cross reference a number of different published scripts.

  • P.F Tickner from 1937
  • Edwin Hooper from Hullo Mr. Punch
  • Glyn Edwards from Successful Punch and Judy
  • Henry Mayhew's interviewee from around 1851
  • Script of Sydney de Hempsey, 1942

I have also referred to two video tapes that are available, one by Glyn Edwards and the other by Salvatore Gatto presenting a Pulcinella performance.

Also, before anyone starts reading these scripts I would like to quote Geoff Felix:

"My advice would be practice the show mute, and go for any routine that works visually. Then add dialogue."

 

 

You can either jump straight into the show or start the performance from outside the booth. The professor can encourage the audience to shout out for Mr Punch to come up. This encourages participation later in the show.

Punch pops up and dances about clapping and bowing. He calls for Judy. Lots of noise and movement is what you are after. If you have a Punch puppet with practical legs (finger operated) then sitting on the play board kicking his legs makes for a jolly start to the show.   The most traditional descriptions of the show have Punch singing "rootitootooit!"

Tickner: He simply has Punch popping up saying "Hullo, hullo, Hullo!" and calling for Judy three times.

Edwin: "Well boys and girls, you've all been looking at this funny house - Do you know who lives inside? Yes, it's our old friend Mr. Punch. He's a lazy good-for-nothing, I expect he's gone to sleep. I'll go inside and wake him up." From inside the booth he makes Punch get dressed and sends him up to say hallo. Punch does so and immediately pops down again. "No that's not the way to do it." Says Edwin. He then gets the audience to shout out "Hallo Mr. Punch!" when Punch comes back up. Punch pops up and sings and dances around in a circle before calling for Judy.

Edwards: Has Punch popping up "raring to go", he sings "'ere we go 'ere we go" and for I'm a Jolly Good Fellow " Edwards has the puppet sliding up and down the stage kicking his legs in the air. Then Punch sits on the stage and calls down to Judy who responds from below.

Mayhew: This performer has Punch root-too-rooey and singing from below. He pops up saying "Ooy-ey; oh yes, I'm coming. How do you do, ladies and gents? He bows many times. After some greetings he then asks the drum and pipes man to play a song and he does a hornpipe. He then bangs on the stage and calls for Judy "Judy, Judy! My pratty creetur! Come up stairs, my darling."

De Hempsey: Has Punch making noises from below and saying "I'm coming, I'm coming!" When he pops up he says "Here I am, here I am, here I am." After greeting the audience he immediately calls for Judy, "Judy, Judy, Judy. Where are you? Come up here, come up here. Come on Judy."