Musicals - A through C

A . . . MY NAME IS ALICE
Contributed by actress Bonnie Rivers who played Baby June in the UNH production of Gypsy and who, as an adult, appeared in the Syracuse, NY production of A...My Name is Alice

Book: Joan Micklin Silver and Julianne Boyd
Music: Various Lyrics: Various
Conceived by: Joan Micklin Silver and Julianne Boyd

ORIGINAL PRODUCTION

Village Gate, April 1984 Village Gate (# perf.)
Director: Julianne Boyd
Choreographer: Hope Clark
Musical Director: Joel Fram Orchestration: Doug Katsaros

Principals:
5F Vocal types may be interchanged and expanded but there should be at least one alto, two mezzos and one soprano
Roo Brown-
Randy Graff-
Mary Gordon Murray-
Alaina Reed-
Charlaine Woodard-
Chorus and Smaller Roles: None in the original-could be expanded if characters didn’t double and triple etc.

SYNOPSIS AND NOTES ON THE PRODUCTION

A…My Name Is Alice was produced Off-Broadway by Rosita Sarnoff, AnneWolder, and Douglas F. Goodman, at the Village Gate. It is a Musical Revue with works from twenty-eight different writers, including David Zippel and Carol Hall. The cast consists of five women, originally played by Roo Brown, Randy Graff, Mary Gordon Murray, Alaina Reed, and Charlaine Woodard, who all play several different characters throughout the revue.
The opening number of this musical revue is called ALL GIRL BAND. This song sets up the through line for the entire show. A…My Name Is Alice is about the different roles women in our society play. Everyone is represented, from a housewife, to an executive, to a famous blues singer and her psychiatrist. "Alice" represents all women, and therefore the show features women of all different ages and walks of life. In the opening number all five women play a game of jump rope that children play called "A…my name is Alice." Each woman starts out with that line and continues on to describe their very different lives, which is the theme for the revue. Although it is a Musical Revue, it is not made up of all songs, there are several monologues as well.
Each new scene introduces a new character or set of characters. They are all very diverse in subject matter and mood. Some of the lighter scenes deal with three different woman going out to a male strip club for the first time, a woman getting wrapped up in a romance novel, and several "for women only" poems that look at the more abstract side to being a woman. The more dramatic scenes deal with the trials and tribulations of growing older, how friendships change through the years, and how to deal with the loss of a mother.
Since each woman plays so many different roles, they require several different costumes. There are many quick changes, so it is suggested that each woman start out with a basic outfit, then add and take away pieces as needed. All the characters are modern day, so there are no period costumes required.
The set must be versatile, but it can be very minimal. Simple blocks, a few pieces of furniture, and a lot of imagination are all that is needed.
This is a low budget musical, perfect for smaller venues and colleges. However, companies interested in doing this musical revue must have an imaginative director and five extremely talented and versatile women at their disposal. It is not a well known musical, but it is a solid piece, so with the right cast and some good marketing, word should spread quickly that this is a "must see" show.
A . . . My Name Is Alice won the Outer Critics’ Circle Award for Best Musical.

SONGS AND MONOLOGUES OF SPECIAL INTEREST

"The Portrait," an Alto solo, is a wonderfully moving ballad about a woman dealing with life after the loss of her Mother. It is the story of a grown woman, who does not feel very grown up when her mother passes away and she realizes she can’t go to her for the "answers" any more. This song can easily be taken out of context and used in a classroom situation or another revue.
"Demigod," a serio-comic monologue about a woman taking out her marital problems on her laundry. This monologue works well in a classroom situation, but is somewhat overdone in an audition situation.
"Friends," a duet for two Altos or Mezzos. It is a charming duet about two friend talking on the phone and how their friendship changes throughout the years. They start out as teenagers and go through several stages until they wind up as two older women, sipping tea. This song would work very well in a classroom because it works both the acting and vocal ranges of two actresses.
"Trash," an Alto solo, is a delightful look at a woman bored with her everyday life, who fantasizes that her life is more like a romance novel. This song is intertwined with several scenes so it would be hard to do in a classroom; however, the whole scene would work well in another revue.
Instrumentation: piano, reed (flute, clarinet, tenor and baritone saxophones), percussion
Script: Samuel French, Inc.
Score: NP
Record/CD: Original Cast Records under title "A . . . My Name Will Always Be Alice," with selections from A . . . My Name Is Alice and from A . . . My Name Is Still Alice
Rights: Samuel French, Inc.

ALL AMERICAN

Book: Mel Brooks
Music: Charles Strouse
Lyrics: Lee Adams: (Adapted by June Walker Rogers, based on "Professor Fodorski" by Robert Lewis Taylor)

Winter Garden, March 19, 1962 (# perf.)
Director: Joshua Logan
Choreographer: Danny Daniels
Musical Director: John Morris
Orchestration: Robert Ginzler
Principals:
Professor Fodorski- Ray Bolger- Baritone
Dean Elizabeth Hawkes-Bullock- Eileen Herlie- Soprano
Susan Johnson- Anita Gilette- Mezzo
Ed Bricker- Ron Husmann- Baritone
"Hilly" Henderson- Fritz Weaver- VTNE
Chorus and Smaller Roles: 6M/6F minimum

SYNOPSIS

A group of immigrants, recently arrived at Idlewild Airport, hope to blend into their new country (THE OLD IMMIGRATION AND NATURALIZATION RAG- Chorus). Professor Fodorski, dressed in typical Mittel-European clothes, comments on the countryside as he routes from New York to the Southern Baptist Institute of Technology where he has a position as Professor of Engineering (WHAT A COUNTRY- M Solo to Chorus).
Dean Hawkes-Bullock discovers that she and the professor have the common habit of thinking of the students as their own offspring (OUR CHILDREN- Sc to M/F Duet).
The students are too football oriented to understand the Professor’s teaching but he manages to stimulate Ed Brinker, who is interested in education, not football (WE SPEAK THE SAME LANGUAGE- Sc to M Duet).
When Fodorski wins over the campus by using football to teach the principles of engineering, the students admit that education is fun (IT’S FUN TO THINK- Sc to M Duet). The Dean is pleased at the Professor’s acceptance by the students and the two discuss their past romances (ONCE UPON A TIME- Sc to M/F Duet).
Ed Brinker sneaks into Susan Johnson’s room to deliver some trigonometry notes and later realizes he has seen her without her make-up for the very first time (I’VE JUST SEEN HER- M Solo).
When the big football game is a disaster, due to the football coach’s injury, the Professor takes over the coaching job and convinces Ed to join the team and use his mathematical ideas to lead the team to victory. Fodorski sends the team out for the second half (ARE WE GONNA FIGHT?- M Chorus).
At the beginning of Act II we learn that Fodorski has been named "Coach of the Year" for leading his team through a spectacular season of wins. The players warm up with their daily exercises (PHYSICAL FITNESS- M Solo to Chorus).
Susan is upset that Ed has joined the team, for she detests football and the emphasis the college students place on it. Her friends urge her to escape her problems (NIGHT LIFE- F Trio).
At the Homecoming Dance, the Professor tries to propose to Elizabeth, but is unable to express his wishes due to embarrassment. He attempts to tell her his feelings by switching roles (IF I WERE YOU- Sc to M/F Duet).
Ed is awarded a plaque for being a great kicker and modestly announces his success was due to the team’s help (I COULDN’T HAVE DONE IT ALONE- M Solo). When a business promoter blackmails the Professor into endorsing all types of products, the Professor and the school become national news, which causes Elizabeth to comment on the change in the Professor (ONCE UPON A TIME [REPRISE]- F Solo). Susan and the Dean, furious at the change in Fodorski and Ed, plot to ensure the team will lose the Cotton Bowl. Elizabeth vamps Fodorski (THE REAL ME- Sc to F Solo) who is so overwhelmed by the change in her that he faints. She feels guilty that she has tricked him from being with the team and tells him the truth. He rushes off to the game in a fury, but stops and contemplates who he really is (WHICH WAY?- M Solo).
Fodorski is busy packing for Austria when Elizabeth arrives with his citizenship papers. He agrees to stay if he doesn’t have to coach (FINALE/WHAT A COUNTRY- Company).

NOTES ON THE PRODUCTION

All American was nominated for two Tony Awards in 1962, but did not win in either category. The music and lyrics are worth listening to. This was script writer Mel Brooks’s first foray into a Broadway Musical and the difficulties of producing formed the catalyst of an idea that subsequently became the film The Producers and eventually the hit 2001 Broadway musical. It is very well suited to high school productions and perhaps Mr. Brooks will consider a rewrite of the book at a future date. Until that happens high school directors may want to ask for permission to make any script alterations.

SONGS OF SPECIAL INTEREST

"If I Were You," light tripping, soft shoe
"Once Upon a Time," Irish sound, nostalgic
Instrumentation: Script: Dramatic Publishing Score: NP Record/CD: Columbia
Rights: Dramatic Publishing
ALL IN LOVE
Book and Lyrics: Bruce Geller
Music: Jacques Urbont: (Based on Sheridan's The Rivals)

ORIGINAL PRODUCTION

Martinique Theater, November 10, 1961 (141 perf.)
Director: Tom Brennan
Musical Director: Jacques Urbont
Orchestration: Jonathan Tunick

Principals:
Lucy- Christine Gillespie- Soprano
Mrs. Malaprop- Mimi Randoph- Alto
Jack Absolute- David Atkinson- Baritone
Sir Anthony Absolute- Lee Cass- Bass
Lydia Languish- Gaylea Byrne- Soprano
Bob Acres- Dom Deluise- Tenor
Chorus and Smaller Roles: 6M/5F, 3 of the men form a vocal trio (bass, baritone, tenor) and must vocally blend well

SYNOPSIS

The year is 1775. The location is an inn on the way to Bath, an English resort where the elegant Ladies and Gentlemen go for amusement and flirtations. The Upper Crust of England and Bag, a lowly servant, comment on the place (TO BATH, DERRY-O!- Mixed Chorus).
The chorus exits as Sir Anthony, a wealthy aristocrat, appears, followed by his page, to inform Mrs. Malaprop, an elderly lady also accompanied by a servant, that his son, Jack Absolute, will be courting her niece, Lydia Languish. Mrs. Malaprop, a comic chatterbox who confuses word meanings and constantly twists the English language around, agrees to the proposed match.
As the two exit with their servants, Lydia appears with her maid, Lucy, who she sends to fetch Ensign Beverly, Lydia’s latest fiancé. She loves him because he is impoverished and doesn’t realize that Beverly is actually Jack Absolute in disguise. Sir Lucius O’Trigger, a rake, notices Lydia and begins to stalk her. Mrs. Malaprop returns, becomes infatuated by Trigger, and begins pursuing him.
O’Trigger, escaping Mrs. Malaprop, gives Lucy a note for Lydia and a kiss for her trouble and exits as Mrs. Malaprop enters and gives Lucy a note for O’Trigger. Lucy agrees to deliver it, but privately decides to confuse things by giving the letters to the wrong people. The foppish Bob Acres, Lydia’s former fiancé, hearing that Lucy is in love with Ensign Beverly, also gives Lucy a note for Lydia. In keeping with her plan, Lucy discards the note.
A month later, on a street in Bath, Lucy spies an angry O’Trigger chasing Sir Anthony, who he thinks is too old for Lydia. She wonders if she could be in love with this roguish man (WHAT CAN IT BE- F Solo).
In Jack Absolute’s room, Bob Acres, a close friend removes his wig and confides that he has lost Lydia to Ensign Beverly. He reels off a torrent of genteel swear words and urges Jack to utilize his new system of "Sentimental Swearing" (ODDS- L to M Duet). Bag announces the arrival of Jack’s father and Beverly dons his wig and exits. When Sir Anthony tells Jack he wants him to marry a wealthy girl, Jack, not knowing the girl is Lydia, refuses. His father gives him six hours and fifteen minutes to change his mind or be disowned. After his father leaves, Jack comments that he is in love with a foolish girl who only loves a man because he is poor (I LOVE A FOOL- L to M Solo).
In the garden and drawing room of Mrs. Malaprop’s house, Lydia bemoans to Lucy that she is discontented for she hasn’t heard from Beverly. When her aunt enters with Anthony, she flounces out. Sir Anthony blames the girl’s attitude on reading, but Mrs. Malaprop extols the virtues of education in a humorous manner (A MORE ORDINARY GLORIOUS VOCABULARY- Sc to F/M Duet). The two plan to get Lydia and Jack together.
Outside the Baths, Jack meets Lucy, who, thinking he is Ensign Beverly, tells him that Sir Anthony wants his son to marry Lydia. The delighted Jack begs forgiveness from his arriving father who extols the virtues of Lydia (THE LADY WAS MEANT TO BE LOVED- Sc to M Solo). Lucy, who unknowingly greets Jack as Ensign Beverly, is overheard by Sir Anthony, O’Trigger and Acres. The men rush off as a male trio of Grenadiers comment on the lowering of modern standards (THE GOOD OLD WAYS- M Trio).
In the Baths, O’Trigger convinces Bob Acres to challenge Beverly to a duel (HONOUR- Sc to M Duet) and Acres asks Jack to be his second. Jack refuses. Anthony meets the Grenadiers and agrees that the times are dreadful. (THE GOOD OLD WAYS [REPRISE]- Male Quartet).
Act II begins on a street in Bath. Lucy propositions O’Trigger, but he yearns for a lady of wealth who can save the ancestral home. She hopes the situation will change for she is in love, but her fellow servants remind her that a maid doesn’t marry wealth (I FOUND HIM- F Solo to Mixed Chorus).
At Malaprop’s house and garden, Lydia is surprised that her aunt has let Beverly call, but finds Jack visiting instead. Jack tells her he has fooled Mrs. Malaprop into thinking he is Beverly. She is delighted and begs him to tell her how much he loves her; he refuses (DON’T ASK ME- Sc to M/F Duet). When Sir Anthony and Mrs. Malaprop discover Jack’s masquerade they tell Lydia. She is also furious that she has been deceived and they all renounce him.
Jack, in a drunken state, waits outside a brothel where he comes upon the Grenadiers, all married men, with girls on their arms. He grabs the girls and enters the brothel leaving the Grenadiers, O’Trigger and Bag to comment on why men marry (WHY WIVES- Small M Chorus). Sir Anthony enters in a foul mood and O’Trigger goads him into a duel. Jack forces O’Trigger to challenge him to a duel five minutes earlier in hopes of saving his father’s life.
In Malaprop’s house and garden, Lucy and Lydia console each other and bemoan that men have the better life. Mrs. Malaprop enters with Bag to tell them about the pending duels, but circumlocutes the issue (QUICKLY- Sc to F Trio). Bag finally blurts out the dueling arrangements and everyone exits to the dueling grounds.
At the dueling grounds, everything is resolved. Lydia agrees to marry Jack, Lucy, who has gained great wealth from carrying messages, tells O’Trigger she is ready to marry him, and Mres. Malaprop is paired with Bob Acres (ALL IN LOVE/FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

The show, though short lived, is an interesting one with challenging music and good roles for a small company. The story line is confusing, fun and must be quickly paced to keep the action flowing. A good director with an understanding of the style of the piece is important.
There were quite a few sets in the original, but these may be easily cut down and scene locations switched without affecting the meaning of the script. The scene at the Baths may be moved to the exterior of the Baths, thereby eliminating one set. It is possible to do the show on a three sided revolve, one side for Mrs. Malaprop’s, one for the exterior of the Baths, and the third for Jack’s room. The exterior of the Baths may be redecorated for the exterior of the Brothel, or the scene may be moved to the exterior of the Baths with some stretch of the imagination.
The costumes are period, somewhat complex and costly in terms of fabric yardage. However, the cast is small and most may wear the same costume throughout. Lucy should have several costumes, each demonstrating her rising financial status.
The show is worthy of consideration by a company with a small theatre who is looking for something different. If a large stage must be used it would be advisable to bring the wings in as much as possible in order to minimize the length of stage the chase scenes must play.

SONGS OF SPECIAL INTEREST

"What Can It Be?" mezzo/soprano, up-tempo, movement oriented for comic soubrette
"A More Than Ordinary Glorious Vocabulary," comic alto duet, diction and character emphasized, good for class scene study and possibly revue
Instrumentation: piano, bass, drum
Script: MTI
Score: NP Record/CD: Mercury
Rights: MTI

ALLEGRO
Book and Lyrics: Oscar Hammerstein II
Music: Richard Rodgers

ORIGINAL PRODUCTION

Majestic Theatre, October 10, 1947 (315 perf.)
Director and Choreographer: Agnes de Mille
Orchestra Direction: Salvatore Dell'Isola
Orchestration: Robert Russell Bennett

Principals:
Joseph Taylor Jr.- John Battles- Tenor
Marjorie Taylor- Annamary Dickey- Soprano
Dr. Taylor- William Ching- Baritone
Jenny- Roberta Jonay- Mezzo
Emily- Lisa Kirk- Alto
Beulah- Gloria Wills- Soprano
Grandma- Muriel O'Malley- Alto
Charlie- John Conte- Baritone
Millie- Julie Humphry- Soprano
Chorus and Smaller Roles: 7M/7F minimum. If the show is done in a theatricalized choral manner the principals may join the chorus when they are not specifically featured in a scene.

SYNOPSIS

The show opens in a mid-western town, in the year 1905 with the townspeople lauding Marjorie Taylor, the proud mother of a baby boy (JOSEPH TAYLOR JR.- Mixed Chorus). Grandma Taylor envisions the future the baby will have (I KNOW IT CAN HAPPEN AGAIN- Sc to F Solo).
The chorus quickly forwards the action by performing the thoughts of Joe Jr. as he grows from infancy and experiences the death of his grandmother, his first kiss and his graduation from High School (ONE FOOT, OTHER FOOT- Mixed Chorus).
Before Joe leaves for College, his parents sit on the front porch and ponder what his future will be. Joe Jr. near an open window hears every word of the conversation and interjects his feelings to the audience. Joe Sr. hopes his son will pick the right girl, one similar to his own wife, but Joe feels no girl can compare to his high school sweetheart and childhood friend, Jenny. Joe's father, the warm hearted town doctor, hopes his son will follow in his footsteps and dreams Joe will help his father build a town hospital. Joe's father confides to Marjorie that the right wife is important to a man's career and he is grateful that he picked her. They are a contented couple and comment on the fact (A FELLOW NEEDS A GIRL- Sc to M/F Duet).
The time is 1921 and the action is transported to a college dance where the students are portrayed as they would like to appear; graceful and elegantly dressed. This is in direct opposition to the awkwardness they actually possess.
Joe, who is studying to be a doctor, enjoys college, but discovers it is quite a bit different from his hometown (IT'S A DARN NICE CAMPUS- M Solo). He meets Charlie, a happy-go-lucky fellow student and football star who is more interested in women than in medicine. He is an opportunistic, yet likable young man who uses Joe to help him pass his courses. Meanwhile, Jenny, who is still back home, has Joe worried because the letters she has been writing haven't been wholly enthusiastic about having to wait for him to graduate. Immediate marriage is on her mind.
In a collage of Joe's thoughts, and letters, enhanced by choral commentary (SHE IS NEVER AWAY- Mixed Chorus), we learn that Jenny has gone to Europe and is infatuated by another man. Joe, hurt by her infidelity agrees to a double date picnic with Charlie. On the date, Charlie and his girl leave Joe and Beulah, a swinger of the "new generation", together on a blanket. Beulah's seduction attempts fail when Joe falls asleep (SO FAR- Sc to F Solo).
Joe returns home to see Jenny, who tells him that she is going to wait for him. They reaffirm their love (YOU ARE NEVER AWAY- Sc to M Solo). We soon learn, however, that Jenny has no intention of being the wife of a poor local doctor. When she tells Joe's mother she would prefer that Joe work for her father's lumber and coal company or be a city doctor, Mrs. Taylor attempts to convince her that Joe will be happiest carrying on his father's practice. Jenny, realizing that she must get Joe away from the influence of his mother declares open war and angrily leaves. Marjorie who was never very strong, dies of a heart attack and silences the only verbal opposition to the match. Joe and Jenny decide to marry (TO HAVE AND TO HOLD, WISH THEE WELL- Mixed Chorus).
Act II opens eight years later in the backyard of the Taylor House. Jenny is hanging up the wash as her father, who has lost his fortune, business, and home in the recent stock market crash, enters. Jenny, angered that she is forced to live in a below average home, spitefully lets her father know she feels he is a failure. After her father leaves, Jenny regrets her sharpness but the confrontation has made her more determined than ever to quickly better her circumstances. She invites some neighborhood women over and they commiserate over the luxuries none of them are able to afford (MONEY ISN'T EVERYTHING- Sc to F Quintet).
When Joe is offered a partnership with Charlie's uncle, Bigby Danby, a well-known city doctor, Jenny finagles him into taking the position. He enters a superficial world, demonstrated by a typical cocktail party (YATATA, YATATA, YATATA- Mixed Chorus). Joe's nurse, Emily, who recognizes Joe's talents is infuriated by his overly ambitious wife. She sees that Joe is quickly losing his potential and self-esteem because his major concerns are turning to more social involvement with the "leaders of the community." Emily steps onto the street during a downpour and vainly attempts to hail a cab. She is obviously attracted to Joe yet angrily comments on his naiveté (THE GENTLEMAN IS A DOPE- L to F Solo). Joe and Charlie, another employee of Bigby’s, realize that Bigby only involves himself with the rich hospital benefactors. They scornfully confer with Emily about the present situation (ALLEGRO- Sc to 2M/1F Trio to Mixed Chorus).
Mrs. Lansdale, a wealthy patient, whose husband is the major trustee of the hospital, enters to give Joe a Detective's Report linking Jenny with her husband. He examines the situation and realizes, in an introspective monologue, that his life is empty. As the chorus reminds him that he is always welcome home (COME HOME- Mixed Chorus), Bigby Danby and Lansdale enter to offer him the position of Physician-in-Chief. They leave to announce the news to the Board of Trustees. Emily and Charlie, left alone in the office, worry that Joe will accept. They both feel he has the ability to be an excellent doctor and should be more than a medical politician.
At the New Private Pavilion of the hospital, Lansdale begins his speech as the chorus intersperses comments (YATATA YATATA YATATA [REPRISE]- Mixed Chorus). Joe surprises everyone by declining the offer and announcing that he is going home to help his father build a hospital. The play ends as he leaves for home with Emily and Charlie.

NOTES ON THE PRODUCTION

The play deviates in style from the collaborators' first two popular works, Oklahoma! and Carousel. It is presented in a choral/acting manner, which is why Agnes de Mille was hired as both choreographer and director of this difficult theatre piece. The interesting style and use of a Greek Chorus made the show innovative, but critics and audiences expected something more "new style traditional" from the writing team that produced two prior hits.
In 1970, Equity Library Theatre, an Equity showcase theatre based in New York, produced the show and demonstrated its worth as a revival piece. There are good singing opportunities for choral/acting work as the entire company may appear as various characters in the scenes and dances when needed. The production would be an excellent choice for a school or university and could be interestingly mounted by the combined talents of the music department's choir and the drama department's actor/singers. A refreshing change from the usual choral offerings, it is a light technical production that may be performed on a small stage with limited wing and fly space. Relatively inexpensive to produce it can be effectively costumed and designed with stylized pieces.

SONGS OF SPECIAL INTEREST

"A Fellow Needs a Girl," baritone/soprano, romantic, older couple, charm duet
"The Gentleman Is a Dope," alto solo, up-tempo, vocally interesting, actually a love song that begins in anger, has charm and ends poignantly
"Money Isn't Everything," F quintet, good number for developing character as the girls have individual sections of the verse, up-tempo, Comments on what the rich have that they do not

Instrumentation: 4 reeds, 2 horns, 2 trumpets, 2 trombones, tuba, percussion, 4 violins, viola, cello, bass, piano/conductor
Script: Modern Library
Score: Williamson
Record: RCA
Rights: R&H

THE AMOROUS FLEA

Book: Jerry Devine
Music and Lyrics: Bruce Montgomery
(Based on Moliere’s School for Wives)

ORIGINAL PRODUCTION

78^th Street Playhouse, February 17, 1964 (93 perf.), Moved to York Theatre
Director and Staging: Jack Sydow
Musical Director: Ted Simons
Orchestration: Lou Busch

Principals:
Arnolphe- Lew Parker- Baritone
Chrysalde- David C. Jones- Baritone
Alain- Jack Fletcher- Baritone
Georgette- Ann Mitchell- Alto
Agnes- Imelda De Martin- Mezzo
Horace- Philip Proctor- Tenor
Chorus and Smaller Roles: None

SYNOPSIS

As the overture ends Arnolphe, a middle-aged, self-centered man who always carries a gold cane is seen. His friend Chrysalde, who carries a lorgnette, is urging Arnolphe not to marry for he is convinced that the marriage will fail. Arnolphe tells him that he has kept his orphaned ward Agnes in a convent where she has been raised in total innocence. He invites his skeptical friend to visit his future bride, yet tells him he must refer to Arnolph as La Souche, for that is the name he has taught her to call him. Chrysalde exits, leaving Arnolphe to comment on his greatness in an extremely self-centered way (ALL ABOUT ME- M Solo).
The set changes to the garden of Agnes’s house where the comical servants Alain and Georgette are working. After baiting their master the two leave and Agnes enters. Arnolphe questions the young innocent only to discover that she has nightly visitors; he momentarily panics until he realizes they are harmless fleas. Arnolphe sends her away, pleased with himself for training her in the art of exiting (ALL ABOUT ME [REPRISE]- M Solo). Agnes appears in the upstairs window and comments on her situation (ALL ABOUT HE- F Solo). Agter her solo she closes the shutters and Alain and Georgetter enter to complete the musical trilogy by derogatorily singing about their employer (ALL ABOUT HIM- M/F Duet).
The scene moves to the street where Arnolphe meets Horace, the son of Oronte, an old friend. Oronte has entrusted the boy to Arnolphe’s care until her returns to Paris. Arnolphe loans the boy some money and begins to advise him about the pitfalls of Paris and the deviousness of its women. Horace quickly responds that he has found a lovely maiden named Agnes who lives on the other side of the wall. Arnolphe is apoplectic for he realizes it is his ward. He quickly exits leaving Horace to exalt his feelings of love (LEARNING LOVE- L to M Solo).
The scene returns to the arden where Arnolphe, in a rage, angrily confronts the servants. They deny any knowledge of Agnes’s lover and he exits to ask the girl for the truth. Alain and Georgetter sing of the confusing situation (THERE GOES A MAD OLD MAN- M/F Duet). At the end of the number they exit and Agnes enters with her tatting. Arnolphe enters and begins to question her until he discovers that Horace has indeed been there and caressed her incessantly. He is relieved to find that nothing of real consequence has happened and vows to put a stop to any more philandering. He tells her that she has sinned but there is no sin in anything if one is married (DIALOGUE ON DALLIANCE- Sc to M/F Duet). Agnes is anxious to marry Arnolphe immediately so she can make love to Horace. Arnolphe is appalled and he orders her to her room and insists she throw rocks out her window at the suitor. She retires, weeping, to her room and the act ends with Agnes hurling a rock at Horace.
At the start of Act II, Alain and Georgette are in the garden comically drilling a la soldiers at arms when Arnolphe enters to instruct them (MARCH OF VIGILANT VASSALS- 2M/F Duet). He sends them off and Agnes enters with her tatting. He decides to give her some lessons on married decorum (LESSONS ON LIFE- Sc to M/F Duet). His lesson ends when he is informed that Agnes’s young man is outside. Arnolphe quickly rushes out to the street to greet Horace who tells him that the rock that Agnes threw had a love letter attached to it begging him to save her from La Souche. Arnolphe is having fits of pain, but contains himself enough to tell Horace that he will be his advisor. Horace is grateful and thanks him (MAN IS MAN’S BEST FRIEND- Sc to M Duet).
Agnes, sitting in her window, tells her troubles to Georgette, who is resting in the garden. Georgetter is called back to drill and Agnes wonders what king of world is outside (THE OTHER SIDE OF THE WALL- F Solo). Horace enters with a ladder and urges her to come down. She is hesitant, he is nervous. He climbs up to her and they sing (CLOSENESS BEGETS CLOSENESS- Sc to M/F Duet). Arnolphe enters the garden to tell Agnes she is to remain locked in her room and in bed until the wedding day. She obediently closes the shutters and is locked in with Horace.
Act III opens as Agnes opens her shutters and Horace lowers his ladder, descends and exits. Arnolphe enters and allows Agnes to open her shutters and breathe in the air. She is in a good mood. Arnolph is pleased with himself and the servants are tired of guarding the girl (IT’S A STRETCHY DAY- 2M/2F Quartet).
On the street Arnolphe is busily sending his servants to prepare for the wedding when he is greeted by his friend, Chrysalde, who is astounded to hear that Arnolphe is actually marrying his ward. Arnolphe exits on his way to have his hair tinted and Chrysalde tells the audience that a man must be realistic as he grows old (WHEN TIME TAKES YOUR HAND- Sc to M Solo).
Arnolphe sees Horace and urges him to tell his latest adventures. When Horace tells of his evening spent in Agnes’s room and his plan to spirit her away at eight o’clock this evening, Arnolphe is overcome and laments alone (THE AMOROUS FLEA- M Solo).
Later that evening Horace spirits Agnes away and takes her to the street to entrust her to his friend Arnolphe. Upon his exit, Agnes discovers that Arnolphe is really La Souche who returns her to her room.
The next morning Horace meets Arnolphe and tells him that his father has arrived in Paris with the news that Horace is to marry the daughter of Enrique, a man of vast wealth. Chrysalde enters with Horace’s father, Oronte, and his friend Enrique. In the confusion that follows it is discovered that the Enrique’s daughter is none other than Agnes. There is a joyous reunion where everyone relates except Arnolphe who stands alone (FINALE- Company).

NOTES ON THE PRODUCTION

The show is enjoyable to produce and perform. The music is pleasant, the situations humorous and the characters fun to portray. It is a nice ensemble show which is relatively easy to tour and may prove a good choice for groups wishing to provide a sampling of period theatre for Junior High and High School students.
The play is relatively inexpensive as the royalty is extremely reasonable, there are few props and the actors need only one costume each. The original production employed a full set and utilized a ground row with a background of houses on a street. The main house has a window with practical shutters and a curtain with a platform large enough to enable Agnes to stand at her window. A hinged wall unit that could be opened or closed to represent the garden or the street was attached to the house. Groups wishing to tour the production or with limited technical expertise could simplify this set through the use of portable flats to represent the house, a cut-out tree with a prop bench to establish the garden, a street flat set downstage right, and two A-frame ladders with two boards across them as Agnes’s standing platform.

SONGS OF SPECIAL INTEREST

"Lessons On Life," Comic situation duet for baritone/mezzo with stylized period movement a la Moliere, character contrast and imitation add to the humor

Instrumentation: piano, percussion
Script: Dramatists Play Service
Score: NP Vocal Selections: Saunders
Record/CD: NP
Rights: Dramatists Play Service

ANGRY HOUSEWIVES

ORIGINAL PRODUCTION

Theatre, Date (# perf.)
Director: Choreographer: Musical Director: Orchestration:

Principals:
Tim - baritone
Bev - mezzo
Wendi - mezzo
Jetta - soprano
Carol - alto
Larry - tenor
Wallace - tenor
Lewd Fingers - baritone
Chorus and Smaller Roles:

SYNOPSIS

The show begins with the screeching of an electric guitar and what sounds like a cat in heat, otherwise known as a teenage boy agonizing about his horrible adolescent life (HELL SCHOOL- M Solo). The lights come up to reveal a modest home and a widow, Bev, trying to alternately clean the living room and cover her ears to block out the noise. Shortly thereafter, the source of the noise, Tim, enters. Bev has invited a large group of women over for a "Betty Jean" party, the cosmetics version of a Tupperware party. As she explains to Tim, the Betty Jean philosophy (THINK POSITIVE- F Solo) and sale of the products are going to save them, as they are quite financially strapped. However, during the course of the song, the phone continues to ring with more and more "friends" calling with excuses and regrets. Enter Wendi, a drawbridge operator and the only single female, and Jetta, a new mother, arriving for the party and confused at the lack of attendance. The arrival of Carol, a divorced high school music teacher (Tim's music teacher, in fact), completes the party. Bev attempts to sell them on the products while serving spaghetti sandwiches, the only food she has on hand. Bev quickly realizes that all four women are in the same boat -all without a penny to spare. They commiserate and joke about entering the same contest as Tim - a local punk rock club is having a Battle of the Bands with the top prize being $2000. Enter Larry, Jetta's upwardly mobile lawyer husband whose dependence on Jetta and his mommy makes him every bit the child as his own new daughter. The party breaks up, but Wendi promises to come up with a plan for cash.
The following day at the drawbridge, Wendi tries out her plan on her boyfriend Wallace, who has recently won a million dollars in a fishing derby. Wendi's idea is to form a punk rock band and enter the contest. Wallace first thinks this must be a joke, then is only concerned that this will interfere with his plans to sail to Hawaii with Wendi. As Wendi assures him that the trip will continue as planned, the other women enter. Wendi then convinces the others that her idea is the solution to all their problems (IT'S GONNA BE FUN- F Solo with 3F Backup).
Larry remains at home, panicked because Jetta is 15 minutes late and he has no clue how to deal with his newborn daughter. Larry attempts to track down Jetta by calling Tim, who is no help at all.
Scene 4 opens with the first band practice at Bev's, which is not going well. The women work on a name and an attitude for the band, but Carol feels she's too "fat and old" to be in a punk rock band and is plagued by self-doubt (GENERIC WOMAN- F Solo with 3F Backup). They decide to keep working on it, while hiding their intent from Tim.
The following day brings a fight between Wendi and Wallace, as he feels she's spending too much time practicing and not enough time helping him work on the boat. Bev tries out her new punk attitude on a stunned Tim and Carol attempts to rehearse quietly with Jetta in Jetta's basement so that Larry won't hear. After Larry interupts to scold Jetta for having store bought grape juice instead of the fresh squeezed that he prefers, Jetta laments the problems in her marriage (NOT AT HOME- F Solo).
Carol goes to the punk club to sign up for the contest and meets the owner, Lewd Fingers, who flirts outrageously with her. Carol manages to get out the door with her dignity intact just before Wallace enters looking for Wendi. Lewd and Wallace turn out to be old frat brothers, who reminisce about their college days and the conquests that they both made (BETSY MOBERLY- M Duet).
The big night arrives and the Angry Housewives turn to perform. The noisy and rude punk club crowd (in this case the audience!) boos them as they begin. The only way the women could get Jetta up on stage was to get her extremely drunk, which turns out to be a huge bonus as she is able to get over her inhibitions and sing the song as intended (EAT YOUR FUCKING CORNFLAKES- All Women). The audience, of course, goes wild.
Act II opens, the women return triumphant to Bev's house, having made the finals of the contest. Tim enters, extremely upset that his mom's band beat his band (FIRST KID ON THE BLOCK- M Solo with 4F Backup). Tim storms out and Wendi begins to think this wasn't such a great idea after all as leaves to deliver a very drunk Jetta home to Larry.
Scene 2 reveals Carol and Lewd at his favorite place to see the sunset - a freeway overpass. Lewd and Carol express their newfound attraction (LOVE-O-METER- M/F Duet) as Lewd assures Carol that her band is almost guaranteed to win the contest. Meanwhile, Tim returns home, his own band having broken up, and suggests a limited partnership for the band and tons of money to be made on fan club dues. As Jetta dresses Larry, he forbids her to continue with the band, reminding her that her job is to take care of him and their daughter. Jetta finally stands up to Larry and insists on staying with the band, causing Larry to have a panic attack. Wallace finds Wendi in the park, where they kiss and make up. Wendi tells him that she's had second thoughts and is going to tell the other women that she's quitting the band. Wallace reminds her that she's flaking on her best friends and as the women's nerves being to fray, their respective men offer their support (SATURDAY NIGHT- Company).
The women meet for dinner and Wendi calls it quits. A food fight erupts as the women recall the many times that Wendi has come up with an idea, gotten them all involved, then quit on them. Larry enters, is mortified at his wife's behavior and is left alone at the table as the women storm out. He pathetically sings of his woes (NOBODY LOVES ME- M Solo) and realizes that he needs to support his wife.
As Lewd Fingers introduces the Angry Housewives, Tim, Wallace and Larry all show up in drag to sit in for the missing Wendi. When the Housewives are nowhere to be found, the men join forces and cover (STALLING FOR TIME- 4M). The women, including Wendi, finally make an appearance and perform their final number (MAN FROM GLAD- 4F). The Angry Housewives lose the contest, but win a recording contract anyway. The finale (ANGRY HOUSEWIVES- Company) finds them starting off on their new journey as punk artists.

NOTES ON THE PRODUCTION

This hilarious musical premiered in Seattle and has become quite a cult hit along the way.

SONGS OF SPECIAL INTEREST

"Not At Home", Mezzo solo, good inner monologue/acting piece for class or audition, about the problems that arise in a marriage
"Betsy Moberly", Tenor/Baritone duet, great comic piece about a college flame
"Love-O-Meter", Alto/Baritone duet, cute, fun piece about falling in love
"Nobody Loves Me", Tenor solo, great comic monologue/acting piece, a veritable self-pity party

Instrumentation: piano, keyboard, electric guitar, bass, drums
Script: Samuel French
Score:
Rights: Samuel French

ANNIE

Book: Thomas Meehan
Music: Charles Strouse
Lyrics: Martin Charnin
(Based on the comic strip "Little Orphan Annie")

ORIGINAL PRODUCTION

Alvin Theatre, April 21, 1977 (2,377 perf.)
Director: Martin Charnin
Musical Director: Peter Howard
Choreographer: Peter Gennaro

Principals:
Annie- Andrea McArdle- Child Mezzo
Daddy Warbucks- Reid Shelton- Baritone
Miss Hannigan- Dorothy Loudon- Gravelly Mezzo
Grace Farrell- Sandy Faison- Soprano
Rooster- Robert Fitch- Tenor
Lily- Barbara Erwin- Squealy Soprano
Chorus and Smaller Roles: 7M/4F minimum, 6 young girls ages 5 to 11 who sing and dance well

SYNOPSIS

The play opens in a dimly lit orphanage in Manhattan's Lower East Side; the time is 1933 and America is in the middle of its worst depression. Six orphans have just been awakened by the nightmares of Molly, the youngest. Annie, an 11-year old who has been at the orphanage since two months of age, comforts Molly and shares her feelings about her own parents, whom she knows will come back. The other orphans wistfully listen and join in at the end of the song (MAYBE- F Solo and Female Chorus). When Miss Hannigan, the mean, liquor imbibing, manager of the orphanage discovers Annie and the girls awake she proceeds to put them to work scrubbing the bedroom floor. The girls perform the show-stopping number complete with buckets and brushes (IT'S A HARD KNOCK LIFE- F Chorus).
Annie, yearning to find her parents, escapes from the orphanage in the bottom of a laundry basket and wanders the streets of New York looking for a place to call home. She befriends a stray dog, names him Sandy and assures him that everything will be all right (TOMORROW- F Solo). Annie discovers a "Hooverville" under the 59th street bridge and finds food and friendship from the residents who sarcastically praise President Hoover (WE'D LIKE TO THANK YOU, HERBERT HOOVER- Mixed Chorus).
At the orphanage, Miss Hannigan, infuriated by Annie's escape and the practical jokes of the orphans, comments on her hatred of children (LITTLE GIRLS- L to F Solo). She turns on a radio soap opera but is interrupted by a policeman who enters with Annie. Upon the officer's departure Miss Hannigan starts thrashing Annie about but is interrupted by Grace Farrell, secretary to wealthy billionaire Oliver Warbucks. Grace is charmed by Annie and invites her to spend the next two weeks in the Warbucks mansion on Fifth Avenue.
Annie is overwhelmed by the mansion, and especially impressed by the servants (I THINK I'M GONNA LIKE IT HERE- F Solo to Mixed Chorus). Daddy Warbucks arrives and is upset to discover that Grace has brought him a girl orphan instead of the boy he requested. Annie, however, charms him into accepting her and he invites Annie and Grace to the Roxy Movie Theatre. The three walk the forty five blocks to the theatre listening to Warbucks tell them how much he loves New York City (NYC-1M/2F trio to mixed chorus). They arrive at the theatre and are ready to enter when Oliver notices Annie falling asleep; as he picks her up she falls asleep in his arms.
One week later Grace arrives at the orphanage to tell an infuriated Miss Hannigan that Warbucks intends to adopt Annie. As Grace exits she runs into Hannigan's gangster brother, RoosterS, and his bleached blonde girlfriend, Lily. He has just gotten out of prison and come to Hannigan for money. The members of the devious trio yearn for an easier, richer life (EASY STREET- Sc to 1M/2F Trio).
At the mansion, Warbucks, while attempting to tell Annie that he wants to adopt her, discovers her desire to find her real parents who left her on the doorstep of the orphanage with half a locket and a letter promising to return. Determined to make her happy, he promises to find them. The servants and Grace assure her that everything will be all right (YOU WON'T BE AN ORPHAN FOR LONG- Mixed Chorus).
Act II opens at a radio station, where Warbucks has offered a $50,000 reward to anyone who can prove they are Annie's parents. The show signs off with Bert Healy and the Boylan Sisters singing the show's theme song (YOU'RE NEVER FULLY DRESSED WITHOUT A SMILE- M Solo with 3F Trio).
At the orphanage the orphans listen to the radio and imitate the show's theme song (YOU'RE NEVER FULLY DRESSED WITHOUT A SMILE [REPRISE]- F Chorus). Miss Hannigan sends them to bed as Rooster and Lily arrive disguised as Annie's parents and convince Hannigan to help them fool Warbucks. Hannigan agrees...for half of the reward money.
In Washington, Annie and Warbucks meet with President Roosevelt and his cabinet who are depressed over the nation's economic state. Annie encourages them to look to the future (TOMORROW [REPRISE]- Mixed Chorus). The festivities are soon stopped when Warbucks recieves a telegram saying that hundreds of people, all claiming to be Annie's parents, are jamming the streets outside the mansion. Warbucks and Annie return home to discover that all claims of parentage have been false. Warbucks attempts to bolster Annie's spirits by telling her he wants to adopt her (SOMETHING WAS MISSING- M Solo). She agrees that the search was futile and happily consents to his proposed adoption (I DON'T NEED ANYTHING BUT YOU- Sc to M/F Duet). The servants enter to prepare for the adoption party and enthusiastically sing a tribute to the little girl that brightens their lives (ANNIE- Mixed Chorus). The high point of the number occurs when an enormous Christmas tree surrounded by multitudes of presents is wheeled out.
The party is interrupted by Rooster and Lily, who enter disguised as Annie's parents. They show as proof a birth certificate and the missing half of Annie's childhood locket. Annie is disappointed, but Warbucks and Grace are suspicious of these two odd characters who have left Annie to say her farewells. Warbucks turns to President Roosevelt and the FBI for help. They discover that Annie's real parents have been dead for many years and the couple claiming to be her parents are false. Annie is free to be adopted by Warbucks.
Miss Hannigan and the orphans arrive for Warbucks’ Christmas party followed by Rooster and Lily who attempt to claim Annie. The three are arrested by The Secret Service and Warbucks promises the orphans a better life. The entire company excitedly looks to the future (A NEW DEAL FOR CHRISTMAS- Mixed Chorus). The number peaks when Sandy arrives in a huge Christmas wrapped gift-box... the perfect end to a Merry Christmas and the beginning of a wonderful life (A NEW DEAL FOR CHRISTMAS- Mixed Chorus).

NOTES ON THE PRODUCTION

Annie won seven of a possible nine Tony Awards (Dorothy and Andrea were nominated for the same award which Miss Loudon received) for Best choreography, Actress, Score, Book, Costumes, Set, and Musical. The production was a lively and exciting one for children, one of the few semi-lavish family shows since the 1965 Tony award winner Fiddler on the Roof. It takes some extremely talented children and good character actors to plausibly portray the principals and the smaller vignette roles, namely Roosevelt's Cabinet. There is also a need for a dog with enough ability not to upstage the entire production.
The sets are fairly lavish and difficult to trim, although set pieces may be reused if the budget is limited. The Christmas tree is extremely important to the overall show as it helps peak the musical number and is essential in the finale. The costumes are period thirties with servants and a policeman's uniform. Nothing is terribly difficult.
Annie has been around as a popular family show for years. Networks recently mounted a national tour with UNH alum David Kaeppeler as Musical director who re-orchestrated much of the production to give it a more upbeat sound to appeal to modern audiences. Audiences of all ages love the production and it continues to be a popular choice and money-maker.

SONGS OF SPECIAL INTEREST

"Easy Street," 2F/1M trio, up-tempo, movement oriented, emphasis is on broad characterizations and character interaction and reaction
"I Don't Need Anything, But You," baritone/child mezzo duet, charming number, good for relationship and soft shoe as it is done on the vaudeville style
"Little Girls," mezzo comedic character solo, emphasis is on solid characterization through strong acting, good exercise for an actress who has trouble taking on strong characters which depart from the actress's own personality
"We'd Like to Thank You, Herbert Hoover," a delightful, up-tempo chorus number which allows much room for individual characterization and simplistic staging arising from lyrics and situation

Instrumentation: 5 reeds, 2 trumpets, 2 trombones, 1 tuba, violin, cello, bass, guitar/banjo, percussion I and II, piano/conductor
Script: NP
Score: Hansen
Record/CD: Columbia
Rights: MTI

ANNIE GET YOUR GUN

Book: Herbert and Dorothy Fields
Music and Lyrics: Irving Berlin

ORIGINAL PRODUCTION

Imperial Theatre, May 16,1946 (1,147 perf.)
Director: Josh Logan
Choreographer: Helen Tamiris
Musical Director: Jay S.Blackton
Orchestration: Philip J. Lang, Robert Russell Bennett, and Ted Royal

Principals:
Annie- Ethel Merman- Alto belt
Dolly Tate- Lea Penman- Alto
Buffalo Bill- William O'Neal- Baritone
Frank Butler- Ray Middleton- Baritone
Charlie Davenport- Marty May- Tenor
Pawnee Bill- George Lipton- Baritone
Chorus and Smaller Roles: 4 Children 3G/1B, 9M/9F minimum, various shapes and sizes to portray Indians, society and townsfolk

SYNOPSIS

Outside the Wilson House hotel on the outskirts of Cincinnati, Ohio, Charlie Davenport, manager of Buffalo Bill's Wild West Show enters with his sister, Dolly Tate to drum up business for the show. They dramatically enact the heroic episodes of their boss as a crowd of onlookers becomes involved (COLONEL BUFFALO BILL- M/F Duet To Mixed Chorus).
Foster Wilson, the hotel proprietor enters. Furious that Charlie has advertised a shooting contest between the Town's best sharpshooter and Frank Butler the show's star on the hotel grounds, he orders them off the premises. Charlie sends Dolly into the hotel to charm Wilson, a bachelor. Frank Butler, left alone with the young girls of the town warns them about his reputation (I'M A BAD, BAD MAN- M Solo/F chorus).
Dolly enters after failing to change Wilson's mind and sits down to rest near a hedge. A shot rings out knocking a decorative bird off Dolly's hat. She looks around fearfully as Annie Oakley, a tomboyish, rather grubby girl, in well-worn clothes enters. Wilson arrives to see Annie pointing a gun at Dolly who hastily exits. She attempts to sell some game birds to Wilson who is impressed by her shooting. When he orders twenty-four, Annie has to call her three sisters and brother Jake to judge the amount. Since they can only count to twenty Annie promises to deliver that amount. Wilson questions her about the family's lack of reading and writing ability but they reply that back home it wasn't necessary to have book learning (DOIN' WHAT COMES NATUR'LLY- Sc to F Solo/Children's Chorus/M Solo).
Wilson offers her five dollars to enter the shooting match against Frank Butler, whom he refers to as a swollen headed stiff. Annie agrees and confidently begins cleaning her gun but is interrupted by the handsome Butler who is appalled by the antiquity of her rifle and the bluntness of her manner. She, on the other hand, is overwhelmed by his outstanding good looks and listens closely as he tells her of his ideal woman (THE GIRL THAT I MARRY- Sc to M Solo). He tips his hat and exits.
Annie, realizing she has to be more than a good shot to trap someone like Frank into marriage, ponders her situation (YOU CAN'T GET A MAN WITH A GUN- L to F Solo). She marches off as Buffalo Bill arrives to referee the contest. When Wilson introduces Annie everyone is shocked that he has entered a girl against Frank Butler, but they are easily impressed when she wins. Despite Frank's unenthusiastic response to the idea, Buffalo Bill encourages Charlie to offer her a job with the show. They assure Frank that Annie will only assist him in the act and not do any fancy shooting that might endanger his status as number one. The three men tell her of the perils and thrills of show business (THERE'S NO BUSINESS LIKE SHOW BUSINESS- Sc to 3M/1F Quartet). The show moves by train and the scene shifts to the Pullman parlor of a train at night. The car is full of Indians with wash and living items scattered about. Dolly enters, furious that Annie has given the Indians permission to use her car but Charlie comes to Annie's defense and Annie settles down with Little Jake to study her spelling. The two are interrupted by Frank, whom Annie is hopelessly in love with. He is also becoming fond of her and asks if she has ever been in love with someone. The two are afraid of the other's reaction so they talk of the things they've heard about love (THEY SAY IT'S WONDERFUL- Sc to M/F Duet). By the end of the number Frank realizes he loves her, they embrace.
Charlie and Buffalo Bill, in hopes of getting business away from competitor Pawnee Bill, ask Annie to perform her motorcycle riding and shooting trick in Minneapolis. Annie, convinced by the two that Frank will be proud of her agrees.
Her brother and sisters are enjoying the excitement of show business so much that it is difficult to get them to sleep. They beg Annie for a lullaby and she agrees as the trainman, waiter and porter join in (MOONSHINE LULLABY- F Solo/M Trio).
Frank, feeling threatened when he sees a large poster of Annie outside the performance arena, warns Charlie that he will quit the show if the posters stay up. Charlie and Buffalo Bill, knowing the show is in financial difficulty, have no choice but to have Annie perform her trick shooting. Charlie begins the pitch to draw an audience as the company joins in (WILD WEST PITCH DANCE- Mixed Dance Chorus). Charlie's spiel is cut short by the entrance of Pawnee Bill and Sitting Bull who have come to see Annie perform. Charlie and Buffalo Bill attempt to interest the oil rich Sitting Bull in making an investment but the chief refuses.
Frank, attempts to propose to Annie but she insists he waits until after her performance, he agrees and tells his friends he is going to be married (MY DEFENSES ARE DOWN- M Solo to M Chorus).
The stage goes dark and the lights suddenly rise on Annie who is lying on a motorcycle, steering with her feet and shooting at lighted candles attached to a wheel on the main tent pole. The crowd goes wild but Frank refuses to follow such a tremendous spectacle. Annie enters anxious to discover Frank's reaction but is unable to talk to him because Sitting Bull, who labels her the best marksman he has ever seen, announces his wish to adopt her as his daughter. The ceremony begins (WILD HORSE CEREMONIAL DANCE- Male Dancers), and Annie becomes Sitting Bull's daughter (I'M AN INDIAN TOO- F Solo to Mixed Dance Chorus). At the end of the ritual Annie is exhausted and surprised to receive a letter from Frank; in the excitement she didn't realize how upset he was. She enlists the aid of Papa Bull who reads that Frank has left with Dolly to do his old act at Pawnee Bill's show. Annie is crushed and sadly reprises (YOU CAN'T GET A MAN WITH A GUN- F Solo) as the curtain falls.
The Act opens with the troupe camped atop the deck of a cattle boat in New York Harbor; they have just returned from a successful tour of Europe and are broke because European Royalty doesn't pay for command performances-they only award medals. Charlie tells Annie they are broke and the U.S. Government has placed Papa Bull on a weekly allowance. Their depression is interrupted when someone from Pawnee Bill's outfit arrives to invite them to a reception in New York. Papa Bull suggests the two shows merge and Annie anxious for a chance to reunite with Frank, agrees. She quietly sits alone and remembers (I GOT LOST IN HIS ARMS- F Solo With Offstage Mixed Chorus).
At The Ballroom of the Hotel Brevoort in New York, Pawnee Bill, Frank and Dolly tell Mr. and Mrs. Adams, two wealthy society patrons about the perils of Show Business (THERE'S NO BUSINESS LIKE SHOW BUSINESS [REPRISE]- 2M/1F Trio). The subsequent meeting between the two owners is a disaster for both discover neither one has any money. Papa Bull saves the day when he realizes that Annie's medals are worth $100,000, enough to finance the merger. Charlie warns Annie that she is giving up her only tangible wealth, but she retorts that she has enough in life (I GOT THE SUN IN THE MORNING- F Solo to Mixed Chorus). Frank joins in and the two are reunited.
Frank proposes and begins to describe the wedding he wants, but Annie envisions a very large wedding, in direct opposition to his need for a simple one (AN OLD FASHIONED WEDDING- Sc to M/F Duet). The two argue and decide to have one big shooting match to determine who is the best sharp- shooter in the world.
On the loading platform for the Ferry to Governor's Island, Dolly attempts to sabotage Annie's guns but is stopped by Papa Bull and her brother Charlie. Charlie is furious, but Papa Bull knows that if Annie wins the match she will lose Frank, so he and Charlie sabotage the guns.
At Governor's Island the shooting match is about to begin but Annie and Frank delay things by arguing about their talents (ANYTHING YOU CAN DO- Sc to M/F Duet). The competition begins with Annie missing two simple shots. Frank offers her one of his guns and she gets a hit. Papa Bull, worried that she may win with Frank's gun, takes her aside to explain she must lose the competition to marry Frank. She purposely misses the next shot and the two agree to be lifetime partners as the two shows merge (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

Ethel Merman, born Ethel Zimmermann on January 16, 1909, starred in a variety of Musical Comedy roles including Girl Crazy, Anything Goes, DuBarry Was a Lady, Call Me Madam, Happy Hunting, Red, Hot and Blue, Gypsy and Hello Dolly. More roles were written for her than for any other musical star. In fact she changed the emphasis of the musical theatre from the typical ingenue soprano heroine to the more interesting older, often brassy three-dimensional leading lady.
Considered to be Irving Berlin's most memorable score, it is interesting to note that producers Rodgers and Hammerstein II originally hired Jerome Kern whose untimely death forced them to find another writer. Berlin's wonderfully melodic score and charming lyrics combined with a well-written musical libretto helped chalk up a long run.
Revived in 1966 for a limited engagement at Lincoln Center Berlin wrote a new song for Miss Merman, "Old Fashioned Wedding." The script was changed to trim Dolly and Charlie's roles as the secondary love interest by cutting their song "Who Do You Love I Hope" and re-defining them as brother and sister. The acting version available for production is based on the revival but the older scores have the cutout song and some companies have chosen to negate the brother and sister relationship by including the original song.
The show is an extremely popular one and may be produced in all sizes and types of theatres without losing any of the production quality. The major problem is determining the best way to handle the trick shooting sequence on the motorcycle. Smaller community groups and those performing in the round have often had the sequence "performed" offstage and utilized an onstage audience's reactions to establish the mood.
It is possible to perform the show on a unit set with prop pieces to establish more specific location. The homespun charm of the story and songs are what makes the show enjoyable and enable it to be performed with a limited set and costume budget.
The production calls for an Annie with tremendous vocal and physical stamina- she rarely leaves the stage for a breather. Do not attempt this production, which was written for a star, without two talented female performers, one to perform the role and one as an understudy or alternate.

SONGS OF SPECIAL INTEREST

"Buffalo Bill," good small chorus number that calls for minimal staging, features 1M/1F, emphasis is on enthusiasm and energy with vocal and physical build
"There's No Business Like Show Business," showstopping quartet, presentational staging, basic movement patterns and simplicity
"They Say It's Wonderful," good romantic duet for an alto
"Moonshine Lullaby," nice ballad for an alto
"You Can't Get a Man With a Gun," comic problem song which forces actress to relate to audience, good for developing believability and eye contact
"I'm an Indian Too," comic song with good potential as an audition number as it shows off energy, comedy, movement and pitch

Instrumentation: 4 violins, viola, cello, bass, 4 reeds, 3 trumpets, 3 trombones, percussion, harp, guitar, piano/conductor
Script: Irving Berlin Music Corp.
Score: Irving Berlin Music Corp.
Record: RCA
Rights: R&H Library

ANNIE WARBUCKS
Synopsis by UNH alum Linette Strout Miles who was in the production at Hampton Playhouse

Book: Thomas Meehan
Music: Charles Strouse Lyrics: Martin Charnin
(Based on the comic strip "Little Orphan Annie")

ORIGINAL PRODUCTION

Variety Arts Theatre, August 9 1993 (200 perf.)
Director: Martin Charnin Choreographer: Peter Gennaro Musical Director and Orchestration: Keith Levenson

Principals:
Annie Warbucks- Kathryn Zaremba- Child Mezzo
Oliver (Daddy) Warbucks- Harve Presnell- Baritone
Grace Farrell- Marguerite MacIntyre- Soprano
Drake- Kip Niven- Tenor
Mrs. Pugh- Brooks Almy- Mezzo
Simon Whitehead- Joel Hatch- Baritone
Commissioner Harriet Doyle- Alene Robertson- Mezzo
Mrs. Sheila Kelly- Donna McKechnie- Mezzo
President Franklin Delano Roosevelt- Raymond Thorne- Baritone
Chorus and Smaller Roles: 6M/6F Minimum, 5 girl orphans of varying vocal types

SYNOPSIS

The curtain opens on the final scene from Annie. It is Christmas day 1933, and the orphans are celebrating at Daddy Warbucks’ mansion (A NEW DEAL FOR CHRISTMAS - Mixed Chorus). Everything is perfect for Annie. She is now the daughter of Daddy Warbucks (ANNIE AIN’T JUST ANNIE ANYMORE - F Solo).
But, alas, the happiness doesn’t last for very long. Commissioner Harriet Doyle interrupts the celebration. She has come to take Annie away from Daddy Warbucks because, she says, he must be married in order to legally adopt Annie. She agrees to give him 60 days to find a wife (Above the Law - F Solo). Annie begins to feel that once Daddy Warbucks finds a wife there will be no room left in his life for her (CHANGES - F Solo). She heads off to the orphanage to tell the other orphans her troubles. They convince her that once he gets married, he certainly won’t have any time for her. (THE OTHER WOMAN - F orphan Chorus)
Annie and the rest of the staff at the mansion know that Grace Farrell, Mr. Warbucks’ personal secretary, is in love with him and think the two would be perfect together. They try to convince him of it without coming right out and saying it (THAT’S THE KIND OF WOMAN - Mixed Chorus). Daddy Warbucks tries to explain to Annie that he thinks he is too old for Grace, and that she wouldn’t want someone like him, but it becomes clear in the second half of the song, once Annie leaves the stage, that he is truly in love with Grace. (A YOUNGER MAN - M Solo).
It is now a few days later, and Annie, Daddy Warbucks, Grace, and Simon, Daddy Warbucks’ lawyer, have an appointment at Commissioner Doyle’s office to sign some papers. When they arrive, they are greeted by Mrs. Shelia Kelly, an employee of Commissioner Doyle. She makes some apologies for the Commissioner’s absence, and takes care of the business at hand. During their conversation, Mrs. Kelly and Daddy Warbucks discover that they have many things in common like that they both grew up in Hell’s Kitchen. After the paper work is completed, Daddy Warbucks decides to stay and get to know Mrs. Kelly a little better. It has been a very tough life for her, but somehow she has managed. (BUT YOU GO ON - F Solo).
Daddy Warbucks decides that since time is of the essence, and he has many other business problems to deal with, that he will concentrate his efforts on getting to know Mrs. Kelly. Upon hearing this news, Grace decides she will quit her job as Mr. Warbucks secretary, and move to Washington to be an assistant to President Roosevelt. Annie is devastated. As Act I comes to a close, she decides to run away from home. (I GOT ME - F orphan chorus to F Solo).
Act II finds Annie in Tennessee with the Patterson family. Ella Patterson explains to Annie that as long as you have love, you don’t need to have fancy things, or lots of money. (LOVE - F Solo). Once the Pattersons gain Annie’s trust, she tells them her real name, and they realize that she is the same child that the millionaire Warbucks is searching for. Annie agrees to let them take her home. (REPRISE LOVE - F Solo)
Back at the mansion, all of the staff, along with President Roosevelt, have been put to the task of answering phone calls. They are being swamped with people claiming to have found Annie. But of course none of them know about the special locket she wears. Into this chaos marches Annie and the Patterson family. Everyone celebrates, and Annie introduces the Pattersons to President Roosevelt. They tell him of the hard times that have hit the Tennessee valley, and Annie asks the President if something can’t be done (SOMEBODY’S GOTTA DO SOMETHIN’ - Mixed Chorus). After mulling over the problem, Annie comes up with the idea of the Tennessee Valley Authority. Grace tells the Pattersons that they will get the reward for bringing Annie home, and everyone goes off to meet the Vice President - leaving Commissioner Doyle and Mrs. Kelly behind.
At this point the audience learns that Mrs. Kelly is in fact the Commissioners daughter. The two of them have been scheming to trap Daddy Warbucks into marriage, and death. (LEAVE IT TO THE GIRLS - F Duet). In the middle of the song, Grace interrupts to tell them they’d better hurry if they want to meet the V.P., and overhears some of their plot.
Daddy Warbucks has decided to throw a party on a Manhattan harbor ship to celebrate Annie’s safe return, and to announce that he will marry Mrs. Kelly. The orphans and the staff are excited to be there (ALL DOLLED UP - Mixed Chorus). After the announcement of their upcoming marriage, Mrs. Kelly comforts Annie by singing a lullaby that just happens to be one that Daddy Warbucks’ mother used to sing to him. Grace is very suspicious, but can not bring herself to tell Mr. Warbucks what she suspects. She offers her congratulations, and stays outside on the deck of the ship while everyone else goes in to dinner. She laments what might have been if she and Mr. Warbucks had been together (IT WOULD HAVE BEEN WONDERFUL - F Solo).
Annie and Daddy Warbucks have a song and dance, which serves to wrap up any bad feelings that Annie may still have about the upcoming wedding. It can be done in one. (WHEN YOU SMILE - M/F Duet)
The final scene opens with the wedding of Daddy Warbucks and Mrs. Kelly. The orphans are the flower girls, and Annie is the maid of honor. Just when they are about to be pronounced man and wife, Grace arrives with proof that Mrs. Kelly is a fraud. She is a convict with many aliases and served time for murdering her last husband. Grace has also discovered that the "law," which states that Mr. Warbucks has to be married in order to adopt Annie, was made up by Commissioner Doyle, and that Simon was also involved in the plot. Simon pulls out a gun and points it at Daddy Warbucks, because he does not want to be sent to jail. A struggle ensues, and Daddy Warbucks gets the gun and saves the day. He then realizes that, although he does not have to get married any longer, he feels young and is in love with Grace. He proposes, and they get married right there. Everyone on stage freezes as Grace and Daddy Warbucks kiss, and Annie sings about how happy she is that everything worked out (I ALWAYS KNEW - F Solo with Mixed chorus).

NOTES ON THE PRODUCTION

Although this show doesn’t quite live up to the original Annie, it is a good evening’s entertainment, with a few really great songs, and fun characters. The main settings are the mansion, and Commissioner Doyle’s office. The ship scene can be done with just the suggestion of a railing, and a Manhattan skyline drop. There are quite a few costume requirements for the show. All of the orphans, and the staff need a main costume, an "All Dolled Up" costume, and the orphans also need a wedding costume. The principals each need about four costumes. There is also the problem of needing a trained dog to play Sandy and, of course, a really strong young actress to play Annie.

SONGS OF SPECIAL INTEREST

Almost all of Annie’s songs would be great audition/ study material for a young belter: "Changes", "I Got Me", "Love", "I Always Knew", mezzo/belt, child
"A Younger Man," baritone, a strong acting song for a character man
"Love," mezzo/belt, strong belt/acting number for a character woman
"It Would Have Been Wonderful," soprano, beautiful torch song with good acting moments for a leading woman
Instrumentation: 3 reeds, 3 trumpets, horn, guitar/banjo, bass, drums, percussion, piano, synthesizer Script: MTI
Score: MTI
Record/CD: Broadway Angel
Rights: MTI

ANYONE CAN WHISTLE

Book: Arthur Laurents
Music and Lyrics: Stephen Sondheim

ORIGINAL PRODUCTION

Majestic Theatre, April 4, 1964 (9 perf.)
Director: Arthur Laurents
Dances and Musical Numbers: Herbert Ross
Musical Director and vocal Arrangements: Herbert Greene
Orchestration: Don Walker

Principals:
Cora Hoover Hooper- Angela Lansbury- Alto
Nurse Fay Apple- Lee Remick- Mezzo
Mrs. Schroeder- Peg Murray- Soprano
Comptroller Schub- Gabriel Dell- Baritone
Chief Magruder- James Frawley- VTI
Treasurer Cooley- Arnold Soboloff- VTI
Doctor Detmold- Don Doherty- VTNE
J. Bowden Hapgood- Harry Guardino- Baritone
Chorus and Smaller Roles- 10M/10F, 1 child

SYNOPSIS

The curtain rises on the main square of a bankrupt town, with a crooked, dilapidated City Hall on one side and the crooked, desolate Hotel Superbe on the other. The citizens are dressed in rags and glare sullenly at the audience. The only thriving business in town is The Cookie Jar, a sanitarium for the "socially pressured" who dared to be individuals in the outside world. The residents, in direct contrast to the townsfolk, are well dressed and happy (I'M LIKE THE BLUEBIRD- Mixed Chorus).
The angry citizens of the town picket outside City Hall, complaining of the corruptness of Chief of Police Magruder, Treasurer Cooley, Comptroller Schub, and Mayor Cora Hoover Hooper who arrives, laden with diamonds, and carried by four handsome young men. Undaunted by the angry townsfolk who hurl rocks at her she comments on the dismal state of affair (ME AND MY TOWN- F Solo and Male Quartet). Cora knowing it will take a miracle to save the town, goes along with the unethical plan of her lecherous right hand man, Schub; womanizer, Magruder; and ex-preacher, Cooley.
An unusual rock formation rolls on and the three officials carry out their phony miracle which involves Baby Joan Schroeder, an extremely odd looking seven-year old who thirstily licks the rock which instantly spews forth a waterfall fountain. The waterfall is proclaimed a miracle, and Baby Joan a Saint. The excited townspeople and Pilgrims laud the event (MIRACLE SONG- Mixed Chorus) as the flowers brighten and the buildings straighten.
The rock revolves showing Magruder at a water pump, and Schub working on some electrical wires; Cooley is thrilled at the success of the waterfall and begins thinking of ways to make more money from their miracle. Cora discovers her three officers in the cave and congratulates them for their brilliant scheme, which will financially benefit the town for pilgrims are arriving daily. Nurse Fay Apple, from the sanitarium, brings her "cookie" charges to take the cure, but Treasurer Cooley refuses to sell them any admission tickets, for he knows the failure of the water to cure the "cookies" will bring exposure of the fraud. While they are arguing, the "cookies" blend in with the pilgrims and Cooley is unable to convince Fay to separate them. She escapes from the town, chased by the town officials and sings of a hero she knows will come to save her (THERE WON'T BE TRUMPETS- Sc to F Solo).
A clap of thunder, a flash of lightning, and a trumpet call are heard, as J. Hapgood, arrives in town seeking the sanitarium. He is mistaken for a famous psychiatrist and enlisted to separate the cookies from the pilgrims. He proceeds to confuse everyone by his analytical method of dividing the people into group A or group One; neither of which have any significance to the discovery of the "cookies" (SIMPLE- Sc to M Solo and Mixed Chorus). Hapgood terrorizes the town officials by questioning them about the sensibility of paying government taxes to make bombs, which will eventually kill everyone, including themselves. The onstage chorus chant and circles around Cora as they ask for answers to life's questions. Hapgood pronounces everyone in the audience mad and the act closes with the characters onstage laughing at the audience. "Who is crazy?
As Act II begins, Groups A and One parade through town with placards praising Hapgood and proclaiming their sanity (A-ONE MARCH- Mixed Chorus). Fay returns to town, sexily disguised as a French lady from Lourdes, sent to test the miracle. Schub invites himself to her apartment but she denies the invitation saying she must see if the miracle is legitimate. Schub hastily exits leaving Fay to smile at Hapgood who appears on the Hotel balcony. Fay waves to him and the entire set and Hapgood move toward her. The two converse in French as English subtitles are flashed on the set. Fay entices him to leave the balcony as she seductively and comically dances (COME PLAY WIZ ME- Sc to M/F Duet). At the end of the song, Hapgood leads Fay onto the balcony and into his room. The balcony revolves to reveal a small room with a Murphy bed. Hapgood orders another bed sent up and an enormous, tacky one rolls on. Fay, without removing her disguise or her accent reveals to Hapgood her true identity and her belief that the fountain is a fraud. She tells him she has stolen the records of all the patients but Hapgood is too involved in removing her clothes to be too interested. When he removes her wig the illusion is shattered as she becomes controlled Nurse, Fay Apple who can't get drunk, laugh, be held or kissed without the aid of her wig. Hapgood accuses her of wanting the waters to be real for she needs the miracle for herself, a fact she readily admits. She sings about her inability to whistle and hopes he can help her shed her inhibitions (ANYONE CAN WHISTLE- L to F Solo).
Outside, groups A and One, parading for Hapgood, cause Cora to worry about the town's rejection of her and their sudden adoration of Hapgood. (A PARADE IN TOWN- F Solo with Mixed Chorus Interspersed).
Meanwhile, Hapgood urges Fay to destroy the records of her "cookies" thereby freeing them, which in turn will free her. Her refusal causes him to angrily comment on the problems caused by the outside world (EVERYBODY SAYS DON'T- Sc to M Solo). He tells her he not a doctor but a new patient, committed because he protested at the UN by playing his Trumpet. He has five degrees, and was adviser to the President, until he quit because he was too idealistic. Touched by his story, Fay rips up his hospital record and begins tearing up the records of all her charges. As she rips the records, the room disappears and the "cookies" begin dancing. The wild, infectious ballet of the freed "cookies" crescendos with Fay joining in (COOKIE BALLET- Mixed Dance Chorus). The stage empties as Hapgood appears on his balcony and Fay slowly walks toward him with her arms outstretched.
When the Act III curtain rises, Cora and her three officials, meet in Cora's solarium. They decide to discredit Hapgood by turning off the miracle. Certain the townspeople will blame Hapgood. She congratulates them on their clever scheme (I'VE GOT YOU TO LEAN ON- F/M Quartet to Tap Dance with Cora and her Four Boys).
In the Town Square the defunct rock is in full view and an angry crowd calls for Hapgood demanding that he identify the "Cookies" certain that his refusal to comply has stopped the miracle. As the crowd gets angry he and Fay hide in the cave and discover the miracle was a fraud. Cora and her three cohorts discover them and announce they are going to take anyone they can find for The Sanitarium Cora needs 49 patients by sundown. The four exit to begin rounding people up.
Fay wants to stop Cora and her gang by exposing the pump and the fountain as a fraud but Hapgood tells her the people need the belief of a miracle and even if they are shown it is a fake, they will still believe. She is furious at his withdrawal and slaps him for failing her. She runs away from him but stops to angrily sing (SEE WHAT IT GETS YOU- Sc to F Solo).
Meanwhile, Cora begins to randomly round up townspeople to fill her quota (COOKIE WALTZ- Dance), but Fay frees everyone as fast as they are captured. After a frenzied ballet chase, Fay's true identity as Nurse Apple is revealed by Dr Detmold, the Sanitarium psychiatrist, who orders her to expose the cookies to save the innocent. The nurse has no way out and thus obeys her orders. The "cookies" happily march off with Dr. Detmold.
Hapgood and Fay are left alone onstage. She was unable to turn him in because she feels he and others like him could possibly change the world. He asks her to come with him, but she can't break that far away from herself. He thanks her for their secret moments together and she returns the thanks (WITH SO LITTLE TO BE SURE OF- Sc to M/F Duet). At the end of the song they exit in opposite directions. Cora arrives onstage to see everyone, including Magrruder and Cooley running to a miracle statue in the next town. She is left standing with Schub who suggests they make a profit by turning the whole town into a cookie jar. Cora readily agrees realizing that she and Schub are meant for each other (I'VE GOT YOU TO LEAN ON [REPRISE]- Sc to M/F Duet). The two dance crazily off into City Hall.
The arrival of a cold, orderly female psychiatrist forces Fay to see her former self. Unable to find Hapgood she desperately whistles for him and he appears and carries her off as the "miracle waters" pour on them.

NOTES ON THE PRODUCTION

Anyone Can Whistle was an innovative musical not destined to be heralded in its own time. The show is best described by the term "alienation/theatre of the absurd", a form that commercial audiences of the sixties could not accept. Its small cast makes it ideal for adventurous Community theatres; the musical is memorable and the characters well drawn.
Technically it isn't too complex. Some production companies with limited offstage space and funds have kept the town square and its buildings onstage throughout the production and rolled on the bed, the rock and relocated Cora's massage area to the town square. There are few props necessary to the play; the waterfall is the only technical aspect which is a bit complex but a good electrician and utilization of waterproof paint should alleviate any problems.
The costumes are modern and may be "pulled" from the everyday wardrobe. Cora's costumes are more elaborate than others but are still of the modern vintage. The four "chorus" boys, who dance well, should probably be costumed alike but this may be left to the discretion of the designer.
The song "There Won't Be Trumpets," although in the published version of the script and score was eventually cut from the original production. The song may be heard on the album Marry Me a Little (RCA).

SONGS OF SPECIAL INTEREST

"Me and My Town," Alto character song, up-tempo, movement oriented
"There Won't Be Trumpets," tormented, anguish, strong Mezzo number
"Come Play Wiz Me," Fun Mezzo Duet, effective for loosening up an inhibited actress, movement is helpful
"Anyone Can Whistle," Mezzo Ballad, appears simplistic yet needs strong acting talents to keep the emphasis on the lyric meaning
"Everybody Says Don't," Sc to Baritone Solo, angry, dramatic with emphasis on the emotions
"See What It Gets You," mezzo, angry and dramatic up tempo with limited movement
"With So Little to Be Sure Of ," Mezzo/Baritone duet, poignant, romantic, farewell, love duet

Instrumentation: 5 reeds, 2 horns, 3 trumpets, 2 trombones, 5 cellos, bass, accordion, piano/conductor (also celeste)
Script: Random
Score: Chappell
Record: Columbia
Rights: MTI

ANYTHING GOES

Book: P.G. Wodehouse, Guy Bolton, Howard Lindsay and Russell Crouse
Music and Lyrics: Cole Porter

ORIGINAL PRODUCTION

Alvin Theatre, November 21, 1934 (420 perf.)
Director: Howard Lindsay
Choreographer: Robert Alton
Musical Director: Earl Busby
Orchestration: Robert Russell Bennett, Hans Spialek

Principals:
Reno Sweeney- Ethel Merman- Alto
Billy Crocker- William Gaxton- Tenor
Moon Face Martin- Victor Moore- Baritone
Hope Harcourt- Bettina Hall- Soprano
Bonnie Latour- Vera Dunn- Mezzo
Sir Evelyn- Leslie Barrie- VTNE
Chorus and Smaller Roles: 12M/12F minimum, various ages and types, the young female chorus members must tap dance

SYNOPSIS

Aboard the luxury liner SS American, heading for London, a reporter and press photographer dash about getting information on the passengers. The audience is introduced to the travelers: Mr. Elisha J. Whitney, a pompous Wall Street executive, Sir Evelyn Oakleigh, a staid British aristocrat, Hope Harcourt, his fiancé, and her mother, Mrs. Harcourt, Bishop Henry T. Dobson of the Chinese Anglican Church, and the boisterous Reno Sweeney and her "angels", an evangelist turned night club singer.
Billy Crocker, a long-time friend to Reno and the ex-general manager to Mr. Whitney, enters. Reno promptly asks him to be the master-of-ceremonies of her act and go to London with her but Billy insists that Reno is the one with talent (YOU'RE THE TOP- L to M/F Duet) and declines the offer knowing that Mr. Whitney will hire him back.
When Billy realizes former girlfriend, Hope Harcourt, is sailing he decides to stow away and attempt to convince her to give up Sir Evelyn and marry him.
Moon Face Martin, Public Enemy Number 13, disguised as a Reverend arrives followed by the FBI who know that Moon is disguised as a preacher. They mistakenly apprehend Bishop Dobson, and proceed to remove him from the ship as it is about to set sail (BON VOYAGE-Mixed Chorus).
Billy meets Moon and his high-spirited, flirtatious girlfriend, Bonnie. The two suggest Billy disguise himself as Snake-Eyes Johnson, Moon's partner who has missed the ship and give him the gangster's ticket. Later that evening, Billy finds Hope and her fiancé, Sir Evelyn, on the ship's deck, but Evelyn becomes seasick and leaves them alone. Billy reminds her of the special time they shared together as they both comment on the romantic nature of the evening (IT'S DELOVELY- Sc to M/F Duet).
The next morning, Billy tells Moon that his boss, Mr. Whitney, is in the cabin next door and if Whitney discovers Billy he be fired again. Moon decides to steal Whitney's eyeglass so that he can't see Billy, but Billy has bigger problems. It seems the FBI have discovered their mistake and alerted the Ship's Crew to be on the lookout for Snake-Eyes Johnson. Moon, Billy, and Bonnie decide it would be best if Billy changed his disguise to that of a member of the crew.
Bonnie, mistaken for one of Reno's angels, decides to show that she's just as talented as the rest (HEAVEN HOP- F Solo With F Tapping Chorus).
On deck, Sir Evelyn discovers that Hope and Billy were out until seven in the morning and his lack of concern bothers Hope. Billy appears, dressed as a sailor to remind Hope that he still loves her and wants to marry her. Billy, hoping that Mrs. Harcourt will stop Hope's wedding, decides to discredit Sir Evelyn and enlists the aid of Moon in persuading Reno to trap Sir Evelyn into a compromising situation (FRIENDSHIP- Sc to 2M/1F Trio).
In Evelyn's stateroom, when Evelyn mistakes her sexual advances as mere American slang, Reno is charmed by his innocent manner and intrigued by his wealth. Alone on deck, in a dreamy daze, Reno sings about the Englishman that's on her mind (I GET A KICK OUT OF YOU- F Solo).
Meanwhile, on the afterdeck, Billy, now disguised as a woman, is seated next to Hope and Evelyn but quickly exits when Mrs. Harcourt discovers his identity. He returns dressed as a chef, later as a purser and finally as a Count. When his false beard falls off he is mistaken for Snake Eyes Johnson and only the excited behavior of the passengers, who feel they have a celebrity on board, keeps him from the brig. Reno leads the company in the Act I Finale (ANYTHING GOES- F Solo to Mixed Chorus).
At the opening of Act II, the passengers praise Billy (PUBLIC ENEMY NUMBER ONE- Mixed Chorus) and Bonnie leads the company in a rousing number that symbolizes her philosophy (LET'S STEP OUT- F Solo).
Billy meets Hope who is upset by his behavior but he assures her he will try to put an end to his popularity. Reno and Evelyn, obviously enamored with each other, enter, and a miffed Hope exits. Evelyn and Reno are left alone to share their mutual admiration (LET'S MISBEHAVE- Sc to M/F Duet).
Billy at a revival "religious service" confesses to the passengers that he is not Snake-Eyes Johnson, but a simple stockbroker, down on his luck. The angry Captain orders Billy and Moon into the brig as Reno continues the revival (BLOW GABRIEL- F Solo to Mixed Chorus).
Five days later, the ship reaches England, with Billy and Moon still in the brig. Billy can 't stop thinking about Hope, who is in another part of the ship thinking about him (ALL THROUGH THE NIGHT- M/F Solos). Realizing that Billy is depressed by the sudden turn of events, Moon tries to cheer him up (BE LIKE A BLUEBIRD- Sc to M Solo). Bonnie appears upside down at the cell's porthole (she's being held by her ankles by a sailor friend) to ask the guys if she can do anything for them. Billy asks her to find a way to get Hope down to see him. Hope arrives with the news that Mrs. Harcourt has insisted that Hope and Evelyn be married immediately by the Captain. Hope sadly leaves after admitting her love for Billy.
Meanwhile, on deck, Reno and her angels are getting bored with shipboard life and yearn to return to New York (TAKE ME BACK TO MANHATTAN- F Solo With F Chorus). Evelyn tells Reno he must maintain his honor and marry Hope despite his deep affection for Reno.
Billy and Moon, determined to stop the wedding, escape the brig disguised as Chinese immigrants. They convince Reno to join them and the three arrive at the ceremony and convince everyone that Sir Evelyn deflowered Plum Blossom (Reno) and dishonored their family name. Evelyn and Hope, who recognize Billy and Reno, go along with the action and agree that the only way to right the wrong is to have Evelyn marry Plum Blossom and Plum Blossom's brother (Billy) marry Hope. The couples are quickly wed (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

The show established Ethel Merman's career and provided audiences with another Cole Porter score. The production was revived in 1962 with the addition of the following six Cole Porter tunes: "It's Delovely" (Red, Hot and Blue!), "Heaven Hop" (Paris), "Friendship" (DuBarry Was A Lady), "Let's Step Out" (Fifty Million Frenchman), "Let's Misbehave" (Paris), and "Take Me Back To Manhattan" (The New Yorkers).
The preceding synopsis adheres to the 1962 revised script, which is the version available for production. The show is extremely popular and often performed by Community theatres and High Schools alike. There are a number of scenes but most may take place on the deck of the ship with the ship's smokestacks forming a background. The brig is usually a small cell type arrangement placed in front of the ship structure. The cabin scenes may also use this arrangement which simplifies the technical requirements.
The costumes are styled in the 1930s. Most of the female chorus members have two costumes the show and the principals have at least two, depending on the look the designer chooses. The majority of the male chorus is comprised of the ship's crew and may utilize one costume throughout. The male passengers should have several outfits.

SONGS OF SPECIAL INTEREST

"You're the Top," M/F Duet. Emphasis on reacting to praise and instant response, simple dance movement
"It's Delovely," M/F romantic, period style, a la Astaire and Rodgers helps make this a memorable number
"I Get a Kick Out Of You," F Solo, very workable in a nightclub situation
"Be Like the Bluebird," M Solo, emphasis on comic characterization and absurd, angular movements
Many of the numbers from the revised version would be successful in a club, revue, or class situation and are worth a closer examination.

Instrumentation: 3 violins, viola, cello, bass, 4 reeds, 3 trumpets, trombone, percussion, guitar/banjo, piano/celeste
Script: Tams-Witmark
Score: Chappell, also see Cole Porter Songbook
Record: Epic
Rights: Tams-Witmark

APPLAUSE

Book: Betty Comden and Adolph Green
Music: Charles Strouse
Lyrics: Lee Adams
(Based on the film "All About Eve" and the original short story by Mary Orr)

ORIGINAL PRODUCTION

Palace Theatre, March 30, 1970 (900 perf.)
Director and Choreographer: Ron Field
Musical Director: Donald Pippin
Orchestration: Philip J. Lang

Principals:
Margo Channing- Lauren Bacall- Alto
Eve Harrington- Penny Fuller- Mezzo
Buzz Richards- Brandon Maggart- Tenor
Bill Samson- Len Cariou- Baritone
Duane Fox- Lee Roy Reams- Baritone
Karen Richards- Ann Williams- Alto
Howard Benedict- Robert Mandan- VTNE
Bonnie- Bonnie Franklin- Mezzo
Chorus And Smaller Roles: 8M/8F minimum if performers are triple threat, mixed chorus of dancers and singers, if two separate choruses are used a configuration of 12 dancers and 8 singers (equally divided M/F) with additional actors for smaller roles is suggested

SYNOPSIS

The play opens at a Tony Awards ceremony where Margo Channing, a successful, middle-aged star has just presented the best actress award to Eve Harrington, Margo's former protégé. We soon find out, however, that Margo's feelings towards Eve are anything but admirable.
In a flashback, it is now a year and a half earlier, and we are in Margo's busy dressing room where she has just opened in another stellar production. The dressing room is filled with fans, friends, and first-nighters (BACK STAGE BABBLE- Mixed Chorus). Finally Margo's dressing room clears leaving only Margo, with her friends: Bill Sampson, the slightly younger, 39 year old director/lover; Duane, her hairdresser, confidante; Buzz Richard, the author of the show, and his wife Karen.
Karen, enthusiastically introduces Margo to Eve Harrington, a seemingly meek, young fan who has spent all her money to see Miss Channing perform. Margo is preoccupied with Bill who will soon be leaving to direct a film in Rome. Temporarily left alone she attempts to convince him not to leave. He patiently tells her how nice it will be when he returns (THINK HOW IT'S GONNA BE- Sc to M Solo).
Margo, who can't face the opening night party without Bill, decides to have her own party with Duane and Eve at a Greenwich Village discotheque. Margo has a rousing time with "the boys" who are frequent customers (BUT ALIVE- F Solo to M Chorus).
Later that evening, in her apartment, Margo, Duane, and Eve learn that the reviewers declare the show a hit. It is the end of a perfect evening for Eve who expressively thanks Margo for including her (THE BEST NIGHT OF MY LIFE- Sc to F Solo). Margo enjoys the flattery and invites Eve to stay in her apartment as a companion. Happening to see a late night television movie of herself at age nineteen, she comments to Eve on the changes she has undergone (WHO'S THAT GIRL?- Sc to F Solo).
Four months have passed, and Eve, much to Duane's dismay, has become girl Friday to Margo and friend to the play's production staff. Margo trusts Eve, who ingratiates herself with Producer Howard Benedict who invites her to Joe Allen's, an after theatre spot, and asks her to understudy Margo. The two are entertained by Bonnie, a Broadway dancer, and her fellow "gypsies" who sing about the theatre (APPLAUSE- F Solo to Chorus).
Later that evening, in her apartment, Margo urges Bill, via long distance, to come home because she misses him desperately (HURRY BACK- F Solo). He promises to get there as quickly as possible.
Two weeks later, Bill arrives at one of Margo's parties and exchanges flirtatious quips with Eve, which Margo happens to witness. Threatened by Eve's youth she becomes extremely vicious and the guests sense the chill in the air (FASTEN YOUR SEATBELTS- Mixed Chorus).
Several days after the party, Eve reads for the part of Margo's understudy and impresses everyone with her talent. Margo bitterly welcomes Eve to the difficult world of show business (WELCOME TO THE THEATRE- Sc to F Solo). Eve quietly leaves during the number, she has achieved the first step in her rise to stardom. When Margo jealously accuses Bill of helping Eve get the understudy role, he is no longer able to cope with her constant insecurity and walks out leaving her alone as the curtain falls.
Act II begins a few weeks later. Margo is enjoying a quiet afternoon in Connecticut at Buzz and Karen's home. She plans on returning to the city for the evening performance but Karen, who is furious at Margo's behavior toward Eve, drains the gas tank. They are stranded and Eve performs the starring role. The three think over their respective situations (INNER THOUGHTS- Sc to F Trio). Margo is upset, it is the first performance she has ever missed and Karen feels guilty about betraying Margo. Buzz tries to cheer the atmosphere while strumming the banjo (GOOD FRIENDS- Sc to 2F/1M Trio).
In New York, Eve has received rave reviews for her performance. When Bill comes into to her dressing room, Eve tells him how much help he was and makes strong flirtatious advances, which he rejects. Feeling rejected herself, Eve accepts an invitation from an elated Howard, who asks her to join him at Joe Allen's where she purposely snubs Bonnie and the other gypsies who comment on her overnight sensation (SHE'S NO LONGER A GYPSY- Mixed Chorus).
During the filming of a coffee commercial in her living room, Margo falters from the pressure of Eve's reviews but Bill assures her that Eve can't begin to approach her talent (ONE OF A KIND- Sc to M/F Duet).
Eve has secretly taken up with Buzz whom she is trying to manipulate into writing her a new show, she is on top of the world but can't forget her hatred of her father who once called her a whore. As she stands backstage, she remembers the night (ONE HALLOWE'EN- Sc to F Solo). Howard, who wants Eve for himself, enters to insist she drop Buzz. She has no alternative if she wants to continue her career for Howard is a very powerful man. She has been trapped by someone more clever and vicious than herself.
Two weeks later, in Margo's dressing room, Karen and Margo reconcile when Karen seeks Margo's advice about Buzz who has written his new play for Eve. Margo, knowing that Eve will get the starring role, finally realizes there is more to life than the theatre. She excitedly informs Bill that he means more to her than starring roles (SOMETHING GREATER- Sc to F Solo to M/F Duet) (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

This show marked Lauren Bacall's musical debut for which she won the Tony Award for Best Actress (1970). Applause was also awarded Tonys for Best Musical, Director (Ron Field), and Choreographer (Ron Field).
The show is presented in the style of the late 60s and should remain relatively close to that period if the 1940s style "Who's That Girl" number is to remain plausible. Possibly it could be updated to 1975 if Margo's age was set at early fifties and Eve's set at early thirties. Neither period is difficult to costume. It is important that the "Gypsies" be colorfully adorned as their numbers call for flamboyance to help to ensure they will be showstoppers.
Although the original production had nine different sets comprised of wagons, a curtain and flying scenery, it is possible to simplify this. A company can delete Margo's bedroom and playing the scene in the already used living room, use one restaurant set instead of a restaurant and a disco, and use the backstage area instead of the dressing rooms. A company may want to consider keeping the backstage area onstage throughout the play as a general backdrop. The audience can accept seeing the backstage with its flats and walls as a background for minimal set pieces used to establish definite locations.
The music is memorable and the smaller characters and chorus interesting for young actors to portray. The role of Margo is extremely demanding as she must move fairly well and be able to portray a vital, though aging, star.

SONGS OF SPECIAL INTEREST

"But Alive," Alto, good for a club act, up-tempo, may be done as a solo in a Revue situation or as a solo with chorus
"Applause," a tribute to theatre, often used for the closing or encores of revues, usually performed by a chorus of dancers however, movement may be kept extremely simple because it is the energy that really sells the song
"One Hallowe'en," dramatic number for a mezzo, good acting exercise as there are several mood shifts and transitions
"Who's That Girl," Alto comment on the movies of the 40s, calls for specific knowledge of 40s dances and social history, good for movement, loosening up a stiff performer, eye contact and warmth

Instrumentation: 2 violins, viola, cello, bass, 5 reeds, 3 trumpets, 2 trombones, 1 bass trombone, 2 percussion, guitar/banjo/mandolin, harp, organ, piano/conductor
Script: Great Musicals, Vol. 2, Random House
Score: Edwin H. Morris
Record: ABC
Rights: Tams-Witmark

THE APPLE TREE

Book: Sheldon Harnick and Jerry Bock
Additional book material: Jerome Coopersmith
Music: Jerry Bock
Lyrics: Sheldon Harnick
(Based on stories by Mark Twain, Frank R. Stockton, and Jules Feiffer)

ORIGINAL PRODUCTION

Shubert Theatre, October 12, 1966 (463 perf.)
Director: Mike Nichols
Choreographer: Lee Theodore
Additional Musical Staging: Herbert Ross
Musical Director: Elliot Lawrence
Orchestration: Eddie Sauter

Principals:
Adam, Captain Sanjar, Flip- Alan Alda- Baritone
Eve, Princess, Ella- Barbara Harris- Mezzo
Snake, Balladeer, Narrator- Larry Blyden- Baritone
Chorus and Smaller Roles: 5M/5F needed for the middle and last pieces

SYNOPSIS

The show begins with The Diary of Adam and Eve, set on June 1^st in Eden.
The lights rise on Adam, slowly waking to the sound of a voice which commands him to name the creatures on Earth and warns him not to eat the fruit of a certain apple tree. Adam begins his task rather haphazardly but soon decides he better keep an accurate record of the momentous occasion, he begins to take notes on all he sees. As he attempts to categorize the creatures he realizes, quite happily, that he is the sole man. His elation is short lived as he clutches his rib in pain and a sleeping Eve rolls onstage. He curiously looks at the creature but chooses to name her later.
Eve awakens, overwhelmed to find herself in a very nice, new world; she begins taking notes, knowing that this knowledge will someday be important to historians (HERE IN EDEN- L to F Solo). At the end of the song Eve spies Adam, who wanders on carrying a fish. She screams at him to drop the pickerel, he quickly climbs a nearby apple tree and yells at her to get out. The argument ends when Adam drops the fish. Eve exits, having won their first battle.
Adam isn't pleased by Eve's presence, but she is attracted to him and examines her emotions (FEELINGS- Sc to F Solo). During the song's interval Eve begins creating fire which initially intrigues but quickly disenchants Adam who burns his fingers on the hot coals. Eve continues thinking up ways to interest him.
Adam is attracted to Eve and attempts to analyze his mixed emotions. It begins raining and Adam refuses Eve shelter in his hut. When she begins to cry it amazes him for he has never seen a person "rain." He kindheartedly manages to squeeze Eve into his new home but once inside she begins badgering him about redecorating. He is simultaneously infuriated and fascinated by this interesting creature (EVE- Sc to M Solo).
Eve puts Adam to work fixing up their living quarters and the area around the hut. She good naturedly listens to his first joke-about a chicken crossing a road and sends him to cut the grass.
Meanwhile Eve, infatuated with her reflection in the nearby pond sings to her new friend that is like a sister (FRIENDS- F Solo).
When a snake, she has befriended, impresses her with a scientific explanation of the reflection process she defers to his knowledge and eats the forbidden fruit (THE APPLE TREE- Sc to M Solo).
Adam, innocently bathing and enjoying the beauty of the world (BEAUTIFUL, BEAUTIFUL WORLD- M Solo) becomes aware that the animals are fighting and realizes death has come to the garden. He accuses Eve of eating the apple and bringing disaster upon them but she convinces him his bad jokes are at the root of the problem and he will gain knowledge if he eats the apple. Adam takes the fatal bite and he and Eve are forced to leave the sanctity of the garden and seek refuge elsewhere.
In order to survive Adam often travels great distances to forage for food. After one such trip he discovers Eve with a new creature that looks like a small human but acts like a fish and a bear. He tries to determine exactly what this new object is (IT'S A FISH- L to M Solo).
Eve cautiously comes from the hut, hoping she is alone with this new "creature," and quietly sings a lullaby (GO TO SLEEP, WHATEVER YOU ARE- F Solo). She exits and Adam re-enters, holding his recently bitten hand, to comment on the growth of the strange animal (FISH II- M Solo). <