Elfis and The Sleigh Riders

ES-117
Teachers Handbook
Elfis
and
The Sleigh Riders
A Rockin Holiday Musical For Young Voices

by
Teresa Jennings
Credits
Story, Music, Teaching & Production Notes Teresa Jennings
Editor Nancy Belongia
Orchestrations Teresa & Paul Jennings
Typesetting/Production Mark Riggio, Bruce Kling,
Nancy Belongia, Teresa Jennings
Music Copyist Bruce Kling
Cover Illustration Teresa Jennings
Interior Illustrations Teresa Jennings
Recording Production Teresa & Paul Jennings, John Riggio
Recording Engineers David Price, Mike Wilson; Aire Born, Inc.
Recording Singers/Actors Nathan Bayless, Kelsey Duke, Anne Ellsworth, Abbie Haffner,
Marcia Hetrick, Trevor Leslie, Michelle Martin, Reid Morgan (Santa Claus),
Amy OConnell, Shelbie Phillips, Melissa Schott, Brianna Staley (Mrs. Claus), Ryan Staley,
Jonathan Stombaugh (Elfis)
Background Vocalists Kelsey Duke, Michelle Martin, Melissa Schott
Recording Instrumentalists Dane Clark, Jim Farrelly, Loy Hetrick, Paul Jennings,
Kevin Kaiser, Kent Leslie, Randy Melson, Jared Rodin, Sandy Williams, Larry Wiseman
Products Available For
Elfis and The Sleigh Riders

ES-116
ES-111
ES-115
ES-117
ES-119
PERFORMANCE KIT - Teachers Handbook/CD

Teachers Handbook with Reproducible Student Edition
Performance/Accompaniment CD
DOWNLOADABLE KIT - Teachers Handbook/Recording
Convenience Combo Kit (Print and Downloadable Kit)
2000 Plank Road Publishing, Inc.

International Copyright Secured All Rights Reserved

Table of Contents
Teacher
Script 1/Introduction 4
UH-HUH-HUH Piano/Vocal Score 5
UH-HUH-HUH Lyric Sheet 9
Script 2/Scene 1 10
EVRYBODYS GOIN ON A SLEIGH RIDE Piano/Vocal Score 12
EVRYBODYS GOIN ON A SLEIGH RIDE Lyric Sheet 17
Script 3/Scene 2 18
SO SAD AT SANTAS PAD Piano/Vocal Score 19
SO SAD AT SANTAS PAD Lyric Sheet 22
Script 4/Scene 3 23
ARE YOU LONELY AND BLUE? Piano/Vocal Score 24
ARE YOU LONELY AND BLUE? Lyric Sheet 30
Script 5/Scene 4 31
NORTH POLE ROCK N ROLL Piano/Vocal Score 32
NORTH POLE ROCK N ROLL Lyric Sheet 39
Poster 11 x 17 Reproducible 28
Teachers Guide 40
Program Cover Reproducible 52
Poster 8 1/2 X 11 Reproducible 53
CD Information Sheet Reproducible 54
Survey Reproducible 55
Student
1
2
5
7
10
11
13
14
18
19
An Important Notice About Your Rights To Duplicate

With the purchase of this product, you (one teacher or director) may legally duplicate the reproducible
poster, program, student parts, lyric pages, and illustrations for use with your students, no matter how
many students you have, even if you teach in more than one school. Permission to duplicate and/or
share this book or recording with anyone else is not granted and is considered a copyright infringement.
Permission is granted to duplicate the accompanying recording for back-up purposes only.
Please dont teach your students to steal.

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

by Teresa Jennings
CHARACTERS:
Elfis
Santa Claus
Mrs. Claus
Stanley, the bass player
Jerry Lee, the piano player
Bix, the drummer
Aretha, a background singer
Mariah, a background singer
Celine, a background singer
Elves, any number, 4 speaking
Reindeer, any number, 8 speaking
SETTING: The North Pole
TIME: The Holiday season
Most of the elves and reindeer are gathered onstage. They begin chanting, quietly at first, then getting
louder and louder. They pronounce Elfis distinctly with two syllables in a rhythmic manner. This
segment can continue as long as needed.
All: Elfis! Elfis! Elfis! Elfis!...
Elfis enters the area with his guitar. He waves at the gathered crowd. The moment he appears, the
chanting stops and cheering and clapping begins, ad lib.
Elfis: Thank you very much. Thank you.
The opening song begins as the cheering is dying down.
OPENING SONG: Uh-huh-huh
4
Student Edition, page 2

CD Full Performance - tracks 2 & 12;
Accompaniment only - tracks 18 & 24
Uh-huh-huh
Teresa Jennings
Uh-huh-huh.
Oh-ho yeah.
Ho ho ho.
Uh-huh-huh.
Hey hey hey.
Uh-huh-huh.
Hey hey hey.
Oh-ho yeah.
Ho ho ho.

Uh-huh-huh.
Hey hey hey.
Uh-huh-huh
Yeah yeah yeah! Uh-huh-huh.

Yeah yeah yeah! Hey hey hey.
Yeah yeah yeah!

Yeah yeah yeah!
Uh-huh-huh.
Hey hey hey.
Oh-ho yeah.
Ho ho ho.
Uh-huh-huh.
Hey hey hey.
Oh-ho yeah.
Ho ho ho.
Yeah
Yeah
yeah
yeah
yeah!
yeah!
Ooh
Ooh
wah
wah
ooh
ooh
wah oop.
wah oop.
Yeah
Yeah
yeah
yeah
yeah!
yeah!
Ooh
Ooh
wah
wah
ooh
ooh
wah oop.
wah oop.
Uh-huh-huh.
Hey hey hey.
Hey hey hey.
Uh-huh-huh.
Hey hey hey.
Uh-huh-huh.
Hey hey hey.
Uh-huh-huh
Hey
Hey
Hey
wah.
hey!
hey!
Hey
hey!
hey!
Ooh
Hey
hey!
Uh-huh-huh.
Uh-huh-huh
Hey hey hey.
Hey hey hey.
wah
ooh
wah oop.
Ooh
wah
ooh
wah oop.
Uh-huh-huh.
Hey hey hey.
Ooh
Uh-huh-huh.
Uh-huh-huh
part 1: Uh-huh-huh.
part 2: Uh-huh-huh.
part 1: Oh-ho yeah.
part 2: Oh-ho yeah.
part 1: Uh-huh-huh.
part 2: Uh-huh-huh.
all: Yeah yeah yeah!
part 1: Uh-huh-huh.
part 2: Uh-huh-huh.
part 1: Oh-ho yeah.
part 2: Oh-ho yeah.
part 1: Uh-huh-huh.
part 2: Uh-huh-huh.
all: Yeah yeah yeah! Ooh wah ooh wah oop.
part 1: Uh-huh-huh.
part 2: Uh-huh-huh.
part 1: Hey hey hey.
part 1: Ho ho ho.
part 2: Ho ho ho.
part 1: Ho ho ho.
part 2: Ho ho ho.
all (add claps on beat 2 and 4, opt.):
Hey hey! Hey hey! Hey hey! Hey hey!
Ooh wah. Hey hey!
part 1: Uh-huh-huh.
part 2: Uh-huh-huh.
part 1: Oh-ho yeah.
part 2: Oh-ho yeah.
part 1: Uh-huh-huh.
part 2: Uh-huh-huh.
part 1: Uh-huh-huh.
part 2: Uh-huh-huh.
part 1: Oh-ho yeah.
part 2: Oh-ho yeah.
part 1: Uh-huh-huh.
part 2: Uh-huh-huh.
part 1: Uh-huh-huh.
part 2: Uh-huh-huh.
part 1: Ho ho ho.
part 2: Ho ho ho.
part 1: Ho ho ho.
part 2: Ho ho ho.
all: Ooh wah ooh wah oop.
all: Uh-huh-huh.
UH-HUH-HUH, Teresa Jennings
2000 Plank Road Publishing, Inc. All Rights Reserved
After the song, the group claps again.

Elfis: Thank you very much.
Elf #1: Elfis, you were wonderful!
Elf #2: Youre the best!
Elf #3: Santa Claus likes you, too!
Elf #4: Wait till you see the surprise he has for you!
Jingle bells are heard offstage. They continue as Santa and Mrs. Claus enter the stage with a few
reindeer. With them are Stanley, Jerry Lee, Bix, Aretha, Mariah, and Celine. When they stop, so do
the jingle bells. (One of the reindeer could either be carrying the bells, or wearing them.)
Santa: Ho ho ho! Hello everyone!
All: Hi, Santa!
Reindeer #1: We have a surprise for Elfis today!
Santa: Elfis, how would you like to have your own band?
Elfis: Yeah. Thats cool.
Mrs. Claus: We found you some musicians!
Reindeer #2: Would you like to meet them?
Elfis: Uh huh.
Reindeer #3: This is the bass player. His name is Stanley.
Stanley: (with a contemporary coolness) Yo. Whats up?
Stanley and Elfis shake hands.
Reindeer #4: This is the piano player. His name is Jerry Lee.
Jerry Lee: (enthusiastically) Hey man! Hows it goin?
Jerry Lee and Elfis shake hands.
Reindeer #5: This is the drummer. His name is Bix.
Bix: (in a laid-back, beatnik-like manner) Hey. Like, nice to meet you, man.
Bix and Elfis shake hands.
10
Reindeer #6: And these are your background singers: Aretha, Mariah, and Celine.
Aretha picks a pitch and hums it on Hmmmmm. Mariah joins her a third above. Celine joins on the
fifth of the chord to form a triad.
All three in their triad: Hello.
(One of the three directs and cuts off the greeting. Listen to the recording for an example.
Optional: just have the three speak the word.)
Elfis: (waving to them) Howdy.
Reindeer #7: Wow! This is great! Elfis has a band!
Reindeer #8: Yeah! Now all they need is a name.
Elf #1: Good point. What should we call them?
All (ad lib): Hmmmm., I dont know., What do you think?, What would be a good name?,
Lets see?, A name for a band., etc.
Elf #2: How about Sled Doggie Dog?
All (ad lib): No., Nah., I dont think so., etc.
Elf #3: How about The Reindeer Wranglers?
All Reindeer: (in an insulted tone) Hey.
Elf #3: Never mind.
Elf #4: Well, how about Smashing Icicles?
All (ad lib): Naw., Thats not it either., Its been done., etc.
Elf #1: How about The Rolling Snowballs?
All (ad lib): Huh-uh., Thats not it., No., Nope., etc.
Elf #2: Ive got it! How about Elfis and The Sleigh Riders?
All (ad lib): Yeah!, Thats it!, Thats great!, Elfis and The Sleigh Riders!, What a terrific
name!, Thats a good idea!, Oh, I like that name!, That fits them perfectly!, etc.
While the group is cheering, the band comes together in formation.
Mrs. Claus: Elfis, could we hear a song?
Elfis: Uh huh.
SONG: Evrybodys Goin On A Sleigh Ride
11

Evrybodys Goin On A Sleigh Ride

featuring Elfis new band - The Sleigh Riders
Teresa Jennings
ooh.___________________
1. Ev - ry - bod - ys
2. Slip - pin and a 3. Hear the bells a 4. Ev - ry - bod - ys
go - in
slid - in
ring - in
wel - come
on
on
on
on
a
a
a
a
Ah
ooh._________________
sleigh
sleigh
sleigh
sleigh
ride.
ride.
ride.
ride.
ooh.______________________________________________________
Ah
Be sure to locate the new band in a featured position as they play. Singers can either pretend to sing
(with recording) or they can actually perform. See teachers guide.
12

Ah
Ev - ry Slip - pin
Hear the
Ev - ry -
bod and
bells
bod -
ys
a a ys
go - in
slid - in
ring - in
welcome
on
on
on
on
a
a
a
a
sleigh
sleigh
sleigh
sleigh
ride.
ride.
ride.
ride.
ooh.___________________________________________________________
Ev - ry - bod Slip - pin and

Hear the bells
Ev - ry - bod -
ys
go - in
a - slid - in
a - ring - in
ys wel - come
on
on
on
on
a
a
a
a
sleigh
sleigh
sleigh
sleigh
ride.
ride.
ride.
ride.
Ah
ooh.__________________________________________________________
Ah
13
Come on
a - long and
oop.
Yeah,__
Doot
(1.) Up
(2.) Buck
(3.) Up
(4.) Buck
lets
doo.___
an
- le
an
- le
ol
up
ol
up
ride with us! Lets
ride!
Ride with us! Lets
ride! Doot
ride!
Doot doo doot.
hill
tight,
hill
tight,
and down_______
were gon
and down_______
were gon
-
Ooh.___________________________________
14
doo doot.
the
na
the
na
oth - er
slip and
oth - er
slip and
Doot
side.
slide.
side.
slide.
doo._
Lets
Lets
Lets
Lets
ride!
ride!
ride!
Doot doo doot.
Doot
doo.
Ah
Doot
doo.__
Ah
15
ride!
Up an ol hill and down___ the oth-er side. Lets
Doot doo doot.
Doot doo._
Ooh._______________________
ride!
Buck - le
Doot doo doot.
Doot
na slip and slide. Lets
_____
16
doo.__
up
tight, were gon -
Ooh.__________________________
ride!
Lets
Doot doo doot.
ride!
Doot!

featuring Elfis new band - The Sleigh Riders
all:
Evrybodys goin on a sleigh ride.
Come on along and ride with us!
Lets ride!
Yeah, lets ride!
Up an ol hill and down the other side.
Lets ride!
Slippin and a-slidin on a sleigh ride.
Lets ride!
Yeah, lets ride!
Buckle up tight, were gonna slip and slide.
Lets ride!
background vocals:
Ah ooh. Ah ooh.
Ah ooh.
Ah ooh.
Ah ooh.
Ah oop. Ride with us!
Lets ride! Doot doo doot. Doot doo.
Doot doo doot. Doot doo.
Ooh.
Ah ooh.
Ah ooh.
Ah ooh.
Ooh.
piano solo/movement
Hear the bells a-ringin on a sleigh ride.
Lets ride!
Yeah, lets ride!
Lets ride!
Ah ooh.
Ah ooh.
Ah ooh.
Ooh.
Evrybodys welcome on a sleigh ride.

Lets ride!
Yeah, lets ride!
Lets ride!
Ah ooh.
Ah ooh.
Ah ooh.
Ooh.

Lets ride!
Lets ride!
yell: Lets ride!
Ooh.
Ooh.
Doot doo doot.
Doot!
EVRYBODYS GOIN ON A SLEIGH RIDE, Teresa Jennings

After the song, the gang applauds and cheers again. When they stop, Aretha speaks.
Aretha: Elfis, I think you should let me sing a solo.
Jerry Lee: Thats a great idea!
Mariah: No, no, no. I think I should sing a solo.
Stanley: You go, girl.
Celine: Excuse me. I think I deserve a solo.
Bix: Like, now youre talkin.
Celine: (sings a little in an anthem-like voice) Near, fa...
Aretha: (interrupting Celine) Oh, be quiet!
Celine: Dont you tell me to be quiet!
Mariah: Both of you be quiet! Im going to sing a solo.
Aretha, Mariah, Celine (ad lib): (bickering) I am., No, I am., Me., Its my solo., etc.
Jerry Lee: I think Aretha should sing.
Stanley: No, Mariah should sing.
Bix: Like, no way. Like, Celines got the pipes.
Jerry Lee: Aretha!
Stanley: Mariah!
Bix: Celine!
Jerry Lee, Stanley, Bix (ad lib): (continuing to argue for their respective favorites) Aretha!,
Mariah!, Celine!, etc. Aretha, Mariah, and Celine argue simultaneously.
Aretha, Mariah, Celine (ad lib): I should sing!, No, me!, No, me!, Im the best soloist., My
voice deserves to be heard., etc. When Jerry Lee speaks, the bickering stops.
Jerry Lee: (loudly)Well, if Aretha doesnt sing, I dont play!
Stanley: Fine! If Mariah doesnt sing, I dont play!
Bix: Like, big deal. If Celine doesnt sing, my sticks dont ring.
All of the band members except Elfis cross their arms and turn away from each other in a pout. They
huff and harrumph a bit as they are doing it.
Santa: Ohhh nooo. This is not good at all.
Mrs. Claus: Everyone is so upset!
SONG: So Sad At Santas Pad
Everyone sings the song except Elfis and the band members. Elfis just looks sad and depressed while the
band members are still angry at each other. Their arms are still folded and their noses are in the air.
18

So Sad At Santas Pad

Teresa Jennings
arr. Paul Jennings
1. Were not ver - y hap-py.

2. Were not ver - y cheer-ful.
3.
If you come to see us,
Were not ver - y glad.

Some of us are mad.
you will know were sad.
here at San - tas pad. Were sad.

You can tell were not well

You can see theres no glee
We con-fess, its a mess
(1.) So
so
sad. Were sad.
*spoken solos, 2nd time: Im miserable. Me, too.
(3.) So
so
sad. Were sad.
*Exaggerate all spoken solos and crying in a comic manner. Use several different soloists.
Stop in time for vocal entrance at measure 17.
19
We
Were supposed to be happy here.
We
20
feel
bad.
So bad.
Ive got the blues.
feel
bad.
So bad.
At San-tas
pad.
I feel like crying.
I think I am gonna cry.
At San-tas
pad.
(criesothers cry, too)
We
We
are
mis -er - a - ble.
So
sad.
So
sad.
This is awful.
are
sad.
Things
arent
de-sir - a - ble
here
at San-tas pad.
So bad.
At San-tas
pad.
So
sad.
So sad.___
21

Were not very happy. Were not very glad.
You can tell were not well here at Santas pad. Were sad.
So so sad. Were sad.
We feel bad. So bad.
So sad. At Santas pad.
We are miserable.
We are sad.
Things arent desirable
here at Santas pad.
Were not very cheerful. Some of us are mad.
You can see theres no glee here at Santas pad. Were sad.
spoken solos:
Im miserable.
Me, too.
Were supposed to be happy here.
Ive got the blues.
This is awful.
I feel like crying.
I think I am gonna cry. (criesothers cry, too)
all sing:
We are miserable.
We are sad.
Things arent desirable
here at Santas pad.
If you come to see us, you will know were sad.
We confess, its a mess here at Santas pad. Were sad.
So so sad. Were sad.
We feel bad. So bad.
So bad.
So sad.
SO SAD AT SANTAS PAD, Teresa & Paul Jennings

Reindeer #1: This is terrible.

Reindeer #2: I know. Elfis just met his band.
Reindeer #3: And now hes lost them.
Reindeer #4: What can he do?
Reindeer #5: I dont know.
Reindeer #6: Theyre all so mad at each other.
Reindeer #7: Maybe Santa can talk to them.
Reindeer #8: Wont you try, Santa?
Santa: Well, okay. (to band members) Cant we sit down and discuss this reasonably?
Aretha: Theres nothing to discuss.
Mrs. Claus: But youre all friends. Doesnt that mean something?
Jerry Lee: Huh. Not anymore.
Elf #3: You cant mean that!
Elf #4: All friends have arguments sometimes.
Elf #1: But they can work things out.
Elf #2: Friends can forgive each other.
Elf #3: Even when they disagree or accidentally hurt each other.
Elf #4: They just have to be open to communication.
Reindeer #1: And they have to remember how important their friendship is.
Reindeer #2: Elfis, can you help them remember?
Elfis: Uh huh.
SONG: Are You Lonely And Blue?
During the song, the band members slowly drop their crossed arms and resume their formation into a
band. By the end of the song, they are playing and singing along.
23

Are You
Lonely
And Blue?
Teresa Jennings
Are you
24

Are You Lonely And Blue?

(2nd time - Background vocalists sing melody on ooh.)
lone - ly
and
blue
when your
friends turn from
you?
Tell
me,
Elfis (2nd time, spoken): I wonder Are you feeling lonely and blue? Is your heart achin? Dont be cruel.
how
does
it
feel
in
your
heart?
Is
it
We all make mistakes. We dont mean to hurt the ones we care about the ones we love.
real - ly
worth -
while
to be
miss - ing
your
smile?
Tell me,
But when we do hurt them, and they hurt us, we must remember how dear they are to us.
* Elfis can continue the solo, if you prefer. Or, you can use characters other than Santa and
Mrs. Claus for the solos starting at measure 13. In any event, Elfis should continue to lead
the song. Hes the inspiration.
25

does - nt
it
tear
you
part?
You dont
Let us forgive... and be forgiven. Let us be friends again.
have
be
an - gry
Ah
hah.
an - gry
with
peo - ple
Ah
26
to
hah.
or
mad,
if
you
choose.
When youre
Oh._____________________
you
love, then
you
lose.
Oh._________________
Put
a-
side fool - ish
pride.
Let your
Ooh.__________________
nev - er
feel
lone - ly
arms
o - pen
wide!
And youll
Ooh._________________
and
blue.
(Ooh.____)
nev - er
feel
lone - ly
Ooh._____________________
and
blue.
Ooh.
Ooh.
27
Date:
Time:
Place:
The Sleigh Riders
and
Elfis

Elfis:
Are you lonely and blue when your friends turn from you?
Tell me, how does it feel in your heart?
Santa:
Is it really worthwhile to be missing your smile?
Mrs. Claus:
Tell me, doesnt it tear you apart?
all:
You dont have to be angry or mad, if you choose.
When youre angry with people you love, then you lose.
Put aside foolish pride. Let your arms open wide!
And youll never feel lonely and blue.
Elfis speaks (while background vocalists sing melody on ooh):
I wonder... Are you feeling lonely and blue?
Is your heart achin?
Dont be cruel.
We all make mistakes.
We dont mean to hurt the ones we care aboutthe ones we love.
But when we do hurt them, and they hurt us,
we must remember how dear they are to us.
Let us forgive... and be forgiven.
Let us be friends again.
all:
background vocals:
You dont have to be angry or mad, if you choose.
Ah hah. Oh.
When youre angry with people you love, then you lose.
Ah hah. Oh.
Put aside foolish pride. Let your arms open wide!
Ooh. Ooh.
And youll never feel lonely and blue.
Ooh. Ooh.
(opt):
Ooh.
ARE YOU LONELY AND BLUE?, Teresa Jennings

After the song, the group applauds.

Aretha: Sorry about the attitude.
Mariah: Me, too.
Celine: Me, too.
All three girls hug each other.
All: Awwwwww.
Stanley: Yeah. That wasnt cool.
Jerry Lee: No way.
Bix: Like, lets put it behind us.
Jerry Lee, Stanley, Bix (ad lib): (nodding and slapping palms together in friendship) Yeah., All
right., Thats cool., Im hip., etc.
Santa: Thank goodness!
Mrs. Claus: Elfis, you have reminded us all about the value of friendship.
Reindeer #3: Yes indeed. Our friends are very important to us!
Reindeer #4: If we ever have arguments, we should make up as fast as we can!
Reindeer #5: We should try to understand each other better.
Reindeer #6: And we should apologize if we hurt each other.
Reindeer #7: Our time together is too precious to waste fighting!
All (ad lib): Yeah., We agree., No more fighting., Not gonna do that anymore., Nope., etc.
Reindeer #8: Hey! Now that the band is back together, how about another song?
All (ad lib): Yeah!, Another song!, We want to hear Elfis and the Sleigh Riders!, Cool!,
Neat!, Nifty!, More music!, etc.
Mrs. Claus: Elfis, you are an inspiration to us all!
Santa: Will you lead us in one more song?
Elfis: Oh ho yeah, man!
SONG: North Pole Rock n Roll
BOW MUSIC: Reprise: North Pole Rock n Roll
THE END
31

North Pole
Rock n Roll
Teresa Jennings
Yes, we wan-na rock
Do you wan-na rock at the North
32
Pole?

at the
North Pole Rock n Roll
North
Pole!
Do you wan-na rock
Yes, we wan-na rock
at the
North
at
the
North
Pole?
Pole!
Yeah!
Do you wan-na rock?
Yeah!
Do you wan-na rock?
Do you wan-na rock n roll?
33
Do you wan-na rock at the North Pole?
Yes, we wan-na rock at the North Pole!
Ooh._____________________
Hoo._____________________
Do you wan-na rock at the North Pole?
Yes, we wan-na rock at the North Pole!
Ooh._____________________
34
Hoo._____________________
Do you wan-na rock?
Do you wan-na rock?
Yeah!
Ooh.
Yeah! Do you wan-na rock n roll?
Hoo.
North
Pole
rock
and
North
Pole
rock
and
35
36
roll.
Rock n
roll.
roll._____________________
Rock n roll._______________________
Rock
and
roll.
Rock
and
roll.
North Pole rock n roll.
North Pole
rock n roll.
North Pole
rock n roll.
37
Do you wan-na rock?
Do you wan-na rock?
Yeah!
Ooh.
Hoo.
Do you wan-na rock?
38
Do you wan-na rock?
Yeah!
Ooh.
Hoo.
Yeah!
Yeah!
Yeah!

Aretha: Do you wanna rock at the North Pole?
all: Yes, we wanna rock at the North Pole!
Mariah: Do you wanna rock at the North Pole?
all: Yes, we wanna rock at the North Pole!
Celine: Do you wanna rock?
all speak: Yeah!
Celine: Do you wanna rock?
all speak: Yeah!
all sing with background vocals (Aretha, Mariah, and Celine): Do you wanna rock n roll?
add movement
part 1: Do you wanna rock at the North Pole?
part 2: Yes, we wanna rock at the North Pole!
(background vocals: Ooh.)

(background vocals: Hoo.)
part 1: Do you wanna rock? (background vocals: Ooh.)

part 2 speak: Yeah!
part 1: Do you wanna rock? (background vocals: Hoo.)
part 2 speak: Yeah!
all sing with background vocals: Do you wanna rock n roll?
North Pole rock and roll.
Rock n roll.
Rock and roll.
North Pole rock n roll. North Pole rock n roll.
North Pole rock n roll. North Pole rock n roll.
Do you wanna rock n roll?

(3 times):
part 1: Do you wanna rock? (background vocals: Ooh.)
part 2 speak: Yeah!
part 1: Do you wanna rock? (background vocals: Hoo.)
part 2 speak: Yeah!
all sing with background vocals: Do you wanna rock n roll?
part 1 and 2 speak: Yeah! (background vocals sing: Yeah!)
NORTH POLE ROCK N ROLL, Teresa Jennings


Teachers Guide
Getting Started
Know your Teachers Handbook.
Its a good idea to start by reading this book all
the way through. You should know what youre up
against before you do anything else at all. Become
familiar with the script and music by listening and
following along with the full performance on the
Performance/Accompaniment recording, or by
playing through it on piano and reading the script.
Write it down!
As you read and study this book, keep a notebook
and pen handy. Jot down any ideas, notes, plans, etc.,
that occur to you as you go. Keep your notes handy to
add more ideas as you think your way through your
production in more detail later. The more you plan
each aspect of your production now, the smoother
things will probably be when you get down to the
nitty gritty.
Get organized.
Once youve got all your notes down on paper,
convert them to a list in a somewhat chronological
order, if possible. You may wish to create several lists,
in fact, based on categories. Try to include every
detail of things that must be done, remembered, or
dealt with and when. Leave room to keep additional
notes for each item as you go. Remember:
Organization is critical! It makes all the difference
in the world between a smoothly run, well-planned
production and total chaos. In addition, you will
find that your organization will allow you to relax
and enjoy the experience with your students
instead of feeling stressed or pressured at
performance time.
Create a time line.
To assist you in your organization, create a
time line of events from now until the date of
your production, as well as afterwards. Post
your time line where you can see it easily
and often. Check it off as you go to make
sure you arent forgetting any production
details. Hint: Be sure to save your lists,
plans and time lines when your
production is through to help you survive
future productions as well. File them safely
away where you can lay your hands on
them easily when you need them. Even
though the specifics of your next
production may differ, many of the basics will be
40
the same and you can benefit from your own

experiences. Add to your file with each production
you do and before you know it, you will be wellequipped to handle any production you decide to
take on.
Get help!
If your production is a large one, dont try to do it
yourself, if you can help it. If youre only using one
class or a few kids from several classes, you may be
able to handle it. In any case, its always better to
recruit assistance. Ask your fellow teachers, parents,
administrators, or even older students to pitch in.
Again, organization will be most beneficial when
working with others. Plan the tasks with which you
need help, then assign or delegate accordingly.
Options for Performance

As with most of the musicals we present,
Elfis and The Sleigh Riders is meant to be flexible
enough to use in a variety of situations with a
variable number of performers.
While we highly recommend that you use the
Performance/Accompaniment recording for the best
results, it is not absolutely necessary. We do provide
piano/vocal parts in this book for you to use in
rehearsals or performances, as you wish. You may also
consider mixing and matching the use of the
recording with live accompaniments.
The performance itself can be as elaborate as you
can afford in time, money and effort, or as simple as it
needs to be given your situation. The rules are yours
to make. If you need to adapt the script or the music,
here are a few ideas:
Add or remove songs as needed to lengthen or
shorten the production. For example, a wellknown Christmas song, such as Jingle Bells,
added at the end would add a few minutes.
Lengthen or shorten songs by repeating or
deleting repeats. Of course, this would only
work if you didnt use the recording on a
particular song.
Alter the speaking parts to give some
students more to say, and/or others less. For
example, the 4 speaking parts for elves could
be turned into 8 speaking parts.
Some lines could be eliminated entirely.
Others could be enhanced with your own
additional lines.
You could completely rewrite the story line
if you wanted to, adapting the music as necessary.
Special Help and Ideas

When you hand out student scripts, let each
speaker highlight her or his own lines with a
highlighter pen.
Discuss enunciation with your performers and
reinforce it regularly during rehearsals. The songs
and the lines need to be easily understood from the
audiences perspective.
Projection is equally important. Practice by
having some students stand in the back of the
auditorium or performance area and listen. Have
them offer tactful commentary on both projection
and enunciation.
Remind your speakers to take it slowly. Too
often, a performers nerves will take over and the
lines are blurted out in a rapid, unintelligible
fashion. Have them take a deep breath before
speaking to calm themselves down. Even if the
projection is not as strong as it could be, if the
lines are spoken slowly enough, they may carry
just fine.
Keep a copy of the script
handy for prompting young
performers.
Teach your performers to
respect each others lines and not
upstage each other.
If you are using a large
number of students in your
production, you may wish to have one or more
conductors to assist you. Position yourself centrally
and have your assistant conductors watch you
carefully, imitating you as exactly as they can for the
best results.
If you are using the recording, make yourself a
safety back-up. (The publisher grants permission for
duplication of this type as long as it is not shared or
loaned to anyone else. Please refer to the Table of
Contents page for more information.)
Devise a plan for the bows and rehearse them.
Figure out how each group or individual will enter to
bow and exit afterward with a minimum of collision
and confusion. Think traffic flow.
Make plans for a post-concert reception with
juice and cookies or something equally fun.
Using Microphones
Though using microphones can be more of a
hindrance than a help in most situations, you may
feel that you absolutely must have them in yours. If
so, teach your students how to use microphones more
effectively by following these guidelines:
Before you begin speaking, stop completely in
front of the microphone.
Speak slowly.
Wait until youre done speaking to leave.
Wait for others to finish before you begin.
Dont get too close to the microphone. The

sound will distort. Practice the proper distance for
your particular sound system and performance area.
Dont stand too far away from the microphone
either, or you may as well not use it at all.
Programs and Publicity

You will find reproducible posters and a program
cover on pages 28, 29, 52 and 53 in this book. If you
dont have access to a copier at your school, you can
usually have your duplicating done rather
inexpensively at a local quick copy shop. To catch
more attention with your posters and programs,
consider reproducing them on colored paper. Or
have your students color and customize each poster.
We have left lots of coloring options, including
the costumes for the band and
background singers, and Elfis himself.
Dont stifle students creativity when it
comes to color usage either. For
example, if they dont use any red or
green at all, thats perfectly
okay. (Coloring probably
wouldnt be feasible for
your programs, however,
unless you have a very
active art program. This
assumes that you will have a
manageable number of posters, but a
huge quantity of programs.)
In any event, try to use recycled paper for both
posters and programs. Not only will you be
reinforcing the importance of recycling to your
students, but you will also be bringing the message
across the curriculum. Be sure to let your audience
know that your paper is recycled by using a recycling
icon somewhere on the printed materials. No doubt,
your audience could stand a little reinforcement, too.
You may also wish to reproduce any of the other
illustrations found in this book for your production.
You have the publishers permission to use such
reproductions in this manner only. Any other
duplication is an infringement of copyright laws.
Dont forget to contact your local media about
your upcoming production, too! Include all pertinent
information for concert-goers, and encourage
reporters to come and photograph rehearsals, as well
as the production itself.
The Performance/Accompaniment
CD or Cassette
There are four versions of Elfis and The Sleigh
Riders on the Performance/Accompaniment CD and
cassette. Version one is a full performance with
dialog. Version two is a full performance without
dialog. Version three is an instrumental only version.
Version four is an instrumental version which
41
includes the background vocals. Use any and all of

these versions as you need to for both rehearsal and
performance settings.
We have included a reprise of the last song,
North Pole Rock n Roll, to be used as bow music
after all four versions to give you optimum flexibility.
If you dont have the recording yet and would
like to get one, just give us a call at 1-800-437-0832.
Duplicating the CD or Tape

As mentioned earlier, making your own version of
the CD or tape is acceptable as long as you have
purchased it first. Making copies of it for anyone else is
not legal. Please refer to the Duplication Notice on
page 3 for more information.
You may, however, wish to duplicate your CD or
cassette as a safety back-up. If your original is lost or
damaged, a back-up may prove invaluable.
Another suggestion we can make for ease of
rehearsing and performing when using the tape is
to make a copy of each song on a single cassette.
For example, dub the song Uh-huh-huh onto a
single cassette, putting the full performance
version on one side and the tracks on the other.
Then, label it and keep it in order in a box so
that all you have to do is pull it out and pop
it into the tape player when you need it. If
you do this for each song, you will have
a library of music at your fingertips
without the hassle of searching for tunes. Short, blank
cassettes are available in bulk at reasonable prices from
many tape manufacturers (including MUSIC K-8
MARKETPLACE call toll-free 1-800-437-0832, or shop
securely online at MusicK8.com).
The advantage of using a CD, besides the
obvious superior fidelity, is the ability to locate a
tune easily. You may not find it necessary to separate
each tune, thanks to the instant gratification of this
modern format.
One final note about the recording: If youre going
to use it in performance, be sure you turn the volume
up so that your students can hear the background
tracks despite their own enthusiastic singing. Its very
easy for young singers to get away from the beat or the
pitch if they cant hear it well.
Background Vocals
There are background vocals on three of the
tunes in this musical. Since the background singers
are integral to the plot, you can either let your
students sing them live, or you can have them mouth
the words to the recorded background singers. The
fourth version of the musical on the recording will
allow this latter option.
The parts for the background singers are included
in the Piano/Vocal scores in this book. They are also
included in the Student Editions, which are available
separately (call 1-800-437-0832 to order).
42
Lyric Pages
You will find lyric pages in this handbook,
included for your convenience when teaching by
rote. They can also be used as a quick reference when
memorizing songs. However, if, like most music
teachers, you prefer to have your students read music
when learning the songs, student parts are also
available for this musical. (These parts contain the
vocal lines without the piano parts, as well as the
script, without the detailed teachers notes.)
Combining Elfis and

The Sleigh Riders with
The Elves Impersonator
The Elves Impersonator was the first K-4
Christmas musical to feature Elfis the elf. It was
published a few years prior to Elfis and The
Sleigh Riders. The plot of the first musical was
one that focused on acceptance. Elfis was new to
the North Pole and played rock n roll music. He
was different and the citizens of the North Pole
had to learn to accept him, which they did, of
course, by the end of the musical.
The second musical, Elfis and The
Sleigh Riders, focuses on friendship
and working through differences. We
feel this is a logical extension of the
first musical. Both have to do with matters of the
heart (tolerance, compassion, forgiveness). It also
features Elfis, our star elf, once again.
To combine the two musicals, we recommend
you begin with The Elves Impersonator, and have
it segue into Elfis and The Sleigh Riders. After the
song The Santa Claus Rock! at the end of
The Elves Impersonator, have Elfis take his bows
and leave the stage. Let your onstage audience
continue to applaud and cheer after he goes.
At the beginning of Elfis and The Sleigh Riders
the audience is now beginning to chant, Elfis! Elfis!
Elfis!, etc. If they have been clapping and cheering,
they dont have to start quietly, as indicated on the
script, but rather, can go full volume right away. If
combining the musicals, Elfis can re-enter the
stage, where the awaiting audience cheers him on
and he starts singing Uh-huh-huh. Just keep going
from there. It will work.
You will definitely note the difference between
the two halves of the combined musical, due to the
different plot lines, but we think its a small point.
The costumes are the same. The characters are the
same, with further development. The setting can be
the same. The time is the same. And the music is
definitely in the same style.
The best reason to do this combination is for the
length of the performance. Youll probably have
closer to 40 minutes than 20, depending on your
additions and cuts.
Rehearsal & Performance Suggestions

Uh-huh-huh
At the beginning of the musical, most of the elves
and reindeer are gathered onstage where they are
chanting for their favorite performer to enter. As
soon as Elfis appears, the chanting becomes cheering
and clapping and Elfis thanks the crowd. The first
tune starts even as the crowd is still active. A few
seconds into the song, and the cheering should stop
in a natural manner.
Since the song is so contagiously lively, perhaps
the audience who was cheering mere moments before
could continue with swaying, rocking, bobbing,
clapping, or otherwise perpetuating the action. It is
an energetic way to start the show, to be sure!
In theory, Elfis is playing his guitar. Whether or
not he sings along with part 1 is up to you. He can
certainly join them, or he can sing the first part as a
solo if your Elfis is a strong soloist. He could also just
play his guitar in a rather extroverted manner while
the rest of the crew sings out.
There is, of course, a guitar solo in the middle of
the tune. If you are using the Performance/
Accompaniment CD or cassette, your Elfis can play
along, miming the solo and adding his own brand of
interpretive movement. He should be
standing/moving around out front through the entire
song, but particularly during his big solo.
The song is a series of nonsense syllables
performed in mostly a call and response style. Divide
your singers into two groups (usually left and right
works best). Lead with the strongest group, if such a
thing is an issue for you. Give them cues as needed to
get them rolling.
The best and easiest way for them to learn the
song is by singing along with the recording. They will
quickly see that the words, though funny-looking on
the music and lyric page, are easy to learn and easy to
sing. They will also be able to project with
confidence while they are singing along with our
recorded voices while they are learning. When you
feel they are ready, try letting them sing with the
instrumental accompaniment only.
Whether you have added claps at any
other point in the song or not, during
the guitar solo, they would be
particularly effective. Be sure to
have them clap on beats 2 and 4, if
they can.
Despite the fact that this song has a
rollicking triplet feel and that the
eighth notes are swung, you dont
even have to mention it unless you
want to. Again, singing along with
the recording will help them feel the
triplets underneath the beat without even realizing

it! If you are studying triplets or swing style with any
of your classes, this would make an excellent
reinforcement. The style marking at the top of the
tune shows how to interpret the eighth notes. Can
they hear this interpretation in their own
performance or on the recording?
If you happen to have your own live rock n roll
band for this musical, lucky you! A few trumpets,
trombones, and saxes would be very cool, too.
Perhaps you could use your group for the whole
musical, or perhaps you could use it for select pieces.
Or maybe you just use your group to beef up the
recording as it is playing. In any event, given the
simplicity of the music, we feel it is actually do-able,
if you have the players. All of the tunes have rather
basic progressions, as they would have a few decades
ago in this genre. Think 60s rock n roll with a blues
influence, and youll be right in sync with the style.
Of course, if you dont have your own live group,
thats okay, too! We have gone to great lengths to
give you pretty darn cool tracks for this musical, if we
do say so ourselves. Our guitarist, Sandy Williams,
just loves to play this kind of music, and you can sure
hear it in his performance. Just remember to turn the
volume up on the recording so your kids can really
belt out the songs.
And speaking of belting, this is one musical
where uninhibited, all-out, fun fun fun singing is
allowed and encouraged! While we would all
certainly appreciate correct pitches, proper breath
support and nice tone quality, if those things
endanger the pure joy of the performance, we
recommend not worrying about them too much at
least not this time. We can almost guarantee youll
have happy participation if you just let them sing out.
A Note About Ad Libs:

This musical is full of ad libs, that is, improvised
or freely presented dialog that usually occurs with
several speakers simultaneously. Our recording offers
examples of how we performed the ad libs, so your
students can get an idea of what we mean. The
recording and the script are merely suggestions,
however. They indicate the approximate tone of
the dialog, but your performers can certainly come
up with their own
responses (as some of
ours did).
Despite the fact that we
call them ad libs, we
suggest you have performers
create what they will be saying ahead of
time. That way you can rehearse the
timing and presentation so that it sounds
43
natural. We have found that cuing these sections for

beginning and ending is helpful. Remind them not to
just clip their sentences at the end of the ad libs
when you cut them off. Have them finish what they
were saying for a staggered effect.
Scene 1
Theres quite a bit of activity after the first song.
Santa, has decided to surprise Elfis by coming up
with a band, including background singers, to join
him in his music making. Elfis is very happy about
this (though you cant really tell by his demeanor),
and he shakes hands with the instrumentalists as
they are introduced. Each band member displays a
hint of his respective personality during his
introduction to Elfis.
The three background singers sing their greeting
(see script and listen to the recording for an
example). If you are not actually using real
background singers, or if they are not
comfortable with this part, they can all just
smile, wave at Elfis, and say hello to him.
Indeed, if you wish to have more band
members than the ones we have included, you
may do so. You will hear trumpets, trombones,
saxes, and percussionists on the recording, so any
of these would be in keeping with the spirit of the
musical. If you do use more, you will need
to come up with names and additional
scripting for them.
Speaking of names feel free to use
any you like for the band members,
singers, or any characters, for that
matter. For example, maybe you want
to name your piano player after the
band director at your school who plays the piano. Or
after the mayor. Or the principal. Or some local
celebrity. Use whatever will get the best response
from your audience.
The gathered group next decides that the band
needs a name. Several attempts are made at deciding
one. While we have included a number of these in
the script, we would like to encourage you to let your
students come up with their own versions, as well.
Each idea should be met with appropriate dismissal,
but nothing too negative. When the name Elfis and
The Sleigh Riders is finally mentioned, everyone
responds enthusiastically, cheering and agreeing that
its perfect.

The song that follows is the opportunity to let the
whole band play together. The band should be
located front and center, or at least in a featured
position, depending on your performance area layout.
As noted on the music, your background singers
can either pretend to sing (version four of the
recording will facilitate this), or really sing
44
themselves. They could also sing along with the ones

on the recording for reinforcement.
The song itself is light and fluffy and just plain
fun to sing. The melody and lyrics are very easy and
repetitious. Once again, there is a certain bluesy
quality to the song which will allow your students to
do a little scooping and a little belting. They will
enjoy singing this one.
After the second verse, there is a piano solo for
eight measures. We have indicated an optional
movement idea for this section, which you can use as
is, change to suit your needs, or leave out, if you
prefer. If you use it, its quite simple. Just pick a
leader, much like a conga line, and have her move
around a predetermined area in a predetermined way
which her followers imitate. They should be in a
single file line with their hands poised as if they are
holding onto reins. Its a short section, so dont let
them get too carried away. This is another good
reason to plan the choreography ahead of time.
They can just move randomly about like a
conga line does. Or they can actually do a
step, like a hop or a side kick on certain beats.
They could do a wave-like motion, pretending to
slip and slide as the lyrics indicate. Add a few
gleeful Whees! to the action for even more fun.
Just be sure theyre ready to sing
again at the D.S. To be certain of
this, you might only use select
performers to do the movement while
the others are poised and ready to
sing again.
Your challenge here will be to
have the action occur in a
visible place without obscuring the
band. Perhaps the band could be off to one side and
the action on another. Or the band is set back far
enough, but still in front, for the action to occur yet
in front of it. Maybe you can just have the band
members step aside for the eight measures and then
resume their position when the movement is over.
Heres another thought. If you want to use a
sleigh as a prop for this song, you could have a
reindeer or two or more pull it around during the
song. The sleigh could even be stationary while the
reindeer move a lot, pretending to be pulling it. For
humor, they could be having a rough time doing this.
Or they could just be hopping around a bunch. Have
some performers, like elves or other reindeer, ride in
it (or behind it, if it is a 2-dimensional prop). Add
some sleigh bells of your own, and let your reindeer
do the whinny at the end for pure silliness.
Scene 2
The cheerfulness of the entourage is not longlived. After the song, one of the background singers
decides to let Elfis know she wants to sing a solo. The
other singers also want to sing a solo. The band
members take sides and an argument breaks out.
Each of the band members is so set in his or her

opinion about how things should be, that they refuse
to perform together anymore.
There are several ad libs during this section. We
think our actors did a very good job of portraying the
conceit, anger, and other unpleasantness, so be sure
to let your actors listen for reference. Also, keep this
in mind when casting your band members: They have
to be able to act upset at each other rather
convincingly during this scene (but without getting
too carried away, of course). It might be best to let
them hear the recording before they audition so they
know what will be expected of them.
The crowd is horrified at the conflict
and responds in song (of course).
upset. Not even Santa can get them to talk to each

other. In desperation, one of the reindeer turns to
Elfis for help. With characteristic confidence, Elfis
determines that he knows just what to do.
What better way to express a

woeful attitude than with the blues?
Once again, the style is swing, only this
time, the tempo is slower, which belies
the mournful quality of the singers.
You will find that the melody is quite
easy to learn, and we think your students
will enjoy the opportunity to possibly
overdo it with the scoops and falls we
have indicated. A few well-placed hands
to the brows, sniffs, and head shakings
would be totally appropriate, too, for
random performers.
The real fun for a select few of your students will
be the execution of the spoken lines during the guitar
solo the second time at measure 9. Elfis is playing in a
down and out mood (but hes not singing) and a
number of elves and/or reindeer chime in with their
complaints. Select a different speaker for each one of
the comments, or at least use a few for the best effect.
Have them exaggerate their misery with a poor-me
attitude and really let them ham it up. We have no
doubt you will have volunteers for this part. At the
end of the section, someone starts to cry and they all
join in. If singers are involved, they will need to stop
at the next singing section, which is measure 17. If
you wish though, you could let a few of them
continue to whimper and sob even after the singing
has continued for humorous effect. If you have any
real extroverts in your midst, this will be a good place
to let them shine.
At the end of the tune, all of the participants
(except the angry band members who just continue
to huff in self-righteous indignation) cry freely until
you stop them. Let a few blow their noses into big ol
cloth handkerchiefs before the next section begins.
In this vaguely familiar tune, the entire point of

the musical is made and all conflicts are miraculously
resolved. Just amazing, isnt it?
Start by having Elfis switch to an acoustic guitar,
if possible. In theory, he is the one playing it, but you
could have someone else play while he just
sings. No electric guitar in this one.
This is the only quiet tune in
the musical, and should be treated
with the proper, er, um, dignity. Its a
very emotional song with a very
emotional message, but its truly
only effective if its done in a
tongue-in-cheek humorous manner.
Elfis should exaggerate his emotional
distress when hes singing or speaking,
as should all of the performers.
We have suggested that Elfis sets the
tone at measure 5 with a solo, but then
Santa takes over, followed briefly by
Mrs. Claus. If you prefer, Elfis could just
keep singing, or you could assign the
other solos however you like. The rest
of the elves and reindeer join in at
measure 21 until the first ending.
All the while, the band members are visibly
softening. The background singers are the first to
buckle under the pressure of song. (Its a musical
comedy thing.) When the tune goes back to measure
5 for the repeat, the background singers croon the
melody on ooh.
Elfis tells us all at this point about the importance
of friendship and forgiveness. Be sure your Elfis
speaks slowly, deliberately, and over-emotionally.
Work on his timing and delivery with him. Again,
the recording offers a good example for learning. Our
Elfis, Jonathan Stombaugh, added a little vibrato
when singing, and vocal inflection when speaking to
emphasize the seriousness of his message.
At measure 21, when the chorus joins in again,
the members of the band who hadnt previously done
so, also begin to join in. You can have them do this
together or one at a time. Just make sure its visible to
the audience. Maybe an elf could lead each one to his
respective instrument, thereby helping him decide to
do the right thing. By the end of the song,
everyone is participating again, as you would expect.
Scene 3
Scene 4
In this brief scene, the elves and reindeer ponder

the problem. Despite their pleadings, the members of
the band are not to be consoled. Everyone is quite
It doesnt take long after that moving tribute for

all of the band members to apologize and forgive each
other. The girls hug each other to the accompanying
45
Awwws of the gathered crowd. The guys slap their

hands together, giving high 5s, and agreeing to put it
all behind them. Whew. All is okay again.
And since it is, what better way to celebrate the
recapturing of lost friendships than with a rousing
finale? None that we know of!

Hey, guess what? It turns out that our three
background singers get to have solos after all. Not
only that, but so do the other band members as well!
Now, thats a positive conclusion based on a win/win
situation. (Oops. Too many self-improvement books
creeping in here. Time to shift paradigms...)
This final tune is a rock tune with a straight 8th
note emphasis as opposed to the triplet emphasis in
previous songs. Again, the form is simple, familiar,
and utilizes basic chord progressions. It should be
very easy to learn and perform with gusto. And yes, if
you are using live instrumentalists, they will enjoy
the simplicity of this one.
Its pretty important that the first three solos are
sung accordingly by the three background ladies. We
do include these solos on the version with
instrumental and background vocals only if you want
your singers to pretend to sing. The solos are very
short one line each but it does give each one a
chance for a moment in the spotlight.
At measure 17, the entire chorus joins in with a
call and response section that repeats what has
already been sung prior to measure 17. Very simple.
Very catchy. And easy to add movement to.
The ideas we have suggested for movement are
included on the music itself. They are located above
each of the vocal lines. The movements are such that
they can be performed with varying degrees of
enthusiasm as your space and situation allow. We do
recommend that students dont lift their feet, lest
they lose the beat. Rather, they should just bend from
the knees, particularly when bouncing.
As always, our movement suggestions are just
North
46
Pole
rock
that suggestions. You can make up your own or

adapt ours anyway you like.
Now about those other solos. After measure 29,
there is a guitar solo at measure 33. Its only two bars
and is followed by two bars of bass solo, two bars of
piano solo, and two bars of drum solo. See? Everyone
gets a turn, albeit a brief one.
The section at measure 41 does continue to
feature the drums a bit more. Only this time, hes
playing on his toms. Both he and the singers get to
execute dramatic shifts in dynamics, going from
piano to forte before going back to 17 for the D.S.
Feel free to use this section as a reinforcement of your
teachings of dynamics. Its a sort of a call and
response here, too, as the singers do the call and the
drummer responds. What fun!
As at the end of The Elves Impersonator, if you
would like to have a sack of sunglasses at the ready, it
would be a hoot to give them out to all performers at
this time. (If you are combining the two musicals,
you might wish to eliminate this from the song, The
Santa Claus Rock!, so that you can do it at this
point instead.)
On the final, Yeah! of the tune, we suggest that
you have performers thrust one of their fists up into
the air. This will let the audience know that the song
and the musical is definitely over. Plus, its a great cue
for applause, which you will no doubt gets tons of.
For the bow music, which is a reprise of the last
song, you could either have the students sing along
for all or part of the song while they take their bows,
or you could just let it be an instrumental all the way
through. Have the soloists do their thing again, or
not, whichever works.
You could even invite the audience to join in
with either the words (print them in the program), or
the movements. It wouldnt take much to get
everyone involved! Have a few characters go into the
audience and pull people to their feet to join in.
(Seeding the audience with willing volunteers
couldnt hurt either.)
and
roll!
Setting Ideas
Technically, you dont really need a setting to
perform Elfis and The Sleigh Riders. The
importance of the plot is in the characters, which
will reveal the probable setting to your audience
whether you actually use one or not. If you feel that
you would like to include a setting for your
production, you can make it a simple one or you
could get totally carried away, depending on your
time and resources especially people. If you are one
of the lucky few who have volunteers like parents,
other teachers, or students to help with your
production, you could do just about anything with
your sets. You could create backdrops with great
detail. If this is the case, here are some ideas.
Since the setting is The North Pole, you could
focus on an outdoor setting filled with ice and snow.
Perhaps Santas workshop could be seen in the
background. Or cottages for the elves. Or a lot of
pine trees covered with snowy puffs. Perhaps the
trees are even decorated for the holiday.
If youd rather have an indoor scene, you could go
with the interior of Santas workshop, complete with
workbenches, presents, projects in progress, etc. Or
maybe its inside Santas house, only in the living

quarters, which would include living room furniture,
or tables and chairs, and so on. A grouping of large
windows on the back wall with multiple panes
painted on and lots of falling snow outside would
also lend itself to a cozy interior setting. Add drapes
(real or illustrated), garlands of evergreen, big bows,
or other swags of decorative materials.
Truly, a stage setting would not be out of line
either. Elfis is a performer, after all. A well placed
microphone (real or not, useful or not) might be in
order as a setting device. And though you might
usually think of a drum set as a prop, it could add to
the stage-like ambience. Its a bonus if your Bix can
sit behind them and play at the appropriate times.
Same thing goes with electronic keyboards.
Anything that you might ordinarily find in a theater
or on a stage for a musical event would be right at
home here. Lighting? Curtains? Amps? Platforms? If
these are things that are actually useful to you in your
performance, all the better. Otherwise, mock stage
sets are absolutely okay.
The equipment for The Sleigh Riders plus a few Christmas decorations
around the performance area would make a simple, but effective, setting.
47
Now lets assume youre one of the music teachers

who is on a tight budget and has limited other
resources as well. The need for a setting does indeed
become less important in this case. For a minimal
look, a sign that says North Pole will do just fine.
A decorated Christmas tree would also do. Or just
drape garland and lights across the whole stage area.
If you are lucky enough to have a back wall behind
your performance area, you could add artwork for
decoration. Generic items, such as stars or candy
canes would be simple enough. Your students could
even create them themselves, if you have the time.
Talk to your art teacher early on and find out her

availability for helping with set design and
execution. For example, perhaps you decide to cover
the back wall with posters from the musical. Or
other seasonal posters, for that matter. The art
teacher could oversee the creation of dozens, if not
hundreds of these posters with her art classes. That
way, students who are not involved directly with the
performance as singers or actors can be involved
indirectly. It makes it more of an all-school event.
Remind her that each artist should sign his work.
An outdoor setting could be used as well. Hang a large mural done on paper, canvas, cardboard, etc., on the back wall.
Attach a window with a view of the falling snow to the back wall for an instant setting. If using risers for your chorus,
set them on either side of the main performance area for ease of movement into and out of the area by main characters.
48
Costumes
these are the people who control your music
programs fate. It would be wiser for you to
communicate directly with your costuming sources
and give them plenty of time, direction, and
assistance in the process.)
A good many teachers are not as fortunate when
it comes to costuming options. Keeping the costumes
simple and basic will at least partially contribute to
the success of this part of your program. Especially if
you are dealing with a lot of children, simplicity may
keep you sane. If the assistance you get with
costuming doesnt come from parents, but is done at
school, you will definitely need help. Again, the art
teacher is someone to approach. She may have some
excellent ideas. And her students could possibly assist
with the creation of costumes or components. In any
event, you should credit all of your helpers in the
program if you want them to help again next year!
Following are some suggestions for mostly quick,
simple and cheap ideas. Keep in mind, however, that
Elfis should shine above all and outfitting him
might be your biggest challenge.
You will have a variety of costuming needs for this

musical, but they need not be extravagant. Except for
Elfis, of course. Your most common characters are the
elves and reindeer, and you can create costumes for
them in a number of simple, inexpensive ways.
Costuming options for Santa, Mrs. Claus, the
instrumentalists, and the background singers are also
only limited by your resources.
Again, if you have the luxury of helpers with
time, financial backing and/or sewing machines at
the ready, good for you. You will probably have very
nice costumes and you might not even lose any sleep
trying to be sure each performer has one.
(A note of caution in general when drafting
parents: We have known more than one teacher who
has directed children to inform their parents that
they need a specific costume which the parents are
totally responsible for thinking up and procuring, and
thats that from the teachers point of view. Keep in
mind, this does not make parents happy. Most of
them are willing to help, in our experience, but just
to put it entirely in their laps might not be the most
politically correct thing you could do. Remember,
Elfis
pointed
ears
Mrs. Claus
pointed hat - not
necessarily red or
green like others
hair up into bun - could

be wearing a bonnet
spectacles
(glasses)
gold ornament on hat

sunglasses,
black or fancy
flowing
sleeves
lace collar
lace apron,
white and fancy
pointed red hat

large gold
necklace
large belt
buckle
flared pants
Santa Claus
high
collar
hat is
trimmed with
cotton
flowing
cape
shoes can be boots, or blue suede

and/or affixed with points for elf quality
In general, Elfis should be very showy - use white

and gold, black and gold, black and silver, etc.
Using things that sparkle, like jewelry and sequins
is a good idea. Even his guitar could sparkle.
white
mustache
and beard
red suit,
overstuffed
cotton trim
on sleeves
red or
green dress
with long
sleeves
and long
skirt
lace
petticoat
under skirt,
optional
large black
belt with big
buckle
medium high
heel boots or
shoes
big black boots

(black shoes okay, too)
49
Jerry Lee
Bix
pointed hat
Stanley
pointed ears
pointed hat with

duller point
beanie (hat)
pointed ears
pointed ears
collar
turned up
rolled
sleeves
on
buttoned
shirt
goatee
black turtleneck
sweater
black pantsstraight leg
jeans with
rolled cuffs
letter
jacket or
sweater
(worn or
used as
prop)
visible
white socks
black shoes add points made of

paper or cardboard
loose-fitting
T-shirt
vest or other
contemporary
overshirt
loose-fitting
very baggy
pants
pointed shoes
Jerry Lee could dress as
any 50s rock star.
Bix likes to think of

himself as a beatnik.
Elf
pointed
shoes
Stanley is a product of
todays culture adjust costume as
current fashion dictates.
pointed hat
Reindeer
a snout could
be fabricated,
or just paint a
big black dot on
the nose
brown
sweat suit
or just shirt
and pants
pointed ears these can be

purchased or
made and
attached to ears
antlers can be
made of paper or
cardboard and
attached to a
headband
attach a tail
to the back
of the shirt
or pants
red or
green
tunic
elaborate
hairdo
red or
green
shirt
pointed
ears
makeup,
including
lipstick
lots of jewelry shiny, sparkly,
gold, etc.
red or green
pants or tights
pointed shoes are

classic for elves
hooves can also be
made and attached
to feet and/or hands
Since the real defining part of the reindeer costume

is the antlers, it is really all that is absolutely
needed. Inexpensive costume antlers are readily
available at many stores these days.
50
Background
Singer
long, flowing
gown
evening shoes can have points

The three background vocalists should be
similarly attired in ultra-glamorous outfits.
They could wear different colors of the
same type of dress for variety.
Staging/Blocking
The most important thing you can do for yourself
and your students is plan thoroughly. This especially
includes staging and blocking. Staging is the
presentation itself of a production, and blocking is
the organization of the positions and movements of
the characters within the production. Considering
that you will possibly have hundreds of students
participating, you can see how critical your plans are.
We have noted often through the years that
when teachers use our musicals pretty closely to the
way they are originally written, they have formulas
that seem to fit. One popular formula is the use of a
choir or large ensemble, frequently on risers, either
behind the action area or in front of it in a pit in
front of a stage. Another option is to locate them to
the sides of the stage, dividing them into two or more
groups. Then, the main characters and incidental
characters are focused on within the action area only.
This lets a lot more students participate in the
musical than just using the few who are featured in
the script and music. (Your chorus could be costumed
or not, of course, depending on your situation.)
If you dont have risers, but would like to have a
choir, consider staggering their positions so that you
can see each childs face from the audience. You
could also have them sit during the action sequences
and stand for the songs. If you choose the latter,
practice having them sit and stand on your cue.
As the musical begins, all speaking characters
should have access to the front of the stage. If you
choose to use all of the ones we suggest (remember,
you can change this any way you like), they will
pretty much fill the performance area. Plan where
you would like them to be standing and which
activities which character should be involved in. For
example, where do they stand to deliver their lines
and where do they stand while waiting to deliver
their lines? Its perfectly fine to leave them in the
same spot or to relocate them to speak. Obviously,
you will need to plan the entrance of Elfis as it
occurs, as well as the entrance of Santa, Mrs. Claus,
the members of the new band (unless they are already
onstage and just move to the front as needed), and
any other characters that are with them.
Performers who have multiple lines or actions
should be located so that they can quickly and easily
be seen and heard, even if you have had to relocate
them temporarily. Players who only have one line
should move to areas of less focus, if possible. They
can then remain in the same position throughout.
Props
There are a few necessary props for this musical,
which include:
a guitar for Elfis
a bass for Stanley
a piano for Jerry Lee

a drum set and sticks for Bix
(Any of these instruments can be real, cardboard,
inflatable, toy, whatever.)
Other props that would enhance your program
might include:
microphones, especially for the soloists
toys and presents around the area
at least one Christmas tree
decorations for the tree
a sleigh
sunglasses (for all for the finale)
Characters
Elfis is the most important and distinctive
character. Not only is he dressed with pizzazz, he
walks and talks in a unique manner as well. He is,
after all, a star. He doesnt have much to say, but
what he does say should reflect his style. The
recording offers a good example of voice quality,
though you should not limit or inhibit your Elfis
creativity when designing his own character.
The background singers should be female (unless
you do a rewrite, which is fine). They should be
dressed in a very flashy way lots of glitter and
showbiz quality. Their characters should be slightly
flawed, recognizing their own talents to excess early
in the show. You know conceited. Even so, their
ability to learn and become forgiving and tender
toward their friends at the end should also shine
through. Exaggerated acting will help in these roles.
As indicated in the script, Jerry Lee should be
outgoing and should play his piano with panache.
Stanley should be a bit more laid back and have a
quiet confidence in his abilities. Bix should be a little
reminiscent of a beatnik or equally cool dude.
Costuming will help with the attitudes of all three.
Santa is a classic character and should be
approached accordingly. Same thing with Mrs. Claus.
(While you could change the common approach to
either character, it might just confuse your audience
in this context.)
The elves can have variable personalities. To
keep them somewhat uniform, we recommend letting
them alter their voices similarly to each other. High,
chipmunk-like voices are frequently recognized as elf
voices, but your students should experiment.
The reindeer might also have common
characteristics in their voices and mannerisms, such
as slow, steady speech. Of course, neither the reindeer
nor the elves need to have any voice characterization
or outward personality traits at all. We just think it
would be fun for your actors if they could try.
In the case of all characters, you cant exaggerate
too much. This is a very light musical and the humor
will shine through especially if you just let the kids
relax and have a good time with it!
51
Elfis
and
The Sleigh Riders

by
Teresa Jennings
Elfis
and
The Sleigh Riders
Date:
Time:
Place:
COMPACT DISC
INFORMATION SHEET
If you purchased the CD with this collection, your CD arrived in a neat little
Safety-Sleeve Binder Page that is padded, and has a pocket in the back
for literature and two holes on the side so that it will fit into a
special binder.
This system is ideal for teachers faced with carrying
around many resources from room to room, school to
school, and all of it back home again. In each binder you
can store up to 15 CDs and their booklets or inserts in their
padded binder pages. This is the most compact, lightweight
way to store or travel with your CDs. We also make extra
binder pages available so that you can use them for other
favorite CDs. These binders have been so popular that we
Binder
make them available in four colors: white, textured black, blue velvet, and
textured burgundy. You can actually see color photos of these binders on our
web site: MusicK8.com Here are the details for ordering your binders and extra binder pages:
Binder
Page
MP-CDBW White CD Binder (with 3 FREE extra CD Binder Pages)

MP-CDBB Black CD Binder (with 3 FREE extra CD Binder Pages)
MP-CDBU Blue CD Binder (with 3 FREE extra CD Binder Pages)
MP-CDBR Burgundy CD Binder (with 3 FREE extra CD Binder Pages)
MP-CDBP CD Binder Pages - 10 pack
These products are available from dealers who carry Plank Road products, or directly from us. To
order, visit the online store at our web site, or call us toll-free at
1-800-437-0832
Full Performance with Dialog
1 Introduction........................................................................................... :13
2 Uh-huh-huh ........................................................................................ 2:10
3 Scene 1 ................................................................................................ 2:01
4 Evrybodys Goin On A Sleigh Ride .................................................. 2:15
5 Scene 2 ................................................................................................ 1:10
6 So Sad At Santas Pad......................................................................... 2:47
7 Scene 3 ................................................................................................ 1:01
8 Are You Lonely And Blue? ................................................................. 2:39
9 Scene 4 ................................................................................................ 1:03
0 North Pole Rock n Roll .................................................................... 1:59
- Bow Music ........................................................................................... 1:59
Full Performance without Dialog
= Uh-huh-huh ........................................................................................ 2:12
q Evrybodys Goin On A Sleigh Ride .................................................. 2:16
w So Sad At Santas Pad......................................................................... 2:46
e Are You Lonely And Blue? ................................................................. 2:40
r North Pole Rock n Roll .................................................................... 1:59
t Bow Music ........................................................................................... 1:59
Instrumental Accompaniment Only
y Uh-huh-huh ........................................................................................ 2:12
u Evrybodys Goin On A Sleigh Ride .................................................. 2:16
i So Sad At Santas Pad......................................................................... 2:46
o Are You Lonely And Blue? ................................................................. 2:40
p North Pole Rock n Roll .................................................................... 1:59
[ Bow Music ........................................................................................... 1:59
Instrumental Accompaniment with Background Vocals
] Uh-huh-huh ........................................................................................ 2:12
\ Evrybodys Goin On A Sleigh Ride .................................................. 2:16
a So Sad At Santas Pad......................................................................... 2:46
s Are You Lonely And Blue? ................................................................. 2:40
d North Pole Rock n Roll .................................................................... 1:59
f Bow Music ........................................................................................... 1:59
FIRST Photocopy this page to

keep your book intact.
k
THEN Just cut out the box to the
left (on the copy)
and slip it into the
back of your
Safety-Sleeve
Binder Page.
(Cutting on the lines is
a real talent...so you
should feel great if
your copy fits in the
pocket correctly.)
LET US HEAR FROM YOU!

We hope that you and your students are enjoying and learning from Elfis and The Sleigh
Riders and that it will provide you with years of good use. In order for us to better serve your
needs in the future, we ask you to let us know more about how you used this musical and how
well it suited your needs. It will be most helpful to wait until after you have performed it, then
return this questionnaire to...
Teresa Jennings
PLANK ROAD PUBLISHING, INC.
P. O. Box 26627
Wauwatosa, WI 53226
NAME_______________________________________________________________________
SCHOOL_____________________________________________________________________
ADDRESS____________________________________________________________________
CITY____________________________________ STATE_________ ZIP__________________
Are you a music specialist?
Are you a subscriber to MUSIC K-8 magazine?
With which grades did you use this musical?
What were your (and your students) favorite songs?
What parts of the musical did not work well for you?
What improvements would you like to see in future musicals?
What other types of resources would you like to see in the future?
Thanks again for buying Elfis and The Sleigh Riders!

P. S. - When you send in this survey, we would love to see a copy of your program and/or any
pictures or videos made from your production.
...Please photocopy this survey to preserve your Teachers Handbook...
PLANK ROAD PUBLISHING, INC. P. O. Box 26627 Wauwatosa, WI 53226 (262) 790-5210 Fax: (262) 781-8818
Now Available!
Downloadable Editions of the
Soundtrack/Preview Recordings
For These Great Christmas Musicals
Reasonably Priced, with Substantial Savings

for Rights to Burn Multiple CDs.
...and theyd be great Christmas presents
for your students and their families!
The Downloadable Editions of the Soundtrack/Preview Recordings contain the full performance (with
dialog) of these wonderful Christmas musicals. They are very useful as an aid for your young performers
learning the music, or for personal listening enjoyment. (Please remember that this is a performance demo
NOT an accompaniment recording.)
You can download a single copy for your own use or as a present, but we also offer licenses that allow you
to burn multiple copies for your students at a substantial savings per copy. The pricing works like this:
Soundtrack/Preview Recording - download with rights for burning 1 CDR $9.95
Soundtrack/Preview Recording - download with rights for burning 2-5 CDRs @ $5.95 per CDR
Soundtrack/Preview Recording - download with rights for burning 6-10 CDRs @ $3.95 per CDR
Soundtrack/Preview Recording - download with rights for burning 11 or more CDRs @ $2.95 per CDR
These Soundtrack/Preview Recordings can only be purchased with a credit card and are only available
online. You will find full information and detailed instructions on downloading at our amazing web site:
MusicK8.com

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The Sleigh Riders

A Rockin Holiday Musical For Young Voices

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