GENTLEMEN PREFER BLONDES
See Lorelei
GEORGE M!
- Book: Michael Stewart and John and Fran Pascal
- Music and Lyrics: George M. Cohan
- Lyrics and Musical Revisions: Mary Cohan
ORIGINAL PRODUCTION
- Palace Theatre, April 10, 1968 (435 perf.)
- Director and Choreographer: Joe Layton
- Musical Director: Jay Blackton
- Orchestration: Philip J. Lang
-
- Principals:
- Jerry Cohen- Jerry Dodge- Baritone
- Josie- Bernadette Peters- Soprano
- Nellie- Betty Ann Grove- Alto
- George M- Joel Gray- Tenor
- Fay Templeton- Jacqueline Alloway- Soprano
- Ethel- Jamie Donnelly- Mezzo
- Agnes Nolan- Jill OHara- Alto
- Sam Harris- Harvey Evans- VTNE
- Chorus: 8M/8F minimum
SYNOPSIS
- Act I opens on a stage in Providence, Rhode
Island in 1878 where an actor begins to tell the life of George M. Cohan. The doctor, who
has just delivered George, arrives on the scene and sends two girls to get Jerry Cohan,
who is currently performing Irish songs and dances on the vaudeville stage (ALWAYS LEAVE
THEM LAUGHING- M Solo). Jerry wonders what his new son will be like and decides that he
will be introduced to the stage as soon as he can walk.
- On stage, George is seen learning to walk and
dance at the same time, as Jerry coaches him along. A quick vignette shows the four Cohans
with ten-year old Georgie, who quickly becomes a young adult. The Cohans sing about the
various cities they have visited in their performances, and close with a tap dance (TAP
DANCE FINISH- Dance Quartet).
- During the curtain call at Columbia Theatre
in Cedar Rapids, George issues his closing phrase, soon to become a trademark thanks to
the audience. He is already directing the company and ordering the stagehands around.
Famed vaudeville producer E. F. Albee arrives to make a contract with the family, but
George insists he see their act first. Jerry, Nellie and George perform a song and dance
about the enchanting role of the moon in all stories (MUSICAL MOON- Sc to 2M/F Trio).
George then introduces his sister, Josie, to Albee who sings a short love song (OH, YOU
WONDERFUL BOY- F Solo to Mixed Chorus). Last, but not least, George introduces himself as
the most talented kid to ever play New York (ALL ABOARD FOR BROADWAY- 2M/2F Quartet). As
they finish this last song, Albee tells them he is only interested in Josie. Josie
declines, however, explaining that it is a four-person act. Jerry is willing to make
changes in the act in order to be hired by Albee, but George refuses and warns Albee he
will regret not hiring the Cohans. Jerry warns George that he is too ambitious, but George
has to make it to the top on Broadway. The four Cohans stride out of the theatre and into
the street, confident that they will someday be successful.
- As the Cohans are marching in the streets,
George portrays an ambitious and proud picture, which the family and town citizens notice
(MUSICAL COMEDY MAN- Mixed Chorus).
- In the dining room of Madame Grimaldis
boardinghouse, an assembly of various theatrical people gather for their Friday dinner.
George audaciously announces that he and his family will soon be going to New York with
their new act: "The Twentieth Century Kid." He later justifies this lie by
writing the sketch for "The Twentieth Century Kid" and proposing that the family
go to New York and perform for one week without pay. The family agrees to his scheme.
- En route to New York, the Cohans and the
various people from the boarding house sing and act out their individual performances (ALL
ABOARD FOR BROADWAY [REPRISE]- Mixed Chorus). When they finally get to Broadway, they are
awed by its lights and glamour (BROADWAY TAG- Mixed Chorus).
- At the Adams Street Theatre, Ethel Levey, an
aspiring young performer, continues to sing the Broadway medley. George presents her to
Producer Behmen, who has signed the act, and asks if their contract can be altered from
four Cohans to five Cohans. George assumes that Ethel will marry him, although he
hasnt even proposed to her. When Ethel expresses her need to be wooed, George courts
her in eleven short steps. As time passes, the family changes their costumes and the five
of them perform their description of modern day love (TWENTIETH CENTURY LOVE- Sc to
2M/3F). The act is completed and the family takes a bow.
- George, sings a solo song about his respect
for Manhattan (MY HOME TOWN- M Solo), but the people are unresponsive. He begins to write
the book, music and lyrics for "Little Johnny Jones," a story of an American
jockey in England. Ethel tries to get him to slow down and spend more time with her, but
George is too busy.
- On a bare stage, George observes Agnes, an
actress from Worcester, Massachusetts who auditions for his show (BILLIE- Sc to F Solo).
He rushes her off the stage and orders Ethel and some girls to rehearse their latest
number (PUSH ME ALONG IN MY PUSHCART- F Trio). While they are singing, George orders a
stage hand to paint the Eiffel Tower in the middle of a London backdrop. The astonished
painter does as he is told and George asks for another rehearsal for a new song that will
be in the show (A RING TO THE NAME OF ROSE- Male Quartet). George bustles around directing
the rehearsals and demands another number to be practiced (POPULARITY- Dance). After all
the practicing, George admits to Jerry that his arrogance is only a facade to hide his
fear. Jerry assures him that the show will be a success.
- The show begins on a dock in England with
George playing the title role. He is a smash, performing his song about Broadway (GIVE MY
REGARDS TO BROADWAY- M Solo to Mixed Chorus), and the show is a hit.
- When Act II begins, George is a successful
producer and in a partnership with Sam Harris. He blatantly announces their first
collaboration will star Fay Templeton, a famous actress who is outraged at his
presumption. George daily sends her new songs, hoping to interest her. He sings in his
office and she sings the melody in her apartment (FORTY-FIVE MINUTES FROM BROADWAY- M/F
Linear Duet). Fays manager tries to talk her into joining Cohan, but Fay adamantly
resists. George sends her a second number to entice her (SO LONG MARY- Sc to 3M/2F) and
her mother and manager urge her to listen, but Fay is so angry with her manager that she
threatens to fire him. After she receives another song (DOWN BY THE ERIE CANAL- 3F And
Mixed Chorus), she finally agrees.
- On opening night in the New Amsterdam
Theatre, Fay sings Georges next great hit (MARYS A GRAND OLD NAME- F Solo).
Georges reputation continues to flourish but he is so caught up in it that he
neglects his marriage. On New Years Eve in 1907, Ethel tells George she wants a
divorce and George responds in typical Cohan fashion saying, "Life must go on."
The company celebrates their success and friendship (ALL OUR FRIENDS- M Solo and Mixed
Chorus) in a song that contrasts the news about the marriage. Nellie, Jerry and Josie
arrive and read several telegrams including one which announces that George is splitting
all assets with his family (JOLLY GOOD FELLOW- Chorus). One of them is also from Ethel,
telling of their divorce (ETHEL EXIT- F Solo). George insists that the party go on as he
quietly slips out a side door. He meets Agnes, the girl from Worcester, and, on their way
home, he opens his heart to her.
- During the years till 1919, George and his
company continue to prosper. They inspire a patriotic spirit with their shows (YANKEE
DOODLE DANDY- 1M/3F And Mixed Chorus). Agnes is now Georges wife, supporting him in
whatever he attempts. He devises a new show about a beautiful girl whose father is a cop
called Little Nellie Kelly (NELLIE KELLY- 2M/2F and Mixed Chorus).
- Josie announces that she will be getting
married and must leave the show to be with her husband. George, who cannot accept her
leaving for personal reasons, argues with Jerry during a performance (HARRIGAN- Sc to 4M).
After the song is over, Harris enters and tells George that Jerry has died. George and
Nellie sing a tribute to the deceased Jerry American flag (OVER THERE/YOURE A GRAND
OLD FLAG- 1F/1M and Mixed Chorus).
- The acting company decides to form a union
and strike (STRIKE- Mixed Chorus). George refuses to go along with the actors
demands and will not comply with the strike. He doesnt want the old Broadway to
change (THE MAN WHO OWNS BROADWAY- M Solo to Mixed Chorus).
- Georges power on Broadway declines and
he retires to Midtown, NY. In February of 1937, Agnes gives George a letter from Harris,
which offers him a part in a musical. He agrees (PARK INCIDENTAL- Orchestra).
- Onstage at the Alvin Theatre, George is
playing the role a president (ID RATHER BE RIGHT- M Solo) but is very old style.
Walt, the stage manager, is given the task of telling George he must adapt his style to
the new theatre. After Walt leaves, George crumples the directors notes, refusing to
believe that Broadway has changed (GIVE MY REGARDS TO BROADWAY [REPRISE]- M Solo to Mixed
Chorus). Agnes arrives and tries to console George who vows not to change his style. He
and Agnes leave to retire in Worcester, Massachusetts (YANKEE DOODLE FINALE- M/F Duet)
(FINALE- Mixed Chorus).
NOTES ON THE PRODUCTION
- George M!, based fairly accurately on
the life of the famous showman, is a fast-paced, song loaded musical. The book is
occasionally confusing, for it covers such a long history, but a slick performance by a
talented company can easily compensate for any flaws in the script.
- The sets are theatrically oriented and,
traditionally, to represent the period, should be primarily drops and smaller units. There
are a lot of costumes, at least three per cast member and ideally many more. The costumes
also reflect the changing times and must be historically accurate.
- The minimum chorus for a smaller theatre
would seem to be sixteen extremely good dancers and singers. If the stage is large, the
size of the company needs to be increased to give a more exciting look to the production.
If the tap dancing talents of a company are limited, it is advisable to have a large cast
who know at least eight tap steps. The larger choruses take a longer amount of time to
enter and the massive sounds of tapping feet in different physical configurations
compensate for limited experience.
- The show is popular among school groups
because the music is familiar and catchy and the story is interesting.
SONGS OF SPECIAL INTEREST
- "All Aboard For Broadway," good for opening of revue of
period choreography
- "Yankee Doodle Dandy," "Youre a Grand Old
Flag," "Over There," "Give My Regards to Broadway," "I Want
to Hear a Yankee Doodle Tune," and "Harrigan," all are Cohan classics and
work well in a revue situation or in shortened form as a medley
-
- Instrumentation: 2 violins, viola, cello, bass, 4 reeds, horn, 3 trumpets, 2 trombones,
percussion, piano/conductor
- Script: NP
- Vocal Selections: Marks
- Record: Columbia
- Rights: Tams-Witmark
GIGI
- Book and Lyrics: Alan Jay Lerner
- Music: Frederick Loewe
- (Based on a novel by Colette)
ORIGINAL PRODUCTION
- Uris Theatre, November 13, 1973 (# perf.)
- Director: John Dexter
- Choreographic Assistant: Leo Andrew
Musical Director: Ray Cook
Orchestration: Chris Walker
- Principals:
- Honoré Lachailles- Jean-Pierre Aumont-
- Gaston Lachailles- Geoffrey Burridge-
- Liane DExelmans- Carrie Ellis
- Gigi- Amanda Waring
- Aunt Alicia- Sian Phillips-
- Lucille (Gigs Mother)- Alexandra Denman-
Inez Alvarez (Mamita)- Beryl Reid-
- Chorus and Smaller Roles: 10M/7F
SYNOPSIS
- As the play begins, four early-teenage girls,
dressed in turn of the century clothes are dimly seen playing in the park. Honore
Lachailles emerges and strolls past the girls. He pauses briefly to observe them and
continues on. He stops and talks to the audience. First he introduces Gigi and then begins
to discuss women and marriage (THANK HEAVEN FOR LITTLE GIRLS- M Solo). He tells the
audience that the year is 1901 and that he is in a restaurant. Gaston, Honores
nephew, and his current woman friend, Liane, enter. Suddenly she remembers that she has
ice skating lessons and leaves quickly. Honore hints to Gaston that Liane may be having an
affair with her skating teacher. Gaston says that he doesnt care because he is
bored, bored with her and bored with life. Honore is shocked (ITS A BORE- M Duet).
During the following, Mamitas apartment comes into view; the busboys bring Gaston
and Honore their gloves and canes. Gaston tells Honore that he is going to visit Inex
Alverez (Mamita) and Honore reacts to the name. He obviously knew her once.
- Scene two opens in Mamitas apartment
where Mamita is getting Gigi ready to visit Aunt Alicia, who will teach her the things
every woman should know. Gaston rings the doorbell and enters. He brings Gigi a set of
playing cards for her birthday. When he learns that Gigi will be visiting her Aunt Alicia,
he is disappointed. Mamita and he discuss the life of Aunt Alicia (THE EARTH AND OTHER
MINOR THINGS- F Solo).
- Scene three begins a short time later in Aunt
Alicias apartment. Alicia asks Gigi about herself, then begins to teach her about
jewelry, cigars and how to eat Ortolons. At the end of the scene, music begins. The lights
of Paris begin to appear and ladies and gentlemen, togged for the night, begin to move on
in the shadows. Honore enters. Now the setting switches to the restaurant of the Eiffel
Tower and Honore sings (PARIS IS PARIS AGAIN- M Solo).
- As the song ends, Gaston and Liane enter to
have dinner with Honore and his date Jacqueline. A gentleman approaches the table and asks
Liane to dance. Gaston realizes that she knows this man intimately (SHE IS NOT THINKING OF
ME- M Solo). When Liane sits down, Gaston "accidentally" spills champagne down
her bosom.
- It is a split scene. Stage left is a corner
of Alicias apartment and stage right is Honores dressing room. Alicia is
talking on the phone and Gigi is standing beside her with an open box of cigars in her
hand. Honore is sitting in the barber chair reading a newspaper. Both Alicia and Honore
begin to gossip about Gaston pouring champagne down Lianes bosom. As Gaston enters
Honores dressing room, the lights black out on Alicia and Gigi. Honore tries to
cheer him up, then tells Gaston to throw her over like a man.
- Next the lights come up on Alicia. Honore
pushes Gaston off and the lights dim out on him. Alicia, who is again on the phone,
discovers that Liane has "committed suicide" for the fifth time. The lights come
up on Honore again who is telling Manuel that this is Gastons first
"suicide." Gaston feels slightly depressed. He tells Honore that he is thinking
of leaving Paris. Honore replies that he has to be seen in public every night with a new
woman, not leave Paris (ITS A BORE [REPRISE]- M Duet). Meanwhile, a dancing
instructor has been teaching Gigi how to dance.
- Three weeks later we see Mamitas
apartment where Gigi is reading the gossip from a local newspaper. Shes sad to read
that Gaston has had another girlfriend, the fourteenth in three weeks. Gaston enters and
the two begin to play cards. They decide on a bet: if Gigi wins, Gaston will take her and
Mamita on vacation with him to the sea. She wins and is so pleased that she drinks all of
Gastons champagne (THE NIGHT THEY INVENTED CHAMPAGNE- Mixed Chorus).
- Next we see the three en route to Trouville,
singing and dancing (THE NIGHT THEY INVENTED CHAMPAGNE [REPRISE]- M/2F Trio).
- Scene seven begins in the lobby of the Grand
Hotel, Trouville, the following afternoon. Gaston and Mamita are waiting for Gigi. She
enters, very excited about seeing the ocean and they exit together. Honore appears and
describes the resort. Madame Laverne enters with her husband and Honore secretly hands her
a note. She and her husband leave as Alicia enters. Mamita greets her and the two discuss
possible candidates for Gaston. When Honore, who has been sitting aside reading a paper,
hears Mamita plotting, he looks up unbelievingly. Alicia and Mamita exit as Gigi runs on,
followed by Gaston who stops to see Honore.
- They talk briefly and Gaston exits. Just as
Honore is about to meet the married woman, Mamita enters. We discover that the two had
once been engaged to be married, but Mamita called it off because of Honores
infidelity (I REMEMBER IT WELL- M and F duet).
- Next the scene changes to the beach at
Trouville. Music is heard. Gigi runs on with Gaston and he swoops her up in his arms (I
NEVER WANT TO GO HOME AGAIN- F Solo). Alicia enters, watching Gaston and Gigi. She tells
Mamita that Gaston is falling in love with Gigi. Mamita is completely surprised. Both
ladies look from Gigi to each other as the curtain descends.
- Act II begins in Mamitas apartment four
weeks later. Mamita is present with a telephone installer. She has decided to install a
phone since Gigi has come of age. Gaston enters with a box of caramels as Gigi enters all
made up under the influence of Aunt Alicia. Gaston tells her that she looks horrible. Gigi
angrily tells him off and he leaves. He reappears a moment later and apologizes. He asks
Gigi to go to tea, but Mamita refuses to let her go because she is afraid that Gigis
reputation will be ruined. Gaston exits again, this time angry with Mamita.
- On the street outside Mamitas
apartment, Gaston comes down the steps to the street sputtering (GIGI- M Solo). By the end
of the number he realizes that Gigi is not a little girl anymore and rushes back up to
tell Mamita.
- Scene three opens in a lawyers office
where the lawyer, Alicia and Mamita are present. They discuss a marriage contract with
Alicia aggressively bartering for her niece (THE CONTRACT- Mixed Chorus). As the scenery
evolves into Mamitas set, the two law clerks arrive downstage and gives Gaston the
contract to sign and hands him a bouquet. He enters Mamitas apartment. Gigi is
present and very uncomfortable. She tells him that she doesnt want to marry him
because she knows that he will drag her into newspaper gossip columns, be unfaithful to
her and eventually divorce her. Gaston is shocked and becomes angry at Mamita, whom he
feels has taught Gigi that men are vulgar and not to be trusted. He leaves, slamming the
door behind him.
- Scene five is set in a street cafe an hour
later. Gaston enters and joins Honore at a table. Gaston tells him what has occurred and
Honore, in his own way, tries to comfort Gaston (IM GLAD IM NOT YOUNG ANYMORE-
M Solo).
- Scene six takes place in Mamitas
apartment later that day where Mamita and Alicia are facing each other. Alicia is stunned
into silence and then the two argue over the situation. Suddenly the phone rings. Gigi
answers the phone gingerly and then sings to Gaston who is on the other end (IN THIS WIDE,
WIDE WORLD- F Solo). Alicia is thrilled that Gigi accepts Gastons proposal.
- The prologue to scene seven begins as Gigi
and Gaston, dressed to perfection, are walking into Maxims. Honore and Juliette are
already present when the two arrive, but they sit at a different table. Gaston acts very
uncomfortable. Suddenly, Liane enters and approaches Gaston. She talks briefly and then
leaves the embarrassed Gaston. He and Gigi begin to dance. He gives her a beautiful
emerald bracelet. All watch the two anxiously waiting for some gossip. Gaston becomes more
uncomfortable, beginning to realize that Gigi dosent belong in the superficial
atmosphere that he has introduced her to. Honore walks over to talk to Gaston, who is so
upset that he asks his uncle to take Gigi home.
- Scene eight opens again in Mamitas
apartment where Honore and Gigi have just arrived. Gaston suddenly appears at the door,
then enters the room. After a moment, he grandly asks Mamita for Gigis hand in
marriage. Mamita accepts and all is well (THANK HEAVEN FOR LITTLE GIRLS [REPRISE]- M
Solo). Gigi and Gaston slowly walk toward each other as Honore and Mamita look over at
each other with a smile that seems to say "Why didnt we?"
NOTES ON THE PRODUCTION
SONGS OF SPECIAL INTEREST
Instrumentation: 2 violins, viola, cello, bass, flute, clarinet, horn, harp, piano
Script: Tams-Witmark
Score: Hal Leonard Corp.
Record/CD: First Night Records
Rights: Tams-Witmark
GIRL CRAZY
- Book: Guy Bolton and John McGowan
- Music: George Gershwin
- Lyrics: Ira Gershwin
ORIGINAL PRODUCTION
- Alvin Theatre, October 14, 1930 (272 perf.)
- Director: Alexander Leftwich
- Choreographer: George Hale
- Musical Director: Earl Busby
- Orchestration: Robert Russell Bennett
-
- Principals:
- Molly Gray- Ginger Rogers- Mezzo
- Kate- Ethel Merman- Alto
- Churchill- Allen Kearns- Tenor
- Chorus and Smaller Roles: 7M/4F minimum
SUMMARY AND NOTES
- This musical classic revolves around Kate, a
down on her luck Cabaret singer, and her pianist, ex-husband, Zoli who happens upon friend
and former TV star and owner of a failing Arizona Cattle ranch, Johnny Churchill.
- Molly, the local post-mistress who Johnny is
attracted to, goads him into opening a dude ranch and running for sheriff. Meanwhile, Kate
is coerced by Johnny's agent into trying to woo Johnny back to television and away from
Molly's influences. Johnny wins the elections, but believes that Molly is involved with
his agent and follows her to Mexico with Kate. The Mexican adventure ends with an
explosion of fireworks and everyone returning to town much wiser. Kate remarries Zoli, and
Molly marries Johnny who has rid the town of all outlaws.
- The musical made a star out of club performer
Ethel Merman and the memorable music, humorous dialogue and interesting characters add
much to the revised script.
- The show is more enjoyable if the chorus is
kept to a minimum and the production is "obviously" low budget where everybody
does everything. A sort of "let's do a musical" a la the Garland/Rooney films of
the 30s.
- The sets are relatively simple and consist of
the dude ranch and the hotel lobby (some combining possible), with an easily cut election
headquarters. Costumes may be limited to two or three for the women, one for the male
chorus and two for the principals.
SONGS OF SPECIAL INTEREST
- "Bidin' My Time," M quartet, sung by four cowboys with very
tight harmony, good for a revue
- "But Not for Me," F Alto Solo, poignant love ballad about
everyone being romantically involved but her
- "Strike Up the Band," M Solo to Mixed Chorus, up-tempo,
patriotic fervor, originally from Of Thee I Sing, but added to the revised script,
good for revues
- "Treat Me Rough," M/F Duet, comic, up-tempo song between
Zoli and Kate where she tells him she will tell the man when to treat her rough
-
- Instrumentation: 3 violins, viola, cello, bass, 4 reeds, horn, trumpet, trombone,
percussion, piano/conductor
- Script: NP
- Score: New World
- Record: Columbia
- Rights: Tams-Witmark
GOBLIN MARKET
- Book and Lyrics: Polly Pen and Ann Morrison (and others)
- Music: Polly Pen
- (Adapted from the poem by Christina Rossetti)
ORIGINAL PRODUCTION
- Vineyard Theatre, October 17, 1985; moved to Circle in the Square, April 13, 1986 (#
perf.)
- Director: Andre Ernotte
- Choreography: Ara Fitzgerald
- Musical Director: Lawrence Yurman
- Orchestration: James McElwaine
-
- Principals:
- Laura- Terri Klausner- Soprano
- Lizzie- Ann Morrison- Soprano
- Chorus and Smaller Roles: None
SYNOPSIS
- There is a large curtain that covers the set
area. A woman in a late 19th century-style black dress enters in dim blue and
lavender light. She opens the curtain to reveal a curtained off area over large windows
and the interior of a house becomes apparent. She sits, frozen, as a second women in black
enters and goes to some toys opposite a large music box and the two women become aware of
each other. We are in an old fashioned nursery with period music box mood music, which
continues as the two women, working together, lift a white sheet to reveal a large
Victorian dollhouse.
- They start a game of buying and, as the light
rise to full, the game continues (COME BUY, COME BUY- F Duet). Laura often forgets the
word raspberries. As the two begin to remember, it is clear that we are moving toward
their past (OVERTURE- Orchestra). The lights fade as the women remove their stiff black
dresses and they are returned to their youth, when they wore white dresses. Each goes to
opposite closets to hang up clothes, remove their high shoes and change to ballet slippers
and period straw hats. They pull down the shade above the window, which reveals a garden
painted through the window. They run back and forth playing childhood games with blue and
green cloth.
- Laura urges her sister to look at the goblin
men because she is enthralled by what she sees, but Lizzie is cautious and creeps
hesitantly out (WE MUST NOT LOOK- F Duet). Laura describes them in glowing manner, but
Lizzie sees the men in a far different light and they sing their opposite viewpoints and
visions. Laura will buy and rushes off to be with the Goblin men. .
- Lizzie narrates and goes to doll house and
pulls out various fruit, i.e bananas, avocados, pomegranates and melons. Laura says she
has no money, but Lizzie continues her narrative as she runs around the set getting more
and more fruit. Laura runs around sucking on various fruits; she sucks until her lips are
sore. Laura sings of her bliss (MOUTH SO CHARMFUL- F Solo), gathers all the fruit onto the
cloth on the floor and, in a sexual way, starts rolling the various fruits up her thighs.
Lizzie (as she rolls up the garden shade) continues the story of how Laura came home.
Laura is excitedly singing as she holds out her one apple and urges her sister to take it,
but Lizzie refuses to partake. She reminds her sister about their friend Jeanie who died
after succumbing to the cries of the "goblin men." (DO YOU NOT REMEMBER JEANIE-
F Solo).
- Laura is undaunted and tells Lizzie she will
return the next night, but Lizzie, urging her sister to sleep, goes to window and pulls
down the window shade, which has a bed painted on it and gives the illusion that they are
sleeping on a bed. Lizzie urges Laura to sleep, but she has a fitful night, tossing and
turning as Lizzie watches her. (SLEEP, LAURA, SLEEP- F Solo). The lights dim throughout
the number until it is sunrise the following day.
- They raise the shade and go about various
areas of the theatre as they mime their chores, milking the cow, making bread, whipping
cream, making butter, feeding the chickens, sewing etc. They sing as two sisters (SISTERS-
F Duet) and the song reflects their love for one another, but also their differences and
their arguments.
- Lizzie is enthused about the prospects of a
bright day while Laura is anxious for night. Laura and Lizzie go to a well to fetch some
water. Lizzie is nervous and wants to leave, but Laura taunts her for her fears. (SOME
THERE ARE WHO NEVER VENTURE- F Duet). Lizzie grows more frightened because she can hear
the goblin men coming closer but Laura, remembering the fruit she has tasted, becomes
excited at the prospect of meeting the men, for she wishes to experience the sensation
again (MIRAGE- F Solo).
- Laura thrashes about, but Lizzie covers her
with a cloth. It seems that Laura will never again hear the goblin cry because when
morning comes her hair is white and her life is passing. The lights go to black.
- Lizzie is standing on the window seat miming
work as Laura sits in a childs rocking chair and takes over the role of narrator.
Laura narrates how unhappy Lizzie is to see Lauras life fading away (PASSING AWAY- F
Duet), but Lizzie keep hearing the goblins and slowly ventures out with a silver penny and
Lizzie goes to the brook, where she climbs a ladder. (LIKE A LILY- F Linear Duet) Laura
moves to be with Lizzie.
- (HERE THEY COME- F Duet) Lizzie gives them
money and they insist that she stay, but she chooses not to give in to them. Laura
narrates the emotion as she wraps a clothesline with cloth and hangs it around Lizzie.
Lizzie breaks away and refuses to succumb as "the evil ones threw back her
penny."
- Lizzie gives the apple to Laura and Laura
mistakenly thinks that Lizzie succumbed because of her (LIZZIE, LIZZIE, HAVE YOU TASTED?-
F Solo). Laura faints and Lizzie tells that she braved the glen. Laura awakes at last (THE
SISTERS [REPRISE]- F Duet) and the two girls don their black dresses and depart (TWO
DOVES- F Duet) (CLOSING MUSIC- Orchestra).
NOTES ON THE PRODUCTION
- Goblin Market is performed in the
narrative/readers theatre style and is a marvelous work for two students of
exceptional talent. The women must move well, sing, act and portray various moods
throughout the piece. This show is an ideal culminating performance style project for two
college sopranos, one with a slightly lower range.
- Rosettis poem has been interpreted many
ways; some call it a childrens poem, others feel it examines Victorian sexual fears.
No matter what the interpretation it is clearly about two sisters who care very much about
each other, a relationship piece that showcases real talent.
- The set is a unit set, as the play occurs in
a childrens nursery. There is a large Victorian dollhouse, various stuffed animals,
a music box, a window with a window seat (that doubles as a bed) and a window shade that
is changed to localize various areas. There is a rocking chair, a ladder and a climbable
pole to enhance the movement pattern.
SONGS OF SPECIAL INTEREST
The entire piece is sung and it is difficult
to select individual songs, but some are worth working on in a classroom situation. The
reader will have to listen to the entire score to decide which duets best suit their
individual needs.
- "Mouth So Charmful," Possible to use a portion of this for
an opera or classical audition, shows off the voice and a chance to physicalize, this song
is written by Antonio Lotti with lyrics by Theodore Baker
-
- Instrumentation: piano, violin, cello, percussion, synthesizer
- Script: Dramatists Play Service, Inc.
- Score: Dramatists Play Service, Inc.
Record/CD: TER (Thats Entertainment Records)
Rights: Dramatists Play Service, Inc.
GODSPELL
- Book: John-Michael Tebelak
- Music and Lyrics: Stephen Schwartz
ORIGINAL PRODUCTION
- Cherry Lane Theatre, May 17, 1971 (2,118 perf.), moved to Broadway, June 22, 1976 (527
perf.)
- Director: John-Michael Tebelak
- Musical Director: David Lewis
- Orchestration: Stephen Schwartz
-
- Principals:
- John/Judas- David Haskell- Baritone
- Jesus- Stephen Nathan- Tenor
- Chorus and Smaller Roles: 3M/5F
SUMMARY AND NOTES
- A small company of ten re-enacts familiar
biblical parables and the teachings, betrayal, death and resurrection of Jesus Christ. The
women's vocal types are in the alto/mezzo range with the remaining male roles being
divided into baritone, high baritone, and tenor.
- The performers need one basic costume,
usually pulled from stock and not representing any specific period of time. The set needs
are minimal which makes the show an easy one for school groups to tour. Although based on
a biblical theme the show is not uncomfortably religious or preachy. The chorus may be
expanded if desired although the charm rests in demonstrating the varied talents of a
small company.
SONGS OF SPECIAL INTEREST
- "All for the Best," Tenor Duet, vaudeville style, soft shoe
required, excellent study in diction and speed
- "Turn Back O' Man," Alto, torch song, movement and
sensuality necessary, good for combining sensuality and humor
-
- Instrumentation: pit band: piano/organ, guitars, bass (electric), drums/onstage:
recorder, 2 tambourines, 2 acoustic guitars, vibra-slap, various toy instruments-usually
played by the performers
- Script: NP
- Score: Hansen
- Record/CD: Bell
- Rights: Theatre Max
THE GOLDEN APPLE
- Book and Lyrics: John Latouche
- Music: Jerome Moross
- (Based on Homers Odyssey)
ORIGINAL PRODUCTION
- Phoenix Theatre, March 11,1954 (48 perf.), moved to Alvin Theatre April 20,1954 (123
perf.)
- Director: Norman Lloyd
- Choreographer: Hanya Holm
- Musical Director: Hugh Ross
- Orchestration: Jerome Moross and Hershey Kay
-
- Principals:
- Helen- Kaye Ballard- Mezzo
- Lovey Mars- Bibi Osterwald- Alto
- Penelope- Priscilla Gillette- Soprano
- Ulysses- Stephen Douglass- Baritone
- Paris- Jonathan Lucas- Dancer/VTNE
- Hector- Jack Whiting- Bass
- Menelaus- Dean Michener- Tenor
- Mrs. Juniper- Geraldine Viti- Mezzo
- Miss Minerva Oliver- Portia Nelson- Soprano
- Mother Hare- Nola Day- Alto
- Chorus and Smaller Roles: mixed, minimum of 14 males if Ulysses troop is trimmed
to 8 (need 4 dancers, 4 excellent singers, 2 of which are tenors), 10 women. This minimum
configuration should only be used if the stage and auditorium are small.
SYNOPSIS
- Act I takes place in 1900 in Angels
Roost, a small town in the state of Washington, at the edge of Mt. Olympus.
- The curtain rises on a romantic, sexy young
woman of twenty who is seated atop a ladder, singing of the boredom she feels (NOTHING
EVER HAPPENS IN ANGELS ROOST- F Solo to F Trio). She bemoans the fact that a small
town with a population of 751 has little to offer a young girl, especially when the men
are off fighting the Spanish American War. Three of the towns leading citizens extol
the "blessedness" of the town.
- Mother Hare, a cross between a witch, a small
town psychic and a beatnik enters. She is cheerful, but definitely offbeat as is evident
when she produces a crystal ball and reels off a list of predictions. She prophecies that
Helen will go off with a stranger and Mrs. Juniper and Minerva will argue with Lovey Mars,
which will result in a split in the town (MOTHER HARES SEANCE- F Solo to F Quartet).
The ladies pay her little heed, for they are more concerned with determining the length of
the war then with what Helen will do. Mother Hare re-checks her crystal and tells them the
war will last for years.
- Penelope, an effervescently attractive girl
in her twenties, enters with the aged Sheriff Menelaus who announces the end of the
Spanish American War. The ladies are excited that the war is ended and the troops will
soon be home. They turn to berate Mother Hare who warns them to heed her words and huffily
exits. The Sheriff takes his dreamy wife, Helen, home to put her under lock and key before
the men return home.
- Penelope, left alone, dreams about
Ulysses return (MY LOVE IS ON THE WAY- F Solo). She dances off as the townspeople
enter to exclaim their joy about the boys returning home (THE HEROES COME HOME- Mixed
Chorus). They proceed to decorate the town for a turn of the century pageant complete with
bunting, flags, and banners. The returning victors and Ulysses are greeted by the
townsfolk who present a small pageant to commemorate their return. The men thank everyone
for all the letters and presents, but the young girls interrupt by asking them to tell of
their adventures. The men respond, led by Ulysses, with tongue in cheek humor, by
describing the "love" all the natives felt toward them, yet wondering why these
"loving" natives were so brutal (IT WAS A GLAD ADVENTURE- M Solo to M Chorus).
- Lovey Mars interrupts the festivities to
request the girls tell about the plans for the evening (COME ALONG, BOYS- Mixed Chorus).
The chorus dances off leaving Ulysses and Penelope alone to warmly embrace and tell of
their longing for each other (ITS THE GOING HOME TOGETHER- M/F Duet).
- The sky suddenly changes color as Mother Hare
enters to welcome Ulysses home and force the happy couple to look into the dismal future
(MOTHER HARES PROPHECY-2F/M Trio). They face a desert where there once were trees
and Mother Hare outlines the achievements man will make as the scientific achievements of
the twentieth century are projected on a screen. As Ulysses wonders if people will be
happier, Penelope turns on Mother Hare, for she fears the woman is entwining them in some
sort of spell, but the strange woman waves her hand, comments that life needs evil for man
to grow and exits. An anxious Penelope urges Ulysses to resist Mother Hares
predictions, but he promises to always be by her side.
- As they exit, six of the young veterans enter
looking for Helen, whom they remember as high spirited, fun loving and always willing
(HELEN IS ALWAYS WILLING- M Chorus). When Helen enters to tell them she has quieted down
and married Sheriff Menelaus for his money, the boys begin attacking the old Sheriff, but
Ulysses breaks up the fight and forces them to give their word to protect Helen from
others who might take her from Menelaus. They give the Boy Scout salute in agreement.
- The townsfolk appear carrying a picnic table
laden with food and the scene changes to represent a church social, complete with various
flags and posters. The dancers demonstrate the various races and events that were
commonplace at a 1900 style country fair (THE CHURCH SOCIAL- Mixed Dance Chorus)
- The sudden appearance of a hot air balloon
decorated with flashing electric lights advertising Paris Notions, Inc. startles the
villagers. Mr. Paris, a handsome young man, is posed in the basket as the balloon lands.
It turns out he is a traveling salesman who dances his thoughts, for he does not speak.
The townsmen read an advertising flyer describing his wares as Paris demonstrates
(INTRODUCIN MR. PARIS- M/F Mixed Chorus). Everyone is excited by all the different
items for sale and buy up most of what he has to offer.
- Lovey Mars, Mrs. Juniper and Miss Minerva
enter with their baked goods, but are greeted by an angered Mother Hare who accuses them
of neglecting her advice now that the men are home. When they half-heartedly apologize she
brings forth a golden apple to give to the winner of the baking contest. The three women,
certain one of them will be the winner, argue over who will get the award and demand an
impartial judge be summoned. Their wish is granted as an unsuspecting Paris dances on (THE
JUDGEMENT OF PARIS- F Trio with M needed for staging). The three ladies leave him alone
with the entries, but gradually sneak on, one by one, to bribe the young man. Lovely Mars,
who offers him a lucky key charm, guaranteed to win him any girl he desires, is declared
the winner.
- Lovely introduces Paris to Helen, who is
immediately attracted to him and serenades him in a sultry voice (LAZY AFTERNOON- F Solo).
Paris responds by dancing his proposal that they leave. She agrees and they hastily ascend
in the balloon. An unsuspecting Menelaus enters, perturbed to see Helen in a balloon with
someone he doesnt know.
- Menelaus and the old men of the town urge
Ulysses and his young soldiers to make war on Rhododendron, the town where Paris lives
(THE DEPARTURE FOR RHODODENDRON- Mixed Chorus). The women, led by Penelope, are appalled
by the thought of another war and urge them to stay home but Ulysses and the boys set off
with Menelaus as the curtain falls.
- The Act II curtain rises on the busy
metropolis of Rhododendron where Helen and Paris are viewing the sights. A group of
admiring, elegantly dressed men are following the couple and Helen is excited by her new
life (MY PICTURE IN THE PAPERS- F Solo with M Chorus). Her happiness is cut short by
Ulysses and his men who urge her to come back before there is trouble. She stubbornly
refuses and the townsfolk protect her when Ulysses tries to take her by force.
- The boys desire to return home and leave
Helen with Paris, but Ulysses is impressed by the wonders of the town and excited by the
prospect of controlling it. He quickly divides the town by creating an issue over the
morality of keeping Helen. The city folk, who are quick to join a cause, divide in two
groups and begin fighting. Mayor Hector arrives to urge a compromise and devises a system
to settle the issue by a single fight between Ulysses and Paris. Ulysses wins, restores
Helen to Menelaus and the two depart for Angels Roost leaving Ulysses and the boys
to wonder what the fight was about (THE TAKING OF RHODODENDRON- M Chorus).
- They dont dwell on the war for very
long because Hector invites them to shop for new clothes before going home (HECTORS
SONG- M Solo). They enter a mercantile establishment as Hector tells the audience he will
soon have his revenge, for there is nothing the city cant offer the victors and one
by one they will succumb to its evil.
- A curtain opens to reveal a section of
Angels Roost where Penelope sits, sewing a patchwork quilt, surrounded by suitors.
Helen and Menelaus enter arm in arm to tell Penelope that Ulysses is probably off on a
spree and she may find him greatly changed when he returns. She reassures herself by
remembering their wonderful love (WINDFLOWERS- F Solo).
- The style of the show becomes revue oriented
as Ulysses begins his travels through the city and each number demonstrates a passing of
time.
- Ulysses enters, nattily dressed in a new suit
(STORE-BOUGHT SUIT- M Solo to M Chorus). He is joined by his soldiers who agree to join
him on a big spending spree. Hector arrives to urge them into Madame Calypsos social
parlor where everyone looks very familiar, for the characters are played by their
counterpart types from Angels Roost, i.e. Madame Calypso is played by Mrs. Juniper.
- After an evening with the big-city phony
society, who initially are enthralled by the victors, but quickly lose interest, Hector
guides the scene to an abstract version of the stock exchange. There, the Stockbroker
(Menelaus) and Hector perform a parody of a Gallagher and Shean vaudeville number (SCYLLA
AND CHARYBIDIS- M Duet). An unsuspecting Ajax, invests in the market, loses his worldly
goods, and leaps through a nearby open window to his death.
- Hector quickly passes a flask around and
coerces the boys to a volcanic, tropical island amusement area where the siren (played by
Lovey Mars) and her Sirenettes perform a sultry night club number (GOONA-GOONA- F Solo to
Mixed Chorus).
- During the course of their travels several of
Ulysses crew are shanghaied, but he doesnt discover this until there are only three
left. Hector urges Ulysses, Doc and Achilles, the only remaining soldiers, to trust
science and the set is suddenly transformed into a rocket laboratory whose head scientist
is a woman (Mrs. Minerva). She outlines the future of the world, which is quite bleak
(DOOMED, DOOMED, DOOMED- F Solo to Male Chorus).
- Her enthusiasm for her latest invention
causes Doc to excitedly volunteer to be the test pilot. The rocket flies into space as
Ulysses discovers no thought has been given to Docs return and he is doomed to die
in space.
- Ulysses, realizing only he and Achilles
remain, tells Hector he will fight this evil city. Hectors response is to send him
to the commanding Circe (Penelope), who introduces herself (CIRCE, CIRCE- F Solo to Mixed
Chorus). Circe holds out the golden apple to Ulysses and promises him that super power
will be his forever if he goes with her. A jealous Paris, who is enamored of Circe,
attempts to stab Ulysses, but Achilles acts as a shield and takes the death blow. Everyone
rushes off, leaving Ulysses alone to question the meaning of life, death, love, faith and
hope. A robed chorus led by Mother Hare responds to his questions as if they are part of
his mind (ULYSSES SOLILOQUY- M Solo to F Chorus). During this questioning, the city
disappears and Ulysses decides he can return home much wiser and more capable, for he is
his own man.
- The set changes to Penelopes house in
Angels Roost where the ladies and Menelaus are commenting that ten years is too long
to wait for Ulysses and she must seriously consider someone else. (THE SEWING BEE- F Solo
to F Chorus to M Solo). An exhausted Ulysses arrives, but Penelopes anger causes the
townsfolk to hastily disperse and leave the two alone. Knowing she is both upset and
relieved at his return he beseeches her to look at their life together. The two reunite
(ITS THE GOING HOME TOGETHER [REPRISE]- Sc to M/F Duet) as the curtain falls.
NOTES ON THE PRODUCTION
- In John LaTouches forward to the
published libretto he notes his initial attraction to the Ulysses theme and his attempt to
adapt these stories to American life. He wanted the material to evolve from the Native
American situation, history, music, dance and philosophy. He more than achieved his goal,
for The Golden Apple employs musical theatre, nostalgia, vaudeville, social
history, representative characters and attitudes of early 20th century America. It is
refreshing, brilliantly conceived and unfortunately not produced often enough.
- The music flows continually through the show
with the majority of the dialogue being sung. Each dialogue section/scene is a short song
of its own, and complete in itself; however only the complete songs which are titled are
named in parenthesis.
- The show is unfamiliar to most people, probably due to the fact that it had a short run
and the record album has been out of print for a number of years. The show was originally
performed Off-Broadway and received such rave reviews and ticket requests that the
producers moved it to Broadway. Unfortunately the move did not prove to be a wise one and
the show, in a larger theatre, lost much of its charm and was unable to survive the usual
summer drop in ticket sales. The original production received the New York Drama Critics
and Donaldson Awards as the Best Musical of the Season and is certainly worth
consideration by any talented company looking for something unusual, charming, and
challenging to produce.
- The opportunity for character work for males
and, more especially, females is excellent and Colleges and Universities who are looking
for opportunities for their female acting students would do well to peruse the full script
and score of this musical.
- The sets may be trimmed to utilize two basic
locations as a backdrop to the overall action. A painted drop or wall of flats denoting
Angels Roost and Rhododendron with small units or cut outs to represent other
locations would be sufficient. The costumes are turn of the century period with those in
the Act I being more small town in flavor and the those worn in Act II, which takes place
in the city, being more flamboyant and sophisticated.
SONGS OF SPECIAL INTEREST
- "By Goona-Goona Lagoon," comedic spoof of South Sea Island
musicals
- "Its the Going Home Together," Romantic duet for a
Baritone/Soprano
- "Lazy Afternoon," Mezzo, warm and sentimental, sultry song
- "Scylla & Charybdis," Baritone/Bass, vaudeville comic M
duet, good for revue and class study
-
- Instrumentation: 3 violins, viola, cello, bass, 5 woodwinds, 2 horns, 2 trumpets,
trombone, percussion, harp, piano-celeste, piano/conductor
- Script: Random House
- Score:
- Record/CD: Elektra
- Rights: Tams-Witmark
- GOLDILOCKS
- Book: Walter and Jean Kerr
- Music: Leroy Anderson
- Lyrics: Joan Ford, Walter and Jean Kerr
ORIGINAL PRODUCTION
- Lunt-Fontanne, October 11, 1958 (161 perf.)
- Director: Walter Kerr
- Choreographer: Agnes De Mille
- Musical Director: Lehman Engel
- Orchestration: Leroy Anderson and Philip J. Lang
-
- Principals:
- Maggie Harris- Elaine Stritch- alto
- Max Grady- Don Ameche-
- Lois- Pat Stanley- alto
- Pete- Nathaniel Frey- tenor
- Bessie- Margaret Hamilton-
- George- Russell Nype- tenor
- Chorus and Smaller Roles:
SYNOPSIS
- The play opens on the view of a New York
marquee in 1913 at the height of the silent film craze. Popular stage actress, Maggie
Harris, is giving the final performance of her hit musical "Lazy Moon."
- The marquee, painted on a scrim, dissolves to
reveal the shows finale where the chorus, in period style and dressed in colorful
costumes, are performing (LAZY MOON- Mixed Chorus). At the final curtain call the
"Clown" lead introduces Maggie, who is leaving the show to marry the wealthy
George Randolph Brown. The shy fiancé also takes a bow.
- In her dressing room, Maggie tells the chorus
members and her maid that she is happy to be leaving the theatre and marrying someone
wealthy (GIVE THE LITTLE LADY- Sc to F Solo to Mixed Chorus). Her farewells are
interrupted by the silent film director, Max Grady, who informs her that she is contracted
to make a picture for him, starting tomorrow. She is aghast, but agrees to be at the
shooting. When her future husband, George, of blue-blood stock arrives carrying a large
poster of Maggie, she confesses her fears that she isnt good enough for his family.
He ignores her protests and promises her a lovely life (SAVE A KISS- Sc to M/F Duet).
- The scene shifts to the movie set, a
"fenced-in-vacant-lot-in New York." The set is a sheet that has been hung up,
clothes-line-style, and painted with a background of western hills and cacti. There are
various props meant to depict the pioneer days strewn about. A cabin is being assembled.
Bessie, a friend of Maxs who owns the farm where he stores his scenery, tells him
she cant continue sewing costumes, for she is needed on the farm. Lois, a star
struck, sweet young girl, enters to beg Max to put her in his picture. He refuses because
she has no talent.
- Maggie arrives on the set with George and is
sent to wardrobe, leaving George with Lois, who tells him she is in love with Max. As two
of Maxs assistants wheel on an enormous Egyptian griffin, Peter warns him that J.C.,
the financial backer, had better not discover Maxs profits have been spent on props
for Maxs dream film feature, an Egyptian epic.
- Just then, J.C. appears in a wheelchair and
demands to see Maxs financial records. Max agrees to give him the records if he
finds him a new leading lady. After he exits, Maggie returns, transformed into a pioneer
woman complete with baby, and films a series of fantastic episodes, which Max tyrannically
directs. Maggie comments on Maxs egotism and he on hers (NO ONELL EVER LOVE
YOU- Sc to M/F Duet).
- When J.C. pulls out, leaving Max with no
financial backing and no leading lady, he decides to keep Maggie working by expanding the
shooting schedule. When he tells her, she tells him she is breaking their contract and
getting married. George, who overhears the conversation, is appalled that she would break
her word and insists that she complete the picture. After a long shooting schedule, an
exhausted, unhappy Maggie pours out her feelings to the actor who played the Bear in the
last film sequence (WHOS BEEN SITTING IN MY CHAIR?- Sc to F Solo). She refers to
herself as Goldilocks and wonders when she will get to share her life with George. She
dances with the Bear, who kisses her hand and leaves.
- Max enters and invites her to dinner. When
she refuses he accuses her of being scared, but she retorts that she wants nothing to do
with him. He reminds her that she promised to attend Loiss singing debut at the Fat
Cat Club and she reluctantly agrees to be picked up at nine and exits.
- Max confides his latest idea for a film about
a woman captured by pirates to Peter, who wonders when Maggie is going to realize he is
making more than one film. He accuses Max of being interested in her, but Max scorns the
idea. Left alone, he recognizes the challenge in getting Maggie interested in him (THERE
NEVER WAS A WOMAN- Sc to M Solo).
- At the Fat Cat, Lois is performing, but
barely able to hold her own in the chorus dance section (PUSSY FOOT- F Solo to Chorus
Dance). The lights rise on a table where Max tells Maggie her contract is finished and
that he has been using her to make other films. She questions him about his reasons for
telling her and he confesses his dream about the Egyptian film and his growing interest in
her. She agrees to do the film.
- On Huckleberry Island, where the pirate film
is being shot, Peter and Bessie tell Max they are going to get financing from George for
the Egyptian picture. He goes to direct the film and he and Maggie become so involved they
kiss. Maggie confesses she loves him. When Pete and Bessie return with money from George
to pay the cast, Maggie feels betrayed. Max tries to tell her the truth, but she runs from
him. He quickly has the pirates bring her back and begins filming despite her
protestations. George becomes involved in the scuffle and gets knocked out. The scene ends
in chaos.
- Act II opens in the hospital where four
nurses hover around George as Lois watches (DO BE CAREFUL- F Quartet). He sends them off
as Lois congratulates him for his romantic bravado. When she questions him about all
mens lack of interest in her, he urges her to be less aggressive and let the man
make the overtures (LADY IN WAITING- Sc to F/M Duet). Lois leaves as Maggie arrives,
furious that George will not help her get out of Gradys picture (THE BEAST IN YOU-
Sc to F Solo). She wonders why he isnt a fighter.
- George asks Maggie, who is unable to respond,
if she loves him. As she thinks, J.C. enters with a portfolio of ledgers, which he
exchanges for a check from George. It seems George has purchased the picture from J.C. and
has made Maggie Maxs boss. She kisses him and exits. George wonders when she will
realize she loves Grady (SHALL I TAKE MY HEART AND GO- M Solo).
- At Bessies barn Andy has finished
supervising the companys preparation for the move to California. Maggie arrives to
take over the film and curiously asks to see the loaded boxcars. They exit together. Max
enters with Bessie who urges him to go back to town and see Maggie. She leaves him alone
to convince himself he isnt in love (I CANT BE IN LOVE- M Solo). Maggie also
realizes her feelings toward Max and agrees to let him shoot the picture. His four
assistants are jubilant (BAD COMPANIONS- 3M/F Small Chorus).
- On the evening of the wedding rehearsal at
Georges parents home, Max tells Maggie that he loves her, but she feels
cant give up her dream of marrying into social position (I NEVER KNOW WHEN- F Solo).
- On location the next day, the cast and crew
celebrate the beginning of their Egyptian epic (TWO YEARS IN THE MAKING- Mixed Chorus),
but Lois, who is the new star, is hopelessly inept. Maggie arrives and announces she will
finish the picture, but she wont marry Max without a sign from heaven. As the
filming begins, it starts to snow, an omen, and Max and Maggie embrace.
NOTES ON THE PRODUCTION
- Pat Stanley won the Tony Award for Best
Supporting Actress.
- The show is an enjoyable one for the
community and high school groups to attempt as it is full of fast-paced, comic silent film
sequences and can call for large or medium size cast.
SONGS OF SPECIAL INTEREST
- "Bad Companions," humorous trio or quartet
-
- Instrumentation:
- Script: Samuel French
- Score:
- Record: Columbia
- Rights: Samuel French
THE GRAND TOUR
- Book: Michael Stewart and Mark Bramble
- Music and Lyrics: Jerry Herman
ORIGINAL PRODUCTION
- Palace Theatre, January 11, 1979 (61 perf.)
- Director: Gerald Freedman
- Choreographer: Donald Saddler
- Musical Direction: Wally Harper
- Orchestration: Philip J. Lang
-
- Principals:
- S. L. Jacobowsky- Joel Grey- Tenor
- Colonel Tadeusz Boleslav Stjerbinsky- Ron Holgate-
- Szabuniewicz- Stephen Vinovich-
- Marianne- Florence Lacey- Soprano
- Chorus and Smaller Roles:
SYNOPSIS
- The prologue begins at the end of the
overture when the curtain rises and we see a man standing in silhouette on the bare stage.
He wears a shiny, but neat, suit and a bowler hat and carries several well-worn suitcases.
As the lights come up he steps forward, removes his hat and tells the audience in a
strangely optimistic way that he is in flight from the Germans (ILL BE HERE
TOMORROW- M Solo).
- Scene one is set in a street in Paris where
an air raid siren is wailing and various people are scurrying for shelter. In front of the
Hotel Mon Repos et ce la Rose, a fourth-class establishment somewhere in Montmartre, a
young man wearing an apron takes Jacobowskys suitcases and brings them inside the
hotel as Jacobowsky looks at his watch and crosses to a small cafe table. We become aware
of an aristocratic man in an officers uniform who sits unconcernedly, eating
breakfast at a table as the last Parisians scurry off. A very nervous man with pince-nez
stands along side him trying to convince him to take shelter. The same man hands the
Colonel papers which have the addresses of Polish resistance fighters ready to join the
English against the Germans. He tells him to meet a man with a flower in his buttonhole in
St. Nazaire. The Colonels aide, Szabuniewicz, attempts to find him transportation.
Jacobowsky overhearing the conversation offers to help him find transportation if they can
go together. The arrogant Colonel refuses this invitation. However, when Jacobowsky has
bought the last car in Paris, the Colonel reluctantly is talked into sharing it since he
is a patriotic Pole (FOR POLAND- Mixed Chorus).
- Scene two begins and we see a squad of German
soldiers advancing through the French countryside. Sporadic machine gun fire is heard, the
Germans exit right and we find ourselves in front of a garden wall in St. Curille early
that evening. An old woman marches determinedly on carrying several suitcases and a
birdcage. She sets them down as Marianne, a lovely and vivacious young Frenchwoman,
appears behind her. Madame Vauclain tells Marianne to flee as the Germans have arrived.
She refuses to leave as her Colonel, the man she loves, will return and defeat the Germans
(I BELONG HERE- F Solo).
- She exits and the garden is silent a moment.
Then, in the distance, we hear the sound of an exhausted motor coughing and sputtering. We
also hear reprise music of "For Poland" as the sound grows louder and louder and
Jacobowskys limousine starts jerkily on from right. Steam is hissing out of the
radiator, one tire is flat and the car is covered with mud and dust. It gives one final
gasp then shudders to a stop. Jacobowsky is slightly upset at the Colonel who would bring
them into the danger zone. The Colonel positions himself just outside the garden wall and
sings (MARIANNE- M Solo). Marianne enters and hugs the Colonel. Jacobowsky tells Marianne
to pack her bags quickly. He tells the reluctant Marianne that she can not save her home
unless she is free to fight the Germans. The Colonel is angry that Jacobowsky has stepped
into his business. They leave for the train.
- Scene three takes place in a third class
carriage of a local train where the conductor and various passengers are boarding. The
Colonel is indignant about the accommodations. He feels that he is above third class
status. Jacobowsky and Marianne talk him into accepting it (WERE ALMOST THERE- Mixed
Chorus). During the number Szabuniewicz falls off the back of the train and Jacobowsky
saves him by pulling him back on. A shriek of brakes is heard, the train lurches to a stop
and the number is over. The Germans have cut the track.
- Resourceful Jacobowsky arranges for a
carnival to take the four on to St. Nazaire. The wagons of the Carnival Manzoni are rather
dilapidated. Marianne admires Jacobowskys ability to take care of them and, when all
the others leave, Jacobowsky admits that he is falling in love with her (MARIANNE
[REPRISE]- M Solo).
- Scene five opens in the countryside, just
outside the city of Rennes. A man with a suitcase comes out of the carnival wagon and
crosses right with Madame Manzoni, the carnival owner, chasing after him. It is Hugo the
Hungarian Hercules who leaves because he is afraid of the Germans. The Colonel and
Marianne enter. He is angry because he has had to change out of his uniform into civilian
clothes. He is convinced that Jacobowsky is in love with Marianne and has decided to fight
him. Szabuniewicz and Jacobowsky enter with cheese, bread and sausage. Jacobowsky serves
it to Marianne, pretending that he is the waiter in Chez Maxim, and Marianne thoroughly
enjoys herself. The Colonel is furious (MORE AND MORE/LESS AND LESS- M/F Duet). Marianne
and Jacobowsky begin dancing. At the end of the song the Colonel tells Jacobowsky to step
away from Marianne, then challenges him to a duel. Jacobowsky admits that he loves her and
then reluctantly agrees to the duel. As it begins, two SS soldiers and one Captain enter.
Jacobowsky tells them that he is Hugo the Hungarian Hercules and that they are practicing
for the show. The SS Captain says that he will be there to see Hugo shoot out of the
cannon.
- Scene six opens in the dressing area of the
carnival. A nervous Jacobowsky attempts to calm himself (ONE EXTRAORDINARY THING- Mixed
Chorus).
- On the Midway of the carnival that evening,
(ONE EXTRAORDINARY THING- Dancers) the blast of a whistle is heard and Madame Manzoni
steps forward to present the next act. Szabuniewicz starts out, sees the target and starts
immediately off. He is stopped and put into place against the target as Jacobowsky, in his
sharpshooter costume, makes his entrance. He crosses to Marianne and puts on his glasses.
He takes the first pistol and, with his hand trembling, aims it at Szabuniewicz. He pulls
the trigger and the first balloon pops. Both he and his target heave a sigh of relief and
the act continues. He shoots the last balloon, dangerously placed between
Szabuniewiczs legs. He exits as Szabuniewicz, half-fainting, exits behind him.
- Madame Manzoni next introduces Bobo the
Clown. The Colonel starts on in an outrageous costume made up of several inflated inner
tubes covered by a huge clowns costume. He falls and bounces up again. His two girl
assistants run against him and bounce off. The SS Captain has meanwhile wandered
suspiciously by and the Colonel bounces merrily against him. Suddenly the Colonel falls
and is unable to rise. The full company comes to his aid (ONE EXTRAORDINARY THING
[REPRISE]- Mixed Chorus).
- Through the last of this, Jacobowsky has come
out in his human cannonball costume and is lifted up as the number ends. A whistle is
blown and Madame Manzoni makes the announcement as two assistants load Jacobowsky into the
cannon. Suddenly a voice calls out. It is the SS Captain, who asks him a question in
Hungarian. The soldiers try to stop the event when Jacobowsky cant answer the
questions but they are too late. A dummy shoots out of the cannon and the four escape
before the Germans catch them. Jacobowsky then arranges a ride for the other three, but,
after they have left, he discovers the papers that they had hidden in Mariannes
hatbox. He goes after his friends.
- Act II, opens on a barge where Jacobowsky is
hiding with the help of barge men. Jacobowsky thinks about something his mother once told
him (MRS. S. L. JACOBOWSKY- M Solo).
- The second scene opens in the Cafe of Papa
Clairon at St. Nazaire. Present are Papa Clairon, Claudine, the waitress, and various
patrons. A man with a flower in his buttonhole comes crisply on. He is slightly impatient
and Papa, who is involved in the operation, tries to calm him. There is a bridal party
present and the mother of the bride is insisting on a Jewish wedding. Jacobowsky enters in
the middle of an argument between the brides mother and aunt. Although he is looking
for the man with the flower in his buttonhole, he agrees to read the ceremony at the
wedding. Jacobowsky mistakenly thinks that the brides father is the man with the
flower that he is supposed to meet. He tries to talk in code in order to alert the
brides father but he does not respond (WEDDING CONVERSATION- M Duet).
- Suddenly, four more guests, each wearing
flowers, enter. This confuses Jacobowsky. The wedding begins and we see Jacobowsky getting
totally caught up in the moment (MAZELTOV- Mixed Chorus). As the number ends, a man rushes
into the cafe yelling that the Germans have arrived and Jacobowsky hurriedly reads the
ceremony before everyone leaves and the Germans arrive.
- Jacobowsky hides as the SS Captain,
accompanied by two soldiers, bursts into the room. They check the man with the
flowers passport, which is in order and the Germans exit. The man with the flower
tells Papa to tell the Colonel to meet him elsewhere. Papa passes the information onto
Jacobowsky and Claudine, Papas daughter, decides to help Jacobowsky find his
friends.
- Scene three is set alongside a country road
where a peddlers wagon is stopped. The Colonel, Marianne and Szabuniewicz are in the
wagon discussing their next plan of action. The Colonel tries to act as resourceful as
Jacobowsky but he cant and this distresses him immensely. He has come to realize
that he and Jacobowsky are not as different as he thought (I THINK, I THINK- M Solo). Just
as the number ends, Claudine enters. The Colonel and Marianne take her bicycle at her
request in order to make the meeting with the man with the flower.
- Scene four begins in the reception room of 23
Rue Mace, a small Ursuline Convent. This is the new location for the Colonels
meeting. The sisters enter from their tasks led by Mother Madeleine. They are singing (FOR
POLAND [REPRISE]- F Chorus). On the last notes of the song, the SS Captain and six men
enter. Mother Madeleine attempts to divert these men from the place where the man with the
flower and the Colonel will meet. She does this long enough for Marianne, the Colonel,
Szabuniewicz, Jacobowsky and the other man to arrive. The man with the flower tells the
Colonel where a boat will be waiting to transport him and the papers to England and exits.
The Colonel is very grateful to Jacobowsky, who has saved those papers. Suddenly, the SS
Captain and company begin down the stairs and the four renegades hide in the chapel. The
Captain orders all the sisters out of the chapel. They all emerge, but among the last four
nuns, we notice one who is extraordinarily tall. The suspicious Captain discovers the
Colonel and there is a short struggle, which the Colonel wins. It is very apparent that
this is his area of expertise and we observe the Colonel in a new and competent way.
Jacobowsky, on the other hand, is inferior to the colonel in this type of situation.
- Jacobowsky reluctantly locks the six soldiers
in the coal cellar. The SS Captain attempts to escape, believing that the inferior Colonel
will not shoot him because of his Polish code of ethics. The Colonel does in fact shoot
him during this escape attempt. It is after the Colonel proves himself that he and
Jacobowsky become close friends (YOU I LIKE- M Duet).
- The song continues over into scene five where
the set changes to a street in St. Nazaire. The two men who are still singing look at each
other for a moment, then cannot resist any longer; seizing each other by the waist, they
begin to polka wildly through the empty street.
- Scene six opens a few minutes later on an old
wharf, two lights playing on the stone causeway littered with barrels and boxes. The
soldiers exit and Szabuniewicz and Marianne step out from behind a packing case. Shortly,
Jacobowsky enters with news. Since an SS Captain has been shot, all Jews and aliens are to
be shot on sight and the situation is now extremely dangerous.
- The Colonel enters and he and Jacobowsky
discuss their duel. Marianne tells the Colonel at that moment that she belongs with him (I
BELONG HERE [REPRISE]- F Solo). The man with the flower enters and tells them that the
boat will only take the Colonel and Marianne. Szabuniewicz tells the Colonel that he does
not wish to go to England, but instead wants to be back in Poland. The Colonel refuses to
leave Jacobowsky, who stands a very good chance of being caught. Jacobowsky tells him that
those papers must be brought to England, that it is the most important thing. Reluctantly,
the Colonel and Marianne board the boat. Soon Jacobowsky is alone on the wharf. He picks
up his battered briefcase and sings with mounting confidence (ILL BE HERE TOMORROW-
M Solo). By the end of the song the sun has begun to rise and Jacobowsky is filled with
joy as he starts toward us. The spot catches him in a freeze, his arms outstretched, his
eyes looking hopefully to an uncertain future.
NOTES ON THE PRODUCTION
The play takes place from June 13th
to the 18th in 1940 between Paris and the Atlantic coast of France.
SONGS OF SPECIAL INTEREST
- Instrumentation:
- Script:
Score:
Record/CD: Columbia Masterworks
Rights: Samuel French
THE GRASS HARP
- Book and Lyrics: Kenward Elmslie
- Music: Claibe Richardson
- (Based on the novel by Truman Capote)
ORIGINAL PRODUCTION
- Martin Beck Theatre, November 2, 1971 (# perf.)
- Director: Ellis Rabb
- Choreographer: Rhoda Levine
Musical Director:
Orchestration: J. (Billy) Ver Planck, Jonathan Tunick and Robert Russell Bennett
-
- Principals:
Dolly Talkbo- Barbara Cook- Soprano
- Collin Talbo- Russ Thacker-
- Catherine Creek- Carol Brice-
- Verena Talbo- Ruth Ford-
- Dr. Ritz- Max Showalter-
- Babylove- Karen Morrow-
- Chorus and Smaller Roles:
SYNOPSIS
- As the lights come up, they focus on Collin
Talbo, a sturdy, well-made boy of about fifteen, wearing blue jeans and a shirt with
rolled up sleeves. He is stretched out down left, head propped up, day dreaming and
staring at the sky. Something alerts him and, as he gets up and steps onto a tree root, he
looks intensely out front. The lights brighten and he sees, relaxing on the ground on the
right side of the tub, Dolly Talbo, a pretty woman who is wearing a plain, ankle length
country dress with an apron. Her hair is pulled back in a bun and she wears a cameo.
Catherine Creek, a black woman, is lying down, up center. She is dressed up in flamboyant,
somewhat self-invented, Indian regalia. She is festooned with turquoise bracelets and
necklaces and her cheeks are highly rouged. The three suddenly realize that its
dropsy weather, time to make their own special cure for dropsy (DROPSY CURE WEATHER- Mixed
Chorus). During the number, they begin to create the concoction. Collin reads a letter
from a customer requesting this wonder medicine. The mood between the three is comfortable
and happy.
- Suddenly Verena Talbo, Dollys sister,
appears behind the screen door and puts a damper on the lively mood. It is quite obvious
that Catherine and Verena do not like each other. Verena yells at all three and she warns
them that Dr. Ritz will be coming very soon. Just before she exits, Verena tells Collin to
get rid of his dirty magazines and dirty boy ways. Collin angrily throws down his magazine
(FLOOZIES- M Solo). He sings while acting out his floozy fantasy. When the number ends,
Collin retrieves his magazine and runs off, as the back drop of leaves and vines and the
screen door fly up.
- Scene two opens in the Talbo house. Dr.
Morris Ritz, a dashing city slicker in a black business suit embraces Verena, torridly in
the foyer. They speak about getting Dolly to tell the ingredients to her dropsy medicine
in order to patent it. Dolly and Collin enter with lemonade. Collin jolts the cart holding
the lemonade hard enough for all to spill to get Verena and Dr. Ritz apart. Dolly hurries
out of the room, upset, as Catherine enters carrying a devils food cake, which she
thumps down on the teacart. She speaks to Verena in gibberish with a totally serious
manner. It becomes obvious that she has deliberately lost her set of false teeth,
rendering her speech unintelligible, a strategy calculated to unhinge Verena. Dolly, hair
tidied and apronless, enters from the pantry. Verena introduces her to Dr.Ritz and tells
her that they want to register a patent making Dolly the inventor. Dr. Ritz tries to
explain the advantages (THINK BIG RICH- M Solo). Dolly refuses to do it and Verena
attempts to make her feel guilty. Dolly begins to relinquish the recipe until she
remembers a song that her grandfather used to sing. She tears the patent papers in two and
Verena exits.
- Dolly tells Catherine and Collin that she is
moving out. Catherine tells her that the house is rightfully Dollys and not
Verenas because she has so lovingly taken care of it (IF THERES LOVE ENOUGH- F
Solo). Dolly still strongly feels that there is no place for her in her sisters
house and the three prepare to leave (YELLOW DRUM- Mixed Chorus).
- As they sing, marching exuberantly, the Talbo
house flies up. Folded under the backdrop, attached to its bottom edge, is the foliage of
the Chinaberry tree. As the Talbo House disappears upwards, the foliage slowly unfolds,
forming a screen of green through which one can catch glimpses of the tree structure. As
the song ends, Dolly, Catherine and Collin, hand in hand, approach the foliage. Some of
the foliage lifts slowly, so that more and more of the tree structure is revealed the
closer they get to it. The three of them climb up into the tree, and settle onto a raised
tree house platform.
- As scene three begins, the three arrange
their possessions while Catherine worries about being "homeless people" and
Dolly thinks about her grandfather. Suddenly Judge Cool, a fifty-year old retired Judge
enters. He stops when he sees the three and then joins them for lunch. The Judge talks
about the first time he saw Dolly when she was a girl, then speaks about the regrettable
things that he did in the past and how he wants to change. Catherine remarks that his
regrets are inconsequential compared to hers (MARRY WITH ME- F Solo). Collin joins the
conversation, trying to get the Judge to advise him about his feelings for Maude Riordan,
his special girl. Dolly, taken with the subjects, says that she has never had the
opportunity to love anyone but Papa (CHAIN OF LOVE- F Solo). The Judge decides to stay the
night in the tree house with the others and it becomes apparent how he feels for Dolly
(THE ONE PERSON IN THE WORLD- M Solo). They sleep.
- A musical interlude evokes a sense of night
and of the passing time. Collin gets up and begins to roam restlessly about with pent-up
animal energy; he shimmies down a root branch and leaps through the shadows, pausing to
stare at Judge Cool and Dolly asleep. As dawn begins to break, he lies down on the ground
and falls asleep.
- Maude Riordan enters. She quickly spies
Collin and wakes him up and he begs her to stay the day with him (THIS ONE DAY- M Solo).
They dance playfully during the number. Abruptly their mood changes from pleasure at the
physical release of dancing to desire for each other. Suddenly motionless, they look at
each other. Maude reaches out, takes Collins hand and puts it on her breast.
Catherine, waking and not finding Collin, looks down and sees the two. She is aghast at
what is happening and yells at Maude to stop tempting Collin. Maude says that she has to
leave before her father finds out where shes been. Catherine is angry about the
accommodations and wants to go home, while the Judge is pleased that he and Dolly are free
spirits. The chatter abruptly stops when Babylove and the Pride-n-Joys, her five children,
who have run out of gas, enter the scene.
- After the introductions, Babylove tells them
about the Babylove Miracle Show (THE BABYLOVE MIRACLE SHOW- Mixed Chorus) and she tells
them a little about her life (WALK INTO HEAVEN- F Solo). During the previous songs, which
come right after each other Babylove creates a mystical atmosphere. She heals
Catherines back and puts the Judge and Dolly closer together. The residents of the
tree house immediately like Babylove and the Pride-n-Joys. Suddenly, Verena and Dr. Ritz
enter, completely changing the happy mood to a tense one. Verena is extremely upset at
them for making spectacles of themselves. Also, Maudes father has been calling her,
hysterically, all day, accusing Collin of abducting his daughter. To make matters worse,
she becomes terrified of Babylove, who begins following Verena around. Amos Legrand, the
sheriff, enters and arrests Babylove and her children. Then, after a fight between Collin,
Catherine, Maude and Dr. Ritz, he arrests all but Verena and Dr. Ritz. Ritz tells Verena
to get that recipe from Dolly in jail and she exits right after the others. He stands
alone, jauntily thinking about his plan (SOMETHING FOR NOTHING- M Solo) and dances off,
executing a vaudeville hoofer routine.
- Scene four takes place in the town jail where
the whole bunch have been put into one cell. They begin to pass around the dropsy
medicine, which packs quite a wallop for all. Catherine becomes upset at the loss of her
freedom comparing their situation to the Indians (THE INDIAN BLUES- Mixed Chorus). Amos
enters the jail with Verena, who makes another try at getting the recipe from Dolly, but
Dolly tells her that she is ashamed of her behavior and Verena leaves in a rage. Amos says
that all this "aggravation" isnt good for his palpitations. They offer him
some dropsy cure (TAKE A LITTLE SIP- Mixed Chorus). By the end of the number, Amos is dead
drunk and the prisoners have the jail keys. They leave, singing Grandpas song
(YELLOW DRUM [REPRISE]- Mixed Chorus).
- Scene five opens at the Talbo house where
Verena has gone after her visit with Dolly. She holds a note from Dr. Ritz, who has left
her (WHAT DO I DO NOW THAT HES GONE- F Solo).
- Scene six is set in the tree house in River
Woods where the escapees have returned to. They all carry wild flowers of different sorts
and Babylove turns to Collin and holds out the flowers shes picked, improvising a
fortune telling game (PICK YOURSELF A FLOWER- Mixed Chorus). They all dance and celebrate
together but, after the number, Amos enters. He has arrived to return them to jail. Verena
then enters and tells Amos to arrest Dr. Ritz, who has ransacked her safe. She breaks
down, telling Dolly that she has been jealous of her for having loyal friends and for
being so at home in their house. As she sobs, Dolly goes to her (REACH OUT- Mixed Chorus).
Verena joins them in their tree house. Amos is shocked at Verenas behavior but
watches intently and doesnt leave. They all, one by one, hold hands or touch each
other, showing their love for one another. Soon the lights shift, so that everyone becomes
silhouetted. Now they are memories.
- The lights brighten and the company takes its
bows from various vantage points in the tree and on the ground (YELLOW DRUM [FINALE]-
Company).
NOTES ON THE PRODUCTION
SONGS OF SPECIAL INTEREST
- Instrumentation:
- Script: Samuel French
Score:
Record/CD: Painted Smiles Records
Rights: Samuel French
GREASE
Book, Music and Lyrics: Jim Jacobs and Warren Casey
ORIGINAL PRODUCTION
- Broadway Theatre, June 7, 1972 (3,388 perf.)
- Director: Tom Moore
- Choreographer: Patricia Birch
- Musical Director/Arrangements: Louis St. Louis
-
- Principals:
- Rizzo- Adrienne Barbeau- Alto
- Danny Zuko- Barry Bostwick- Tenor
- Sandy- Carole Demas- Mezzo
- Kenickie- Timothy Meyers- Baritone
- Frenchy- Marya Small- Soprano
- Doody- James Canning- Tenor
- Marty- Katie Hanley- Alto
- Jan- Garn Stephens- Mezzo
- Teen Angel- Alan Paul- High Baritone
- Roger- Walter Bobbie- High Tenor
- Johnny Casino- Alan Paul- Tenor
- Chorus and Smaller Roles: 3M/4F
SYNOPSIS
- The lights rise on a Rydell High School class
reunion (ALMA MATER- Mixed Chorus). Miss Lynch, the old English teacher, Patty, a former
cheerleader, and Eugene Florcayk, former class valedictorian, enter the room. They make
short speeches, which lead to the years gone by. The scene switches to 1959 where the
"Greaser" parody the school song (ALMA MATER- Mixed Chorus).
- It is the first day of school and, in the
cafeteria, the "Pink Ladies" meet Sandy, a typical "Sandra Dee," type
who has moved to town. Patty Simcox, a snobbish honor student, joins the girls and tells
them she is running for class vice-president.
- The lights cross fade to the boys who eagerly
greet Danny, the gang leader, and ask him about his summer. The lights rise on the
cafeteria where Sandy is telling the girls about a boy she met over vacation. (SUMMER
NIGHTS- M/F Linear Duet with Mixed Chorus). The two songs are performed in separate areas
of the stage, but the audience realizes the different stories are about the same people.
Danny, followed by the boys, sees Sandy and decides to act cool, a drastic change from
their summer romance. In the school, Doody, one of the "Burger Palace" boys,
shows off his new guitar a la Elvis style (THOSE MAGIC CHANGES- M Solo to M Chorus).
- The girls, at a slumber party at
Martys, start to smoke and drink. Trying to force Sandy to conform, they pierce her
ears, but she gets sick. Marty tells the girls about her new boyfriend in the marines
(FREDDY, MY LOVE- F Quartet). The girls all fall asleep except Rizzo who climbs out the
window to meet her boyfriend, Kenickie.
- The scene changes to the gang and Kenickie
who enters driving a beat up, `51 Ford Convertible. Kenickie sings of the potential
greatness of the car (GREASED LIGHTNIN- M Solo and M Chorus). Rizzo enters and
drives off with Kenickie.
- The scene changes to Sandy, now a member of
the cheerleading squad, practicing. Danny enters to invites her to a party, but the two
argue about sports and Sandy ends up forcing him into joining the track team.
- The play moves to a deserted part of a park
where the Pink Ladies and the Burger Palace boys are sitting. Roger, the king of the
mooners, sings to Jan about caring for her (MOONING- M/F Duet). Rizzo, upset by all the
attention the boys have been giving Sandy, parodies Sandra Dee, the clean living movie
star of the 50s (LOOK AT ME, IM SANDRA DEE- F Solo). Sandy enters and the two girls
fight. When Sandy shuns Danny, he spitefully asks Rizzo to the school dance. The rest of
the kids pick dates and comment on the way out that the Burger Palace boys and the Pink
Ladies go together (WE GO TOGETHER- Mixed Chorus).
- The Greasers and the Pink Ladies prepare for
the high school dance (SHAKIN AT THE HIGH SCHOOL HOP- Mixed Chorus), while Sandy
sits mournfully at home with her radio (ITS RAINING ON PROM NIGHT- F Solo).
- At the dance, Johnny Casino, disc jockey and
teen idol, prepares the group for the dance contest (BORN TO HAND JIVE- M Solo and Mixed
Chorus). Danny and Cha-Cha, a girl from another school, win the dance contest.
- Several days later, Frenchy, who dropped out
of high school to attend beauty school, drops out of beauty school. She desperately wishes
for a guardian angel to advise her. He appears, complete with a chorus of angels (BEAUTY
SCHOOL DROPOUT- M Solo and F Choir), and tells her to finish high school.
- At the drive-in movie theatre, Danny gives
Sandy his ring, which she accepts. He instantly tries to make-out with her and she angrily
walks home, despite his argument that no one walks home from a drive-in. He sits alone in
the car and sings (ALONE AT A DRIVE-IN MOVIE- M Solo and Mixed Chorus).
- At a party in Jans basement, Roger and
Doody perform (ROCK N ROLL PARTY QUEEN- M Duet). Everyone learns Rizzo might be
pregnant and Sandy privately offers some advice. Rizzo angrily comments on the difference
in their lifestyles (THERE ARE WORSE THINGS I COULD DO- L to F Solo). Sandy decides to
change her "Sandra Dee" image and returns in the final scene dressed as a
Greaser. Danny is overwhelmed and comments on her new look (ALL CHOKED UP- Mixed Chorus).
NOTES ON THE PRODUCTION
- Grease is another Off-Broadway musical
that found a home on Broadway. The show moved in June of 1972 to the Broadhurst Theatre
and played to enthusiastic crowds until 1978 when attendance started to fall off. The
producers were able to keep the show going by inexpensive ticket prices and low operating
costs. The release of the film buoyed attendance and, in 1980, Grease surpassed Fiddler
on the Roof as the longest running Broadway musical. It was subsequently replaced in
1984 by A Chorus Line.
- The show is popular among high schools and
community groups as it is a spoof on the "Greasers" of the 50s, inexpensive to
costume and only requires one unit set of platforms and levels to represent various
locations. The plot is thin, but the music is catchy, and energetic. Although the cast
needs are small, some schools wishing to involve more students have added a very large
chorus as fillers on the full company numbers.
- It is a rock musical and the singers should
be "miked" for the numbers. They may have hand held mikes with cords, but the
choreographer should have substitute microphones and chords for the staging of musical
numbers. It is possible to have several sets of microphones on stands permanently set,
stage left and right. The actors just cross to the instrument when needed and return it
when the number is completed.
SONGS OF SPECIAL INTEREST
- "Summer Nights," Split male, female chorus number, heavily
styled in 50s
- "There Are Worse Things I Could Do," Dramatic, alto, rock
rhythm
- "We Go Together," Suitable for revue finale or sing-a-long,
hand jive movements
-
- Instrumentation: 2 saxophones, 2 guitars, 1 bass, drums, piano/conductor, electric piano
(optional)
- Script: Pocket
- Vocal Selections: Morris
- Record/CD: MGM
- Rights: Samuel French
GUYS AND DOLLS
- Book: Abe Burrows and Jo Swerling
- Music and Lyrics: Frank Loesser
- (Based on Damon Runyons short story, "The Idyll of Miss
Sarah Brown")
ORIGINAL PRODUCTION
- The 46th Street Theatre, November 24, 1950 (1,200 perf.)
- Director: George S. Kaufman
- Choreographer: Michael Kidd
- Musical Director: Irving Actman
- Orchestration: George Bassman and Ted Royal
-
- Principals:
- Sky Masterson- Robert Alda- Tenor
- Sarah Brown- Isabel Bigley- Soprano
- Adelaide- Vivian Blaine- Alto
- Nicely-Nicely- Stubby Kaye- Tenor
- Nathan Detroit- Sam Levene- Baritone
- Benny Southstreet- Johnny Silver- Baritone
- Rusty Charlie- Douglas Deane- Bass
- Arvide- Pat Rooney Sr.- Tenor
- Harry the Horse- Tom Pedi- Baritone
- Chorus and Smaller Roles: 12M/8F
SYNOPSIS
- The show opens with a brief introduction to
the various New York characters which author Damon Runyon depicted in his famous stories.
The focus centers on Nicely-Nicely, Benny Southstreet and Rusty Charlie, three gamblers
with racing forms who try and choose a winner (A FUGUE FOR TINHORNS- M Trio). Sarah enters
with the mission band (FOLLOW THE FOLD-Chorus, the two songs are partially sung together)
and begins to give a speech about sin, but quickly loses her listeners.
- Some men come to Nicely-Nicely and ask if he
has seen Nathan Detroit, who earns his living by arranging places for illegal crap games.
Brannigan, a tough detective, tells Nicely-Nicely that he is going to close Nathans
crap game down. Nathan enters to comment to Benny and Nicely-Nicely on the difficulties of
finding a safe place to hold their forthcoming game (THE OLDEST ESTABLISHED- Sc to M Trio
to M Chorus).
- The only place Nathan can find to use is
Biltmores garage, but it will cost $1,000 and Nathan doesnt have that much
money. He learns that Sky Masterson, a good looking gambler in his thirties, is in town
looking for some action and decides to con Masterson out of $1,000 by making a cant
lose bet with him.
- Adelaide, Nathans fiancé for the past
14 years, meets him at the newsstand and tells him shell be fine as long as he
doesnt start a crap game again. Nathan sees Sky approaching and sends Benny and
Nicely, to take Adelaide to lunch.
- Nathan, hoping to get money from Sky bets a
$1,000 that he cant get Sarah, the mission group leader, to go to Havana with him
the next day. Sky proceeds to the mission and offers Sarah twelve sinners in exchange for
accompanying him to Cuba. When she refuses he accuses her of being afraid of romance,
which causes her to tell him her imaginings of love (ILL KNOW- Sc to M/F Duet).
- In the Hot Box Night Club, Adelaide and the
dancing girls perform (A BUSHEL AND A PECK- F Chorus). When Adelaide discovers Nathan is
running a crap game she also discovers her perpetual cold is due to his stalling their
wedding date (ADELAIDES LAMENT- Sc to F Solo).
- Benny and Nicely observe Sky following Sarah
as she performs her mission work and comment on the weakness men have for women (GUYS AND
DOLLS- Sc to M Duet).
- Outside the mission the discouraged army
workers are interrupted by General Cartwright who informs Sarah that she must close the
mission, which has a poor convert record. Sarah decides to go to Havana with Sky who has
guaranteed her twelve sinners at the next meeting.
- On a street corner, the crapshooters waiting
for the game location to be announced are interrupted by Brannigan, who is certain they
are preparing for a game. They quickly announce that they are gathered to honor Nathan who
is marrying Adelaide the next night. Adelaide arrives and is ecstatic to hear the news.
- Down in Havana, Sarah and Sky find a place to
eat. Sky orders drinks and Sarah, a teetotaler, soon becomes tipsy enters into a fight.
Sky carries her out of the bar and, outside, Sarah drunkenly expresses her love (IF I WERE
A BELL- Sc to F Solo).
- At 4:00 am, outside the mission, Sky tells
Sarah it is his favorite time of day (MY TIME OF DAY- Sc to M Solo) and both realize they
are in love (IVE NEVER BEEN IN LOVE BEFORE [REPRISE]- Sc to M/F Duet). Suddenly a
police car is heard and Nathan and the crapshooters run from the mission. Sarah assumes
Sky falsely engineered her absence from New York so they could gamble in the mission and
she orders him away as the curtain falls.
- Act II opens the next night in the Hot Box
Nightclub where Adelaide and the girls perform (TAKE BACK YOUR MINK- F Chorus). At the end
of the song the lights rise on an empty table which Sky moves to as Nicely comes in and
informs him the crap game is still on if he wants some of the action. Adelaide, furious
that Nathan is running a game, sadly sings (ADELAIDES LAMENT [REPRISE]- F Solo).
- Out in the street, Sarah is walking with her
grandfather, Arvide, who tries to comfort her with some good wishes (MORE I CANNOT WISH
YOU- Sc to M Solo).
- The scene changes to a sewer where the crap
game is in progress. Big Jule, a tough gambler from Chicago, has lost and wont let
anyone leave until he wins the money back.
- Sky arrives at the game, and rolls the dice
in hopes of winning twelve sinners for Sarahs mission (LUCK BE A LADY TONIGHT- M
Solo to M Chorus). He wins and the gamblers, including Nathan, head for the mission. When
Adelaide spies Nathan, who tells her he is going to a prayer meeting, she accuses him of
lying again (SUE ME- Sc to M/F Duet).
- The men enter the mission and begin to tell
of their sins. Nicely joins in (SIT DOWN YOURE ROCKIN THE BOAT- M Solo and
Mixed Chorus).
- Adelaide and Sarah and discuss their mutual
problems with men. They decide to marry now and change them later (MARRY THE MAN TODAY- Sc
to F Duet). The play ends with both girls getting their guys and changing them to fit
their ideal.
NOTES ON THE PRODUCTION
- Guys and Dolls won the 1951 Tony
Awards for Best Actor (Robert Alda), Supporting Actress (Isabel Bigley), Choreographer,
Director, Libretto, Composer and Lyricist, Best Musical, and Producer.
- A blockbuster musical that has since become a
classic, Guys and Dolls boasts soaring, memorable music, excellent characters and
comic treatment. All these traits combine to make this show an assured winner financially
and artistically. Although there are numerous set requirements it is possible to utilize
drops and wagons effectively, or a revolving unit set that is manually controlled. The
costumes are not complicated and can usually be pulled from attics. The opening sequence
depicting various Runyon characters gets somewhat complex in so far as props are
concerned, but it is possible to focus attention on the easier pieces. However there are
quite a few realistic props which might be time consuming to obtain.
- The gamblers dance, while brilliantly
executed and choreographed on Broadway, is extremely difficult to perform effectively in
its entirety by non-dancers. Some groups have trimmed the number without losing the mood.
SONGS OF SPECIAL INTEREST
- "Adelaides Lament," Showstopper, Alto story song,
comedic, excellent for character study or revue
- "Fugue for Tinhorns," M Trio, tight harmony, good vocal
exercise, and strong characters
- "Guys and Dolls," Tenor/Baritone duet, contrasting
characters, comedic up-tempo, revue material
- "If I Were a Bell," Audition potential, requires some
movement, shows comedic ability from a soprano
- "Ill Know," Strong Tenor/Soprano duet, romantic and
antagonistic, good characters, much underlies the accompanying
scene
- "Marry the Man Today," Soprano/Alto, comic clever lyrics,
needs strong relationships and characters to pull off, movement must cover the musical
interludes
- "More I Cannot Wish You," Tenor, charm song
- "Sue Me," Alto/Baritone, comic scene to duet, requires good
timing and strong characters
-
- Instrumentation: 5 reeds, 3 trumpets, trombone, horn percussion, 4 violins, cello, bass,
piano
- Script: Modern Theatre, Vol. 4
- Score: Frank
- Record: Decca
- Rights: MTI
GYPSY
- Book: Arthur Laurents
- Music: Jule Styne
- Lyrics: Stephen Sondheim
- (Suggested by the memoirs of Gypsy Rose Lee)
ORIGINAL PRODUCTION
- Broadway Theatre, May 21, 1959 (702 perf.)
- Director and Choreographer: Jerome Robbins
- Musical Direction: Milton Rosenstock
- Orchestration: Sid Ramin and Robert Ginzler
-
- Principals:
- Rose- Ethel Merman- Alto with Belt
- Louise- Sandra Church- Mezzo
- June- Lane Bradbury- Alto
- Tulsa- Paul Wallace- Baritone
- Baby June- Jaqueline Mayro- Child Belt
- Baby Louise- Karen Moore- VTNE
- Herbie- Jack Klugman- Baritone
- Tessie Tura- Maria Karnilova- Mezzo
- Mazeppa- Faith Dane- Alto
- Electra- Chotzi Foley- Mezzo
- Miss Cratchitt- Peg Murray- VTNE
- Chorus and Smaller Roles: 6 young girls, 8 young males, 2 children, 8 character males, 6
showgirls (optional)
SYNOPSIS
- The action takes place from the early 20s to
the early 30s in various American cities. The curtain rises on a Seattle, Washington
vaudeville theatre, where Uncle Jocko, the oily emcee, is holding auditions for his kiddie
show. The talented Baby June performs with her sister, Louise, as their mother, Rose,
shouts out directions from the rear of the audience (MAY WE ENTERTAIN YOU- F Ch Duet). She
enters carrying Chowsee, her little dog, and a very large handbag. Rose is terrifying and
demanding as she charms, cajoles and threatens Uncle Jocko into letting the girls finish
their performance.
- The scene switches to the kitchen of a simple
home in Seattle, Washington. Rose, who has plans for June to headline on the famous
Orpheum Circuit, attempts to convince her overly practical father, a retired railroad
worker, to give her the money for a new act (SOME PEOPLE- Sc to F Solo). When he refuses
to listen she hocks his gold plaque, honoring fifty years of company service, takes the
girls, rounds up four boys for the act and heads for California.
- Backstage at a vaudeville house in Los
Angeles, Rose is unsuccessfully trying to convince Mr. Weber, the theatre owner, to get
her a booking when Herbie, a former agent turned candy salesmen, arrives. Rose enlists his
aid, which he readily gives by convincing Weber the act is terrific. Herbie tells Rose he
used to be an agent until he developed ulcers and became a candy salesman to theatres.
When Rose discovers he isnt married but loves children, she wins him over by showing
him how they complement each other (SMALL WORLD- Sc to F Solo). He agrees to represent
them and the act is booked.
- A vaudeville placard announces Baby June and
her Newsboys as the curtains open on a vaudeville street drop with a newspaper kiosk in
front. (BABY JUNE AND HER NEWSBOYS- F Solo with M Chorus). Three young boys and Louise,
all dressed as newsboys, loudly perform and introduce Baby June who tap dances, sings and
performs everything she can before the boys return in military outfits accompanied by
Louise, as Uncle Sam. June re-enters, dressed as the Statue of Liberty, wearing toe shoes
and twirling batons. As she twirls to the big finale, an American Eagle pops up over the
kiosk and the boys fire the rifles they carry and American flags pop out. The audience
goes wild and June steps forward for her bow. At the end of the bow the orchestra strikes
up, the music builds, a strobe light is turned on and the act seems to dance faster and
faster as they move off stage and are gradually replaced by their older counterparts. The
lights rise on the older group who take a final bow before the blackout.
- The lights rise on two rooms in a fourth
class hotel. In one of the rooms the boys and Louise are sleeping in various locations,
while the other room contains a large bed, a table, and some chairs.
- It is Louises birthday and everyone
celebrates with presents and egg rolls. Rose announces her idea for a new act but is
interrupted by Mr Kringelein, the hotel manager, who smells the food and threatens
eviction. Rose throws herself at him, attempting to get him in a compromising situation,
but Herbie arrives to smooth things over. He introduces Mr. Goldstone, a booking agent for
the Orpheum Circuit. Rose excitedly offers the overwhelmed man an egg roll and bursts into
song as the kids join in (MR GOLDSTONE, I LOVE YOU- Sc to F Solo to Mix Chorus).
- A forgotten Louise, her birthday superseded
by the arrival of Goldstone, moves quietly into the bedroom, cuddles her birthday present
from Rose, a live lamb, and wistfully sings to the lamb and her stuffed animals (LITTLE
LAMB- F Solo).
- In a gaudy Chinese restaurant, Rose is
scraping leftovers into cartons as Herbie moodily watches. She sends the girls to the
hotel and Herbie uses the opportunity to bring up the subjects of marriage, the decline of
vaudeville and the need for June and Louise to have a home and schooling. Rose angrily
lashes out, afraid of losing them and of sitting at home, doing nothing. Herbie tells Rose
he is afraid of losing his temper and walking out but she confidently tells him he can
never leave her and promises to marry him after June is a bona fide star (YOULL
NEVER GET AWAY FROM ME- Sc to F/M Duet).
- On the stage of the famous Grantzigers
Palace Theatre, Mr. Grantzigers businesslike secretary, Miss Cratchitt, rushes on to
answer the stage managers phone. She tells the impatient Mr. Grantziger, who is in
the light booth, that Roses act is almost ready. The lights dim and the curtains
open on a vaudeville style barnyard and a chorus of farmboys who introduce Dainty June and
her dancing cow (DAINTY JUNE AND HER FARMBOYS- F Solo and Male Chorus). The show resembles
the old newsboy show but the big finish is performed by the farmboys who now sport top
hats, tails and canes that shoot American flags; a train replaces the kiosk and there is a
tap dancing cow with Louise in the front half. During this splashy ending, Rose has been
running around picking up a dropped hat and loudly commenting to Mr. Grantziger about how
great everything is. Grantziger phones down to Cratchitt that he liked it and the
surprised secretary takes Rose, Herbie, Louise and June to his office to sign a contract.
- Louise and June, left alone in the outer
office, are excitedly dancing about and playing the piano when Cratchitt enters with
Herbie and Rose following her onstage. Rose is visibly upset that the contract is for the
downtown theatre instead of the Broadway one. Cratchitt caustically comments and tells
Rose and Herbie that her boss is willing to give June free acting lessons if Rose will
stay away. Rose angrily refuses to listen to Junes pleas and rushes out of the room,
followed by Herbie and Cratchitt.
- Left alone in the office, Louise attempts to
comfort June, who confesses to Louise that she hates the act and wishes her mother would
marry Herbie and leave her alone. The two agree that life would be better if Rose married
(IF MAMA WAS MARRIED- Sc to F Duet).
- Backstage at a theatre in Buffalo, Tulsa, the
handsomest boy in the act, is practicing a dance routine as Louise watches. As he confides
to Louise about the girl he envisions as his partner, he begins to outline the act (ALL I
NEED IS THE GIRL- Sc to M Solo). As he performs the number, she becomes involved and it is
apparent that she likes him very much.
- Late one misty night, at a train terminal in
Omaha, as Yonkers and Angie are asking Herbie for train tickets for all the boys, Louise
enters with a note telling Rose that June has married Tulsa and run off. Herbie gives the
boys their tickets and moves to Rose, who stares in shocked silence. He urges her to marry
him and Louise begs her to agree, but Rose rips up Junes letter and turns toward
Louise, vowing to make her a star. Her voice rises in determination, she violently bursts
into song as Herbie and Louise watch in horrified silence (EVERYTHINGS COMING UP
ROSES- L to F Solo).
- Act II opens in the Texas desert with a tent
on one side of the stage and the back end of a touring car on the other. A rehearsal for
Madame Roses Toreadorables is in progress. It is a terribly tacky version of the
newsboys act, only this time it stars Louise in a blonde wig (MADAME ROSES
TOREADORABLES- F Chorus). Herbie enters at the end of the number to tell Rose he has been
unable to get a booking, but she is convinced something will turn up. A disheartened
Louise, realizing she can never replace June as a performer, confronts her mother who
promises to find something Louise can do well. She valiantly tells her that everything
will work out as long as they have each other (TOGETHER WHEREVER WE GO- Sc to 2F/M Trio).
- Agnes, one of the toreadorables, enters with
the girls letters home asking for money and, when Louise gives her the blonde wig,
Herbie decides that the girls should all be blonde, except Louise. They decide to redo the
act, and book them as Rose Louise and her Hollywood Blondes, a name Herbie is sure will
sell.
- The scene shifts to the backstage and
dressing rooms of a Wichita burlesque house where the girls arrive for their first booking
as the new act. They are awed by everything, but Rose is appalled that they have fallen so
low and orders everyone out. However, before she can repack, Louise forces her to realize
they must play out the booking because they are broke and stranded. Herbie enters
apologetically, but Rose forgives him and finally admits that vaudeville is dead and there
will be no more bookings. She asks Herbie to marry her after they are no longer in
burlesque.
- Herbie goes off to cue the stage manager as
Tessie Tura, one of the star strippers who has a background in ballet, enters her dressing
room. Rose huffily exits as Cigar, the theatre manager enters to ask Tessie to play a
scene. Tessie refuses but Louise volunteers for the extra salary. Two other strippers,
Mazeppa, who "bumps it with a trumpet," and Electra, whose strip is accentuated
with lights, enter the dressing room and Tessie introduces them to Louise. The three
advise her on the art of burlesque (YOU GOTTA GET A GIMMICK- Sc to F Trio).
- It is the end of the booking and Roses
wedding day. Herbie is excited and Rose is on edge. When the star stripper gets arrested,
Rose volunteers Louise, who is terrified at the prospect but does Roses bidding.
Herbie confronts Rose in a dramatic scene and walks out; he has finally gotten angry and
can take no more.
- Alone in the dressing room, before her
entrance, Louise looks into a mirror and realizes she is beautiful. She proudly walks to
the stage where everyone is waiting to wish her luck. She does a slow burlesque walk to
Junes "Entertain You" number and quietly sings out, ever the lady (LET ME
ENTERTAIN YOU [REPRISE]- F Solo).
- A series of performances follow which show
Louise, now renamed Gypsy Rose Lee, gaining confidence and poise with each booking. The
sequence ends at a Christmas holiday show at Minskys, years later.
- Backstage at Minskys, in Louises
opulant dressing room, a French maid, Renee, is straightening up as Rose, determined to
remind Louise of her roots, hammers a spike in the wall and hangs up a cows head.
Louise enters, preparing to pose for a photographer from Vogue, and orders Renee to remove
the head. After an extremely bitter argument with Louise, Rose realizes that she is no
longer needed. She crosses onto the empty burlesque stage and soliloquizes. It is as if
her entire life parades before her. She is fighting an emotional breakdown and vents her
needs, agony and emotion as she parades across the stage of the empty theatre (ROSES
TURN- L to F Solo).
- Louise quietly enters the stage and Rose
smiles in embarrassment and attempting to ease the moment. Rose finally admits she fought
her whole life for both her kids because she wanted to be noticed and Louise embraces her
while admitting she always wanted Rose to notice her and still does. The two exit arm in
arm as the curtain falls.
NOTES ON THE PRODUCTION
- The original production of Gypsy
opened after the cut-off date for Tony Award nominations; however, Angela Lansbury
received a Tony Award for Best Actress for her portrayal of Rose in the 1975 revival.
- The script is well written, the characters
well drawn and the relationships artfully developed. The music and lyrics enhance the book
and are outstanding examples of musical theatre. Most of the songs were hits and have
become standards. The show is more than the story of a stage mother who develops both her
children into stars; it is the story of human relationships and the need for recognition.
- In order to develop this script into the fine
production it merits, it requires a strong director who understands human relationships
and can help the actors develop their characters into three-dimensional human beings,
instead of conventional stereotypes. The relationship between Herbie and Rose must be
carefully developed through the unspoken moments and Herbies reactions if he is
going to be stronger than the henpecked boyfriend Rose almost marries. Rose must be played
on a variety of levels or the final numbers in Act I and II can never be fully realized.
- Gypsy is a technical nightmare because
it requires several vaudeville style drops, tacky yet showy costumes for Roses
production numbers, a strippers costume (operated by a battery pack) that lights up,
guns and canes that shoot American flags. There are also two realistic hotel rooms loaded
with props, which include a live lamb, a touring car, and a small pet dog. It also
requires a variety of wagon sets, which represent a Chinese restaurant, a producers
office, a dressing room and a kitchen in Seattle. There isnt much that can be done
to combine or cut down on the shows technical requirements if it is presented in a
large proscenium theatre, for an audience is justified in expecting an elaborate
production for this theatrically oriented musical.
SONGS OF SPECIAL INTEREST
- "Roses Turn," introspective, powerfully dramatic,
intense, character oriented, excellent for class study or showcase "If Mama Was
Married," fun duet, requires strong relationship and understanding of script before
staging, character and situation oriented
- "Everythings Coming Up Roses," may be performed as a
solo but works better in class study if someone portrays Louise, intensely dramatic,
determined, a variety of levels, good for class, revue or club
- "All I Need Is the Girl," good for class study for male
dancer, requires good movement
- "Small World," charm ballad for an alto, last verse
possible audition if well acted and sung
- "You Gotta Get a Gimmick," character oriented, requires
comedic timing, showstopper, good for class, revue or showcase, movement
- "Some People," club, good for class study when combined
with scene
-
- Instrumentation: 3 violins, viola, cello, bass, 4 reeds, 1 horn, 3 trumpets, 3
trombones, 2 percussion, piano/conductor
- Script: Random Ten Great Musicals
- Score: Chappell
- Record: Columbia
- Rights: Tams-Witmark
HAIR
- Book and Lyrics: Gerome Ragni and James Rado
- Music: Galt MacDermot
ORIGINAL PRODUCTION
- The Biltmore Theatre, April 29, 1968 (1,742 perf.)
- Director: Tom OHorgan
- Choreographer: Julie Arenal
- Musical Director: Galt MacDermot
-
- Principals:
- Claude- James Rado- Tenor
- Sheila- Lynn Kellogg- Alto
- Berger- Gerome Ragni- Tenor
- Dionne- Melba Moore- Mezzo
- Crissy- Shelley Plimpton- Mezzo
- Hud- LaMont Washington- Baritone
- Woof- Steve Curry- Baritone
- Chorus and Smaller Roles: 6M/6F
SUMMARY AND NOTES
- The play opens at a "Hippie Tribe"
gathering, complete with incense and psychedelic trappings. The various members of the
Tribe and musically introduced. The individual and group songs reflect the tribal life
style, generation differences, and the philosophy of the youth of the late sixties.
- The rather thin plot revolves around Berger,
a social activist, Claude, his best friend who gets drafted, and Sheila, an anti war
activist who loves Berger but is having Claudes baby. Act I ends at a traditional
Be-In where the Tribe gathers in a park to embrace the Hare Krishna and symbolically burn
their draft cards. Claude, who dearly loves his country despite things he feels are
politically wrong, is unable to burn the card. The play ends as Claude goes off in
uniform, and Berger and Sheila part, leaving a section of their lives behind.
- This tribal rock musical that captured the
mood of the era for which it was intended was hailed as spontaneous, fresh and original.
The show took young New York audiences by storm and ran until 1972. An August 1978
revival, lasting 108 performances, demonstrated that the fervor of the sixties had receded
and the show had become passé.
- There is some wonderful music in the score
that is still worthy of production, but a director considering the show must have a fun
loving, talented cast and be prepared to do some judicious editing, i.e. the nude scene.
The scene is totally unnecessary to the script and was only utilized for shock value.
- Hair only works as a period piece and,
in fact, is almost a spoof on the stereotypes of the period. If a company approaches the
show with that attitude and can recapture the vitality of the original the production
should do well at the box office.
SONGS OF SPECIAL INTEREST
- "Aquarius," Mixed Chorus, good for opening of a revue
section of the sixties, modern dance style and open movement, combined with disco make
this visually interesting, the hit song from the show
- "Easy to Be Hard," Rock Ballad sung by Sheila who is
disgusted that her boyfriend wants to loan her to his best friend
- "Frank Mills," Mezzo ballad, charm song, story song about a
girl who is waiting for a Hippie boy she met once and hopes to find again, simplistic
character oriented lyrics
- "Hair," Mixed Chorus, rock beat, good for revue and
beginning choreographer as it utilizes disco steps
-
- Instrumentation: reed, 2 trumpets, electric bass, drums, percussion, 2 guitars
(electric, acoustic, bass), electric piano/conductor
- Script: Pocket, Great Rock Musicals
- Selections: Big Three
- Record: RCA
- Rights: Tams-Witmark
HALF A SIXPENCE
- Synopsis by UNH alum Gene Lauze
-
- Book: Beverley Cross
- Music and Lyrics: David Heneker
- (Based on H.G. Wells Kipps)
ORIGINAL PRODUCTION
- Broadhurst Theatre, April 25, 1965 (512 perf.)
- Director: Gene Saks
- Choreographer: Onna White
- Musical Director: Stanley Lebowsky
- Orchestration: Jim Tyler
-
- Principals:
- Kipps- Tommy Steele-
- Ann- Polly Jones-
- Harry Chitterlow- James Grout-
- Helen Walsingham- Carrie Nye-
- Mrs. Walsingham- Ann Shoemaker-
- Buggins- Norman Allen-
- Chorus and Smaller Roles:
-
- SYNOPSIS
- The musical opens in Shalfords
Emporium, where orphan, Arthur Kipps, lives and works with the other apprentices. A busy
day at the store (SHOP BALLET- Mixed Chorus) finds Kipps, Pearce, Sid and Buggins
bemoaning the cruelty of the shop owner, Mr. Shalford (ALL IN THE CAUSE OF ECONOMY- Sc to
M Quartet). The boys leave for various appointments as Kipps waits to meet Sids
sister, Ann. The two pledge their love and each takes half of a sixpence as a pledge (HALF
A SIXPENCE- Sc to M/F Duet).
- Actor-playwright, Haryy Chitterlow, meets
Kipps and is amazed to discover that the name he chose for his leading character is an
actual person. He tells Kipps about a classified ad he read, searching for someone named
Arthur Kipps. He is convinced Kipps is due for a lot of money and urges him to check the
ad. His friends ask what he plans on doing with the money (MONEY TO BURN- Sc to M Solo to
Chorus).
- Mr. Shalford drags Kipps to an evening class
taught by Helen Walsingham, the daughter of one of his wealthiest customers. As a result,
Ann waits hours for Kipps and refuses to believe the gossiping girls accusation that
she has been stood up (I DONT BELIEVE A WORD OF IT- Sc to Small F Chorus).
- Kipps has inherited the sum of Ł1200 a year,
which causes him to quit Shalfords shop. The chorus comments on his new lifestyle (A
PROPER GENTLEMAN- Mixed Chorus).
- When Kipps regrets that he cant see
Helen Walsingham anymore, since he wont be enrolled in the class, she invites him to
her house for dinner. He readily accepts. He later worries that she is too cultured for
him (SHES TOO FAR ABOVE ME- Sc to M Solo).
- Kipps tells Helen he would like to see her
alone, which she agrees to- if he will come to her party the next night. Kipps prays for
nice weather as he wants a romantic atmosphere (IF THE RAINS GOT TO FALL- Sc to M
Solo).
- On Mrs. Bottings houseboat, the guests
are discussing the regatta (THE OLD MILITARY CANAL- Mixed Chorus).
- Helen agrees to marry Kipps, convinced she
can educate him in the gentlemans way of life and cognizant of the fact that her
family desperately needs money in order to maintain their station. When Ann discovers that
Kipps is going to marry Helen, she hurls his half a sixpence away, but she slowly
retrieves it as the curtain falls.
- At the opening of Act II, Kipps feels badly
about the way he has treated Ann, but Chitterlow assures him there are plenty of women in
the world (THE ONE WHOS RUN AWAY- Sc to M Duet). Kipps, realizing he prefers Ann to
any of the upper crust, asks her to marry him. She agrees and confesses that she has
always loved him (LONG AGO- Sc to M/F Duet).
- At the photographers studio, Kipps
comments on weddings (FLASH BANG WALLOP- M Solo to Mixed Chorus).
- Kipps, anxious to be accepted by society, is
upset when Ann disagrees with his goals because she doesnt feel she belongs among
the upper crust (I KNOW WHAT I AM- Sc to F Solo).
- Kipps takes his old friends to see the site
of his new eleven-bedroom home, telling them of the fun they will have when the place is
finished (THE PARTYS ON THE HOUSE- M Solo to Chorus). But Kipps is quickly ruined
financially, which doesnt upset Ann in the least because all she has ever wanted is
him, not his money (HALF A SIXPENCE- Sc to M/F Duet). He salvages enough money to build a
small bookstore which he and Ann happily manage (FINALE- Company).
NOTES ON THE PRODUCTION
- Half a Sixpence was nominated for nine
Tony Awards, but won none, having had to compete with Fiddler on the Roof, which
swept the awards.
- A British import that starred Tommy Steele, a
vital and energetic performer. The show was pleasant, and some of the male songs are worth
studying, but the production relied heavily on the talents of rock star, Tommy Steele.
SONGS OF SPECIAL INTEREST
"I Know What I Am," F Solo, obscure
- Instrumentation:
- Script: Chappell, DP Co.
- Vocal Score: Chappell
Record: RCA
Rights: Tams-Witmark
HALLELUJAH, BABY!
- Book: Arthur Laurents
- Music: Jule Styne
- Lyrics: Betty Comden and Adolph Green
ORIGINAL PRODUCTION
- Martin Beck Theatre, April 26, 1967 (293 perf.)
- Director: Burt Shevelove
- Choreographer: Kevin Carlisle
- Musical Director and Vocal Arranger: Buster Davis
- Orchestration: Peter Matz
-
- Principals:
- Georgina- Leslie Uggams- Soprano
- Clem- Robert Hooks- Baritone
- Mary- Barbara Sharma- Mezzo
- Prince- Bud Vest- VTNE
- Princess- Carol Flemming- VTNE
- Mama- Lillian Hayman- Alto
- Harvey- Allen Case- Tenor
- Mr. Charles- Frank Hamilton- VTNE
- Mrs. Charles/Mistress/Ethel, Dorothy- Marilyn Cooper- VTNE
- Chorus and Smaller Roles: 8F/8M mostly black, must include two black male tap dancers
SYNOPSIS
- Georgina, the star of the show, sets up the
story line about a young girls rise to fame. Although the play covers a sixty-year
time span, from 1900 to 1960, no one ages. As she exits, a 1900 style kitchen rolls on and
Mama enters with a laundry basket, urging the offstage Georgina to get to work (BACK IN
THE KITCHEN- F Solo). The two are employed as servants for wealthy whites.
- Georgina and her mother argue over
Georginas desire to marry Clem whom her mother thinks is a lazy bum who will run off
as Georginas Daddy and Grandpa did. As Mama polishes the silver Georgina tells her
she wants an independent life in her own home (MY OWN MORNING- F Solo).
- Clem arrives and tells Georgina he won money
from some white men in a poker game, but a white policeman insisted on his cut and Clem
ended up the loser. He brings in four young blacks to corraborate his story (THE SLICE- M
Solo with M Quartet).
- Georgina, resting on the porch outside the
kitchen later, meets Harvey, a flashy dressing white who needs a black actress for the
theatre he has just leased. He offers her the job, but she knows that blacks and whites
arent allowed to appear on stage together. Harvey blithely tells her not to worry as
the porch glides off and gas footlights come on, accompanied by a flat of a Southern
plantation.
- The next scene depicts Georginas
performance in a Civil War melodrama (FAREWELL, FAREWELL- Mixed Chorus). Despite her
obvious success in the role, Georgina is fired by Mr. Charles, the nervous theatre owner
who decides it is more prudent to cast a white actress as a black maid. Harvey advises her
to go where there are more opportunities and the men and scenery move off as Georgina
tells the audience she is moving up and out.
- The scene jumps to a 1920 nightclub where Tip
and Tap are headlining and Georgina is performing in the chorus (FEET DO YO STUFF-
Mixed Chorus). It seems that Harvey manages the prohibition gambling club and has employed
Georgina and Clem. The three get fired over a racial issue, which centers around Georgina
not being able to sit down with a royal patron.
- Georgina wonders where she should find
another club job but Clem tells her he doesnt want her performing as a chorus girl
because he plans on making big money through bootlegging (WATCH MY DUST- M Solo). Mama
enters, carrying a feather duster, and she and Georgina start for Mamas new maid
job. On the way they meet Clem, who is earning his living as a porter. The three comment
on the way blacks must act in 1920 white America (SMILE, SMILE- Sc to 2F/M Trio).
Unfortunately, their jobs dont last because of the stock market crash.
- The scene moves to the heart of the
Depression and a WPA theatre project where Georgina is playing a witch in a jazzed up
"Macbeth" (WITCHS BREW- F Trio). The show closes, due to suspected
subversive material, but Clem, Georgina, Harvey and Mary, a white performer, look to the
future (ANOTHER DAY- 2M/2F quartet).
- Georgina argues with Clem, now a communist
and, after he leaves, she realizes she preferred the old Clem to this new radical thinker
(I WANTED TO CHANGE HIM- F Solo). Harvey enters to boost her spirits and ends up kissing
her, an uncomfortable situation for both of them. Georgina realizes she has to be the best
if she is to win in a white folks world (BEING GOOD ISN'T ENOUGH- F Solo).
- The next scene is set in the1940s. Georgina
and Mary are in a USO Show and performing at a camp where Clem and Harvey are officers.
There is still tension in Clems and Georginas relationship (TALKING TO
YOURSELF- 2M/F Trio).
- Harvey is furious because Georginas
show is to play separate performances for white and black audiences. He convinces Georgina
to quit the show and the three friends get on a bus and sit in the rear. The driver tells
them Harvey cant sit in the back and Georgina, anxious not to miss her train, sends
him up front, but vows never to be in a position of insult again.
- In a club in the 1950s, with many of the same
customers who appeared in the 1920s club, the lights dim on the dancing patrons who are
performing the limbo and rise on the stage area where Havery announces his star
attraction, Georgina Franklin in her new act (HALLELUJAH, BABY- F/2M Trio).
- Harvey asks Georgina to marry him but she
avoids the issue. When Mary enters to tell them Clem, who has become an important civil
rights leader, is in the audience, Georgina goes to change. Mary, who has always been
attracted to Harvey and senses his mood, asks him to join her at a party, but he sadly
refuses. Harvey realizes Georgina will never marry him (NOT MINE- M Solo). After the song
Clem greets Harvey to tell him that he wants to stay friends, but is going to ask Georgina
to marry him. Harvey toasts Clem as Mama enters, still amazed by Georginas
overwhelming talent. She asks the boys about Georginas performing skills and
demonstrates to everyone that Georgina got her talent from her Mama (I DONT KNOW
WHERE SHE GOT IT- F Solo). She exits, song and dance style.
- Clem asks Georgina to marry him but accuses
her of trying to live in a white world. When the Prince, Princess and hostess enter and
address her mother, who has arrived with Georginas purse, as her maid, Georgina is
forced to realize he is right. She has finally grown up. As Mama exits, Georgina vows to
become part of the real world (LITTLE ROOM- F Solo).
- This scene is set in the 60s. Partial set
pieces reveal a large kitchen. Mary, Mama and Georgina are moving into Georginas new
apartment in an all white building. They arent sure theyll be legally accepted
until Harvey arrives with official documents. Clem attacks Georginas dependency on
Harvey and urges her to make it on her own and Georgina, realizing she still loves Clem
despite the major adjustments they must make in their relationship, leaves Harvey
(NOWS THE TIME- Sc to Mixed Chorus).
NOTES ON THE PRODUCTION
- The show is a brief history of the change in
attitudes toward blacks from 1900 to 1960. The songs are a showcase for a talented triple
threat performer. At times the script becomes overly didactic to an audience of the 80s
who have seen Roots and Jane Pittman, but a sensitive director could easily
make the "preaching" sections more palatable.
- The sets may be made of minimal pieces and
should flow on and off quickly to keep the much needed pace of the show. Some scenes may
be relocated to trim the sets required by the script, i.e. the porch scene in Act I may be
played in the kitchen. The costumes span from 1900 to 1960 and many of Georginas
clothes are theatrical and stylish. Probably the bulk of the production budget should be
allotted for costumes.
- The size of the company is flexible with
mixed black and white performers. The earlier dance sequences, however, must be performed
by black dancers to depict onstage segregation.
- The show will appeal to a relatively
sophisticated and open-minded audience. The music is appealing but the book may need to be
toned down in order to have more universal interest.
SONGS OF SPECIAL INTEREST
- "Another Day," 2M/2F Quartet, good for black or white
performers in a revue situation, up-tempo, good for beginning choreographer
- "Being Good Isnt Good Enough," strong, determined
- "I Wanted to Change Him," Soprano, semi dramatic, good
range, possible club
- "I Dont Know Where She Got It," Alto, up-tempo, song
and dance, big voice, showstopper
- "Nows the Time," Soprano/Mezzo, good for range,
up-tempo, some movement
-
- Instrumentation: 5 reeds, 3 trumpets, 3 trombones, 2 percussion, guitar or banjo,
violin, cello, bass, piano/conductor
- Script: NP
- Selections: Chappell
- Record: Columbia
- Rights: Tams-Witmark
THE HAPPY TIME
- Book: N. Richard Nash
- Music: John Kander
- Lyrics: Fred Ebb
- (Suggested by characters in stories by Robert L. Fontaine)
ORIGINAL PRODUCTION
- Broadway Theatre, January 18, 1968 (286 perf.)
- Director and Choreographer: Gower Champion
- Musical Direction: Oscar Kosarin
- Orchestration: Don Walker
-
- Principals:
- Jacques Bonnard- Robert Goulet- High Baritone
- Bibi- Mike Rupert- Tenor
- Grandpere- David Wayne- Baritone/Tenor
- Laurie- Julie Gregg- Soprano
- Chorus and Smaller Roles: 8F/2M, 4M teenagers
SUMMARY AND NOTES
- The Happy Time won Tony Awards in 1968
for Best Actor (Robert Goulet), Director, and Choreographer.
- Jacques Bonnard, a photographer who is also
the narrator, invites the audience to return to the memory of his home in French Canada.
He sets the stage and introduces his family, consisting of two brothers, their wives and
daughters, his adolescent godson, Bibi, and the sprightly, Grandpere. No one but Bibi is
happy that Jacques has returned, for he was always the black sheep of the family.
- As the play progresses, Jacques and
Grandpere, introduce Bibi to some dance hall girls and life. Jacques remeets Laurie, his
former girlfriend and music teacher at Bibi's school, who knows Jacques restless
nature and urges him not to hurt Bibi, who idolizes him. Jacques is forced to admit to
Bibi that the only reason he returned was because he was on a photographic assignment, not
to see the family. Bibi cries in misery as Jacques heartlessly snaps his picture to use in
a national magazine. The play ends with Jacques concluding the story, in narrative form,
and relating the death of Grandpere, and his own eventual marriage and birth of a son.
- The play has the potential to be a charming
one but the original production, produced for Broadway, employed photographs and large
chorus dance numbers. If the show is kept small and the technical requirements trimmed to
enable the audience to become involved in the reflective tone of the piece, it should be
particularly appreciated by audiences over thirty years of age. It is suggested that the
nieces roles be combined, the dance chorus be eliminated and the adolescent
boys choir and friends of Bibi be trimmed to four.
- The music is sparkling, quality Kander and
Ebb and the story is absorbing, family oriented and thought provoking. It is not a
blockbuster musical and would best be produced by a company looking for a more intimate
vehicle or for a workshop production of a little known show.
SONGS OF SPECIAL INTEREST
- "Catch My Garter," F Chorus, six dance hall girls of
different characters and vocal types perform in a vaudeville show
- "The Happy Time," Opening High Baritone/Tenor Solo, sets
the stage and introduces various characters, exciting and nostalgic, similar in tone to
"Try to Remember," from The Fantasticks
- "The Life of the Party," Baritone Solo to Mixed Chorus,
Grandpere, in a red top hat, has the solo section of this showstopper, vaudeville,
audience oriented
- "Please Stay," Young Tenor Solo, Bib tries to convince his
Uncle to stay in town but tries to be worldly by telling him he realizes there are
obstacles song operates on two emotional levels, attention must be paid to subtext
throughout
- "Seeing Things," Soprano, Tenor Duet, lovers confrontation
when they realize their different philosophies will never allow them a permanent
relationship, at the end of the song they say goodbye, semi-dramatic, vocally demanding,
good for class study
-
- Instrumentation: strings, piano/conductor, 4 reeds, 2 trumpets, 3 trombones, percussion,
harp
- Script: Dramatic Publishing
- Selections: Valando
- Record: RCA
- Rights: Dramatic Publishing
HELLO, DOLLY!
- Book: Michael Stewart
- Music and Lyrics: Jerry Herman
- (Based on Thornton Wilders The Matchmaker)
ORIGINAL PRODUCTION
- St. James Theatre, January 16, 1964 (2,844 perf.)
- Director and Choreographer: Gower Champion
- Musical Direction: Shepard Coleman
- Orchestration: Philip J. Lang
-
- Principals:
- Dolly Levi- Carol Channing- Low Alto
- Horace- David Burns- Baritone
- Cornelius- Charles Nelson Reilly- Tenor
- Barnaby- Jerry Dodge- Baritone
- Irene- Eileen Brennan- Mezzo with Low Belt
- Minnie Fay- Sondra Lee- Soprano
- Ambrose- Igors Gavon- Baritone
- Ermengarde- Alice Playten- Mezzo
- Rudolf- David Hartman- VTI
- Chorus and Smaller Roles: 12M/12F minimum, at least six of the male chorus should dance,
preferably eight, all should sing
SYNOPSIS
- The musical opens on a New York City street,
at the turn of the century, with the neighborhood people talking about widow Dolly Levi, a
woman who lives by her wits and serves a variety of needs (CALL ON DOLLY- Mixed Chorus).
Dolly, brightly dressed, enters the scene passing out business cards telling of her varied
services, which range from plugging pierced ears to matchmaking. When Ambrose Kemper, a
young artist, asks her why she is so interested in everyones business she responds
in song (I PUT MY HAND IN- F Solo with Mixed Chorus for Staging). She tells Ambrose to buy
their tickets for Yonkers where she is going to meet Horace Vandergelder, the wealthy
merchant widower who has hired her as a marriage broker. Dolly is tired of living alone
and has plans to marry Vandergelder after she has changed him to a more fun loving man.
- The scene moves to Vandergelders Hay
and Feed store in Yonkers, New York. Horace Vandergelder, the stuffy shopkeeper is
ordering Cornelius, his chief clerk, and Barnaby, an assistant clerk, to watch the shop
when he goes to New York to a meeting with his future wife, arranged by Dolly Levi (IT
TAKES A WOMAN- M Solo with M chorus). Dolly arrives to convince Horace to let her take his
niece, Ermengarde, to New York, where she intends to help Ambrose and the girl gain
Vandergelders permission to marry. She goes upstairs to help Ermengarde and Ambrose
make plans.
- When Vandergelder leaves for Manhattan,
Cornelius convinces Barnaby to spend the day seeking adventure in New York. The scene ends
with Cornelius and Barnaby planning their adventure and Dolly, Ambrose, and Ermengarde
preparing to show Vandergelder "they mean business." (PUT ON YOUR SUNDAY
CLOTHES- Sc to 2M Duet to Quintet to Mixed Chorus). The number moves to the Yonkers Train
station where the chorus continues the song as a train chugs into the station and the
principals board for New York.
- In widow, Irene Molloys New York hat
shop, Irene confides to her naive clerk, Minnie Fay, that she will marry Horace
Vandergelder and find a new life. She puts on a "provocative" hat and sings of
the beauty she will find in her new freedom (RIBBONS DOWN MY BACK- Sc to F Solo).
- When Barnaby and Cornelius see Vandergelder
on a New York street they seek refuge in Mrs. Molloys hat shop by pretending to be
customers. Cornelius becomes infatuated with Irene and she is attracted to him, but an
entering Vandergelder forces the two clerks to hide. A shocked Irene tries to keep Mr.
Vandergelder from discovering them as Dolly enters to aid Irene in the ruse. Dolly
attempts to change the subject by singing about American morals and motherhood. During the
number the two men try and find different hiding places while avoiding Vandergelders
suspicious searches. All end up at the end of the song in the same locations (MOTHERHOOD
MARCH- Sc to 3F Trio with 3M needed for staging).
- As the song ends, Cornelius, hiding in the
closet, sneezes and Irene admits that she is hiding two gentlemen and refuses to discuss
the matter further. Vandergelder exits to march in the Fourteenth Street Parade.
- Dolly suggests that Cornelius and Barnaby,
take Irene and Minnie Fay to the Harmonia Gardens Restaurant for dinner. When Cornelius
protests that he cant dance, Dolly proceeds to give everyone a lesson (DANCIN-
Sc to 2M/3F Quintet to Chorus) The set opens to the street as the chorus dances. Dolly
wistfully watches all the young couples enjoying themselves and begs Ephraim, her dead
husband, to give her a sign that she can remarry (BEFORE THE PARADE PASSES BY- L to F
Solo). Dolly exits through the marchers as the parade arrives, complete with majorettes,
bands and floats. Dolly returns to tell Vandergelder that the young, wealthy, Ernestina
Money will meet him later that night outside the Harmonia Gardens Restaurant. He exits and
Dolly confides to the audience that he soon will be hers (BEFORE THE PARADE PASSES BY
[REPRISE]- F Solo).
- Act II opens with Cornelius and Barnaby on a
street corner. They cleverly convince Irene and Minnie Fay that all elegant people walk to
their destinations, and the four set out for the Harmonia Gardens (ELEGANCE- Sc to 2M/2F
Quartet, Period). Vandergelder, waiting outside the restaurant, is appalled when an
extremely large, boisterous Ernestina arrives. He reluctantly offers his arm and the two
enter. Ambrose and Ermengarde enter the restaurant hoping to win the dance contest and
shock Horace into realizing they are serious about marriage.
- The "in one" drop rises to reveal
the Harmonia Gardens Restaurant, opulant in tones of red. The waiters, under the watchful
eye of Rudolph, the disciplined Maitre d, display their varied skills by performing
a variety of athletic and acrobatic feats while serving the guests and setting the tables
(WAITERS GALLOP- M Dance). Irene, Barnaby, Cornelius and Minnie, seated in a private
dining room, are overwhelmed by the food, decor and prices. Vandergelder, in another
private dining room, is appalled by the very loud Ernestina Money, whom he tries to keep
in order.
- Stanley, a waiter, rushes down the long
central stairway, to announce Dollys entrance and the waiters and cooks all line up
to receive their favorite customer, who hasnt vis\ited them in years (HELLO, DOLLY!-
F Solo and M Chorus).
- Dolly joins Vandergelder, after signaling
Ernestina to exit, and begins serving him luscious foods and discussing marriage.
Vandergelder is more upset at each word, but she urges him to watch the Polka Contest. He
discovers his clerks, his niece and Ermengarde all dancing and accidentally starts a riot.
- The scene quickly shifts to the courtroom
where Dolly arrives and hands the judge her counselor at law card. Dolly turns to
Cornelius, who sentimentally expresses his feelings about Irene Molloy (IT ONLY TAKES A
MOMENT-L to M Solo to Mixed Chorus). The judge is so moved by Cornelius story that
he frees everyone, except Horace.
- Vandergelder is taken to jail where Dolly
enters to tell him she is leaving him to his own devices. She takes his hat and cane and
gives a vaudeville style farewell (SO LONG DEARIE- Sc to F Solo).
- Vandergelder is released and returns to
Yonkers, defeated and alone. Cornelius and Mrs. Molloy arrive to tell him they are opening
a hay and feed store across the street and Barnaby demands his back pay. Ermangarde and
Ambrose arrive to announce their marriage and they all go into the back room, where
Vandergelder keeps their money.
- Dolly enters and asks Eprhaim to please give
her the sign. A wallpaper hanger arrives and Vandergelder sends him upstairs to paper the
room blue. He tells Dolly the young man is starting in business and he believes in
spreading money around. When Vandergelder asks her to marry she agrees, for Ephraim also
believed that money should be spread around. She urges Horace to take Cornelius in as a
partner and Barnaby as chief clerk so they can all dance at Ermengardes wedding. He
agrees and tells her she is wonderful (FINALE- Mixed Chorus).
NOTES ON THE PRODUCTION
- Hello, Dolly! Won nine 1964 Tony
Awards for Best Musical, Actress (Carol Channing), Composer and Lyricist, Libretto,
Director, Choreographer, Conductor and Musical Director, Scenic Designer and Producer. The
show held the record for most Tony Awards won by a production in a single season until
2001 when The Producers swept the awards.
- The initial success of the show was
constantly revitalized by the various stars who performed the title role on Broadway. The
stars included Carol Channing, Ginger Rogers, Martha Raye, Betty Grable, Bibi Osterwald,
Pearl Bailey, Phyllis Diller, and Ethel Merman. Two new songs were added for Miss Merman;
Jerry Herman had written the show with her in mind, but she turned it down, wanting to
avoid a long run in a musical. She later accepted the role for a limited engagement.
- The show is expensive to produce and should
be given a large scale production for the success of the vehicle lies in the total look.
Without a degree of lavishness, the production never reaches the peaks it had on the New
York stage. It survives on pace, lavishness, and gimmicks; each scene overwhelms the
previous one, and each new spectacle causes the audience to wonder how anything can be
bigger or better. Dollys entrance, dressed in red, on the top step of the Harmonia
Gardens is a high point of the show, which is only slightly topped by her curtain call in
an unexpected wedding dress. If a company cannot afford to properly mount this lavish
production, they should consider The Matchmaker.
- The original was designed to be performed
with a runway, at least two costumes for each chorus member, a full sized railroad train,
five costumes for Dolly and a long stairway for Dollys entrance to the Harmonia
Gardens. On stages with limited wing space, the production can be managed with a 14th
Street drop and three 8x8 four-sided wagons that revolve for various scenes.
SONGS OF SPECIAL INTEREST
- "Before the Parade Passes By," Alto, decision making,
character-oriented, semi-dramatic march tempo
- "Elegance," An "in one" quartet, emphasis is on
relationships and period style, movement is minimal, though clean and simple
- "Put on Your Sunday Clothes," Baritone/Tenor Duet,
character oriented, short scene to song make it ideal for classroom
work
- "So Long, Dearie," Low Alto, soft shoe, up-tempo with hat
and cane, vaudeville style
-
- Instrumentation: 3 violins, cello, bass, 4 reeds, 3 trumpets, 2 trombones, 2 percussion,
guitar/banjo, piano-celeste/conductor
- Script: DBS, Signet
- Score: Morris
- Record/CD: RCA
- Rights: Tams-Witmark
HIGH BUTTON SHOES
- Book: George Abbott
- Music: Jule Styne
- Lyrics: Sammy Cahn
- (Based on Stephen Longstreets The Sisters Liked Them Handsome)
ORIGINAL PRODUCTION
- New Century Theatre, October 9, l947 (727 perf.)
- Director: George Abbott
- Choreography: Jerome Robbins
- Music Director: Milton Rosenstock
- Orchestration: Philip J. Lang
-
- Principals:
- Harrison Floy- Phil Silvers- Baritone
- Mama Longstreet- Nanette Fabray- Soprano
- Oggle Ogglethorpe- Mark Dawson- Baritone
- Mr. Pontdue- Joey Faye- Baritone
- Fran- Lois Lee- Soprano
- Nancy- Helen Gallagher- Mezzo
- Uncle Willie- Paul Godkin- Tenor
- Elmer Simpkins- Nathaniel Frey- Tenor
- Stevie Longstreet- Johnny Stewart- Boy Soprano
- Papa Longstreet- Arthur Partington- Baritone
- Chorus and Smaller Roles: 12M/12F minimum, a separate singing and dancing chorus of
8M/8F each would be preferred if a tight rehearsal schedule is anticipated
SYNOPSIS
- The play, set in the year 1913, opens with a
song by a male quartet introducing the main character, Harrison Floy (HE TRIED TO MAKE A
DOLLAR- M Quartet). Floy and his sidekick, Mr. Pontdue, go through a number of "snake
oil" type con games, only to be run out of town in the end by "Keystone"
style cops. Floy decides to go back to his hometown of New Brunswick, NJ where people
remember him as an honest boy. Floy and Pontdue decide that acting successful and refined
is the best way to con the townspeople of New Brunswick. So, with the police on their
tail, they flee to New Jersey.
- The next scene takes place in the living room
of the Longstreet family where Willie, Papa and Stevie are all talking about the
"successful" Harrison Floys return. Mama Longstreet thinks that he is a
good catch for her sister Fran. During this conversation a football flies through the
window and Oggle, the handsome Rutgers football hero, comes in after it. Oggle tells
Fran that she should marry him, not Floy, and move to Texas after the wedding (CANT
YOU JUST SEE YOURSELF?- Sc to M/F Duet). Mr. Floy, who has been eavesdropping, cons Papa
Longstreet into signing a paper that supposedly gives Papa an automobile for only $100.
They all then go out to see their new car (THERES NOTHING LIKE A MODEL T- Mixed
Chorus).
- The scene switches to Rutgers football
field where Fran is watching Oggle play. After practice, Oggle confesses to Fran that,
although he loves her, he loves his home state of Texas more (NEXT TO TEXAS I LOVE YOU- Sc
to M Solo). The Model T is pushed on to the scene by Floy and the rest of the Longstreet
family. When Floy asks Fran to go for a walk while her father gets gas, Oggle challenges
Floy to a fight. By now, more football players have gathered around for the fight and Floy
tries to calm Oggle down by getting all the players to sing Rutgers Alma Mater (ON
THE BANKS OF OLD RARITAN- M Chorus). This plan doesnt work, so Floy knocks Oggle out
with a pair of brass knuckles, hidden from everyone but the audience. This show of
strength impresses Mama Longstreet who urges Fran to marry Mr. Floy for security
(SECURITY- F Chorus).
- Uncle Willie and Nancy, the Longstreets
maid, are dancing in the parlor when Mama and the Ladies Walking Society enter (BIRD
WATCHERS SONG- F Chorus). Harrison enters and gives the ladies a pitch for his new
real-estate con and the women leave determined to have their husbands invest in the
real estate swindle.
- Outdoors once again, Floy convinces Pontdue
that a day away from the city will do him good (GET AWAY FOR A DAY IN THE COUNTRY- M Solo
to Mixed Chorus). The Longstreets and other families that are interested in buying the
land show up for a picnic. Mama Longstreet dances with her husband (PAPA, WONT YOU
DANCE WITH ME?- F Solo). In the course of the picnic, some of the investors realize they
have paid for worthless swampland. Floy tries to skip town, but first must win over Fran,
his appointed treasurer, who refuses to let the money leave her side (CANT YOU JUST
SEE YOURSELF? [REPRISE]- M Solo). Fran falls for him, so she, Floy and Pontdue leave town
with the investors cash. Papa Longstreet goes after them in the Model T (MODEL T
[REPRISE]- M Solo).
- Act II begins with Floy and Fran in a
bathhouse in Atlantic City (ON A SUNDAY BY THE SEA- Mixed Chorus). A hilarious Keystone
Kops style chase involving Fran, Pontdue, a gorilla, and Floy takes place and the police
arrest Floy, who manages to escape.
- Back in New Brunswick the next day, Fran
apologizes to Oggle, who still proclaims his love (YOURE MY GIRL- M/F Duet). Floy
returns to the Longstreet living room, blames Pontdue for cheating everyone and promises
to return all the money he spent by betting on the Rutgers big game. Papa Longstreet
doubts his honesty, but Mama is taken in (I STILL GET JEALOUS- M/F Duet).
- At the game, Floy meets up with Pontdue, who
is upset about taking all the blame for the real estate scheme. Floy assures Pontdue of
his loyalty (YOURE MY BOY- M Duet). Pontdue and Floy bet on Princeton over Rutgers,
but at half-time Princeton is losing. Floy goes to the Rutgers locker room to get
the team to not try so hard to win (NOBODY EVER DIED FOR RUTGERS- M Solo), but his plea
fails and Rutgers wins.
- Back at the Longstreet home, the family waits
for the arrival of Harrison Floy with the money he promised to return. Floy tells the now
highly skeptical family of using the real estate land swamp mud as a new beauty clay
product. Oggle is the only one not taken in by this new con game and runs Floy out of the
house. The play ends with Harrison Floy and Pontdue selling the mud as beauty clay to the
audience until the "Keystone Kops" chase them out of sight (HE TRIED TO MAKE A
DOLLAR [REPRISE]- M Quartet).
NOTES ON THE PRODUCTION
- A 1948 Tony Award went to Jerome Robbins for
his choreography of High Button Shoes. The show established the careers of Phil
Silvers, Nanette Fabray and Jerome Robbins. It also marked Jule Styne and Sammy
Cahns Broadway debuts. Those who saw the original production still comment on Jerome
Robbins marvelous "Keystone Kops Chase" ballet, which is fun to re-create.
- An excellent vehicle for a male comic and his
stooge, the show affords good vignette character opportunities and is an excellent choice
for a company looking for a variety of featured roles. In addition to principals there are
good roles for the barbershop style quartet and the Ladies Walking Society.
- Although it is a period piece that must be
played with an air of charm and innocence, it is not a spoof on the era and shouldnt
be "camped." In order to maintain the pace modern audiences prefer, the director
should not be afraid to edit some of the longer musical and dance oriented numbers. It is
difficult, in an amateur situation, to achieve the long dance numbers that were written
for professional dancers. Audiences would rather see a shortened rendition that captures
the flavor of the piece than the full song weakly performed.
- The sets may be trimmed, combined and
relatively skeletal to keep the pace flowing. The costumes are period but not complex. The
car may be a flat cut out, "driven" on by Uncle Willie. It should be properly
proportioned and is necessary to the Model T number. The beach sequence needs dressing
"tent" bathhouses for the chase sequence to be effective. It should be styled
after the original Max Sennett silent film chases, which consisted of running in and out
of doors and mistaken identities.
- The music is tuneful and varied. Since scenes
often require different performers, a director with limited rehearsal time should have a
good choreographer for the dance numbers and an assistant choreographer or assistant
director to stage the non-dance oriented numbers. It is possible to rehearse the separate
scenes/songs simultaneously if separate dancing and singing choruses are utilized.
SONGS OF SPECIAL INTEREST
- "I Still Get Jealous," Baritone/Soprano Duet, middle-aged
character number, charm duet
- "Papa, Wont You Dance With Me?," Baritone/Soprano
Duet, up-tempo, charm, polka, revue potential for middle age performers
-
- Instrumentation: 3 violins, cello, bass, 5 reeds, 3 trumpets, trombone, percussion,
piano/conductor
- Script: NP
- Score: NP
- Record: Camden
- Rights: Tams-Witmark
HIGH SPIRITS
- Book, Music and Lyrics: Hugh Martin and Timothy Gray
- (Based on the Noel Coward play, Blithe Spirit)
ORIGINAL PRODUCTION
- Alvin Theatre, April 7, 1964 (375 perf.)
- Director: Noel Coward
- Choreographer: Danny Daniels
- Vocal Direction and Arrangements: Hugh Martin and Timothy Gray
- Orchestration: Harry Zimmerman
-
- Principals:
- Madame Arcati- Beatrice Lillie- Mezzo
- Elvira- Tammy Grimes- Alto
- Charles Condomine- Edward Woodward- Baritone
- Ruth Condomine- Louise Troy- Mezzo
- Edith- Carol Arthur- VTNE
- Mrs. Bradman- Margaret Hall- VTNE
- Dr. Bradman- Lawrence Keith- VTNE
- Chorus and Smaller Roles: 4M/4F minimum
SYNOPSIS
- British mystery novelist, Charles Condomine,
and his second wife, Ruth, are preparing for an evening of research for Charles' latest
book, dealing with mediums and seances. They discuss Elvira, Charles' first wife who
Charles remembers with mixed emotions. When he leaves, Ruth wonders about Elvira (WAS SHE
PRETTIER THAN I?- L to F Solo).
- Madame Arcati, the whacky medium hired to
perform the seance at the Condomines that evening, hurries to the home on her bicycle (THE
BICYCLE SONG- F Solo to Mixed Chorus).
- At the seance, Dr. Bradman, his wife and the
maid, Edith, are astounded when Madame Arcati makes contact with the other world. Strange
happenings occur with increasing intensity until all activity comes to an abrupt halt and
Arcati falls to the floor in a dead faint. Charles is appalled to learn that Elvira has
returned from beyond. Later that evening, Ruth is upset by Charles seemingly abusive
behavior to her. He is actually berating Elvira whom Ruth cannot see, but Ruth storms from
the room without realizing it. Elvira takes advantage of her time alone with Charles by
seductively warning him (YOU'D BETTER LOVE ME- Sc to F Solo).
- The next morning, at the terrace breakfast
table, Ruth and Charles argue over the previous evening's events (WHERE IS THE MAN I
MARRIED?- Sc to M/F Duet). Elvira shows up and Charles persuades her to show Ruth some
tricks to prove her existence, but Ruth only becomes more upset and seeks out Madame
Arcati for assistance in getting rid of the bothersome Elvira. She finds her in her coffee
house, "The Inner Circle," surrounded by enthusiastic students (GO INTO YOUR
TRANCE- F Solo and Mixed Chorus).
- Madame Arcati tells Ruth she has no idea of
how to get rid of Elvira, and Ruth angrily accuses Arcati of irresponsibility and leaves.
- At home, Elvira and Charles romantically
remember their wedding night (FOREVER AND A DAY- Sc to M/F Duet). He later promises to
take her dancing, which she feels is a positive sign (SOMETHING TELLS ME- F Solo).
- Charles and Elvira visit the Penthouse Club.
As Charles remembers her conniving ways, Elvira continually sets him up in high-risk
situations, hoping he will eventually "accidentally" kill himself (I KNOW YOUR
HEART- Sc to M/F Duet). She attempts to teach him how to fly (FASTER THAN SOUND- L to F
Solo and Mixed Chorus) and the act ends as Charles climbs to the roof and leaps off with
his arms outstretched.
- Act II reveals that Charles landed on a
parapet and suffered only a minor sprain. Ruth manages to convince Charles that Elvira is
trying to kill him, and the two decide to enlist Madame Arcati's help in exorcising
Elvira. They reminisce about Charles' proposal to Ruth (IF I GAVE YOU- Sc to M/F Duet).
- Elvira tries to manipulate Charles into
taking her for a drive, but he tells her Ruth has taken the car and she has a fit of
hysterics. It seems Elvira tampered with the car, and killed Ruth, whose spirit returns to
cause them both trouble.
- In her bedroom, Arcati, clad in bathrobe and
white bunny slippers, happily caresses her ouija board (TALKING TO YOU- F Solo) which
lovingly responds by telling her of Ruth's death. She calls Charles and offers to help.
- Elvira, bored by life on Earth, tells Charles
about her famous friends on the other side (HOME SWEET HEAVEN- F Solo). When she agrees to
go home, she and Charles hurry to Madame Arcati, who is excited by the prospect of
entertaining a genuine ectoplasm (SOMETHING IS COMING TO TEA- F Solo with M Chorus).
Madame Arcati vainly tries to dematerialize Elvira (THE EXORCISM- Mixed Chorus) but only
succeeds in materializing Ruth.
- At home, the two spirits, not anxious to
spend eternity on earth or without Charles, poison his brandy. When he arrives, they argue
and examine their respective marriages (WHAT IN THE WORLD DID YOU WANT?- Sc to M/2F Trio).
- Arcati arrives and, with the help of Edith,
succeeds in dematerializing both Ruth and Elvira, but, as she and Charles toast their
success, they succumb to the poisoned brandy. Now all four are locked in the spirit world
forever (FASTER THAN SOUND [REPRISE]- Mixed Chorus).
NOTES ON THE PRODUCTION
- There are some difficult technical aspects of
the production which need to be worked out before the show is chosen, i.e. the set falling
apart in the final scene and the explosive shaking of the seance table in the first scene.
Rigging is required to fly Elvira, but there are some companies who have deleted Elvira's
flying sequences.
- The music is good, the main characters
extremely well developed, the situation hilarious, the dialogue marvelously witty and the
evening entertaining. If trimmed in size, it is perfect dinner theatre fare and can be
successfully performed on a small stage. The most essential sets are the Condomines
parlor and a space for Arcati's tearoom.
SONGS OF SPECIAL INTEREST
- "Home Sweet Heaven," Alto, clever lyrics and rhythm, make
this a wonderful number for a revue or showcase situation
- "Talking to You," Strong alto character song, not much
range or vocal quality required, takes a comedienne to make the number successful
- "What In the World Did You Want?," Trio, clever lyrics,
relationships and characters emphasized, good for classroom study
-
- Instrumentation: 3 violins, viola, cello, bass, 5 reeds, 3 trumpets, 3 trombones, 2
percussion, harp, guitar/bass guitar, piano/conductor
- Script: NP
- Selections: Cromwell
- Record: ABC/Paramount
- Rights: Tams-Witmark
HONK!
- Synopsis by UNH alum Brian Swasey who appeared in the ????????
American Premiere at ???????
-
- Book and Lyrics: Anthony Drewe
- Music: George Stiles
- (Based on The Ugly Duckling by Hans Christian Andersen)
ORIGINAL SCARBOROUGH PRODUCTION
******BRIAN- Was your company the first American premiere? If so, lets use your
cast, otherwise well keep it London***********
- The Stephen Joseph Theatre, date (# perf.)
- Director: Julia McKenzie
Choreographer: Aletta Collins
Musical Director: Michael Haslam
- Orchestration: John Cameron
-
- Principals:
Drake, Greylag- Michael McLean-
- Turkey, Barnacles, Bullfrog- Nicholas Colicos-
- Henrietta, Pinkfoot, Penny- Elizabeth Renihan-
- Ida- Kristin Marks-
- Maureen, Snowy, Queenie- Leigh McDonald-
- Grace, Dot, Lowbutt- Marilyn Cutts-
- Cat- Paul Sharma-
- Ugly Duckling- Richard Dempsey-
- Chorus and Smaller Roles: 3M/3F
SYNOPSIS
- Smoke is seen fog as seen uses on painted drop of barn yard
- Patch behind farmhouse
- Man with leather jacket plaid plaid pants
- Baseball hat- puts on dark glasses and eaterdeees other characters
- (A POULTRY TALE- 3F/2M, modern beat)
- his wife in yellow and orange
- cat arrives
- 4 the grand flowered hat f grand flowers
- 2M/4F at end- [blocking diagram]
- fence
- she sits on the nest as he goes off- drake leaves after a typical human type argument,
lyrics are clever (THE JOY OF MOTHERHOOD- M/F Duet)
- Ida and
- Sing duet about being motherhood as ducks hatch
- See orange sneakers, then hands then orange hands then orange hats, then butts of ducks
- Auntie mor mor goes off to find drake
- Ma lays down the rules-
- Dad gives the 4 hatched kid 2g 2b with little inner tables?
- Ida stays to stay on the big egg
- She knows this one is different (DIFFERENT [PRE-REPRISE]- F/M Duet?)
- The egg starts banging and appears and breaks the nest
- Honk
- Focus shifts L as other kids take off nest
- She tries to teach him to fly (HOLD YOUR HEAD UP HIGH- M/F Duet and Company)
- Kids men on with cloth as if in lalse then go off as gabo tells fly around
- Father is upset and embarrassed- 4 kids poke fun at kid (LOOK AT HIM- Company)
- Aunt man comes on and screams-
- Lyrics are great
- in school teacher and other students girl poke fun
- friend-
- Cat is anxious to get his hands on xxxxxxxxxx
- Introduced to the mateen ducks, everyone makes fun of him, look at him
- The father drake asks turkey- ugly tries to quack but just honks
- Sadly sings of being different (DIFFERENT- M Solo)
- Ducks them blackboard?
- W logo and YUK was CAT before
- Cat enters, invites him to xxxxxx off with cat
- Ida faces the gossips
- Ida panics when she cant find him
- Ugly goes into cat home, cat has cookbook upsyed and an apron and cooks hat on top
of 3 bones [blocking diagram]
- Cat sings (YOU CAN PLAY WITH YOUR FOOD- M Solo into M Duet)
- Cat has oversyed tender 1rer and towels
- Ugle
- Then gets salt and pepper, shakes salt and pepper on him-
- Then pulls out axe
- Ties him up and puts him in large laundry tub- ugly asks what people are-
- Cat gets hit with large ball thrown from off stage
- Ugly says goodbye and tries to find his way back home
- Chorus enters with lanterns (ELEGY)
- Ida is sad and cries as others sing
- Hes been gone for a week-
- TV reporter arrives
- Maggie pie, mother sings- Expect to appear (EVERY TEAR A MOTHER CRIES- F Solo)
- Ida goes looking for him puts on coat and gets suitcase
- Scene switches to geese, military types
- (THE WILD GOOSE CHASE- M/F Solos and Chorus??)
- [BIG blocking diagram with directing notes]
- ACT II
- (HOLD YOUR HEAD UP HIGH [REPRISE]- M/F Duet)
- Ugly duckling hides in the hen on cat
- Hen house 2F hens
- Queenie cat are domesticated
- It takes all sorts to make a world- snobs having tear (IT TAKES ALL SORTS- F Duet)
- Turns on TV, we see the mother and news TV person
- He sees his mom on TV, cat arrives
- The two cats see each other- he verys the F cat (TOGETHER- M/2F Trio??)
- At Drake home father has the apron on
- Xxxxyellow rolover glory
- Kids go off with barrels
- Wheres the joy in motherhood- mom continues her quest
- (THE COLLAGE- Linear M/F Duet with Company)???????
- He meets a swan who is tangled in a rope-
- He frees penny and she flies off with a honk- he repeats after her honk and bursts into
song (NOW IVE SEEN YOU- M Solo)
- A frog enters- out mage isnt in vogue
- Lily pads moved on by the kids in green jump suits
- Honk gets hatted- (WARTS AND ALL- M Solo into M Duet with Company)
- Cat arrives and takes him back home
- Snow falls-
- Promises that he will see his mother once more before he eats him-
- White umbrellas open and closing as snow falls the ugly and cat go back and forth among
the umbrellas and off- new patterns (THE BLIZZARD- F Solo and Company)
- White sukish curtain drops from proscenium and is pulled down on top of
- To make a drift
- Mother duck comes on and sees his hat
- She thinks he is dead
- Water the frost she cries and the curtain moves and is pulled back revealing xxxxxin a
white suite and white shoes saying Im not a duck, Im a swan, he puts on dark
glasses as yells honk
- Sees his mom, just knowing u are out there (THE TRANSFORMATION- M/F Duet and
Company?????- Linear?)
- Swan plang arrives and inlodeeces him
- Is her father as swan who saved her life
- Cat sees he is a swan
- (LOOK AT HIM [REPRISE]- Company)
NOTES ON THE PRODUCTION
Olwer Award winner, beat out the Lion King
SONGS OF SPECIAL INTEREST
Instrumentation: Keyboards, alto saxophone/flute/clarinet, guitars, bass, drums and
percussion
Script:
Score:
Record/CD: Dress Circle
Rights: Joseph Weinberger Ltd.
HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING
- Book: Abe Burrows, Jack Weinstock and Willie Gilbert
- Music and Lyrics: Frank Loesser
- (Based on the book by Shepard Mead)
ORIGINAL PRODUCTION
- 46th Street Theatre, October 14, 1961 (1,417 perf.)
- Director: Abe Burrows and Bob Fosse
- Choreographer: Hugh Lambert
- Musical Director: Elliott Lawrence
- Orchestrations: Robert Ginzler
-
- Principals:
- J. Pierpont Finch- Robert Morse- Baritone
- Hedy- Virginia Martin- Mezzo
- J.B. Biggley- Rudy Vallee- Baritone
- Frump- Charles Nelson Reilly- Tenor
- Rosemary- Bonnie Scott- Mezzo
- Smitty- Claudette Sutherland- Alto
- Miss Jones- Ruth Kobart- Soprano
- Chorus and Smaller Roles: 8F/12M minimum, male chorus must be vocally balanced
SYNOPSIS
- The play opens in front of the Worldwide
Wicket Company, where J. Pierpont Finch, an enthusiastic young window washer, intent on
quick advancement, is studying a book on business (HOW TO- L to M Solo).
- In the office lobby, Finch bumps into J.B.
Biggley, the President of the Worldwide Wicket Company. When he apologizes and tells him
he is looking for a job the irritated Biggley sends him to personnel. Rosemary, an
attractive secretary, offers to introduce "Ponty" to Smitty, a friend of hers
who is secretary to Mr. Bratt, the head of personnel but Finch brashly enters Mr.
Bratts office and tells him Biggley sent him for a job. Bratt quickly offers him a
job in the mailroom. Smitty, soon discovers that her steno pool friend, Rosemary, has
plans for Finch (HAPPY TO KEEP HIS DINNER WARM- Sc to F Solo).
- In the outer office, the office personnel are
desperately waiting in line for their morning coffee, when they discover the machine is
empty (COFFEE BREAK- Mixed Chorus). The group collapses in dramatic agony.
- Rosemary encounters Finch who is delivering
mail to the executive offices. He is stopped by the wimpy Bud Frump, Mr. Biggleys
nephew, who takes the mail into the offices in hopes of being promoted. Finch, seeing Miss
Jones, Mr. Biggleys secretary, introduces himself and flatters her in hopes of
getting in her favor. She introduces him to an important man in the company, Mr. Gatch.
- Finch quickly befriends the soon-to-be
promoted head of the mailroom, Mr. Twimble, by asking him the key to his success (THE
COMPANY WAY- Sc to M Duet). When Twimble offers him the job, Finch quickly consults his
book and realizes the mailroom is a dead-end job so he suggests Bud Frump. Bud accepts and
promises to play it the company way (THE COMPANY WAY [REPRISE]- Sc to M Solo to Mixed
Chorus). Bratt, who has witnessed the scene, is so impressed with Finchs integrity
that he promotes him to a junior executive.
- Hedy LaRue, Biggleys sexy redheaded
girlfriend, arrives in the corridor looking for Mr. Bratt who has been instructed to give
her a job in the steno pool. The junior executives, attracted by Hedys looks, desire
her to be their own secretaries, but Mr. Bratt reminds them of the secretary code (A
SECRETARY IS NOT A TOY- M Solo to M Chorus).
- Finch waits in front of the elevators as Miss
Jones walks on with Mr. Biggley and reminds him he is playing golf the next day with the
chairman of the board. Finch pumps Miss Jones for information about Biggleys alma
mater, his hobbies and his schedule. Impressed by his interest, she answers his questions
and returns to her office.
- Smitty and Rosemary arrive at the elevators
and Smitty manipulates Finch into asking Rosemary for dinner (BEEN A LONG DAY- Sc to 2F/M
Trio). At the end of the number the elevator doors open and they enter as the chorus
within completes the song. Bud, seeing Biggley talking to Hedy, blackmails him into a
higher promotion (BEEN A LONG DAY [REPRISE]- M Duet)
- On a Saturday morning, Finch arrives at the
office early and sets the stage to look as if he had been working all night. J.B. Biggley
is impressed at his enthusiasm and more impressed when he hums a few bars of J.B.s
alma mater in his sleep. Biggley, after running through the groundhog cheer, with Finch
imitating (GRAND OLD IVY- Sc to M Duet) tells him he will remember him when the right job
comes along.
- The following Monday, Hedy arrives in
Pontys office and announces she has been assigned to him. When she flunks her
secretarial skills test he realizes she is involved with Biggley and sends her to see his
boss, Mr. Gatch, who invites her out. Gatch is instantly transferred to Venezuela and
Finch promoted to Gatchs job.
- Rosemary, the newly promoted advertising
managers secretary arrives at a company reception dressed in the same exclusive
"original" designer dress as the other secretaries (PARIS ORIGINAL- F Chorus).
- At the reception, a drunken Hedy decides to
take a shower in Biggleys private bath. Bud, wanting revenge on Finch, calls him to
Biggleys office and goes to get Biggley. As he discovers Hedy wearing only a towel
he realizes he has been set up. He tries to escape but Hedy kisses him and the sound of
choral music sounding Rosemarys name is heard. He realizes he is in love with
Rosemary who enters to tell him Bud and Biggley are on the way. He asks her to marry him
and she also hears music (ROSEMARY- M/F Duet). Biggley arrives but never discovers Hedy.
When Finch points out that the newly hired head of advertising played football against
Biggleys Alama Mater, Biggley has him fired and Finch promoted.
- Finch asks Rosemary to be his secretary and
begins working on his new advertising campaign. He is so involved that he forgets about
his proposal (ROSEMARY [REPRISE]- 2M/F Trio), much to her disappointment. Bud Frump swears
to stop him as the curtain falls.
- Act II begins in the outer office. Rosemary
tells the secretaries she is quitting but they urge her to stay so that they can continue
to believe a secretary might marry her boss (CINDERELLA DARLING- Sc to F Chorus).
- Bud comes to Pontys office with an idea
for an advertising campaign treasure hunt, which Finch decides to enhance by giving away
stock in the company.
- Hedy tells J.B., in the privacy of his
office, that she is returning to Los Angeles because she isnt having any fun.
Biggley tells her he cant live without her and romantically woos her (LOVE FROM A
HEART OF GOLD- Sc to M/F Duet) Hedy agrees to stay for one more day.
- In the executive wash room the vice
presidents are inwardly wondering how to stop Finch who confidently sings to his mirrored
image (I BELIEVE IN YOU- M Solo with M Chorus).
- Finch has concocted a TV Treasure Stock
Give-Away scheme, which backfires when Hedy, the treasure girl, reveals the hiding place
of the treasure as the Worldwide Wicket Buildings. The buildings are invaded and destroyed
by an enthusiastic public searching for the treasure. In the boardroom, Finch faces Mr.
Womper, the Chairman of the Board, and tells him that he is ready to return to being a
window washer. Womper excitedly tells him that he too began as a window washer and urges
him to disclose the entire story. Finch cleverly shifts the blame and urges Womper not to
fire Bud and his Uncle, Mr. Biggley (BROTHERHOOD OF MAN- M Solo to M Chorus with Miss
Jones as a Featured Performer).
- The play is quickly resolved as Biggley
announces that Womper has married Hedy and made Finch, who has married Rosemary, Chairman
of the Board. Biggley sends a letter to the White House to beware as the company sings
(COMPANY WAY/FINALE- Mixed Chorus)
NOTES ON THE PRODUCTION
- How to Succeed won seven 1962 Tony
Awards for Best Musical, Actor (Robert Morse), Supporting Actor (Charles Nelson Reilly),
Director, Conductor and Musical Director, Producer and Author. It also received the
Pulitzer Prize.
- The show was warmly received and well
performed. Rudy Valee, a singing star of the 20s and 30s revitalized his career as an
excellent J.B. Biggley. Bobby Morse, a charming, impish type made all of Finchs
conniving, quite enjoyable while Charles Nelson Reilly, who won the Tony Award for Best
Supporting Actor, had a melodramatic comedic touch, which was perfect for Frump. All three
repeated their roles in the musical film version, which should be seen by anyone
interested in studying comic timing and clearly defined acting styles.
- The male and female leads were supposed to
represent the Kennedys and were dressed and hair styled accordingly. This parallel has
been lost in subsequent performances and it is up to the individual director to determine
if the show will be enhanced by the addition. The costumes originally represented the
early 60s but may be updated.
- The original production had ten large sets
and several partial sets and drops. This configuration may prove limiting to theatres with
no fly or wing space. It is possible to combine the location of several scenes. In the
original production Finch sings from atop scaffolding where he is washing windows. This
scene could be performed in a neutral area in front of the main curtain. The corridor
scenes and outer office scenes could be combined. In fact, the bulk of the set could be
permanently onstage and encompass the outer office with the elevator doors at an angle off
left (just out of view of the audience). Biggleys office would be stage right, with
a space down stage left as an office area to depict the mailroom, Finchs offices,
and the television show. The boardroom scene could take place in Biggleys office. If
at all possible, the washroom sequence should consist of several cartoon style washbowl
cut outs with a large mirror frame in front. This could be rolled on in front of the act
curtain or even in front of the outer office set.
SONGS OF SPECIAL INTEREST
- "Been a Long Day," nice trio scene for Alto, Soprano, and
Baritone, easy to stage, characters and situation make this a nice showcase number
- "Brotherhood of Man," A showstopper number, big, character
oriented, gospel style, works well in a revue situation, need strong vocals for harmony
- "Coffee Break," Comic chorus number which is a hit in a
revue or class situation, good for a beginning choreographer as it utilizes a large cast
but the characters and situation "make the number"
- "The Company Way," Baritone Duet, good for character study,
game and role-playing exercise and inter relationship
- "Grand Old Ivy," Baritone Duet, wonderful scene to song, a
real showstopper, almost actor proof
-
- Instrumentation: 5 reeds, 3 trumpets, 3 trombones, horn, 2 percussion, guitar, harp, 4
violins, cello, bass
- Script: Frank
- Score: Frank
- Record: RCA
- Rights: MTI
I CAN GET IT FOR YOU WHOLESALE
- Book: Jerome Weidman
- Music and Lyrics: Harold Rome
ORIGINAL PRODUCTION
- Shubert Theatre, March 22, 1962 (300 perf.)
- Director: Arthur Laurents
- Choreographer: Herbert Ross
- Musical Director: Lehman Engel
- Orchestration: Sid Ramin
-
- Principals:
- Miss Marmelstein- Barbra Streisand- Mezzo
- Harry Bogen- Elliot Gould- Baritone
- Mrs. Bogen- Lillian Roth- Mezzo
- Ruthie- Marilyn Cooper- Alto
- Maurice Pulvermacher- Jack Kruschen- Baritone
- Mitzi- Barbara Monte- VTNE
- Martha- Sheree North- Mezzo
- Teddy- Harold Lang- High Baritone
- Blanche- Bambi Linn- Mezzo
- Meyer- Ken LeRoy- Baritone
- Chorus and Smaller Roles: 6M/6F
SYNOPSIS
- The play opens in the 1937 New York garment
district office of Maurice Pulvermacher. We are in the middle of a shipping clerk strike
and the office is in chaos. Pulvermachers secretary, Miss Marmelstein, and his
manager, Meyer, are begging their boss for advice on how to handle the orders.
Pulvermacher just stares out the window (HES NOT A WELL MAN- Sc to M/F Duet).
- Harry Bogen, a bright, energetic shipping
clerk, convinces Pulvermacher that he will move the garments and break the strike if
Pulvermacher will sign an exclusive contract with him. Harry tells his partner, Tootsie,
about his brilliant future, but Tootsie is too worried about Harrys lack of ethics
to join in his elation (THE WAY THINGS ARE- L to M Solo).
- Harry goes to visit Ruthie, a sweet girl who
is very much in love with him. She tells him that she knew he was coming because it was
predicted in her horoscope (WHEN GEMINI MEETS CAPRICORN- Sc to M/F Duet) and loans him
some money to start his new business.
- Harry rushes home to tell his mother that he
is president of his own company and professes his love for her (MOMA, MOMA- M/F Duet).
This song is used to show time passing because Harry keeps re-entering with more lavish
clothes for his mother and himself. He finally owns his own garment manufacturing company
and guarantees his success by hiring Meyer and Teddy away from Pulvermacher.
- Harry tries to impress Martha, a blonde
showgirl, by entertaining Mitzi, Meyer and Eddie at the club where she works, but Martha
is only interested in him if he keeps her in diamonds (THE SOUND OF MONEY- Sc to M/F
Duet).
- At Mrs. Bogens home, after a large
Jewish dinner, Meyer and Teddy sign a partnership agreement with Harry (FAMILY WAY- Mixed
Chorus). When Harry leaves with his partners, Mrs. Bogen urges Ruthie not to fall in love
with Harry (TOO SOON- Sc to Solo).
- While Harry escorts Ruthie home, she tells
him of her interests in cultural events (WHO KNOWS- Sc to F Solo), but he isnt
interested in arts and music, only in money and rising to the top.
- At the opening of "Acme/Apex Modes,
Inc." Harrys new company, Meyer lovingly sings to his wife, Blanche (HAVE I
TOLD YOU LATELY- Sc to M/F Duet). The customers arrive and the fashion show takes place
during the next song (BALLAD OF THE GARMENT TRADE- Mixed Chorus). The Acme/Apex Company is
a success and Harry gains the key to Marthas apartment.
- Act II opens at Harrys new penthouse,
where everyone has gathered for the Bar Mitzvah of Blanche Meyers son, Sheldon. The
group celebrates the event (A GIFT TODAY- Mixed Chorus).
- In the Acme/Apex Modes, Inc. loft, everyone
is yelling at Harrys bookkeeper, Miss Marmelstein, to do a variety of tasks. She
exhaustedly collapses in a wheeled chair (MISS MARMELSTEIN- F Solo).
- Everyone discovers that Harry has been
misusing company money and Ruthie begs him to pay off his creditors, but he refuses to
listen. She accuses him of changing from the Harry she once knew (A FUNNY THING HAPPENED-
F Solo to M/F Duet).
- Teddy meets Martha at the club and shows an
interest in her and she willingly obliges him (WHATS IN IT FOR ME?- Sc to M/F Duet).
- The company is in a shambles and the staff
wonders what their future will be (WHAT ARE THEY DOING TO US?- Mixed Chorus). During the
number, workmen carry away the furniture and a man puts up a "Bankrupt" sign.
- Mrs. Bogen tries to cheer up Harry by forcing
him to dine (EAT A LITTLE SOMETHING- M/F Duet). During this song, he tells her that all
the money was in Meyers name and he is in the clear. She bitterly asks him who is
the next Meyer in his future and he doesnt respond. Harry realizes he is wrong and
goes to borrow money from Mr. Pulvermacher, who agrees to the loan if Harry will work for
him. Harry goes to work for Pulvermacher, and Ruthie invites him to dinner as the curtain
descends.
NOTES ON THE PRODUCTION
SONGS OF SPECIAL INTEREST
"Miss Marmelstein," F Solo, comic
Instrumentation:
Script:
Vocal Score: Chappell
Record/CD: Columbia
Rights: Tams-Witmark
I DO! I DO!
- Book and Lyrics: Tom Jones
- Music: Harvey Schmidt
- (Based on The Fourposter by Jan De Hartog)
ORIGINAL PRODUCTION
- Forty Sixth Street Theatre, December 5, 1966 (560 perf.)
- Director and Choreographer: Gower Champion
- Musical Director: John Lesko
- Orchestration: Philip J. Lang
-
- Principals:
- Agnes- Mary Martin- Mezzo
- Michael- Robert Preston- Baritone
- Chorus and Smaller Roles: None
SYNOPSIS
- As the play opens, the young couple is
preparing for the wedding ceremony, which is quickly enacted in the title song (I DO- M/F
Duet).
- The newlyweds prepare for their wedding night
and greet each other as any shy, young couple might. Agnes realizes she doesnt know
much about Michael and begins to question him about his prior knowledge of women (GOOD
NIGHT- Sc to M/F Duet).
- The next day, Michael realizes the meaning of
love and announces to the world that he loves Agnes (I LOVE MY WIFE- M Solo). A pregnant
Agnes realizes why Michael is overcome with false labor pains and assures him that the
baby wont ever take his place in her heart (MY CUP RUNNETH OVER WITH LOVE- Sc to M/F
Duet).
- After the baby is born, Michael clutters the
household with toys and Agnes spends most of the day devoted to feedings and diapers. They
realize that life is more than love (LOVE ISNT EVERYTHING- M/F Duet). Twelve years
pass and certain irritating habits begin to fray on their nerves. One evening, as the
couple prepares for a party, they bitingly comment on the others idiosyncrasies and
the scene ends on an ugly note (NOBODYS PERFECT- Sc to M/F Duet).
- After the party, Michael tries to explain to
Agnes that he loves someone else. He tells her that a 41 year old man is more irresistible
than a 39-year old woman and it is perfectly normal for a younger woman to find him
attractive (A WELL KNOWN FACT- M Solo). Agnes is furious at his pompous manner and
privately opens up a storage trunk to produce an $85 hat she has been saving for just such
an occasion (FLAMING AGNES- L to F Solo). She is in the process of packing to leave when
Michael returns home and forces her to unpack. They angrily express their feelings (THE
HONEYMOON IS OVER- Sc to M/F Duet). She leaves, but he rushes after her and brings her
back. He decides that they still need each other and forgets about the other woman.
- When Act II begins, Agnes and Michael, now
middle aged, are in bed celebrating New Years Eve while waiting for their
sixteen-year old son to return home (WHERE ARE THE SNOWS OF YESTERYEAR- Sc to M/F Duet).
Michael discovers a bottle of bourbon in Michael Jr.s drawer, gets upset and tells
Agnes, who suggests they have some tea. Michael takes a swig of bourbon instead and
discovers it is an accumulation of all the cod liver oil Junior was supposed to take when
he was younger. Michael, upset by his sons deceit, angrily awaits his arrival. The
boy arrives home quite tipsy, wearing a top hat and Michael doesnt have the heart to
yell at him. The Top hat reminds Michael of marriage and the couple realizes how much
their lives will change when the children are married (WHEN THE KIDS GET MARRIED- Sc to
M/F Duet; He plays sax and she plays the violin).
- The time has come for their daughters
wedding, which Michael dreads. As he prepares for the wedding, he angrily comments on the
man his daughter has chosen (THE FATHER OF THE BRIDE- Sc to M Solo). After the wedding,
Agnes feels extremely alone and questions the reasons for life (WHAT IS A WOMAN?- Sc to F
Solo). When she tells Michael she is leaving him to discover the meaning of her life, he
convinces her that he needs her to inspire him. She is touched (SOMEONE NEEDS ME- Sc to
M/F Duet).
- Agnes and Michael are moving out of the house
and into a small apartment (ROLL UP THE RIBBONS/THIS HOUSE- Sc to M/F Duet). As Michael
carries Agnes out of their old bedroom, they agree that marriage is a very good thing.
NOTES ON THE PRODUCTION
-
- Robert Preston received the 1967 Tony Award
for Best Actor, but Cabaret received most of the other Tonys. Mary Martin
lost out to Barbara Harris of The Apple Tree.
- I Do! I Do! is a two character musical
about married life, its happiness and its problems. The musical is often performed in
summer stock due to its one set, two-character, low budget appeal. It can be quite
charming, but relies heavily on the talents of Agnes and Michael. There are a lot of props
which denote the passage of time and they must be moved quickly on and off to keep the
flow of the script.
- The show, although originally performed with
a full orchestra still works with a smaller combo which includes a saxophone and violin if
the onstage performers do not play those instruments. It may be possible to substitute
other instruments and is certainly worth searching out actors who play instruments because
the "married" number, done live, is outstanding.
- There are different costumes for each scene
which depict the period and changing styles. These must be impeccably accurate.
- The success of the original was due to its
two stars and the talents of Director/Choreographer Gower Champion who was a genius at
heightening interest in musical numbers. It is important to have an excellent
Choreographer/Director who can keep the flow from scene to song and give the musical
numbers heightened reality.
SONGS OF SPECIAL INTEREST
- "The Father of the Bride," baritone, semi dramatic,
poignant, good for class
- "Flaming Agnes," mezzo, good for getting a stiff actress to
have more freedom of movement and abandonment, comic, angry
- "Good Night," Mezzo/Baritone comic, reaction oriented, good
for showcase, audience pleaser, nearly actor-proof.
- "The Honeymoon Is Over," mezzo, angry, bitter, quarrel,
good for class work and reaction
- "Nobodys Perfect," mezzo/baritone, excellent,
dramatic, angry biting, good for actors in the 30s, younger performers have trouble with
the game playing
- "What Is a Woman," mezzo, introspective, older woman,
questioning life, semi dramatic, mezzo
-
- Instrumentation: 4 reeds, 2 trumpets, trombone, 2 horns, 2 percussion, 2 pianos, harp,
violin, viola, cello, bass, piano/conductor
- Script: NP
- Score: Chappell
- Record: RCA
- Rights: MTI
I LOVE MY WIFE
- Book and Lyrics: Michael Stewart
- Music: Cy Coleman
- (Based on a play by Luis Rego)
ORIGINAL PRODUCTION
- Ethel Barrymore Theatre, April 17, 1977 (857 perf.)
- Director: Gene Saks
- Choreographer: Onna White
- Musical Director: John Miller
- Orchestration: Cy Coleman
-
- Principals:
- Cleo- Ilene Graff- Mezzo
- Monica- Joanna Gleason- Alto
- Alvin- Lenny Baker- Baritone
- Wally- James Naughton- Baritone
- Chorus and Smaller Roles: 4M vocal back-up and onstage musicians
SYNOPSIS
- Act I opens with the cast and musicians
onstage in a line. The orchestra conductor enters, a cast member hits a note on the pitch
pipe and the small company of eight (4 actors, 4 actor/musicians) burst into an a cappella
choral ode to Trenton, NJ. This leads into the musically accompanied opening song that
tells how all eight grew up together in Trenton. (WERE STILL FRIENDS- Mixed Chorus).
The song ends and the musicians, dressed as moving men, join the stagehands in setting the
stage as a diner.
- At the diner, Alvin, a moving man by trade,
asks his wifes friend, Monica, about the sex test she is taking from her
womens magazine. When he takes the test he discovers he is thirty years behind the
new sexual revolution. He rejoins his fellow movers who inquire about his sexual feelings
toward Monica. Alvin, who has been friends with Monica since childhood begins to consider
the matter (MONICA- M Chorus and F Dancer). As the men sing about her, Monica removes her
outer jacket, scarf and hat and dances wildly around in jeans and leotard top; the
lighting demonstrates it is all in Alvins imagination.
- At the end of the number Monica returns,
fully clothed, to her magazine as Wally, her husband, and Cleo, Alvins wife, enter
the diner. The girls go off to finish their Christmas shopping and the two men discuss
Wallys multiple love experiences (BY THREES- Sc to M Trio). The piano player is
essential to the success of the number because Wally and Alvin mime piano playing during
much of the song. Alvin promises Wally he will sound out Cleo on the possibility of a
multiple love experience with Alvin, Cleo and Monica.
- Alvin and the moving men sing as they set the
stage to represent Alvins bedroom and living room (A MOVERS LIFE- M Solo to M
Chorus). Cleo, at first appalled by Alvins suggestion, begins to consider the
proposal as the band enters, dressed as devils (LOVE REVOLUTION- Sc to F Solo). However,
when she agrees to play the game with two men instead of two women (she mentions Wally as
a possible third) Alvin is shocked.
- When Wally and Monica arrive to invite them
to a Christmas Eve Party, Cleo and Monica, Nashville style, wonder if, by limiting
themselves to their spouses, they missed something (SOMEONE WONDERFUL I MISSED- F Duet).
- Wally, Cleo and Alvin decide to invite Monica
to join them in a foursome on Christmas Eve. The orchestra enters in togas and all
proclaim they are sexually free as the leads demonstrate a series of confused sex poses
(SEXUALLY FREE- Sc to 2M/F Trio).
- When Act II begins it is snowing and the
orchestra enters in Santa Claus suits to comment on the proposed evenings event (HEY
THERE, GOOD TIMES- M Quartet). They quickly set the stage to Wally and Monicas
living/dining room where Wally and Monica, in a comic scene, open their horrible Christmas
presents. Monica comments on her feelings for Wally and her favorite holiday (LOVERS ON
CHRISTMAS EVE- Sc to M/F Duet); the two perform a la Fred and Ginger.
- When Wally tells Monica about the
evenings planned marital exchange she furiously serves the turkey and slams the food
down. The four are uncomfortably seated at the table as the band marches on and advises
the four to let loose (SCREAM- M Quartet).
- In an attempt to ease the situation, Wally
passes around some $80.00 hash and the girls proceed to get high. Alvin and Wally later
discover it is nothing more than modeling clay and comment on the fact that people turn on
to anything (EVERYBODY TODAY IS TURNING ON- Sc to M Duet, Period).
- The four finally strip to their underwear and
get into bed, but Alvin is extremely uncomfortable and attempts to bide for time. Wally
informs Alvin that they are only attempting todays norm and refers to the
newspapers personal section (MARRIED COUPLE SEEKS MARRIED COUPLE- 2M/2F Chorus with
Band in Pajamas).
- The attempted orgy fails when both men end up
next to their own wife. The band enters in Santa Claus suits and comments on the lack of
excitement in the room. The men proclaim that they love their wives (I LOVE MY WIFE- M
Duet).
- The couples say farewell and agree to meet
the next night at the diner; the boys will have a few drinks while the girls return
Christmas gifts.
NOTES ON THE PRODUCTION
- I Love My Wife won 1977 Tony Awards
for Director (Gene Saks) and Featured Actor (Lenny Baker).
- This small cast production needs a male lead
in the part of Alvin who has excellent comedic talents and impeccable timing. Since some
audience members may find the subject matter distasteful, it is important that the
production be impeccably mounted and the leading man have tremendous warmth and charm.
- The costumes and sets are minimal and the
music is mostly contemporary and fun to perform on stage. This show is a good choice for a
small, low budget company or dinner theatre. The band is costumed in a variety of clothes
and must be able to make quick changes offstage. It is important to obtain
"performing musicians" who can relate to the action onstage, their music and the
audience. The success of the casting of the musicians may affect the entire success of the
show.
SONGS OF SPECIAL INTEREST
- "Everybody Today is Turning On," baritone duet, revue or
class showcase, modern vaudeville style number, possible for two females in revue
situation
- "Love Revolution," mezzo, good for developing abandon in a
usually inhibited performer, movement required
-
- Instrumentation: onstage musicians: piano/conductor, bass (acoustic and fender), guitar
(banjo/clarinet), drums offstage musicians: 2 drums, 2 piano
- Script: Samuel French
- Selections: Big 3
- Record: Atlantic
- Rights: Samuel French
ID RATHER BE RIGHT
- Book: George S. Kaufman and Moss Hart
- Music: Richard Rodgers
- Lyrics:
ORIGINAL PRODUCTION
- Alvin Theatre, November 2, 1937 (# perf.) nine month run
- Director: Sam H. Harris
- Choreographer: Charles Weidman
- Modern Dance Choreographer: Ned McGurn
- Musical Director:
Orchestration:
-
- Principals:
- Peggy Jones- Joy Hodges-
- Phil Barker- Austin Marshall-
- Franklin D. Roosevelt- George M. Cohan-
- Alf Landon- Joseph Allen-
- Frances Perkins- Bijou Fernandez-
- Chorus and Smaller Roles:
SYNOPSIS
- Act I begins in the dusk of a summery July
4th evening. In a corner of Central Park, with the 59th Street Bridge in the
background and Sherry-Netherland, The Plaza and Radio City silhouetted, a park concert
strikes up. We see various latecomers hurrying in. A policeman chastises someone offstage
to "Keep off the grass!" Two millionaires complain about high taxes. Two girls
gossip about a sugar daddys $100 bill dropping from a napkin. A balloon man attempts
to sell his wares. Two sailors enter. One sailor complains that, now, both he and his
civilian brother are working for the government. The other sailor only wants to talk about
dames. A young mans girls worries that she would become pregnant before marriage if
. . .
- Mendelssohns "Nocturne" is
heard. Peggy and Phil enter. Phil is worried. He didnt get a new job due to the
countrys economic distress. His boss wont open a new place until the
countrys budget is balanced. Obviously, this postpones their marriage. Peggy
bitterly complains that "it isnt the Montagues and the Capulets that keep you
apart anymore; its the budget." Phils reaction: "Aw, the hell with
it." He puts his head on her lap and she strokes it.
- An impressive looking stranger in a frock
coat and top hat enters. He asks Peggy and Phil, if this path leads to 72nd
Street. They immediately recognize him as President Roosevelt and get up to greet him
properly. They tell him that they are worried about the country and ask him whats
going to happen. The President admits that he is worried too. Phil asks if he will balance
the budget. The President notices a picture of Walter Lippman in Phils newspaper,
which is laying on the ground and sits on the paper with pleasure. The President buys them
all ice cream from an ice cream man. He enters the price of the ice cream in a little book
he keeps on National expenditures and explains the National budget. He promises to try to
balance the budget so that they can get married.
- McIntyre, the Presidents secretary,
enters and asks if the President is ready to receive his Cabinet. Exasperated, the
President tells him to send them in. The Cabinet enters singing (for "its a
well-known fact that the Cabinet always sings when it gets together for a meeting")
about their homogenous attitude and how they know all of our business. Individual
secretaries tell of how their jobs spark fraud, loss of jobs, and "the biggest goddam
deficit" (M Chorus with Solos and F Solo: 2M- Farley, Morgenthau and 1F- Perkins).
During the Cabinets song, the traditional, long Cabinet table has been brought onto
the stage. Their agenda is jobs for all deserving Democrats (a six-foot long list) whether
or not they know the difference between Brazil and brassieres is of no importance. Also,
the secretary of Treasury is running short of money again; he has already spent the $300
million given him the previous week. The Cabinet is most interested in seeing the new Marx
Brothers movie opening that day. However, the President presses them all about balancing
the budget, concerned by how it affects Peggy and Phil. In fact, he orders Peggy and Phil
to tell the Cabinet their story themselves. Phil breaks into a sentimental song about how
the two of them met (HAVE YOU MET MISS JONES?- M/F Solos). The Cabinet agrees that if they
cant do anything for these two lovebirds, they are just a bunch of dirty
Republicans. Peggy and Phil are thrilled.
- To balance the budget, the President opens up
suggestions for new taxes. Farley suggests airmail postage for all letters. Perkins
suggests taxing government property such as the Capitol Building and the White House.
Morgenthau suggests Government pickpockets to disburse crowds. The Cabinet likes this
idea, but the President reminds them that the Supreme Court wouldnt stand for it,
for "you know how conservative they are." The Cabinet just wouldnt let the
Court know what was happening. The President starts dictating a law. As soon as he utters
the words "new law," all nine members of the Supreme Court pop out of the
bushes, quickly say "NO!" and disappear. Discouraged, Peggy thinks that there is
no way out. She and Phil will never get married.
- The President is darned if the Supreme Court,
or anything, will keep Peggy and Phil from being married. He and the Cabinet try to
balance the budget again. Peggy throws into the discussion that American women spend $3
billion a year on beauty treatments. She wonders if that is taxed. The President replies
that it is taxed, but, if women would give up beauty for a year and send the money saved
to the US government, the national budget would be balanced. After all, the Italian women
gave up their wedding rings to the government. Now, how to convince the American women?
Why, a fireside chat!
- The Cabinet table is whisked away and a
fireplace and easy chair quickly replace it. The President makes an impassioned speech to
the women of America to let their natural beauty come forth and to send the money saved to
Secretary of the Treasury Morgenthau. As a thank you, each woman will receive a Little
Blue Eagle emblem to wear on their lapel. Hell ask the registered Democrats to only
go out with women wearing the Blur Eagles. "Ladies, if youve never gone out
with a registered Democrat, youve never gone out at all." His Cabinet praises
the speech. The Women of America, on the other hand, storm the stage. They are dressed
right out of the Elizabeth Arden salon and are accompanied by a battalion of male beauty
specialists with little waxed mustaches who wear curlers as if they were bayonets. The
women sing of how they will not give their beauty away (NOT FOR A DAY WILL WE GIVE BEAUTY
AWAY- F Chorus with M Chorus for back up). The women and their beauticians exit.
- A balloon vendor enters who happens to be
Phils boss, Mr. Maxwell. Maxwell demonstrates to the President how he cant
open a new store because of all the taxes. He illustrates his point by popping one balloon
for each kind of tax. The inheritance tax pops the last balloon. Maxwell leaves the stage
in a big huff. A band of strolling players (a dozen or more beautiful girls and their
seedy director) enter. These people are the Federal Theatre Unit No. 864. Whenever they
see three or more people together, they are supposed to give a show. The Director
complains of the shoestring budget the government gave them of only $675,000. The
President muses that this money spent is okay,if it is a show about the government. But,
no, it is a show entitled "Spring in Vienna" (F Chorus and Ballet). After seeing
the show, the President sends them to perform at the Centre Theatre and tells them to let
the Rockefellers pay for it, since the Rockkefellers have more money than the US
Government. As the troupe exits, the President enters $675,000 in his expenditure book.
President Roosevelt suggests the budget could be balanced, if the Supreme Court said that
it was balanced. Phil urges him to ask them. The President flushes the Supreme Court out
of the bushes with the words "I am going to pass a law."
- President Roosevelt tries to sweet talk the
Supreme Court into doing him a favor of declaring the national budget balanced. They are
still irked with him about calling them nine old men. The Chief Justice says Roosevelt
doesnt know anything. To validate this point, the Justice whistle and beckon onto
the stage nine young, scantily clad girls who link arms with the Justices and sing of how
the Justices deserve some Constitutional fun (F Chorus and Dance). The Girls quickly
disappear into the bushes with the Justices.
- President Franklin D. Roosevelt despairs
about his current lack of popularity. Peggy and Phil assure him that they both voted for
him. The Presidents mother enters and exits, accompanied by a Butler carrying a cake
to Franklins Birthday Ball (The Butler happens to be Landon, the man who ran against
Roosevelt). Seeing Landon, the President pursues the Chief Justice stating that Landon was
the better man. The Chief Justice quite agrees. Another man enters and gives Social
Security cards to Peggy and Phil. Phil thinks Social Security will solve everything
because at age sixty five, in forty years, therell be nothing to worry about. He and
Peggy sing a "lyric celebrating the somewhat doubtful pleasures of being sixty five
years old (M/F Duet).
- The Cabinet enters with an idea of how to
balance the budget: take the gold out of Fort Knox and put it in a hole in Washington D.C.
The President agrees (WERE GOING TO BALANCE THE BUDGET- M Solo into Full Chorus)
However, Newsboys enter with the news that theres been a stock market crash. The
headline reads "Wall Street Paralyzed as Government Moves Gold." Peggy breaks
down and sobs. The President orders the doors of Fort Knox to be closed. The previous
songs music is heard in a funereal tempo, but the optimistic President cheers the
crying Peggy with a dance. Soon the whole crowd is singing and dancing as happy as can be
(WERE GOING TO BALANCE THE BUDGET {REPRISE]- Full Chorus).
- At the opening of Act II, President
Roosevelt, Peggy and Phil are still sitting on a rock in Central Park. Peggy is sleeping
on Roosevelts shoulder. She is smiling and Roosevelt wonders what she is dreaming
of. Phil thinks he knows and, as we shall see, hes right. Peggy is dreaming of her
wedding to Phil. (The story of Peggy and Phils marriage. Their homecoming,
progression through life, children born and grown, even their old age where they are still
happily dancing- Ballet). Roosevelt and Phil watch as Peggy sleeps.
- After Peggy awakens, a PWA group of top
American businessmen enters. All expensively attired. They are led by Mr. Maxwell. They
sing about the easy toils of their daily work. During this song, all they accomplish is
moving a single twig about ten feet (WE WORK ALL DAY FOR THE PWA- M Chorus). They exit to
go to their next task which is digging up a dandelion. Before Roosevelt can reproach them,
two children, Sistie and Buzzie, his grandchildren, enter. They are sad because the
merry-go-round man is on strike. Roosevelt says that the Wagner Act covers the
disagreement between the owner, Joe, and the operator, Tony, of the merry-go-round. He
calls for the Wagner Act. Two versatile acrobats tumble onto the stage and begin to
perform. They are the Wagners, Federal Theatre Project No. 34,268. Of course, Roosevelt
meant the Wagner Labor Relations Act. The grandchildren forget about the merry-go-round
and exit with the Wagners to see their act. McIntyre brings a copy of the law for
Roosevelt to see. Collective bargaining between Joe and Tony fails, resulting in both of
them quitting, thereby leaving the merry-go-round for the government to take over. The
Government hires Joe as the manager and Tony as the worker. They are both very happy to be
working for the government.
- Mother Roosevelt enters with Landon, the
Butler, and the cake again. She asks her son to fix a friends daughters
traffic ticket. She notices Roosevelts despondency and worms out of him that he
cant balance the budget. Mother notes that as Governor of Kansas, Landon balanced
the state budget. Landon refuses to say how he did this and runs offstage. Roosevelt
wonders whose butler he will be in a couple of years. He confides to Peggy and Phil that
he enjoys being President with all of its special perks (OFF THE RECORD- M Solo).
- A very sad Cabinet reenters. They cant
come up with a way to balance the budget with the time remaining in Roosevelts term.
Roosevelt comes up with an idea. They can gain time if he runs for a third term. Time for
another Fireside Chat. This time, an entertaining one. The White House Hotel, with the
Cabinet as FDRs Hillbilly Swing Orchestra (Medley of American airs done to swing).
The "chat" includes one cabinet member as a stand up comic. Frances Perkins is
the DC gossip reporter. Morgenthau croons a la Crosby about buying US Bonds (M Solo). FDR
is introduced (HAPPY DAYS ARE HERE AGAIN [SWING STYLE]- Orchestra). Roosevelt introduces
Peggy and Phil to explain the purpose of this White House Jamboree (HAVE YOU MET MISS
JONES? [REPRISE]- M/F Duet). FDR asks his listeners to help him keep his promise to Peggy
and Phil by giving him a third term in office as their President.
- Immediately after the broadcast, the Supreme
Court enters to denounce Roosevelts intentions as unconstitutional. Questioned by
FDR, they agree that the only thing that is constitutional is the Supreme Court itself.
The Court exits and FDR sends the Cabinet home. He apologizes to Peggy and Phil. Phil
tells the President that all they want is "the right to work and be married to each
other and bring up our kids. We dont want much." Bingo! FDR has his Fourth of
July speech (DIXIE- Orchestra). FDR tells the crowd who has gathered that "Its
we, the people, who are important and who really matter." The crowd applauds. After
the speech, the President leans to Peggy and Phil and advises them to get married.
Theyll manage. Children are born each minute, whether the budget is balanced or not.
FDR reprises his song as he exits (WERE GOING TO BALANCE THE BUDGET- M Solo into
Chorus).
- The stage is suddenly black and silent.
Slowly, the lights come up and we discover we are now at the end of the Central Park
concert. Peggy and Phil are as we first saw them (Phil is asleep in Peggys lap).
Phil denies that he was sleeping, but blurts out, "Lets get married
tomorrow!" Peggy immediately agrees. The policeman enters and admonishes them for
their public display of affection. He snaps at Peggy and Phil, "Where do you think
you are, Russia?" Phil calmly responds, "No, Officer. Were in America, and
doing very nicely, thank you!" Curtain.
NOTES ON THE PRODUCTION
A highly stylized spoof of the political
scene . . . Poking fun at FDRs administration. First time a musical centered around
the incumbent president. Warm-hearted. Touch of vaudeville. One of the last Broadway shows
to use a single set for an entire evening. Owes length of run to fact that it was only
competing with Babes in Arms, another Rodgers and Hart musical.
SONGS OF SPECIAL INTEREST
- Instrumentation:
- Script:
Score:
Record/CD:
Rights:
I'M GETTING MY ACT TOGETHER AND TAKING IT ON THE
ROAD
- Book: Gretchen Cryer
- Music: Nancy Ford
- Lyrics: Gretchen Cryer
ORIGINAL PRODUCTION
- Public/Anspacher Theatre, June 14,1978 (1,165 perf.)
- Director: Word Baker
- Choreographer: Tina Johnson
- Orchestration: Nancy Ford and The Band
-
- Principals:
- Joe- Joel Fabiani- VTNE
- Heather- Gretchen Cryer- Mezzo
- Alice- Margot Rose- Alto
- Cheryl- Better Aberlin- Mezzo
- Jake (guitar)- Don Scardino- Tenor
- Chorus and Smaller Roles: 4 Onstage Musicians
SUMMARY AND NOTES
- Successful, rock singer, thirty-nine year old
Heather Jones, astounds Joe, her manager and friend, when she privately showcases her new
act. The act demonstrates a new direction for Heather, her backup singers Alice and
Cheryl, and the male band. All want to make a statement about women and their
relationships with men. Joe urges her to tone things down but Heather is determined to
present herself as she really is, not as her audience would like to see her. Jake, her
young acoustic guitarist, supports her and convinces her that he loves her.
- The show is dramatically powerful, the music
energetic and the lyrics and dialogue thought provoking. It is a quality cabaret show with
few costume and set requirements that would be best produced on a college campus where an
audience could accept, understand and appreciate the issues at hand.
- Microphones, atmospheric lighting and a
strong band to back-up are necessary to the success of the show.
SONGS OF SPECIAL INTEREST
- "Dear Tom," dramatic, comedic, and poignant when coupled
with monologue, story about a woman who was Mrs. Perfect and her failing relationship with
her husband, demonstrates a range of emotions, good to work on in a class situation,
possible audition
- "Old Friend," Charm ballad about a friendship between two
people of the opposite sex, who are close friends
- "Put In a Package and Sold," F Trio, strong statement,
solid, emphatic song about women who want to be noticed for what lies inside
- "Smile," Strong Alto/Mezzo number, F featured, Mixed Trio
backup, may be done as a solo, dramatically powerful, story song about a young woman,
trained from childhood to be nice to men. Traces her life from smiling for her father to
her husband and through her subsequent divorce, transitions and emotions are essential
-
- Instrumentation: guitars (acoustic, electric), drums, percussion, bass, piano/conductor
(synthesizer and fender piano optional)
- Script: Samuel French
- Selections: Valando
- Record: CBS
- Rights: Samuel French
INTO THE WOODS
- Book: James Lapine
- Music and Lyrics: Stephen Sondheim
ORIGINAL PRODUCTION
- Martin Beck Theatre, November 5, 1987 (764 perf.)
- Director: James Lapine
- Musical Staging: Lar Ubovitch
- Musical Director: Paul Gemignani
- Orchestration: Jonathan Tunick
-
- Principals:
- Witch- Bernadette Peters- Mezzo
- Bakers Wife- Joanna Gleason- Mezzo
- Baker- Chip Zien- Baritone
- Narrator/ Mysterious Man- Tom Aldredge- Baritone
- Wolf/ Cinderellas Prince- Robert Westenberg- Baritone
- Jacks Mother- Barbara Bryne- Mezzo
- Cinderella- Kim Crosby- Soprano
- Little Red Riding Hood- Danielle Ferland- Mezzo
- Cinderellas Mother/Grandmother/Giant- Merle Louise- Alto
- Jack- Ben Wright- Tenor
- Cinderellas Stepmother- Joy Franz- VTNE
- Cinderellas Father- Edmund Lyndeck- VTNE
- Florinda- Kay McClelland- Mezzo
- Lucinda- Lauren Mitchell- Mezzo
- Rapunzel- Pamela Winslow- Soprano
- Rapunzels Prince- Chuck Wagner- Baritone
- Steward- Philip Hoffman- VTNE
- Sleeping Beauty- Maureen Davis- VTNE
- Snow White- Jean Kelly- VTNE
- Chorus and Smaller Roles: None
SYNOPSIS
- The stage lights rise on the actors in a
frozen pose as the audience sees three distinctly different home areas. SR is the narrator
who tells the tale. Next to him is Cinderellas home; a funny looking cutout house
center stage, which represents Jack (of Beanstalk fame) and his mothers house; and
SL is the home of the Baker. Each house marks the location of the action for each of the
stories. The audience is introduced to a bespectacled Cinderella who speaks to birds, a
slow-witted, but loving, Jack and his pet cow, Milky White, and his concerned but
sharp-tongued mother, and eventually the baker and his wife. (PROLOGUE-INTO THE WOODS-
Company). The story of Cinderella and Jack and The Beanstalk are familiar ones to the
audience but the center focus of the musical revolves around the Baker and his Wife and
their interactions with the more familiar characters. A knock on the Bakers door
brings Red Riding Hood who is heading into the woods to visit her aged and ill granny and
wants to purchase some food to bring along. Her character as a headstrong, selfish little
girl is apparent. She leaves as the Bakers urge her to be careful and to save some of the
food for Granny.
- The focus shifts to Cinderella who is berated
by her stepsisters and wonders why (INTO THE WOODS [CONTINUING]- F Solo).
- A sudden knock on the door of the
Bakers house shifts the action to a bent over, aged witch who tells the two that she
has placed a spell on their house (INTO THE WOODS- BEAN/GREENS SECTION- F Solo, Patter).
- The lights move to Jacks mother who
orders him to sell Milky White because they desperately need the food. She attempts to
explain their problems to the befuddled lad (INTO THE WOODS- JACK, JACK, JACK SECTION-
Mezzo) She dresses him in scarf and hat before sending him off with the 3 foot high,
wooden cutout style, cow.
- The witch tells the Baker that they need to
help her in order to undo the spell that leaves them childless. In fear and desperation
they agree. In song she tells them what they must bring to her in three days time (INTO
THE WOODS- GO TO THE WOODS SECTION- Mezzo).
- In Cinderellas humble home the
stepmother and stepsisters are leaving for the ball and order Cinderella to stay home and
to disgrace them in her rags. The tearful girl determines that she will go to the festival
as the Baker leaves on his quest, followed by his worried wife, and Jack, Red, and the
stepfamily all head on their respective journeys. (INTO THE WOODS- Company)
- The houses disappear and we are deep in the
woods. Cinderella is seen at the gravetree side of her dead mother asking for advice
(CINDERELLA AT THE GRAVE- Soprano Duet). Cinderellas mother promises to fulfill her
wish to go to the ball and a lovely ball gown falls from the tree. Cinderella rushes off
to attend the festival.
- Jack is cautiously venturing forth when a
"mysterious man" jumps out to spook him further. He dashes off with his cow.
- Red ventures on her journey followed by a
lascivious and hungry wolf, who envisions her in his clutches. In a tightly choreographed
comedic number he introduces himself (HELLO, LITTLE GIRL- Sc to M/F Duet). She dashes off
as he howls in anticipation and takes a shortcut to Grannys.
- The Baker enters, distraught at his failure
to find any of the witchs items. The witch orders him to get the cape from the
little girl and, hearing Rapunzels voice, hurries off in her direction. The Baker is
confused and angered as his wife enters to remind him of his objective. Her orders her
home but she realizes that it will take two to break the spell and have the child. They
cease their arguing when Jack enters with Milky White, one of the items on their list. The
wife pushes the Baker to convince Jack to sell the cow for some magic beans. Jack agrees
if he can someday buy the cow back and tearfully laments (I GUESS THIS IS GOODBYE- Sc to M
Solo). He exits as the Baker admonishes his wife for duping Jack with a lie. The wife is
convinced that the end justifies the means (MAYBE THEYRE MAGIC- Sc to F Solo). They
exit in opposite directions.
- Rapunzel is heard singing as a tower appears
and the narrator explains the reasons that the witch locked the poor girl in a tower. The
witch climbs up Rapunzels hair as a handsome prince watches and yearns for the girl.
- In another part of the woods the Baker comes
upon red Riding Hood and
- Steals her cape but his conscience gets the
better of him as she wails at her loss and he returns the cape to her. She kicks him and
dashes off as he tries to convince himself that he must be of stronger will. (MAYBE
THEYRE MAGIC-REPRISE- M Solo). He sets off to obtain the cloak.
- Meanwhile, Red has reached Grannys
house and nervously surveys the situation. She enters to discover the wolf in
Grannys bed and he promptly attacks as the lights black out. The Baker comes upon
the cottage and sees a red cloth hanging from the wolfs mouth. He takes his hunting
knife and frees Red and Granny. Granny pulls the Baker inside to skin the wolf and Red
sings of her newfound knowledge gained knowledge from her experience (I KNOW THINGS NOW- F
Solo). Red spies the Baker and in appreciation gives him red cape.
- Jacks mother is seen in a brief scene
hurling the beans to the ground and admonishing Jack.
- The Bakers wife is leading the cow
through the woods as Cinderella trips into the scene. She begs the wife to send her
pursuers off and the Bakers wife is astounded to discover the girl is running from
royalty. As the prince and steward leave Cinderella returns to explain herself (A VERY
NICE PRINCE- Sc to F Solo). Cinderella, realizing it is midnight sets out for home and the
Bakers wife chases the cow, which runs off. Throughout the night we see the
characters in various spots in the woods. Dawn breaks. (FIRST MIDNIGHT- Company).
- Jack races onto the stage. He has just
returned from his first trip up the beanstalk and is ecstatic and conveys his story to the
audience (GIANTS IN THE SKY- M Solo). Jack spies the Baker and gives him the money he got
from the sky but the Baker isnt ready to give up Milky White. Jack mistakes his
hesitancy as a request for more money and returns to the sky. A mysterious man appears to
chastise the Baker about what is important to him. His wife arrives, he discovers she has
lost the cow and the two argue. The witch jumps into the scene to tell them to get busy
that time is running out. The three exit in haste as both Cinderellas and
Rapunzels princes enter.
- The handsome princes are brothers and each
describes the pain of failing in their female quest (AGONY- Sc to M Duet).
- After some confusion the Bakers Wife
and Baker finally obtain three of the four items. They have learned about sharing and
working together from their woodland experiences (IT TAKES TWO- Sc to M/F Duet). But their
hopes are dashed as Milky White falls over dead.
- As night changes into dawn the various
characters are seen in the woodland shadows (TWO MIDNIGHTS GONE- Company).
- The witch drags Rapunzel on, angered that she
has disobeyed and gone out into the world. The witch tells her there is danger in the
world (STAY WITH ME- F Solo). Since Rapunzel does not want to stay with the witch but to
see the world, the witch cuts her hair and sends her into the horrors of the world. She
subsequently causes the prince to blind himself on a thorny patch while looking for
Rapunzel.
- Cinderella enters holding one shoe. She has
returned from her last visit to the festival and ponders the cleverness of the prince in
his effort to discover her identity (ON THE STEPS OF THE PALACE- F Solo).
- The Bakers wife enters to obtain
Cinderellas slipper and a giant crash is heard. Jacks beanstalk has come
crashing to the ground complete with the giant. Various cast members begin to assemble as
the witch appears, worrying that the last midnight is near. She revives Milky White and
begins the spell, which turns the witch into a beautiful young woman.
- The final scene in which Cinderellas
prince discovers that her stepsisters Lucinda and Florinda are frauds and finds his true
love who fits the slipper. All the characters enter for the Act I finale (INTO THE WOODS-
Company).
- Act II opens with three living areas-
Cinderella now lives in a castle so we see a throne SR, Jacks house is a bit more
upscale and the Baker and his Wife have baby things in their home. Things seemed perfect
at the end of Act I but reality is setting in. Cinderella isnt happy in her role as
princess, the Bakers wife yearns for a large home and their happiness is completely
ruined by a crashing sound as the Bakers house semi collapses. The witch rushes in
and they determine that there is a giant in the land. The Baker goes off to tell the
Prince, sure that he will know what to do.
- (ACT II OPENING-INTO THE WOODS- Company). The
company heads for the woods and answers to their newest problem. The princes meet in
the woods, they are bored with their lives and their wives and describe the new girls
(Sleeping Beauty and Snow White) they have met (AGONY [REPRISE]- Sc to M Duet).
- The company has gathered in the woods and the
angry, booming voice of the Giantess is heard. She wants them to give up Jack but they
throw her the narrator instead. Jacks mother argues with the giantess and the
steward, in fear, knocks her with his staff and she dies. Rapunzel runs offstage and is
squashed by the giantess. The witch returns after discovering that Rapunzel is dead and is
heartbroken (STAY WITH ME [REPRISE]- F Solo). The witch decides to find Jack and give him
to the Giant. The Baker and his Wife set off in separate directions to find him first.
- The Bakers Wife runs into
Cinderellas prince, who seduces her (ANY MOMENT- Sc to M/F Duet). Meanwhile,
Cinderella meets the Baker who begs her to join them so that, together, they may rid the
country of the Giantess, and she reluctantly she agrees. The prince, finished with his
dalliance, informs the Bakers wife that they shall probably not meet again. He exits
and she ponders her life and her dalliance until reality hits and she comes back to the
present and focuses on finding Jack (MOMENTS IN THE WOODS- F Solo).
- The scene shifts to Little Red, Cinderella
and The Baker. The witch enters with Jack in tow, she is prepared to give him to the
giantess, but the rest disagree. She admonishes them and the Baker agrees that it was
Jacks fault. Jack quickly finds someone else to blame and everyone subsequently
accuses everyone else (YOUR FAULT- Sc to Quartet). The witch urges them to be quiet
because the last midnight is approaching and she cannot stand being with them anymore. She
begs her mother to remove her from the world (LAST MIDNIGHT- F Solo).
- She disappears in blackout and the four
remaining characters begin to take responsibility for their actions. The Baker decides
that he too must leave, but runs into the mysterious man and discovers that this odd
fellow is actually his father (NO MORE- M Duet). He urges the Baker to run away with him
and avoid the troubles of the world, but the Baker realizes that he cannot live his life
alone and he returns to Red, Cinderella, Jack and his child. Together they devise a plan
and, as the Baker and Jack climb into a tall tree, Cinderellas Prince arrives and
she explains that she wants him to consider that she is a victim of the giant and to
leave. They both admit that they will always love the "girl who ran away" and
"the faraway prince." He leaves as Red returns to tell Cinderella that
everything is ready, but that she misses her grandmother and her mother and that they
would be disappointed in her waiting to kill someone. Cinderella tells her that she must
make her own decisions, but also that she and no one else is alone, In the tree, the Baker
comforts Jack (NO ONE IS ALONE- Sc to F Solo to M Solo to 2M/2F Quartet).
- Working together, they overcome the giantess
as the entire company enters, each with a moral statement as we segue into the finale
(INTO THE WOODS [FINALE]- Company.)
NOTES ON THE PRODUCTION
- Into the Woods won Tony Awards for
Best Book, Original Score, and Leading Actress in a Musical (Joanna Gleason).
- A revival of Into the Woods is
currently being performed on Broadway. The play has been rewritten and reshaped by Stephen
Sondheim himself. This is a favorite for school and community groups because this ensemble
piece boasts a cast of more females than males. The characters are solid, the
relationships clearly defined and the music is not as musically difficult as other
Sondheim pieces. It may be performed with a unit set and a few wagons and there is little
required choreography. It works well for class scene studies and some of the songs have
been used in cabaret performances.
- Productions have been successfully done from
middle school levels up and MTI lists a middle school shorter version for rental.
SONGS OF SPECIAL INTEREST
- "Into the Woods," an ensemble piece that is excellent for a
class study as all the characters have featured parts and the
balance of male to female is excellent
- "Hello, Little Girl," Baritone/Mezzo Duet, character
oriented "wolf" song that needs clever staging to work in the true comedy
inherent in the number, Reds reactions to the Wolfs actions are highlighted by
the action
- "I Know Things Now," Mezzo Solo, Reds song about life
and newfound knowledge, requires lost of mental and emotional understanding, good acting
focused song, very precise, requires good diction, almost patter quality in diction
requirements
- "Giants In the Sky," Jacks solo song that shows off a
light tenor voice beautifully, a portion could be considered for an audition song that
shows off the voice, as a classroom study it is an excellent character song that requires
not only a good voice but acting as well
- "Agony," Comic Baritone Duet for the princes, calls for
high quality of interaction and reaction, excellent song for learning how to play comedy
with the set up and punch line, competition between the two brothers and melodrama of
their feelings as they outdo each other is a joy for the audience, wonderful scene study
- "It Takes Two," Ballad M/F Duet that requires loving
interaction and strong characterization and understanding of the lyrics and prior
situation and relationship, growth song, excellent for class study
- "No More," Baritone Duet, good for a cabaret, ballad
- "Children Will Listen," into portion of "No One is
Alone," Good for cabaret
- "Moments In the Woods," Solo, great character oriented,
thoughtful number, up-tempo, allows physical characterization and gesture to enhance the
situation aspect of the song
Instrumentation: 2 violins, 2 violas, cello, bass, flute/piccolo, clarinet, bassoon,
trumpet/piccolo trumpet, 2 horns, piano, synthesizer, percussion
Script: MTI
Score: CALL LIBRARY TO FIND OUT WHO PUBLISHED IT
Record/CD: RCA Victor
Rights: MTI
IRENE
- Book: Hugh Wheeler and Joseph Stein
- Music: Harry Tierney
- Lyrics: Joseph McCarthy
- Additional Lyrics and Music: Charles Gaynor, Jack Lloyd, Wally Harper, and Otis Clements
- (From an adaptation by Harry Rigby, based on the original play by
James Montgomery)
ORIGINAL PRODUCTION
Vanderbilt Theatre, Nov 18,1919 (670 perf.)
REVIVAL PRODUCTION
- Minskoff Theatre, March 13,1973 (605 perf.)
- Director: Gower Champion
- Choreographer: Peter Gennaro
- Musical Director: Jack Lee
- Orchestration: Ralph Burns
-
- Principals:
- Mrs. ODare- Patcy Kelly- Character Alto
- Jane Burke- Janie Sell- Character Alto
- Irene ODare- Debbie Reynolds- Mezzo
- Helen McFudd- Carmen Alvarez- Character Mezzo
- Emmeline Marshall- Ruth Warwick- Soprano
- Ozzie Babson- Ted Pugh- Tenor
- Madame Lucy- George S. Irving- Baritone
- Donald Marshall- Monte Markham- Baritone
- Chorus and Smaller Roles: 8M/8F who sing and dance well
SUMMARY AND NOTES
- We find ourselves in New York City in 1919.
Irene ODare, a ninth Avenue Irish American who runs a piano store, is called to the
home of the snobby and wealthy Mrs. Marshall to tune her piano. Irene meets the
Marshalls son, Donald, and the two fall in love. Donald, anxious to help Irene and
give her enough social standing so his mother will approve of a marriage, becomes involved
in cousin Ozzies latest venture. Cousin Ozzie, wants to promote Madame Lucys
designer fashions in the United States and Donald agrees to add financial backing if Irene
can manage the stores. Irene agrees and hires her friends Jane and Helen to model. The
eccentric Madame Lucy turns out to be none other than an eccentric male with a European
flare who once was romantically involved with Irenes mother.
- Irene, under a phony title and complete with
European accent, is accepted by Society and Mrs. Marshall, but returns to ninth avenue,
determined to be herself. All ends well as Donald returns to Irene, admitting he loves her
the way she is, and Mrs. ODare renews her old romance with Madame Lucy.
- This tuneful, nostalgic hit show, both in
1919 and 1973, is a wise choice for community groups looking for a vehicle that will
appeal to all ages. The are a large number of featured female roles which include the two
comedic friends of Irene, Irene herself, and Mrs. ODare, and Mrs. Marshall is also a
strong consideration.
- George S. Irving won a Tony Award for his
role in Irene in 1973.
SONGS OF SPECIAL INTEREST
- "Im Always Chasing Rainbows," Alto/Mezzo shows
sensitivity, nice contrast piece, ballad, possible for an audition, poignant standard
- "The Great Lover Tango," 2 Mezzo/Alto/ Baritone Trio, the
young male lead is convinced by two character friends of his girl that he can break out
and be like the film lover Valentino. They lead him through this comedic Tango which he
finally learns, good to loosen up a stiff male singer. Interactions and style important
- "They Go Wild Over Me," Baritone Solo, male dressmaker,
Madame Lucy, eccentric character, character introduction song, good for flamboyant and
comedic movement
-
- Instrumentation: 5 reeds, 2 trumpets, 3 trombones, 2 percussion, harp, guitar/banjo,
organ/piano, 2 violins, cello, bass, piano/conductor
- Script: NP
- Selections: Big Three
- Record: Columbia
- Rights: Tams-Witmark