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Adaptations of The Amazing Maurice and his Educated Rodents

BBC Radio 4 broadcast a 90-minute dramatisation in 2003

  • Dangerous Beans: David Tennant
  • Darktan: spoof version of Sean Connery’s Scottish burr.
  • Narrator: Maurice: Harry Meyers
  • “Child reader” of quotes from Mr. Bunnsy Has an Adventure: Rebecca Norfolk


The Amazing Maurice and His Educated Rodents – The Play; Terry Pratchett and Stephen Briggs; Oxford, Oxford University Press, 2003

Adapted by Matthew Holmes, Illustration by Mike Spoor

Adapted by Matthew Holmes, Illustration by Mike Spoor

The Amazing Maurice And His Educated Rodents – A Terrifyingly Terrific Musical; Terry Pratchett and Matthew Holmes; A. & C. Black, 2011: Lyrics and Music

Read and Respond: The Amazing Maurice and His Educated Rodents; Adapted by Eileen Jones; Scholastic,





by Guy Turner

In 1993 I was living in Yeovil, Somerset. One evening there was ‘An Evening with Terry Practchett’ at one of the local secondary schools, and as I was already playing with the idea of adapting Wyrd Sisters as a musical, I went along.

Needless to say Terry was a most entertaining speaker, and at the end I asked him if he would consider allowing me to adapt the book. He clearly doubted that I would go through with it, but he agreed. His fee for this was one bottle of white wine and two tickets for one of the performances. The agreement was that there would be one production only, and after that any further development would have to be discussed with him and his agent.

Over the next eighteen months I worked on the adaptation. Firstly I pasted a copy of every page the book into a scrapbook and highlighted all the plot points and all the good jokes that should not be missed out. In some cases there were good jokes in scenes for which there was not room in a 150 minute show, so I had to move them to other scenes.

Once the script was done I set to writing the songs (sixteen) and incidental music, completing this by Christmas 1994.

I was working at Yeovil College, which had lots of talented 16-18 year old students and a terrific performing arts department, and, having persuaded a colleague who was an inspiration director to come on board, we managed to cast a superb team of forty or so students to take part – quite the best cast I could have hoped for. Members of the cast also took on production roles – Tomjon designed the set, and Granny Weatherwax designed the costumes. We all worked full time on the show for the first half of July 1995 and the show was staged in Yeovil College Hall from 12th to 15th July.

Terry and Lyn Pratchett came to the opening night. I met them in the carpark and as I was taking them through to the hall I mentioned that Wendy, the girl playing Granny Weatherwax, was really quite ill, but was determined not to miss performing that night. As we met the cast, Terry checked out the costumes, and, without being introduced, went straight to Wendy and said how sorry he was she was not feeling well (Wendy performed brilliantly, but went straight from that performance to hospital and an understudy played Granny for the subsequent performances.) Terry spent a lot of time chatting to all the cast, and putting up with photographs – he was very kind to all of us, and very interested in the process of adaptation and production.

As the show was done in a smallish space (with only piano, harpsichord and percussion as the band), the cast did not need to be miked up. However, we did use a microphone (with massive reverb naturally) for Death. At the end of the bows, Death crossed the stage, looked into the audience, pointed at Terry and said, ‘YOU!’ After a pause, he then introduced Terry to the audience, for his own round of applause.

This production was the only one – there was no prospect of publication, and I moved on to other projects. I still have the script and score, and the DVD is in the Practchett archive. But adapting and performing the show was one of the most enjoyable things I have done. Many of the songs have ‘escaped’ into other shows.

There is something about Wyrd Sisters – all the Discworld books are hilarious and wonderful, but as well as being the first book to become a musical, it was also the first to be adapted for radio, the first cartoon, and indeed the first of Stephen Briggs’s well known stage adaptations. Quite a record.

And meeting Terry was a real treat – fiercely intelligent, very funny, with no ego, and a genuine interest in everyone he met.

By chance (or perhaps geekiness) I discovered the little known fact that a musical had been made for Wyrd Sisters. Through a little digging, I discovered Mr. Turner’s email-address, and asked him if he was “the Guy Turner” who had written this musical. He was, and, lo and behold, Mr. Turner agreed to write about his experience. I am beyond thrilled to be able to share this with you.

A GIGANTIC thanks to Mr. Turner.

Mort: Adaptations

Graphic novel

In 1994 the first adaptation of Mort was made in the form of a comic. Mort: A Discworld Big Comic, was illustrated by Graham Higgins. Some translations of the comic have seen the light of day:

Theatre stage

The Play adapted for stage by Stephen Briggs

Terry Pratchett’s Mort: The Play was adapted for the theatre stage by Stephen Briggs in 1996. As usual Griffin Youth Theatre at Rothetham Arts Centre were first out with Mr. Briggs’/Pratchett’s play. It has since been played as far away as Tasmania and Chicago and as close as Netherlands, Spain and Cumberland.

In 2005 an odd production was set up by MADSODS in New Zealand featuring nine synthetic actors. In October 2008 the audience were encouraged to get into the Halloween spirit and come in fancy dress when the York Rising Stars played Mort at the York Railway Institute, Queen Street, York. At the Toronto Fringe Festival, in 2012, the audience moved through different areas, with the players from Socratic Theatre Collective in an attempt to create “the sense that they are journeying with us through the Discworld”

Today, 2015 Aug 22, another production begins at Brisbane Arts Theatre in Australia.


There was also a stage adaptation by Messrs Richard John Artley and Syddall that was set up in Cambridge in November 1996.

A list over the various showings can be found on L-Space.


Orange Cow Productions unauthorized animation of Mort

Artist: Garrett Gilchrist

The students from Orange Cow Productions were fortunate when they made their unofficial animation of Mort during spring semester of 2001. Terry Pratchett’s comment was:

“Wow! So you made a kind of movie of my book without asking me and now some damn university thinks they own all the rights to it? Really? Sounds like a great day in court!

…just kidding…

It sounds like fun, but even so, I don’t want to see it. You’ll probably look back on it in years to come and wish you hadn’t shown me. Let it remains to glitter unseen.

– Terry Pratchett”


2004 Radio adaptation by BBC4‘s Robin Brook wrote a radio adaptation of “Mort” in four episodes in 2004. It was narrated by Anton Lesser, with Geoffrey Whitehead as Death, Carl Prekopp as Mort, Clare Corbett as Ysabell and Alice Hart as Princess Keli. The first episode aired June 15, 2004. Mort has reappeared on BBC at regular intervals: 2005, 2008, 2009, 2010, 2011, 2012 and 2013. The latest reading began April 20, 2015.

Musical image from the Rose Theatre in Kingston production

In 2007 Mort, The Musical came into being through the hands of librettist Jenifer Toksvig and composer Dominic Haslam. That same year one of the songs was featured in the Stephen Sondheim competition.  Together with the Youth Music Theatre from Manchester, England their concept has been developed from its inception in August 2007. A trailer from the 2011 production can be seen on youtube.

Also in 2007, a German version of the musical, Mort: Das Musical, was adapted and directed by Sabine Schindler and its music composed Matthias Weiher. It was shown at the Markthalle (Klosterwall 11) in Hamburg.


In 2010 Ron Clements and John Musker started work on an animated adaptation of Mort. But their project fell through when Pratchett in 2011 took out a writ against Paul Bamborough and Camel Productions, who had an option on film rights for the fantasy, arguing that the rights ran out.

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