DAMES AT SEA

Book and Lyrics: George Haimsohn and Robin Miller
Music: Jim Wise

ORIGINAL PRODUCTION

Bouwerie Lane, December 20, 1968, moved to Theatre DeLys April 22, 1969 (575 perf.)
Director and Choreographer: Neal Kenyon
Musical Director: Richard J. Leonard

Principals:
Mona Kent- Tamara Long- Alto
Joan- Sally Stark- Mezzo
Hennesey and Captain- Steve Elmore- Baritone
Dick- David Christmas- Tenor
Lucky- Joseph R. Sicari- Baritone
Ruby- Bernadette Peters- Mezzo/Soprano
Chorus and Smaller Roles: None

SYNOPSIS

The show opens onstage at a 42nd street theatre, in the early 30s, where Mona Kent, a temperamental Broadway star, is rehearsing her tap solo (WALL STREET- F Solo). At the end of the solo part of the number, Mona takes her bow. Joan enters for the chorus part but, before she gets very far, Mona becomes temperamental and refuses to go on. Hennesey, the director, rushes onstage to calm his star as Joan stands by the proscenium and reacts a la Joan Blondell. Mona orders him to have her name in lights as big as those on the Wrigley billboard, but Hennessy begs her to ease up for his nerves are shot. She exits to her dressing room as Joan sarcastically calls her "the Lady Macbeth of 42nd Street."
Ruby, a stage-struck girl from Centerville, Utah, enters the theatre to apply for a job in the chorus but Hennesey urges her to return home. Joan convinces Hennesey to give her an audition, which he quickly does. She rips off her raincoat to show her tap costume and begins tapping away faster and faster. Hennesey hires her and exits. Joan offers her a room and goes off to get the starving girl a candy bar. As Joan leaves, Dick, a handsome sailor/songwriter reminiscent of Dick Powell, arrives with Ruby’s forgotten suitcase whose only contents is a pair of tap shoes. They fall in love at first sight (IT’S YOU- M/F Period Duet). They discover they both grew up in Centerville, Utah, she yearning to be a tap dancer and he a famous songwriter. At present he is a sailor, but he promises to return to New York when his tour is up and take Broadway by storm.
Joan re-enters with Ruby’s candy bar, is introduced to Dick. She takes Ruby off for a costume fitting as Dick pulls a small piano onstage from the wings and begins composing (BROADWAY BABY- M Solo). As he completes his composition Mona enters and expresses interest in his songs, insisting he play one for her. She strikes a dramatic pose on top of the piano and proceeds to sing Dick’s torch song as the company humorously acts out the lyrics behind a shadow curtain (MAN OF MINE- F Solo). At the end of the song she drags Dick off to her dressing room.
Moments later, Lucky, a sailor friend of Dick’s, enters the theatre, spies Joan, a former girlfriend, and begs her to remember their past "good times." She refuses any further involvement without marriage (CHOO CHOO HONEYMOON- Sc to M/F Duet). Joan introduces Ruby to Lucky as Mona enters with Dick and insists he have lunch at her penthouse. Ruby is heartbroken and wants to go back to Utah, but Joan takes her aside, bolsters her spirits, orders her to practice and leaves for a date with Lucky.
Dick returns from Mona’s car to apologize for breaking his date with Ruby and begs her to understand that Mona could help his career. She beams in understanding and sits down to write President Roosevelt a letter about Dick and the U.S. Navy (SAILOR OF MY DREAMS- Sc to F Solo).
Joan, Ruby and Hennesy are rehearsing when Mona rushes on with Dick to insist that one of Dick’s specialty songs be added to her show. The company performs the number (SINGAPORE SUE- Mixed Chorus, Period Style) in the Cagney-Keeler style as Dick outlines how he envisions it being performed. An enormous Oriental idol appears as Chinese lanterns drop into place. Lucky becomes the hero of the show. He falls in love with a Chinese bar girl who is eventually strangled by the idol.
Backstage, Ruby excitedly praises Dick as a loud noise of a building being demolished is heard. Hennesey gathers the company together to tell them the theatre is being torn down for a roller rink, which means the show won’t go on. The chorus kids, led by Joan, attempt to cheer Hennesey (GOOD TIMES ARE HERE- L to F Solo to Mixed Chorus). Dick suggests they perform the show on the battleship, but Lucky is convinced the Captain would refuse. Mona discovers she once dated their Captain and assures everyone things will be just fine. As the actors clear the stage the bricks begin falling.
Act II opens with the Captain watching as Dick and Lucky swab the deck of their ship. During the song, the three girls appear in portholes and join in (DAMES AT SEA- M Duet to F Trio). The Captain, returning to reality, tells the boys there are no women allowed at sea. Mona grandly enters and informs the Captain that they are opening the show on his ship. He refuses but she calls him Kewpie Doll and he remembers she was his Consuelo whom he met and loved in Pensacola, Florida (THE BEGUINE- Sc to F/M Period Duet). The Captain agrees to let the show be performed on the ship and exits to get the suddenly seasick Mona a bicarbonate of soda. Dick enters and Mona tells him she wants Hennesey to replace the old songs with new ones written by Dick. She quickly and passionately kisses the overwhelmed boy as Ruby enters, sees them and runs off. The Captain is upset but Mona calms him and they exit.
Ruby is convinced that Dick cares for Mona, which causes her heart to break. She tearfully begins singing as the company enters in yellow slickers carrying plastic umbrellas covered with silver raindrops. As they move around her they open and close the umbrellas which gives a rain and pattern effect (RAINING IN MY HEART- F Solo to Mixed Chorus). At the end of the song Dick tells Ruby she is his girl (SOMETHING ABOUT YOU- Sc to M/F Duet).
The audience begins arriving and Mona, upset to discover that Ruby is in the show, orders her off the ship. Joan defiantly announces that the chorus kids, orchestra and everyone will walk out if Mona doesn’t back off. Joan and Lucky, who are fed up with Mona’s attitude, decide to make her seasick during one of the show’s numbers by moving the spotlight back and forth simulating the ship’s movement (THE ECHO WALTZ- Mixed Chorus). Mona rushes offstage to be violently ill as a distraught Hennesey agrees to let Ruby star in the finale. The girl becomes an overnight sensation (THE TAR STAR- F Solo to Mixed Chorus). As the number is being performed by the full company, two upstage panels turn to reveal mirrors which make the chorus appear more numerous.
Mona enters, sporting a diamond ring and quite recovered. The couples unite and the production ends with the girls in wedding dresses. As the ship’s cannons roar the entire stage is immersed in bubbles and backed by a rainbow (LET’S HAVE A SIMPLE WEDDING- Mixed Chorus).

NOTES ON THE PRODUCTION

A spoof on the Dick Powell, Joan Blondell, Ruby Keeler and James Cagney movie musicals of the 30s, with a special emphasis on 42^nd Street, the show contains many excellent period style numbers that may be more accessible then their original counterparts. It should not be attempted without a choreographer who has tap dance ability.
There are two sets. Act I occurs on an empty stage with a brick wall in the back and Act II is onboard a ship. There are technical effects in both acts which are outlined in detail in the synopsis. They are not overly complex but are essential to give the show the "Busby Berkley" quality it demands.
Hennesey and the captain may be played by one or two actors. The costume needs are minimal, the girls have rehearsal outfits, street dresses, sailor outfits, Chinese outfits, echo waltz dirndles, wedding overlays and raincoats. The men are in sailor uniforms, except for Hennesey who is dressed in rehearsal clothes. All have raincoats and Lucky needs a Chinese outfit.
The props are easily obtained, but will need to be "dazzled up" to give them a Show Biz look, i.e. buckets covered with aluminum foil and glitzy cigarette case holders.
The smoke special effects may be achieved by fire extinguishers, flash powder or paper, and the bubbles made by a child’s bubble blower.
The show is a well-written spoof with catchy songs. It shows the talents of the performers, is excellent dinner theatre fare and the first act works well as an entry in a one-act play competition. Schools who need to give more students an opportunity to gain performance experience have increased the size of the chorus in the following numbers: "Good Times Are Here To Stay," "Dames At Sea," "Raining In My Heart," "The Echo Waltz," and "Tar Star."

SONGS OF SPECIAL INTEREST

"Choo Choo Honeymoon," Baritone/Mezzo period duet-similar in style to "Shuffle Off To Buffalo," tap duet
"It’s You," period Tenor/Mezzo duet performed in the Astaire/Rogers tradition, some dance
"Good Times Are Here To Stay," small chorus, up-tempo, energetic, requires interaction, good 30s style song for class or revue
"Singapore Sue," 3M/3F,comic, story song, strong style required, good for showcase
"Wall Street," period Alto tap solo

Instrumentation: 2 pianos, percussion, 2 reeds, trumpet, 3 violins, bass
Script: Samuel French
Selections: Hastings
Record: Columbia
Rights: Samuel French

DAMN YANKEES

Book: George Abbott and Douglass Wallop
Music and Lyrics: Richard Adler and Jerry Ross
(Based on The Day the Yankees Lost the Pennant by Douglass Wallop)

ORIGINAL PRODUCTION

46th Street Theatre, May 5, 1955 (1,019 perf.)
Director: George Abbott
Choreographer: Bob Fosse
Musical Director: Hal Hastings
Orchestration: Don Walker

Principals:
Lola- Gwen Verdon- Mezzo
Joe Hardy- Stephen Douglass- Tenor
Mr. Applegate- Ray Walston- Baritone
Van Buren- Russ Brown- Baritone
Gloria- Rae Allen- Alto
Joe Boyd- Robert Shafer- Baritone
Meg- Shannon Bolen- Mezzo
Sister- Jean Stapleton- Soprano
Sohovik- Eddie Phillips- VTI
Doris- Elizabeth Howell- VTI
Rocky- Jimmy Komack- VTI
Vernon- Albert Linville- VTI
Smokey- Nathaniel Frey- Tenor
Chorus and Smaller Roles: 8M/8F minimum, who sing and dance

SYNOPSIS

The play opens on the front porch and living room of a suburban home near Washington, DC where Joe Boyd, a middle aged baseball fan, is so engrossed in a TV baseball game that his wife, Meg, is unable to converse with him. She and a chorus of wives comment on this seasonal problem (SIX MONTHS OUT OF EVERY YEAR- Mixed Chorus).
When Joe’s favorite team, the Washington Senators, lose, Joe offers to give his soul to the Devil, if he can be a hitter for the team. The Devil, appropriately named Applegate, arrives, complete with red socks and tie, and agrees to get Joe on the Senators team by making him twenty years younger and putting him in top physical condition. Joe writes a farewell note to his wife (GOODBYE, OLD GIRL- M Solo), and leaves the house as a twenty-year old baseball player named Joe Hardy.
In a corridor under the stands of the Washington Baseball Park, players Smokey, Rocky and Vernon are being told by their coach, Van Buren, to keep up their spirits and they’ll beat the Yankees (HEART- M Quartet). Gloria, a reporter, arrives to interview the team as Applegate and Joe enter and introduce themselves to Van Buren. Van Buren agrees to give Joe a tryout and everyone heads for the field. A sound of a ball hitting a bat is heard and the lights rise on the dugout where the team is watching the offstage tryout. Joe surprises the team with his expertise in hitting and fielding and Van Buren offers him a contract. Gloria attempts to find out Joe’s history, but his evasive and hesitating answers only make her more curious. She looks for an angle to describe this new baseball wonder and comes up with the name "Shoeless Joe" when she learns the shoes he had brought were too small. Gloria decides to write up an article that will make Joe famous (SHOELESS JOE FROM HANNIBAL, MO- F Solo and M Chorus).
By a billboard near the park, Sister and Doris wait with three teenagers to get autographs from the players.
In team owner Welch’s oak-paneled back room office, Applegate, knowing he does not have full control over Joe’s soul until September 24th, decides to distract Joe with a beautiful redhead from Chicago named Lola. Joe isn’t interested for he wants his wife (A MAN DOESN’T KNOW- Sc to M Solo). The reporters, led by Gloria, arrive and question Joe about the chances of the Senators winning the pennant. Joe and Welch state that they’ll have the pennant sewed up by the 24th.
Lola waits on a bench near the billboard for Applegate, who outlines her job. She says it will be no problem to seduce Joe because she is an expert (A LITTLE BRAINS-A LITTLE TALENT- Sc to F Solo). Joe goes to his old house and tries to convince Meg to rent him a room. He explains he will be away a lot and they discuss what it’s like to miss someone (A MAN DOESN’T KNOW [REPRISE]- Sc to M/F Duet). Joe meets Meg’s friends, Sister and Doris, ardent baseball fans who are excited to think Joe will be living in the neighborhood.
In the ballpark corridor, the players are commenting on the game while Gloria and Applegate discuss the fact that Joe is finally appearing on TV.
In the locker room, Van Buren tells the team to get some rest before their next game and everyone gradually drifts off leaving Joe with Applegate who introduces him to Lola and also leaves. Lola sexily vamps him (WHATEVER LOLA WANTS- Sc to F solo). She drapes herself alluringly across his lap but Joe puts her aside, apologizes and goes home to Meg. Applegate enters to chide her and she promises to try a new tactic. In front of a black traveler, Meg’s friends rehearse a song to honor Joe (HEART [REPRISE]- 3F/1M).
The curtain opens on a hotel ballroom, partially decorated to celebrate the success of the season. Joe enters and spies Lola who explains she is now an official fan and sincerely starts to make friends with Joe. When Applegate arrives she goes off to perform (WHO’S GOT THE PAIN- M/F Duet). At the end of song, Lola sees Applegate who tells her he has spread a rumor that Joe is Shifty McCoy, the missing ballplayer known to have taken a bribe in the Mexican League. Joe is to be investigated by the Baseball Commissioner the following morning. Joe, upset that he might not be able to play in the pennant deciding game proclaims his innocence as the curtain falls.
Act II opens in the locker room. The team is worried about Joe, but Rocky tells them to concentrate on the rules and think about the game (THE GAME- Sc to Small M Chorus).
On a bench in the park, Joe tells Meg that everything will be over soon, but Meg tells him she believes in him the way she believes her husband will return (NEAR TO YOU- Sc to M/F Duet). Applegate sees them and is depressed that he may lose Joe’s soul and upset that Lola hasn’t been of much help. He longs for the successes he had in the past and moves downstage as the curtains close behind him (THOSE WERE THE GOOD OLD DAYS- L to M Solo, Vaudeville Style).
In the Commissioner’s office, things look grim for Joe. He tries to leave before midnight to exercise his escape clause but time runs out and he thinks he has lost his soul to Applegate.
Later that night, Lola meets Joe on a park bench to tell him that she has drugged Applegate so he won’t awaken until after the game which means that he can’t stop Joe from winning. They both know the consequences of fighting Applegate, but decide to enjoy their last night together. They leave the park, enter a nightclub and begin enjoying life (TWO LOST SOULS- M/F Duet to Mixed Chorus Dance).
Applegate arrives at the game with Lola, who he has turned into an old hag. He angrily changes Joe into his former self but Joe, as a middle-aged man, manages to catch the final out and the Senators win the American League Championship. Joe returns home to Meg who eagerly greets him, promising to ask no questions (A WOMAN DOESN’T KNOW- F Solo).

NOTES ON THE PRODUCTION

The show made Gwen Verdon a star and won the following Tony Awards in 1956: Best Musical, Best Actress (Gwen Verdon), Best Actor (Ray Walston), Best Supporting Actor (Russ Brown), Best Composer And Lyricist, Best Libretto, Best Choreographer, Best Director, and Best Conductor/Musical Director.
This was Adler and Ross’ second and last collaboration, for Jerry Ross died on November 11, 1955, only one month before the coveted Tony Awards were given.
Much of the success of Damn Yankees relies on its two stars Lola and Applegate had to be charming and talented singer/actors. Gwen Verdon, a remarkable actress who has an appealing and distinctive style (she can portray sex and charm with humor and delight), which is appreciated by men and women alike. It is important to cast a Lola with this charming yet vulnerable qualityAnd she must also dance well.
The costumes may be modern or 50s in style. Many of them are baseball uniforms and none of them are complex. The props are basic and not overly difficult to obtain. The show was written during the period of the in "one" scene/song, where there were one or more downstage curtains dropped to allow for set changes behind the curtain. The action was forwarded by either short songs or scenes performed in front of the drop. When the set change was over the drop rose and a larger set was in view. Damn Yankees has many scenes which alternate among two billboards, a corridor under the stands, and the major set pieces: Joe’s Home, Welch’s office, the locker room, Applegate’s apartment, the Commissioner’s office, and a nightclub, all of which may be wagons or drops.
For theatres with limited fly space, the sets will need to be greatly adjusted from the original. It is possible to perform the show on a unit set with levels, small set pieces and props to delineate the different areas. The success of the show isn’t as dependent on the physical look as other period shows.

SONGS OF SPECIAL INTEREST

"A Little Brains-A Little Talent," Mezzo, character oriented, kittenish sexy, good for overcoming movement problems
"The Game," Good for showcase, good comic timing and strong characterizations required, male chorus
"Heart," Comic characterizations required, show-stopper, requires harmony, good for revue
"Those Were the Good Old Days," Tenor, vaudeville oriented song and dance style

Instrumentation: 5 reeds, 3 trumpets, 3 trombones, horn, percussion, guitar, 4 violins, viola, cello, bass, piano/conductor
Script: Random, Theatre Arts
Score: Frank
Record: RCA
Rights: MTI

A DAY IN HOLLYWOOD, A NIGHT IN THE UKRAINE
A musical double feature.
Book and Lyrics: Dick Vosburgh
Music: Frank Lazarus

ORIGINAL PRODUCTION
Director and Choreographer: Tommy Tune
Co-Choreographer: Thommie Walsh
Musical Direction and Arrangements: Wally Harper

Principals:
Mrs. Pavlenko- Peggy Hewett- Soprano
Carlo- Frank Lazarus- Baritone
Gino- Priscilla Lopez- Mezzo
Serge B. Samovar- David Garrison- High Baritone
Nina- Kate Draper- Mezzo
Constantine- Stephen James- Tenor
Masha- Niki Harris- Dancer
Sascha- Albert Stephenson- Dancer
Chorus and Smaller Roles: None
SYNOPSIS

At the rise of the curtain, six ushers in 1930 usher uniforms enter through the doors and invite the audience to escape life in Grauman's Movie Theatre (JUST GO TO THE MOVIES- Mixed Chorus). They describe the stars of the day. An usher steps forward to give a brief history of Sid Grauman's famous celebrity sidewalk. The overhead platform is revealed where the performers visually enact the historical event and the forthcoming song. Various film personalities feet from the thighs down are demonstrated by Niki and Albert: Dick Powell and Ruby Keeler, Charlie Chaplin, Sonya Henie on ice skates, Tom Mix, Judy Garland, Dracula, Dorothy Lamour, Al Jolsen, Mickey and Minnie Mouse. Priscilla and David perform below (FAMOUS FEET-M/F Duet with Dancers).
Peggy enters in her usher costume, wearing a period wig or hat reminiscent of a Jeanette MacDonald character. She carries a life size cardboard cutout of Nelson Eddy in his Mountie uniform and tells the audience how much she despises her supposedly romantic film partner (NELSON- F Solo). At the end of the number, Stephen comments on the Hollywood hopefuls, young girls who come from all over America. Priscilla enters to tell the story of a small town usher who went to Hollywood, made a film which flopped and became an usher in the film capitol (THE BEST IN THE WORLD- F Solo).
The company enacts the stories behind the method various writing teams used to write their hit songs. Stephen tells the audience that the theme song for Grauman's Chinese Theatre was a Richard Whiting standard "Hooray for Hollywood." The company tributes Richard Whiting (IT ALL COMES OUT OF THE PIANO- M Solo). The number segues to highlighted Whiting songs with the company singing and playing various instruments (RICHARD WHITING MEDLEY- Mixed Chorus). Frank, at the piano, describes a favorite movie setting of the 30's, the cruise ship. He reminisces as "Thanks For Memory" is played and sung by the onstage "Bob Hope and Shirley Ross" and the overhead stage shows a dancing Astaire and Rogers. Frank leaves the piano to join the other five ushers who are wearing tap shoes, he describes the censorship rules that set the guidelines for the 1930 movie makers (DOIN' THE PRODUCTION CODE- Mixed Chorus). They invite the audience for a preview of their next attraction starring the Marx Brothers (A NIGHT IN THE UKRAINE- Mixed Chorus).
Act II begins the second part of the play, A Night In the Ukraine.The curtain rises on the morning room of a Russian villa sometime before the Revolution. There is a grand piano stage left, a chaise lounge stage right, an easle, two chairs and a desk. As the lights rise, Masha, the maid and Sascha, a manservant, are busily working when Carlo enters carrying a large painting of Mrs. Pavlenko, a widow who is going to her first party since the death of her husband, eighteen months before.
Mrs. Pavlenko enters to tell everyone she isn't going to the party as she is still too grief stricken over the loss of her husband. Gino, looking like Harpo Marx, rushes on honking a horn and begins to chase Masha. After exchanging visual comedy routines with Carlo he succeeds in terrifying Mrs. Pavlenko who exits for her nerve tonic. Carlo begins playing the piano as Gino waters a fake hand which come to life and proceeds to tickle him. Serge B. Samovar, a lawyer, enters, he walks, acts and talks like Groucho Marx. He and Carlo go through typical comedic routines, complete with typical one line comedy gags, as they introduce themselves (SAMOVAR, THE LAWYER- Sc to M Solo). Samovar has come to see Mrs. Pavlenko to get the money her dead husband owes for legal services. Carlo replies his job is to keep people from her but Samovar confuses him, in typical Marx Brothers style, and they both exit as Mrs. Pavlenko enters with her daughter, Nina. The two are talking about Nina's prospective husband Baron Trofimov whom she doesn't love. Mrs. Pavlenko scoffs at the word love and leaves a disheartened Nina alone to dream of her unknown love (JUST LIKE THAT- F Solo).
Carlo rushes in to accoompany her on the piano. As the number ends Constantine, the coachman enters with some legal papers, he bumps into Nina, they turn and realize they are in love. He tells her he is a Coachman who dreams of being a playwright but rejection by the Moscow Art theatre has forced him to give up. She encourages him and they openly admire each other (JUST LIKE THAT [Reprise] - Sc to M/F Duet). Constantine asks her to elope and they dreamily exit.
Mrs. Pavlenko hears strains of the Ukraine Theme which reminds her of her dead husband, but her sad mood is interrupted by Samovar who, cigar in hand, climbs on top of the piano meowing like a cat. After several insulting remarks, which Mrs. Pavlenko doesn't notice, Samovar asks her for the money Nicholas owes. She refuses to pay him until her steward returns from town. He doubts she has the money, insults her and she huffily exits as Carlo enters for some slapstick comedy with Samovar, who later exits. Gino enters whistling for attention and after several minutes of miming finally gets the message to Carlo that Samovar is to be thrown out.
Constantine re-enters with Nina who goes to get her suitcase. Carlo and Gino are amazed that he is marrying Nina. He is so pleased that she has given him confidence to rewrite his play that he begins reading to them from the script. Nina enters and thinks the lines he is speaking relate to her. Thinking he is only after her money, she throws him out and bursts into song (AGAIN- F Solo). Constantine re-enters but Nina slaps him, rushes off, and he continues the song. Gino enters riding a broken down bicycle which he falls from. After several comic turns with the bike where he offers it a carrot, listens to it's heart and plays a tune on the spokes (GINO'S HARP SOLO- Instrumental) he leaves.
A distraught Constantine tells Samovar he is going back to Moscow immediately and leaving Samovar there. Samovar, failing to stop him, spies the play and begins reading but is interrupted by Nina who realizes Constantine was only reading dialogue which she thought were his own words about her. When she discovers Constantine is leaving, she bursts into tears and rushes from the room. Carlo and Gino attempt to throw Samovar out but he outwits them by asking Gino to enact what will heppen to Samovar; the scene becomes quite bizarre and physical. Mrs. Pavlenko arrives to discover everyone hurling flowers at her portrait. She sends Carlo off for help as Samovar challenges her to a duel which she readily accepts (A DUEL! A DUEL!- M/F Duet with 2M Needed for staging). She exits for the pistols.
When Carlo tells the impoverished Samovar of Mrs. Pavlenko's wealth he decides to marry her for her money and begins wooing her (NATASHA- M Solo with F and M Needed for Staging). She agrees to his proposal and falls into his arms. Constantine and Nina are reunited and Sascha and Masha enter for the finale (A NIGHT IN THE UKRAINE- Mixed Chorus).

NOTES ON THE PRODUCTION
This four Male, four Female revue and Marx Brothers spoof is excellent summer theatre fare for a multi talented company. The original music, coupled with the nostalgic tunes, make for a rewarding musical experience. The Marx Brothers sequence is enjoyable, even for non-Marx Brothers fans. In fact it may be more enjoyable for non-Marx Brothers fans for it highlights some of their famous routines in capsule form. The revue section of the two one acts, was performed in front of six revolving doors which represent the lobby doors of Grauman's Chinese Theatre in Hollywood. The doors could totally swing from red to black and each door contained a circular window, at face height, which opened and closed. This simple set allowed for various visual effects. A platform above the doors usually covered by a traveller was effectively used for the overhead "Famous Feet" number. The remaining setting consisted of two benches, a grand piano, and an art deco style bar; all represented the lobby. The costumes are not complicated, although there are a number of legged specialty ones needed for the "Famous Feet" sequence. The set used in the Broadway Production is thoroughly detailed in the acting version of the script and should be utilized.
The show calls for talented singers who tap dance, an excellent choreographer and a director with a flair for Comedy. Although most of Tommy tune's clever staging is outlined in the acting libretto, the dance numbers must be precise and clean in order to believably imitate the stars they are to portray. It is possible to perform A Night In the Ukraine as a one-act musical and it is a good choice for a one-act play competition. However, practically every comic line is enhanced by a sight gag prop and all of Gino's bits rely on the visual gag. The props are relatively common but are time consuming to obtain and the actor will need them in beginning rehearsals bgecause so much of the comic timing is determined by the props.

SONGS OF SPECIAL INTEREST

"The Best In the World," Story song, Mezzo, good acting exercise.
"Just Go to the Movies," good for opening a revue about films
"Nelson," comic number for a Soprano.

Instrumentation: 2 pianos, 1 piano onstage, Sound tape available from publisher
Script: Samuel French
Selections: Jewel
Record: DRG
Rights: Samuel French

THE DEAD

See James Joyce’s The Dead

DEAR WORLD

Book: Jerome Lawrence and Robert E. Lee
Music and Lyrics: Jerry Herman
(Based on Giraudoux’s The Madwoman of Chaillot)

ORIGINAL PRODUCTION

Mark Hellinger Theater, February 6, 1969 (132 perf.)
Director and Choreographer: Joe Layton
Musical Director: Donald Pippin

Principals:
Countess Aurelia- Angela Lansbury- Mezzo
Nina- Pamela Hall-
Sewerman- Milo O’Shea-
Constance- Carmen Mathews-
Gabrielle- Jane Connell- Soprano
Julian- Kurt Peterson- Tenor
Chairman of the Board- William Larsen- Baritone
Corporation President-
Prospector- Joe Masiell-
Chorus and Smaller Roles: 10M/10F

SYNOPSIS

The play opens at the Caf� Francis where some Parisian characters are performing and demonstrating their various occupations. Countess Aurelia is served a complimentary glass of champagne and looks through her empty glass at the world (THROUGH THE BOTTOM OF THE GLASS- F Solo).
Julian, a handsome young man who works for the president of a large corporation, is appalled at the greed of his employer, who plans on blowing up the Caf� Francis in order to obtain the oil beneath the establishment. The Lawyer, Corporation President and Prospector form a new and larger corporation in hopes of new wealth (JUST A LITTLE BIT MORE- M Trio).
Rather than obey his employers’ orders, Julian attempts suicide by drowning. His drenched body is brought to the countess at the caf� where she gives him reason to live (EACH TOMORROW MORNING- F Solo to Chorus). Aurelia questions the caf� regulars who try to explain the changes that have been occurring in Paris and the general corruption that permeates the city, but the Countess refuses to listen (I DON’T WANT TO KNOW- F Solo). Nina, a waitress at the Caf�, has fallen in love with Julian and thinks of him while clearing the tables (I’VE NEVER SAID I LOVE YOU- F Solo).
The Countess is confused by this unfamiliar world and asks her old friends Constance, Gabrielle, and the Sewerman what has caused Paris to decay. The Sewerman analyzes the changes in terms of the garbage he sees (PRETTY GARBAGE AND UGLY GARBAGE- M Solo). The Countess is appalled by the changes in her lovely city and vows to fight this new Paris. She tells her friends they must unite in the common cause because one is the largest number in the world (ONE PERSON- F Solo to Chorus).
Meanwhile, the President, Prospector and Lawyer envision the Paris their new corporation will create (THE SPRING OF NEXT YEAR- M trio).
Constance and Gabrielle join the Countess in her apartment and the three talk of their memories of Paris and their former lives (MEMORY- Constance; PEARLS- Countess and Gabrielle; DICKIE- Gabrielle; Voices- Constance; THOUGHTS- Countess; THE TEA PARTY- F Trio).
Countess Aurelia is left alone with the handsome Julian and she imagines that he is an old boyfriend (AND I WAS BEAUTIFUL- F Solo). When she comes to her senses she sends Julian to lead the Prospector and the other evil people into the caverns of the sewers. Julian and his friends comment on the tragedy of the modern world (DEAR WORLD- Mixed Chorus).
When the President and hundreds of other corporation executives descend the stairs to the sewers in hopes of finding uranium, the Countess shuts the stone door closing off their return to the surface, thereby saving Paris. The Countess urges Julian to kiss Nina and the chorus agrees (KISS HER NOW- Finale, Mixed Chorus).

NOTES ON THE PRODUCTION

Angela Lansbury won the 1969 Tony Award for her performance in Dear World.
There are a lot of speeches for various characters in the original play worth looking at for the purpose of auditioning.

SONGS OF SPECIAL INTEREST


Instrumentation:
Script: Vocal Score: Edwin H. Morris
Record: Columbia
Rights: Tams-Witmark

DISNEY'S BEAUTY AND THE BEAST

Contributed by Gene Lauze, UNH alum who costumed "The Beast" on Broadway and on tour

Music: Alan Menken

Lyrics: Howard Ashman and Tim Rice

Book: Linda Woolverton

ORIGINAL PRODUCTION

Palace Theater, April 18, 1994 (Still running)

Director: Robert Jess Roth

Choreographer: Matt West

Principals:

Beast- Terrence Mann- Tenor/Baritone

Belle- Susan Egan- Soprano with belt

Maurice- Tom Bosley- Baritone

Gaston- Burke Moses- Baritone

Lumiere- Gary Beach- Tenor

Mrs. Potts- Beth Fowler- Soprano

Cogsworth- Heath Lamberts- NA

Madame de la Grande Bouche- Eleanor Glockner- Mezzo

Babette- Stacey Logan- Soprano

Le Fou- Kenny Raskin- Tenor

Chip- Brian Press- Juvenile

Voice of Prologue Narrator- David Ogden Stiers

Chorus and Smaller Roles: 13F/14M

SYNOPSIS

In the prologue, an old beggar woman comes to the castle of a handsome young Prince. The old woman offers the Prince a single rose in return for shelter and warmth, but the selfish and spoiled Prince is repulsed by the woman's appearance, and he turns her away. She warns the Prince that looks may be deceiving and offers him the rose again. When the prince turns her away a second time, the old beggar woman is transformed into a beautiful enchantress. The enchantress casts a spell over the Prince, turning him into a hideous Beast. The spell also affects all those people living in the castle, turning them into enchanted objects. The Beast is left with a magic mirror as his window to the world, and a single magic rose. If the Beast can learn to love someone and be loved in return by the time the last petal falls from the bloom, the spell will be broken. If he fails to do this he will remain a Beast forever. As the years pass, the Beast loses hope of ever breaking the spell, . . . for who could ever learn to love a beast?

In a small provincial village, we meet Belle. She is beautiful, intelligent, loves to read, and is considered odd by the people of her village. (BELLE- Chorus). While the townsfolk may find her odd, one person is quite enamoured of the young beauty. Gaston is surely one of the most handsome men in the village, . . . Just ask him. He tells his trusty, dimwitted sidekick, Lefou, that he can wed only the most beautiful girl in the town. Since that girl is Belle, he must have her.

Belle returns home to find her inventor father, Maurice hard at work on an invention that will surely win all the prizes at the fair. Maurice is a kind, gentle old man who dearly loves his daughter and wants her to understand that she is not odd at all (NO MATTER WHAT- M/F Duet). Belle gives Maurice a new scarf she has made him for good luck and he leaves to drive his new invention to the Fair.

On the way to the Fair Maurice is attacked by wolves, but he escapes by running to a nearby castle and going in. The castle belongs to the Beast. Maurice thinks the castle is empty, but is quickly introduced to several of the Beast's servants who have been transformed into enchanted objects. He first meets Lumiere, the candelabra, and Cogsworth, the clock. While Cogsworth states that he is the head of the household, it is Lumiere who seems to be running things. He offers Maurice a chair and a cup of tea. They are joined by Lumiere’s girlfriend, Babbette, the vivacious feather duster, Mrs. Potts, the teapot, and her son Chip, a teacup, soon follow. While they all want to be hospitable to Maurice they are afraid of what will happen if the Beast finds out they have let him into the castle. When the Beast does appear it is apparent that he is not happy about Maurice’s presence and that Maurice is in great danger.

Gaston arrives to make Belle an offer he can’t imagine she would refuse. He wants her to be his wife (ME- M solo). Much to his dismay, Belle is less than enthralled with the idea and turns him down. Belle wants more from her life than to be another trophy for the boorish, brainless Gaston (BELLE [REPRISE]- F solo)

Belle runs into Lefou who is carrying the scarf that she made for her father. The scarf is tattered and turn and Lefou tells her that he found it in the forest. Belle is very worried about her father and sets out to find him. She comes across the same castle in the forest and goes in. The objects are thrilled to see Belle, hoping that she will be the girl that the Beast falls in love with and that will in return fall in love with him. Belle finds her father in a dungeon and is trying to release him when the Beast enters. He offers her a deal: in return for the release of Maurice, Belle must agree to stay in the castle forever. To the horror of her father, Belle accepts the deal. Maurice is taken away and the terrified and saddened Belle is led to her new bedroom. The Beast tells her that his servants will take care of her and also tells her she must never go into the west wing of the castle. In her room, she wonders what will happen in this new frightening place she must call Home (HOME- F solo). Mrs. Potts and Madame de la Grande Bouche come in to comfort the frightened girl. They tell her that all of the objects are impressed with what she did for her father and try to convince her that the Beast is not really as bad as he seems (HOME [REPRISE]- F solo).

Back in the village, Gaston, Lefou and the other villagers are singing about Gaston’s virtues (GASTON- Chorus). At the end of the song, a very nervous and frantic Maurice comes into the tavern to seek help in rescuing Belle from the horrible Beast. As usual, the crowd thinks that Maurice is crazy and they escort him out of the tavern. Gaston comes up with a plan to get Belle to marry him: blackmail. If he can get everyone to believe that Maurice is indeed crazy, he can have him committed to the local asylum, the Maison de Lunes. If Belle agrees to marry him, he will straighten out the matter (GASTON [REPRISE]- M duet).

At the castle, Belle has refused the Beast’s request to come to dinner, even though the enchanted objects managed to get him to say “please,” a word he hasn’t uttered in years. The Beast is furious and bewildered as to why she is being so stubborn, even after he was trying to be nice to her. He realizes that this girl may be his last chance to have the spell broken (HOW LONG MUST THIS GO ON?- M Solo).

Belle has been forbidden to leave her room and all of the enchanted objects have been told that she must not be fed until she agrees to eat with the Beast. However, when Belle comes down to the dining room, hungry, Lumiere and the other objects provide her with a meal fit for a queen, complete with a Buzby Burkleyesque array of dancing utensils, spinning plates and a cart-wheeling carpet among other things (BE OUR GUEST- M Solo and Chorus).

The Beast decides he needs to make himself more of a gentleman if he is ever to have a chance at breaking the spell. He decides to bring a tray of food to Belle in her room. As he is knocking on the door, he sees Cogsworth and Lumiere giving Belle a tour of the castle. Enraged, he returns to the west wing where the magic rose is kept under a glass dome. Belle separates herself from Lumiere and Cogsworth and goes into the west wing to see what the Beast is hiding there. She is caught by the Beast and is chased out of the room. He tries to apologize to her for scaring her, but accidentally rips the sleeve on her blouse. Promise or no promise, Belle decides to leave the castle and runs from the Beast. The Beast is devastated that he has frightened her and made her leave the castle, for there are so few petals left on the rose that he may never be able to break the spell. He is distraught and examines the predicament he is in as the act ends (IF I CAN’T LOVE HER- M Solo).

Act II opens as Belle is running from the Castle and is attacked by wolves. The Beast comes to her rescue and fights the wolves off, but is injured himself (ENTR’ACTE/WOLF CHASE- Orchestral). Back in the castle, Belle tends to the Beasts wounds and the first tender moment is shared between the two. She thanks him for saving her and he says, “You’re welcome.” Belle, the Beast and the Enchanted objects start to recognize that things are changing between Belle and the Beast (Something There- 3M/2F Quintet). To try to help them along with their newfound friendship, Mrs. Potts offers them a nice bowl of soup. They sit at the table and more tender moments are starting to occur. The Beast wants to give Belle something special to show her that he is sorry about all that has happened. The objects convince him that the perfect gift would be the library in the castle since Belle is so in love with reading. Belle is thrilled with the library and finds her favorite book. When she discovers that the Beast can’t read she decides to read the story of King Arthur to him. Belle is beginning to see that the Beast’s hideous exterior is hiding a heart that really wants to love and be loved in return. As the Beast and Belle are reading in the Library the Enchanted Objects dream of what it would be like to have their old lives back (HUMAN AGAIN- Chorus). Belle asks the Beast for a second chance at dinner and the Beast is so excited he runs from the library to get ready.

Back in the village, Gaston is going forward with his plan to have Maurice committed. He and Lefou are trying to persuade Monsieur D’Arque, who runs the Maison de Lunes, to help them in their plan. He agrees when the price is right (MAISON DE LUNES- M Trio).

At the castle, the Beast and Belle are all dressed up for a very nice formal dinner. Belle asks the Beast to dance and they waltz (BEAUTY AND THE BEAST- F Solo). As they sit in the garden after dinner, Belle confesses that she is happy at the castle, but that she wishes she could see her father again. When the Beast offers her the Magic Mirror so that she can see her father, Belle is frightened by what she sees. The Beast loves her so much he tells her she is no longer his prisoner. Even though it means that he is doomed to spend the rest of his life as beast, he makes her go to her father. He gives her the Magic Mirror so she can always see him. Belle leaves and the objects are heartbroken that their chances to be human again have been dashed. They realize that the Beast has learned to love, but it wasn’t enough; he needed to be loved in return for the spell to be broken. The Beast is inconsolable at the loss of his beloved Belle (IF I CAN’T LOVE HER [REPRISE]- M Solo).

Belle arrives back in the village to find the townsfolk and Monsieur D’Arque preparing to take her father away. Gaston offers to save her father if she will marry him and again she refuses. When her father tells the people again of the Beast, they all laugh at him. Belle shows them the Beast in the Magic Mirror to prove that her father is not insane. Gaston senses that Belle has special feelings for the Beast. He decides that the perfect way to get back at Belle for refusing his hand is to kill the Beast. He convinces the townspeople to help him in his mission and the angry mob goes off to the castle (THE MOB SONG- Chorus). The mob attacks the castle and the enchanted objects fight back valiantly (THE BATTLE- Orchestral). Gaston finds the Beast alone in the West Wing and tries to kill him. In the fight Gaston is pushed over the edge of a balustrade. The Beast saves him and is rewarded by a knife in the back. Belle has come out on the balcony and the sight of her gives the Beast the strength to fight back at Gaston. Gaston falls off the Balcony and is killed. The wounded Beast collapses inside the castle with Belle at his side. As the Beast lies dying Belle professes her love for the Beast. She does this just as the last petal is falling from the rose. The Beast rises from the floor and begins spinning in the air. The spell has been broken and the Beast is transforming back into the handsome Prince (TRANSFORMATION- M/F duet).

The Prince and Belle run to see if the other objects are transformed as well. Mrs Potts, Lumiere, Cosgworth, Chip, Babette and Madame de la Grande Bouche are all overjoyed to be back to their normal selves. As the music swells in the background, Maurice gives the Beast Belle’s hand in marriage and the company comes together to celebrate the new couple (BEAUTY AND THE BEAST [REPRISE]- Chorus)

NOTES ON THE PRODUCTION

The opening of Beauty and the Beast on Broadway marked The Walt Disney Company’s first foray into the world of legitimate theatre. The Broadway community was not sure what to expect from the company, but since Disney was the single producer of the show, they had no one to answer to but themselves. The community was afraid of what the implications of Disney’s entry into the Broadway world would be. As a result, the show did not receive the critical reception it deserved. Audiences were entranced by the clever costumes and the Menken/Ashman/Rice score, but the critics were not as kind. The show received mixed to good notices.

The show was also lacking in the award department. The show was nominated for 10 drama desk awards, but lost in almost every category to the new Sondheim musical Passion. It was also nominated for nine 1994 Tony Awards including Musical, Book, Score, Actor, Actress, Featured Actor, Director, Costumes, and Lights, but managed to pick up only the one for Ann Hould-Ward's clever costumes.

The show did manage to find its audience and has proven to be very successful for the Disney Company. The show been successfully produced around the world. In comparison, Beauty’s major competition that year, Passion, while a brilliant piece by one of the decade’s most successful composers, barely ran a season.

The main problems with possible productions of this musical are rather simple. Disney holds the rights to the show and outside of licensing it to production companies in other countries, they have given the rights to an amateur production only once. Since the show is still running commercially, it seems as if it will be quite some time before the rights are released to the general producing public.

That said, what are the other issues that need to be addressed when attempting to mount a production of this piece. First of all, although the show was given a lavish first production by Disney, many of the sets and costumes could be realized in simpler ways and could be done on a much more modest scale. The original production was very literal to the animated feature and created many design problems for the team creating the show. At this time, Disney is mounting a new version of the show to tour the United States. It will be, by far, the smallest production of the show to date. Many of the grand set pieces have been reconceived to allow the show better mobility and the entire show has been altered to allow for these changes. What cannot be skimped upon, however, are the special effects. The hag has to transform into the beautiful enchantress, the prince has to transform into the beast, and above all, he has to make a dramatic transformation back at the end of the show.

SONGS OF SPECIAL INTEREST

Instrumentation:

Script: NP

Vocal Selections: Hal Leonard Corp.

Record:

Rights: Not Available

Visit the Broadway Beauty and the Beast web site

DO I HEAR A WALTZ?

Book: Arthur Laurents
Music: Richard Rodgers
Lyrics: Stephen Sondheim
(Based on Arthur Laurents’ The Time of the Cuckoo)

ORIGINAL PRODUCTION

The 46th Street Theatre, March 18, 1965 (220 perf.)
Director: John Dexter
Choreographer: Herbert Ross
Musical Director: Frederick Dvonch
Orchestration: Ralph Burns

Principals:
Leona Samish- Elizabeth Allen- Mezzo
Signora Fioria- Carol Bruce- Alto
Eddie Yaeger- Stuart Damon- Baritone
Jennifer Yaeger- Julienne Marie- Mezzo
Renato Di Rossi- Sergio Franchi- Tenor
Giovanna- Fleury D’Antonakis- Mezzo
Mr. McIlhenny- Jack Manning- Baritone
Mrs. McIlhenny- Madeline Sherwood- Mezzo
Chorus and Smaller Roles: 2M, 2 M Children minimum

SYNOPSIS

The play opens in Venice where Leona Samish, an attractive romantic, marvels at the sights. With a suitcase in each hand, she sings about the miracle of a city floating on water while the enchanting gondolas and pigeons fluttering about the square. A young boy, Mauro, offers to take her to Signora Fioria’s and carry her suitcases. Leona is so busy looking at everything she naively plunges into the canal, but nothing can dampen her excitement (SOMEONE WOKE UP- F Solo).
She arrives at the Pensione Fioria to discover that the guests are all Americans. The forty-year old owner, Signora Fioria, explains how pleased she is at their arrival (THIS WEEK AMERICANS - Sc to F Solo). After brief introductions, the guests tell how they came to Italy and reveal the inconveniences of flying (WHAT DO WE DO? WE FLY!- Small Mixed Chorus). Leona is left alone to muse over her loneliness, which is amplified by the romantic atmosphere of Venice.
On a morning shopping trip, Leona meets Renato Di Rossi, a forty-year old owner of a curio shop. When she expresses interest in an antique goblet Renato enthusiastically expresses admiration (SOMEONE LIKES YOU- Sc to M Solo). He gives her a lesson in antique shopping (BARGAINING- Sc to M Solo) and manages to obtain her Venice address.
That night, Leona ventures into the Piazza San Marco where she orders drinks for two at a cafe. She knows no will join her but doesn’t want anyone to think she is alone (HERE WE ARE AGAIN- F Solo). Di Rossi approaches her, sees the two drinks and graciously retreats.
Di Rossi arrives at the Pensione and charms Leona by giving her two precious antique Italian goblets. Mr. and Mrs. McIlhenny arrive and show Leona six of the same goblets and Leona is outraged that Di Rossi tried to deceive her. After the McIlhennys leave DiRossi insists that the goblets her gave her were originals, the others copies. He asks her out and she thinks over the prospect. The two agree to meet later (THINKING- Sc to M/F Duet).
Eddie Yaeger, a married playboy guest at the Pensione, flirts with Fioria who is very interested in some late night romance. Giovanna, Fioria, Eddie and the McIlhennys prepare for the evening (HERE WE ARE AGAIN [REPRISE]- Mixed Chorus).
As Leona relaxes at the Pensione garden awaiting Di Rossi’s entrance, Vito, a young boy, arrives with the message that Di Rossi will be late. Leona finds out that Vito is really Di Rossi’s son and is appalled to think she is dating a married man. Jennifer, after fighting with Eddie, invites Leona to a movie and the two exit. Eddie and Fioria, under the guise of a language lesson, go to Giovanna and arrange for an assignation in a gondola (NO UNDERSTAND- Sc to 2F/M Trio). Di Rossi arrives and forces Leona, who has returned in time to see Eddie and Fioria, to make the most of their mutual attraction. (TAKE THE MOMENT- Sc to M Solo). She carefully listens and accepts his offer for an evening on the piazza.
Act II begins after a night alone at the movies for Eddie’s wife, Jennifer. Used to his infidelity, she hopes that he will return to her (MOON IN MY WINDOW- F Trio), Fioria and Leona echo the same song from their windows.
Eddie and Jennifer decide to leave Italy in order to save their failing marriage (WE’RE GONNA BE ALL RIGHT- Sc to M/F Duet).
Di Rossi arrives to bring Leona a garnet necklace, which she can’t refuse because she suddenly hears a waltz and knows she is no longer afraid of involvement (DO I HEAR A WALTZ- F Solo). She tells Di Rossi she must soon return to America but he begs her to remain in Venice (STAY- Sc to M Solo).
Before she leaves, Leona decides to throw a party for everyone at the Pensione. They all remark on Leona and Di Rossi’s happiness, not aware that he is a married man (PERFECTLY LOVELY COUPLE- Mixed Chorus).
Leona is angered to discover Di Rossi didn’t pay for the necklace. When a man arrives at the party to collect she gives Di Rossi the money, but vents her anger on all those at the party. She realizes too late that most of her distrust of Di Rossi stemmed from distrust of herself. She thanks him for everything he has done for her (THANK YOU SO MUCH- Sc to M/F Duet) and returns to America ready to begin again with someone new.

NOTES ON THE PRODUCTION

Some interesting facts about the show can be found in the book Sondheim and Co. The songs are good to study in a class situation and the show might be best presented in capsulated form as part of a dinner theatre offering. It will appeal to audiences who are curious about a Richard Rodgers/Stephen Sondheim collaboration, but otherwise will probably not be a large box office draw.
Companies wishing to produce the essence of the show without the expense of re-creating Venice or using a large Broadway style ensemble may want to stage the production on a very small stage. Making the show a more intimate musical without the use of a full chorus would help center on the psychological ramifications of the characters.

SONGS OF SPECIAL INTEREST

"Bargaining," tenor solo, potential for audition if shortened, allows for varied characterizations
"Someone Woke Up," mezzo, up-tempo solo, possible for audition, some movement, shows warmth and abandon
"What Do We Do? We Fly!" comic, mixed chorus, clever lyrics, good for beginning choreographer

Instrumentation: 4 reeds, 2 trumpets, 3 trombones, percussion, harp/celeste, guitar/mandolin, 4 violins, 2 violas, 2 cellos, bass, piano/conductor
Script: Random
Score: Williamson
Record: Columbia
Rights: R & H

DO RE MI

Book: Garson Kanin
Music: Jule Styne
Lyrics: Betty Comden and Adolph Green

ORIGINAL PRODUCTION

St. James Theatre, December 26,1960 (440 perf.)
Director: Garson Kanin
Choreographer: Marc Breaux and Deedee Wood
Musical Director: Lehman Engel
Principals:
Kay Cram- Nancy Walker- Alto
Hubie Cram- Phil Silvers- Baritone
Fatso O’Rear- George Mathews- VTI
Skin Demopoulos- George Givot- VTI
Brains Berman- David Burns- VTI
Thelma Berman- Marilyn Child- VTNE
Tilda Mullin- Nancy Dussault- Soprano
John H. Wheeler- John Reardon- Tenor
Chorus and Smaller Roles: 12F/12M, some doubling required

SYNOPSIS

Kay Cram, a patient character woman in her late 40s, waits in a seedy nightclub for her husband, Hubie (WAITING, WAITING- F Solo), a middle-aged wheeler-dealer. He arrives in time to witness "The Swingers," a female singing group, pay a tribute to the head of the jukebox industry, John Henry Wheeler (ALL YOU NEED IS A QUARTER- F Trio to F Chorus). During the song, Hubie moves his chair in front of Wheeler to get away from the confusion of sitting near the kitchen. Two waiters pick up Hubie and his chair and carry him out. Kay follows.
Later that night, in the Crams’ bedroom, when Hubie tells Kay he has to find a new scheme to make him rich and important, she implores him to be satisfied with a job in her father’s laundry (TAKE A JOB- Sc to M/F Duet). She wishes him a happy anniversary and urges him to be happy but he remembers his former hoodlum friends Fatso O’Rear, Skin Demopoulos and Brains Berman and decides to con them into a partnership. He rushes out the door leaving Kay by herself.
In Fatso’s Ice Cream Parlor in Union City, New Jersey, the teenagers are dancing to the jukebox (ALL YOU NEED IS A QUARTER- Dance). Fatso starts to lock up but Hubie enters, extolling the honesty of a jukebox venture (IT’S LEGITIMATE- Sc to M Duet). Fatso agrees and the music continues as Brains and Thelma Berman are seen in front of a chicken house. Fatso and Hubie mime their scheme to Brains who joins them and waves farewell to Thelma. The three move to a box at Hialeah race track where they enlist Skin in their business (IT’S LEGITIMATE- Sc to M Quartet). The number ends as they move to their new business on Broadway, Music Enterprise Associates, Inc. (MEA).
When John Henry Wheeler, the jukebox magnate, hears of the new company Hubie has formed, he tells a reporter he is unworried by this new competition because he knows the formula for records that sell (I KNOW ABOUT LOVE- M Solo).
In a Greenwich Village Zen Pancake Parlor, Hubie, Fatso, Skin and Brains try to put some muscle on proprietor James Russell Lowell IV, a Japanese devotee who promptly karate chops Brains. Everyone is overwhelmed, including waitress Tilda Mullin.
In the MEA offices, Brains tells Wolfie, a ferret-looking individual, that he wants out, but Hubie tells his partners the new record promotion plan isn’t working because they have no talent to perform new songs. He is unable to find a singer he can afford until he remembers the waitress he heard singing at the pancake house. After auditioning several untalented performers, such as a plump Marsha Denkler, a hillbilly singer named Irving Feinberg, and a German girl playing the concertina, he goes in search of Tilda (AUDITION- F/M Solo Sections).
Hubie auditions her at the pancake house and convinces Tilda that she can be a sensation (AMBITION- Sc to M/F Duet). When she discovers people get paid for singing and realizes she could financially help the children back home, she agrees. Hubie’s hunch pays off because Tilda Mullin, waitress turned singer, is a tremendous success, as evidenced by an announcer reeling off and a reporter commenting on her top forty standing.
In an empty recording studio, Kay greets Hubie by telling him she is busy buying things he can’t hock when this deal falls through. The musicians and partners enter for the recording session, followed by Wheeler and the Swingers. Tilda enters and sees Wheeler at the same time he notices her. There is a chord as fireworks pop. They are immediately infatuated (FIREWORKS- M/F Duet). Fatso tells Wheeler to get out of their recording studio and he leaves with the Swingers. Hubie busies himself with the orchestra and demonstrates how to play the various instruments. Everyone watches in amazement.
At the Imperial Room, Tilda is the headliner with a girl backup chorus (WHAT’S NEW AT THE ZOO- F Chorus). Hubie’s gangster-type partners, who discover Wheeler dancing with Tilda (ASKING FOR YOU- M Solo), are all for roughing him up, but Hubie convinces them to let him take care of the matter. He crosses the room to Wheeler’s table where he proceeds to tell Wheeler about all the old movies on TV featuring Hollywood tough guys. He hopes that Fatso, Skin and Brains think he is forcefully telling him off (THE LATE, LATE SHOW- L to M Solo with imitations of Cagney, Bogart etc.). Hubie’s plan fails when his partners, unable to restrain themselves, get into a brawl and are thrown out of the club. Kay watches Hubie being carried off as the curtain falls on Act I.
Act II opens in Hubie and Kay’s bedroom. Hubie is reading a newspaper article about Kay’s former boyfriend who is now a successful lawyer. Kay tries to bolster his spirits and assures him that she wouldn’t want to be married to anyone else (ADVENTURE- Sc to M/F Duet).
In Wheeler’s office, Wheeler asks Tilda to marry him (MAKE SOMEONE HAPPY- Sc to M/F Duet) and she happily agrees.
In the upgraded office of MEA, the partners are upset that Tilda has married Wheeler. Fatso calls in a large, psychopathic thug and Kay worries that things are going too far.
At a Senate investigation committee, the crowd wonders who "Mr. Big," of the jukebox racket is (VIP- Mixed Chorus). Fatso, Brains and Skin subsequently take the stand and finger Hubie (VIP-3M Solos).
The Senate investigation ends Hubie’s involvement in the entertainment business. He realizes how empty and phony his life has been and soliloquizes about his failures (ALL OF MY LIFE- M Solo). In the court chambers, where Hubie sits alone, contemplating his future, Kay arrives to convince him it isn’t too late to start over. (FINALE- Company).

NOTES ON THE PRODUCTION

The book, occasionally thin, is a good vehicle for performers who have the qualities of Phil Silvers and Nancy Walker. Some of their duets are excellent studies in character comic timing and Hubie’s "Late, Late Show" is a brilliant audition piece for a performer who can handle impressions of old film "tough men." There are a number of good roles for the gangsters. The part of Tilda, in the hands of a good actress and singer, is a talent showcase. The script, with prudent editing of the extraneous material could be a highlight of any company’s season. Some of the scenes, products of the times they were written for, are unnecessarily "big."
The costumes, many of which are the club chorus girls, are basically contemporary and not complicated to obtain. The sets may be trimmed and combined i.e. the opening nightclub and the Imperial room, where Tilda eventually performs, could be the same. The ice cream parlor, chicken ranch, and box at Hialeah aren’t absolutely necessary, as the scenes are very rapid and have an "in one" quality. The scenes may be played in front of a curtain with simple props to denote location. The proposal scene in Wheeler’s office may be located elsewhere to save building a set that is only used for one short scene.
The chorus, considered in terms of the unedited script, is rather large. It is possible to trim this, possibly even to cut it in half, if the larger scenes are minimized and the size of the stage is smaller.

SONGS OF SPECIAL INTEREST

"All You Need Is a Quarter," F Trio, comedic spoof on singing group of late 30s, good for movement
"All of My Life," Baritone, dramatic solo for a character actor, excellent for dramatic intensity
"Ambition," up-tempo, energetic, baritone and soprano, exciting, good for showcase
"Adventure," comic M/F duet with female comedienne featured, nice actable specifics that show off comic flair, needs abandon
"I Know About Love," Tenor Solo, audition potential, shows range and make strength
"The Late, Late show," excellent for an audition, baritone, shows characterization skills, comedic flair and acting ability
I "Take a Job," comic counterpoint duet for male and female character actors

Instrumentation: 3 violins, cello, bass, 5 reeds, horn, 3 trumpets, 3 trombones, 2 percussion, piano/conductor
Script: NP
Score: Chappell
Record: RCA
Rights: Tams-Witmark

DOONESBURY

Book and Lyrics: Gary Trudeau
Music: Elizabeth Swados

ORIGINAL PRODUCTION

Biltmore Theatre, November 21,1983 (104 perf.)
Director: Jacques Levy
Choreographer: Margo Sappington
Musical Director: Jeff Waxman
Orchestration: Elizabeth Swados

Principals:
Roland- Reathel Bean-
Mike Doonesbury- Ralph Bruneau-
Mark- Mark Linn-Baker-
B.D.- Keith Szarabajka-
Boopsie- Laure Dean-
Zonker- Albert Macklin-
Duke- Gary Beach-
Honey- Lauren Tom-
J.J.- Kate Burton-
Joanie- Barbara Andres-
Provost- Peter Shawn-
Chorus and Smaller Roles:

SYNOPSIS

As Act I begins we see a scrim of the White House. A press conference is in progress where Reagan is asked about the tuition tax credit program. Reagan replies that government should get out of education because, in 1979, the student loan program cost the taxpayers...he can’t remember the amount.
The White House scrim is raised, revealing the living room of Walden Commune. Seated in a swivel chair in front of the television is Mike while Mark is sprawled out on a couch in the center of the room. Positioned directly behind the television, Roland, resplendent in full news correspondent regalia, is delivering a report to an attentive Mike. Roland is asking, "Who is today’s college student?" Mike and Mark discuss how unbelievable it is that graduation is here (GRADUATION- Mixed Chorus). Everyone living at Walden discusses their plans together.
The only one who has any kind of plan is B.D., who has been drafted into professional football and Boopsie, his girlfriend, will follow him and become a cheerleader. Mike tells Mark that he will ask J.J. to marry him (JUST ONE NIGHT- M Solo).
On the back porch of Walden Commune, Zonker is misting his plants, Arnold, Ginger, Ralphie and Laura. The plants are talking to him about California. Laura asks him about his tanning career. Zonker tells her that he isn’t on the tanning circuit anymore (I CAME TO TAN- Mixed Chorus and Plants).
Scene three takes place in the Los Angeles County Courtroom where Zonker’s Uncle Duke is on trial. Under the stern gaze of the presiding Judge, Duke is sitting in the witness chair, facing the jury. Off to one side, Honey waits to be called as a character witness while Duke tells the court that he has purchased ten kilograms of cocaine at the direction of the state department. They know that he is lying so Duke attempts to win his case with pity (GUILTY- M Solo).
Next, we are again in Walden. Mike is dialing the phone while he flips through a plastic index card file. Mark is sitting on the sofa. To the right of the living room set, we see another telephone set on a small table. As it begins to ring, J.J. enters stage left at a dead run. She answers the phone. Mike is checking to see if she is coming to the graduation ceremony and also what time her train will arrive. He accidentally, tells her that Joanie, J.J.’s mother, is coming. J.J. is furious and slams down the receiver. Joanie enters with baby Jeffrey. She reminisces with the crowd. Boopsie tells how Joanie said that a woman could now have it all including career and family (I CAN HAVE IT ALL- F Solo and M Chorus). Boopsie and B.D. exit. Mark tells Joanie that Mike may ask J.J. to marry him. Joanie, a little shocked at the possibility of being a grandmother, likes the idea.
Scene five opens in the courtroom. We see Duke and Honey conferring in the back of the courtroom. The Judge enters and sentences Duke to five years probation and five years directing a drug rehabilitation center, saving those like himself.
Scene six is the White House scrim. Reagan and Clark discuss acid rain and the fact that Canada has been giving the U.S. a lot of heat about it. Reagan asks if they can invade. Clark leaves to check if there are any American lives that need protecting.
As we open to scene seven, we are again back at Walden. Mark is on the phone with Roland while Mike sits in his swivel chair, working on his schedule. J.J. arrives early, which puts Mike into a little fit. He tries to propose to her but can’t get it out They talk about getting it together (BABY BOOM BOOGIE BOY- M and F Duet). Joanie enters and Mike attempts to get mother and daughter to talk but they end up fighting instead. J.J. runs out of the house.
The setting for scene eight is WABY radio station where Mark and Roland are seated behind a console desk. Roland is interviewing Mark. After the interview, Roland tells Mark that he has a brilliant career as a broadcast journalist and asks the audience to let the station manager know if they agree with this. People begin to call and say they want Marvelous Mark. Mark stands up and starts to break dance (BABY BOOM BOOGIE BOY- M Solo).
Scene nine opens at Walden later that day. Mike is in the kitchen preparing dinner. Out in the living room Zonker is trying to build a beer can pyramid on top of the television. Joanie is at the dinner table, discreetly nursing her baby while beside her on the floor, Boopsie is doing exercises. There is some humorous dialogue before dinner is on the table. When they do all sit for dinner no one is quite sure about what they are eating (ANOTHER MEMORABLE MEAL- Mixed Chorus).
Act II opens at Walden the next morning. Mike is sleeping on the living room couch. Outside the house, we hear the roar of an approaching bulldozer. As the din grows louder, Mark emerges from his bedroom. He is wearing pajama bottoms and obviously has just been awakened. It seems that Duke has bought the commune. The Walden residents think that it is going to be turned into a drug rehabilitation center. They can not believe that this is happening to their beloved commune (JUST A HOUSE- Mixed Chorus). During the number, Duke storms through the front door. He is followed closely by Honey, who is wearing a hard hat. Joanie, who happens to be a lawyer, attempts to discuss this with Duke and, when he refuses, she tells him that she will get an injunction from the zoning office. They all leave with Joanie except for J.J., who is very reluctantly left with the baby. As soon as everyone leaves, we hear the baby crying.
Scene two opens again on the White House scrim. Reagan is interviewing Jeff, a medical student about Grenada. Jeff unintentionally embarrasses the President by saying that he thought an invasion was occuring when he spied the parachutes landing on the island.
The scene switches to the front yard of Walden. Boopsie and B.D. are walking out to the mailbox. Offstage, we hear Duke’s bulldozer start up again. Boopsie looks over her shoulder to survey the damage Duke has caused. B.D. gets a letter telling him that he is getting traded from Dallas to Tampa. Boopsie tries to comfort him, but B.D. exits while Honey enters. Boopsie talks about B.D. while Honey discusses what a complicated man Duke is (COMPLICATED MAN- F Duet).
Scene four, again, takes place on the commune. Zonker is snorkling in Walden Puddle when Duke enters. Duke tells Zonker that he is building expensive condos on the property instead of a rehab center (REAL ESTATE- M Duet). He then offers Zonker a job, which he accepts.
In the Walden living room, J.J. is with the baby on the sofa. Mike enters and sees the baby with a mustache drawn on him. He tells J.J. that she is missing out on quite a bit by holding a grudge against her mother. He exits as Joanie enters, laughing at the mustache. The J.J. and Joanie decide to forgive one another (MOTHER- F Duet). Roland arrives for the graduation interviews. He tells Mark that a Long Island station wants him. It’s a perfect job for Mark because it’s public radio. Roland calms B.D.’s fears by congratulating him on his trade to Tampa. Then he comments that the new game in town is "making it". The Reagan’s have made it alright to be rich again (IT’S THE RIGHT TIME TO BE RICH- M Duet). Boopsie, Mark and Zonker enter bedecked in full preppy regalia (MUFFY AND THE TOPSIDERS- Mixed Chorus). Zonker tells all that he has found employment as a tanning director for Walden Estates. Mike tells him that he has sold out.
Outside, the bulldozer has started up again and we hear it approach. Zonker can’t believe his friends don’t understand why he accepted the job. The roar has become deafening and, as the four turn around to see what’s happening, there is a terrible crash.
The boys scatter and J.J. screams and dives down behind the couch. As the dust clears, Honey steps in through what’s left of the front door. Duke surveys the wreckage around him and he hops down from the bulldozer cab onto the back of the sofa. Honey exits to get the tool kit. Duke takes a beer out of the refrigerator and slumps down on the kitchen floor. It seems that he is having problems with the drugs he is taking. Mike asks J.J. to marry him and she accepts. They discuss finally having sex while Honey contends with Duke.
Scene six is set at graduation an hour later. All the graduates are present and Roland is doing a stand up report on the proceedings. All receive their diplomas but when Zonker is called to the platform, he panics. Mike and Mark drag him up. He receives his diploma. The company sings (GRADUATION- Company) and they all pose for a final picture.

NOTES ON THE PRODUCTION

SONGS OF SPECIAL INTEREST

Instrumentation: Script: Holt, Rinehart and Winston Score: Record/CD: MCA
Rights: Samuel French

DREAMGIRLS

Book and Lyrics: Tom Eyen
Music: Henry Krieger

ORIGINAL PRODUCTION

Imperial Theatre, December 20, 1981 (1,521 perf.)
Director and Choreographer: Michael Bennett
Musical Director and Orchestration: Harold Wheeler

Principals:
Deena Jones- Sheryl Lee Ralph- Mezzo
Lorrell Robinson- Loretta Devine- Soprano
Effie Melody White- Jennifer Holliday- Mezzo
Michelle Morris- Deborah Burrell- Mezzo
Curtis Taylor, Jr.- Ben Harney- Tenor
James Thunder Early- Cleavant Derricks- Tenor
C.C. White- Obba Babatunde- VTI
Marty- Vondie Curtis-Hall- VTI
Jerry- Joe Lynn- VTI
Wayne- Tony Franklin- Baritone
Frank- David Thome- VTI
Chorus and Smaller Roles: 10M/10F, can be reduced with doubling

SYNOPSIS

Scene I takes place at the Apollo Theatre where a talent contest is in progress. The Strepp Sisters are singing (I'M LOOKING FOR SOMETHING- F Chorus).
Seeing the Strepp sisters performing, Deena enters, wondering if her group, the Dreamettes, is too late for the contest. Lorrell, Effie and C.C. discuss the possibility of winning the contest and what this could mean. While the Dreamettes are talking offstage, the Strepp sisters can be heard on stage. Next Little Albert and the Hi-Tones are introduced on stage. They can be heard in the background (GOIN' DOWNTOWN- Mixed Chorus). The Dreamettes continue their conversation, discussing wigs and dresses. Big Billy Turner is introduced to the audience next (TAKIN' THE LONG WAY HOME- M Solo).
Backstage, Marty, the manager of Jimmy Early, approaches the Dreamettes with a proposition. He wants them to sing backup for Jimmy. They refuse, pinning all hopes on the talent contest. The Dreamettes are introduced last (MOVE- F Chorus).
The audience applause is loud, but, when the announcements are made, it is Big Billy Turner that wins. The Dreamettes are bitterly disappointed until Curtis approaches them, asking to manage them. He tells them to sing backup behind Jimmy and then guarantees them a ten week engagement on the road. They agree and Jimmy goes on stage with the Dreamettes (FAKE YOUR WAY TO THE TOP- M Solo and F Chorus).
Later, C.C., the writer for the Dreamettes, is asked by Curtis to write songs for Jimmy. Curtis thinks that C.C.'s music is successful because it's what the people want (CADILLAC CAR- Mixed Chorus).
Next we see the group in limbo during their long travel engagement. Jimmy, Effie and C.C. are still singing "Cadillac Car" as they drive. Deena nervously stops and calls her mother as the excitement builds.
Scene three takes place in a recording studio where Jimmy and the Dreamettes are recording "Cadillac Car". In the background we hear a voice reporting that the record has hit number 60 on the charts. Effie tries to convince Curtis to take the night off and bring her to a movie but he refuses. The voice continues until the song is at number 32.
Scene four takes place in limbo again on the road. Curtis tells C.C. and Jimmy that what they need is change from rhythm and blues to a more popular sound. Marty, Jimmy's friend and manager, disagrees, but it is evident that they are on the way to doing just that (STEPPIN' TO THE BAD SIDE TODAY- Mixed Chorus).
Scene five opens with Jimmy trying to persuade Lorrell to sleep with him. She refuses because he is a married man. After she leaves, Curtis enters. He attempts to talk Jimmy into dropping Marty and taking him on as manager. Jimmy explains that Marty has been with him since "he was a kid singin' in the streets." He will not drop him. Curtis promises that he will get them into the Atlantic in Miami.
Scene six is set in rehearsal song. Effie is trying to sing C.C's. new song but Curtis has changed the beat and she doesn't feel comfortable with it. Effie knows from experience that it is wrong but Curtis refuses to listen. Curtis says that C.C. and he will make it better, but there is insincerity in his voice. Effie tries to get him to take her out again but he says that he has to work to do now. He agrees to taker her out later. When she leaves, Curtis tells C.C. that he wants Deena to sing lead. C.C. realizes that Deena's voice will go down better with a white audience. After the movie, Effie and Curtis return. While Curtis calls Miami, Effie begins to sing to him. All join in (PARTY, PARTY- Mixed Chorus). During the number, Jimmy finally convinces Lorrell to sleep with him and Curtis gets the gig in Miami.
Scene eight takes places place onstage in Miami. Jimmy and the Dreamettes are on (I WANT YOU BABY- M Solo and F Chorus). After the show the Dreamettes and Curtis are alone in a hotel room. He tells them that he is breaking Jimmy and the Dreamettes up. They are going to Cleveland and he is changing their name to the Dreams. He tells them that Deena will now do leads. Effie, crying, thinks that it is because Curtis doesn't like the way that she looks. They all try to console her (FAMILY- Mixed Chorus).
In scene nine, the group is performing in Phoenix. Marty is seen arguing with Curtis. Marty tells Jimmy to choose between them and leaves. An announcer presents the Dreams to the audience (DREAMGIRLS- F Chorus). After the number, the Dreams do an interview with reporters. The whole sequence is sung (PRESS CONFERENCE- Mixed Chorus). Deena receives attention from all and Curtis tells her it's only the beginning while Effie watches (ONLY THE BEGINNING- M Solo).
Scene ten consists of a performance montage. The Dreams sing at the Hollywood Palace (HEAVY- F Chorus). Effie has faded out during the last few vamps. The scene shifts to another location and Deena and Effie are arguing. Effie accuses her of having a relationship with Curtis. They all enter into the fight against Effie.
Scene eleven opens in Las Vegas. A tap dance team rehearses on a bare stage. Deena is seen with a travel bag. She goes to the dressing room already occupied by Lorrell. She is just returning from Chicago where she has seen her very sick mother. C.C. enters and the group discusses the problems that Effie has been causing. Jimmy enters. They haven't seen him in awhile. Effie enters while Jimmy tells them what he has been doing. Soon Michelle Morris enters. Effie grasps that Michelle is here to replace her just as Curtis, who was supposed to tell her previously, enters. He tries to explain why she is being dropped (IT'S ALL OVER- Mixed Chorus). Effie tells them that she isn't going (AND I AM TELLING YOU I'M NOT GOING- F Solo). The scene switches to the Las Vegas Hilton where the announcer has just presented Deena and the Dreams (LOVE LOVE YOU BABY- F Chorus).
Act II opens with the announcer welcoming all to the 1970 world tour of Deena Jones and the Dreams (DREAMS MEDLEY- F Chorus). Another press conference occurs with Michelle trying to advertise for a husband. The reporters ask about Effie White. The situation becomes tense, but Curtis gives them a standard line about the buy out being "clean and fair". The reporters don't believe him. We discover that Deena and Curtis have married.
Scene two opens in a Chicago nightclub where Marty is trying to talk Jerry, the manager, into hiring Effie. Jerry doesn't want too. Marty is attempting to be very persuasive until Effie finds that she will be singing with someone she is unfamiliar with and refuses. Marty takes her aside, telling her it's the last chance that he will give her. She agrees to sing, but Jerry doesn't want to hear her. She sings anyway (I AM CHANGING- F Solo).
The setting in scene three is a Vogue photo session. The photographers ask Deena, Lorrell and Michelle for one more picture (ONE MORE PICTURE PLEASE- Mixed Chorus). As the photographers continue, the dialogue is sung. C.C. is furious because Curtis has completely changed her new song. Deena tells Curtis that she wants to move on to acting, but he tells her that it's not the time. Deena and Curtis sing a love song (WHEN I FIRST SAW YOU- M and F Duet).
Scene four opens at a N.A.A.C.P. benefit. The Five Tuxedos are doing a number (GOT TO BE GOOD TIMES- M Chorus). Lorrell and Jimmy are off stage. She tells him that they are celebrating their seven-year relationship, but Jimmy doesn't want to hear it. Lorrell wants marriage but Jimmy refuses (AIN'T NO PARTY- M/F Duet). Next the announcer presents the mellow sounds of James T. Early (Jimmy) (I MEANT YOU NO HARM- M Solo). In between the number, snips of conversation sung by Lorrell, Michelle and Deena are heard. Wayne has asked Michelle to marry him and she has accepted (QUINTETTE- M/F Duet). Jimmy, on stage, picks up the pace (THE RAP- M Solo and Mixed Chorus). Between Jimmy's lines, Marty convinces C.C. to write for Effie. Curtis tells Jimmy that he dislikes the soul music that Jimmy prefers to sing, but Jimmy says that he doesn't trust the pop music. Curtis tells him that he’s gotten old. Jimmy replies that they are through because of the tricks that Curtis is pulling.
Scene five is set in Chicago as Effie meets C.C. again (I MISS YOU OLD FRIEND- Mixed Chorus). C.C. has brought her new song for her (ONE NIGHT ONLY- F Solo and F Chorus). Curtis discovers that Effie's record is a bigger hit than the Dreams, but he fixes it so that this will change.
Scene six begins in Los Angeles where the Dreams are on their American Tour. They sing "One Night Only" and beat out Effie's record. Another press conference occurs because Deena will be starring her first film. The reporters ask her about this and the problems in her marriage. Both Deena and Curtis deny marital problems, but when the reporters leave they argue about the film.
The Dreams and Deena are again onstage in Chicago (I'M SOMEBODY- F Chorus). Marty, C.C. and Effie enter, although supposedly offstage. They confront Curtis with what he has done and Effie tells him that she believes in herself (FAITH IN MYSELF- F Solo). Marty, C.C. and Effie's lawyers will be suing Curtis as well as the Dreams for what he has done. Deena enters. She tells Effie that she didn't know what Curtis was doing and they discuss their past friendship. Deena confronts Curtis, but he says that he did it for her. She tells him that she's leaving him.
The last scene, eight, is set at the Metropolitan Opera House. It is the Dreams’ farewell performance (HARD TO SAY GOODBYE MY LOVE- Mixed Chorus).

NOTES ON THE PERFORMANCE

Dreamgirls was the winner of six 1982 Tony Awards for Best Book, Lighting, Choreography, Supporting Actor (Cleavant Derricks), Actor (Ben Harney) and Actress (Jennifer Holliday).
Dreamgirls is set during a period of time in the 60s when the trio pop groups, i.e. the Supremes and the Temptations, were coming into vogue. The play crosses between fabulously mounted onstage sequences and the backstage harshness that often went on in this form of entertainment.
This show is a difficult one for a small company because it requires a lot of money. The show’s costumes, sets and props must be able to convey the group’s rise from relative anonymity to the glamorous world of pop music. In the original Broadway production a single Costumes sequence for a musical number cost as much as the entire costume budget for a small college or community theatre. This may be the type of piece that would be better in concert version for those with a limited budget.

SONGS OF SPECIAL INTEREST

"I’m Not Going," Mezzo Solo, powerful, incredibly difficult for a class study, requires focused acting of many emotions
"Cadillac Car," Featured Tenor with Chorus, a fun song, shows character, could be used as an audition for a revue
Instrumentation: 3 reeds, 3 trumpets, 2 trombone, bass, guitar, synthesizer/piano, synthesizer, percussion, drums, piano
Script: NP
Score: NP Record/CD: Geffen Records Rights: Tams Witmark

ERNEST IN LOVE

Book and Lyrics: Anne Croswell
Music: Lee Pockriss
(Based on the play The Importance of Being Earnest by Oscar Wilde)

ORIGINAL PRODUCTION
Gramercy Arts Theatre, May 4, 1960 (# perf.)
Director: Harold Stone Choreographer: Frank Derbas Musical Director: Liza Redfield Orchestration: Gershon Kingsley
Principals:
Lane- Alan Shayne-
Jack Worthing- John Irving-
Perkins- George Hall-
Algernon (Algy) Moncrieff- Louis Edmonds-
Gwendolen Fairfax- Leila Martin-
Cecily- Gerrianne Raphael-
Lady Bracknell- Sara Seegar-
Miss Prism- Lucy Landau-
Reverend Doctor Chasuble- George Hall-
Effie- Christina Gillespie-
Chorus and Smaller Roles: 4M/2F minimum

SYNOPSIS

Act I begins on a London street lined with shops. It is 4:30 p.m. on a summer afternoon. Lane, Algernon Moncrieff’s manservant, enters carrying a marketing basket. He stops to examine cucumbers while Perkins, the manservant of Jack Worthing, enters. The two men speak and Perkins discovers that Miss Fairfax will be visiting Algernon for tea that evening. The Greengrocer and the Bootmaker approach both Lane and Perkins telling them that their respective masters owe them money. Next, the Dancing Master and the tobacconist approach them with the same information. Lane and Perkins convince the creditors that life would be a mess if the rich paid their bills (COME RAISE YOUR CUP- Mixed Chorus).
When the lights rise we see the living room of Jack Worthing’s flat at The Albany. Jack is seated in a chair, writing a note to Miss Fairfax asking to see her. Perkins enters with Jack’s boots and Jack tells him that he will propose to Miss Fairfax that day. Then he asks him how to do it (HOW DO YOU FIND THE WORDS- M Solo). Throughout the number, Jack has been dressing for his meeting and he is ready to leave by the end.
Scene three opens in Gwendolen Fairfax’s dressing room where hats of all sizes and shapes are spread about the room. She is trying to find the proper hat to wear to her engagement. Gwendolen tells Alice the importance of wearing just the right hat (THE HAT- F Duet).
It is now scene four and the setting is the living room of Algy’s flat. Tea things are set out and Lane is giving the final once over to the flat as Algy enters. He is concerned about whether or not cucumber sandwiches have been made for Lady Bracknell. Jack enters the room and Algy tells him that he does not give his consent for him to marry Mrs. Fairfax. Being Miss Fairfax’s first cousin, he feels that he has the right. Next Algy tells him that he has discovered a cigarette case of Jack’s with an inscription that says it is from Cecily. After attempting to lie his way out, Jack tells Algy that the cigarette case is from his charge, Miss Cecily Cardew, who thinks that Jack has a younger brother, Ernest, who lives in town. Jack has told her this because he then has an excuse to go into town anytime that he wants to by saying that his wild brother Ernest is in trouble. Algy wishes to visit Miss Cecily but Jack refuses to let him near her. Algy tells Jack that he has a friend, Bunbury, who is in extremely poor health and, much like Jack’s Ernest, Algy uses him to escape from whatever place he wants to (MR. BUNBURY- M Duet).
After the number, the doorbell rings and Lane enters with Aunt Augusta and Miss Fairfax. Aunt Augusta begins to gossip. She tells Algy that she has set up a dinner engagement for him with Mary Farquar. Algy begs to be excused, as his sick friend Bunbury needs him. Lady Blacknell and Algy exit to look at some music in the other room and Jack tries to sum up the courage to propose to Gwendolen. She helps him to do it, then accepts (PERFECTION- M and F Duet). Strangely, after the number, Gwendolen tells Jack that she has always imagined that her husband would be named Ernest. Jack, who has told her that his name is Ernest, becomes a little concerned over this. He makes plans to be christened Ernest at once. Lady Bracknell enters and finds the two in a passionate kiss. She is not pleased to hear of the engagement. She begins to ask Jack questions about his financial situation and family background. When she discovers that Jack was an orphan, found in a handbag by a rich gentleman, she can not condone the marriage (A HANDBAG IS NOT A PROPER MOTHER- M and F Duet).
Algy enters, humming and Jack tells him that he has to get rid of Ernest this week. Cecily will be disappointed but she will forget him soon enough. Algy becomes more and more interested in Cecily. Gwendolen enters and asks for Jack’s address in the country so that they can keep in touch, even though her mother may prevent their marriage. Algy hears the address. Jack and Gwendolen exit. Lane enters with Algy’s traveling gear and Algy tells him that they are off to the Worthing Manor House, Jack’s country house (MR. BUNBURY [REPRISE]- M Duet).
Scene five is set in the garden of the Manor house. Miss Prism is seated at a table, knitting. She chides Cecily for watering the plants when she should be studying. Cecily tells Miss Prism that she wishes Ernest, Jack’s brother whom she has never seen, would visit. Miss Prism is not so sure that it would be wise to have such a wild man around. The Reverend, Dr. Chasuble, enters and, while Cecily is supposed to be studying, he and Miss Prism go for a walk. Effie, the maid, enters with the message that Ernest Worthing has just arrived (A WICKED MAN- F Solo). After the number, Effie enters with Algy who is pretending to be Ernest. Algy and Cecily have a witty conversation, both enjoying each other’s company, and walk offstage. Dr. Chasuble and Miss Prism return, discussing marriage in an entirely metaphoric way (METAPHORICALLY SPEAKING- M and F Duet). During the song, they join hands and dance. At the end of their dance, arms about each other, their backs are to the audience. Jack enters slowly and does not see them. He practices woeful gestures, dressed in the deepest mourning, with a crepe hat band and black gloves. He carries a long black bordered handkerchief, which he is practicing waving dramatically about. His rehearsal brings him right up to the backs of Prism and Chasuble and all three turn, startled. Jack tells them that his brother, Ernest, is dead. Jack asks Chasuble to do the funeral then asks him to christen him in the afternoon and Chasuble agrees. Cecily bursts in on this depressing scene with the good news of Ernest’s arrival, but Jack doesn’t believe it until Algy enters. When all leave except the two friends, Jack angrily tells Algy to leave. Jack exits. Algy enjoys the predicament (A WICKED MAN [REPRISE]- M Solo).
Act II opens with Effie and Lane on the sofa in a lengthy, but not improper embrace. They discuss love and sex and the upper classes (YOU CAN’T MAKE LOVE- M and F Duet).
Scene two is set in the garden. Cecily is in the summerhouse, writing in her diary, when Algy enters. He begins to complement Cecily while she writes it down (LOST- M and F Duet). He proposes to her and she accepts. Ironically, Cecily tells Algy that she is glad that he is named Ernest. Algy makes plans for a christening.
Miss Fairfax is announced and enters. She and Cecily size each other up (MY FIRST IMPRESSION- F Duet). A hilarious discussion ensues which ends in complete confusion. Both women think that Ernest has proposed to both of them. They are extremely angry, thus very cool to each other. Jack enters and, soon after, Algy enters. The whole truth is told and both women unite in their condemnation of the men. The two women exit arm in arm. Jack can’t understand how Algy can be calm enough to eat (THE MUFFIN SONG- M Duet).
Scene three begins in the morning room of the manor. Gwendolen and Cecily are at the open window, looking out onto the garden. They begin to discuss how the two men should be dealt with. The two men enter and try to explain themselves. They add that they will both be christened Ernest that very afternoon. The women are pleased to have men who will sacrifice their names for them (OUR ETERNAL DEVOTION- Mixed Chorus).
As the song ends, the couples embrace. Effie enters and coughs discreetly. Lady Bracknell follows her in and, when she learns that the two couples are engaged, she is horrified. She again asks Jack questions about his financial status and family background. Lady Bracknell refuses her consent for Jack and Gwendolen, but gives it for Algy and Cecily. In return, Jack refuses his consent for Cecily’s marriage. By doing this he has put the situation in Lady Bracknell’s hands (A HANDBAG IS NOT A PROPER MOTHER- Mixed Chorus). Cecily refuses to spend the rest of her life with Miss Prism. When Lady Bracknell hears the name Prism she asks to see her and exits. The two unhappy couples stay and discuss the situation (THE MUFFIN SONG [REPRISE]- Mixed Chorus). At the end of the number, Lady Bracknell calls from offstage.
Scene four is set on the lawn in front of the church. Chasuble and Prism are present. The others enter and Lady Bracknell recognizes Miss Prism. She angrily speaks to her. It seems that Miss Prism worked for Lady Bracknell a long time ago. She left her job exactly twenty-eight years ago, taking Lady Bracknell’s infant nephew with her. Miss Prism explains that she accidentally left the child in a handbag in a cloakroom at one of the larger railway stations. Jack begins to guess at who that baby in the handbag was. It seems that the wealthy man who adopted him found him at a railway station exactly twenty-eight years ago. Jack is the nephew of Lady Bracknell and the elder brother of Algy. Also, Jack’s name actually is Ernest, after their father. Because Jack is her nephew, Lady Bracknell agrees to the marriage (ERNEST IN LOVE- Mixed Chorus).

NOTES ON THE PRODUCTION

Ernest In Love opened at the same time as The Fantasticks and received better reviews. However, it did not enjoy the same record breaking run or fame.

SONGS OF SPECIAL INTEREST

Instrumentation: 3 reeds, bass, piano
Script: MTI
Score:
Record/CD: Columbia Rights: MTI

EVITA

Music: Andrew Lloyd Weber
Lyrics: Tim Rice

ORIGINAL PRODUCTION

The Broadway Theatre, September 25, 1979 (1,567 perf.)
Director: Harold Prince
Choreographer: Larry Fuller
Musical Director: Rene Wiegert
Orchestration: Hershy Kay and Andrew Lloyd Weber
Principals:
Eva- Patty LuPone- Mezzo
Che- Mandy Patinkin- Tenor
Peron- Bob Gunton- Baritone
Peron’s mistress- Jane Ohringer- Mezzo
Eva (matinees)- Terri Klausner- Mezzo
Magaldi- Mark Syers- Baritone
Chorus and Smaller Roles: 12M/12F

SYNOPSIS

The play opens in a Buenos Aires movie theatre on July 26, 1952, where a movie is being shown. The screen blurs to show images of tragic faces as an announcement is made that Eva Peron has died. Her funeral, equal to that of any Pope, begins as the chorus moves around the coffin (REQUIEM FOR EVITA- Mixed Chorus). A young revolutionary student named Che comments on the insanity in Argentina over this woman, Eva Peron (OH WHAT A CIRCUS- M Solo). The crowd continues lauding her praises as a young girl moves forward and sings the words of the dead Evita (DON’T CRY FOR ME ARGENTINA- F Solo). During the entire funeral sequence, the movie screen depicts the tragic faces of members of the company in mourning.
The screen flies out and is replaced by black strips of cloth. Acting as narrator, Che comments on Evita’s life. The scene flashes back to 1934 and a nightclub in Evita’s village, where Magaldi, a man of mediocre talent, is performing (ON THIS NIGHT OF A THOUSAND STARS- M Solo).
After a brief affair, Evita asks Magaldi to take her to Buenos Aires. He is hesitant (EVA BEWARE OF THE CITY- M/F Duet and Family Chorus), but she relentlessly convinces him to take her to the city (BUENOS AIRES- F Solo and Dancers).
Upon arriving in Buenos Aires she promptly dumps him, for she has set her sights set on men who will further her dreams of an acting career. The screen shows scenes of Buenos Aires, and Che comments on various lovers that Evita uses as she moves up the social ladder (GOODNIGHT AND THANK YOU- M/F Duet and Male Chorus).
The year is 1943 and five military leaders are seated in a rocking chorus. As they stand to pray, one rocker is removed, leaving one General without a chair who is forced to leave. The song quickly denotes the "rocky" condition of the Argentinean Government in the early 40s (THE ART OF THE POSSIBLE- Male Chorus with F Solo). During the Generals’ song, Eva, who is now a broadcast news reporter, comments on the tragedy in Argentina.
At a concert for earthquake victims (CHARITY CONCERT- Chorus), Eva, fascinated by the people’s reaction to Peron, steps away from her escort and stands in his shadow for a brief moment. As the two come together, she tells him that she would be good for him and proposes (I’D BE SURPRISINGLY GOOD FOR YOU- M/F Duet).
She enters Peron’s apartment, where his 16-year old mistress is waiting and packs the girl’s things. As a present Eva gives her a fur coat, then evicts the girl from the room and Peron’s life. The mistress, alone in the hall, contemplates her situation (ANOTHER SUITCASE IN ANOTHER HALL- F Solo).
The upper class of Argentina and the military despise Eva’s influence over Peron and openly criticize her behavior amongst themselves (PERON’S LATEST FLAME- Mixed Chorus).
Eva is determined that Peron should be president and she plots his campaign, which relies on the workers support and the help of the secret police (A NEW ARGENTINA- M/F Duet to Mixed Chorus). The scene moves from their bedroom to the streets where the workers, with union signs, take up the cry. The number builds as men enter with torches and the act ends on a hopeful note.
Act II begins on June 4, 1946. Peron is proclaimed President (ON THE BALCONY OF THE CASA ROSADA- M Duet/Chorus) and Evita receives greater accolades from the crowd then Peron. She tells the crowd of her need for their love and explains her reasons for her wild past, while imploring them to stand by her (DON’T CRY FOR ME- F Solo). The reception is overwhelming.
In her dressing room, Che comments on the contradictions that are Eva Peron (HIGH FLYING ADORED- M/F Duet). She ponders the distance she will fall if Peron loses power but begins to adorn herself with jewels and elegant designer clothes, for she is on a pinnacle and must enjoy it while she can (RAINBOW HIGH- F Solo and Chorus).
Eva and Peron tour Europe, beginning in fascist Spain, where they are given a warm welcome (RAINBOW TOUR- 2M/1F Trio and Mixed Chorus), and ending in France and Italy with cool receptions. She angrily returns to Argentina, determined to concentrate all her efforts on domestic affairs. The society set of Argentina continues to criticize her behavior (THE ACTRESS HASN’T LEARNED THE LINES YOU’D LIKE TO HEAR- M/F Duet and Mixed Chorus).
Eva sets up a foundation and Che comments on how the money is enlisted for the poor, but actually ends up fattening the Perons’ Swiss bank accounts (AND THE MONEY KEPT ROLLING IN (AND OUT)- M Solo and Mixed Chorus). The people, however, consider her a saint (SANTA EVITA- Mixed Chorus).
Che confronts Evita, questioning her motives (WALTZ FOR EVA AND CHE- M/F Duet). She realizes she is getting ill and begs for 100 more years. The country is bankrupt, the newspapers have been censored, and the generals are angry about Eva’s meddling. Peron attempts to defend her (SHE IS A DIAMOND- M Solo and M Chorus).
Peron goes to Evita’s bedroom to inform her that the generals and the Argentinian Aristocrats are anxious to be rid of her. She responds by telling him that she must be vice-president (DICE ARE ROLLING- M Duet), but the Army and her encroaching illness are too strong for her. She goes to a radio broadcast physically supported by two men to announce to the citizens that she must renounce all honors and titles. She momentarily gains her strength and stands free of the two men (EVA’S FINAL BROADCAST- M/F Duet).
Eva’s life passes before her (MONTAGE- Mixed Chorus); the end is near and she is taken to the hospital. She ponders her life and hopes that her actions will be understood by the people of Argentina (LAMENT- M/F Duet). The moment she dies, the embalmers move around to preserve her image for posterity.

NOTES ON THE ORIGINAL PRODUCTION

Evita won most of the eligible 1979-80 Tony Awards: Best Musical, Best Actress (Patti LuPone), Actor in a Featured Role (Mandy Patinkin), Score, Director, Book and Lighting Designer.
The NY production opened to mixed reviews, but the success of the show was nearly guaranteed by its hit record album and the added hype of the sold out West End production.
The show is an interesting study of an individual who rose to international acclaim. It requires three strong performer/actors in the roles of Eva, Peron, and Che. The vocal demands on Evita are tremendous and it would be best to double cast this role, especially if a company plans two shows in one day.
Technically, the show may be stark and overblown, it is easily played on a bare stage with minimal set pieces to establish the location or it may be on a unit-stage with levels which represent various areas. It helps to have an elevated platform for the political speeches so that the chorus can be at a lower level, not blocking the stars. It also sets the mood of frenzy and elevation to power that Eva and Peron inspired among the people.
The chorus portrays common citizens, aristocrats and a variety of military types and will probably need two to three costumes depending on their roles.
Props are used to establish location, i.e. a bed for the bedroom, and should represent the social status of the owners, especially if the stage doesn’t lend itself to establishing specific location. The props aren’t terribly difficult to obtain.

SONGS OF SPECIAL INTEREST

"Waltz for Che and Eva," Tenor/Mezzo Duet, confrontation, good for character study
"I’d Be Surprisingly Good for You," Mezzo/Baritone, interaction and reaction are the strong points in this duet between Peron and Eva
"Another Suitcase in Another Hall," Mezzo Solo, emphasis on mood and character no movement needed
"A New Argentina," establishes character, relationship and reacting are important, builds to an exciting chorus, good for showcase

Instrumentation: 5 reeds, 2 horns, 2 trumpets, trombone, 2 violins, cello, bass, 2 guitars (electric and acoustic) harp, 2 percussion, 2 keyboard (yamaha, synthesizer, propatt), piano/conductor
Script: Avon
Vocal Selections: Leeds
Record: MCA
Rights: MTI

FADE OUT-FADE IN

Book and Lyrics: Betty Comden and Adolph Green
Music: Jule Styne

ORIGINAL PRODUCTION

Mark Hellinger Theatre, May 26, 1964 (271 perf.)
Director: George Abbott
Choreographer: Ernest Flatt
Musical Director: Colin Romoff
Orchestration: Ralph Burns and Ray Ellis

Principals:
Pops- Frank Twiddell- VTNE
Roscoe- Bob Neukum- VTNE
Byron Prong- Jack Cassidy- Tenor
Hope Springfield- Carol Burnett- Alto
Gloria Currie- Tina Louise- Mezzo
Myra- Virginia Payne- VTNE
Ralph Governor- Mitchell Jason- Tenor
Rudolf Governor- Dick Patterson- Baritone
Lou Williams- Tiger Haynes- Baritone
Lionel Z. Governor- Lou Jacobi- Baritone
Chorus and Smaller Roles: 12M/8F

SYNOPSIS

The play is set in the 1930s during the heart of the Depression, when Hollywood represented escapism, fun and frivolity.
Eager fans stand around the famous F.F.F. Film Studio gate in Hollywood, waiting for the various stars. When Nelson Eddy and Jeanette MacDonald arrive in period costumes, they are surrounded by autograph-seekers. Billy Vespers, a studio casting director, tells Pops, the gate man, that Hope Springfield is coming from New York for a screen test. She arrives and is a surprise to everyone, for she is the antithesis of a Hollywood starlet. However, since she was chosen by the owner of the studio, L.Z. Governor, the studio personnel greet her warmly. She climbs on a ladder for a publicity shot and expresses her joy at being in Hollywood (IT’S GOOD TO BE BACK HOME- F Solo).
In the executive dining room, the six nephews of L.Z. Governor admit their fear of L.Z.’s changeable temper (FEAR- M Solo to M Chorus). When Vespers enters with Hope, the nephews are astounded, but Ralph sends for Byron Prong who tells the nephews he refuses to play opposite the overanxious girl. Ralph orders him to play along or the studio won’t pay his gambling debts and Byron agrees to be in Hope’s film (FEAR [REPRISE]- Sc to M Solo to M Chorus).
Rudolf enters the wardrobe department to introduce Hope to Myra, the sixty-year old wardrobe mistress, and is surprised to see Hope in a semi nude outfit laden with pearls that clink when she walks. Rudolf gives her his jacket but she brazenly tells him about her wild life as she cavorts about, imitating every movie sex goddess (CALL ME SAVAGE- Sc to F/M Duet). Rudolf contradicts her while enjoying her sincerity.
Ralph tells Hope that her new movie script is ready for shooting, hands her a script and exits. Hope puts on a dressing gown and comments on her sudden rise from film usher to stardom (THE USHER FROM THE MEZZANINE- L to F Solo).
On the set, Byron Prong sings as the dancers rehearse (MY HEART IS LIKE A VIOLIN- M Solo). Hope outlines her ideas to the scriptwriter who gratefully copies down her words. The shooting begins and includes several comic sections with Lou Williams, a black actor who plays a Step-n-Fetchit ex-boxer, and Hope, who portrays a violinist.
The scene switches to psychiatrist, Dr. Traurig’s Vienna office where L.Z. is undergoing analysis. They discover he is unable to say the number four because he has a deep fear of his fourth nephew Ralph’s quest for power.
On the set, Byron and Hope perform a black and white costumed musical number complete with girls costumed as violins (I’M WITH YOU- M/F Duet). The film is completed and everyone exits but Rudolf, who wishes Hope would notice him (NOTICE ME- M Solo).
The next day, in the executive dining room, Byron tells Ralph that his own good looks are what will sell the picture. He takes a mirror from his robe and sings himself a love song (MY FORTUNE IS MY FACE- Sc to M Solo).
L.Z. arrives for the viewing of Hope’s picture, calls her at the bungalow and tells her he is changing her name to Lila Tremain. As the film progresses L.Z. discovers his inability to say the number four is what caused him to choose Hope, who was fifth in the ushers’ line. He fires Ralph, makes Rudolf head of production and sends him to fire Hope and get the real girl, number four, from New York.
In her studio bungalow, Hope thinks about the new name the studio has given her and tries to take on the qualities of a Lila Tremain (A GIRL TO REMEMBER- F Solo). As the song ends, Rudolf enters and sadly watches her miming an Oscar acceptance. The curtain falls.
In the beginning of Act II, Gloria Currie, the dumb, sexy blonde who was L.Z.’s real choice for Lila Tremain, enters the wardrobe room to rehearse. Her acting is worse than her line readings but L.Z. covers for her. When Byron is introduced there is an obvious attraction but L.Z., not suspecting the explosive potential of their relationship, is confident they will work well together (CLOSE HARMONY- Sc to 2M/F Trio).
Hope, who has been forced to earn her living costumed as Shirley Temple and advertising for a children’s school, meets Lou Williams, who is advertising for Madame Barrymore’s dance school. The two comment on their present status while spoofing a Shirley Temple/Bojangles number (YOU MUSTN’T BE DISCOURAGED- Sc to F/M Duet). As the number ends, Rudolf discovers Hope and tells her he loves her and wants to help her.
Dr. Traurig has been flown from Vienna to L.Z.’s office to continue psychoanalysis. L.Z. confesses his past in operatic style (THE DANGEROUS AGE- Sc to M Solo). Traurig demands L.Z. describe his nightmares about Hope Springfield. As he speaks, the dream is enacted, with L.Z. pursuing Gloria but being stopped by Hope. The nightmare ends as he approaches a bed that contains Dr. Traurig calling him a dirty old man. L.Z. ends his narrative screaming as the lights fade.
On the set, the final scene for the remake of Hope’s film is being shot with Gloria and Byron (THE FIDDLER AND THE FIGHTER- Mixed Chorus). Rudolf refuses to finish the picture and urges his uncle to release Hope’s picture instead. Hope, disguised as Charlie Chaplin, warns Rudolf it is the end of his career, but he isn’t worried (FADE IN, FADE OUT- F/M Duet).
L.Z., who overhears Gloria telling Byron that L.Z. is a stupid, dirty old man, fires both of them and agrees to use Hope’s film that Ralph shot.
Five years later, in front of Grauman’s Chinese Theatre, Hope imprints her toothy smile in the cement as her new husband, Rudolf Governor, watches.

NOTES ON THE PRODUCTION

The musical, though not well known, can be artistically successful. It requires prudent editing and a strong 30s style during the film sequences. It requires a director and choreographer who are able to re-create many of the famous scenes and director’s trademarks. There is a Busby Berkley sequence which is hilarious if properly mounted.
Some of the sets may be combined. The executive dining room may be moved onto the film set and Dr. Traurig’s and L.Z.’s office may have the same background or utilize the same wagon but vary the decorations and props. The wardrobe department may be a small area established by a costume rack on the edge of the film set. The facade of Grauman’s is important, as is the studio gate area, but both may begin as "in one" numbers. If absolutely necessary, the bungalow scene may also be moved to the movie set and be played under tight lighting to keep the intimate tone.
There are quite a few costumes for the various film sequences. Many can be pulled, but the specialty numbers, i.e. girls as violins, require chorus type "similar" costumes.
When considering this show, it is essential that a strong female character actress and solid tenor actor be available for Hope and Byron. The show is a star vehicle and shouldn’t be attempted without one.

SONGS OF SPECIAL INTEREST

"The Usher from the Mezzanine," Alto, excitement song, short, good to loosen up beginning performer, presentational
"You Mustn’t Be Discouraged," Alto/Baritone tap number, styled in Shirley Temple mood, good for period and relationships
"I’m At the Dangerous Age," Baritone, older character song, possible for audition if edited

Instrumentation: 3 violins, cello, bass, 5 reeds, horn, 2 trumpets, 3 trombones, percussion, harp, piano-celeste/conductor
Script: Random House
Selections: Chappell
Record: ABC-PARAMOUNT
Rights: Tams-Witmark
FALSETTOS
Synopsis by UNH alum Gene Lauze

Music and Lyrics: William Finn
Book: William Finn and James Lapine

ORIGINAL PRODUCTION

John Golden Theatre, April 29, 1992 (487 perf.)
Director: James Lapine
Choreographer:
Musical Director: Scott Frankel Orchestration: Michael Starobin
Principals:
Marvin- Michael Rupert- Tenor
Whizzer- Stephen Bogardus- Tenor/Baritone
Trina- Barbara Walsh- Soprano with belt
Mendel- Chip Zien- Baritone
Jason- Jonathan Kaplan- Juvenile
Dr. Charlotte- Heather MacRae- Alto
Cordelia- Carolee Carmello- Soprano
Chorus and Smaller Roles: None

SYNOPSIS

The men of Falsettoland introduce themselves and introduce the audience to the trials and tribulations of being the men in Falsettoland (FOUR JEWS IN A ROOM BITCHING- M Quartet). We meet Jason, a very smart and precocious young boy; Marvin, Jason’s neurotic father who is trying to come to terms with his homosexuality; Whizzer, Marvin’s handsome lover; and finally, Mendel, Marvin’s equally neurotic therapist.
We learn the Marvin was once married to Trina, Jason’s mother. Marvin thinks he has made the right decision by leaving his wife and son to be with his lover, but deep down inside he wants a "normal" life. He wants to have the perfect family (TIGHT KNIT FAMILY- M Solo). For years Marvin has been seeing a psychiatrist, Mendel, to help him wade through the confusing emotions surrounding his coming out. After the divorce is finalized, Marvin convinces Trina to see Mendel, to see if he can help her untangle the emotions she has been feeling. As Trina recounts the chronicle of her marriage to Marvin, it becomes apparent that Mendel’s interest in Trina is more than therapeutic in nature. Mendel is falling for Trina (LOVE IS BLIND- 4M/1F).
Marvin and Whizzer have been together 9 or 10 months, depending on which one you ask, and they are coming to terms with their differences. Marvin makes the money in the relationship and Whizzer’s role is more of that of the "boy toy." What they are both missing is (THE THRILL OF FIRST LOVE- 2M Duet).
In separate visits to Mendel, we see Marvin examining why he loves Whizzer, Mendel seeking out information about Trina from Marvin, and, finally, Marvin relating how difficult his relationship with his son Jason has become (MARVIN AT THE PSYCHIATRIST- 3M). Jason expresses what he is feeling and his fears that Marvin’s homosexuality may be hereditary (MY FATHER’S A HOMO- Juv Solo).
Trina and Marvin are concerned about Jason and come together to try to get him to pay a visit to Mendel. In the end, Jason asks Whizzer if he thinks he should see the psychiatrist. Whizzer says he thinks he should, so Jason agrees to meet Mendel, but only if he will make a house call (EVERYONE TELLS JASON TO SEE A PSYCHIATRIST- M/F/JUV Trio). Whizzer and Marvin fight over Whizzer’s lack of commitment to the relationship. (THIS HAD BETTER COME TO A STOP- 3M/1F Quartet). It looks as though Marvin and Whizzer are through.
Trina is at the end of her rope. She is confused by the feelings she is starting to have for Mendel, the angst she feels about her son and the love and betrayal she still feels because of Marvin. (I’M BREAKING DOWN- F Solo). Trina gets Mendel to come to her house for dinner to see if he can help Jason, but everyone is uncomfortable. Mendel is completely smitten by Trina, but feels it wrong to date a patient, Jason is afraid of what the psychiatrist will say to him and Trina is starting to feel the same things that Mendel is feeling (PLEASE COME TO MY HOUSE- M/F/Juv Trio). Jason starts his therapy with Mendel. The therapy consists of Jason telling Mendel how he feels and Mendel telling him to just "feel alright" for the rest of his life. Jason also senses that Mendel is really there to feel out Trina’s response to a marriage proposal. Mendel is too afraid to ask and Jason actually becomes a sort of therapist to help him through it (JASON’S THERAPY- M/JUV Duet into Chorus). Mendel finally finds his courage and proposes to Trina (A MARRIAGE PROPOSAL- M Solo).
Marvin and Mendel recap what is happening, but Marvin feels betrayed by his therapist and Mendel feels guilty about his apparent lack of ethics in pursuing Trina. (A TIGHT KNIT FAMILY [REPRISE]- 2m duet). Trina is confused; she is happy with Mendel, but she still feels that something is missing in her life (TRINA’S SONG- F Solo). In a dream sequence, the men of Trina’s life march around almost as if they are deranged children. This is Trina’s confused image of men as being straight and gay (MARCH OF THE FALSETTOS - 4M Quartet). At the end of this bizarre sequence Trina again tries to figure out her life (TRINA’S SONG [REPRISE]- F Solo).
Marvin and Whizzer are back together and playing a game of chess that seems to mirror their relationship. Marvin is too analytical about his moves and Whizzer is too haphazard, but, in the end, Whizzer wins. Winning is everything to Marvin because is symbolizes his mental superiority to Whizzer. Marvin decides that this is truly the end of their relationship and throws him out of the apartment (THE CHESS GAME- 2M Duet).
Trina and Mendel are now together and making a home. Both seem to be making what they believe to be the perfect home, but it all seems a little unreal (MAKING A HOME- M/F Duet).
Whizzer is alone and upset with his life. He is realizing that his life is a game. He plays at it but, when it comes to something real like love, he is not able to let his true feelings out. He is both hating and missing Marvin (THE GAMES I PLAY- M Solo). Marvin receives Trina and Mendel’s wedding invitation and is furious. He finally realizes that he is going to be out of her life. In his mind he has lost everything: his wife, son, psychiatrist and lover. He rants and raves at Trina until his emotions get the better of him and he hits her (MARVIN HITS TRINA- M Solo with Chorus). All action stops as all the characters soliloquize about how much they actually do love the people around them, and how they never really meant for the love to grow as deep as it has (I NEVER WANTED TO LOVE YOU- All).
Jason is growing up. His love for chess and games is being replaced by an interest in girls. He is seeking his father’s guidance and approval, and in a very tender moment, Marvin tells his son to "sing his own song". The act ends with Marvin and Jason shaking hands.
Act II begins as the company reintroduces itself and tries to set the tone of the piece. The new event in everyone’s lives is Jason’s upcoming bar mitzvah. Marvin and Trina are fighting over the details of the event and it is driving Jason crazy (FALSETTOLAND/ABOUT TIME- All). Everyone is fighting and we now have two new characters, Charlotte and Cordelia, the lesbians who live next door. Charlotte is a doctor and her lover Cordelia is a caterer- a kosher caterer! The whole group is trying to come to an agreement on how to make the bar mitzvah special for Jason (THE YEAR OF THE CHILD- All).
The scene shifts to a baseball game. Jason is up at bat, but he can’t keep his mind on the game. He is consumed with figuring out which girls he should invite to his bar mitzvah (MIRACLE OF JUDAISM- Juv solo). Marvin, Trina, Mendel, Cordelia and Charlotte are at the game and are watching Jason strike out repeatedly. Whizzer enters and Marvin is stunned. It seems Jason has asked Whizzer to come to the game. Whizzer takes Jason aside and teaches him how to hit the ball and, as Marvin is watching this, he realizes he is still in love with Whizzer. They both realize that life without the other is not complete. Marvin wants to get back together. Jason finally hits the ball, but is so stunned he forgets to run (THE BASEBALL GAME- All)
Mendel is beginning to dread his practice. He is sick of listening to his yuppie patients complain about the little things in their lives. Trina is trying to figure out why she is so angry that Whizzer and Marvin are back together. Cordelia is asking Charlotte about her day and they are both reveling in how perfect their lives seem to be. Marvin and Whizzer are madly playing a game of racquetball, which Marvin is mysteriously winning. Everyone is convinced that "everything will be all right" (A DAY IN FALSETTOLAND- All).
As Trina and Marvin continue to fight over the details of Jason’s bar mitzvah, Jason decides he has finally had it and tells them he is through with the whole thing; he doesn’t want a bar mitzvah at all (ROUND TABLES, SQUARE TABLES- M/F Duet). Mendel sees that Jason is upset and tries to reassure him that everyone hates their parents (EVERYONE HATES HIS PARENTS- M/Juv Duet).
Later that night in bed, Marvin expresses his love for his sleeping partner (WHAT MORE CAN I SAY- M Solo)
Charlotte is concerned about something new that is happening at the hospital. A new disease seems to be hitting the gay men in the area, but no one seems to know what it is (SOMETHING BAD IS HAPPENING- 2F Duet).
Marvin and Whizzer are playing another racquetball game and again Marvin is winning. But something is different this time. Whizzer is gradually losing his strength and finally collapses on the court (MORE RACQUETBALL- 2M Duet). Whizzer’s sickness is affecting everyone, including Trina. She is again confused about all that is going on in her life and feels that the world is spinning out of control and she is having a hard time staying put (HOLDING TO THE GROUND- F Solo).
Whizzer is in a hospital and his illness has brought everyone together. Each is visiting trying to make him feel better by telling him how good he looks, everyone except Jason. He seems to be taking this illness very hard and tells Whizzer the truth. All are trying to maintain a positive outlook as they try to cheer up Whizzer (DAYS LIKE THIS- All).
Mendel and Trina try to make Jason decide if he is going to have a bar mitzvah or not. Jason doesn’t want to do anything until his friend Whizzer gets better and, when he finds out that Whizzer may not get better, he is devastated and runs from the hospital room (CANCELLING THE BAR MITZVAH- M/F/Juv Trio). Back in the hospital room, Marvin tries to come to grips with the eminent lose of his partner and they both express there love for one another. The men are joined by Cordelia and Charlotte. The two couples express their love for one another and their wonder at the nature of their love (UNLIKELY LOVERS- 2M/2F Quartet).
Jason asks God to cure Whizzer and tells him that if he does cure him, he will go through with his bar mitzvah (ANOTHER MIRACLE OF JUDAISM- Juv Solo). In his hospital room, Whizzer is angry about the hand he has been dealt, but he has come to grips with the fact the he will eventually die (YOU GOTTA DIE SOMETIME- M Solo).
Jason has come up with a great idea: if Whizzer is too sick to come to Jason’s bar mitzvah, then why don’t they bring the bar mitzvah to him. The hospital room is prepped for the happy event and the troubles of the moment are forgotten by everyone as Jason enters the room in his suit (JASON’S BAR MITZVAH- All).
Again, Whizzer collapses, and finally dies. Marvin is left alone to wonder about how he will go on and to express how deeply he loved Whizzer. Whizzer’s spirit joins him and tries to help him realize that both of their lives have been enriched by the fact that they were together (WHAT WOULD I DO- 2M Duet). As the song ends, all of the characters comfort Marvin over his loss.

NOTES ON THE PRODUCTION

Falsettos was nominated for seven 1992 Tony awards including Musical, Actor, Featured Actress, Featured Actor and Director. The show won for Best Book for a musical and Best Score.
Falsettos is really the combination of parts 2 and 3 of a trilogy of one-act chamber musicals that William Finn started in 1978. The first piece in the Marvin Trilogy was entitled "In Trousers." This musical introduced the world to a neurotic, charming man named Marvin who was struggling with his sexuality. Part 2, "March Of The Falsettos," was originally produced off-Broadway in 1981 and was followed in 1990 by the last part of the trilogy "Falsettoland". Parts 2 and 3 were put together as one show in 1991 in Hartford Connecticut as Falsettos. This production was directed by Graciela Daniele. The production was supposed to move to the Lincoln Center’s Vivian Beaumont Theatre in 1992, but the move never materialized. Instead, original director and co-author James Lapine was hired to recreate his two earlier productions in one evening. The only holdover from the Hartford staging was Barbara Walsh’s wonderful performance as Trina.
What is interesting about these pieces is that parts 2 and 3 were written 9 years apart. Although the two acts seem to flow seamlessly from one to the other, Falsettoland could not have been written directly following March of the Falsettos. The AIDS crisis was still in its infancy when March was written and, as a result, it could not have been predicted to take such a devastating toll on the country. What makes Falsettoland so poignant is the fact that it doesn’t teach about the disease; it merely tells the story of these characters in a time when uncertainty and fear were rampant. While many people thought that the musical, with its main themes of homosexuality, AIDS and death, might be a rather hard sell to the typical Broadway audiences, the show was warmly received. It is, after all, a story about love and the strength of family and friends to see you through the bad times, told with great humor and pathos. It also possesses one of the finest scores to hit Broadway in years.
It is difficult to do a synopsis for a show like Falsettos because it is a sung-through piece. One song leads to another with little or no dialogue. It is also a rather abstract piece, where all of the characters also act as a sort of Greek chorus, commenting on and setting up the action. The story is simple, but the emotions and the way in which the story gets relayed are very complex.
This is a fine show for small companies or schools to produce. It can be done on a single abstract set, with a minimum of small set pieces brought on to provide seating and tables etc. The cast is small (3 women, 3 men and 1 boy), but the roles are very demanding. With the exception of Cordelia and Charlotte, who appear as secondary characters in Act II only, the players have a great deal of time on the stage. The score is demanding and requires fine vocal training, especially the roles of Marvin and Whizzer. The show also requires the services of a fine director because there are no scene breaks and the show is written to flow from one moment directly into another. This requires a lot of imagination in staging and direction to maintain the proper focus for the audience.

SONGS OF SPECIAL INTEREST

"I’m Breaking Down," wonderful, comic tour de force, for a young woman
"What More Can I Say," Tenor, lovely, ballad, tender and sweet with soaring melodies that would serve very well for an audition piece
"Unlikely Lovers," beautiful 2M/2F quartet, intricate and lovely harmony
"What Would I Do," dramatic duet for 2 men with soaring melody lines
Instrumentation: piano, synthesizer, flute, alto saxophone, clarinet, percussion
Script: Samuel French, Inc.
Selections: Warner Chappelle
Record: DRG
Rights: Samuel French

FAME

Contributed by Elaine Christopher, based on her direction of the show at the Showcase Theatre.

Conceived and Developed by: David De Silva
Book: Jose Fernandez
Music: Steve Margoshes
Lyrics: Jacques Levy

2001 North American Tour Cast

Theatre, Date (# perf.)
Director: Choreographer: Musical Director: Orchestration:
Principals:
Nick Piazza - Christopher J. Hanke
Serena Katz - Jennifer Gambatese
Joe (Jose) Vegas - Jose Restrepo

Dancers:
Tyrone Jackson - James T. Lane
Carmen Diaz - Caren Lyn Manuel
Iris Kelly - Jessica Hope Cohen
Mabel Washington - Wandah Kay

Musicians:
Schlomo Metzenbaum - Carl Tramon
Grace Lamb (Lambchops) - Jessica Lynn Cohen
Goodman King (Goody) - Darius Nichols

Teachers:
Miss Sherman - Regina Le Vert
Ms. Bell - Jennifer Simser
Mr. Myers - Gabriel Jarrett
Mr. Sheinkopf - Jack Milo

Ensemble and Swings:
Deanna Aguinaga
Enrique Brown
Brian Paul Burke
Dinah Foddrill
Corey Hill
Lindsay Lopez
Tera-Lee Pollin
Deon Ridley
Danita Salamida
Joe Tarwater
Andrew Turteltaub
Erika Weber
Jason Weston
Spiff Wiegand
Jeni C. Wilson

SYNOPSIS

Act I - Freshman and Sophomore Years

The show, as the movie, begins with auditions for the High School of Performing Arts in New York City. The incoming class is the Class of 1984. Each student is about to open the letter informing them whether or not they made the cut (PROLOGUE: PRAY I MAKE P.A.- Mixed Chorus). As the students celebrate their acceptance, the teachers make it clear that this is not just a performing arts school, but also a high school and class work is as, if not more, important as their performance work (HARD WORK- Mixed Chorus).
Some of the main characters begin to make their presence known - Tyrone, the tough street kid, hooks up with Carmen, the talented "triple-threat" of the bunch, which being hit on by Joe, a Puerto Rican comic. Schlomo, a musician trying to follow in his father's footsteps, forms a band with Lambchops, the tom-boy drummer. Nick, a very serious actor, is approached by Serena to do scenes together in class, since Serena is so impressed by his resume of television commercials. Nick explains that resumes and commercials mean nothing, that he wants to be the next "great" actor (I WANT TO MAKE MAGIC- M Solo). Ballet class shows Tyrone moving from Carmen to a new squeeze, Iris, a prima ballerina. Nick relates a painful moment in acting class, which leads to Joe relating a different version of a "painful moment" as he describes his attraction to women (CAN'T KEEP IT DOWN- M Solo). Music class brings Schlomo, Lambchops and company dutifully rehearsing chamber music while Mr. Sheinkopf is in the room and switching to rock as soon as he leaves. Lambchops' attracting to Schlomo is obvious to everyone but Schlomo.
The scene shifts back to the dance department, as Tyrone rehearses ballet with Iris. As ballet is not his forte, Tyrone doesn't quite live up to Iris' standards, which she makes clear. Tyrone responds with his take on life and dance (TYRONE'S RAP- M Solo). Nick and Serena are rehearsing a very heavy dramatic scene, which is not to Serena's liking, as she'd rather play the romantic heroine. Nick, insisting on "serious" scenes, storms off. Serena, alone, expresses her unrequited love for Nick (LET'S PLAY A LOVE SCENE- F Solo). In the lunchroom, Carmen expresses her desire - to be a superstar (THERE SHE GOES/FAME- F Solo with Mixed Chorus). Nick and Serena attempt to rehearse a romantic scene, which makes Nick extremely uncomfortable. After being accused by Serena of liking boys, not girls, Nick storms off, breaking up their rehearsal partnership.
Carmen, now unattached, latches on to Schlomo, who she sees as the most talented of their class. She sings the lyrics she's written to a tune his father composed and they work on the song together (BRING ON TOMORROW- M/F Duet). She offers to be the lead singer of his band and the main squeeze of his life, which Schlomo gladly accepts, breaking Lambchops' heart in the process. Ms. Sherman demands a book report from Tyrone, threatening to bar him from dancing in the Fall Festival if he doesn't comply. He angrily storms off, leaving Ms. Sherman and Ms. Bell to argue the issue of passing students based on their talents, not their academic progress (TEACHER'S ARGUMENT- F Duet). Tryone storms back and announces that he's quitting PA, to the horror of all the students who consider him the most talented dancer in the school. They try to convince him to stay, but he's had enough and leaves. Ms. Sherman reminds the students that academics are important and that they must get back to work (HARD WORK REPRISE- Mixed Chorus).

Act II - Junior and Senior Years

Act II begins with Junior Year acting class, in which Nick reiterates his desire to act, with Serena joining in (I WANT TO MAKE MAGIC REPRISE- M/F Duet). Tyrone shows Ms. Sherman his report card from summer school, which he passed in order to stay in school. Nick and Serena finally make up, agreeing to work together again. Mabel, who has been constantly criticized for her weight in the dance department, decides to make a change to the drama department (MABEL'S PRAYER- F Solo). Nick, minding his own business, is kissed by Carmen, which enrages Serena, as she has believed all along that he's not attracted to her because he's gay. She throws him out and uses her anger to help her with her acting (THINK OF MERYL STREEP- F Solo).
Carmen tells a heartbroken Schlomo that she's leaving for LA with a producer she met. Ms. Sherman attempts to have Tyrone read in English class, which prompts an argument between them, resulting in her slapping his face. She is shocked by her behavior and leaves as Tyrone tells his classmates that he doesn't need school and can get by on his talent (DANCIN' ON THE SIDEWALK- M Solo). Left alone afterward, Tyrone expresses his frustration at not being able to read, writing "I WILL READ" on the chalkboard. He is seen by Ms. Sherman and runs off. She sings of her passion for teaching (THESE ARE MY CHILDREN- F Solo).
Rehearsals are not going well for "Romeo and Juliet" as Joe and Serena attempt to play the leads. Nick steps in to demonstrate Romeo, kisses Serena and runs off, confused. Tyrone proves to Iris that he has been working on his reading skills and they dance together (PAS DE DEUX- Dance). Carmen returns and seeks out Schlomo, desperate and drug addicted, telling him about her experiences out west (IN L.A.- F Solo). She begs money off of him and leaves quickly, refusing his help.
At the graduation party, Nick and Serena finally make up and sort out their brother/sister type relationship (LET'S PLAY A LOVE SCENE- M/F Duet). Tyrone realizes the value of an education and agrees to repeat his senior year at the new PA at Lincoln Center, as the school is being moved. As Schlomo gives a moving tribute to the now deceased Carmen, the last class to graduate from the existing High School of Performing Arts on West 46th Street enters in caps and gowns (BRING ON TOMORROW- Mixed Chorus). During the bows, the cast reminds the audience that their profession truly is the "hardest profession in the world" (HARD WORK [Reprise]- Company).

NOTES ON THE PRODUCTION

Fame, the Musical has been touring the US and the world since opening at the Coconut Grove Playhouse in 1988. This is a terrific show both to showcase the talents of high school students and for those of us who remember the original. The characters are similar enough to the movie and television show to evoke many fond memories.
This musical has all the energy of the movie and the television show and requires the talent that goes with that. It's a good high school musical, as the age bracket is right and the teachers can be played by adults in that setting. A choreographer who remembers the early '80s is a must, as the dances are relevant to that time period. Scene changes can be limited by a minimal set, as the action flows from one scene to another quite often. Abrupt scene changes can be handled by the ringing of the school bell, releasing everyone from the scene and creating the chaos of kids changing classes to cover any minor set changes. The costumes should also be of the early 80s time period, allowing for trend changes within the four years of the show and for the dancing the show demands. The cast can be as large or as small as the theater group and/or stage allows.

SONGS OF SPECIAL INTEREST

"Let's Play a Love Scene," Mezzo solo, good inner monologue/acting piece for class or audition, an unrequited love story
"These Are My Children," Alto solo, great emotional song of love and passion for teaching
"I Want to Make Magic," Tenor solo, good acting piece for class or audition, a yearning desire song
"I Want to Make Magic," Mezzo/Tenor duet, good acting piece for class or audition, a yearning desire song
"Think of Meryl Streep," Mezzo solo, great frantic comedic song about acting techniques
"In L.A.," Mezzo solo, passionate, scathing inner monologue/acting piece for class or audition about the downside of the entertainment world

Instrumentation: piano, keyboards, guitar, bass, drums
Script:
Score: Record/CD:
Rights:

FANNY

Book: S.N. Behrman and Joshua Logan
Music and Lyrics: Harold Rome
(Based on the trilogy of Marcel Pagnol)

ORIGINAL PRODUCTION

Majestic Theatre, November 4, 1954 (888 perf.)
Director: Joshua Logan
Choreographer: Helen Tameris
Musical Director: Lehman Engal
Orchestration: Philip J. Lang

Principals:
Fanny- Florence Henderson- Soprano
Panisse- Walter Slezak- Tenor
Admiral- Gerald Price- Baritone
Marius- William Tabbert- Tenor
Cesar- Ezio Pinza- Baritone/Bass
Honorine- Edna Preston- VTNE
Chorus and Smaller Roles: 4M/4F minimum

SYNOPSIS

The curtain opens on the waterfront at Marseille where the "Admiral," a strange character whose main occupation is to provide women for the sailors (OCTOPUS SONG- M Solo), promises Marius, a young man who yearns to travel, work on a square-rigger sailing vessel. Marius confides that he forgets his girlfriend Fanny and his obligation to manage his father’s bar when he sees a beautiful sailing ship (RESTLESS HEART- L to M Solo). Honorine, Fanny’s mother, enters to sell her oysters as Fanny watches Marius go off.
Honorine urges Fanny to marry, for she wants to retire and let Fanny take care of her. Panisse, a 54-year old, wealthy widower, tells a group on the waterfront that he is going to find a new wife (NEVER TOO LATE FOR LOVE- M Solo and Mixed Chorus). He privately proposes to Fanny who is appalled by the offer. Marius jealously sends Panisse away. Fanny wonders if Marius knows she loves him (DOES HE KNOW- F Solo).
Marius’ father, Cesar, knows Fanny loves Marius and desperately wants his son to marry her and settle down. He tries to teach him how to woo her (WHY BE AFRAID TO DANCE- M Solo and Mixed Chorus). Honorine enters in her best clothes to greet Panisse, whom she is certain is going to propose marriage to her. When Panisse arrives to tell her he hopes to marry Fanny she is convinced he is too old for a young girl. They are interrupted by Cesar who is running off for an asignation. Honorine and Panisse joke with him (NEVER TOO LATE FOR LOVE- F Solo to M Duet).
Cesar returns home and tells Marius that coming home is the nicest thing about going away (WELCOME HOME- L to M Solo). Marius, unable to tell his father that he has signed on to a ship that sails in the morning, attempts to ease the pain he knows will come (I LIKE YOU- Sc to M Duet). After Cesar leaves for bed, Fanny arrives, determined to take advantage of a moment alone with Marius (I HAVE TO TELL YOU- F Solo). Marius tells her he loves her (FANNY- L to M Solo), and takes her to his room.
Two months later, in Cesar’s bar, several of the customers urge him to stop being angry at Marius for leaving. He refuses, but excitedly listens as Fanny reads him a letter from Marius. Cesar discovers Fanny told Marius that she was going to marry Panisse because she didn’t want Marius to stay in Marseilles just because they had slept together.
Several months later, Fanny, discovering she is pregnant by Marius, tells Honorine who urges her to marry Panisse. Fanny goes to Panisse’s sail shop where he eagerly consents to marry her and raise the child as his own (PANISSE AND SON- L to M Solo). Cesar, furious that Panisse would marry someone so young, threatens to kill him, but quickly changes his mind when he is named godfather.
At the wedding celebration Fanny grows faint and dreams that she is marrying Marius, but the scene quickly becomes realistic and Fanny finds herself dancing with Panisse (WEDDING DANCE- Mixed Chorus).
The act ends as Honorine rushes out to tell everyone that Fanny has a baby boy named Cesario. Panisse and Cesar attach the letters "& Son" to the end of Panisse’s shop sign.
At the beginning of Act II, everyone is at Panisse’s celebrating the baby boy’s first birthday (BIRTHDAY SONG- Mixed Chorus). Panisse toasts Fanny (TO MY WIFE- L to M Solo).
Marius, ashore on leave, visits Fanny and begs her forgiveness for leaving her with a child. She tells him that she forgave him long ago and asks him about his life. He tells her that his adventures were wonderful, but she was always in his heart (THE THOUGHT OF YOU- Sc to M Solo). As he kisses her Cesar interrupts and orders Marius to leave Fanny, who is now married to Panisse. Panisse enters, panicked that Marius will interfere with his happiness, and tells Marius he can have Fanny, but never the child. Cesar explains that Panisse is actually the boy’s father because it was his love that nurtured the baby (LOVE IS A VERY LIGHT THING- L to M Solo). Fanny refuses to leave because of Panisse’s kindness and her love for her son (OTHER HANDS, OTHER HEARTS- Sc to F Solo).
Time passes through a series of vignettes showing Panisse, Cesar and Honorine. Years later, Cesario, age twelve, tells Fanny, Cesar and Panisse that he wants to go to sea. Fanny tries to explain their reluctance to let him go since he is only twelve years old (BE KIND TO YOUR PARENTS- F Solo).
Cesario, determined to leave the confines of Marsailles, leaves his birthday party to meet Marius who works in a garage down on the waterfront. He begs him to take him to America and threatens to stowaway if he won’t.
Panisse, bedridden since Cesario left, argues with Cesar about the will to live. He angrily rises from the bed as Marius enters with Cesario. The grateful Panisse collapses. He later realizes he is dying and asks Cesar to draft a letter to Marius asking him to live in his home, marry Fanny and raise his child. Cesar does his bidding (WELCOME HOME- M Solo), and Panisse dies a happy man, knowing he has done the right thing.

NOTES ON THE PRODUCTION

Ezio Pinza, well known for his singing in South Pacific, proved his acting talents equaled his great voice. Much of the charm, warmth and humor in the story lies in the relationship of Panisse and Cesar. Walter Slezak won a Tony award for his performance.
The Broadway production, which was large scale and had a large cast, caused much of the charm inherent in the stories to be lost. It might be advantageous to trim many of the larger chorus numbers and scenes in order to regain the warmth that is in the script. Too much of the story is interrupted by extraneous material. Most of the scenes can take place on the waterfront set, Panisse’s home scenes can be played in a garden area in front of the shop and Cesar’s cafe can be outside, which means the entire show may be played on one set.
Readapting the script allows it to be performed on a small stage with a smaller company. There are sexual innuendoes that surround the Admiral that high school productions have managed to clean up.
The music is pleasant, the characters well drawn and the moments range from dramatic to comedic. It is a good choice if the theatrical pacing can be kept.

SONGS OF SPECIAL INTEREST

"Fanny," Lovely tenor solo, shows off the voice, good for audition
"Panisse and Son," Tenor, older character actor solo, lots of actable specifics, story song

Instrumentation: 4 violins, viola, mandolin, cello, bass, 5 reeds, 2 horns, 3 trumpets, 2 trombones, harp, percussion, ceoncertina, piano/ celeste/conductor
Script: Random House
Score: Chappell
Record: RCA
Rights: Tams-Witmark

THE FANTASTICKS

Book and Lyrics: Tom Jones
Music: Harvey Schmidt
(Based on Edmund Rostand’s play Les Romanesques)

ORIGINAL OFF-BROADWAY PRODUCTION

The Sullivan Street Playhouse, May 3, 1960 (# perf.)
Director: Word Baker
Musical Director and Arrangements: Julian Stein

Principals:
The Mute- Richard Stauffer- VTNE
Matt- Kenneth Nelson- Tenor
El Gallo- Jerry Orbach- High Baritone
Hucklebee- William Lason- Baritone
Luisa- Rita Gardner- Soprano
Bellamy- Hugh Thomas- Baritone
Mortimer- George Curley- VTI
The Handyman- Jay Hampton- VTI
Chorus and Smaller Roles: None

SYNOPSIS

As the audience enters the theatre, the stage is in full view and contains a platform with a tattered drape across the front. The overture begins and the company sets out a prop box, removes the curtain and prepares to perform.
The narrator, El Gallo, sets the mood of the play (TRY TO REMEMBER- M Solo) and introduces the main characters: a boy, Matt, a young girl, Luisa, and their fathers, Hucklebee and Bellamy. During this, the Mute, in the tradition of Oriental theatre, handles the props and scenery. El Gallo focuses on the impressionable girl who tells the audience how wonderful her life is and expresses her youthful dreams (MUCH MORE- Solo to F Solo).
El Gallo introduces the naive twenty-year old Matt. As he points to the wall their fathers built to keep them apart, the Mute holds up a stick between Luisa and Matt.
Matt, eager to talk to Luisa, climbs the wall and sings to her (METAPHOR- M/F Duet). As they kiss, Matt’s father, Hucklebee enters, tells about himself, orders his son away from the wall and escorts him inside. Bellamy, Luisa’s father, enters, introduces himself and sends Luisa inside. When he is sure she has gone, he yodels for his friend Hucklebee who yelps back. They climb the wall to congratulate themselves on their tricking the children into loving each other because their parents are "enemies" (NEVER SAY NO- Sc to M Duet). They decide to end the imaginary feud by hiring El Gallo, a professional abductor, to stage a ravishing. El Gallo enters to negotiate the cost and describes the various options (IT DEPENDS ON WHAT YOU PAY- Sc to 3M Trio). He sends the fathers off and hires two actors to assist in the abduction. The older actor, Henry, a rather faded Shakespearian, dust worn type, attempts to remember the famous roles he once played but jumbles everything together.
El Gallo describes the season and place, as Matt and Luisa, seeking shelter from an impending storm, play out a more romantic setting (SOON IT’S GONNA RAIN- Sc to M/F Duet).
The actors and El Gallo arrive in the woods to stage the extravaganza (THE RAPE BALLET- Dance) and Matt saves Luisa from El Gallo, as planned. The families are united and it appears to be a bright, happy life for all (HAPPY ENDING-3M/1F Quartet). The family freezes as El Gallo wonders how long they can hold the mood and calls for intermission.
El Gallo and the Mute return and Act II begins. The music underscoring the mood is sour as the families begin to argue first in solo and then in chorus (THIS PLUM IS TOO RIPE- 3M/1F Quartet). When the fathers angrily tell the children that the abduction was staged, the children are hurt and insulted. The fathers begin to fight but El Gallo stops them. Matt grabs a sword from the Mute and prepares to attack Luisa’s bandit but is easily disarmed by El Gallo. Luisa chides Matt, they argue and she slaps him. Matt leaves to see the world despite the narrator’s warning of what lies ahead (I CAN SEE IT- M Duet). Mortimer and Henry enter from the prop box to portray Socrates and Romanoff, two odious types who offer to show Matt the world.
The fathers, on their respective properties watching the Mute re-build the wall, gradually begin to talk to each other. They comment on the fun they used to have, their mutual love of gardening and the reliability of vegetables when compared to children (PLANT A RADISH- Sc to M Duet.
Luisa begs El Gallo, whom she fondly calls her bandit, to take her out into the world. He makes her wear a smiling mask so the world will always seem happy. She sees Matt undergoing great horrors but she can only laugh because her face is frozen by the mask. El Gallo takes her necklace and starts to go, but Matt begs El Gallo not to hurt her by leaving. The bandit strikes him down and a broken hearted Luisa, realizing El Gallo has left, bursts into tears. As Matt comforts her the two realize that, while the world has changed, their love for each other has remained strong (THEY WERE YOU- Sc to M/F Duet) (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

The show opened to mixed reviews but the producers were able to build an audience and make it the longest running show in New York history. The long run is made possible by the fact that the theatre only seats 150. The small cast, set and orchestra requirements, which make it ideal for dinner theatres, schools, and summer stock, may have contributed to its popularity. The play is familiar to most theatre-goers and is often revived as a first show of a summer stock season. It is inexpensive to produce, as it has one set and only requires one costume per character with various extra pieces for the two "actors." It has family appeal and is a charming evening’s entertainment. The first act is often entered in play festivals as it is fairly complete in itself and feels like a complete product.

SONGS OF SPECIAL INTEREST

"Much More," Soprano, good for movement, character oriented, pleasant, possible audition
"Plant a Radish," vaudeville style, baritone duet for two character men, good for revue, show-stopper
"Soon It’s Gonna Rain," tenor/soprano, romantic charm duet with lots of actable images
"Try to Remember," club style solo, any voice

Instrumentation: piano, harp, bass, drum, conductor
Script: Avon, DBS
Score: Chappell
Record: MGM
Rights: MTI

FIDDLER ON THE ROOF

Book: Joseph Stein
Music: Jerry Bock
Lyrics: Sheldon Harnick
(Based on stories by Sholom Aleichem)

ORIGINAL PRODUCTION

Imperial Theatre, September 22, 1964 (3,342 perf.).
Director and Choreographer: Jerome Robbins
Musical Director: Milton Greene
Orchestration: Don Walker

Principals:
Tevye- Zero Mostel- Baritone
Golde- Maria Karnilova- Alto
Tzeitel- Joanna Merlin- Mezzo
Hodel- Julia Migenes- Soprano
Chava- Tanya Everett- Mezzo
Yente- Beatrice Arthur- Alto
Motel- Austin Pendleton- High Baritone
Perchik- Bert Convy- Tenor
Lazar Wolf- Michael Granger- Tenor
Chorus and Smaller Roles: 10F/10M, 2 young girls, must have one tenor who can hold G above middle C

SYNOPSIS

The curtain rises on the exterior of Tevye’s house in 1905. A Fiddler sits on the roof, playing as Tevye, a poor Jewish milkman with five daughers and a habit of talking to God, introduces the villagers of Anatevka, a little town in turn of the century, Czarist Russia (TRADITION- Mixed Chorus).
In the kitchen of Tevye’s house, Golde sends her daughters Tzeitel, Chava, Hodel, Shprintze and Bielke outside to complete their chores while she talks with Yente, the old, absent minded matchmaker. When Yente tells Golde she can arrange a match for Tzeitel with Lazar Wolfe a wealthy, middle-aged butcher, she is overjoyed but worried that Tevye won’t be happy with an uneducated son-in-law. Yente urges Golde to send Tevye to talk to Lazar and rises to leave.
The girls enter to find out what Yente wanted, but Golde refuses to tell them. She exits as Hodel romantically wonders if Yente has found a husband for her older sister. Both Hodel and Chava, Tevye’s daughters who are next in line for marriage, are excited to find out whom Yente has found, but Tzeitel warns them that arranged marriages are not an ideal way to marry someone you like (MATCHMAKER, MATCHMAKER- Sc to F Trio).
Outside, Tevye enters pulling his cart. It seems his horse lost his shoe and Tevye has to hurry and deliver the milk orders before sunset. He wonders why he wasn’t chosen to be wealthy and thinks of how his life would be different (IF I WERE A RICH MAN-L to M Solo).
The villagers arrive, looking for their dairy orders, and begin discussing the political implications created by the Czar’s recent eviction of the Jews from Rajanka. Perchik, a young student activist from a Kiev University, enters. Tevye, drawn to the idealistic intellectual, offers him room and board if he will educate Tevye’s daughters. Perchick agrees and the two enter the house.
In the kitchen, now prepared for the Sabbath meal, Tevye introduces Perchik to his daughters and Motel, the young tailor who has come to visit Tzeitel. Golde sends everyone out to wash up and get the table for the guests. She urges Tevye to see Lazar Wolf about an urgent matter. Tevye, assumes the butcher wants to buy his new milk cow and agrees.
Tzeitel, returning with Motel, urges him to ask Tevye if they can be married, but he is too afraid. Everyone gathers around the table as Golde lights the candles (SABBATH PRAYER- Mixed Chorus).
At an inn, the next night, an anxious Lazar Wolf waits for Tevye to arrive. He talks with several of the other men but their conversation ends when Fyedka, a young, handsome Russian, enters with several of his Gentile friends. Tevye arrives, greets Lazar and begins discussing the reason they are meeting. Lazar assumes that Tevye knows he wants to marry Tzeitel but Tevye, left in the dark by Golde, thinks Lazar wants to buy his milk cow. After a humorous dialogue the two discover their mistake and Tevye agrees to the marriage. They drunkenly toast the match and join some townsmen in a Russian dance (TO LIFE- Sc to M Duet to M Chorus).
On the way home, Tevye meets the constable who warns him of an unofficial demonstration that is to be staged in Anatevka. After he leaves Tevye asks God why the Jews must be persecuted. The Fiddler enters, circles Tevye and the two dance off.
Outside the house, the next day, Hodel is watching Perchik teach her younger sisters, Shprintze and Bielke, when Golde calls them to help her with Tevye’s chores. Left alone with Perchick, Hodel is cynical about Perchik’s radical new ideas that break tradition, but is soon taken in by his charm.
Tevye slowly enters, obviously sporting a hangover, and sends Hodel to get Tzeitel. Golde enters in time to hear Tevye tell the stunned Tzeitel she is to marry Lazar. Golde rushes out to tell Yente the happy news. A heartbroken Tzeitel begs Tevye to cancel the agreement. As he agrees a distraught Motel enters to beg Tevye for permission to marry Tzeitel and confesses they have given each other their pledge to marry. Tevye, realizing his daughter loves Motel, considers the request (TEVYE’S MONOLGUE- M Solo) and agrees. He exits to think of a way to break the news to Golde. Motel excitedly expresses his feelings as Tzeitel watches (MIRACLE OF MIRACLES- Sc to M Solo).
That night, in Tevye and Golde’s bedroom which is completely dark, Golde is awakened by Tevye’s frenzied screams and assumes he is having a nightmare. She turns on the lamp, which only lights the bed, and insists on a description of his dream. As he details the dream the chorus enacts the song (THE TAILOR MOTEL KAMZOIL- Sc to M/F Duet to Mixed Chorus). When the story is finished Golde is convinced that Tzeitel should marry Motel.
On the village street and the interior of Motel’s tailor shop, villagers are spreading the news that Tzeitel is going to marry Motel. Chava, alone in Motel’s shop, is confronted by some young Russians who pretend to congratulate her. Fyedka forces them to leave her alone and attempts to interest her in himself. He is impressed by the fact that she is an avid reader and offers to loan her a book. She is hesitant but takes the book which means she will see him later.
In the yard of Tevye’s house the wedding is beginning. At the wedding Golde and Tevye reminisce about how fast children become adults (SUNRISE,SUNSET- M/F Duet to Mixed Chorus). When Lazar Wolfe, upset that Tevye has broken his promise, vents his anger, the guests begin to argue. They are stopped by Perchik who shocks everyone by announcing that love is more important than a matchmaker. He begins dancing with Hodel. To save face, Tevye dances with Golde and eventually everyone joins in the merriment. The Russian Constable and a group of Russians enter to enact their "demonstration" and the Act ends on an ominous note.
Act II begins two months later, outside the house. Perchik tells Hodel he must journey to Kiev to joint the fight against the Czar. In a dramatically moving scene he asks her to marry him and expresses his happiness when she agrees (NOW I HAVE EVERYTHING- Sc to M Solo to M/F Duet). Tevye enters, dumbfounded by Perchick’s announcement that he and Hodel are going to get married. After much contemplation, (TEVYE’S REBUTTAL- M Solo) he gives the young couple his blessing.
He begins to wonder if Golde, his wife of 25 years, loves him and calls her out of the house to discuss the matter. After telling her he has given Perchik and Hodel permission to marry, he questions Golde (DO YOU LOVE ME- Sc to M/F Duet).
Gossip is being spread by Yente. She has seen Chava and Fyedke together and has also opened a letter to Hodel from Perchik saying he has been sent to Siberia (I JUST HEARD- Mixed Chorus).
At a lonely train stop, Hodel tries to explain to her father why she must go to Siberia to join Perchik (FAR FROM THE HOME I LOVE- Sc to M/F Duet).
Back in Anatevka, the villagers gather in Motel’s shop to see the new arrivals, a used sewing machine and a baby; while outside Chava begs Tevye for permission to marry Fyedka. He refuses telling her it is wrong to marry outside the faith.
The next day, Golde rushes to the road to tell Tevye, who is pulling his cart, that Chava and Fyedka have been married by the village priest. Tevye tells Golde to go home and to forget Chava and poignantly sings (CHAVELAH- Sc to M Solo).
In a new edict from the Czar, the Jews are ordered to leave their town in three days. As they pack, they comment on the meaning of leaving (ANATEVKA- Mixed Chorus).
In a touching scene, Chava and Fyedka come to say goodbye, and tell Tevye they are moving to Poland. Tevye acknowledges her presence and Golde urges her to write to them in New York. The family slowly exits while Tevye, pulling his wagon, is followed by the Fiddler.

NOTES ON THE PRODUCTION

Fiddler on the Roof is the third longest running musical in Broadway’s history. It was surpassed by Grease in 1980 and in 1984 by A Chorus Line. The show won nine Tony Awards: Best Musical, Actor (Zero Mostel), Supporting Actress (Maria Karnilova), Author, Composer and Lyricist, Director, Choreographer, Costumes, and Producer (Hal Prince).
Possibly one of the most finely crafted of the book musicals, the play has been performed professionally in small towns and large cities around the globe and translated into practically every conceivable foreign language. Its universal theme makes it applicable to every ethnic group and its well-drawn characters, rich music and quality lyrics make it a script worthy of production.
The scenic requirements and costume demands are not particularly heavy for the emphasis is on the characters and story line more than the production. Much of the show takes place in or around Tevye’s home with a scene in the tavern, Motel’s shop, and at a train stop. The costumes are primarily turn of the century peasant clothes with the exception of the wedding party costumes and the constable’s uniform.
Anyone who is considering a production of Fiddler should read The Making of a Musical, which outlines the original production and has many directing and character notations.

SONGS OF SPECIAL INTEREST

"Do You Love Me", comic yet poignant character song for Baritone/Alto, good for class study or revue
"Far From the Home I Love," dramatic Soprano ballad with tremendous emotional impact for the actress, potential audition choice
"If I Were a Rich Man," Baritone, strong images to act, lots of specifics, mood changes, potential for audition or class character study
"Now I Have Everything" through "Tevye’s Rebuttal" is also an excellent scene to song to scene character study, good for class situation
"The Tailor Motel Kamzoil" comedic, character oriented small chorus number, good for beginning directors as the number allows for simple movements and is full of specifics that are easily enacted
"Tevye’s Monologue" including the scene into "Miracle of Miracles" as a class study for dramatic scene to comic song, the unit is excellent for transitions and as an acting exercise
"Miracle of Miracles" is also a good audition song as it shows specifics, movement and characterization ability

Instrumentation: 5 reeds, 3 trumpets, trombone, horn, accordion, guitar, percussion, 3 violins, viola, cello, bass, piano/conductor
Script: Brown, Pocket Ten Great Musicals
Score: Times Square
Record: RCA
Rights: MTI

A FINE AND PRIVATE PLACE

Synopsis by Erik Haagensen
Book and Lyrics: Erik Haagensen
Music: Richard Isen
(Based on the novel by Peter S. Beagle)

ORIGINAL PRODUCTION

Goodspeed-at-Chester’s Norma Terris Theatre, August 3-20, 1989 (21 perf.)
Director: Robert Kalfin
Musical Director/Arranger: Henry Aronson

Principals:
Jonathan Rebeck- Charles Goff- Baritone
Michael Morgan- Brian Sutherland- High Baritone
Gertrude Klapper- Evalyn Baron- Mezzo
Laura Durand- Maureen Silliman- Mezzo with High Range
The Raven/Campos, the Gatekeeper- Gabriel Barre- NS
Chorus and Smaller Roles: None

OVERVIEW

Jonathan Rebeck lives in a Bronx cemetery, courtesy of his feathered friend, a wise (and wisecracking) Raven, who flies in stolen fast food in exchange for companionship. Rebeck helps newly arrived ghosts to accept death, after which they vanish. But Michael Morgan has other plans. A ghost at 34, he wants to live! His efforts bring chaos into Rebeck’s life in the form of perpetually visiting widow Gertrude Klapper. He also romances the shy Laura, who never experienced love while alive. But Michael has a secret, which could destroy everything. How Michael and Laura find love after death and how Gertrude cajoles Jonathan back to life in the real world comprise the moving and funny conclusion.

SYNOPSIS

Jonathan Rebeck is the only living resident of the Bronx’s beautiful Yorkchester Cemetery. He spends his days playing chess with the ghosts of recent arrivals. His meals are flown in by a talking Raven with a penchant for cynical humor and fast food (PROLOGUE). The latest arrival is Michael Morgan, newly deceased and mad as hell about it (I’M NOT GOING GENTLY). Rebeck explains that death is the opportunity to face oneself and "travel on into the night," (MUCH MORE ALIVE) which upsets Michael, who is harboring a secret he regrets. Michael would rather remain "awake" than accept both himself and an unknown future.
Rebeck is so distracted by Michael that he fails to notice the approach of Gertrude Klapper, fresh from her weekly visit to husband Morris’ mausoleum. Gertrude’s friends don’t approve of her post-mortem devotion, but she senses a more sympathetic soul in Rebeck (YOU KNOW WHAT I MEAN). Trapped into talking to a living person for the first time in 20 years, Rebeck is surprised to find himself enjoying the experience. Michael, however, doesn’t. Klapper isn’t even aware of him! He leaves in search of livelier conversation and finds Laura Durand, another new arrival. Laura is longing for eternal "sleep" (A FINE AND PRIVATE PLACE) until Michael turns on the charm (AS LONG AS I CAN) and claims to have been murdered by his wife. Frightened by her attraction to Michael, she literally disappears from the scene. But she returns, promising Michael that she will stay until he "adjusts."
A flustered Rebeck returns. The unwitting Klapper has nearly exposed him to Campos, the cemetery gatekeeper! Laura decides that she and Michael should play matchmaker, to the dismay of the Raven. Rebeck denies any interest in Klapper, but, alone at the end of the day, he discovers that she has left him her phone number under a chess piece. Over the next week, he and Klapper separately try to decide what happens next (STOP KIDDING YOURSELF).
Laura is pressing a reluctant Michael to talk about his death, when Klapper returns in search of Rebeck. Michael and Laura resort to a fancy bit of telepathy in order to get them together again (THE TELEPATHETIQUE). Laura is just starting to like the idea of liking Michael when she discovers, via Klapper’s newspaper, that Michael’s wife, now on trial for murder, claims that Michael committed suicide. It’s a perfect excuse to reject him and she grabs it. Furious with herself for becoming vulnerable, she tries to go to sleep, only to discover that she can’t. She’s in love, whether she likes it or not (WHAT DID YOU EXPECT?). A guilty Michael rehearses ways of convincing Laura that he is not responsible for his actions (LET ME EXPLAIN), but can’t even convince himself and decides not to come clean. He too has fallen in love and can’t risk losing her. Meanwhile, Klapper has become suspicious of Rebeck’s address (IT’S NONE OF MY BUSINESS). To avoid losing her, he decides to tell her the truth, as Laura and Michael separately wonder what to tell each other (QUARTET).
At the opening of Act II, we find that everyone spends the next several weeks wondering (WHAT SHOULD I DO?). Klapper wants Rebeck to move in with her and Rebeck wishes she would stop asking. Laura finds the courage to tell Michael how she feels. Plagued by a guilty conscience, he sidesteps the situation by declaring love between ghosts impossible. Laura’s remedy is to suggest that they unite their souls telepathically. Knowing it would reveal his suicide, Michael denies that he loves her. Alone, a crushed Laura realizes that she now has nothing preventing her from sleeping (CLOSE YOUR EYES). Klapper finally delivers an ultimatum to Rebeck about leaving the cemetery (ARGUMENT). Michael realizes that, without Laura, he no longer wishes to defy death. Both go separately to Rebeck to say goodbye.
At the same time, Klapper returns to say the same thing. Rebeck, not wanting Klapper to feel rejected, tries to tell her about his "gift" for communicating with ghosts. Realizing that Laura and Michael are really in love, he asks Klapper for advice on how to keep them together. She thinks he’s finding a roundabout way to discuss their own relationship. She tells "the ghosts" that nothing is certain in life except the failure of not trying (NO ONE EVER KNOWS). She is crushed when Rebeck doesn’t find the courage in her words to leave. What she doesn’t know is that Michael and Laura do take her advice and open their minds to each other in an attempt at love (BECAUSE OF THEM ALL).
Now that she knows all, Laura insists that Michael get his wife off the hook for murder. Along with Rebeck, they break into the gatekeeper’s office late at night to call the police with the location of Michael’s suicide note. Unfortunately, a drunken Campos stumbles in. Rebeck finds out that Campos has known about him all along, can talk to ghosts and can even talk to the Raven. His whole sense of himself, his mission in the cemetery and his special bond with the Raven is shattered. The next day, a hungover Rebeck awakens to the news of Michael’s disinterment. As a Catholic and a suicide, he cannot remain buried in hallowed ground. He is being moved to Mt. Merrill Cemetery ("one step above a landfill") and the lovers will be separated! Laura begs for Rebeck’s help. He and Campos could rebury her in the new cemetery as well. Rebeck is excited and frightened. He would have to leave his home. Goaded by Laura & Michael (DO SOMETHING), he searches for the courage to go, finally finding it in Klapper’s words (HOW CAN I LEAVE HERE?).
Late that night, at Mt. Merrill Cemetery, Rebeck & Klapper look for the ghosts. They appear, but Rebeck can no longer see them. Nor can the ghosts see the living. The two couples pass through each other unawares as the music rises and Klapper and Rebeck exit through the audience into the world (FINALE).

NOTES ON THE PRODUCTION

This one-set, five person show set in a cemetery is fresh, unique, original, and easy to produce. It broke the then box office record for the Norma Terris Theatre and received a post-mortem article from a local paper comparing the show favorably to The Fantasticks and saying, "The Goodspeed does not open its ‘work-in-progress’ productions at the Norma Terris Theatre to review. I cannot let this show pass, however, without comment. It works remarkably well. All the necessary elements are there -- life, love, death, drama, comedy, an intriguing book and lyrics, a fine musical score -- plus a talking raven. What more can you ask of a modest, yet strangely riveting, new musical?" A second professional production in Teaneck, N.J., received local critical praise as well: "A captivating tale. Sharp, witty lyrics remind one of Stephen Sondheim at his razor sharpest. Endearing supernatural hijinks, charm, and innocence." Also, "This sentimental fable is carried along nicely by a constrainedly eloquent score and lyrics. Poignant and charming."
Though set in a cemetery and featuring two recently deceased ghosts as leading characters, this show’s true concern is how to live life to the fullest, carrying the simple message that unless one is willing to take emotional risks, one is not truly alive. All four leading roles are strong character parts with wide emotional range, while the non-singing, double role of "The Raven" and "Campos, the Gatekeeper" offers an actor excellent comic opportunities and can be a tour de force of physical acting. (It is important that this role be doubled; it should not be split between two actors.) Costume, prop, and set requirements are simple and easy to create or obtain. This audience-friendly show offers an excellent opportunity to try something different and still please the house.

SONGS OF SPECIAL INTEREST

"I’m Not Going Gently," Solo turn full of black comedy and physical bits
"Much More Alive," full-voiced emotional credo
"You Know What I Mean," excellent character-defining number combining comedy and sentiment
"A Fine and Private Place/As Long As I Can," good scene-in-song for young man and woman, offering strong acting challenges
"The Telephathetique," opportunity for broad physical comedy and supernatural fun
"Close Your Eyes," touching ballad of resignation
"Argument," another good scene-in-song acting challenge, but for older man and woman
"No One Ever Knows," centerpiece of the score is a moving emotional plea

Instrumentation: One piano and one percussion player (with a variety of instruments including xylophone)
Script: Samuel French
Score: Samuel French
Recording: Available privately through Samuel French
Rights: Samuel French

FINIAN’S RAINBOW

Book: E.Y.Harburg and Fred Saidy
Music: Burton Lane
Lyrics: E.Y. Harburg

ORIGINAL PRODUCTION

46th Street Theatre, January 10, 1947 (725 perf.)
Director: Bretaigne Windust
Choreographer: Michael Kidd
Musical Director: Milton Rosenstock
Orchestration: Robert Russell Bennett

Principals:
Sharon- Ella Logan- Soprano
Og- David Wayne- Baritone
Finian- Albert Sharpe- Baritone
Susan Mahoney- Anita Alvarez- VTNE
Woody- Donald Richards- Tenor
Senator Rawkins- Robert Pitkin- Tenor
Chorus and Smaller Roles: 12M/12 F, the chorus numbers need a full volume sound, mixed black and white, 2 children

SYNOPSIS

At the well, the Missitucky meeting place, a crowd of blacks and whites gather around Sunny, a negro sharecropper who plays the harmonica. When the Sheriff arrives to sell Woody Mahoney’s land for back taxes to Buzz Collins, Susan, sister of Woody Mahoney who "speaks" by dancing, urges the sheriff to wait until Woody arrives. The sharecroppers sing in order to bide time (THIS TIME OF THE YEAR- Mixed Chorus) and carry the Sheriff and Buzz off.
Finian McLonergan, enters with his daughter, Sharon, and a carpetbag full of leprechaun gold. When she hears a skylark sing, Sharon is reminded of their home in Ireland (HOW ARE THINGS IN GLOCCA MORRA?- F Solo and Chorus). She begs to return but her Father wants to plant his gold in the ground near Fort Knox, and wait for it to multiply. When they hear the sharecroppers returning they hide in a tree to protect the gold.
Woody prepares to pay the taxes, but discovers that the added interest leaves him without the full amount. Sharon is so taken with his plight that she throws down enough gold to pay off the Sheriff. After Buzz and the Sheriff exit, Finian comes down from the tree to tell Woody he needs land to bury his carpetbag. Woody agrees and asks Sharon about herself; she responds with a Glocca Morra legend (LOOK TO THE RAINBOW- Sc to F Solo to Chorus).
In the light of the moon, Finian buries his carpetbag then relaxes with his whiskey jug. He is suddenly confronted by Og, a leprechaun who has followed Finian to America to recover the stolen gold. It seems that Finian’s theft is causing the leprechauns in Ireland to become mortal. Og has already become fifty percent mortal and is beginning to have human emotions.
Woody, who has fallen in love, confides his dreams to Sharon as the two watch the moon (OLD DEVIL MOON- Sc to M Solo).
At Senator Billboard Rawkins’ estate, Buzz explains that he was unable to obtain Woody’s land. This infuriates Rawkins who is further upset when he discovers two federal men have discovered a heavy concentration of gold buried on Woody’s property.
At the well, where Sharon is doing the wash, Og appears and proclaims his love (SOMETHING SORT OF GRANDISH- Sc to M/F Duet). Og is so upset by these uncontrollable human emotions that he returns to the well.
Woody plans on leaving for New York, but Finian and the sharecroppers trick him into staying and marrying Sharon. Susan is so happy for her brother that she dances. Her moves are interpreted by Woody and the chorus (IF THIS ISN’T LOVE- Mixed Chorus). After everyone leaves, Og begs Finian to return the crock of gold, but he refuses and threatens to have Og exported for entering the country without a passport. Two children meet the saddened Og and promise to help him find the gold if he will give them a wish. He agrees (SOMETHING SORT OF GRANDISH [REPRISE]- Sc to M Solo).
At the meeting place, the sharecroppers, busy sorting tobacco leaves, dream of far away places (NECESSITY- Mixed Chorus). Senator Rawkins, determined to get Woody’s land, arrives and evicts him for allowing "Negroes" on the property. Sharon is so mad that she wishes the Senator were black, a wish that comes true because she is standing over the buried gold. The Senator, an extremely bigoted man, rushes into hiding.
When the "Shears and Roebust" Company hears of Finian’s wealth, they extend him unlimited credit and Woody urges the sharecroppers to buy tractors and really raise acres of tobacco (THE GREAT COME AND GET IT DAY- Mixed Chorus).
In Act II, the people, carried away with their new credit, purchase all sorts of unnecessary items. Sharon comments on this age-old problem (WHEN THE IDLE POOR BECOME THE IDLE RICH- F Solo and Mixed Chorus). Og, while searching for the gold, finds the missing Senator, now black, hiding in the woods. He rightfully decides that the Senator’s attitude needs changing and casts a spell which causes Rawkins to begin singing old spiritual songs. Three black gospel singers passing by interest him in joining their group (THE BEGAT- Sc to M Trio).
The sheriff, who has been unable to find Rawkins, arrests Sharon for witchcraft. Everyone is in an uproar.
Later that day, Og who has become ninety percent mortal, falls in love with Susan whom he sees sitting by the well. He can’t understand how he can love both Susan, and Sharon (WHEN I’M NOT NEAR THE GIRL I LOVE- Sc to M Solo). When Og wishes Susan could talk she surprises him by telling him she loves him. It seems Og made his wish while standing over the crock of gold. He decides to use his third and final wish to free Sharon by making the Senator white. The play ends happily with Og betrothed to Susan, Sharon and Woody happily married, the Senator gaining compassion for his fellow man, and Finian leaving for new vistas. (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

The first Antoinette (Tony) Perry Awards were given in 1947 to honor Broadway’s best artists. David Wayne received the Featured Actor Award, and Michael Kidd, choreographer, tied with Agnes de Mille (Brigadoon).
The show may be performed with two sets, the well area and the Senator’s plantation house. Both may utilize the same background drop. The costumes are country style, skirts and blouses for the women and overalls or jeans for the male chorus. It is possible to use the same costumes throughout. Susan’s costume should be very movement oriented. Companies have the freedom to set the show, costume wise, from the mid-forties through the early 60s - before the majority of people became aware of the civil rights movement.
The songs are excellent and enhance the script which appeals to a wide variety of audiences. Although it is a lighthearted fantasy it makes a strong comment on many of life’s social problems. Not as familiar as many other early hits, it is worthy of more productions and may be labeled among the more inexpensive shows to mount.
The treatment of the blacks by the Senator and his associate is typical of the times and should given the humorous treatment it deserves. Modern audiences, who may have felt uncomfortable with the subject in the 60s and 70s, should be able to laugh at the absurdity of the situation. The labeling of blacks as "Negroes" should be kept to give an authenticity to the period.

SONGS OF SPECIAL INTEREST

"How Are Things in Glocca Mora," Mezzo, nice ballad style, romantic, nostalgic, mezzo range, good for audition
"Old Devil Moon," Soprano/Tenor, charming, romantic duet, lovely melody, imaginative lyrics, good for up-tempo for leads, revue potential
"Something Sort of Grandish," baritone/mezzo, charming, up tempo, good for character study for Og, quick movements for Og make this a good number to lighten up a usually heavy performer
"When I’m Not Near the Girl I Love," Comic baritone solo, character oriented, good for movement and working on developing abandon

Instrumentation: 2 violins, viola, cello, bass, 5 reeds, 2 trumpets, 2 trombones, 2 horns, percussion, harp, piano-celeste, guitar-banjo, piano/conductor
Script: Berkley, Theatre Arts ‘48
Score: Chappell
Record: Columbia
Rights: Tams-Witmark

FIORELLO!

Book: Jerome Weidman and George Abbott
Music: Jerry Bock
Lyrics: Sheldon Harnick

ORIGINAL PRODUCTION

The Broadhurst Theatre, November 23, 1949 (795 perf.)
Director: George Abbott
Choreographer: Peter Gennaro
Musical Director: Hal Hastings
Orchestration: Irwin Kostal

Principals:
Fiorello- Tom Bosley- Tenor
Neil- Bob Holiday- Tenor
Morris- Nathaniel Frey- Baritone
Marie- Patricia Wilson- Mezzo
Ben- Howard Da Silva- Baritone
Thea- Ellen Hanley- High Soprano
Dora- Pat Stanley- Alto
Floyd- Mark Dawson- VTNE
Mitzi- Eileen Rodgers- Alto
Chorus and Smaller Roles: 12M/12F

SYNOPSIS

Scene One is set in 1915 in the Law Office of Fiorello LaGuardia. Several of New York's poor wait to see LaGuardia while Neil, the energetic young clerk, is busy at the switchboard and Morris, the serious, reserved office manager, converses on the phone. Both have different viewpoints about working for a man who believes in helping the poor of New York (ON THE SIDE OF THE ANGELS- Sc to 2M Duet and Chorus).
Dora, a friend of Fiorello's secretary, Marie, enters to beg for legal aid. She is followed by Fiorello who tells Marie that he plans on running for Congress against the Tammany Hall Democrats. This is an especially ambitious task since no Republican has ever won in the 14th District. He asks her to introduce him to Republican District leader, Ben Marino, and promises to help Dora.
In Marino's office, some political hacks sit around playing poker while Ben tries to concentrate on choosing a candidate (POLITICS AND POKER- L to M Chorus). At this point, Fiorello walks in with Marie and confidently expresses his wish to be nominated. Ben agrees to back him, as the rest of the political hacks continue playing cards.
Fiorello rushes off to the exterior of the shirtwaist factory to help Dora. It seems the woman workers at the factory, where Dora works, need Fiorello to defend their right to picket. He boosts their morale and instructs them in the art of protesting (UNFAIR- M Solo with F Chorus).
When Fiorello meets Thea, a beautiful Italian girl who is the leader of the strikers, he is charmed by her spirit and forgets a prior engagement for dinner with Marie. Marie, disappointed at his lack of thoughtfulness, tells Morris she wished there were laws against inconsiderate men (MARIE'S LAW- Sc to F/M Duet).
Fiorello campaigns on street corners throughout the district and, with the help of Ben, Neil, Morris and Thea, he is able to address the various ethnic groups. (THE NAME'S LAGUARDIA- M Solo and Mixed Chorus).
It is election eve and Ben and his political hacks, staggering from intoxication and disbelief at Fiorello's success, worry that Fiorello may become too independent (THE BUM WON- M Chorus).
On the roof of Dora's apartment building, Dora confides to Marie that she is in love with Floyd, the rude policeman who tried to stop the shirtwaist strike by arresting Thea (I LOVE A COP- Sc to F Solo).
In Washington, LaGuardia is causing a commotion with his support of the draft act. Against Ben and Marie's wishes Fiorello goes ahead with his support of the draft and even enlists himself.
After Fiorello's going away party, Fiorello asks Thea to marry. She is at first hesitant to answer, but agrees after Fiorello promises to win Trieste from the Germans (TILL TOMORROW- F Solo to Mixed Chorus).
News reports of Fiorello's heroic deeds show his achievements as a soldier (Film Presentation). At the end of the war he returns to NY where he is greeted by the voters (HOME AGAIN- Mixed Chorus).
Act II opens at the LaGuardia home. Thea, now Fiorello's wife, speaks with Ben on the telephone about the LaGuardia campaign for mayor against the corrupt Jimmy Walker. Dora tells Thea of Floyd's promotion and inquires about Thea's weakening health. After Dora and Fiorello leave Thea wonders when she first fell in love with her ambitious husband (WHEN DID I FALL IN LOVE- Sc to F Solo).
Floyd and Dora have married and Floyd is high in the ranks of the politically corrupt Walker government. He invites the politicians and some shady "mob" characters to his new penthouse to show off his newly acquired clout. The guests are entertained by Mitzi and some chorus cuties, who perform a tribute to the Mayor (GENTLEMAN JIMMY- Sc to F Solo and F Chorus/Tap Dance).
In Fiorello's office, Ben and Fiorello come to blows as Ben tries to advise Fiorello on his political tactfulness. At the same time, Dora informs Marie of a plot to kill LaGuardia. Fiorello tries to stop this act by having Morris and Neil watch out for trouble, but they are distracted when they find out Thea has died.
Morris, Neil, and Marie wait in Fiorello's office to tell him of Thea's death. LaGuardia's loss of Thea coupled with the loss of the election has him emotionally beaten. He feels the city has turned their backs on him, yet vows to fight the Walker corruption in the courts.
In the Republican meeting house, where Ben Marino and his hacks are playing poker and reading the daily news accounts of the trial, they sarcastically comment (LITTLE TIN BOX- Male Chorus). Marie enters to convince Ben to back Fiorello in the next campaign.
Morris questions Marie about her personal plans which involve living a life of her own and finding an eligible husband (THE VERY NEXT MAN- Sc to F Solo). Ben arrives to ask Fiorello to run for mayor and Marie forces him to agree. Realizing he needs and loves Marie, Fiorello proposes marriage. She agrees (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

Fiorello! was the fourth musical to win a Pulitzer Prize for drama. The others were Of Thee I Sing, 1932, Oklahoma! (special award), 1944, and South Pacific, 1950. The show tied with The Sound of Music for the following 1960 Tonys: Musical, Authors, Producer, and Composers. The individual awards went to Tom Bosley (Featured Actor) and George Abbott (Director).
Fiorello! is a well-written libretto about an interesting and unusual man; a perfect role model for high school students and an excellent choice for this age group. Unfortunately, some companies, feeling the show has limited appeal outside the New York area, are hesitant to risk a production. The show, although based of the life of LaGuardia, has an internationally universal theme with marvelous music and lyrics written by the team that wrote Fiddler on the Roof. Fiddler, the story of Russian Jewish peasants, is popular around the globe because of its universal theme. The same holds true for Fiorello! The excellent book, soaring music and adroit lyrics of this prizewinner are worthy of more productions in the country of its origin.
The sets are usually drops and wagons. The World War I LaGuardia film sequence may be adapted to a slide show with pictures of the company's Fiorello placed over the faces of real War I heroes and re-produced into slide format.
The costumes span from pre-WWI to 1925 and each chorus member has at least two if not three changes.

SONGS OF SPECIAL INTEREST

Final Scene beginning with "The Very Next Man," class study and as part of a character study for Mezzo/Soprano
"I Love a Cop," for alto with limited range, story song, comedic, problem song
"Marie's Law," Spunky soprano/mezzo, good for character study
"Unfair," F Chorus with baritone solo, requires slight movement, good for helping shyer performers achieve volume and anger, class study
"When Did I Fall In Love?" extremely high soprano, possible audition
Instrumentation: 3 violins, cello, bass, 5 reeds, 3 trumpets, 3 trombones, guitar-banjo, percussion, piano/conductor
Script: Random
Selections: Valando
Record: Capitol
Rights: Tams-Witmark

THE FIRST

Book: Joel Siegal with Martin Charnin
Music: Bob Brush
Lyrics: Martin Charnin

ORIGINAL PRODUCTION

The Martin Beck Theatre, October 17, 1981 (37 perf.)
Director: Martin Charnin
Choreographer: Alan Johnson
Musical Director and Orchestration: Mark Hummel

Principals:
Jackie Robinson- David Alan Grier-
Branch Rickey- David Huddleston-
Leo Durocher- Trey Wilson-
Rachel- Lonette McKee-
Casey Higgens- Court Miller-
Swanee Rivers- Steven Brockvor-
Clyde Sukeforth- Ray Gill-
Soldier/Pee Wee- Bob Morrissey- Chorus and Smaller Roles: 7M/3F, plus an offstage voice

SYNOPSIS

Act I begins as the curtain rises on a ball field, seen in silhouette. It is just before the game and the players, umpires and coaches are milling around the field. There is an air of nervous anticipation about the moment. Suddenly, the stadium announcer announces Jack Roosevelt Robinson. From the group of players, Robinson emerges. He kneels, holding his bat, in the on-deck circle. Branch Rickey goes up to Robinson as the lights begin to fade. He asks him to play for the Brooklyn Dodgers.
Scene two opens in Gallagher’s Restaurant on West 52nd Street, New York City. It is the fall of 1946, immediately following the close of the regular National League season, in which the Dodgers have lost the pennant. In the background is the famous meat locker and horseshoe shaped bar. Downstage is a private table, surrounded by huge photographs of sports figures. Clyde Sukeforth, a coach and scout for the Dodgers, and Leo Durocher, manager of the Dodgers, are at the table. There is a lot of humorous conversation about the Dodgers losing the pennant four or five years in a row. Branch Ricky, the owner of the team, enters. Sukeforth tells Ricky that Jack Robinson would be a great prospect and Ricky says that he is going to bring the first black into the major leagues (JACK ROOSEVELT ROBINSON- M Chorus).
Scene three begins in Comisky Park, Chicago. The Kansas City Monarchs are playing the Chicago American Giants. It is the ninth inning with the Kansas City Monarchs at bat. A bat crack is heard and Jackie Robinson comes streaking around the bases, stopping at third base. The third baseman and Jackie eye each other warily. Junkyard Jones, the pitcher, returns to the mound. Jackie dances off third trying to rattle the pitcher. Junkyard shakes off several signs from his catcher, all the while watching Jackie. Jackie takes a long lead-off and Junkyard checks him, forcing Jackie back to third. Junkyard takes a long wind-up and pitches but no ball leaves his hand. Jackie races for home, slides and is tagged out by the catcher, who miraculously has produced a ball. Jackie is furious. Cool Minnie, seeing a potential fight, comes across the field and pulls Jackie into the locker room, away from an aggravating, smug Junkyard Jones.
Now we see the locker room of the Kansas City Monarchs at Comisky Park, Chicago, immediately following the previous scene. The players begin to joke with each other and Clyde Sukeforth enters the locker room. He tells Jackie that Mr. Rickey wants to see him in New York the next day. Jackie is suspicious of the offer because the same sort of thing had happen previously with the White Sox and the Red Sox. Sukeforth tries to assure him that Mr. Ricky is serious. Robinson’s teammates try to tease Jackie out of his pain about the past (THE NATIONAL PASTIME- M Chorus). Sukeforth leaves with the hope that Jackie will be in New York the next day.
The setting for scene five is a platform at Union Station in Chicago. A train has just arrived, discharging passengers. A redcap enters with a luggage cart. One of the passengers with him is Rachel. She stands alone on the platform for a few moments. Jackie rushes onto the platform, out of breath and carrying a suitcase. He greets Rachel with a huge, loving embrace and many kisses. He then tells her about Sukeforth’s visit. He has decided to go. She is pleased when Jackie asks her to marry him. Rachel wants to wait until they know each other better (WILL WE EVER KNOW EACH OTHER- M and F Duet). He leaves running for the train.
Scene six begins in Branch Rickey’s office on Montague Street in Brooklyn. Rickey is there and Jackie and Sukeforth enter the office. Rickey asks Jackie if he would be tough enough to handle being the first black player in the league and he explains what kind of intense pressure Robinson would be under. Jackie says that he has been under this pressure all of his life; thus this would not be a new experience for him. Ricky and Sukeforth leave temporarily to speak to reporters. Jackie takes in the room, really seeing it for the first time. Finally, his eyes land on the team photo and he begins to wonder what it would be like being the first black man to play major league baseball (THE FIRST- M Solo). Rickey returns and Jackie agrees to sign on with the Dodgers. They shake hands.
The Brooklyn Dodgers Training Camp in Havana, Cuba is the setting for scene seven. It is February 1947 at the beginning of spring training. Leo Durocher is on the field talking with Jimmy Powers and two Cuban reporters. The Dodgers straggle onto the field. Some are smoking and all are overweight and out of shape with prominent beer bellies. The reporters are writing furiously in their notebooks about the condition of the Dodgers. Leo signals for the Dodgers to begin exercises and turns to explain to the reporters (BLOAT- M Chorus). The reporters ask Leo about Jackie Robinson. The song, "Bloat," continues. The Dodgers are now exercising rapidly and with perfect precision and, as Leo predicted, they are all "thin as rails" and "hard as nails." As the unison exercise breaks up, the Dodgers begin to practice individually, some checking their batting swings, some playing catch, some checking equipment. Casey Higgens, a pitcher, goes to an isolated corner of the field. He is followed by Powers, a reporter. Casey tells him that he doesn’t want a black on the team. Leo breaks up the conversation. Hatrack carries slides over to Casey. They discuss a petition that’s going around. Half the team is signing it. Pee Wee enters and refuses to sign it. He tells them that they won’t win.
Jackie hesitantly enters onto the field and is trying to join a "pepper" game in progress. Jackie is ignored by the players, then walks over to Casey, Hatrack and Swanee. He nods to them. Casey, over polite, tips his hat and smiles. These three then start their own "pepper" game pointedly refusing to throw the ball to Jackie. They circle Jackie, throwing the ball over his head and around him. Jackie shakes his head in disgust and starts to walk to another part of the field. Suddenly, a loose ball hits Jackie on the back. He turns angrily, thinking the hit was deliberate. Pee Wee, after a moment, tosses the ball to Jackie. Jackie tosses it back, underhand to Pee Wee. They continue to toss the ball underhand, backing further and further from each other. Then, they begin to throw overhand and the only sound on the field is the "thwack" of the ball in their two mitts.
Scene eight occurs in the players entrance to the ballpark in Jacksonville, Florida. In the background is an empty grandstand. A high chain link fence separates the playing field from the outside of the ballpark. Swanee is hitting baseballs, which other Dodgers, including Jackie, are fielding. A number of black fans are pressing against the fence to get a glimpse of Jackie.
A local Sheriff enters, crosses to the gate in the fence and goes onto the field. The sheriff goes to Leo and tells him that the game of that day can’t be played because the lights don’t work although the game is at eleven o’clock in the morning. The Dodgers take their equipment and leave. Jackie comes through the gate and crosses to Rachel who has been waiting for him. They have been married. Rachel tells him that she supports him (THE FIRST [REPRISE]- M Solo).
Scene nine is set in the Dodger locker room at Ebbets field in Brooklyn. Upstage left are the lockers where several Dodgers are changing into their uniforms. Downstage is a rubbing table, which holds a deck of cards and some money. Casey, Hatrack, Swanee and two other Dodgers are sitting on stools around the rubbing table, obviously in the middle of a poker game. They sing about their dissatisfaction at having a black man playing on their team (IT AIN’T GONNA WORK- M Chorus). We learn that five games have been canceled and the players are planning to strike. Rickey and Leo enter the locker room and cross downstage to the rubbing table and take stools at opposite ends of the table. Rickey begins to deftly shuffle the cards. They begin to sing about the strike (THE BROOKLYN DODGER STRIKE- Mixed Chorus). Rickey talks them out of the strike. Casey tells Rickey that he wants to be traded and Rickey exits in disgust. Leo gives the players some tips for the game. Sukeforth enters, holding an official looking press release. Leo, reading the paper, runs from the locker room with Sukeforth behind him.
The next act is set in Branch Rickey’s office a few minutes later. Ricky is on the phone, angry but trying to be reasonable. Leo enters in civilian clothes. Jackie and Rachel come into the room. They learn that the Commissioner of Baseball will release a statement saying that Dodger manager Leo Durocher is going to be suspended from Baseball for the 1947 season. Jackie understands that Leo has been pushed out of the way because he is the only one on the field who can protect him. Rickey asks Jackie if he wants to wait a year. Neither Jackie nor Rachel wants to wait. Then Rickey takes a contract out of his desk drawer, puts the contract on his desk and hands a pen to Jackie. Jackie looks at Rachel, who nods that he is doing the right thing. Then Jackie looks at Rickey, takes the pen and signs the contract. Suddenly, impulsively, Rickey hugs Jackie (JACK ROOSEVELT ROBINSON/THE FIRST [REPRISE]- M and F Duet).
Now we see a ball field, in silhouette, just before a game. The players, umpires and coaches are milling around the field. There is an air of nervous anticipation about the moment. As they run to their respective field positions, we hear the stadium PA system. From the group of players, Jackie emerges. He kneels, holding his bat, in the on-deck circle, and then sprints down to first base. Booing is heard from the stands. It turns to chanting, which grows louder and louder. A watermelon is thrown from the stands, which lands at Jackie’s feet, splattering all over the field. Jackie is startled, but holds his ground. He stands very tall, straighter and prouder and more defiant then he has ever been.
Act II opens at the Polo grounds, home of the New York Giants, in Manhattan. The Dodgers are taking batting practice before the game. Patsy, Huey and Sorrentino, hard core Dodger fans, enter the stands and take their seats to watch batting practice. Sorrentino tells his friends that colored guys choke under pressure. His friends think that he sounds ridiculous.
The Kansas City Monarchs, Junkyard, Bucky, Softball, Rodney, the Equipment and Cool Minnie with two beauties in tow, Ruby and Opal, enter the stands. With much noise and confusion they find their seats, which happen to surround Sorrentino. After a moment of panic, Sorrentino moves to another part of the stands. They all watch Jackie field a few grounders. The Dodgers all begin to trot past the stands to the locker room. Huey and Patsy rise to leave the stands. As Jackie jogs past the stands, he sees the Monarchs waving frantically at him. Jackie stops and they talk together briefly.
Sorrentino approaches Jackie and sincerely asks for his autograph. The Monarchs then leap from the stands onto the playing field and look around in awe. They are proud to have a black man playing ball there (YOU DO, DO, DO, IT GOOD- M Chorus).
Scene two opens in the Dodger locker room at Shibe Park, Philadelphia before a game. The players are changing into their uniforms and laughing together. Jackie is still an outsider. A commotion is heard in the hallway, the shouting of reporters. We discover that the entire team was not welcome at the ironically named Benjamin Franklin Hotel. Powers, a reporter, asks if they will deliver this year (IS THIS YEAR NEXT YEAR?- M Chorus). As the reporters exit, a dour little man in a brown suit has stayed behind. He is Brian Waterhouse, an FBI agent who has come to investigate threats against Jackie’s life. Waterhouse is very reluctant to do anything and Rickey has to tell him what to do. Rickey does not want Jackie to play in the game that day, but Jackie refuses to be afraid. Sukeforth enters the locker room with a telegram for Rickey. It says that Casey will be traded to Pittsburgh.
Immediately following the previous scene, in a mesh corridor leading from the locker room to the playing field. The Dodgers are crossing through on their way to the field. Jackie trails the group. Casey enters the corridor and calls to Jackie. He blames Jackie for the trade then spits on him and throws down his glove, fists clenched. Casey circles Jackie and lunges but Jackie easily steps out of his way. Casey swings at him and, again, Jackie steps out of the way, but this time he drops his glove preparing to fight back. Casey rushes at Jackie. Jackie grabs Casey’s arms, overpowers him and pushes Casey against the mesh. He tells him that nothing will stop him from playing ball. He releases a defeated and humiliated Casey. Jackie picks up his glove and walks slowly to the playing field, leaving Casey alone.
Scene four begins in a section of the stands at Ebbets Field, just before a game. Rachel is sitting alone. Several rows behind her sits Mrs. Furillo. Rickey enters and talk to both women. Soon Mrs. Stanby enters and sits beside Mrs. Furillo. Neither women will speak to Rachel. Both Stanby and Furillo bat, both striking out, and the wives are embarrassed. Jackie, up at bat, makes a base hit and Rachel is very proud (THERE ARE DAYS- F Solo).
Scene five is set on a long wooden front porch of an old Victorian farmhouse outside St. Louis, Missouri, late in August. It is night annd Jackie talks on the phone with his mother. He tells her that things are great but in actuality he is very upset. His teammates still haven’t accepted him and hotels will not let he and Rachel stay there. Rickey enters Rickey tries to tell Jackie that things aren’t as bad as they seem. Another black man, Larry Doby, has been signed into the major leagues. Jackie and Rickey look at each other for a moment. Jackie’s emotions are strong but confused. Although this is, in fact, the moment he has waited for, he must now give up his singularity in the major leagues (IT’S A BEGINNING- Mixed Chorus).
Scene six begins outside Ebbets Field in Brooklyn. It is late afternoon just before the pennant winning game with the Pittsburgh Pirates. Four fans, Huey, Patsy, Sorrentino and Hilda Chester, enter. They are discussing the sports page (THE OPERA AIN’T OVER- Mixed Chorus). When the song is over, Jackie and Rachel enter with the Brooklyn Dodgers. The fans spot the team and rush to them. From the opposite direction, Cool Minnie enters with Ruby and Opal. Casey Higgens, now pitching for Pittsburgh, enters and saunters over to Jackie and Rachel. Casey tells Jackie that he will be throwing the ball at him that night as the fans continue with the previous song.
Scene seven begins inside Ebbets Field at the bottom of the seventh inning. Casey is pitching to Jackie. The ball hits Jackie but he rises quickly to face Casey again. This time Jackie bunts and makes it to first base. He pretends that his ankle is sprained in order to steal second base. After he does this, Jackie steals third. Casey is furious and he knows that Jackie has stolen home a number of times this year. Jackie then successfully steals home.
Scene eight begins during the last inning. The Dodgers win the pennant and Sukeforth rushes onto the field and hugs Pee Wee. Other Dodgers begin to run onto the field, hugging, kissing and throwing their gloves in the air in triumph. Jackie takes a tentative step toward the jubilant ball players then stops, unsure. Hatrack rushes from home plate and throws his arms around Jackie. Hatrack sees whom he is hugging and steps back. Then he looks at Jackie and hugs him again and lifts him into the air. The other players surround Jackie, pulling him into their midst and the fans rush onto the field. Ball players, fans, and coaches, both black and white, become one huge mass of hugging, cheering, jumping Brooklyn winners.

NOTES ON THE PRODUCTION

The First was nominated for 3 Tony Awards in 1982 for Best Actor with a Featured Role, Best Director and Best Book of a Musical. However, it did not win any, the majority of the awards having gone to Dreamgirls and Nine that year.
This show is based on the life of Jackie Robinson, the first black major league baseball player. It spans his life between August of 1945 and September 1947, covering two years of the actual events in his life.

SONGS OF SPECIAL INTEREST

Instrumentation: piano, 5 reeds, 3 trumpets, horn, 3 trombones, percussion, drums, cello, bass (or tuba), guitar/banjo
Script: Samuel French Score: Record/CD: Rights: Samuel French

FIRST IMPRESSIONS

Book: Abe Burrows
Music and Lyrics: Robert Goldman, Glenn Paxton and George Weiss
(Based on Pride and Prejudice by Jane Austen and the play by Helen Jerome)

ORIGINAL PRODUCTION

Alvin Theatre, March 19, 1959 (84 perf.)
Director: George Abbott
Choreographer: Jonathan Lucas
Musical Director: Buster Davis
Orchestration: Don Walker

Principals:
Mrs. Bennet- Hermione Gingold- Alto
Elizabeth- Polly Bergen- Alto
Jane- Phyllis Newman- Mezzo
Mary- Lois Bewley-
Lydia- Lynn Ross-
Kitty- Lauri Peters- Soprano
Fitzwilliam- Farley Granger- Baritone
Charlotte- Ellen Hanley-
Chorus and Smaller Roles:

SYNOPSIS

In Longbourn, England, in 1813, at the Bennet home, Mrs. Bennet worries about finding proper husbands for her five daughters (FIVE DAUGHTERS- Sc to F Solo).

Elizabeth, with a mind of her own, doesn’t want to be considered only as someone’s wife (I’M ME- F Solo), but Mrs. Bennet is overjoyed to hear that two eligible young men are moving to a nearby manor and eagerly tells her friends the good news (HAVE YOU HEARD THE NEWS?- Sc to F Solo to Mixed Chorus).

The two gentlemen are introduced to the eligible girls at a dance and Bingley is attracted to Jane, but Elizabeth and Darcy clash terribly. They attempt to make the best of the evening (A PERFECT EVENING- Sc to M/F Duet).

Mrs. Bennet, certain that Jane will be invited to stay for a long visit, cagily sends Jane to visit Bingley at his estate (AS LONG AS THERE’S A MOTHER- Sc to F Chorus). When Jane catches cold and is forced to stay at Bingley’s, Elizabeth goes to visit. Darcy and Bingley comment on middle-class women (JANE- Sc to M Duet). Darcy prevails upon Elizabeth to entertain the group (LOVE WILL FIND OUT THE WAY- F Solo), is enraptured by her entertaining style, and bemused to find that he may have misjudged her (A GENTLEMAN NEVER FALLS WILDLY IN LOVE- M Solo).

When Mr. Bennet’s cousin, Collins, arrives at the estate seeking a wife, he instantly chooses Elizabeth, who is indignant at his attitude (NO- Sc to M/F Duet).

Bingley, deeply in love with Jane, gives a garden party to introduce her to society (I FEEL SORRY FOR THE GIRL- Sc to M/F Duet). When Elizabeth and Darcy begin to be attracted to each other, they surprisingly comment (I SUDDENLY FIND IT AGREEABLE- Sc to M/F Duet).

Elizabeth is amused by the situation (THIS REALLY ISN’T ME- F Solo). The mod is broken when Darcy learns that Jane and Bingley are in love, for he cannot condone the difference in their situations and leaves for London.

Collins, whom Elizabeth has turned down, marries Charlotte, much to the chagrin of Mrs. Bennet (WASN’T IT A SIMPLY LOVELY WEDDING- Sc to Mixed Chorus).

When Mrs. Bennet is invited to Kent to visit a wealthy lady, she yearns for the city life (A HOUSE IN TOWN- F Solo). Darcy visits Elizabeth to ask for her hand in marriage (THE HEART HAS WON THE GAME- M Solo), but she refuses him, disgusted by his aristocratic snobbery.

Elizabeth finally realizes she is founding her dislike of Darcy on his pride, and decides to apologize- she and her mother set off to achieve a happy ending (LET’S FETCH THE CARRIAGE- F Solo).

NOTES ON THE PRODUCTION

SONGS OF SPECIAL INTEREST

Instrumentation: Script: Samuel French
Score: Record/CD: Columbia
Rights: Samuel French

FLORA THE RED MENACE

Book: George Abbott and Robert Russell
Music: John Kander
Lyrics: Fred Ebb
(Based on the book Love is Just Around the Corner by Lester Atwell)

ORIGINAL PRODUCTION

Alvin Theatre, May 11, 1965 (87 perf.)
Director: George Abbott Choreographer: Lee Theodore
Musical Director: Hal Hastings
Orchestration: Don Walker

Principals:
Flora- Liza Minelli-
Ada- Mary Louise Wilson-
Harry- Bob Dishy-
Charlotte- Cathryn Damon-
Cowboy- James Cresson-
Elsa- Stephanie Hill-
Chorus and Smaller Roles:

SYNOPSIS

The time is 1933, at the heart of the Depression, and the place is New York City, where Flora Mezaras, class valedictorian, leads the commercial arts graduates in a rousing march song tribute to the future (UNAFRAID- L to Chorus).
The scene switches to 1935, where Flora and other job applicants are anxiously waiting for jobs as artists at a large NY department store (ALL I NEED- Sc to Chorus). At Mellick’s store, she meets an attractive, determined young artist, Harry Toukarian, and they feel a mutual attraction (NOT EVERY DAY OF THE WEEK- Sc to M/F Duet).
At her apartment, after a party where Flora introduced Harry to her friends, he hands her an application for membership in the Communist Party and convinces her to join (SIGN HERE- Sc to M/F Duet). At her first party meeting, she is introduced by Comrade Ada to the dedication of the Communists in their dream to build a better society (THE FLAME- F Solo to Chorus).
In Flora’s studio, two of her friends are rehearsing a number for "Major Bowes Amateur Hour" (PALOMINO PAL- M/F Duet). Flora has received a job offer at Mellick’s store and comments on her good fortune to be earning $30 a week (A QUIET THING- F Solo).
Flora returns to her apartment to find Harry practicing his speech lessons with a mouthful of pebbles. He desires her to become his lover, but she refuses (HELLO WAVES- Sc to M/F Duet).
After a rally in Union Square, where Harry pleaded with Flora to come to his apartment, she decides to follow him home and express her feelings (DEAR LOVE- F Solo). Harry, miffed that Flora isn’t going to have an affair, had no trouble luring another comrade to his apartment (EXPRESS YOURSELF- Sc to M/F Duet). Flora, discovering them, is upset and returns home.
In Central Park, Flora’s comrade, Ada, and Cowboy, one of Flora’s show business friends, have discovered a mutual interest (KNOCK KNOCK- Sc to M/F Duet).
At the department store, she confesses to being a member of the Communist party and is instantly fired. Determined to keep her spirits up, she bursts into song (SING HAPPY- L to F Solo).
At her studio, Flora spurns Harry and renounces her membership in the party. Her friends convince her that her choice was right (YOU ARE YOU- Mixed Chorus), and phase one of her young life has ended.

NOTES ON THE PRODUCTION

Flora the Red Menace won a 1965 Tony Award for Best Actress (Liza Minelli).
Although the rather weak book did not give Miss Minelli much to work with, she won the Tony Award for Best Actress and it gave her the opportunity to work with the young composing team of Kander and Ebb. They went on to write many hit songs for her various club performances.

SONGS OF SPECIAL INTEREST

Instrumentation:
Script: Samuel French
Score: Samuel French
Record/CD: RCA
Rights: Samuel French

FLOWER DRUM SONG


Book: Oscar Hammerstein II and Joseph Fields
Music: Richard Rodgers
Lyrics: Oscar Hammerstein II
(Based on the Novel by C.Y. Lee)

ORIGINAL PRODUCTION

St. James Theatre, December 1, 1958 (600 perf.)
Director: Gene Kelly
Choreographer: Carol Haney
Musical Director: Salvatore Dell’Isola
Orchestration: Robert Russell Bennett

Principals:
Mei Li- Miyoshi Umeki- Mezzo
Madam Liang- Juanita Hall- Alto
Linda Low- Pat Suzuki- Alto
Wang Chi Yang- Keye Luke- Baritone
Sammy Fong- Larry Blyden- Baritone
Wang Ta- Ed Kenney- Tenor
Helen Chao- Arabella Hong- Soprano
Frankie Wing- Jack Soo- Baritone
Madam Fong- Eileen Nakamura- VTNE
Dr. Lu Fong- Chao Li- VTNE
Dr. Li- Conrad Yama- VTNE
Chorus and Smaller Roles: 8M/6F minimum (if minimum is used all must be able to play teens as well as adults), 2B/2G children (optional)

SYNOPSIS

The curtain rises on an average living room in modern day San Francisco’s Chinatown. In it is Madam Liang, a middle aged, Americanized Chinese woman who lives with her overly traditional sixty-year old Chinese brother, Wang Chi Yang, and his two sons. Ta, the eldest son tells his Aunt of his interest in a young girl he plans on plying with romantic Chinese poetry. The two musicalize the poem (YOU ARE BEAUTIFUL- Sc to M/F Duet).
Ta’s father, determined that Ta should marry a girl from the old country, decides to allow Sammy Fong’s picture bride, Mei Li and her father, Dr. Li, stay in his home. Mei Li sings the charming flower drum song (A HUNDRED MILLION MIRACLES- Sc to F Solo with Small Mixed Chorus) and is embraced by Mme. Liang, who takes her to the guest room.
On a hill overlooking San Francisco Bay, Linda Low, a pretty, westernized Chinese girl who works as a nightclub singer, tells Ta of her aim to be a success as a woman. She hints that she is cold and, when he naively misses her cue and runs off to get her a sweater, she sings about the joys of being female (I ENJOY BEING A GIRL- F Solo). Ta returns and asks her to marry him and, knowing he has money, she readily accepts.
At the Wang house, everyone is busy preparing for Ta’s graudation from college and Madam Liang’s from citizenship school. Mei Li is introduced to Ta and immediately entranced (I AM GOING TO LIKE IT HERE- F Solo).
In Wang’s simply furnished bedroom Mei Li, curious about western ways, shyly asks Ta how he would ask a girl to marry him, he responds (LIKE A GOD- Sc to M Solo).
At the citizenship graduation party in Wang’s garden, Madam Liang announces her pride to be both American and Chinese (CHOP SUEY- Sc to F Solo to Mixed Chorus). The party ends in disaster, when Linda Low arrives announcing that her brother, Frankie, consents to her marriage to Ta. Wang is shocked because Ta knows nothing of women, especially fortune hunters, and Linda Low appears to be fast. Sammy Fong, who loves Linda and has been dating her for five years, tells Mei Li she has to get busy or she will have to marry Sammy, according to his mother’s previously arranged marriage agreement (DON’T MARRY ME- Sc to M/F Duet).
Various party-goers congratulate Linda and inquire where she will live after she is married. She quickly responds that she must be where the action is (GRANT AVENUE- Sc to F Solo to Mixed Chorus).
In her dressing room at the Celestial bar, Linda prepares for her final show, which Sammy has insisted on. Helen Chao, her dresser, envys Linda her forthcoming marriage to Ta, for she has admired him herself (LOVE LOOK AWAY- F Solo).
The specialty act is going on at the club (FAN TAN FANNY- F Solo with F Dancers) as the Wang family arrives. It seems Sammy wanted to make sure Linda does not marry Ta. As Frankie, Linda’s pretend "brother" emcees, a variety of scantily clad girls, which include Linda as the star attraction, enter (GLIDING THROUGH MY MEMORIES- M Solo with F Showgirls). The family leaves a dazed Ta.
Act II opens at Helen’s apartment. Ta, in a drunken stupor, dreams of various girls dancing through his mind (DREAM BALLET). In the morning, Mei Li arrives to have Mr. Wang’s suit mended and notices Ta’s suit jacket. She quietly leaves. Ta enters and thanks Helen for her assistance before leaving. She knows she will never date him again and sadly laments (LOVE LOOK AWAY [REPRISE]- F Solo)
In Wang’s living room, Wang and Madam Liang comment on the strangeness of the younger generation (THE OTHER GENERATION- Sc to M/F Duet). Ta enters to beg forgiveness and is pleased that Mei Li is his father’s choice of bride for him. When she tells him she cannot marry him because she knows he was in Helen’s room, he feels he has lost someone very special. Dr Li and Mei Li prepare to leave Wang’s house.
At Sammy Fong’s, where Linda has come to pack her things, Sammy asks her to marry him. The two romanticize about their future life (SUNDAY- Sc to M/F Duet).
In a large ballroom, the family association insists that Sammy honor his contract with Mei Li, which forces the young people to despair because Sammy wants to marry Linda, and Mei Li doesn’t know what she wants.
At Sammy’s apartment, Mei Li promises Ta that she will try to think of some way to stop the marriage and her answer comes from a late night television show about a Mexican wetback. During the wedding she proudly announces to Mme. Fong she is a wet back for she has entered the country illegally. Mme. Fong refuses to let her son marry an alien and gladly accepts Linda Low into her family. The play ends with both couples happily united.

NOTES ON THE PRODUCTION

Flower Drum Song is an enjoyable show with excellent music by Richard Rodgers and lyrics by Oscar Hammerstein II. Juanita Hall, of South Pacific fame, again delighted Rodgers and Hammerstein followers. Although most of the season’s Tony Awards went to Redhead, the show’s Musical Director received an award.
This "generation gap" musical is enjoyable to audiences of all ages and may easily be performed by High Schools and communities alike. High Schools may want to simplify and tone down the nightclub sequence, but this requires very little on the part of the director.
There are very good roles for males and females, the songs are familiar and the show easily sellable. The roles of Linda and Helen require strong singing voices but the rest are mainly character oriented singing and may vary from role to role. The original production had separate singing and dancing choruses but this isn’t absolutely necessary, especially if the dance sequences are trimmed.
The sets may be trimmed by playing more scenes in the Wang living room and not utilizing the Wang bedroom or garden. The family association may also meet at the Wangs’ and the final scene could possibly be in the living room. A backdrop of San Francisco Bay is recommended for scene 2 and as a background for the living room. It may also be utilized, with the addition of signs and storefront cut outs, as the Grant Avenue background.
It is important that the show be quickly paced. Quick scene changes and script tightening will help this show which should sell well and is worthy of production.

SONGS OF SPECIAL INTEREST

"Like a God," Tenor, possible audition, shows off the voice, good ballad
"Love Look Away," Semi dramatic, requires strong, legitimate soprano voice, good for audition or class study
"The Other Generation," Alto/Baritone, comic duet, older M/F, relationship and reactions important, possible for Revue and class study

Instrumentation: 6 reeds, 2 horns, 3 trumpets, 2 trombones, 4 violins, viola, cello, tuba, percussion, bass, harp, guitar/banjo/ mandolin, piano/conductor
Script: Chappell; Farrar, Straus & Cudahy
Score: Williamson
Record: Columbia
Rights: R & H Library

FLOWERS FOR ALGERNON

See Charlie and Algernon

FOLLIES

Book: James Goldman
Music and Lyrics: Stephen Sondheim

ORIGINAL PRODUCTION

The Winter Garden, April 4, 1971 (522 perf.)
Directors: Harold Prince and Michael Bennett
Choreographer: Michael Bennett
Musical Director: Harold Hastings
Orchestration: Jonathan Tunick

Principals:
Sally- Dorothy Collins- Mezzo/Soprano
Roscoe- Michael Bartlett- Tenor
Phyllis- Alexis Smith- Mezzo/Alto
Hattie- Ethel Shutta- Alto
Benjamin Stone- John McMartin- Baritone
Stella- Mary McCarty- Mezzo
Buddy- Gene Nelson- Baritone
Heidi- Justine Johnston- Soprano
Solange La Fitte- Fifi D’orsay- Mezzo
Carlotta- Yvonne DeCarlo- Alto
Young Phyllis- Virginia Sandifer- Mezzo
Young Ben- Kurt Peterson- High Baritone
Young Buddy- Harvey Evans- Tenor
Young Sally- Marti Ralph- Soprano
Chorus and Smaller Roles: 6M/8F minimum

SYNOPSIS

The play takes place on the soon to be demolished stage of the Weismann Theatre where a reunion is being held to honor the beautiful Weismann chorus girls that once performed there. The lights rise on the cavernous theatre, once resplendent, now containing little but planks and scaffolding. A pale young showgirl is seen, the ghost of a former performer. As she slowly moves another showgirl appears. The ghost-like girls are only seen by the audience and are never noticed by the onstage performers. A majordomo breaks the mood of the past when he enters briskly, followed by waiters and waitresses who pass through the showgirls.
Sally Durant Plummer, a small, blonde, energetic, 49-year old former Weismann girl enters, and her youthful counterpart moves towards her. Phyllis Rogers Stone, an extremely sopisticated and attractive woman in her late 40s arrives with her handsome and successful husband, Ben, and Young Phyllis moves to her as a Young Ben moves to Ben. Phyllis comments to Ben about their past, but he feigns disinterest; there is an underlying tension in their relationship.
More guests arrive and among them is Buddy Plummer, a 53-year old with a tender appeal who is outwardly smiling to cover much inner disappointment. He is looking for Sally, his wife, who took another flight. Finally Mr. Weismann himself enters, and greets his guests. Then the former showgirls, from the era 1918 to 1941, are introduced by Roscoe, an elderly tenor who performs the number as he must have 30 years before (BEAUTIFUL GIRLS- M Solo to Chorus).
As the party continues, the audience is introduced to former Weismann performers Max and Stella Deems, who lost their radio jobs and became store owners in Miami. The audience also meets Solange La Fitte, who has a perfume for men named after her, Hattie Walker, who has lost five younger husbands, Vincent and Vanessa, former dancers who now own an Arthur Murray franchise, Heidi Schiller, who once had Franz Lehar write a waltz in her honor, and Carlotta Campion, a film star who has embraced all life has to offer and benefited from every experience.
Throughout the various introductions, the story of Ben, Phyllis, Buddy and Sally dramatically unfolds in a series of present day scenes which are intertwined with scenes from the past played by their younger counterparts. It seems that Phyllis and Sally were once roommates, and Ben and Buddy were best friends who were going to school in NY.
Suddenly, Sally sees Ben, her former lover who had had an affair with her. She still cares for him and greets him self-consciously (DON’T LOOK AT ME- Sc to F Solo to M/F Duet). Carlotta re-enters to comment that she is tired of listening to everyone’s stories and just wants someone to listen to her. The scene quickly cuts, just like a movie, to Ben, Sally, Phyllis and Buddy who are reminiscing about the old days of their courtship and the theatre. They are joined by their young counterparts (WAITING FOR THE GIRLS UPSTAIRS- Sc to 4M/4F Octet). The song ends with the four quite shaken by the vivid remembrance of their past and the realization of what they have become. They angrily finish the song as the stage goes to blackout.
The lights rise on Willy Wheeler, a portly man in his sixties, who performs a cartwheel for a photographer. Emily and Theodore Whitman, two ex-vaudeville performers in their seventies, perform an old routine (LISTEN TO THE RAIN ON THE ROOF- M/F Duet). They are followed by Solange La Fitte, still fashionable at 66 (AH, PARIS!- F Solo), and Hattie Walker, a tough seventy-year old who performs her showstopping number (BROADWAY BABY- F Solo); the performance ends with the three songs being sung simultaneously.
Sally is awed by Ben’s life, which she assumes is a glamorous one, yet Ben wonders if he made the right choices and considers how things might have been (THE ROAD YOU DIDN’T TAKE- L to M Solo with 2M Scene Interspersed). Sally tells Ben how her days have been spent since she left the Follies and attempts to convince him and herself that Buddy keeps her life from being mundane (IN BUDDY’S EYES- Sc to F Solo, Bitter). In the middle of the song young Sally and Ben are seen. Young Sally is in love with Young Ben and terribly hurt, for he is marrying Young Phyllis but still wants Sally’s sexual favors. She shakes loose from the memory and tragically continues singing about Buddy, who sees her as young and needs her. As the song ends she and Ben embrace and begin to dance, but are interrupted by Phyllis who takes Sally aside to have a rather biting encounter. The two are interrupted when the ex-chorines all line up to perform an old number (WHO’S THAT WOMAN- F Solo and F Chorus) where they are mirrored by their former selves.
What follows is a scene between Ben and Phyllis and Sally and Buddy, but neither couple is aware of the other. The scene is sadly bitter for Sally isn’t and never has been happy with Buddy, who has and always will adore her deeply, despite his many affairs. Phyllis and Ben are angry at their lives and their relationship, which has become numb and emotionless.
Carlotta breaks the scene by telling of her dramatic solo number that was cut from the Follies because the audience found it humorous, but somehow the number works when she sings it at age fifty (I’M STILL HERE- L to F Solo).
Ben confides to Sally that his life is empty. She yearns to be held by him, but young Sally slips between them and the three move together (TOO MANY MORNINGS- Sc to Duet). Ben, caught up in the passion of the memories with Sally, kisses her as Buddy, not seeing them, enters. Buddy is pacing and furious and Ben, startled by the reality of the moment and the parallel between the present and the past, tells Sally it was over long ago. He exits, leaving a dazed Sally who still dreams of a marriage that will never happen.
Buddy angrily sings about the girl he should have married, the one who would have loved him and made him a somebody (THE RIGHT GIRL- M Solo). After a frantic dance, Buddy stops and soliloquizes about his thoughts on his relationship with Sally. Sally overhears some of this and tells him that it doesn’t matter anymore for Ben has asked her to marry him. Buddy knows that she is either crazy or drunk but he doesn’t care anymore for he has helped her through the drunken rehabilitation clinics and the mental hospitals and can’t take anymore.
Meanwhile, Ben drunkenly propositions Carlotta with whom he once had a fling. She refuses his advances for she is presently involved with a 26-year old. The scene is broken when Heidi Schiller, a Viennese lady in her 80s sings with her counterpart, Young Heidi (ONE MORE KISS- F Duet).
Phyllis is seen necking with a waiter and confesses to him that she had always wanted a son. She eventually turns away and goes back to Ben telling him that she can’t return to what they had. When Ben tells Phyllis he wants a divorce, she assumes the request is due to his love for Sally, but he explains he needs some meaning in his life and someone to love; he has never loved Sally and doesn’t now, but he must find something to care for. Phyllis is hurt, angered and upset because she loves Ben and has given him her whole life. She expresses her thoughts to him as she contemplates a divorce (COULD I LEAVE YOU- Sc to F Solo).
The two couples and the young counterparts argue furiously and insanely about how foolish they were when they were young. Suddenly, at the peak of madness and confusion, the couples are surrounded by the ensemble, dressed as Dresden dolls and cavaliers and singing of love (LOVELAND- Mixed Chorus).
Young Phyllis and Young Ben come to life and sing to each other the hopes for their future (YOU’RE GONNA LOVE TOMORROW- M/F Duet). They are followed by Young Buddy and Young Sally who express their hopes for their future (LOVE WILL SEE US THROUGH- M/F Duet). This section ends with the young couples vocally joining in counterpoint.
As the number ends, a show curtain drops and Buddy appears to welcome us to the Follies. He is dressed in plaid pants, a shiny derby hat and a vibrant colored jacket. He carries a cut out car and sings an old number (THE GOD-WHY-DON’T-YOU-LOVE-ME? BLUES- M Solo with F needed for staging). Sally performs as a screen vamp of the 30s (LOSING MY MIND- F Solo), Phyllis, in a fringed dress, tells a love story (THE STORY OF LUCY AND JESSIE- F Solo and Male chorus), and Ben enters in top hat with cane to perform (LIVE, LAUGH, LOVE- M Solo and Mixed Chorus). Each of these four songs is an ironic parallel to their respective feelings and situations. However, Ben can’t go through with his. He stumbles, forgets the words, and anxiously calls to the conductor for the lyrics as he frantically tries to keep going.
The curtains rise, one by one, and the show abruptly ends Ben becomes frenzied, while the chorus continues as if nothing was going wrong. He rushes to various groups screaming and yelling at his past but collapses and cries out for Phyllis.
The lights change and Ben, Phyllis, Buddy and Sally re-unite in the now half demolished crumbling theatre. Buddy slowly helps Sally off while Phyllis strongly helps Ben to regain his dignity before they exit. Their counterparts, who have watched the scene from the shadows, slowly move downstage and the young men call softly to the young girls as the curtain falls.

NOTES ON THE PRODUCTION

Follies won Tony Awards in1972 for Best Actress (Alexis Smith), Director, Choreography, Score, Scenic Design, Costume Design, and Lighting Design. The award for Best Book and Musical went to Two Gentlemen of Verona.
The work is a magnificent and challenging theatrical endeavor in which the characters are interesting and well drawn. There are many strong female roles which will give the older community theatre actresses something more exciting than the usual character chorus parts.
The show requires a large cast. It is possible to double but not advisable. Many of the smaller characters only have a few lines and one featured song which means that early rehearsals can be broken up into smaller sections.
The music varies from simple vaudeville to musically complex. The younger principal counterparts should all sing well. The costumes are period or present day evening clothes. The "Follies Girls" sequence costumes are extremely lavish as are those for "Loveland." They will probably need to be rented, for they must have an opulently theatrical look that isn’t easy to "whip up" by home seamstresses with limited fabric selection.
The set is that of an old theatre but the "Follies" sequence is reminiscent of the 20s and 30s and probably will require at least one painted drop with some painted wing pieces. There are companies listed in the Simon’s Catalogue who rent drops quite inexpensively and it is possible to roll rather than fly drops.
Follies requires an excellent director and choreographer, who must work closely together to achieve a strong unity in production. This is a show that needs more than blocking to make it work. The director and actors must examine the character relationships and recreate with clarity and understanding, the ugliness, bitterness and love that exist among these couples. The show will not survive without motivated actors who have the emotional maturity to portray these middle-aged characters who have lost so much.
The show is excellent, complex, challenging and worth the effort, a show that should be seen more often.

SONGS OF SPECIAL INTEREST

"Broadway Baby," vaudeville style, gutsy, good for revue
"The Road You Didn’t Take," introspective, dramatic, good for class study and character
"I’m Still Here," semi-comic, strong character, little movement, emphasis on lyrics
"The Right Girl," good for class study, lots of transitions, movement, anger, drama
"Could I Leave You," bitter, dramatic, angry, character oriented, good for developing different ways to portray anger

Instrumentation: 5 reeds, 3 trumpets, 3 trombones, horn, 2 violins, viola, cello, bass, harp, guitar, percussion (traps, timpani), piano Script: Random
Score: Hansen
Record/CD: Capitol
Rights: MTI

42ND STREET

Synopsis by Carol Lucha-Burns and UNH alum Brian Swasey who played __________ at ______________.

Book: Michael Stewart and Mark Bramble
Music and Lyrics: Harry Warren and Al Dubin
Additional Lyrics: Johnny Mercer and Mort Dixon
(Based on the novel by Bradford Ropes)

ORIGINAL PRODUCTION

Winter Garden Theatre, August 25, 1980 (3,486 perf.)
Director and Choreographer: Gower Champion
Musical Director: John Lesko
Orchestration: Philip J. Lang

Principals:
Dorothy Brock- Tammy Grimes- Alto
Julian Marsh-Jerry Orbach- Baritone
Annie- Karen Princzik- VTNE
Lorraine- Ginny King- VTNE
Peggy Sawyer- Wanda Richert- Soprano
Billy Lawlor- Lee Roy Reams- Tenor
Bert Berry-Joseph Bova- Tenor
Maggie Jones- Carole Cook- Alto
Pat Denning- James Congdon- Baritone
Phyllis- Jeri Kansas- VTNE
Chorus and Smaller Roles: 8M/8F minimum for a small theatre, more if the theatre is larger. It is important to have the stage look full in order to make the production numbers effective. All must tap dance and sing, many will have lines

SYNOPSIS

It is 1933, the middle of the Depression. The action takes place in New York and Philadelphia. Before the curtain rises voices (taped) are heard offstage commenting on the fact that the great Julian Marsh is doing a show. The excitement in the voices transcends the footlights and the curtain slowly rises on an entire company of tapping feet. It pauses briefly, allowing the audience a knee to foot view, then rises to show a large group of dancers being led through a final audition for Julian Marsh’s new musical (AUDITION- Mixed Dance Chorus).
At the end of the number the two comedic writers, Bert Barry and Maggie Jones, enter to give encouragement to the members of the company. The two quickly exit to write more songs. Three comic chorines sarcastically comment to the choreographer who cuts off their banter by threatening them with an audition bread line. It is 1933, the heart of the Depression; the girls cease their comments.
Peggy Sawyer, a young girl in her early twenties, rushes on, breathless with excitement and full of energy, but one hour late for the audition. Billy Lawlor, the show’s leading man, asks her to dinner. When she refuses, he bursts into song (I’M YOUNG AND HEALTHY- Sc to M/F Duet) and proceeds to chase her across the stage to sing to her. At the end of each phrase she tries to escape from him but he always follows her and keeps singing. During the course of the number he discovers she is from Allentown and encourages her to sing with him As the chorus and writers gather around she shyly begins to sing. By the end of the number she is performing with total abandon to the delight of all. Her singing ends as Julian March enters. Peggy is so embarrassed that she crashes into Julian as she runs from the theatre.
Marsh, a tough but frazzled director, gives the chorus his "bolster morale" speech and sends them off for their costume measurements. He confides to the writers that he is at a career low and determined that his new show will be a success, despite the fact that Dorothy Brock, the producer’s girlfriend and leading lady, is too old for the part. Dorothy, the seemingly self-centered actress, and her producer "Sugar Daddy" Abner Dillion enter.
Dorothy becomes quite temperamental when she discovers Julian wants her to "try out" for him and tells the group she won’t audition for anyone. Magge eases the tension by telling Dorothy that Julian only wants to get her singing key. She agrees to sing and the number begins as a scrim drops in and Julian and his assistant move two large lights around, forward and backward. This shadow movement makes Dorothy get smaller and larger (SHADOW WALTZ- F Solo with Chorus needed for staging). A sudden blackout except for a wash on the scrim precedes the girl chorus, which enters to dance in shadow. Dorothy is in the middle in follow spot until she runs behind the scrim and the lighting effect makes her larger than the small dancer who comes in front of the scrim and dances with her. A chorus of male dancers enters behind the scrim and leap over her. They are followed by the girl dancers who perform pattern dances on the stage floor a la Busby Berkley. They eventually go behind the scrim as Dorothy finishes the number.
At the end of the song, Pat Denning, Dorothy’s old vaudeville partner, whom she still cares for, arrives on the scene. She sends him away because she fears Abner will pull out of the show if he knows there is someone else in her life.
Peggy Sawyer returns for her purse and Maggie invites her to join three chorus girls for lunch. The quintet dance their way to lunch at "The Gypsy Tea Room." After a quick bite the girls encourage Peggy, whom they think is a terrific dancer, and give her advice about Broadway chorus girls (GO INTO YOUR DANCE- Sc to F Quintet). As they dance over to the theatre, Julian sees the girls and instantly decides to cast Peggy in the chorus.
They all go into the rehearsal where the producer keeps interfering. The two leads rehearse a number with the chorus which Peggy desperately, and unsuccessfully, tries to learn (YOU’RE GETTING TO BE A HABIT WITH ME- M/F Duet to Mixed Chorus). At the end of the song, a hungry and exhausted Peggy faints and Billy takes her to the star’s dressing room where Pat Denning is waiting.
Julian discovers Denning, tells him to get out of town and warns Dorothy not to see him until after the show opens. He calls on Nick the Killer to rough up Denning and make good his order to get out of town. Denning decides to hide out in Philadelphia, not knowing that the company will also be there. Everyone prepares to move (GETTING OUT OF TOWN- Mixed Chorus).
At the Arch Street Theatre in Philadelphia the dress rehearsal is underway, complete with an enormous Jungle Gym multi-leveled revolving set, beach balls and swings. The costumes haven’t arrived so the number begins in rehearsal clothes but ends in extremely formal attire with the men in top hats and tails and the girls in jewel bedecked evening gowns (DAMES- M Solo to Mixed Chorus).
Dorothy complains to Julian about her limited appearance in the big production number and temperamentally walks off the set. The rehearsal ends and the company prepares to relax at a party at the Regency Club.
At the club, Dorothy gets drunk and tells Abner off. Julian, discovering that Denning is in town, phones two thugs to get rid of him. Peggy overhears the conversation and rushes to Brock’s room to warn Denning, but is discovered by Dorothy, who mistakenly thinks Pat is involved with Peggy and throws them both out. Her loneliness and need for love is revealed (I KNOW NOW- F Solo).
The scene jumps to opening night at the Arch Street Theatre with the girls holding garland flowers and the male star singing (I KNOW NOW [REPRISE]- M Solo to F Chorus). The curtain rises on Peggy and her three chorine friends, dressed as urchins, who begin to perform. The number builds to a full blown production number when the female chorus enters carrying large money circles on which they dance (WE’RE IN THE MONEY- F Quartet to Mixed Chorus).
The company hurriedly prepares for the Act I finale, a jazz number. In the confusion, Dorothy falls and accuses Peggy of pushing her. Julian rings down the curtain and fires Peggy before going to tell the audience the show is canceled and their money will be refunded.
Act II begins later that night. After a doctor tells Julian that Dorothy’s ankle is broken, he decides to close the show. The chorus, at little mirrors in tiny cubicle spaces which represent their dressing rooms, hear the news. As each dancer sings, their dressing room is lit and the rest of the stage is dark. Annie, one of the chorines, is optimistic and mentions Peggy’s name as a possible new lead (SUNNY SIDE TO EVERY SITUATION- Mixed Chorus). The chorus is convinced that Peggy could perform the starring role. Even Julian feels it is worth a try and rushes off, with the company, to the train station where Peggy is waiting for the train to Allentown.
Julian attempts to convince the reluctant Peggy, but the entrance of the company so overwhelms her that she agrees (LULLABY OF BROADWAY- M Solo to Mixed Chorus). Everyone leaves for New York with only thirty-six hours to prepare for the Broadway opening.
The next sequences consist of different dance rehearsals, which show Peggy at work and mark the passage of time.
In the star dressing room, where an exhausted Peggy is resting, Brock enters in a wheelchair to tell her she and Pat Denning have married and she hopes Peggy will be great in the part. She gives her advice on performing the solo spot (ABOUT A QUARTER TO NINE- Sc to F Duet).
The show begins (SHUFFLE OFF TO BUFFALO- M/F Duet to F Chorus). Peggy is so terrified she can’t go on, but Julian yells at her and she is a triumph (42^ND STREET- Mixed Chorus). The show is a success and Peggy a star, but humble to the end, she attends the chorus opening night party rather than the one the producer is giving.

NOTES ON THE PRODUCTION

This is a very expensive production to produce as the lavish costumes, elaborate sets and production numbers are part of what makes the show so enjoyable. The original production was nominated for 8 Tony Awards in 1981 and received the awards for Best Musical and Outstanding Choreography (Gower Champion). Mr. Champion died on opening night and this production was a tribute to his choreographic and directing brilliance. It is not necessary to expand on the production as most of the original production has been outlined in the synopsis section. If a company is looking for a low budget 1930s production with a similar story line, it is suggested they produce Dames at Sea which is primarily a spoof of 42nd Street and other Busby Berkley films.

SONGS OF SPECIAL INTEREST

"Shuffle Off to Buffalo," as a duet only, nice soft shoe, period stylized, presentational

Instrumentation: 5 reeds, horn, 3 trumpets, 2 trombones, bass, percussion, piano
Script:
Score: Record/CD: RCA
Rights: Warner Bros.

FUNNY GIRL

Book: Isobel Lennart.
Music: Jule Styne
Lyrics: Bob Merrill
(From an original story by Miss Lennart)

ORIGINAL PRODUCTION

The Winter Garden Theatre, March 26, 1964 (1348 perf.)
Director: Garson Kanin
Choreographer: Carol Haney
Musical Director: Milton Rosenstock
Production Supervisor: Jerome Robbins

Principals:
Fanny Brice- Barbra Streisand- Mezzo
Mrs. Brice- Kay Medford- Alto
Eddie- Danny Meehan- Tenor
Nick Arnstein- Sydney Chaplin- Baritone
Mrs. Strakosh- Jean Stapleton- Mezzo
Mrs. Meeker- Lydia S. Fredricks- VTI
Mrs. O’Malley- Joyce O’Neil- VTI
Ziegfeld Tenor- John Lankston- Tenor
Florenz Ziegfeld, Jr.- Roger De Koven- VTNE
Emma- Royce Wallace- VTNE
Keeney- Joseph Macaulay- VTNE
Chorus and Smaller Roles: 8M/12F

SYNOPSIS

The scene opens in a dressing room where Fanny Brice is lost in thought waiting for her husband, Nicky Arnstein, to return from prison. Her thoughts flash to 1910 and her mother’s home where Mrs. Brice and three neighbors, Mrs. Strakosh, Mrs. O’Malley and Mrs. Meeker, are playing cards and discussing the homely and awkward Fanny’s decision to go into show business (IF A GIRL ISN’T PRETTY- Sc to F Quartet).
Still reminiscing, Fanny remembers her first audition at Keeney’s Music Hall. The scene shifts to the audition, where Fanny has just been thrown out because of her looks. Eddie, her friend and theatre choreographer, shows her to the door (IF A GIRL ISN’T PRETTY [REPRISE]- M Solo) but she begs him to give her another chance (I’M THE GREATEST STAR- L to F Solo).
Early that morning, in Fanny’s backyard Eddie patiently rehearses Keeney’s dance routine with Fanny.
The scene moves to Keeney’s Music Hall where Fanny comically sings a story about a woman who plays second fiddle to her husband’s cornet (CORNET MAN- F Solo and Mixed Chorus). Backstage, an enthusiastic Fanny clowns around on her hands and knees and crawls right up to Nicky Arnstein, a handsome gambler. She covers her embarrassment by acting like a dog and introduces herself. The dashing Nick congratulates her, predicts that she will one day be a star and talks Keeney into paying Fanny $110 a week. After he leaves, Fanny vows to see him again.
In the Brice’s kitchen, Mrs. Brice and Eddie talk about Fanny’s forthcoming audition for the Ziegfeld Follies. Both claim success for teaching her the gimmicks that made her famous (WHO TAUGHT HER EVERYTHING SHE KNOWS?- Sc to M/F Duet).
At the New York Theater, Fanny impresses Ziegfeld but rejects his idea that she portray a glamorous young bride in the finale. She boldly performs the number as if she is nine months pregnant and the effect is hilarious (HIS LOVE MAKES ME BEAUTIFUL- F Solo to F Chorus). Ziegfeld forgives his outrageous star and Nicky Arnstein appears to congratulate her and ask her for a date (I WANT TO BE SEEN WITH YOU TONIGHT- Sc to M/F Duet). He accompanies her to a neighborhood block party.
At her house on Henry Street, the neighbors discuss the successful people in their neighborhood, especially Fanny (HENRY STREET- Mixed Chorus). When Nick and Fanny are at last alone, they both discover they are lonely people and need each other desperately (PEOPLE- Sc to F Solo).
Fanny goes on tour with the Follies and is surprised to discover that Nick is in Baltimore. He takes Fanny to an intimate restaurant and overwhelms her with his charm (YOU ARE WOMAN- Sc to M/F Duet).
At the Baltimore train terminal, the company is waiting for the Chicago train when Fanny decides to follow Nick to Europe. Eddie tries to dissuade Fanny and Ziegfeld is furious at her unprofessional behavior, but she insists on making her own decisions (DON’T RAIN ON MY PARADE- Sc to F Solo).
Act II opens in Long Island where Mrs. Brice and the neighborhood friends await the arrival of the honeymooners at their newly purchased home. Fanny reveals that she is pregnant and comments on her married status (SADIE, SADIE- Sc to F Solo to Mixed Chorus).
In Mrs. Brice’s saloon, Mrs. Strakosh and Eddie encourage Mrs. Brice to go out and find a man of her own. Although she feels too old for dating she is interested in a new life (FIND YOURSELF A MAN- Sc to 2F/M Trio).
At the New Amsterdam Theater, Fanny has returned to the Follies and Nick has plans to open a casino in Florida that Fanny financially backs. Eddie, who has always had a romantic interest in Fanny, is doubtful about Nick’s stability, but Fanny angrily tells him to stay out of her personal life and exits to rehearse (RAT-TAT-TAT-TAT- Mixed Chorus). The rehearsal quickly turns into a full-scale number, which stars Fanny.
After the opening night, in Fanny’s dressing room at the New Amsterdam Theater, Fanny angrily confronts Nick who missed her performance. He confesses that he has lost her investment and accuses her of treating him like a child. Fanny begs him not to leave (WHO ARE YOU NOW?- Sc to F Solo).
At the Arnstein home, Nick, tired of Fanny’s attempts to give him financial assistance defiantly becomes involved in a crooked bond deal.
On a bare stage at the New Amsterdam, Mrs. Brice interrupts a rehearsal to inform Fanny that Nick has pleaded guilty to embezzlement and is to spend eighteen months in jail. Fanny sings a song which reflects the hurt she feels (THE MUSIC THAT MAKES ME DANCE- F Solo).
The time returns to the present with Fanny in her dressing room. Nick arrives to tell her they must separate before they cause any more pain. Fanny sadly prepares for her performance in the Follies, vowing to pick up the pieces of her life (DON’T RAIN ON MY PARADE [REPRISE]- F Solo).

NOTES ON THE PRODUCTION

The story of Follies comedienne, Fanny Brice, made Barbra Streisand a star. It was her second Broadway musical; her first was I Can Get It for You Wholesale. The play opened in the same season as Hello Dolly!, which won most of the 1964 Tony Awards.
Funny Girl is a vehicle for a company of talented performers as well as a talented actress/comedienne who can handle the comedic and dramatic aspects of the role. Fanny’s songs require a strong voice to be effectively performed but the characterization should be emphasized more than the singing. Readers who are only familiar with the movie should know that most of the non-Fanny character songs and musical numbers that rounded out the Broadway script were cut.
The set and costume requirements make this an extremely expensive show. Florenz Ziegfeld was an extremely lavish producer and any show that deals with performances in "his Follies" must reflect the opulence of the man and the era. Some of the scenes take place backstage, which means the actual wall of the theatre may be used, but the remaining sets include a dressing room, an exterior of the music hall, Henry Street, the Brice home, a private dining room, and the Arnstein’s home. Some of these may be partial sets but it is nearly impossible to cut any of the sets or transfer them to different locations.
The show requires extremely tight lighting in order to maintain the pace this production requires as it zooms from scene to scene and location to location. The overall work involved in a production of this script is well worth the effort if one has excellent performers and a Fanny worthy of a showcase.

SONGS OF SPECIAL INTEREST

"Don’t Rain on My Parade," Mezzo, dramatic, defiant, determined, driving rhythm
"Find Yourself a Man," Comic timing, reaction and strong characterization stressed
"I’m the Greatest Star," Mezzo, comic, up-tempo, high energy, possible cutting for audition
"Who Taught Her Everything?," Tenor/Alto, some dance, vaudeville style, inter-relationship
"Who Are You Now," Mezzo, dramatic, introspective, club potential

Instrumentation: violins, cello, bass, 5 reeds, horn, 3 trumpets, 3 trombones, 2 percussion, guitar/banjo, piano-celeste/conductor
Script: Random
Score: Chappell
Record: Capitol
Rights: Tams-Witmark

A FUNNY THING HAPPENED ON THE WAY TO THE FORUM

Book: Bert Shevelove and Larry Gelbart
Music and Lyrics: Stephen Sondheim

ORIGINAL PRODUCTION

Alvin Theatre, May 8, 1962 (965 perf.)
Director: George Abbott
Choreographer: Jack Cole
Musical Director: Harold Hastings
Orchestration: Irwin Kostal and Sid Ramin

Principals:
Pseudelos- Zero Mostel- Baritone
Hysterium- Jack Gilford- Tenor
Senex- David Burns- Baritone
Lycus- John Carradine- Baritone
Domina- Ruth Kobart- Soprano
Philia- Preshy Marker- Soprano
Hero- Brian Davies- Tenor
Miles- Ronald Holgate- Baritone
Erronius- Raymond Walburn- VTNE
Chorus and Smaller Roles: 6F/3M (2 of the girls should look like twins)

SYNOPSIS

The chorus sings the opening number which introduces the cast of characters and sets the mood (COMEDY TONIGHT- Mixed Chorus).
Hero’s parents, Senex and Domina, who are planning to go away on a trip, leave him in the charge of Hysterium, chief slave. Hysterium is upset to see the young innocent staring at the house next door for he knows it is a house of prostitution. Hero, assures Hysterium he knows about Lycus’s business and about love (LOVE I HEAR- M Solo). Two citizens enter dragging Pseudulous, Hero’s slave who has been caught cheating at dice. When Hero reprimands him the slave bargains to gain his freedom. Hero agrees on the condition that Pseudelos can get him the girl he has recently seen in Marcus Lycus’s house (FREE- Sc to M Duet).
Pseudelos, discovering that Hero’s love is a virgin courtesan who has just arrived from Crete, negotiates to buy her from the crafty Lycus. Pseduolus is introduced by Lycus to his various girls (THE HOUSE OF MARCUS LYCUS- M Solo), but insists he wants to buy Philia. When Lycus informs him she has been sold to a Roman military captain, Pseudelos convinces Lycus there is a plague on Crete and Philia might infect the others. He magnanimously offers to guard the girl in Senex’s house until the captain arrives. Philia, left alone with Hero, confesses she isn’t very bright, but Hero doesn’t care (LOVELY- Sc to M/F Duet).
Pseudelos, knowing his freedom is at stake tries to entice Philia to escape with Hero and creates a lovely picture of their life together (PRETTY LITTLE PICTURE-2M/F Trio). Philia, who would love to go, is honor bound to wait for her captain and enters the house to wait. Meanwhile, Senex unexpectedly returns and Pseudelos recklessly tells him Philia is the new maid he has hired. The two sing of the joy of having a maid. Hysterium and Lycus join them in a number that begins as a duet, moves to a trio and ends as a quartet (EVERYBODY OUGHT TO HAVE A MAID- M Duet to M Quartet).
Senex, anxious to be alone with Philia, decides to avoid Hero by meeting the girl in his neighbor’s house, which he is watching while the man is off looking for his stolen children. Hysterium, convinced Senex will discover his part in the masquerade tries to remain calm (I’M CALM- L to M Solo). Erronius, the absent neighbor, suddenly returns to his house, but is sidetracked by Pseudelos who plays the part of a soothsayer and sends the old man around the hills of Rome seven times. He guarantees that Erronius will find his children on the seventh trip.
Hero and Senex become suspicious of Philia’s attention to the other and wonder what could be transpiring between the girl and the other generation. (IMPOSSIBLE- Sc to M Duet).
Captain Miles Gloriosus arrives to take Philia (BRING ME MY BRIDE- M Solo with Mixed Chorus) and announces that he will burn the house of Lycus if Philia is not produced. Pseudelos calls for an intermission.
In Act II, Domina, Hero’s mother, returns home because she suspects Senex is carrying on with someone. She greets Hysterium who attempts to keep her from discovering Philia (THAT DIRTY OLD MAN- Sc to F Solo). Domina warns Hysterium she is planning to disguise herself and exits.
Philia tells Hero that, though she goes with the captain, she loves Hero. When she is kissing the captain, she will think of Hero (THAT’LL SHOW HIM- F Solo). This promise is little consolation to the love-struck youth.
Pseudelos, desperate for his freedom, convinces Hysterium to disguise himself as Philia and pretend he is dead (LOVELY [REPRISE]- M Duet). Miles and the company prepare for the funeral (FUNERAL SEQUENCE- Mixed Chorus), which goes as planned until Hysterium discovers the Captain plans on burning the body. He rushes off, followed by the Captain and the company.
After a lengthy comic chase with Philia, Domina and Hysterium all costumed alike, the company discovers that Philia and Miles are really brother and sister. They are reunited with their father, Erronius who has just completed his seventh jog around Rome. As a result, Pseudelos gains his freedom, Philia and Hero are pledged and the play ends happily (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

Forum won six Tony Awards in 1963 for Best Musical, Supporting Actor (David Wayne), Actor (Zero Mostel), Book, Director, and Producer.
This comedic show is easy to produce because there is only one set that consists of the exterior to three Roman houses. In the original, Philia was often seen on the rooftop, but she could be seen in an upper window. The costumes, one per actor plus Domina and Hysterium’s disguises, are period Rome. Miles is in Roman armor but his entourage may be costumed as servants if necessary.
The music is in keeping with the comedy and should be played cleanly and broadly. The actors and director need to have a solid background in comedy and be versed in standard comedic bits of business. The script is witty and calls for a knowledge of playing the audience.

SONGS OF SPECIAL INTEREST

"Comedy Tonight," excellent for opening a revue or showcase presentation
"Free," Exciting Scene to duet for Baritone/Tenor, good interaction and relationship exercise for class situation
"Everybody Ought to Have a Maid," Comic male quartet, number builds, almost actor proof, good for revue
"I’m Calm," Tenor comedic solo, possible for audition, works well in characterization exercise for class situation
"Impossible," Baritone/Tenor Duet, emphasis on age and character contrasts, excellent for revue, good for playing an audience

Instrumentation: 5 reeds, 3 trumpets, 3 trombones, percussion, 3 violins, viola, cello, bass, harp, 2 drums; smaller arrangement available
Script: Chappell
Score: Chappell
Record: Capitol
Rights: MTI