Musicals - J through L

JESUS CHRIST SUPERSTAR

Music: Andrew Lloyd Weber
Lyrics: Tim Rice

ORIGINAL PRODUCTION

Mark Hellinger Theatre, October 12, 1971 (711 perf.)
Director: Tom O'Horgan
Musical Director: Marc Pressel
Orchestration: Andrew Lloyd Webber

Principals:
Judas- Ben Vereen- Tenor
Jesus- Jeff Fenholt- Tenor
Mary Magdalene- Yvonne Elleman- Mezzo
Pilate- Barry Dinnen- Baritone
Herod- Paul Ainsley- Tenor
Chorus and Smaller Roles: 12M/12F

SUMMARY AND NOTES

A musical based on the last days in the life of Jesus Christ. The show is vocally demanding, especially the roles of Judas and Christ. The musical, when well done, is exciting and energetic. The Broadway version, which was technically overblown, has possibly kept some theatre groups from attempting a production. The technical needs are not great; in fact one of the most vital professional productions of this show was in Los Angeles in an enormous open air amphitheater and performed on a unit set.
The show is dramatic, introspective, character oriented and gives meaning to Judas's betrayal. The music is well known and must be "miked." For companies with limited resources, it is possible to use microphones with wires for the principals, but their use must be choreographed in to the performance during the early rehearsals.

SONGS OF SPECIAL INTEREST

"I Don't Know How to Love Him," Mezzo Solo, Mary Magdalene relates her confusion about her relationship with Christ. A woman primarily used to physical love, she is in a quandary and examines the different methods of playing the love game. The song is much more than a ballad and needs to be acted and interpreted in order to reflect the character.
"King Herod's Song," Vaudeville, soft shoe style, Herod confronts Christ and using the words he has heard about this God, mocks him. Underneath his superficial exterior there is a confused fear which is in direct opposition to the musical style of the piece.
"Pilate's Dream," introspective Baritone, Pilate examines his dream about the last days of Christ and becomes fearful of the role he must play in his death.

Instrumentation: electric and acoustic guitars, bass guitar, 2 trumpets, piano/organ, drums/percussion, trombone, french horn, 4 reeds, may add 2 violins, cello and viola if desired
Script: Great Rock Musicals
Selections: Leeds
Record/CD: Decca
Rights: MTI

JOLSON THE MUSICAL (THE US PREMIER)

Synopsis by UNH Alum George Livengood who toured with the original production.

Book:
Music:
Lyrics:

ORIGINAL PRODUCTION

Not yet on Broadway
Director: Bill Castellino
Musical Director and Conductor: Art Yelton
Choreographer: Joey McNeely
Orchestration: David Siegal
Musical Supervision
Dance and Vocal Arrangements: Steven M. Bishop

Principals:
Al Jolson- Mike Burstyn- Baritone
Ruby Keeler- Donna Lynne Champlin- Alto with High Belt
Louis Epstein- Harry A. Winter- NS
Harry Akst- Kenny Morris- NS
Frankie Holmes- Jeff Richards- High Baritone
Julia Rooney- Tina Stafford- Alto
Mattie Rooney- Mia Malm- 2^nd Soprano
Josie Rooney- Amanda Serkasevich- 1^st Soprano
George Gershwin/Camera Man/Head Waiter- Jay Bodin- High Baritone
Sam Warner/u.s. Jolson- Ed Romanoff- High Baritone
Bagby/1^st Song Plugger/Concert Singer- Kevin Manning- Bass/Baritone
Charlie the Spot/Mr. Bratislaw/Concert Singer- Nolan Hines- 2^nd Tenor
Ruby’s Boy/Lighting Operator/Concert Singer- Bran Pace- Tenor
Chorus and Smaller Roles: 8M/3F

SYNOPSIS

The show opens on the stage of the Winter Garden Theater in the 1920s where the Rooney Sisters are trying out a new song (I’M SITTING ON TOP OF THE WORLD, IN ž TIME- F Duet) with Harry and the Band. Al Jolson shows up unexpectedly, making everyone nervous, puts the song in his key, has the boys play it in 2 and makes it into a hit. He pays the Rooneys and takes their song.
Al decides to put on a "one-man show," even though his agent, Louis Epstein, and the producer, Lee Shubert, forbid him to do it. He makes his entrance in that evening’s performance without his usual blackface, confusing the ensemble and stopping the show (ROCKABYE YOUR BABY). He throws the ensemble off the stage, sings (TOOT-TOOT-TOOTSIE GOODBYE- M Solo) and announces his upcoming one-man show to the audience.
The next day Ruby Keeler and her Boys audition for Louis Epstein (BABYFACE) wowing the employees of the Winter Garden. Once again, Al appears unexpectedly, disregards Shubert’s wish to use Ruby as backup for the show and reaffirms he is "going it alone".
Every Saturday Al auditions new songs in his dressing room while he plays poker with Mike, Eugenie and friends (KNOCK, KNOCK, KNOCK- 1^ST SONG PLUGGER/ OLD KLETZMER SONG- MR. BRATISLAW/SWANEE- GEORGE GERSHWIN). He tears all three songs up and goes so far as to tell young Gershwin not to "quit his day job".
Throughout the week we are shown how insecure Al is about the upcoming show. His fears prove groundless when he performs to a sold out crowd (LET ME SING/FOR ME AND MY GAL- M Solo) and is a hit. Al goes from the theater to the cast party at restaurant interrupting a song in his honor (DE CAMPTOWN RACES). He has invited Ruby Keeler and puts her on the spot, making her sing for all the Broadway bigwigs at the party (YOU MADE ME LOVE YOU- F Solo). She is joined by the trumpet and sax players and thrills both the crowd and Al alike. Henrietta, seeing where this is going, leaves Al. The scene ends with Frankie, Epstein, and Shubert, with the help of George Gershwin and the ensemble, pitching "Swanee" once again to Al.
Epstein comes to Al before one of his one-man shows and Al informs him that he wants to marry Ruby Keeler. Epstein tries to talk him out of it because Ruby is dating a mobster, but Al asks for Epstein’s help and he agrees to help him. Then Epstein tells him about Sam Warner turning the Jazz Singer (a play starring George Gesel) into the first talking picture. Al wants the part, but it has already been offered to George Gesel. Epstein tells him he is trying to get it for him, so Al goes onstage and announces he is going to Hollywood and we are treated to a montage of Hollywood back-lot life (CALIFORNIA HERE I COME). Al appears on the set and, with Sam Warner’s urging, improvises a scene in the middle of the song (BLUE SKIES- M Solo) to his fictional mother, played by Eugenie. The cast and crew are amazed by his genius and leave the stage looking forward to a whole new era in film-making. Al is left onstage, emotionally drained. He never was able to sing to his real mother because she died when he was eight. With Harry accompanying him on piano he sings to his dead mother (MY MAMMY- M Solo) and Ruby (now married to Al), Frankie and Epstein are allowed to see the sensitive side of Al Jolson.
Act II begins in the 1940s on the stage of the Winter Garden Theater. Ruby Keeler, the triumphant star, returns to Broadway. It is a big swing/Lindy production number in sailor suits (THE U.S.S. LINDY) with Ruby making her entrance halfway into the number in her taps. Ruby stays onstage with the men and experiences technical difficulties with the microphone (I’M JUST WILD ABOUT HARRY), but Al rushes the stage, pushes the tempo and forces Ruby into finishing the song his way. They leave stage and the Rooney sisters make their 1940s entrance (I ONLY HAVE EYES FOR YOU).
The next morning Ruby comes home to find an angry Al Jolson who has been waiting up for her all night. She calls Epstein over to keep things calm, but Ruby ends up leaving Al. Al, in a rage, throws Epstein out of his life for speaking the truth: "Al Jolson couldn’t fill a downtown speakeasy". Then Al gets an idea about where he can perform; he calls the President and gets permission to perform for the troops on the front line (APRIL SHOWERS/RED RED ROBIN/I’M LOOKING OVER A FOUR-LEAF CLOVER). Al does so many shows for the troops, he has an attack and collapses.
Epstein, ever the friend, tries to get Al working again by talking Columbia Pictures into making, The Jolson Story. He gets Ruby’s help to convince Al to do the movie. At first Al balks at the idea of letting Larry Parks play him in the movie, but then he agrees and goes to the studio to record the soundtrack (WAITING FOR THE ROBERT E. LEE).
The movie puts the name Al Jolson on the lips of the nation. Once again Epstein works on Al’s behalf and convinces Lee Shubert to produce Al Jolson in a one-man show at Radio City Music Hall. Al is reunited with Epstein and performs the last 25 minutes of the show with the full orchestra and backup singers onstage as if he is playing the Music Hall (see below). The show ends as Al acknowledges all of his good friends in an effort to make up for what a jerk he has been to all of them over the years.

IN-SHOW CONCERT

Al enters at the top of the stairs in the middle of the orchestra with Harry Akst conducting (SWANEE) and brings on the Rooney Sisters as backup singers (BABY FACE). Al dedicates a song to Epstein (SONNY BOY). He brings out Frankie, who demonstrates his flair for comedy and his money note (THE SPANIARD THAT BLIGHTED MY LIFE). The Rooney Sisters reenter with the male backup singers and stay onstage for the rest of the concert. Al calls Ruby out of the audience because he "owes her one" (AROUND A QUARTER TO NINE). Next, Al involves the whole audience in a sing-a-long (CAROLINA IN THE MORNING). Al has a false ending at the top of the stairs (GIVE MY REGARDS TO BROADWAY). The voice of Louis Epstein is heard announcing that the lights of Broadway were turned out in honor of an American legend, Asa Yolson, as Al finishes on his knee (MY MAMMY).

NOTES ON THE PRODUCTION

All of the musical numbers in this show are done almost as if the actors are in concert. Except for "My Mammy" (at the end of the first act) and "Sitting on Top of the World," the numbers that Jolson performs are in the "shows within the show". It is as if the he is always performing "in one." Also, the songs that Jolson performs may sound simple by today’s sophisticated musical standards because he did not put modulation into his songs to build excitement as we often do today. That was not the way music was written during that period of history. Jolson created excitement with his personality, crazy choreography and mannerisms, as well as with his many vocal tricks (whistling, changing octave, etc.) To play Jolson an actor must be able to sing, move well, improvise with the audience, and, above all else, be in command of what happens on the stage. The show is Jolson and Jolson is the show. Everyone in the show must treat Al Jolson that way because that is the magic of the man. Audiences should feel that Jolson is making it up just for them.
In addition to a strong Jolson, the show requires Ruby Keeler to be a true triple threat. Her voice and feet must be strong enough to carry musical numbers by themselves. Also, some of Al’s most dramatic scenes are opposite Ruby, so the acting needs to be strong.
It should be noted that the show is not just about a legendary entertainer. It is about a Jewish-American who was a legendary entertainer. The majority of the characters in the play are Jewish and the idiosyncrasies of the Jewish characters make the dialogue work.

SONGS OF SPECIAL INTEREST

Instrumentation:
Script:
Score:
Record/CD:
Rights:

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT

Music: Andrew Lloyd Weber
Lyrics: Tim Rice

ORIGINAL PRODUCTION

Entermedia Theatre, November 18, 1981 (824 perf.), moved to Broadway at Royale Theatre,
January 27, 1982 (747 perf.)
Director and Choreographer: Tony Tanner
Musical Director: David Friedman
Orchestration: Martin Silvestri and Jeremy Stone.

Principals:
Narrator- Laurie Beechman- Mezzo
Joseph- Bill Hutton- Tenor
Pharaoh- Tom Carder- Baritone
Levi- Steve McNaughton- Baritone
Mrs. Potiphar- Randon Li- VTI
Potiphar- David Ardeo- Baritone
Baker- Barry Tarallo- Baritone
Butler- Kenneth Bryan- Baritone
Reuben- Robert Hyman- Baritone
Napthali- Charlie Serrano- Tenor
Chorus and Smaller Roles: 9M/8F

SYNOPSIS

The spot centers on the narrator who invites the audience to listen to her tale of a dreamer. The curtain opens on a set of various levels of rock formations and a small teepee, from which Jacob and his sons enter. As each son is introduced he relates to Jacob and goes to his respective mother; Joseph, a blue eyed, handsome, blonde youth, resplendent in white and gold, is the last to enter (JACOB AND SONS- Mixed Chorus).
A winged messenger enters on a scooter and hands Joseph's father a package which contains a multicolored coat for Joseph (JOSEPH'S COAT- Mixed Chorus). Joseph looks stunning in his new coat as is evidenced by the women who flirt with him. The preferential treatment Jacob gives Joseph annoys his brothers but they are more angered by his dreams which predict he will someday rule them (JOSEPH'S DREAMS- F/M Duet to M Chorus).
The brothers plot to kill him (POOR, POOR JOSEPH- F Solo to Mixed Chorus), but stop when they spy two overly hairy Ishmaelites in Groucho Marx noses leading two sculpted camels on wheels. His brothers sell Joseph to the Ishmaelites, who drag him off in chains. The brothers cover the coat with animal blood as proof that Joseph was killed by a wild animal.
The narrator enters to comment on their audacious behavior and the scene switches to Jacob in a rocking chair by a western fence. The brothers re-enter in ten-gallon hats, with guns and lassos, to tell their father of Joseph's plight (ONE MORE ANGEL IN HEAVEN- M Chorus).
Meanwhile, Joseph and some dancing girls have been taken to Egypt with a slave trader who sells him to Mr. and Mrs. Potiphar. Joseph is an asset to Potiphar's business and quickly rises to a position of leadership. Unfortunately, Mrs. Potiphar seduces the young man and the two are caught by an enraged Potiphar who sends Joseph to jail (POTIPHAR- F Solo to Mixed Chorus).
In jail, where Joseph reiterates his beliefs in Israel, faith and peace, he is joined by a female chorus (CLOSE EVERY DOOR- M Solo and F Chorus). The narrator arrives to describe his surroundings and bolster his spirits. Joseph impresses his two cellmates, a baker and a butler, with his interpretations of their dreams and all comment on the brightness of his future (GO, GO, GO, JOSEPH- F Solo, 3M and Mixed Chorus).
The Act II curtain opens on the interior of the palace with the narrator bringing on Pharaoh's dais. Joseph enters with his jailers and a crowd of onlookers to question the ruler about his recurring nightmares. The Pharaoh leaps from behind the dais wearing a white, Elvis Presley style outfit as the chorus divides into various singing groups to provide musical back-up (POOR, POOR PHAROAH/SONG OF THE KING- F Solo/M Solo and Mixed Chorus). Pharoah is so impressed with Joseph's dream interpretation that he picks him as his second in command and the girls present him with a gold cloak (STONE THE CROWS- F Solo and Mixed Chorus).
Meanwhile, two of Joseph's brothers, Reuben and Jacob are seen running a French style cafe in Paris and reminiscing, a la Chevalier, about the good old days in Canaan (THOSE CANAAN DAYS- M Solo and M Chorus).
The brothers go to Egypt to beg for food but, ironically, are led to Joseph who forces them to grovel (THE BROTHERS CAME TO EGYPT/GROVEL, GROVEL- F/M Solos to Mixed Chorus). He gives them the sacks of grain they request, but hides a golden goblet in Benjamin's sack. He pretends to be angered, accuses them of thievery and orders Benjamin to be thrown in jail (WHO'S THE THIEF- M Solo to Mixed Chorus).
The brothers beg for mercy in a Calypso rhythm as the dancing girls enter with large fruit hats and perform a la Carmen Miranda. Led by Napthali, the brothers offer to take the blame if Benjamin can be freed (BENJAMIN CALYPSO- M Solo to M Chorus). Joseph is impressed by his brothers’ magnanimity and makes his true identity known (JOSEPH ALL THE TIME- F/M Solos and Mixed Chorus).
Jacob and his wives arrive in Egypt (JACOB IN EGYPT- F Solo) to be greeted by Joseph who enters on a Rolls Royce style chariot and the family is reunited (ANY DREAM WILL DO- M Solo to Mixed Chorus). Jacob hands Joseph his colored coat as the company soars through the finale, which quickly reviews the story (MAY I RETURN TO THE BEGINNING- Mixed Chorus).

NOTES ON THE PRODUCTION

Joseph and the Amazing Technicolor Dreamcoat was nominated for seven Tony Awards in 1982, but walked away with none, being up against stiff competition.
This interesting production is suitable for all ages and tours extremely well. The show may be as simple or complex as desired as it is almost a story theatre style show. The narrator must be multitalented, be able to relate well to an audience, have a voice that projects well and charismatic warmth. It is important to have an excellent director, as there are many creative moments that can be added to enhance the audience enjoyment.
The original play was written for schoolboys to sing and subsequently was expanded. The entire production runs about an hour and has a seven-minute curtain call. The shortness of the play makes it a perfect middle school theatre piece.
The costumes are a mixture of period biblical, modern overalls in various colors, and Carmen Miranda. It is an open-ended production and the chorus may be increased or decreased. It is possible to use a unisex cast in most of the parts, thereby allowing the brothers to be played by girls. If the unisex approach is used it must be established in the beginning and maintained throughout.

SONGS OF SPECIAL INTEREST

The songs in the production are an integral part of the show and, as such, are difficult to perform out of context. Most of the numbers in the show are memorable for they have different musical modes and performance styles.

Instrumentation: piano, trombone/tuba, trumpet, 2 reeds, guitar, bass guitar, drums, percussion
Script: Holt/Rinehart/Winston
Score: Novello
Record: MCA
Rights: MTI

THE KING AND I

Book and Lyrics: Oscar Hammerstein II
Music: Richard Rodgers
(Based on the book Anna and the King of Siam by Margaret Landon)

ORIGINAL PRODUCTION

The St. James Theatre, March 29, 1951 (1,246 perf.)
Director: John Van Druten
Choreographer: Jerome Robbins
Musical Director: Frederick Dvonch
Orchestration: Robert Russell Bennett

Principals:
Anna- Gertrude Lawrence- Mezzo
The King- Yul Brynner- Baritone
Lun Tha- Larry Douglass- Tenor
Tuptim- Doretta Morrow- Soprano
Louis- Sandy Kennedy- Boy Soprano
Lady Thiang- Dorothy Sarnoff- Soprano
Prince- John Juliano- Boy Soprano
The Kralahome- John Juliano- VTNE
Sir Edward Ramsay- Robin Craven- VTNE
Chorus and Smaller Roles: 14F/8M, 12 Children minimum

SYNOPSIS

The play opens in Bangkok harbor on the deck of a ship. The English Captain, standing on deck, is greeted by Louis Leonowens, the young son of Anna Leonowens, a British widow who has been hired to teach English to the King of Siam's children. Anna enters, anxious to see the capital city of Siam. It is the early 1860s and this young widow and her son, nervously try to keep up their spirits and hide their real fears (WHISTLE A HAPPY TUNE- F Solo to F/M Duet).
The ship docks and the two are greeted by the Kralahome, the Prime Minister, who gruffly informs Anna that she is to live in the palace. It is obvious that he has little respect for her, but Anna, determined to succeed, follows with Louis.
In the palace, two weeks later, Kralahome informs the King he has been disciplining Anna by making her wait two weeks before gaining an audience. The King agrees to see her, but before Kralahome leaves to get Anna, Lun Tha, a handsome young envoy from Burma, enters with the beautiful English speaking, Tuptim, a gift from the King of Burma. The King declares he is pleased and Lun Tha leaves after exchanging a worried look with Tumptim. Left alone, Tuptim is bitter that she is to be a concubine and angrily sings (MY LORD AND MASTER- F Solo).
The King returns to greet Anna and introduce her to Lady Thiang, the first and favorite wife of the King. The King asks Anna to teach English to his favored wives and children and to help him with his foreign correspondence. She agrees, but becomes angry when the King absolutely refuses to give her a house. He says she will teach and live in the palace or do neither. The King exits with Tuptim as the King's favored wives gather around Anna and Lady Thiang. They discuss women's positions in society and love.
Anna tells them of her love for her husband, Tom (HELLO, YOUNG LOVERS- Sc to F Solo). The King enters to introduce the children (MARCH OF THE SIAMESE CHILDREN- Orchestra). The children graciously and formally greet the King and Anna. Anna is so impressed that she glances at the King and slowly unties her bonnet. The children all run to embrace her.
While walking on the palace grounds, the adolescent Prince Chulalongkorn, heir to the throne, questions the King about his new found learning. He is confused because he has been taught that the world rides on the turtle's back, yet Anna has told him the world is round. He turns to the King for help but the King has been questioning his own beliefs and tells the boy he believes the world is round. He abruptly orders the boy to leave him and slowly admits to himself he isn't sure of anything (A PUZZLEMENT- Sc to M Solo).
In the classroom, Anna teaches the students an Alma Mater (ROYAL BANGKOK ACADEMY- Mixed Chorus). During a geography lesson, Anna confesses to the children and wives that she likes them very much and has learned much about Siam (GETTING TO KNOW YOU- Sc to F Solo to Chorus).
Anna and the children get into a classroom discussion about snow. The children do not believe that there is such a thing as snow and they are very rowdy until the King enters to tell Anna he does not want this uproar and that, as a servant, she should obey him. Infuriated at his attitude, she angrily tells him she is leaving if she does not get her promised house and more polite treatment. She and Louis leave the room, which upsets the wives and children who call after her to stay. The King, upset at this outbreak of emotion, dismisses the class and slowly exits, feeling very much alone.
Tuptim quietly returns to the empty schoolroom where her lover, Lun Tha, secretly joins her. Tuptim tells him that Anna has fallen into disfavor and they will probably not be able to meet in the schoolroom anymore. Lun Tha wishes they could openly declare their love (WE KISS IN A SHADOW- M/F Solos). Lady Thiang quietly enters the room, sees the lovers and quickly leaves. Tuptim urges Lun Tha to leave and finishes the song.
Louis and Chulalongkorn meet in the palace corridor and apologize for almost fighting. They can't figure out why grown-ups are very uncertain about many things (A PUZZLEMENT [REPRISE]- Sc to Ch Duet).
Alone in her bedroom, Anna vents her anger at the King's refusal to give her the house she was promised (SHALL I TELL YOU WHAT I THINK OF YOU?- F Solo). Lady Thiang enters the room and wisely urges Anna to see the King and help him. She explains that certain politicians in England, feeling the King is a barbarian, are determined to make Siam a protectorate of Great Britain and movingly convinces Anna (SOMETHING WONDERFUL- Sc to F Solo).
In the corridor Lady Thiang tells Kralahome that Anna has agreed to see the King. Kralahome takes the cue and goes to ask the King to see her.
Anna arrives at the King's study and the King tricks her into apologizing. He eventually admits to her that the British think he is a barbarian and cleverly seeks Anna's advice. She tells him that he should throw a dinner for the arriving British dignitary, Sir Edward Ramsay, and prove that Siam is a modern country. They decide to dress everyone English style and serve a fine European dinner party, complete with dancing and a theatrical entertainment Tuptim has written based on Uncle Tom's Cabin. The wives and children arrive as the King instructs them in the preparations that must be made. He leads them in prayer to Buddah and promises Buddah he will give the unworthy schoolteacher a brick house per their agreement as Anna looks on in wonder.
Act II opens in the schoolroom, quickly converted into a dressing room for the ladies. It is bustling with activity. Lady Thiang enters wearing a western bodice and a Siamese Penang skirt and the wives comment on the oddity of the western dress (WESTERN PEOPLE FUNNY- F Solo to Chorus).
Anna inspects the wives and realizes that they don't have the proper undergarments, but the British have arrived and there is no time to repair the oversight. When Sir Ramsay, wearing his monocle, wanders into the schoolroom by mistake the wives exit screaming, terrified by his "evil eye." After a short discussion they are called for dinner. Anna and Ramsay stay behind and Ramsay reminds her that he still cares for her. They begin to dance and Sir Edward hints at a marriage between them, but the King interrupts, irritated because of the closeness between Anna and Ramsay.
In the courtyard Lady Thiang sees Tuptim and tells her she knows about her relationship with Lun Tha, which is why she has made arrangements to send Lun Tha home to Burma. She exits as Lun Tha hurries on to ask Tuptim to escape with him after her play is performed (I HAVE DREAMED- Sc to M/F Duet). Anna comes to tell Tuptim it is time for the performance and wishes them luck (HELLO YOUNG LOVERS [REPRISE]- F Solo).
In the theatre pavilion, the play (SMALL HOUSE OF UNCLE THOMAS- Mixed Chorus Ballet), a cleverly disguised Siamese style play about slavery, is enacted. Tuptim, who narrates, begins to draw the parallel between the play and her own life, but is stopped by the sound of a gong.
In the King's study Sir Edward tells Anna and the King that the play is a success and promises to send glowing reports about Siam to Queen Victoria. After he exits, Anna tries to explain love to the King (SHALL WE DANCE?- Sc to M/F Duet) and teaches him the polka and the waltz. Their romantic mood is broken when Kralahome enters, followed by the guards and Tuptim. The King threatens to beat her but Anna accuses him of being a barbarian and angrily stands to watch. Unable to proceed in Anna's presence, the King leaves the throne room. Kralahome tells Anna he wishes she had never come to Siam and she agrees.
At the palace grounds, Captain Orton, who has come to take Anna and Louis to Singapore, learns that the king is ill and Chulalongkorn, coming by in a procession, is told to go immediately to the palace.
In Anna's House, which is nearly empty of all her furniture, Lady Thiang and Chulalongkorn wait anxiously for Anna and Louis. When Anna enters, Lady Thiang delivers a letter from the King. It is a note of thanks for all she has done for Siam and for him. The letter upsets Anna who goes to the Palace.
Anna enters the King's study where the King lies on his bed, surrounded by Lady Thiang, Chulalongkorn and Kralahome. Anna sits at the foot of the bed. The King orders her to wear a ring he gives her and summons the children who cluster around begging her not to leave. She sends Louis to tell Captain Orton to return their things to the house. The King questions Chulalongkorn about the changes he will make when he is king. The frightened boy begins a series of proclomations, which include fireworks and boat races for the New Year's celebration. He hesitantly bans kowtowing, but asks the King if it angers him. The King orders him to act like a king. As the boy continues his proclamations the King dies, unnoticed by all but Kralahome, who bows, and Anna, who kisses his hand.

NOTES ON THE PRODUCTION

The King and I won five Tony Awards in 1952 for Best Musical, Best Actress, Supporting Actor, Scenic Designer, and Costumes.
Yul Brynner, a relative unknown at the time of his audition, went on to become a star for his excellent portrayal of the King. He may be seen in the film where he acted opposite Deborah Kerr's delightful Anna and Marnie Nixon's dubbed in singing voice.
The show is probably the best constructed of Oscar Hammerstein II's librettos. The plot develops in an interesting and dramatic manner while the "Uncle Tom's Cabin" sequence, which parallel's the Siam situation with the famous Stowe novel, is a brilliant example of how dance can further dramatic plot. A choreographic masterpiece, it is one of Jerome Robbins' most innovative numbers, and should be studied be anyone considering re-creating the choreography.
The songs were written for Gertrude Lawrence's limited vocal range which requires that the role of Anna go to one with charm, character believability, and acting skills –this is one show where the audience will let a "singer" get away without acting very well. Casting the two leads requires two excellent actors who can honestly react off each other. The role of the King, so often associated with a bald Brynner, yet brilliant portrayed by Lou Diamond Phillips (who has hair)is extremely complex and has to be handled with believability or it becomes a comic caricature, which destroys the overall mood and charm of the play.
The entire production is large and lavish and must be budgeted accordingly. The period Western-style female costumes require a lot of fabric while the court costumes of Siam have a rich look of brocaded and jeweled silk. The sheer number of sets, actors, and costumes possibly account for the reason the show isn't performed by more local groups. It is worthy of more productions, as the script is humorous, dramatic, poignant, charming and sad. Given the right production, good performers and a quality director/choreographer the show would be a highlight in any theatre's memory book.

SONGS OF SPECIAL INTEREST

"Hello, Young Lovers," Mezzo, ballad, not much range required
"I Whistle a Happy Tune," Mezzo, light hearted, movement oriented, possible for audition
"A Puzzlement," Baritone, dramatic, introspective
"Shall I Tell You What I Think of You?" dramatic, Mezzo, angry, excellent lines to song character study for class situation, good acting required to make the transitions work
"Shall We Dance?," Baritone/Mezzo, charm scene/song, dance number, good for revue or class study
"Something Wonderful," possible Soprano audition song, shows off a legit voice

Instrumentation: 4 violins, cello, viola, 5 reeds, 2 horns, 3 trumpets, 2 trombones, harp, percussion, piano/conductor
Script: 6 by Rodgers and Hammerstein
Score: Williamson
Record: Decca
Rights: R & H

KISMET

(Revived in 1978 as Timbuktu, an all Black musical)

Book: Charles Lederer and Luther Davis
Music and Lyrics: Robert Wright and George Forrest (based on music by Alexander Borodin)
(Based on the play by Edward Knoblock)

ORIGINAL PRODUCTION

Ziegfeld Theatre, December 3, 1953 (583 perf.)
Director: Albert Marre
Choreographer: Jack Cole
Musical Director: Louis Adrian
Orchestration: Arthur Kay

Principals:
Hajj- Alfred Drake- Baritone
Caliph- Richard Kiley- Tenor
Marsinah- Doretta Morrow- Soprano
Wazir- Henry Calvin- Baritone
Lalume- Joan Diener- Alto
Chorus and Smaller Roles: 6F/6M minimum, much doubling

SYNOPSIS

Iman, an old man, sets the scene for the morning marketplace where the beggars of Baghdad prepare for work (SANDS OF TIME- M Solo). A poet enters selling rhymes (RHYMES HAVE I- Sc to M Solo) and, when the Poet sits on the steps of the mosque in begger Hajj's place, he is astonished to receive coins and comments on the turn of events (FATE- L to M Solo). The poet, now mistaken for Hajj, is carried off to a desert encampment by villains of Jawan, who plan on torturing him until he removes a curse that beggar Hajj has placed on Jawan. The poet, quickly turns this difficulty to his advantage and agrees to remove the curse if the villains will pay the sum of 100 gold pieces.
It seems that Jawan's only son was stolen from him fifteen years ago, immediately after Hajj's curse. The Poet promises Jawan he will find his son that day in Baghdad. Since Jawan is a robber, he is not safe entering the city but does so in hopes of finding his heir.
At the palace in Bagdad, the Wazir's wife, Lalume, sings of the enchantment of the city to three homesick princesses, the daughters of Sheik of Ababu (NOT SINCE NINEVAH- F Solo to Mixed Chorus) who have arrived at court. Lalume has promised to find wealthy mates for Ababu’s daughters in return for a loan to enrich the Wazir's treasury.
The Poet meets his lovely daughter, Marsinah, in the bazaar, gives her the gold, and urges her to buy some pretty things and the house she has always wanted. She is immediately surrounded by merchants who display pretty trinkets (BAUBLES, BANGLES AND BEADS- F Solo to Chorus).
The Poet is captured by the Wazir's police, who see him carrying a moneybag bearing the insignia of a family that was robbed, and, when he mistakenly mentions Jawan's name, they take him to the Wazir.
Marsinah is followed to the garden of a house she wants to own by the young Caliph, who is fascinated by her (STRANGER IN PARADISE- Sc to M/F Duet). They agree to meet the next night, even though neither knows the other's true identity.
Later that day at the palace, the Caliph orders Omar, his servant, to send away his concubines and prepare for him to marry the girl he has met in the garden (HE'S IN LOVE- Mixed Chorus).
The Poet is brought before the Wazir who wants the Poet's right hand cut off, the usual punishment for theft, but Hajj plays on Lalume's sympathies and convinces them to give him a hearing (GESTICULATE- M Solo and Mixed Chorus) before passing sentence. Jawan is dragged on by the police, cursing the Poet for being a fake but, spying an amulet hanging from the Wazir's neck, he realizes he has found his son and praises the Poet's skills as a prophet. The Wazir panics at this news, for Hajj cursed him just moments before. He begs Hajj to remove the curse and agrees to raise him to an Emir if he will stop the young Caliph's wedding to the unknown girl from the garden.
The Caliph is on his way to meet Marsinah (NIGHT OF MY NIGHTS- M Solo and Mixed Chorus), but she never arrives, for the Poet, fearing they may be killed when he is unable to stop the Caliph's wedding, has hidden her in the harem. The Caliph brokenheartedly returns to the palace and the Wazir is overjoyed to discover that his new Emir is really a wizard (WAS I WAZIR- M Chorus).
Lalume and the harem girls entertain the new Emir (RHADLAKUM- F Solo to F Chorus). The Poet comforts Marsinah as she describes her lost love; while, in another part of the palace, the Caliph describes Marsinah to the Wazir (AND THIS IS MY BELOVED- Split 3M/F Quartet). The Poet and Omar exchange some poetic verses. (THE OLIVE TREE- M Solo).
The Wazir, discovering that Marsinah is in his harem, prepares to marry her before the Caliph realizes her true identity. He does this in order to guarantee the Caliph's marriage to one of the sheik's daughters.
When the Wazir, not realizing Marsinah is the Poet's daughter, tells him he is going to marry her and have her poisoned, the Poet drowns him in the palace pool. Marsinah and the Caliph are united and Lalume and the Poet agree to spend the rest of their days on a desert oasis.

NOTES ON THE PRODUCTION

This musical fantasy, which won most of the season's Tony's, was unusual because it was based on an old play and utilized Alexander Borodin's music. It may be the only time a Tony Award will be given to a Russian composer, who, incidentally, died in 1887. Kismet won six 1954 Tony Awards for Best Actor (Alfred Drake), Musical, Producer, Author, Composer and Conductor.
The musical was revived on March 1, 1978 at the Mark Hellinger Theatre (243 perf.) and renamed Timbuktu. It was produced by author, Luther Davis. The show starred Eartha Kitt, Melba Moore, Ira Hawkins and Gilbert Price, but was unable to sustain a long run despite the lavish production and added music.
This fantasy is still an audience pleaser and an interesting treatment of the late night, non-musical film. The show is refreshing because the Arabian Nights setting is so unusual. It is good summer stock and community fare and may be performed within four basic sets which are interchangeable: the bazaar area with the Mosque as a background wall, the interior of the palace, the house and garden and the desert. In spaces with no fly space and little offstage storage, fold-over flats have been utilized to specifically define areas. These flats, which might open, similar to folding screens, allow for one permanent set to be utilized. The fold-outs have different walls that denote specific location.
The chorus may be cut to the bare minimum, but this is only advisable in touring situations where cost might be a problem.
The costumes should show the rising opulence of Hajj's station and should reflect the Arabian Nights location. Props are not extensive, choreography is not difficult and the entire production may be quickly mounted. The show does require an excellent leading man and two romantic leads with superior voices.

SONGS OF SPECIAL INTEREST

"And This Is My Beloved," good class exercise and showcase piece, emphasis on vocal and timing, Marsinah's ending section good for audition
"Gesticulate," certain verses have audition potential for a strong male baritone
" Night of My Nights," audition for quality tenor voice

Instrumentation: 5 reeds, 3 trumpets, horn, 2 trombones, tuba, 4 violins, viola, cello, bass, harp, percussion, piano/conductor
Script: Chappell, Random
Score: Frank
Record: Columbia
Rights: MTI

KISS ME, KATE

Book: Bella and Sam Spewack
Music and Lyrics: Cole Porter
(Based on The Taming of the Shrew by William Shakespeare)

ORIGINAL PRODUCTION

New Century Theatre, December 30, 1948 (1,077 perf.)
Director: John C. Wilson
Choreographer: Hanya Holm
Musical Director: Pembroke Davenport
Orchestration: Robert Russell Bennett

Principals:
Petruchio/Fred- Alfred Drake-Show Baritone
Lucentio/Bill- Harold Lang- Baritone
Kate/Lilli- Patricia Morison- Soprano
Bianca/Lois- Lisa Kirk- Mezzo
1st Man (gangster)- Harry Clark- Baritone
2nd Man (gangster) Jack Diamond- Baritone
Baptista/Harry- Thomas Hoier-
Hattie- Annabelle Hall- Alto
Paul- Lorenzo Fuller- Baritone
Chorus and Smaller Roles: 8M/8F minimum and 3 male jazz dancers

SYNOPSIS

In a Baltimore Theatre, where the company has just finished the final rehearsal of "The Shrew," based on Shakespeare's famous comedy, Fred Graham, leading actor and director, gives some last minute notes, which irritate his leading lady, ex-wife, Lilli Vanessi. As he stages the curtain call she privately curses him and stalks off. He gives a morale boosting speech to the company and exits as Hattie and the ensemble prepare for the show (ANOTHER OP'NIN', ANOTHER SHOW- F Solo to Mixed Chorus).
Lois is on the phone in a backstage corridor, trying to locate her gambler-boyfriend/fellow actor, Bill Calhoun, who enters as she hangs up the phone. He tells her he has signed director Fred Graham's name to a $10,000 IOU, which upsets her because she is afraid Mr. Graham will be bumped off before he can make her a star on Broadway. She asks him why he constantly gambles (WHY CAN'T YOU BEHAVE- Sc to F Solo).
The scene shifts to two adjoining dressing rooms with a connecting door. Lilli's room is ornate, while Fred's is stale and dilapidated. The two are arguing from their own rooms. They are still in love but are both temperamental and self-centered, which causes them to constantly argue. Lilli shows off her engagement ring from her wealthy boyfriend, Harrison Howell, and Fred seethes with jealousy. As they talk, the mood changes and Lilli reminds him of the crazy things they did together when they were married. He joins in the nostalgic game and they relive a romantic moment (WUNDERBAR- Sc to M/F Duet). They kiss and Lilli asks whose fault it was that they divorced; there is no answer and Fred returns to his room to prepare for the performance.
Two gunmen have come to collect on the $10,000 IOU that bears Fred’s signature. Fred denies any knowledge of the phony signature and dismisses the men who urge him to pay up and promise to return.
In Lilli's room she receives flowers that Fred intended for Lois, his newest flame. She mistakenly assumes he wants to rekindle his love (SO IN LOVE- Sc to F Solo).
Fred discovers that the flowers for Lois have been mistakenly sent to Lilli and rushes in to Lilli's dressing room, hoping she hasn't read the card and discovered the flowers were for Lois. Lilli puts the unread card in her bosom and the two go the their places.
The opening number of "Shrew" begins (WE OPEN IN VENICE- Small Mixed Chorus) and the plot quickly unfolds. It seems that Bianca cannot wed until after her elder, quick-tongued sister, Katherine, is betrothed. Three suitors urge Bianca to marry one of them (TOM, DICK OR HARRY- Small Chorus, 3M/F Quartet).
Petrucio, an old friend of Lucentio who loves Bianca, arrives in Padua to find a wife (I'VE COME TO WIVE IT WEALTHILY IN PADUA- L to M Solo with M Chorus) and it seems that Kate may be an excellent choice for this confidently handsome suitor.
Katherine, extremely unhappy because her father and all men favor Bianca, expresses her angry feelings (I HATE MEN- F Solo). Petruchio bargains with Kate's father for her hand and implores Kate to let him glimpse her face, but she tells him it is like anyone else's. He attempts to woo her (WERE THINE THAT SPECIAL FACE- M Solo).
Katherine exits, as Petruchio finishes the song. She later appears holding Lilli's flowers which she hurls at Fred; she has obviously read the note. He urges her to remember they have an audience. The play continues with Lilli slugging him, partially in character but mostly for her own vengeance. The scene ends as Fred takes her over his knee and spanks her.
Backstage, Lilli confronts Fred who doesn't deny the flowers were intended for Lois. The two bicker throughout and the scene finally ends as the two leave for their dressing rooms.
Lilli phones Harrison, promises to marry him immediately and begins packing, but is stopped by Fred, who can't believe she would walk out in the middle of a show. She scoffs and sends him back to his room where the two hit men are waiting. Fred decides to get the hit men to persuade Lilli not to leave the show. He admits to signing the IOU, but promises to pay once the show is a hit. When the men understand that Lilli's sudden departure could cause the show to close, they enter her dressing room and attempt to charm her into staying. They eventually show her their guns as the lights black out.
In front of the "Shrew" curtain, the chorus performs a filler number to allow time for a set change (I SING OF LOVE- Mixed Chorus).
The curtain opens to reveal the exterior of the church, where Kate has just married Petruchio. Couples are dancing happily and the wedding guests comment on the bizarre ceremony. Petruchio enters carrying a whip followed by Kate and the two gunmen, costumed in "Shrew" garb. When Kate refuses to kiss her husband, Petruchio and the company urge her to comply with this simple request (KISS ME, KATE- Mixed Chorus). He carries her off as the curtain falls on Act I.
Act II begins by the stage door where the actors are cooling off and watching Fred's dresser, Paul, and his friends perform a jazz number (TOO DARN HOT- M Solo with M Trio).
Fred comes from behind the "Shrew" curtain to announce to the audience that the mule-riding scene will not be performed because Miss Vanessi can't ride the mule. Thus they will perform the following scene, which takes place in Petruchio's house. Petruchio, to force Kate to realize how badly she has treated her own servants, begins ordering and kicking his servants about. He complains about everything while she urges moderation. His plan seems to be working, but she locks the door to their bridal chamber and refuses him admission. He thinks of his many former girlfriends (WHERE IS THE LIFE THAT LATE I LED?- L to M Solo).
Backstage, Harrison Howell, a Washington big-wig, arrives to save Lilli from Fred, but Fred and the two gunmen convince him that Lilli is under emotional duress and might say anything. They exit for their onstage entrance as Lois enters and recognizes Howell as a former lover. He begs her to be discreet, which she agrees to, and he leaves for Lilli's dressing room.
Bill, who has overheard their conversation, asks Lois about their relationship. She responds in song that she will always love Bill, but he doubts her and exits. She continues the song, which explains her philosophy (ALWAYS TRUE TO YOU IN MY FASHION- L to F Solo).
Lilli greets Harrison with the story that she is being held at gunpoint, but he thinks she is merely being temperamental and ignores her pleas for help. Fred and Harrison describe the life Lilli will lead as Harrison's wife, a picture of quiet social gatherings with stuffy statesmen. Lilli angrily orders Fred and his thugs from the dressing room.
A messenger and several men arrive with a package for Lois from admirers and the chorus girls tease Bill who sings about his love (BIANCA- M Solo and F Chorus). As he sings, the girls sing and tap dance. After they all dance off in kick line style, the gangsters enter to phone their boss who they discover has been bumped off. Ordered to report to their new boss, they say farewell to Fred and Lilli. When Lilli realizes she is free to go, Fred urges her to stay, but she exits to a waiting cab and Fred is left alone (SO IN LOVE [REPRISE]- Sc to M Solo).
The two gunmen, in their street clothes, attempt to leave the theatre but become confused and wind up onstage, where they happily break into song (BRUSH UP YOUR SHAKESPEARE- M Duet).
At Baptista's house, Bianca and Lucentio's wedding party is beginning but Fred and the company are afraid that Lilli has left and the play will end a fiasco. When Kate dutifully enters to obey Petruchio's every wish (I AM ASHAMED THAT WOMEN ARE SO SIMPLE- F Solo), the actors are jubilant, the play is a success, and Lilli and Fred are reunited (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

Kiss Me, Kate won six 1949 Tony Awards for Best Musical, Composer, Lyrics, Libretto, Producers and Costumes.
The musical is well constructed with a clever book by Sam and Bella Spewack and marvelous music and witty lyrics by Cole Porter. However, the leading roles require vocal and emotional maturity to make the game playing/argument sequences believable and enjoyable. It is essential that all the "fight" sequences, both in the Shakespeare play between Kate and Petruchio and in the backstage sequences between Fred and Lilli, be played as a sincere game. The audience must always know that they are setting each other up or the play can become uncomfortable and vicious. Much rehearsal time and improvisation work should be set aside to accomplish this, for if they don't understand the relationship and enjoy the "game," the play can never achieve the brittle wittiness and fun the libretto contains.
The costumes are modern and "Shakespearean medieval" which is usually obtainable from classical companies or those who have performed Once Upon a Mattress or Camelot. The essential sets are the connecting dressing room and the backstage corridor. It is ideal to have an outdoor alley for "Too Darn Hot." If companies have limited funds and space, the "Shakespeare" play sequences may be permanent set pieces with all scenes being played in front of the same basic location.
The cast may be expanded to fit the size of the stage. It was traditionally performed with a separate singing and dancing chorus, but these may be combined if singers who move well are used and the longer dance numbers are trimmed.
The November 18, 1999 revival starring Marin Mazzie and Brian Stokes Mitchell garnished the following Tony (1999-2000) Awards: Brian Stokes Mitchell-Best performance by a leading actor in a Musical, Don Sebesky for his innovative orchestrations, Martin Pakledinaz for costumes, and Best Revival of a Musical, Michael Blakemore won Best Direction of a Musical for his direction of Kiss Me, Kate and also for his direction of Copenhagen in this same season.

SONGS OF SPECIAL INTEREST

"Another Op'nin', Another Show," good opening number for revue or club, good for beginning choreographer, simple movement, needs effective staging
"We Open in Venice," may be done as quartet, good for revue, good for beginning choreographer, as dance may be simple
"I Hate Men," strong vocal, angry, clever lyrics comic in tone, good for character work and learning to play to an audience
"Too Darn Hot," dance oriented, jazz style, slick, good for revue or nightclub
"Where is the Life That Late I Led?" lots of specifics, good for audition when trimmed, strong vocal
"Brush Up Your Shakespeare," vaudeville style, clever lyric, diction and inter-relationship emphasized
"Always True to You in My Fashion," good for movement and presentation work, sexy character with charm

Instrumentation: 2 violins, viola, cello, bass, 5 reeds, horn, 3 trumpets, trombone, percussion, harp, piano-celeste, guitar/mandolin, piano/conductor
Script: Chilton, 10 Great Musicals, Theatre Arts '55
Score: V.S.
Record: Columbia
Rights: Tams-Witmark

LADY AUDLEY’S SECRET

Book: Douglas Seale
Music: George Goehring
Lyrics: John Kuntz
(Adapted from the 1860 novel by Mary Elizabeth Braddon)

ORIGINAL OFF-BROADWAY PRODUCTION

Theatre, October 3, 1972 (8 perf.)
Director: Douglas Seale
Choreographer: George Bunt
Musical Director and Vocal Arrangements: John Cina
Orchestration:

Principals:
Rick Atwell
Donna Curtis
June Gable
Russell Nype
Douglas Seale
Danny Sewell
Chorus and Smaller Roles: 3M/3F

SYNOPSIS

Act I opens on the Lime Tree walk leading to Audley Court. As the curtain rises the villagers are discovered in a tableau as though the progress of a dance had suddenly been arrested. Phoebe, lady’s maid to Lady Audley, and Luke Marks, her betrothed, are among the dancers. The Butler and the housemaid have been setting out a picnic. After a moment, the tableau is broken and the dance resumes to the tune of "The English Country Life". As the dance ends, Luke takes Phoebe aside and tries to steal a kiss, but she reputes him immediately. Lady Audley comes running in, closely followed by Sir Michael, he is seventy years of age and somewhat out of breath and the villagers cheer and throw rose petals. It is Sir Michael’s birthday and Lady Audley, "the perfect wife," has planned special festivities to honor it (THE ENGLISH COUNTRY LIFE- Mixed Chorus).
After the number, Luke seizes Phoebe roughly, but again she pushes him away forcefully and he exits. Lady Audley notices that Phoebe seems depressed and comments on it. Phoebe explains that it was her dead mother’s wish that she marry her cousin Luke. Lady Audley promises to help her. (A MOTHER’S WISH IS A DAUGHTER’S DUTY- F Solo).
After the number a horse is heard offstage. Sir Michael’s daughter, Alicia, enters and tells her father that she has been riding along the road in hopes of meeting her cousin and fiancé, Robert. He is expected at Sir Michael’s home at any time. A train whistle is heard in the distance and Sir Michael suggests that Robert’s train has been delayed and that he will arrive shortly. Lady Audley begins to talk to Alicia about the lack of thoughtfulness in younger men. It is apparent immediately that stepmother and stepdaughter are not on altogether friendly terms, although they are only a few years apart in age. Lady Audley tells Sir Michael that she admires him because he is older and thus more experienced (THE WINTER ROSE- M and F Duet).
Both Lady Audley and Sir Michael exit as Phoebe enters alone. She begins to talk out loud, saying that Lady Audley, who started out as a governess for Sir Michael and ended up marrying him, has a hidden secret which will be safe with her. She tells the audience that she and Lady Audley once shared an attic room together and that Lady Audley was good and kind to her. Phoebe is her loyal friend.
Robert Audley is heard singing a martial offstage. He enters with his friend George. Robert is a handsome young gentleman dressed in a military uniform and George, his friend, is dressed in deep mourning. They meet Phoebe and Robert asks her questions about the new Lady Audley. After she answers his questions, Phoebe curtsies and then exits. George, depressed, tells Robert about the death of his wife, whom he feels terribly guilty about because he left her and went off to sea (THAT LADY IN ENG-A-LAND- M Duet).
Alicia enters and shows Robert and George a watch with a picture of Lady Audley on it. George is silently horrified as he sees that Lady Audley is, in fact, his wife whom he believed to be dead. Yet instead of telling Alicia and Robert, he keeps the information to himself and exits, leaving Alicia and Robert to themselves.
Alicia, thinking that Robert has comes to propose to her, asks if he has something of a personal nature to say to her. He replies that he doesn’t and she is furious. Lady Audley soon enters. She is very courteous toward Robert. (CIVILIZED- M/F Solos with Mixed Chorus), but she says in an aside that Robert may be more trouble than she had planned on. Alicia, observing that Robert and Lady Audley are a little too friendly, becomes jealous. She asks Robert to accompany her on a walk, and Robert kisses Lady Audley’s hand and he and Alicia exit.
Lady Audley is left alone to tell her thoughts to the audience. She is surprised that she is affected so much by the handsome Robert Audley. Remembering her drunken, lecherous father, she becomes upset, but calms herself by thinking about her future. As she stands there, lost in her own thoughts, George enters and confronts her. Lady Audley tells him that she will use her position to silence him, but he seizes her by the wrist and promises to expose her. Lady Audley tells him that she will inform Sir Michael right away, but first she must have some water to calm her.
As George’s back is turned, she goes to the well, takes off the iron handle, and conceals it in her right hand behind her. As he stoops down to the well to wet her handkerchief, she creeps up behind him and strikes him on the head and he falls down the well. Luke, who has been looking on unseen, exits. Lady Audley is thrilled with what she has accomplished. (DEAD MEN TELL NO TALES- F Solo). The curtain falls.
Act II begins at the Conservatory in Audley Court, twelve months later. The butler and maid are setting up the table and chairs for tea as Sir Michael and Alicia enter. She is telling Sir Michael that Robert is very worried about his friend George and can think of nothing else. She is also terribly upset because she is afraid that Robert will change his mind and decide not to marry her. (AN OLD MAID- F Solo) Lady Audley enters. Alicia tells her father that she does not trust Lady Audley and Sir Michael is extremely angry with her for saying anything against Lady Audley. Lady Audley, instead of getting angry with Alicia, plays the role of a martyr and Alicia exits angrily, crying for the loss of her mother. She screams offstage and Sir Michael exits to see what is wrong. Lady Audley congratulates herself on her victory so far. She is pleased that a year has gone by since she pushed George into the well (REPOSE- F Solo).
Luke enters and attempts to blackmail Lady Audley, requesting one hundred pounds for now. She tells Luke that she will meet him later at his house with the money. Before he leaves, Luke grabs Lady Audley and kisses her roughly, but this, he says, is nothing compared to "the real harvest, which is yet to come." As Luke exits, Robert enters without having seen the other man. Robert approaches Lady Audley with a letter of hers that she had written to George. Robert knows that she is Helen Talnoys, George’s wife, but she tells Robert that he can’t prove it and, even if he attempted to, it would soil the Audley name. (THE AUDLEY FAMILY HONOR- M/F Duet). Robert tells her that she must leave England or he will expose her. He will bring her to a boat train tomorrow, when she will then leave for Paris. He exits.
She starts to exit as Alicia is heard crying offstage. Meeting Sir Michael and Alicia, Lady Audley re-enters with them. Alicia is convinced that her stepmother and Robert are having an affair. Lady Audley, aware of her feelings, tells both Alicia and Sir Michael that Robert has been too forward with her. Sir Michael promises to make Robert leave without mentioning her name as she tells him about the shameful things that Robert has done. (LA DE DA DA- Mixed Chorus). Lady Audley and Alicia exit.
Robert enters and tells his uncle that he will be leaving Audley Court for a few days, on a matter of business with Lady Audley. Sir Michael, construing the worst, demands that Robert leave forever. In this moment of passion, Sir Michael chokes, clutches his heart and must be carried off-stage. Robert realizes that this is Lady Audley’s work and says that he will not go far. But as he exits, Lady Audley, who has been hidden from him, watches and lets out a sigh of relief.
Scene two is set on the road to Audley Court. Luke, who is drunk, and his drinking companions enter. Luke tells them that his ship has finally come in. (I KNOWS WHAT I KNOWS- Mixed Chorus). The men exit, leaving Luke fooling around with the "wenches" present. After a few moments, Phoebe enters and he shoves the wenches away. Luke tells her that he has some business with Lady Audley which will make them rich (I KNOWS WHAT I KNOWS [REPRISE]- M Solo).
Scene three opens in the interior of the Castle Inn, where Phoebe is alone. Suddenly, there is a knock at the door and, when she answers the door, Robert Audley is revealed. He asks her if he can stay there for the evening. She tells him that it is all right and then tells him that she is frightened by Luke’s behavior. Luke arrives, overhears Phoebe and tells her to quiet down. Phoebe exits while Robert tries to discover what Luke knows. He decides to take him to a bar, offer him more drink and then to attempt to discover the information.
Lady Audley enters in cloak and hood, as Phoebe returns. Lady Audley tries to find out what Phoebe knows and is relieved that Phoebe knows nothing. She asks Phoebe to conceal her and she hides her in the cellar. Luke and Robert reenter. Luke has not told him anything, but Robert hopes to gain more later. Luke demands ale from Phoebe and, when she refuses to get it, he strikes her. Robert, overcome with disgust, strikes Luke and knocks him cold. Phoebe exits.
Robert, alone, thinks aloud about his friend George’s disappearance. (HOW? WHAT? WHY?- Mixed Chorus). The music continues and Lady Audley appears as Phoebe enters. She asks Phoebe to send Luke to her, but she can’t, as he is unconscious and the three continue singing the previous number. Lady Audley returns to the cellar and Phoebe takes Robert to his room.
Lady Audley quickly returns from the cellar and tries to rouse Luke without success. Phoebe re-enters and Lady Audley talks her into walking part of the way home with her. She suggests that Phoebe leave now and then she will catch up with her. After Phoebe leaves, Lady Audley locks the door to Robert’s room, takes up a hurricane lamp, goes to the cellar and throws the lamp in. She exits. The fire grows stronger and Luke comes to. He tries to escape but staggers and falls.
Scene four begins again on the road to Audley Court. Phoebe is walking along the road as Alicia enters. She is looking for Lady Audley as her father is in terrible condition and asking for her and Robert. Alicia exits when Phoebe promises to tell them both the news. Lady Audley arrives and, when Lady Audley attempts to stop her from returning to the inn where she sees smoke, Phoebe figures out what Luke was going to do to Lady Audley. At that point, to prevent her from returning to save her husband and Robert, Lady Audley drags Phoebe off by the hair. Four firemen then break upon the scene. (THE FIREMEN’S QUARTET- M Chorus)
Scene five is set at the Lime Tree Walk where moonlight falls on the old well. Phoebe is heard calling for help and is dragged on by Lady Audley. Robert enters and then takes Phoebe from Lady Audley’s grasp. After they argue a few moments, she takes a stiletto from her stockings. Lady Audley and Robert struggle and he eventually wrenches the stiletto from her hand as Luke and Phoebe enter. Luke, who is in terrible shape, falls to the ground and, after he promises to keep silent for Sir Michael’s sake, Lady Audley assumes that her last witness is dead and therefore she will be victorious. Sir Michael and the Villagers enter and he sings with Lady Audley (THE WINTER ROSE [REPRISE]- M/F Duet). He then dies. Now that Sir Michael is dead, the scandal can be exposed. Luke revives long enough to accuse Lady Audley of murdering George, then dies. George, who is still alive, having been saved by Luke, enters and Lady Audley screams hysterically. George tells all that she is mad, as her mother was before her and Lady Audley falls and then dies (FORGIVE HER, FORGIVE HER- Mixed Chorus). The curtain falls.

NOTES ON THE PRODUCTION

The musical is delightful and funny. Excellent for schools hoping to give students a look at melodrama in an interesting way. Highly stylized it is a fun piece for dinner and community theatre’s to perform. More successful in the Wilbur Theatre in Boston than in New York the show deserves a closer look.

SONGS OF SPECIAL INTEREST

Instrumentation: piano
Script: NP
Score: NP
Record/CD: NP
Rights: MTI

LADY IN THE DARK

Book: Moss Hart
Music: Kurt Weill
Lyrics: Ira Gershwin
(Based on Mary Braddon’s novel)

ORIGINAL PRODUCTION

Alvin Theatre, January 23, 1941 (467 perf.)
Director: Moss Hart
Choreographer: Albertina Rasch
Musical Director: Maurice Abravanel
Orchestration and Vocal Arrangements: Kurt Weill

Principals:
Dr. Brooks- Donald Randolph-
Miss Bowers- Jeanne Shelby-
Liza Elliott- Gertrude Lawrence- mezzo
Sutton/Miss Foster- Evelyn Wyckoff-
Miss Stevens- Ann Lee-
Maggie Grant- Margaret Dale-
Alison Du Bois- Natalie Schafer-
Russell Paxton- Danny Kaye- tenor
Charley Johnson- Macdonald Carey-
Randy Curtis- Victor Mature-Baritone
Kendall Nesbitt- Bert Lytell
Chorus and Smaller Roles: 11M/12F

SYNOPSIS

Act I begins in the office of Dr. Alexander Brooks, a psychoanalyst. Dr. Brooks is a man in his middle forties, "good-looking without being in any way handsome" with a lively sense of humor. Miss Elliott, an executive for Allure, the popular women’s magazine, enters the room. She is obviously nervous and resents being there. The Dr. asks her about her problem and she remarks that it is an illogical one; one that is unjustified. She is successful in every way; her job could not be better and she is having a wonderful relationship with a gentleman, although he is married. Nothing should be wrong, yet she has been having attacks of depression and mood swings, not to mention a constant nagging fear. She is also finding it difficult to concentrate on her work. Dr. Brooks asks her to lie down and then to tell him anything that comes to mind.
She remembers a particular childhood melody, which she has been hearing in her dreams, and Dr. Brooks asks her to hum it. As she does, she begins to dream. The lights dim and, as the music swells, twelve men dressed in faultless evening clothes and carrying signs march on. One carries a sign that says, "New York Chapter- Liza Elliot Admirers" (OH, FABULOUS ONE IN YOUR IVORY TOWER- M Chorus).
The dream continues, all done in song, as a maid, Sutton, who will later be identified as Miss Foster, Liza’s secretary, appears. She sings to the men, thanking them for Liza but telling them that she is resting. A package is brought in for Liza. It is a gift of a sable coat. Next Beekman, the chauffeur enters. He will later be identified as Russel Paxton, the photographer for Allure. He dances off after he has lavishly praised Liza. The music changes to a more romantic and glamorous mood and Liza enters and she and Sutton discuss her extraordinary schedule (THE WORLD’S INAMORTA- F Duet). The lights dim and Liza is seen waltzing in the spotlight until Beekman reenters. He begins to drive her to a party, but Liza asks him to stop because she would like to get on a soapbox to address the crowd (ONE LIFE TO LIVE- M/F Duet).
They get back in the car and head for the Seventh Heaven where couples are dancing. Pierre, the headwaiter who is later identified as Kendall Nesbitt, rushes to Liza. He makes a fool of himself by the flourish of praise that he gives her, then he calls for everyone’s attention. The crowd toasts Liza (GIRL OF THE MOMENT- Ensemble).
Suddenly a bugle is heard and in marches a soldier, sailor and marine. The marine will later be identified as Charley Johnson, the advertising manager of Allure. He brings a message from the President who wishes for Liza’s portrait to be painted. The portrait is painted and unveiled, but it is not flattering. Liza appears as she appeared in the doctor’s office- austere and somewhat forbidding, entirely without glamour. She looks at it and screams, then covers her face. The crowd, who is at first perplexed, becomes cynical (IT LOOKS LIKE LIZA- Company) and they all begin to laugh and mock her.
Now the lights come up again and we are in Dr. Brooks’ office. Dr. Brooks remarks that it is interesting to see the polarized differences of the woman in reality and the woman in her dreams. He makes an appointment for the next day and Liza leaves.
Scene two opens in Liza’s office where Miss Foster, Liza’s exceptionally beautiful secretary is putting letters on her desk. The telephone rings and it is Kedall Nesbitt who leaves a message for Liza. Miss Stevens, the receptionist, and Maggie Grant enter. They briefly discuss Randy Curtis, the handsome star that is modeling for Allure before Liza enters. Maggie, slightly cynical about psychiatrists, asks her about the appointment with Dr. Brooks. Alison, another employee of Allure, bursts into the room with a very strange idea for the magazine. She is the type of woman who is only concerned with things that are "chic." In essence she is a real nuisance.
Next Russell the photographer enters the room in a flurry. He is hysterical with praise over the new model Randy Curtis, whom he wishes Liza to meet. Charley Johnson enters and Liza asks him to wait while she meets Randy. Charley, a slightly mischievous man, asks Curtis for his autograph and it is an embarrassing situation. All leave except Charley and Liza and she attempts to apologize to Charley for getting angry the day before and throwing a paperweight at him, but does it very badly. The two part angrily as Kendall Nesbitt enters. He tells her that he has divorced his wife for her, but, instead of being pleased, she becomes visibly upset. Randy enters and asks Liza for a dinner date and she accepts in order to get rid of him. Kendall leaves and Liza becomes more upset, cancels all of her appointments and locks the door. She lies on the couch and begins to hum her melody. A dream begins again as the lights dim.
We see a graduation ceremony a generation ago as boys and girls enter carrying diplomas (MAPLETON HIGH CHORAL- Mixed Chorus). Next Liza and Kendall enter. They are choosing a ring for Liza, yet she is hesitant. The jewelry salesman is Charley Johnson and, when Liza finally decides on one, Johnson, instead of handing her a ring, offers her a dagger. Liza recoils and covers her eyes as both men disappear. Randy comes to her and takes her hands and she smiles up at him (THIS IS NEW- M/F Duet).
Liza is now dancing with Johnson as six women enter, all wearing wigs and dressed like Liza. Johnson disappears and Randy is again discovered. He sings to the six women and, as they dance, Liza merely watches. Finally, Liza is alone on stage. Slowly she hums the beginning of that phrase of song and soon she remembers the rest (THE PRINCESS OF PURE DELIGHT- F Solo to a Mixed Chorus of Children).
The dream changes to Liza and Kendall’s wedding day, but Liza has forgotten what day it is. The others lead her to the altar where Charley is the minister. He asks whether any one knows why this couple should not marry, then answers himself. "This woman knows she does not love this man." Liza says that this is not true (THIS WOMAN AT THE ALTAR- Company). As she yells, "I do! I do! I do!" the dream ends.
Scene three is set in Dr. Brooks’ office. Dr. Brooks is at his desk. Maggie Grant sits in the chair facing him. Maggie has come to see him because she is so concerned for her friend. Dr. Brooks tries to reassure her and she leaves feeling better. Liza enters for her appointment and they discuss her extreme reaction at the news of Kendall’s divorce. Dr. Brooks points out that Liza is another glamorous woman in this dream. He also suggests that perhaps she is afraid to compete with other women. When he tells her this, Liza becomes upset. She tells him that she will not be continuing counseling.
Scene four switches to Liza’s office late in the afternoon where Alison, Russell and Maggie have been waiting for hours for Liza’s return. Maggie is concerned because this is so unlike her. Liza finally enters and apologizes, then suggests that they all go right to work. Alison and Russell leave which allows Maggie and Liza to have a conversation about Kendall’s proposal. Kendall arrives and Liza finally admits to him that she does not want to marry him. Russell enters and interrupts with an idea for a photograph and Kendall leaves promising that he will fight for her.
Soon after, four models, Alison and Russell arrive. Charley enters and gives Liza his resignation. Liza tells him that she will meet whatever offer has been made to him, but Charley refuses, telling her that he now has the same position as hers. The discussion quickly becomes an argument. Charley accuses her of being married to her desk and having magazines instead of babies and she picks up a cigarette box and throws it at him. When he leaves she crumples on her desk, crying uncontrollably. Miss Stevens enters with the news that Randy Curtis has arrived for her. Liza has forgotten about the appointment. Randy enters her office saying that he is so relieved that he won’t be seeing another glamour girl and she tells him to wait outside for her while she changes. Barely waiting for the door to close, she rips off her dress then takes off the dress on the mannequin and flings it on. Maggie enters. When she sees Liza wearing the dress, she asks if everything is all right, but Liza tells her to leave her alone and the curtain comes down.
Act II begins in Liza’s office late the following afternoon. She is at her desk, intent on a magazine layout. First Maggie, then Alison enters asking her to go out and have a cocktail on the way home. Liza refuses and they leave. She tries to concentrate on her work, but begins to have a difficult time as voices taunt her from behind the scenes. One of the voices tells her to decide on this month’s cover, either a circus cover or an Easter cover and another dream begins as the lights dim. The lights come up showing that the walls of the office have disappeared and in their place is a huge circus cover for a magazine- the cover that Liza has been staring at. While voices are saying, "Easter cover or circus cover?" we faintly hear circus parade music. Paraders, the Ringmaster and others enter singing about the greatest show on earth (THE GREATEST SHOW ON EARTH- M Solo and Ensemble).
The Ringmaster presents Liza as a freak because she is one "who can’t make up her mind." Charley enters as a prosecuting attorney in a trial and the defense attorney is Randy Curtis. Soon the jury arrives in a fit of tumbling (DANCE OF THE TUMBLERS- Albertina Rasch Dancers). After this fanfare, Charley and Randy battle over Liza’s innocence or guilt (THE BEST YEARS OF HIS LIFE- M Duet). This time, she is accused of not being able to make up her mind about marrying Kendall. The Ringmaster remarks in the middle of the trial that he likes the music that is being sung. The jury answers "Tschaikowsky!" He says, "Tschaikowsky! I love Russian composers!" (TSCHAIKOWSKY- M Solo and Ensemble)
They proceed with the trial and Liza defends herself by telling a story about a girl named Jenny who could always make up her mind, but then in the end did not fare well (THE SAGA OF JENNY- F Solo and Chorus). During the continuing music, Randy, the jury and the Ringmaster all congratulate her. She finally goes back to her seat and picks up the drawing of the circus cover. Charley and the jury look at the circus cover, then begin to sing the opening bars of the childhood melody that Liza knows so well. She screams and snatches the drawing from Charley’s hand. Charley says to Liza, "As you are afraid to compete as a woman- afraid to marry Kendall Nesbitt- afraid to be the woman you want to be- afraid- afraid- afraid," as the lights go out.
Scene two take place in Dr. Brooks’ office. Liza is telling him that in the previous dream, she was reminded of feelings that she felt before. The lights dim as Liza tries to remember when she felt that way before and the lights come up on a small group of people dressed in the evening clothes of 1904. Liza, the Liza of today, stands alone in the spotlight at one side. In the group, a woman of great beauty stands out from the others. It is Liza’s mother. Into the group comes a man carrying a small child in his arms. This is the Liza of many years ago. The women present remark that Liza is a beautiful girl, but both parents laughingly deny this is true. The Liza of today says, "I wanted to cry out, ‘It’s not true! It’s not true! I’m like my mother!’ I wanted to shout and make them stop." The child is silent for a moment, looking up into their faces and then, struggling against tears, she begins the little song that we know. Only the first bars emerge. Then, suddenly the child breaks into sobs and runs from the room. Liza tells Dr. Brooks that she hated her mother for being so beautiful.
Next, the lights come up on a group of school children and their teacher on the other side of the stage. The teacher is picking children for parts in a play. She chooses David Reed for the prince and Liza Elliot for the princess, but David refuses to be the prince unless they find a pretty princess. Little Liza is deeply embarrassed and runs from the room.
Next the lights come up on a little girl of ten who is reading a book and munching on her apple. Her mother is ill, and when Mrs. Bennett enters the room and Liza asks if her mother is all right. Mrs. Bennett can not answer. The adult Liza says, "I loved my mother, but I could feel no grief." She runs and gets a clock and a mirror of her mother’s, then practices looking at herself. Her father enters and sees her; he is angry and horrified.
Next the lights come up on a group of seventeen-year old boys and girls dancing. It is graduation day for them and Liza begins dancing with Ben after they hear that he has won the award for most handsome boy and she the most popular girl. They detach themselves from the dancers and walk to a bench on the opposite side of the stage where Ben promises to take Liza to the graduation supper. Liza begins singing that melody, but this time she remembers it all (MY SHIP- F Solo). Another girl, Barbara, walks over to them. She is Ben’s girlfriend, although they have been fighting. Ben leaves with Barbara, but promises to be right back. He never returns.
This time when the lights rise we are in Dr. Brooks’ office. He tells her that she has withdrawn into herself as a woman, that she could no longer take the risk of being hurt by competing with them. "But the longing remained and so did the rage and that deep sense of injustice. And what you are facing now is rebellion- rebellion at your unfulfillment as a woman." The curtain falls.
Scene three begins in Liza’s office a week later. Charley and Maggie are waiting for her. Charley tells her that although he enjoys irritating Liza, he still admires her. It’s just that as a woman she makes him sick. Russell runs in, furious at Alison who has broken his color plates. Liza enters, followed by Randy and the rest leave. Liza and Randy speak about the wonderful afternoon they have had then he exits. Liza asks Charley in to her office. She has decided that she has a few answers for Charley, who usually has them all, but he refuses to bicker with her and, when Kendall arrives, Charley leaves. Liza tells Kendall that their relationship is over and they part friends. After Kendall exits, Randy arrives. He proposes to her and she is so surprised that she tells him she will answer later. Randy leaves and Charley strolls in. This time Liza asks him to share her job with her. He agrees, ecstatic, then dashes into the other room to gather his materials. Upon her return, Maggie is astonished to see the two working peacefully together. Liza smiles, then slowly begins to sing the melody. Charley, as the remembered words come back to him, softly joins in. Maggie looks curiously from one to the other, then elaborately sinks into a chair and folds her hands in her lap. Liza is singing gaily, oblivious to Maggie. She and Charley half smile at each other. The curtain slowly descends.

NOTES ON THE PRODUCTION

SONGS OF SPECIAL INTEREST

"This Is New," F Solo
"My Ship," F Solo
"The Saga of Jenny," F Solo
"Tschaikowsky," M Solo

Instrumentation:
Script: World Publishing Co. Score: Chappell
Record: Columbia Masterworks Rights:

LEAVE IT TO ME

Contributed by UNH alum John Garand

Book: Bella and Samuel Spewack Music and Lyrics: Cole Porter
(Adapted from the play Clear All Wires by Bella and Samuel Spewack)

ORIGINAL PRODUCTION

Imperial Theatre, November 9, 1938 (291 perf.)
Director: Samuel Spewack
Choreographer: Robert Alton Musical Director: Max Meth Orchestration: Don Walker
Principals:
Buckley Joyce Thomas- William Gaxton-
Alonzo "Stinky" Goodhue- Victor Moore-
Mrs. Goodhue- Sophie Tucker-
Colette- Tamara-
Dolly- Mary Martin-
Joseph Stalin- Walter Armin-
Edward H. Robins
Alexander Asro
George Tobias
Chorus and Smaller Roles:

SYNOPSIS

As Act I begins we see an onscreen reproduction of page one of the Paris and Chicago World Tribune. We also see a huge reproduction of a photograph of Buckley Joyce Thomas and his publisher. The caption reads, "World’s greatest correspondent greets world’s greatest publisher." Page one turns on the screen to reveal page two and the headline reads, "J.H. Brody Rumored New U.S. Ambassador to Moscow." The second page turns to the third and another photograph is shown. This time, Thomas is alone and the caption says, "World’s greatest correspondent says world’s greatest publisher will be world’s greatest ambassador."
Scene one opens in the Paris, France press room of the Paris and Chicago World Tribune. There are eight reporters at their desks, working and typing while four secretaries serve them. They all sing about the current news (HOW DO YOU SPELL AMBASSADOR- Mixed Chorus).
The phone rings and the secretary answers. She calls for Buckley Joyce Thomas to pick up the phone as the Duke of Windsor is calling. Soon it becomes apparent that Thomas has set these calls up in order to impress his boss, J.H. Brody. Dolly, Brody’s daughter, walks in and quickly embraces Thomas. As Brody arrives, the two instantly separate, seeming to barely know each other, and Thomas pays tribute to Brody (WE DRINK TO YOU, J.H. BRODY- M Solo and M Chorus)
Soon a news bulletin is heard. It says, "Secretary of State Hull announced today that the new American envoy to Russia would be Alonzo P. Goodhue of Topeka, Kansas." Brody is furious. He decides to send Thomas to Moscow; his job will be to disgrace the new ambassador. Now Dolly and Thomas are horrified.
The screen is lowered again and on it is seen the Paris and Chicago World Tribune Editorial Page with a cartoon depicting Goodhue in a bath tub rowing. The heading says, "The Vulgar Boatman."
Scene two opens at a railroad station in France. Showgirls and Porters enter (VITE, VITE, VITE- Mixed Chorus). Prince Alexander Tomofsky and Jerry Grainger enter separately and the Prince tries to get Grainger to change a counterfeit bill. Dolly enters asking the conductor to put her bags on the train with Thomas’s. She exits as Mrs. Goodhue enters. Mrs. Goodhue’s entourage is complete with showgirls and caviar, much to the porter’s dismay, and, as she speaks, one sees that this is indeed a strong, matronly woman who has peculiar ideas about class and also about the Russian culture. We learn that she has been the driving force behind her husband’s career. Her five daughters enter and, along with them, her secretaries and the showgirls. Mrs. Goodhue sings about what her influence on the Russians will be (TAKING THE STEPS TO RUSSIA- F Chorus).
Thomas appears followed by Brody. They meet Mrs. Goodhue who rebukes them for their cartoon and exits with her daughters. J.H. leaves after telling Thomas that he had better do his job right as Grainger, a young diplomat sees Thomas, his old friend.
Grainger remarks that a mutual friend, Colette, is in Moscow working for a news agency. He tells Thomas that she has not forgotten him and will not marry because of it. Grainger asks Thomas to convince her what a terrible guy he is so that she will forget him, thereby leading the way for Grainger. Thomas agrees and Grainger exits while a number of reporters enter, all waiting for Goodhue. It becomes obvious what a bumbling idiot Goodhue is when Thomas gets him to enter by asking some buglers to play "Columbia, the Gem of the Ocean." Goodhue enters, immediately dropping his parcels and taking off his hat. Thomas interviews him and discovers that the ambassador was pushed into this appointment by others, especially by his wife. Thomas promises to get him recalled.
The setting of scene three is a park in Moscow where a sign reads "Park of Culture and Rest." Colette is seated at a bench reading a telegram. On the stage there are singing boys and showgirls. They are dressed as peasants and Russian characters. Kostya, a gofer of Thomas’ enters with a message for Colette saying Thomas wants to see her immediately. She responds by telling Kostya to tell Thomas to get out of town (GET OUT OF TOWN- F Solo and M Chorus).
Scene four opens in the anteroom in the American Embassy, Moscow. Grainger, a military attaché, a naval attaché and two secretaries are present. Goodhue enters reading a speech to himself. Goodhue meets both attaches and his ignorance is revealed when he has no idea if they are Americans or what their jobs entail. Mrs. Goodhue enters followed by two male decorators. She is giving them instructions. The children now enter. Goodhue reads his speech, which he will give to the Foreign Minister. It is insulting the way Thomas has written it and Goodhue hopes that it will get him recalled. When all leave but Mrs. Goodhue and her daughters, she tells them a story about what to expect from men (MOST GENTLEMEN DON’T LIKE LOVE- F Solo).
After Mrs. Goodhue and her daughters exits, Thomas and Kostya enter. Thomas tells Kostya to go find him a Russian peasant and a worker to interview. Kostya exits as the Prince enters. He tries to get Thomas to change a hundred ruble note, but Thomas refuses because it is also counterfeit and the Prince bows and leaves. Colette enters with the secretary and Thomas flirts with her, but Colette tells him that she will work with him, nothing else. She exits and Kostya enters with a peasant and a worker. Thomas interviews both men in a quite humorous way, making them both look slightly crazy, and they exit. Goodhue enters with a medal on the lapel of his coat and Thomas cannot believe that his plan didn’t work. Grainger enters with a message for Goodhue. It seems that a number of foreign ambassadors have come to pay their respects and, when Thomas refuses to see them as a favor to Goodhue, Grainger tells him that the German ambassador will march in if he will not see him. Thomas devises a plan and, when a fierce, snarling Nazi enters, Goodhue kicks him in the belly.
Scene five opens in Goodhue’s bedroom at the embassy. Goodhue is in bed wearing a robe lined with red and white strips. His foot is in bandages. The French and Latvian ambassadors enter to congratulate Goodhue but the British ambassador is indecisive over the matter. Mrs. Goodhue, whose only dream is to go to London, is thrilled by her husband’s success. Goodhue receives a secret message from the United States. It says, "Sock him again!" Goodhue is getting discouraged. All leave but Thomas, who entered during the confusion. Thomas devises another plan using the Prince. As all else exit, Dolly enters and both she and Thomas decide to end their relationship (WHEN ALL’S SAID AND DONE- M and F Duet).
As scene six begins, we see another part of the park where a platform is present. The showgirls and singing boys enter and complete the previous number with Dolly and Thomas. With the end of the song, the scene switches to Thomas’ hotel suite in Moscow.
Thomas and Goodhue are present, waiting to put their plan into action. Thomas has invited the Prince to dinner at 6:30 p.m. He has decided that the only way to get Goodhue out of the ambassadorship is to have him commit murder. Therefore, the plan is to have Goodhue shoot the Prince, but not kill him, from Thomas’ balcony while the Prince is enjoying his meal with Thomas. Thomas is convinced that this will tarnish Goodhue without actually ruining him.
Unfortunately, all goes wrong. As the Prince enters, Goodhue discovers that there is a screw loose in his gun. Thomas sends the Prince into the bathroom to take a refreshing bath before dinner and, while Goodhue is fiddling with the gun, Colette, Kostya and, later, two secret service men enter with the Russian foreign minister. Thomas is terrified that Goodhue will mistake this man for the Prince and shoot him, starting an international incident. At that moment, Soyanoff, the worker that Thomas had interviewed enters with a gun, threatening to shoot the foreign minister over ideological differences pertaining to the new Russian government. Yet, just as Soyanoff is ready to shoot, Goodhue enters from the balcony and accidentally shoots Soyanoff, saving the foreign minister’s life. Thomas is furious. The curtain is dropped. Colette followed by the entire ensemble dressed in peasant and Russian character costumes, enters in front of the curtain (COMRADE ALONZO- Mixed Chorus).
The curtain rises and we see a platform where Colette, Thomas, Mr. and Mrs. Goodhue, Stalin, the foreign minister and Graustein are standing. The crowds are cheering as Stalin kisses Goodhue. The ambassador responds that he just wants to go home.
As Act II opens, the same people, with the exception of the foreign minister, are discovered on a platform again, but this time in Red Square. As Colette, Thomas and the Goodhues emerge from the grandstand, Goodhue speaks about how miserable he is. Thomas accuses Colette of changing him and thus ruining his ability to manipulate situations. This, Thomas feels, is why he has failed Goodhue. Scene one closes as Thomas and Colette call for a droshky, a Russian taxi.
Scene two begins as they enter the droshky. Thomas receives a wire from Dolly saying that she got on the wrong train and is stranded in Siberia. She demands one thousand dollars or she’ll tell J.H. that Thomas has no money to send her. Colette moves closer to him and their love is renewed (FROM NOW ON- M and F Duet).
Goodhue enters, raving mad at Thomas, who has promised to get him recalled and instead has made him a hero. Thomas promises not to let him down. Goodhue reminisces about his home, Topeka, Kansas, while the screen flashes images of Goodhue’s daydream (I WANT TO GO HOME- M Solo)
It is now Goodhue’s bedroom at the embassy. Thomas enters with another idea for Goodhue. He says that he has misunderstood the changes in the world. He was "old fashioned" instead of being aggressive and violent. So, in the spirit of their new strategy, Goodhue will have to be good. He will have to do a good deed, plus wear a bulletproof vest. They agree to try it.
Scene four opens somewhere in Siberia where Dolly is standing at a signpost. On the music cue, six boys, dressed in furs for the Siberian winter, enter and group around her. As she sings, Dolly does a mock striptease (MY HEART BELONGS TO DADDY- F Solo).
Now we are in the anteroom at the American embassy in Moscow. Goodhue is going to give a speech, which Thomas has written, called the Goodhue Plan. As he practices reading it to Thomas, we discover that the plan is full of hope and good wishes that are unrealistic, but strangely logical at the same time. Mrs. Goodhue, who knows nothing about the plan, is asked by reporters to explain it. She can’t, but in the true political spirit, pretends that she can (TOMORROW- F Solo).
As the curtain rises for scene six, we are now in the embassy reception room. Mrs. Goodhue and ensemble finish the song as the screen next flashes the news bulletin, "Goodhue recalled. War averted" (TOMORROW- Mixed Chorus).
Scene seven opens in a Moscow Park where Thomas and Colette enter congratulating themselves on the Goodhue plan. Goodhue enters, extremely happy. He thanks Thomas then exits, saying that Mrs.Goodhue is furious. Thomas begins discussing his new assignments and Colette asks him where she fits in. They plan to marry (FAR AWAY- M and F Duet).
Soon Brody and Dolly enter. Brody fires Thomas as he has discovered the previous relationship between Thomas and Dolly. He then promises to blackball him out of journalism.
It is now scene eight, and the setting is a railroad station in Moscow. Brody receives a cablegram which says that he has indeed been appointed an Ambassador, but to Liberia. Brody furiously exits with Dolly as Goodhue and his family enter. Goodhue is ecstatic while his wife is depressed (FROM THE USA TO THE USSR- M Solo and F Chorus).
Thomas, who is depressed because his career is now over, enters. Goodhue tells him that he has bought the World Tribune from the dejected Brody and offers him the job of executive editor. Thomas is thrilled and accepts (TOMORROW [REPRISE]/FROM NOW ON- Company).

NOTES ON THE PRODUCTION

Mary Martin’s debut. Gene Kelly had minor role as an eskimo.
First show after Cole Porter’s accident. Disappointing, but typical after his accident
Originally communist friendly, became too hot politically after Stalin and Hitler signed their pact, just after the national tour

SONGS OF SPECIAL INTEREST

"My Heart Belongs to Daddy," Mezzo solo
"Get Out of Town," sung by Tamara
"Most Gentlemen Don’t Like Love," sung by Sophie Tucker

Instrumentation: Script: Score: Record/CD:
Rights:

THE LIFE

Book: David Newman, Ira Gasman and Cy Coleman
Music: Cy Coleman
Lyrics: Ira Gasman

ORIGINAL PRODUCTION

Ethel Barrymore Theatre, April 26, 1997 (466 perf.)
Director: Michael Blakemore
Choreographer: Joey McKeenly
Musical Director: Gordon Lowry Harrell
Dance and Vocal Arrangements: Cy Coleman and Doug Katsaros
Music Coordinator: John Miller
Orchestrations: Don Sebesky and Harold Wheeler

Principals:
Queen- Pamela Isaacs- *
Sonja- Lillias White- VTI
Mary- Bellamy Young- *
April- Felicia Finley- VTI
Cichi- Sharon Wilkins- VTI
Carmen- Lynn Sterling- VTI
Frenchie- Katy Grenfell- VTI
Tracy- Judine Richárd- VTI
Fleetwood- Kevin Ramsey- *
Jojo- Sam Harris- *
Memphis- Chuck Cooper- *
Lacy- Vernel Bagneris- *
Lou- Rich Hebert-
Snickers- Gordon Joseph Weiss- VTI
Bobby/Cop- Mark Bove- VTI
Silky/Enriqué- Rudy Roberson- VTI
Oddjob/Shoeshine- Michael Gregory Gong- VTI
Slick/Shatellia- Mark Anthony Taylor- VTI
Chorus and Smaller Roles: 3F/3M minimum

SYNOPSIS

It is Time Square in the 1980s. The curtain is raised as the audience enters. The set is an empty lot with three filthy brick walls from bordering buildings defining the space. There is a Port Authority Bus Terminal on an adjacent side street, and a sign close by reads "BIG APPLE WRECKING CORP."
Jojo enters and sets the scene, explaining how things are now in Times Square, and how they used to be in the 1980s. As Jojo explains the street comes alive with hookers, pimps, hustlers, dealers, hot dog vendors, etc. (check it out) Jojo continues to introduce the cast who pose as they are mentioned, he then explains his philosophy on life (USE WHAT YOU GOT). The lights fade, we are on a side street off Eighth Ave., in the early morning. All of the other characters have dissolved into the alleys and only Jojo and Queen remain. The story begins.
Queen has spent the night in jail. She tells Jojo how she is through with life on the streets. Sonja joins them, and Queen tells of her new outlook on life (A LOVELY DAY TO BE OUT OF JAIL).
The scene switches to a sketchy Times Square room where Fleetwood is waiting. Queen Bursts in, excited to see her man. They talk of their dreams together (OH DADDY). The fantasy quickly ends when Queen discovers that Fleetwood has spent half of their savings on drugs: $2,000 in on night. She fumes out the door, slamming it in her wake.
Out on the street Fleetwood plans to make it big (A PIECE OF THE ACTION). Jojo emerges from a doorway, and teases Fleetwood. Silky, Bobby, and Snickers enter; they laugh at Fleetwood for having his girlfriend for his only hooker. They exit as Jojo restrains him. Jojo tells him how he should be handling his business, and helps Fleetwood hustle a young girl who has just gotten off the Greyhound bus. Her name is Mary, and this is her first time in New York.
The Pimps and Jojo sit with drinks in Lacy’s Bar as the hookers enter. It’s early evening, about six. The hookers enter, complaining about their slow business. Lacy brags about the old days for a bit while Sonja enters, and laments over a beer (THE OLDEST PROFESSION). Memphis, the girls’ pimp enters with Snickers and April. The girls exit in a hurry, not wanting to upset him for taking a break. Carmen (who is not one of his hookers) and Sonja stay. Memphis glares at Sonja who won’t budge. He pours her beer into her purse and tells her to finish it outside. Mary and Fleetwood enter. He gets into an argument with Memphis, but Memphis just mocks him and his pimping style (DON’T TAKE MUCH). As he exits Queen enters. She and Fleetwood make up from their previous fight, he introduces Mary as their new means of income (HEY DADDY). Out on the street Queen tells Mary she has a lot of learning to do about life on the street, although she remains optimistic (GO HOME).
Later that night out on the street Sonja, Carmen, Tracy and some other hookers are out on the street soliciting men passing by. As Carmen spots a group of college boys off stage all the girls but Sonja and Queen exit. As they converse a gospel group enter singing. Sonja is annoyed but Queen is delighted and joins in the singing (YOU CAN’T GET TO HEAVEN). The other girls enter and Frenchie complains of a man she just hooked, who after she had done the deed, gave her a pamphlet: Sinner Repent. Stop your evil ways, Give yourself to God." The girls respond with their attitude on hooking (MY BODY).
The Doll House is a Topless bar where Jojo has gotten Mary a job as a cocktail waitress. A dancer grinds on top of the bar, but as a customer tries to pull off her G-string, she flips and quits. The crowd starts to get ugly and Jojo shoves Mary onto the bar telling her to dance. The patrons begin shoving bills into her panties and bra, telling her to "Take it off!" For a moment Mary is bewildered, but the suddenly takes off her bra: Blackout.
Back on the street the next night, the girls are selling their wares. A loud whistle sounds, and the girls run off, tailed by the police. The pimps come pouring into the streets and complain of damage cops do to their business (WHY DON’T THEY LEAVE US ALONE). Lou enters looking for some fresh new talent. He begins to describe the girl he wants, and Jojo says he thinks he can get it for him (EASY MONEY). Meanwhile, Mary bursts into the empty hotel room, she twirls around in pleasure, posing in front of the mirror. Bills are bursting from her purse and she continues the song. Jojo and Fleetwood enter and join her Jojo gives some coke to Fleetwood and Mary gets her first blow. Fleetwood suddenly remembers that Queen is in jail, but Mary urges him to stay with her. We find out that she is not as innocent as she has pretended. She says she wasn’t born yesterday, but does look that way. That is the secret of her appeal. She leans into Fleetwood and Jojo begins to exit. Mary invites him to join the party. He is taken aback, but does. Blackout.
In the City Jail, the girls are packed into a holding cell. A guard lets all the girls out except Queen whose "employer" did not make her bail. Sonja is angry with Fleetwood, but Queen sticks up for him. The guard makes Sonja leave, leaving Queen alone in her cell (HE’S NO GOOD).
Out on the street Mary exits the hotel, Sonja sees her and begins and inquiry, but Mary tells her to mind her own business. Jojo comes out and joins her. He insinuates what they have been up to, and an angry Sonja decides to make bail for Queen herself.
A few days later in Lacy’s Bar a few of the girls are hanging out, Tracy has lifted someone’s wallet and is buying everyone a drink. Sonja declares she hasn’t been feeling herself, but the doctors don’t know what’s wrong with her. Fleetwood and Mary enter. They join Jojo. Fleetwood presents her with a pair of $300 shoes to wear at the hookers’ ball. Queen enters and is outraged at Fleetwood for inviting Mary, she makes a scene and Mary storms out, Fleetwood chases after her. Jojo takes advantage of the opportunity, and tells Memphis to strike while the iron’s hot. Memphis goes over to queen and tells her that if she ever wants to, he’ll take care of her. He gives her the number to his private line.
Out on the street Fleetwood is waiting for Queen as she exits the bar. He blocks her path and tries to cajole her, but she won’t have any of it (I’M LEAVING YOU).
This scene is a traveler. We see hookers and pimps enter from the wings. We watch them dress up in their outrageous outfits for the hookers’ ball as Lacy sings (THE HOOKERS’ BALL).
At the hookers ball Jojo and Lou enter together. When Mary and Fleetwood enter, Jojo points out his discovery to Lou. Jojo introduces them, and Lou sweeps Mary off without giving Fleetwood a chance to protest. Queen then enters dressed to kill; it is obvious she is wearing an extremely expensive gown. She is dressed with much more class than any of the women there. Fleetwood rises to greet her, but she breezes past him to Memphis’ table. The message is apparent. As the curtain closes Queen sits with Memphis, Lou is putting the moves on Mary, Jojo is smiling to himself, and Fleetwood sits alone.
About an hour later, Shill is running a card game. A few pimps, hookers, and Jojo have just exited the hookers ball. April complains the Miss Super Fox contest was fixed because Mary won. Jojo explains that everything is fixed. He used to run card games when he first started with his partner (MR. GREED).
In Memphis’ bedroom, we see the height of Pimp Décor. Memphis and Queen enter still in their fancy attire. She is in awe of her surroundings. Queen thanks Memphis for loaning her the dress. He hardens, and says she bought it at $7,000. Queen is frightened. Memphis tells her that she can work off the debt. Queen understands that she has gotten herself into a world of trouble. Memphis explains his ways to her (MY WAY OR THE HIGHWAY). Sonja enters and quickly sizes up the situation. She asks Queen to help her get into her apartment because she’s feeling drunk. Memphis allows Queen to go, but not before threatening her with her and Fleetwood’s lives if she thinks about skipping town.
In the elevator, Sonja and Queen decide to skip town. Jojo enters, and Queen asks him to have Fleetwood meet her at Lacy’s at nine in the morning. Sonja thinks this is a mistake, but Queen has faith in Jojo.
On an outdoor terrace of a hotel suite Mary takes in the view as Lou emerges. He tells Mary that he can make her a star of Eros Entertainment. She I put off at first, but he coaxes her with the dream of real money and fame (PEOPLE MAGAZINE).
At 8:40 am Queen enters Lacy’s bar. She waits for Fleetwood while Lacy makes her a drink, but it is Memphis, Snickers and Jojo who enter. Jojo is paid by Snickers, but sticks around to watch the fun. Lacy is beaten for trying to lighten the moment and an already frightened Queen is now terrified. She begs forgiveness but receives a brutal beating instead. Memphis and Snickers laugh at her ugly appearance before exiting.
Queen sits in utter despair cleaning her face with a damp dishrag as Fleetwood enters. He has nothing but cruelty for her. Queen can’t believe that this is all he has to say to her (WE HAD A DREAM). He exits leaving her alone with Lacy who puts a comforting arm around her: Blackout.
Fleetwood arrives at the front door of his hotel to see Mary, Lou and Jojo leaving. Mary tells him that she’s making money in the movies now. He tells her to go to hell, but she opts for LA. An angry Fleetwood stomps off. The three of them merrily head off to the airport.
The mouth of Lincoln tunnel is a low spot even for whores. Sonja, April and Frenchie are present. The other hookers (bottom feeders) are new to the audience. Queen enters wearing sunglasses to hide her bruises. Snickers forces her to go with some lowlife scum. As she exits, he tells the girls to see she gets plenty of action. Sonja is frustrated and infuriated ("SOMEDAY" IS FOR SUCKERS).
At 5:00 am on the West Side Waterfront, Queen waits anxiously, constantly looking over her shoulder. Sonja enters, suitcase in tow. Queen asks Sonja to leave with her, but Sonja says she can’t live a normal life anymore. Suddenly Fleetwood runs onstage. He begs for Queen back, but her heart is cold to him. She knows why he came. Fleetwood pleads with her (WE GOTTA GO). As the song ends Memphis and Jojo enter. Memphis tries to pull Queen away with him. Fleet pulls a gun on Memphis who stops cold. Jojo knocks the gun from Fleetwood’s hand and Memphis pulls out a knife. Memphis stabs Fleetwood, but Queen grabs the gun and shoots Memphis dead. Queen kneels over a bloody Fleetwood who dies in her arms. Sonja urges her friend to move on and get out before the police come and the two have an emotional goodbye (MY FRIEND).
As Queen leaves, Sonja begins wiping Queen’s fingerprints off the gun and replacing them with her own. As police sirens near, Sonja exits in their direction. Jojo takes on his narrator role again, wrapping things up. He explains that there’s always talent everywhere you look. A beautiful black girl enters, and Jojo takes advantage of the opportunity. He gallantly offers to take her suitcase for her. As they exit the chorus finales with a haunting reprise (CHECK IT OUT [FINALE]- Mixed Chorus). Freeze. Blackout.

NOTES ON THE PRODUCTION

The Life won 1997 Tony Awards for Best Featured Actress in a Musical (Lillias White) and Featured Actor in a Musical (Chuck Cooper). This was the year that Fosse won for Best Musical.
Canby from the New York Times wrote about The Life " . . . Mr. Coleman has composed not only his most driving, big-beat score since Sweet Charity, but also his most varied and melodic work since On the Twentieth Century."

SONGS OF SPECIAL INTEREST

Instrumentation:
Script:
Vocal Selections: Warner Bros.
Record/CD: Sony
Rights:

L'IL ABNER

Book: Norman Panama and Melvin Frank
Music: Gene de Paul
Lyrics: Johnny Mercer
(Based on the Al Capp comic strip)

ORIGINAL PRODUCTION

St. James Theatre, November 15, 1956 (693 perf.)
Director and Choreographer: Michael Kidd
Musical Director: Lehman Engel
Orchestration: Philip J. Lang

Principals:
Daisy Mae- Edith Adams- Mezzo
Mammy Yokum- Charlotte Rae- VTNE
L'il Abner- Peter Palmer- Tenor
Appasionata- Tina Louise- VTNE
General Bullmoose- Howard St. John- Baritone
Marryin' Sam- Stubby Kaye- Tenor
Earthquake McGoon- Bern Hoffman- Bass
Evil Eye Fleagle- Al Nesor- VTNE
Senator Jack S. Phogbound- Ted Thurston- VTNE
Pappy Yokum- Joe E. Marks- VTNE
Dr. Finsdale- Stanley Simmonds- Baritone
Dr. Smithborn- George Reeder- Baritone
Dr. Krogmeyer- Ralph Linn- Baritone
Dr.Schleifetz- Marc Breaux- Baritone
Chorus and Smaller Roles: 6M/6F Minimum (the three scientists may be in Dogpatch scenes as townsfolk)

SYNOPSIS

The curtain rises on the hillbilly town of Dogpatch USA, as the residents introduce themselves (A TYPICAL DAY- Mixed Chorus). They are preparing for the annual Sadie Hawkins Day race, where the Dogpatch women marry any man they capture in the race.
At the fishing hole, L'il Abner tells his friends he doesn't plan on letting Daisy Mae, his girlfriend, catch him on race day because he enjoys his freedom (IF I HAD MY DRUTHERS- Sc to M Solo with M Chorus). Daisy arrives to summon the boys to the town meeting in Cornpone Square.
At the meeting, Marrying Sam tells the story of the square's namesake, the illustrious Civil War hero (JUBILATION T. CORNPONE- M Solo with Mixed Chorus).
Senator Jack S. Phogbound arrives with Dr. Finsdale to tell the people that Dogpatch has been chosen by the U.S. Government as the most unimportant place in the country and will be honored by being blown up during an atom bomb test. The Dogpatchers are excited to be recognized by the government (RAG OFFEN THE BUSH- Mixed Chorus). Since the town will be obliterated before Sadie Hawkins day, the citizens must return to the code of the hills, whereby next of kin may arrange the marriage of an eligible female. When Mammy Yokum discovers that a distant relative has promised Daisy to the odorous Earthquake McGoon, she urges the people to find something necessary so the townsfolk can have the Sadie Hawkins Day race. Away from the crowd, Abner promises to let Daisy catch him and assures her she deserves something better than Earthquake (NAMELY YOU- Sc to M/F Duet).
Back in Cornpone Square, the residents despair of their inability to find something to make the town necessary. They try to explain to Dr. Finsdale how they feel (UNNECESSARY TOWN- Mixed Chorus). They are saved when the government discovers that Mammy's Yokumberry Tonic produces super-men like Abner. The government orders Abner and a group of male Dogpatchers to Washington for tests.
In Washington, three radio towers and commentators flash out the news that the tests are under-way. Pappy assures the President of the United States that he intends on donating the fruit from the Yokumberry tree to the U.S government.
General Bullmoose, a business tycoon is seen in his Washington office enlisting the help of Senator Phogbound in securing the tonic for himself. His male secretaries agree that what is good for the U.S. is good for Bullmoose (WHAT'S GOOD FOR GENERAL BULLMOOSE- M Chorus). He offers Abner $l million for the rights to the tonic, but Abner turns him down, and returns to Dogpatch.
The Dogpatchers eagerly greet Abner (THERE'S ROOM ENOUGH FOR US- Mixed Chorus) with the news from Washington. They assure the crowd that the country is doing fine (THE COUNTRY'S IN THE VERY BEST OF HANDS- M Duet with Mixed Chorus). Abner tells Daisy he is going to do his darndest to let her catch him in the afternoon Sadie Hawkins' day race.
General Bullmoose, furious that Abner has refused him, sends Appassionata Von Climax, his mistress, and Evil Eye Fleagle to trap Abner in the Sadie Hawkins Day race. Fleagle has the ability to paralyze people with his eyes and promises to freeze Abner until appassionata can claim him.
In Dogpatch the race begins (SADIE HAWKINS DAY BALLET- Mixed Chorus Dance). Appassionata claims Abner and Fleagle and Bullmoose take Abner back to Washington while Daisy and the family sadly bid him farewell.
Act II begins in a Washington government test lab. Drs. Finsdale, Smithborn, Krogmeyer, and Schleifetz and the scientists are wrapping up their tests on the Yokumberry tonic. The results delight them (OH HAPPY DAY- L to M Quartet).
Back in Dogpatch, Daisy worries about her lost youth and confides to Marryin' Sam that she is getting old (I'M PAST MY PRIME- Sc to M/F duet). When Mammy has a vision that Abner is going to be killed by General Bullmoose immediately after he marries Appassionata, Daisy agrees to marry Earthquake if he will go to Washington and help her save Abner's life. Daisy, Earthquake, Mammy, Pappy, Sam and the other Dogpatchers set out for Washington to save Abner.
General Bullmoose, running out of time to get the formula of Yokumberry tonic from Abner, hires Evil Eye Fleagle to put a truth whammy on Abner at an engagement party he's planned for Abner and Appassionata. Daisy tries to convince Abner to run away with her (LOVE IN A HOME- Sc to M/F duet) but he feels honor bound to marry the girl who caught him in the race no matter what the outcome is. Daisy and the Dogpatch crowd decide to crash the party to try and save Abner.
In a corridor of the bullmoose mansion, Bullmoose fearing a scandal, tells his Secretaries to let the Dogpatchers in. When urged to consider his dignity he complains of the problems of modern life (PROGRESS IS THE ROOT OF ALL EVIL- L to M Solo).
In the ballroom the Dogpatchers resuce Abner when Earthquake grabs a tray and reflects Evil Eye's whammy to General Bullmoose, who tells about his crimes and is arrested. Daisy thanks Earthquake and tells him she is ready to marry him.
In a corridor, Bullmoose, accompanied by a policeman, bemoans his capture (PROGRESS IS THE ROOT [REPRISE]- M Solo.
Meanwhile, the government experiments have been deemed a failure because the men have all become cold, unfeeling, self-centered creatures...just like Abner. The wives beg the government scientists to return their husbands to their normal selves (PUT 'EM BACK THE WAY THEY WUZ- F Chorus). The Dogpatchers arrive but are informed by the Scientists that Abner and the men must stay for more tests. Daisy sadly bids Abner farewell (NAMELY YOU [REPRISE]- F Solo) and exits. Pappy takes Abner and the boys aside and tells them they can solve their problems by taking Cornpone's Powerfully Potent Romanticizing Potion which makes all men, including Abner, capable of love. The boys agree to try it and Pappy sends a telegram to Dogpatch to stall the wedding.
In Dogpatch, the wedding of Earthquake McGoon and Daisy is slowly proceeding as Daisy Mammy and Sam stall until Pappy and Abner arrive from Washington. Sam describes the problems of marriage to the repulsive Earthquake (THE MATRIMONIAL STOMP- M Solo with Mixed Chorus). By the end of the number Earthquake is convinced that marriage isn't for him and gives Daisy to Abner. The husbands return to their normal selves, eagerly greeted by their wives (PUT 'EM BACK THE WAY THEY WUZ [REPRISE]- F Chorus) as Dr. Finsdale enters and orders evacuation to begin. The citizens, refusing to leave without their statue of Jubilation T. Cornpone, discover a letter inside signed by Abraham Lincoln proclaiming the statue a National Shrine. This unexpected news means the town is saved (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

L’il Abner won two 1957 Tony Awards for Supporting Actress (Edith Adams) and choreographer (Michael Kidd).
Because of the political humor, the show is extremely dated. A successful production is much more likely if the humor is updated to reflect the present political climate. Unless the show is quickly paced it may seem overburdened with overly long musical numbers. A director may want to examine the possibility of editing numbers that rely too heavily on creative staging and exuberant dancing. It is also possible through careful streamlining to reduce the cast size by reassigning dialogue. The show may be considered "politically incorrect" by modern standards so the directors must make sure that the show "captures" and era and clearly represents the cartoon from which it is taken. Care should be taken when casting that the performers chosen look as much as possible like the characters they are portraying. A study of old comic books and anthologies of the Abner Sunday funnies will help with make up and costume suggestions.
The set should be cartoon in style and may utilize the same basic exterior of ground rows and trees for the Dogpatch sequences and Washington. Most companies try and have two sets, one with Cornpone's statue, and the exterior of a Dogpatch shack and one with a background that represents Washington. Specific delineation of location is provided by props, i.e. desks, barrels etc.

SONGS OF SPECIAL INTEREST

"Jubilation T. Cornpone," M Solo with Chorus, country style, possible as a character audition when paired with a very different piece to show range of acting
"I'm Past My Prime," M/F Duet, focus on young Daisy Mae worried that she is getting too old to catch a man, reactions of Marryin’ Sam make this a humorous song for class study
"Progress is the Root of All Evil," Baritone Solo, character-oriented song, good for class study or for Revue
"Put ‘em Back the Way They Wuz," F Chorus with lots of volume, character opportunities, and comic movement, good choice for class or Revue situation, country twang

Instrumentation: 3 violins, viola, cello, bass, 5 reeds, 3 trumpets, 3 trombones, percussion, guitar/banjo
Script: NP
Score: Commander
Record: Columbia
Rights: Tams-Witmark

LITTLE MARY SUNSHINE

Book, Music and Lyrics: Rick Besoyan

ORIGINAL PRODUCTION

Orpheum Theatre, November 18, 1959 (1,143 perf.)
Director and Choreographer: Ray Harrison
Orchestrations: Rick Besoyan
Musical Direction: Jack Holmes

Principals:
Captain Jim- William Graham- Baritone
Corporal Jester- John McMartin- Tenor
Little Mary- Eileen Brennan- Soprano
Nancy- Elmarie Wendel- Alto
Mme. Ernestine- Elizabeth Parrish- Soprano
Oscar- Mario Siletti- Baritone
Fleet Foot- Robert Chambers- VTNE
Chief Brown Bear- John Aniston- VTNE
Chorus and Smaller Roles: 5M/5F

SYNOPSIS

The house lights dim and a spot focuses on a young woman in a turn of the century costume "lighting the footlights" in a turn of the century theatre. As she works she invites the audience to come back in time to the innocence and fun of the operettas of Strauss, Friml and Herbert. She exits and the scene opens on the exterior of Little Mary's Inn, in the mountains of Colorado. A group of forest rangers, led by handsome, Captain Big Jim Warrington, are returning from maneuvers and sing about their achievements (THE FOREST RANGERS- M Solo to M Chorus).
At the end of the song Cpt. Warrington promotes Corporal Billy Jester to second in command and exits leaving a befuddled Billy who quickly refers to his Ranger's Rule Book. He begins to lecture on courage but is interrupted by Chief Brown Bear, of the Kadota tribe, who tells the rangers that Little Mary, his adopted daughter is coming to greet them. He leaves as the rangers sing a tribute to her (LITTLE MARY SUNSHINE- M Chorus and F Solo).
Mary invites the Rangers to a garden party with some visiting young ladies and Billy accepts for the group. When he mentions her present difficulty she is undaunted that the U.S. Government plans to foreclose on her property for back taxes (LOOK FOR A SKY OF BLUE- F Solo and M Chorus).
Cpt. Jim enters, salutes Mary and dismisses the men. He confides his desire to be more than friends but can't commit further due to the fact that his life is threatened by an evil band of marauding Indians. When he asks if she knows his guide, Fleet Foot, she excitedly responds that he saved her life when she was a child and is her adopted father's best friend. She asks him to stroll in her garden.
The garden drop comes in as Cpt. Jim expresses his feelings to Mary by comparing her to the garden itself (YOU'RE THE FAIREST FLOWER- Sc to M Solo). At the end of the number a female operatic voice is heard and Little Mary recognizes the Germanic voice of the plump Madam Ernestime who grandly greets them. Mary introduces Mme. Ernestine, an opera singer and frequent visitor to Little Mary's Inn and Mary and Cpt. Jim leave the opera singer to reminisce about her youth in Bavaria (IN IZZEN SCHNOKKEN ON THE LOVELY ESSEN ZOOK ZEE- Sc to F Solo).
At the Inn, Cora, Maud, Gwendolyn, Henrietta and Mabel, five wealthy young ladies, from Eastchester Finishing School, are passing the time (PLAYING CROQUET- F Chorus). They soon get bored with croquet and find amusement on their swings but are surprised by the entrance of the forest rangers (SWINGING/ HOW DO YOU DO- F and M Chorus).
The girls, except Cora, are eager to flirt. As two of the girls slip off with a ranger Cora, Henrietta and Gwendolyn agree to answer ranger Pete's question regarding their beauty (TELL A HANDSOME STRANGER- Mixed Chorus). As they exit Nancy Tweakle the overly friendly maid, who welcomes attention from men enters with several rangers. A jealous Billy dismisses them as Nancy rushes to kiss him. He refuses to accept her outlandish behavior until she promises never to look at another man (ONCE IN A BLUE MOON- Sc to M/F Duet).
Cpt. Jim, alone onstage, rehearses his proposal scene, but is interrupted by an arriving Billy. Jim commands Billy to disguise himself as an Indian brave and go into the enemy camp if Cpt. Jim's mission fails. Billy nervously exits as Mary enters with an almost blind, ancient Indian who keeps walking into things and toppling over. It is Fleet Foot. Cpt. Jim tries to get the old fellow to draw a map but he insists on accompanying Jim and exits to prepare for the journey.
When Cpt. Jim tells Mary the Indian they seek is Yellow Feather who is Chief Brown Bear's son, Many fears that the Chief's shame will be great for she told him his errant son died trying to save her life. Jim promises to keep the truth from the old Chief and falls to his knees to ask Little Mary to marry him when he returns (COLORADO LOVE CALL- Sc to M/F Duet). She agrees and they exit in different directions.
Yellow Feather's call is heard and Little Mary is frightened by a singing Mme Ernestine who comforts her (EVERY LITTLE NOTHING- Sc to F Duet). Mary hears Yellow Feather's call and screams. The ensemble appears to find out what is upsetting her (WHAT HAS HAPPENED- Mixed Chorus) and Little Mary tries to remain optimistic (FINALE- F Solo to Mixed Chorus).
As Act II begins the young ladies and the forest rangers are engaged in a party (SUCH A MERRY PARTY- Mixed Chorus), when Oscar Fairfax, a retired wealthy General, arrives. He is quite enamored of all the ladies and after sending the rangers off to find Capt. Jim he gives the girls jewelry and urges them to think of him as their uncle (SAY UNCLE- M Solo and F Chorus).
In front of Brown Bear's teepee, Billy gets Indian lessons and clothes from Chief Brown Bear, who adopts him as his son. Billy is pleased at the honor (ME A HEAP BIG INJUN- Sc to M Solo). In front of Brown Bear's teepee the ladies are saddened by the absence of the forest rangers, but Nancy is too busy disguising herself to notice their depression. Mary discovering Nancy's plan to help Billy, admonishes her headstrong, careless ways (NAUGHTY, NAUGHTY, NANCY- F Solo and F Chorus).
After Mary exits Nancy enters dressed like Theda Bara and excites the girls with her tales of the most famous of women spies (MATA HARI- F Chorus). As the song ends she climbs out the window on a rope of sheets. Mme. Ernestine is exercising in the garden when Oscar backs on with a pistol. The two happily discover they were both in Vienna at the same time; he to sell his paintings, and she to study opera-they reminisce (DO YOU EVER DREAM OF VIENNA?- Sc to M/F Duet).
At the Inn, Mary is sadly waiting for Captain Jim's return when a cuckoo bird brightens her thoughts (COO COO- F Solo). Yellow Feather captures Mary but Captain Jim arrives in time to save her (COLORADO LOVE CALL [REPRISE]- M/F duet). The rangers take off Yellow Feather before Brown Bear can discover his son lives. Oscar Fairfax, on behalf of the U.S. Government awards Brown Bear one quarter of the State of Colorado. The old Chief gives Mary the Inn and the remainder to Billy to make a National Park. Fleet Foot arrives as the company bursts into song (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

This small musical spoof on the operetta productions of Friml, Kern, Herbert, and Romberg, has a delightful script, and is perfect for school, summer theatre or community productions. The music is lilting, the lyrics true to the period, and the dialogue humorous. It is important to have an excellent director who understands the operetta form and is able to spoof the production with loving sincerity. The show only requires 3 main settings, the Inn exterior, the garden, and the bedroom. Brown Bear's Teepee, may be on stage throughout as if in a separate area. It may be possible to play the bedroom scene on the porch of the house but it will take some re-adaptation of dialogue.
There are two costumes each for the younger females. The Mounties are in uniform and the Indians are appropriately dressed. Three Indian costumes must be identical for a confusion chase with Nancy, Billy and Yellow Feather.

SONGS OF SPECIAL INTEREST

"Colorado Love Call," Soprano/Baritone, heavily stylized spoof of Jeanette McDonald and Nelson Eddy movies, overdone, good for revue or period study
"Do You Ever Dream of Vienna?," Soprano/Baritone, charm, older character duet, good for revue
"Mata Hari," Small F chorus which gives a student director a chance to work on developing characterizations and staging contrasts of solo to choral
"Once In a Blue Moon," Alto/tenor, charm duet for young comedian and soubrette

Instrumentation: piano/conductor, 5 reeds, 2 trumpets, 2 horns, trombone, percussion, 2 violins, viola, cello, bass, harp. Duo piano arrangement also available
Script: Theatre Arts Dec 60, French
Score: Valando
Record: Columbia
Rights: Samuel French

LITTLE ME

Book: Neil Simon
Music: Cy Coleman
Lyrics: Carolyn Leigh

ORIGINAL PRODUCTION

Lunt-Fontanne, November 17, 1962 (257 perf.)
Director: Cy Feuer
Choreographer: Bob Fosse
Musical Director: Charles Sanford
Orchestration: Ralph Burns

Principals:
Noble/Val du Val/Mr. Pinchley/Prince Cherney/Otto Schnitzler/Fred Poitrine- Sid Caesar- Baritone
Young Belle- Virginia Martin- Mezzo
Patrick Dennis- Peter Turgeon- VTNE
Old Belle- Nancy Andrews- Alto
George- Swen Swenson- Baritone
Benny Buchbaum- Mort Marshall- Baritone
Bernie Buchbaum- Joey Faye- Baritone
Chorus and Smaller Roles: 6M/6F minimum

SYNOPSIS

Patrick, Dennis, noted author, arrives at Belle Poitrine's lavish drawing room, prepared to write the famous woman's memoirs. He waits with her Butler as the large flamboyant woman enters followed by her three hairdressers from New York. Patrick insists she tells him all the facts and intimacies of her life (THE TRUTH- F Solo to Small Male Chorus).
As she begins her story the scene flashes back to Venezuela, Illinois, the town where sixteen-year old Belle is growing up in poverty.
Belle is an extremely attractive, sexy young girl who only has eyes for the wealthy, handsome, captain of the football, baseball, debating and tumbling teams, Noble Eggleston.
Noble first meets Belle when he and his friends give her family some food. As he hands her the basket, their hands touch and the music crescendos. He asks her to his sixteenth birthday part and exits. Belle yearns to marry Noble and change her life (THE OTHER SIDE OF THE TRACKS- Sc to F Solo).
At the party the rich kids dance (THE RICH KIDS RAG- Dance and Mixed Chorus). When Noble's mother discovers her son has invited a girl from Drifter's Row to the party she insists he marry an equal, someone with navy blue blood. Belle enters in her mother's red working dress and Noble tells her of his mother's mandate, yet confesses that he loves her (I LOVE YOU- Sc to M/F Duet with Mixed Chorus in an Echo Effect).
Realizing she must achieve wealth and social position in order to marry Noble, Belle sets out to achieve her life's desire (ON THE OTHER SIDE OF THE TRACKS [REPRISE]- F Solo). George Musgrove, a boy from Drifter's Row, who is attracted to Belle, bids her farewell and promises help if she ever needs it.
The lights rise on an older Belle narrating her story to Patrick Dennis. As she continues the lights cross fade to the interior of a small town bank owned by the cranky eighty-eight year old Amos Pinchley who is wheeled on by his nurse. He terrorizes his son, Junior, and the people of Drifter's Row, who have come to ask him not to evict them. Belle calls him a rotten man and forces him to realize that no one loves him. She tries to demonstrate the way he can change his image (DEEP DOWN INSIDE- Sc to M/F Duet to Mixed Chorus). During the number Pinchley tears up the mortgages on Drifter's Row and befriends everyone. The new Pinchley is overjoyed and sets Belle up in Pioria where she tries to gain culture and refinement.
Older Belle tells Patrick the gossip mongers were upset that Pinchley spent every weekend in Belle's hotel room and proceeds to describe the event that caused a tremendous sensation.
The lights rise on the hotel room where Belle practices her poise and diction exercises while waiting for Pinchley to arrive. Pinchley dances on excited that he can walk and asks Belle to marry him. She agrees when he promises to leave her all his money. They embrace and Pinchley's gun, in his breast pocket, accidentally goes off killing the old man.
Belle is tried, acquitted, and booked into vaudeville by the Buchsbaum Brothers, Bernie and Benny, who comment on her obvious talent (BE A PERFORMER- Sc to 2M/F Trio). Belle triumphantly performs with four policemen (DIMPLES- F Solo and Male Quartet).
Lights rise on an older Belle sculpting a clay figure of Patrick Dennis in a tiger skin. She tells him her vaudeville career suddenly ended when the Buchsbaum Brothers dropped her for Peaches Browning, who killed her millionaire husband at the wedding. Belle found work as a photographer in a nightclub.
In the nightclub, Belle is taking pictures of the patrons when Noble, his mother, and his fiance Ramona, a childhood friend appear. Belle is crushed that Noble didn't wait for her, but he blames it on his mother. As they exit, Val Du Val, an egotistical star is introduced by three French coquettes. Val enters with his partner Collette who emphasizes his lyrics with her drum and the girls sing back up (BOOM BOOM- M Solo to F Trio).
At the end of the number Val takes his bows and exits backstage to discover the heartbroken Belle preparing to leap from a window's edge. He dissuades her by telling her the story of his last love and leaves her with a tall handsome man who turns out to be George Musgrove from Drifter's Row. As the club empties, he ignores the fact that she still loves Noble and invites her to his downstairs apartment (I'VE GOT YOUR NUMBER- Sc to M Solo). War is declared and Belle succumbs.
Older Belle in the middle of a ballet lesson continues to tell her story. It seems George joined the Navy and unknowing left her pregnant while Noble was shipped overseas before he could marry Ramona.
The scene shifts to a small World War I apartment party which the sixth month pregnant Belle is attending. Her friends introduce her to Fred Poitrine, a thickly bespectacled wimpy individual who is simplistically happy. He offers to marry Belle because she reminds him of his mother who is also "fat". She tells him the truth but he is oblivious to her condition and insists that everyone get married before leaving for the front. The preacher arrives to marry everyone and Fred admits to Belle that he has never kissed a girl (REAL LIVE GIRL- Sc to M Solo).
A series of lights rise on various girls reading letters from the front while their husbands are shown in fighting conditions. As Belle reads the lights rise on Fred who is typing orders. A letter arrives that Fred has died from wounds received while typing. Hearing that Noble has been shot down she leaves her daughter with her mother and goes to France to find him.
In a French base hospital the soldiers discover Belle and her girls are coming (REAL LIVE GIRLS- Small Male Chorus). Belle arrives and discovers Val Du Val suffering from amnesia. As the cannons sound in the distance, she helps him regain his memory and promises never to leave him. As he goes to evacuate his orchestra, Noble arrives and begs her to marry him. She agrees and Noble exits into the hospital as Val Du Val enters. When she tells Val she is going to marry Noble, the amnesia returns and he exits. Afraid that her departure will cause a permanent relapse, she bids the entering Noble farewell. Noble exits and Val Du Val returns. She agrees to the wedding and the troops move out.
Act II opens with older Belle in a steam bath continuing her memoirs. It seems she and Val booked cruise tickets on the SS Gigantic.
The scene shifts to the ship's decks where Belle is greeted by the Buchsbaum Brothers who had become Broadway producers. Noble is also on board, now a famous judge, doctor, husband, and father. When the ship hits an iceberg, Noble takes over the ship and tirelessly saves everyone except Val, who drowned when his amnesia returned and he forgot how to swim.
Older Belle finishes telling the story to Patrick on a masseur table. It seems that Belle sued the company for two million dollars and Mrs. Eggleston had Ramona and Noble's marriage annulled when she discovered that Ramona's family lost their money in the stock market crash. Belle, knowing Mrs. Eggleston won't accept her without culture contacts the Buchsbaum Brothers.
Young Belle becomes a partner to Bernie and Benny and tells of the loneliness of being a Hollywood starlet. As she sings various theatre marques and variety headlines are displayed with letters of her various hits (POOR LITTLE HOLLYWOOD STAR- F Solo).
In Bernie and Benny's office, the three are desperately searching for a director when an elderly delivery boy arrives with their lunch. They discover the delivery boy is none other than Otto Schnitzler, former German film director who has hit the bottom. The filming begins. As Schnitzler is demonstrating the knife scene he accidentally stabs himself with a real knife and Belle is forced to direct the picture which is a financial flop but a cultural smash according to the "Harvard Lampoon".
Older Belle tells Patrick, after a game of tennis that she discovered oil on the studio back lot and became one of the world's wealthiest women but still had no social position. She sings with young Belle (LITTLE ME- F Duet).
In the casino at Monte Carlo Belle meets Prince Cherny who has come to win money for his bankrupt kingdom. At the last minute Belle switches his bet which causes him to lose the last of his royal treasury. He collapses, but Belle, determined to minister his needs, moves into his bedchamber for two weeks. The weakened Prince rallies enough to bid his subjects farewell (THE PRINCE'S FAREWELL- Sc to M Solo). The number builds into a rousing dance in the Russian style. When Belle arrives to give the prince a check to save his kingdom he gives her a title and dies. She returns to the U.S. with wealth, culture, and social position.
Noble is sworn in as Governor of North and South Dakota and has asked Belle to marry him. The future looks rosy until Belle urges him to take a drink and he becomes an alcoholic bum.
Older Belle continues her story. The drunken Noble, disgraced and impeached, disappeared and she returned to her estate to await his return. One night Belle and her friends were gathered to toast the occasion (HERE'S TO US- F Solo to Mixed Chorus) when Noble, now a bum, arrives, takes George Musgrove aside and confides he is going to the South Seas to kick the habit.
Years later he returns after Belle's daughter and Junior Eggleston have become engaged and Belle has married George. As he enters Belle's home, Mrs. Eggleston enters with a gun to kill Belle, but kills Geoge instead. At last Noble and Belle are free to be with each other (FINALE- Company).

NOTES ON THE PRODUCTION

The show ran opposite A Funny Thing Happened on the Way to the Forum and Oliver!, two shows that took most of the Tony Awards. However, Bob Fosse's choreography won an Award.
The show is extremely humorous and fun for a community theatre, high school, or college, for it can be performed by a small cast. Much of the enjoyment is derived from the fact that the leading male performer plays many roles and must constantly run offstage as one character and return a few seconds later in a different part. The chorus plays a variety of parts and is constantly busy-either offstage changing costumes or onstage performing. The use of a smaller chorus makes the show more fun for the audience who is constantly amazed to see the same performers in a variety of scenes.
There are quite a few costumes, a different one for each scene and each character in the scene. The show covers a wide time frame and this must be reflected in the costumes. The set may be comprised of small pieces which establish location. A unit of levels would be the most adaptable.

SONGS OF SPECIAL INTEREST

"Be a Performer," Trio, good for Revue situation and for beginning choreographer as the two men must move a lot in the vaudeville style, good character relationship important
"I've Got Your Number," Baritone, Soft shoe, suave, good for class and playing an audience
"The Other Side of the Tracks," Mezzo Solo, shows off voice, good for audition, spunky, up tempo, some belt

Instrumentation: 3 violins, cello, bass, 5 reeds, 2 trumpets, 3 trombones, 2 percussion, harp, banjo, piano/conductor
Script: Collected Plays of Neil Simon, Vol. II
Selections: Hansen
Record: RCA
Rights: Tams-Witmark

A LITTLE NIGHT MUSIC

Book: Hugh Wheeler
Music and Lyrics: Stephen Sondheim
(Based on "Smiles of a Summer Night," a film by Ingmar Bergman)

ORIGINAL PRODUCTION

Shubert Theatre, February 25, 1973 (601 perf.)
Director: Harold Prince
Choreographer: Patricia Birch
Musical Director: Harold Hastings
Orchestration: Jonathan Tunick

Principals:
Mme. Armfeldt- Hermione Gingold- Alto
Desiree- Glynis Johns- Alto
Fredrika- Judy Kahan- Soprano
Petra- D. Jamin Bartlett- Mezzo
Fredrik Egerman- Len Cariou- Baritone
Henrik- Mark Lambert- Tenor
Anne- Victoria Mallory- Soprano
Charlotte- Patricia Elliott- Mezzo
Count Carl Magnus- Laurence Guittard- High Baritone
Chorus and Smaller Roles: 4M/5F, includes the vocal quintet comprised of 2 M/3F must blend well together and be able to move with style

SYNOPSIS

The play opens with the quintet vocalizing and singing of what is to come and what has passed (REMEMBER- Quintet).
The plot revolves around Anne Egerman, a pretty eighteen-year old virgin bride of eleven months; Henrik, Fredrik's nineteen year old son; Fredrik, a lawyer in his forties; Desiree Armfeldt, a popular actress; the Countess Charlotte and her husband, Carl Magnus, Desiree's lover. Fredrik arrives home with tickets to the theatre as Anne excitedly rattles on about the day's events. He wonders if he should nap or attempt to consummate their marriage (NOW- M Solo with F Lines). He decides to nap.
Henrik, the melancholy 19-year old bible scholar and cellist son of Fredrik, is in the parlor below, reading, when Petra, the easy going young maid, sexually teases him. Henrik attempts to kiss her and she breaks away, promising later. Henrik angrily wonders when later is (LATER- M Solo). Meanwhile in the bedroom, Anne looks at the sleeping Fredrik, and promises that soon she will be his (SOON- F Solo). The three, unaware of each other, sing in unison.
The scene switches to Desiree's mother's house where Fredrika, Desiree's thirteen-year old daughter, plays scales on the piano (ORDINARY MOTHERS- F Solo). Desiree enters in a flurry to talk with her mother and daughter. The quintet comments (ORDINARY MOTHERS- Mixed Chorus).
The Egerman's arrive in a box at the performance where Desiree is starring. The actress enters the stage and obviously recognizes Fredrik. Two of the quintet comment on the moment (REMEMBER- M/F Duet) while Anne, who is upset rushes from the theatre.
Meanwhile, in the Egerman parlor, Henrik quickly putting on his trousers, laments his failure to seduce Petra. She is busy comforting him, as Anne and Fredrik enter. While Anne sleeps, Fredrik seeks out Desiree in her apartment and uncomfortably tries to explain his reason for coming to see her (YOU MUST MEET MY WIFE- Sc to M/F Duet). Desiree is shocked that Anne hasn't allowed her husband to make love to her and realizing his needs ushers him into the bedroom. The scene switches to Mme. Armfeldt, who sings (LIAISONS- F Solo).
When Desiree's present lover, a count in the dragoons, unexpectedly arrives in the dressing rooms, Henrik and Desiree fabricate a story to convince the count that she has not been unfaithful. He is doubtful (IN PRAISE OF WOMEN- L to M Solo).
Carl Magnus forces his wife, Charlotte, to visit Anne and tell her about Frederik in Desiree's apartment. The two lament the problems of love (EVERY DAY A LITTLE DEATH- Sc to F Duet).
Desiree, anxious to be with Fredrik, convinces her mother to send a weekend invitation to Fredrik and his family. When Petra excitedly delivers the invitation to Anne, who is appalled, Charlotte convinces her to go and tells Carl about the invitation. He informs her that they will also visit Desiree and the groups set off (A WEEKEND IN THE COUNTRY- Mixed Chorus).
Act II begins with the quintet setting the mood for the weekend visit on the estate (SUN WON'T SET- Mixed Chorus).
As Fredrik and Carl Magnus wait for Desiree, on the lawn in front of the estate, each sings his inner thoughts (IT WOULD HAVE BEEN WONDERFUL- Sc to M Duet). The dinner is a shambles with the Countess trying to infuriate Carl Magnus by flirting with Fredrik, Henrik rushing off because of the phoniness of the people present, and Anne hastening to find him. Fredrik and Desiree both admit they wanted to recapture time and Desiree comments on their foolishness (SEND IN THE CLOWNS- Sc to F Solo).
Anne finally discovers Henrik in the garden attempting suicide, they embrace and tell each other of their love. Nearby, Anne's maid, Petra, has finished a night of lovemaking with Fred, a servant. As Fred sleeps, Petra dreams of her future (THE MILLER’S SON- F Solo).
Henrik and Anne leave together as Charlotte tells Fredrik she really loves her husband. Carl Magnus jealously accuses her of infidelity and challenges Fredrik to Russian Roulette. A shot is heard and Fredrik is carried on with a grazed ear. Carl Magnus and Charlotte leave-she has achieved her aim.
Desiree and Fredrik are left to each other. The play ends with the lovers waltzing with their respective partners (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

A Little Night Music won seven Tony Awards in 1973 for Director, Score, Book, Actress, Supporting Actress, Musical, and Costumes.
The show is a charming one and is a musical pastiche that captures the flavor of turn of the century-Sweden. The actors must be superb or the show shouldn't be considered. It is musically quite difficult; there are quite a few period costumes for each character, including formal dinner wear; the sets may be simplified by using the wing and border system if the stage is proscenium. In fact, the sets aren't as important as the performances or the costumes.
The production must be extremely fluid and the movement must be smooth and flowing. While there are no "dance numbers" per se-, a choreographer should be utilized to train the performers in the art of movement and period decorum. In order to be successful and interesting the audience must experience the "evening" as an entire believable theatrical entity.

SONGS OF SPECIAL INTEREST

"Every Day a Little Death," Mezzo-Alto/Soprano Duet, relationship, lyric and underlying emotion of importance, good for drama and pain
"Liaisons," older character woman, philosophic number, class work only, Low alto without much vocal quality
" The Miller’s Son," Mezzo, movement possible but not necessary, emphasis is on lyric and emotion, character study
"Send In the Clowns," bittersweet, now a standard, good for character study when coupled with scene before and after
"You Must Meet My wife," Baritone, alto, clever lyric and underlying story make this an excellent number for relationship development, takes a mature actress to make the number work
"A Weekend in the Country," Excellent for vocal work and showcase or Revue, characters are important, movement is necessary, good for beginning choreographer, small chorus

Instrumentation: 5 reeds, 3 horns, 2 trumpets, trombone, percussion, harp, celeste/piano, 3 violins, viola, cello, bass, piano/conductor
Script: Dodd, Mead
Score: Revelation
Record: Columbia, RCA
Rights: MTI

LITTLE SHOP OF HORRORS

Book and Lyrics: Howard Ashman
Music: Alan Menken
(Based on the film by Roger Corman)

ORIGINAL PRODUCTION

Orpheum Theatre, July 27, 1982 (2,209 perf.)
Director: Howard Ashman
Musical Staging: Edie Cowan
Musical Direction/Vocal Arrangements: Robert Billig
Instrumental Arrangements: Robby Merken
Puppets: Martin P. Robinson

Principals:
Chiffon- Marlene Danielle- VTI
Crystal- Jennifer Leigh Warren- VTI
Ronnette- Sheila Kay Davis- VTI
Mushnik- Hy Anzell- Baritone
Audrey- Ellen Greene- Mezzo
Seymour- Lee Wilkof- Tenor
Orin/Bernstein/Snip/Luce and Others- Franc Luz- Baritone
Audrey II- Martin P Robinsin & Ron Taylor- Bass
Chorus and Smaller Roles: There is no chorus in the production. Chiffon, Crystal and Ronnette act as a Greek Chorus by commenting on the action. Their vocal types are interchangeable.

SYNOPSIS

After a God like voice thunders out a pronouncement of danger, a la a grade B science fiction film, the lights rise on Crystal, Ronnette, and Chiffon, three street urchins who exemplify the 1960's singing groups (LITTLE SHOP OF HORRORS- F Trio).
The act begins as the three move downstage to sit on a stoop, where a wino sleeps, to read monster magazines. Upstage, the shop lights rise on the interior, which is dismally decorated with a large clock, which revolves to show the passage of time. Mr. Mushnik, the owner of this very faded, unpopular, shop in the skid row area, comments on the poor business to his two shop clerks, Seymour, a balding wimp in his mid twenties, and Audrey, a well built, not very bright, bleached blonde. He yells at the three urchins on the stoop to go out and better themselves, but they retort on the impossibility of their situations. The wino, Mushniik, Audrey and Seymour add in their own reasons for living in the seedy section of town (SKID ROW- Mixed Chorus).
The clock slowly ticks off the hours and stops at six; no one has been in the shop all day. The defeated Mushnik announces the closing of the business but Seymour and Audrey, convinced that the addition of exotic plants would help business, beg him to renovate his stock to highlight the unusual. Seymour rushes into the workroom and re-enters with a weird plant he has romantically named Audrey II.
Within seconds of placing the plant in the window, a customer arrives to inquire into the history of the plant. Seymour relates the story of the purchase of Audrey II as the urchins, outside the store, vocally back him (DA DOO- M Solo/3F Trio).
The customer buys one hundred dollars worth of roses and Mushnik deliriously invites his clerks to dinner. Audrey sadly refuses, for she has a prior date with her sadistic boyfriend, and a sudden drooping of the plant forces Seymour to discover the problem. Mushnik exits leaving Seymour, alone with Audrey II, to ponder the problem, he begs her to grow (GROW FOR ME- L to M Solo).
When Seymour accidentally pricks his finger, which causes the plant to perk up, it dawns on him that Audrey II needs blood to stay healthy. He gives the hungry plant a few more drops and begs it to grow. As he exits the plant grows several sizes before the lights blackout.
Mushnik, Crystal, Chiffon, And Ronnette are seated outside the shop listening to a radio interview where Seymour discusses his new plant. Mushnik is amazed at the success of Audrey II and Seymour. As he announces his astonishment to the urchins, Seymour enters to extol in his glory (DON'T IT GO TO SHOW YA NEVER KNOW- Sc to 2M Solo to 3F Trio). The plant, which Seymour carries in a medium size pot, becomes extremely involved in the number by attempting to take nibbles out of the urchins. Seymour rushes her off as Audrey enters with a black eye.
The urchins urge Audrey to dump her creepy boyfriend and take up with Seymour. She is touched to think that Seymour could care for and dreams of a place they could be happy together (SOMEWHERE THAT’S GREEN- L to F Solo).
One week later, Mushnik, Seymour and Audrey are busy renovating the shop (CLOSED FOR RENNOVATION-2M/1F Trio). At the end of the song Audrey II is revealed, she has reached five feet in height and has sprouted ominously spiked leaves. Audrey is impressed with Seymour and offers to help him choose new clothes for his garden club lectures and Television interviews. They are obviously in love, but Audrey has a date with her motorcycle owner boyfriend whom she is afraid to leave.
On the street, the Urchins meet Orin Scrivello, Audrey's boyfriend, and immediately attack him for his awful treatment of her. He nonchalantly explains he has always loved the pain of others, which is why he became a dentist (DENTIST- Sc to M Solo with F Trio).
Orin enters the shop and begins telling Seymour to sell Audrey to another florist shop at top price. Mushnik overhears this and ponders his life without Seymour. After Audrey and Orin exit Mushnik asks Seymour to be his son to which Seymour agrees (MUSHNIK AND SON- Sc to M Duet).
Mushnik leaves Seymour alone to consider his good fortune but his thoughts are interrupted by the plant, who begs for food. Seymour, whose fingers are bandaged has nothing more to give for he has become anemic. Audrey II orders him to get blood, reminding Seymour that his recent success is due to her (GIT IT- Sc to M/Puppet Duet).
Audrey cunningly suggests that Seymour should consider how many evil people deserve to die and Seymour agrees that Orin Scrivello, the sadistic dentist, would be an excellent candidate.
The scene shifts to a small antiquated dentist office where Seymour arrives, gun in hand, to shoot Orin, but the dentist quickly takes the gun away and decides to pull one of Seymour's teeth without the benefit of a pain killer.
He exits to give himself some laughing gas, so he can have a more memorable experience and re-enters wearing an enormous clear plastic bubble on his head with a hose extending to the gas line. He is hysterical with laughter but panics when he discovers he is unable to remove the mask. Seymour ponders the situation as Orin laughingly begs him to remove the mask (NOW/IT'S JUST THE GAS- Sc to M Duet); Orin drops to the floor dead as Seymour returns to feed the hungry plant.
The Act II lights rise on Audrey II who takes up approximately one third of the shop. Business is booming, as evidenced by the increase in phones and the constant phone calls (CALL BACK IN THE MORNING- Linear M/F Duet). At six they close the shop and Audrey hesitantly reveals her past to an understanding Seymour. She is overjoyed that he loves her (SUDDENLY SEYMOUR- Sc to M/F Duet with F Trio).
Mushnik enters to find them embracing, sends Audrey home and confronts Seymour with his suspicions concerning the dentist's death. The plant, in the background, hints that it is hungry (SUPPERTIME- 2 M Scene interspersed with Plant Solo). Mushnik wants Seymour to go to the police and proclaim his innocence but Seymour tells Mushnik they better not leave the cash receipts, which are in the plant. Mushnik enters the plant, which greedily swallows him.
Seymour leaves the shop but is instantly surrounded by the urchins who represent teenage fans. He is subsequently approached by Bernstein, a high spending, fast talking, television producer who offers him a contract for a TV gardening show; the wife of the editor of Life, who wants his picture on the cover; and a slick talent agent, who wants him to sign for lecture tours. Seymour is overwhelmed at the possibilities but nervous about the outcome of the continued feeding of Audrey II (THE MEEK SHALL INHERIT- 2M Solo and 3F Trio).
One stormy night Seymour is in the shop with the starving plant when he decides he must kill the plant. He and exits feeling very satisfied and relieved. Later that same evening Audrey re-enters the shop looking for Seymour. The hungry plant grabs her and Seymour arrives in time to pull her crushed body from its tentacles. He confesses to Audrey that Orin and Musnik are inside the plant and she lovingly begs him to feed her to her namesake; she would like nothing better than sacrificing herself for Seymour's continued fame. As a sunset appears in the background, Seymour dramatically feeds the dead Audrey to the waiting plant.
Seymour's sadness is interrupted by yet another opportunist, a Patrick Martin, who wants to take cuttings of the exotic creature and sell them across the country. After he exits, Seymour turns to the plant realizing that the plant was sent to conquer the world. He shoots the plant, he tries poison, and in desperation he picks up a machete and climbs into the plant to hack at its insides. The creature's jaws close around Seymour and re-open to toss the machete to the floor.
Martin re-enters with the urchins, whom he has hired to take cuttings of the plant. They move downstage, as the shop screen closes, to tell of the horrible fate of the world as entire towns were eaten by Audrey II's offspring. The screen opens to reveal a nine foot tall Audrey II complete with four blood red flowers containing the faces of the dead Seymour, Mushnik, Adurey and Orin. They urge the audience not to feed the plants (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

This wonderful small cast spoof on horror films is a delight for audiences and performers alike. It is best produced in smaller theatres for the audience should feel they are in danger of being swallowed by the plant. Many of the reviewers who saw productions in both New York and in on the road felt the show lost a great deal by being performed in larger theatres.
The costumes are few and simple, the set is primarily a one set location with the shop interior upstage left, a step unit stage right which represents a stoop and an entryway to the shop's exterior downstage left. There should be a curtain or folding door arrangement to conceal the "growing" plant.
The major problem in producing the show revolves around the different puppets which represent Audrey II. The excellence of the puppet is what makes the show so much fun and it should not be attempted by a company without a good puppet maker and manipulator. Audrey begins as a small hand puppet in a small pot, is later seen, and operated, in a medium size pot, and finally consumes entire human beings. The enormous Audrey also moves around in dance style and this must be considered when staging the "Feed Me" Number. Companies planning a production of Little Shop should have the puppets completed by the time rehearsals begin.

SONGS OF SPECIAL INTEREST

"Dentist," may be done as a Baritone solo in a classroom situation, characterization and laughter important
"Mushnik and Son," Baritone/Tenor, strong character oriented duet, good for class study
"Skid Row," good small chorus, representative of the 60s style singing groups, characterization work
"Somewhere That's Green," Mezzo/Tenor, wonderful lyrics make this an excellent number for a musical revue or class situation, characterization believability and sincerity important

Instrumentation: piano/conductor, percussion, guitar (6 string electric, 6 string acoustic), keyboards (synthesizer, organ, electric piano), bass
Script: Nelson Doubleday
Selections: Menken
Record: Geffen
Rights: Samuel French

LORELEI

Book: Kenny Solms and Gail Parent
Music: Jule Styne
Lyrics: Betty Comden and Adolph Green
(Based on the musical comedy Gentlemen Prefer Blondes which ran for 740 performances in 1948 with a book by
Anita Loos and Joseph Freed, music by Jule Styne and the lyrics of Leo Robin)

ORIGINAL PRODUCTION

Palace Theatre, January 27, 1974 (320 perf.)
Director: Robert Moore
Choreographer: Ernest O. Flatt
Musical Director: Milton Rosenstock
Orchestration: Philip J. Lang and Don Walker

Principals:
Lorelei- Carol Channing-
Dorothy- Tamara Long-
Mrs. Spafford- Dody Goodman-
Gus Esmond- Peter Palmer-
Henry Spafford- Lee Roy Reams-
Chorus and Smaller Roles:

SYNOPSIS

The play opens in a cemetary where widow Lorelei Lee is paying her last respects to her deceased husband. Lorelei, complete with diamonds, tells the audience about her wonderful life with Gus (LOOKING BACK- L to F Solo).
The scene flashes back from 1944 to 1924 where Lorelei is preparing to sail on the Lle De France without Gus, whose father insists he attend the button makers’ convention in Atlantic City; Gus bids her farewell, complete with a gift (BYE BYE BABY- Sc to M/F Duet and Mixed Chorus).
Dorothy, an Earl Carrol Vanities Chorine, is acting as Lorelei’s chaperone, but with the Olympic team on board, Dorothy probably won’t do much chaperoning (IT’S HIGH TIME- F Solo and Chorus).
Lorelei, after meeting Henry Spafford, a wealthy young man, decides that Dorothy and he would be a perfect match. After all, why waste time on athletes when there’s wealth around?
Gus sends Lorelei a telegram, notifying her that Mr. Esmond is searching Lorelei’s past. She confides to Dorothy that her background is a lie; she wasn’t from an old Virginia family (A LITTLE GIRL FROM LITTLE ROCK- L to F Solo). Dorothy is convinced that Lorelei should tell Gus the truth, but she ignores the advice and sets out to find a wealthy substitute, just in case.
She chances to meet Mr. Gage, a wealthy man with world wide patent rights to the zipper. She instantly foresees the button as becoming obsolete and sets her cap for the Zipper King, but Mr. Gage is a very quiet man (I’M A TINGLE, I’M A GLOW- M Solo and M Chorus).
The Olympic team works out daily (WORK OUT SONG). Dorothy ignores Lorelei’s advice; she is a sucker for spirited athletes (I LOVE WHAT I’M DOING- F Solo).
The Lle Lands in Paris, a mecca for American tourists (PARIS, PARIS- Mixed Chorus).
In Paris, Henry vows undying love for Dorothy (I WON’T LET YOU GET AWAY- Sc to M Solo).
At the hotel, Lorelei and Dorothy greet the Olympic team, who have just lost but vow to keep trying to win for their President (KEEPING COOL WITH COOLIDGE- 2F/M Trio and Chorus).
In the midst of the hotel party, Gus enters, shocked at Lorelei’s behavior and furious that her new dress is closed by a zipper. He storms out while Lorelei vows never to marry him. Lorelei and Dorothy sing their views of the opposite sex (MEN- F Duet, Vaudeville style).
Act II opens at a Paris nightclub, where Lorelei, to further infuriate Gus, is performing a specialty act in her new zipper dress (MAMIE IS MIMI- F Solo).
A fight ensues when Gus discovers Gage is a zipper manufacturer. He is knocked out, but, upon reviving, tells Lorelei he loves her and has left his father’s business for her (LORELEI- M Solo). Lorelei wisely tells Gus she will only marry him with his father’s permission, so everyone heads home on the Lle de France (HOMESICK BLUES- F Duet to Mixed Chorus).
At the wedding party, where Dorothy and Henry have been dancing for seventy two hours while waiting for Gus’s father to make a decision, Henry declares he could dance with Dorothy forever (JUST A KISS APART- Sc to M/F Duet) and proposes they get married alongside Lorelei and Gus. Gus’s father breaks down when he hears Lorelei’s business idea and happy couple is united.
The scene returns to 1944 where Lorelei comments on her wonderful marriage and all she has to show for it (DIAMONDS ARE A GIRL’S BEST FRIEND- F Solo).

NOTES ON THE PRODUCTION

A remake and update of the original Carol Channing musical needed its star to make it work. While not actually a revival, most of the best material was retained from the original and it did serve as a way to bring Miss Channing plausibly into the role of the young Lorelei Lee.

SONGS OF SPECIAL INTEREST

Instrumentation:
Script: NP (see Gentlemen Prefer Blondes)
Vocal Selections: Consolidated Music Publishers
Record/CD: MGM
Rights: Tams-Witmark

LOST IN THE STARS

Book and Lyrics: Maxwell Anderson
Music: Kurt Weill
(Based on Alan Paton’s poetic novel Cry, the Beloved Country)

ORIGINAL PRODUCTION

Music Box Theatre, October 30, 1949 (273 perf.)
Director: Rouben Mamoulian
Musical Director and Orchestration: Kurt Weill

Principals:
Stephen Kumalo- Todd Duncan- Baritone
Grace- Gertrude Jeanette-VTI
Absalom- Julian Mayfield-VTI
James Jarvis- Leslie Banks-VTI
Irina- Inez Matthews- Soprano
Chorus Leader- Frank Roane- Tenor
Linda- Sheila Guyse- Mezzo
John Kumalo-Warren Coleman-VTI
Alex- Herbert Coleman- Baritone Chorus and Smaller Roles:

SYNOPSIS

As the curtain goes up in darkness, a picture of Ixopo Hills gradually develops in the background. The first scene is in the tiny and cheap, but clean, sitting room in the home of Stephen Kumalom near St. Mark's church near Notsheni Natal, South Africa. As the curtain rises, we see singers entering from the pit onto the center stairs and also from right and left stage to positions on the side steps. The leader begins a song (THE HILLS OF IXOPO- Mixed Chorus).

Stephen Kumalo enters and sits on a chair behind the table. As the last of the singers go out the lights come on in the sitting room. Grace Kumalo enters while a small Zulu girl runs in with a letter for Stephen. The letter is from his brother John asking him to convince their sister, Gertrude, to leave Johannesburg as she has turned to prostitution. Grace tries to convince Stephen to spend his son’s college money in order to go to Johannesburg to find their son as well as see his sister. Their son, Absalom, has gone to Johannesburg in order to raise more money for his education. Stephen doesn't want to do this, although he has not heard from his son in a year (THOUSANDS OF MILES- M Solo). He finally agrees to make the trip.

Scene two opens at the train station. The leads and chorus who were present in the opening are there and they sing (TRAIN TO JOHANNESBURG- Mixed Chorus). A white father, son and grandson enter. The son, Arthur, and his son, Edward, are leaving on the train. Arthur sees Stephen and approaches him with a friendly greeting. They talk quickly, small talk. Jarvis, the father, reprimands his son for talking to a black man, but Arthur refuses to listen. All leave on the train.

Next it is John Kumalo's tobacco shop in Johannesburg where John and his friends discuss the political situation in South Africa. Stephen enters the shop and tells John that his sister would not agree to leave, but that she was willing to let Stephen take her son back to the hills. John accuses him of collaborating with the government by virtue of the fact that he is an Angelican priest, but Stephen, ignoring him, asks if he has seen Absalom. John tells him that Absolom and Matthew, his son, are off working in the textile mill.

Scene four opens with the light coming up on the chorus on the orchestra pit steps. They begin to sing as Stephen goes from place to place looking for his son. Finally he meets Absalom's parole officer who promises to take him to Absalom's girlfriend in the morning (THE SEARCH- Mixed Chorus).

The lights come up as we see Stephen striking a match and lighting a candle in a tiny, squalid room. Alex, his nephew, is with him. Stephen tells Alex about his home in the countryside (THE LITTLE GREY HOUSE- M Solo and M Chorus).

Scene six opens in a dive in Shanty Town. Some strange harmonies have crept into the last few bars and we discover that they are indicators of another song that begins to come from another part of the stage, still in darkness. It's sung in the manner of a nightclub entertainer and, as the lights come up, we see Linda, the singer, Matthew Kumalo, Johannes Pafuri and Rose and Sutty, two girls who came with the young men. Absalom Kumalo sits alone and moody. Two dancers, a man and a girl, dance to Linda's singing (WHO'LL BUY- F Solo). Matthew and Johannes approach Absalom about a robbery. Absalom has agreed to do it, but he doesn't want to use a gun. Irina, Absalom's girlfriend, enters. He tells her that he will be leaving in order to earn money working in the gold fields, so that he can return to her, but Irina discovers the robbery plans. She talks Absalom into going home with her instead, until Matthew and Johannes convince him otherwise. The lights dim as they go out.

Scene seven takes place in Irina's hut in Shanty Town. Stephen arrives alone to speak with her and she tells him that Absalom is gone. Stephen attempts to test her loyalty and discovers that her morals are not the same as his because of the terrible conditions that she lives in, but he accepts her when he finds that her love for Absalom is sincere (TROUBLE MAN- F Solo).

Scene eight begins in the kitchen of Arthur Jarvis' home where the robbery occurs. Nothing goes as planned for the robbers; Matthew, Johannes and Absalom end up shooting his father's friend, Arthur Jarvis (MURDER IN PARKWOLD- Mixed Chorus).

Scene nine opens in Arthur Jarvis' library. As the lights come up we see James Jarvis seated in a chair by a desk, motionless and alone. Eland knocks and then enters. He tells Jarvis that one of the offenders has been caught. They discuss the irony in the death of Arthur, who strongly believed in black equality and Eland exits.

A street in Shanty Town is the setting for scene ten. As the lights come up the street is empty. A man and a woman run through, knocking at doors. The Zulus come out of their houses and gather in groups around three newspapers, reading intently. There is a whistle from off right and the street empties as the houses go dark. A policeman passes through and disappears and the people emerge from the houses and cluster again around the papers. A white man and woman enter from the right. They begin to talk about fear. Then a black chorus and later a white one, begin to sing (FEAR- Mixed Chorus).

The lights come upon Eland, who is pacing up and down. Stephen enters from the right and crosses to him. Eland takes him to see Absalom in jail and Absalom tells him truthfully what happened. Stephen's heart is broken and he turns to go and the lights fade.

The lights come up on Stephen in his Shanty Town lodging, where he sits at a table trying to write. Alex, in the cot near him, wakes and asks what he is doing and Stephen tells him that he is writing a letter to his wife, the hardest thing he has ever had to do. Alex suggests that he should ask God for help. Stephen sings (LOST IN THE STARS- M Solo and Mixed Chorus).

Act II begins as the curtain goes up on a dark and bare stage. The chorus enters in the dark and the lights come up after the music has begun (THE WILD JUSTICE- Mixed Chorus). The lights come up on John's tobacco shop. John stands behind the counter and Stephen sits before him. John is telling him that he will get a lawyer but the boys must all agree to the same story. Stephen tells him that Absalom has refused to lie, but John explains the law game to Stephen, saying that Absalom had better coincide with the other two. John goes out and Stephen sings (THE SOLILOQUY- M Solo).

The lights dim out and come up on the door of a well-kept residence in Johannesburg. Stephen goes to the door, knocks, gets no answer and begins to go. Suddenly James Jarvis opens the door and Stephen hesitantly asks him to intercede on his son's behalf, but Jarvis refuses because he is afraid that, without punishment, these kinds of events would never stop. Jarvis turns to go inside.

Scene two begins with the lights coming up on Irina's hut where we see Irina hanging some clothes on a line (STAY WELL- F Solo). Stephen enters and tells her about the trial. His hope is that Absalom will tell the truth and only get a prison sentence instead of execution. She says that she will wait for him, but Stephen asks her if she will marry him in prison. She agrees and he leaves. Irina finishes her song.

In the courtroom, the judge's bench is at the left and the judge is seated. The trial begins with the questioning of Johannes, Matthew and Absalom. Matthew and Johannes have the same story. Absalom tells the truth. The lights dim in the courtroom and the chorus comes forward to sing one refrain from "Wild Justice". The courtroom lights come up again and the spectators are standing. The Judge sits and they all sit except the three boys who are awaiting sentence. The judge pronounces Matthew and Johannes not guilty. Then he pronounces Absalom guilty and sentences him to death by hanging.

Scene four takes place in Absalom's prison cell. The lights come up on the chorus (CRY, THE BELOVED COUNTRY- Mixed Chorus). Stephen marries Irina and Absalom. She will go back to the hills with Stephen who has promised to raise the child she is carrying as his own. They all say goodbye.

Scene five opens in the hills of Ixopo. Alex is playing with a little boy and girl from the same village. There is a small handmade toy between them. Alex sings as he plays (BIG MOLE- M Solo) and Edward Jarvis, James Jarvis' grandson, enters. The two boys begin to play together until the elder Jarvis calls Edward to him. James hears Stephen speaking from the pulpit. Stephen tells his parish that he connot be their priest anymore because he has been questioning his faith. He starts to leave and they all reach out to him. A villager begins a song and Stephen pauses as he listens (A BIRD OF PASSAGE- Mixed Chorus).

Scene six, the last scene, begins. The next morning Stephen is sitting on a chair in front of the table in the room where we saw him in the first scene of the play, watching the clock on the shelf. At four o'clock, Absalom will be hanged. Jarvis knocks on the door and Stephen reluctantly lets him in. Jarvis tells him that he heard his speech at the church. He realized that the grief Stephen is feeling is the same as his grief at the death of his son and, as a result, his wife. Jarvis wishes to be friends and asks Stephen if he can sit with him during this great moment of pain. Also, he tells Stephen that out of this painful situation there have been gains and that, although he tried not to, he respected Absalom for telling the truth. Stephen agrees to this friendship and they forgive each other as the clock strikes four. Stephen sits and buries his head in his hands. Jarvis goes to him and puts an arm around him.

NOTES ON THE PRODUCTION

Based on Alan Paton’s novel of South Africa, "Cry, the Beloved Country," Anderson-Weill brought the tragedy to the musical stage in what critics might term a "folk opera." It is dramatic, inspiring, and a show that is worthy of revival. Vocally and musically complex, it became part of the repertoire of the New York City Opera in 1958 and a film in 1974 during the period that the American Film Theatre was preserving notable dramatic art. Brock Peters and Melba Moore were featured in the film. The story deals with Apartheid in South Africa but hit very close to home during the period of time in which it was written.

SONGS OF SPECIAL INTEREST

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Instrumentation:
Script: Great Musicals of the American Theatre, volume 2 Vocal Score: Chappell Record/CD: MCA Rights: