MACK AND MABEL

Book: Michael Stewart

Music and Lyrics: Jerry Herman

ORIGINAL PRODUCTION

Majestic Theatre, October 6, 1974 (66 perf.)

Director and Choreographer: Gower Champion

Musical Director and Vocal Arrangements: Donald Pippin

Orchestration: Philip Lang

 

Principals:

Mack Sennett- Robert Preston- Baritone

Mabel Normand- Bernadette Peters- Mezzo

Frank Wyman- Jerry Dodge- VTI

Lottie Ames- Lisa Kirk- Mezzo

Mr. Kleiman- Tom Batten- VTI

Wally- Robert Fitch- VTI

Eddie- Stanley Simmonds- Baritone

Chorus and Smaller Roles: 6F/6M with a great deal of doubling

SYNOPSIS

        The play opens in Brooklyn in 1938 on the eve of Mack Sennett's unwilling departure from his film studio. He is a large man, in his late 50s, who soliloquizes about the future of films and reminisces about the past (MOVIES WERE MOVIES- L to M Solo).

        The sound stage comes to life and the scene flashes to 1911 where a young Mack Sennett is busy shooting a silent film. Mabel Normand, a waitress from the nearby Delicatessen enters with an order which the leading lady takes-without paying. Her behavior so infuriates Mabel's Irish temper that she angrily berates everyone on the set. Mack who is still filming, decides to keep her in the film and orders her back the next day. She initially refuses but looks up and is amazed to see herself on the screen (LOOK WHAT HAPPENED TO MABEL- L to F Solo with Mixed Chorus).

        Mack decides to move from Brooklyn to California, where he can make more films in larger, better, studios. Ella, the piano player; Frank, one of the unpaid actors; Mabel, who just discovered that movie stars get paid; and Lottie all enter to urge Mack to get the financial backing necessary. Everyone awaits the arrival of Kleiman and Fox, who will help finance the move to California. When the two arrive and meet the staff they suspiciously ask to meet the writers, whom Mack has just fired. He quickly hires the New York Times delivery boy and introduces him as their chief writer. They get the backing and the company begins packing (BIG TIME- Mixed Chorus).

        On the observation platform of the train, Mabel is admiring the desert by moonlight and making up a poem when Mack overhears her and interrupts. Mabel, attracted to this demanding director, invites him into her compartment for dinner but Mack insists she knows the rules he lives by which don't include marriage (I WON'T SEND ROSES- Sc to M Solo). The train arrives in California and Mack rushes off promising Mabel nothing. She wistfully watches him leave but realizes that she loves Mack and is willing to play the game his way (I WON'T SEND ROSES [REPRISE]- F Solo). In front of Los Angeles's Union Station, Kleiman and Fox, who see the successful D.W. Griffith pass, urge Mack to make Griffith-type extravaganzas, but he only wants to direct comedies (I WANNA MAKE THE WORLD LAUGH- L to M Solo). As the song continues a screen composite of early Sennett films is shown.

        One year later in the new studio paid for by Mack's extremely successful films, Frank, the writer, attempts to convince Mabel she is an actress, not just a Comedienne. Mabel seems to ignore him but when Mack and the actors enter for the days shooting Mabel begins asking for her motivation. Mack tells her that he is her motivation, which so angers her that she throws a pie in his face. The rest of the company join in the melee (I WANNA MAKE THE WORLD LAUGH [REPRISE]- Mixed Chorus).

        The scene shifts to The Orchid Room of The Hollywood Hotel where Mabel is dancing with William Desmond Taylor, a melodramatic director she admires. When he informs her that he has asked Mack to loan her to him for several pictures she is surprised. Mack enters and cold-shoulders Taylor who gives Mabel his card and urges her to call. Mabel verbally attacks Mack for thinking she is only good enough for two-reelers. As he walks out she tells him she is determined to become a respected actress (WHEREVER HE AIN’T- Sc to F Solo).

        Later that day, at the Studio Gate, where everyone is packing for the day's shooting, Mabel informs Mack she is finished with him and with two-reelers. He tells her off in front of the company and forces her to walk out. Everyone urges him to get her back at any cost but his pride won't let him; he is convinced that he can train anyone to replace her. A hot Dog Vendor starts on and the scene shifts to Santa Monica Beach, which is full of bathing beauties, all potential Sennett Stars (HUNDREDS OF GIRLS- Sc to M Solo to F Chorus). He adds the bathing beauties to his films but realizes that he misses Mabel (I WON'T SEND ROSES [REPRISE]- M Solo)

        At the start of Act II, Mabel has been making dramatic films for five years. Kleiman and his friends urge Mack to get her back because the public is beginning to tire of the Sennett bathing beauties. Mack finally agrees and Mabel returns to the studio where she is warmly greeted by Eddie, the watchman, and the company (WHEN MABEL COMES IN THE ROOM- M Solo to Mixed Chorus). Mack arrives, obviously glad to see her back. The two dance and everything appears to be going smoothly until Mack decides to clown up the film he is directing by adding the keystone cops. While everyone is in their dressing rooms he describes the action to Kleiman and Fox as the Kops enter and the business begins (HIT ’EM ON THE HEAD- Sc to Male Trio to M Chorus). Mack becomes so involved with shooting his two-reeler Kop films that he never gets around to directing Mabel's serious film and she leaves for the coast and a trip to Europe.

        Mack finds Mabel on the New York Pier preparing to sail for Europe with Taylor. He enters carrying a box of Roses and tries to tell her he loves her but she realizes he can never change and says goodbye. Mack, to cover his real emotions, begins clowning and exits without giving her the flowers. Taylor tries to get Mabel to forget about Mack by giving her a snort of cocaine and leaves Mabel to wonder if anything can make her stop loving Mack (TIME HEALS EVERYTHING- Sc to F Solo).

        In a solo spot, Mack tells the audience that all his friends and company members have deserted him for bigger studios and talking movies. As he talks, the various characters walk by including Mabel who unsteadily weaves on supported by Taylor. He finishes his story by mentioning Lottie, his girl tap dancer, and her dancers, who give an example of the newest movie musicals (TAP YOUR TROUBLES AWAY- F Chorus).

        When Mack is told by Frank that Mabel is finished in pictures, since the scandalous murder of her lover, Taylor and the public knowledge that she is a heroin addict, Mack promises he will star her in a serious picture. Mack goes to her room and promises to change her life (I PROMISE YOU A HAPPY ENDING- L to M Solo). During the number the lights fade on Mabel and Mack continues the story. It seems the film's producers refused to release the movie, certain that Mabel's name was too scandalous to merit the promotional expense. Mabel died in 1930. Mack, however can never admit that Mabel's story ended so tragically and will always remember her as she was. He calls everyone onstage and re-writes the ending of her life, the way he would have wished it, complete with Mabel in a wedding gown surrounded by the Kops, the bathing beauties and the preacher with a pie in the face.

NOTES ON THE PRODUCTION

        Although Mack and Mabel was nominated for eight Tony Awards, it did not receive any, the majority of the awards going to Gypsy and The Wiz.

        The show, although short-lived, works well in summer stock and dinner theatre situations for the company size may be adjusted to meet the stage requirements. The story is interesting, the character oriented songs enhance the plot and are varied enough to maintain audience interest. If a small company is employed they will have a many opportunities to demonstrate individual talents.

        The set requirements need not be overpowering for Mack usually narrates either the endings or beginnings of scenes. His lines often establish location, which means the set may consist of small reference pieces to enhance the action.

        Younger audiences, without a silent film frame of reference, probably are not familiar with Sennett's work. Companies who are unable to obtain specific film sequences to use in "I Wanna Make the World Laugh," may want to utilize slides of still photographs during the song. A brief history/picture sequence in the lobby or program would help younger audiences understanding.

        The costumes are period 1911 to 1930 and each character has several outfits. All should be true to the Sennett films, i.e. Kops, Bathing Beauties. The Kops costumes may need to be rented as uniforms are often time consuming to make and not often needed in the companies' wardrobe.

        Special film clips for the production are available from Killiam shows, Inc., 6 E 39th St. New York, New York (212) 679-8230.

SONGS OF SPECIAL INTEREST

    "I Won't Send Roses," Baritone, semi-dramatic, charm, poignant, sung several times in a variety of moods

    "Look What Happened to Mabel," Mezzo, good character song for a two song character study, demonstrates comic abilities, possible for audition as it shows strong focus, excitement, energy and some movement

    "Movies Were Movies," good as a Baritone, solo audition piece for it enables the actor to show off movement, comic sense and a variety of characters, also works well in a Revue situation with the ensemble staged in as various film sequences

    "Time Heals Everything," Mezzo, dramatic, good for club, possible audition, excellent character study when combined with "Look What Happened to Mabel"

    "Wherever He Ain't," Mezzo dramatic, angry, possible audition, strong vocal

 

Instrumentation: 4 reeds, 3 trumpets, 2 trombones, 2 percussion, 3 violins, viola, bass, cello, guitar/banjo, piano/conductor

Script: Samuel French

Selections: Morris

Record: ABC

Rights: Samuel French

MAMA MIA

        Synopsis by UNH alumni Gary Lynch who played Sam in the North American Premiere

 

Book: Catherine Johnson

Music and lyrics: Benny Andersson & Bjorn Ulvaeus (some songs with Stig Anderson)

        (Based on the music of ABBA)

ORIGINAL NORTH AMERICAN PRODUCTION

Royal Alexandra Theatre, Toronto, May 23, 2000 (still running)

Director: Phyllida Lloyd

Choreographer: Anthony Van Laast

Musical Supervisor, Additional Orchestration and Arrangements: Martin Koch

 

Principals:

Donna Sheridan- Louise Pitre- Soprano with Alto Belt

Sam Carmichael- Gary Lynch- Baritone

Sophie Sheridan- Tina Maddigan- Light Soprano

Sky- Adam Brazier- High baritone/Tenor

Rosie- Gabrielle Jones- Alto/Mezzo with Strong Belt

Tanya- Mary Ellen Mahoney- Alto, with pop style sound

Harry Bright- Lee MacDougall- Irish Style Tenor

Bill Austin- David Mucci- Baritone/Bass

Lisa- Miku Graham- Mezzo

Ali- Nicole Fraser- Mezzo

Eddie- Nicolas Dromard- VTNE

Pepper- Sal Scozzari-VTNE

Father Alexandrios- Howard Kaye- VTNE

Chorus and Smaller Roles: 8M/8F minimum

SYNOPSIS

        The curtain rises on the exterior of a family run inn on a small island in Greece the day before Sophie’s wedding. The year is 1998 and Sophie, the young, blonde (born out-of-wedlock) daughter of the proprietor of the inn, sings of her dream of meeting her father (PROLOGUE- F Solo). She has obtained her mother’s diary written in the late 70s and determines there are three men who could possibly be her dad: Sam Carmichael, Harry Bright and Bill Austin. She mails three invitations to her wedding to those three men who could potentially be her father. Her two bridesmaids, Lisa and Alie, appear over the roof of the house and she tells them of her secret. She is confident, after reading the diary, that all three will be anxious to see her mother, Donna, again. She reads from the diary as the other girls read over her shoulder and act as back-up singers in 70s female trio fashion (HONEY HONEY- F Solo with 2F Backup).

        The set revolves to the large open space in the inn which serves as a hall and dining area, where Donna is with two of her male employees, Pepper and Eddie. She is obviously stressed by the preparations for the upcoming wedding and the lack of patrons to the inn. She desires to open a floating casino to bring in more cash to her financially strapped hotel venture. Her two friends from the 70s Tanya and Rosie have arrived for the wedding and they all share their desire to live in a rich man’s world (MONEY, MONEY, MONEY- 4F with featured F and mixed chorus)

        The stage clears as three men in their 40s arrive for the wedding and they introduce themselves: Bill is a writer, Sam an architect and Harry is a musician. They discover that they all have something in common; they were on the island within 3 weeks of one another 21 years ago and they all knew Donna quite well.

        Sophie enters the scene to greet them and admits that she was the one who invited them, not her mother. They inquire about Donna and tell her about themselves. Harry, known as "headbanger" in his younger days, takes his guitar and begins singing (THANK YOU FOR THE MUSIC- F/2M Trio). Sophie leaves the three, who are curious as to why she has invited them, as Donna enters unexpectedly and is appalled to see them. The men freeze in their positions as Donna sings (MAMA MIA- F Solo into 4M with Solos) about being cheated by each of them. She sings to each of the men, who stay frozen, and exits. The three men marvel at how she has not changed at all and the four adults sing of their regrets for lending the relationship as the song continues. At the end of the song the men tell her they are all staying and she exits in anger.

        The set changes to a bedroom where Rosie and Tanya are leafing through a trunk of old costumes and reminiscing about their youthful singing trio "Donna and the Dynamos." Donna interrupts, still angry about the return of the three men to the island. Her two friends beg her to tell them everything and confide that they are there to help her (CHIQUITITA- F Duet). The two beg her to sing the way she did before and remind her that she used to be the life of the party. They grab a hairbrush and a hairdryer to use as microphones while Donna lies on the bed in denial (DANCING QUEEN- F Trio). She finally grabs a can of deodorant on the instrumental, but leaves the room, only to return with a turban towel on her head

        The set changes to the exterior where Sophie and her fiancé, Sky, are discussing their feelings for each other and their fear of leaving one another. They are eventually joined by their friends who are dressed in underwater gear to carry the island tradition of searching for Helen of Troy (LAY ALL YOUR LOVE ON ME- M/F Duet with M/F Chorus added).

        The set changes to the interior where the women are all having a bachelorette party for Sophie. Donna and the Dynamos provide the entertainment and arrive in shimmery 1970s bell bottoms revive a portion of their act (SUPER TROUPER- F Trio). Sam, Bill and Harry enter as three tables are brought on and the girls ask if there is a "man out there" (GIMME! GIMME! GIMME!- F Chorus). Sophie leads Sam downstage to talk and he is relieved to escape. She asks him about her mother and avoids his continuing questions about his reason for being on the island. She dances away as the singing of the girls’ chorus allows for Sophie to talk to Harry. Sophie tells Harry that she doesn’t know who her dad is and dances off as the girls sing. Sophie talks to Bill, who discovers that his great Aunt Sophia left Donna her money. He begins to realize that she may be his daughter as the girl chorus moves on and continues the song until the end.

        Sophie feels that Bill may be her dad, but she isn’t sure what their relationship should be because she has only seen him twice in this short time. Bill tells her that he will talk to Donna this very day (THE NAME OF THE GAME- F Solo)

        The chorus enters and sings a song of expectation (VOULEZ VOUS- M/F Chorus). Interspersed between the verses of the song, Sam and Harry each tell her that they will walk her down the aisle. Sophie is panicked as the curtain falls on Act I.

        As Act II begins, the lights come up on a scrim and Sophie’s three dads enter in top hats and tails. Sophie is in bed, obviously having a bad dream. (UNDER ATTACK- F Solo and M/F Nightmare Chorus) She sings of the fact that she is falling apart as the chorus joins in her nightmare. Her three fathers appear on the bed with her mother as the bed careens around the stage and she sees Sky, her future husband, in a wedding dress. Suddenly there is a blackout and the set changes. Sophie argues with her Mom over the wedding plans and Donna realizes that Sophie will soon be leaving her (ONE OF US- F Solo). Donna goes to the beach where Sam is drawing, SL. She tries to unwind, but Sam’s comments bother her and she tells him to stay out of her life and to stop patronizing her. Sam wonders what ever happened to their love (S.O.S.- M Solo to M/F Linear Duet). Donna is also thinking about the lost relationship and the song ends as a linear duet.

        The scene shifts to Tanya and Harry as the chorus enters. Pepper teases her but Tanya comments on his youth and tells him to slow down (DOES YOUR MOTHER KNOW?- F Featured Solo with Mixed Chorus).

        Sophie and Sky argue and she goes to Sam for advice about marriage. He tells her what it is like to break up (KNOWING ME KNOWING YOU- M Solo)

        Scene shifts to the bedroom where Harry enters and gives Donna a check to cover some of the wedding expenses. He tells her that he can still recall their last summer in Paris (OUR LAST SUMMER—M Solo to M/F Duet). Sophie enters and asks her Mom to help her get ready for the wedding. As Donna helps her with her hair and then her dress she has a feeling that she is losing her forever (SLIPPING THROUGH MY FINGERS- F Solo to F Duet). Sophie, realizing how much her mother has done for her, asks her to give her away. Her mother agrees and is touched by Sophie’s request. Alone, Donna sits at the dressing table and finishes the song.

        Sam enters but Donna does not want to talk about anything; it is too late (THE WINNER TAKES IT ALL- F Solo) and Sam leaves.

        The set changes to the interior where the chairs are set up in aisle fashion for the forthcoming wedding. Bill, the writer, and Donna’s overweight friend, Tanya, talk about life. She tells him that she can always cheer him up (TAKE A CHANCE ON ME- F Solo to M/F Duet).

        The wedding guests arrive and the wedding begins. Sam tells Donna that he want to marry her and try and make a go of it. He has only ever loved her. She agrees (I DO, I DO, I DO, I DO, I DO- M/F Duet with F Chorus.)

        Later, Sophie and Sky are alone watching the moon (I HAVE A DREAM- F Solo to M/F Chorus) The company comes on and joins them and the curtain falls.

NOTES ON THE PRODUCTION

        The show continues to be a sell-out in London and popular with audiences around the world. The advance sale is predicted to break all Broadway records. This is one of the most fun evenings anyone will ever have in the theatre. Rather than just becoming a Revue of ABBA songs the writers agreed to have their songs (most of them about love) within a musical story. Audiences who know the popular songs are well-aware when the dialogue leading up to a song points the way to another ABBA favorite. There is applause throughout the show at the familiar numbers and at the way the songs are interpolated into the script, or rather the script is developed because of the songs. This is a show that community theatres and colleges will embrace for years to come. It gives at least three women and three men in their 40’s featured roles and allows for the younger members of the company to show their dancing. The set is not complicated and the show is bound to be a sell-out.

SONGS OF SPECIAL INTEREST

    "Does Your Mother Know?" Great number for a middle-aged female

    "Take a Chance on Me," Mezzo solo, older woman, fun number and a chance for an older woman to show she still has lots of sex appeal and movement ability (number becomes M/F duet at the end)

    "I Have a Dream"-F solo. Good for mezzo range, sweet, pop sound but relies on vocal back-up at the end. Would be good for class situation narrative/story. Challenging directing exercise for students.

 

Instrumentation: 4 keyboards, 2 guitars, drums and percussion

Script: NP

Score: NP

Record/CD: Dolvdor

Rights: NA

MAME

 

Book: Jerome Lawrence and Robert E. Lee

Music and Lyrics: Jerry Herman

        (Based on the novel by Patrick Dennis and the play Auntie Mame by Lawrence and Lee)

ORIGINAL PRODUCTION

The Winter Garden, May 24, 1966 (1,508 perf.)

Director: Gene Saks

Choreographer: Onna White

Musical Director and Vocal Arranger: Donald Pippin

Orchestration: Philip J. Lang

 

Principals:

Mame Dennis- Angela Lansbury- Mezzo

Agnes Gooch- Jane Connell- Soprano

Vera Charles- Beatrice Arthur- Alto

Gloria Upsom- Diana Walker- VTNE

Beauregard- Charles Braswell- Baritone

Patrick (Age 29)- Jerry Lanning- Baritone

Dwight Babcock- Willard Waterman- VTNE

Pegeen- Diane Coupe- VTNE

Patrick (Age 10)- Frankie Michaels- Boy Soprano

Ito- Sab Shimono- Baritone

Chorus and Smaller Roles: 12M/12F who sing and move well, a mixture of ages

SYNOPSIS

        The time is 1928 and the place is New York City. Agnes Gooch, the dowdy nany to recently orphaned Patrick Dennis, is taking the ten-year old boy to live with his Auntie Mame. Agnes, a rather plain, religious girl, is terrified of New York and prays for safe delivery (ST. BRIDGET- Sc to F/Ch Duet).

        At Beekman Place, Mame Dennis’s elaborate residence, Mame, an extravagant 1920s liberated woman is giving one of her famous parties, complete with noted celebrities, caviar, booze, flappers and gangsters (IT’S TODAY- F Solo to Mixed Chorus). Ito, Mame’s Japanese house boy, enters followed by a terrified Gooch who decides that Beekman Place is no place for Patrick. Patrick, however, has other ideas and sets out among the masses of people to find out which of these wild people is his dear Aunt. Patrick’s arrival surprises Mame, who was expecting him a day later, but she invites him to have some caviar and join in the fun.

        Two weeks later, in Mame’s bedroom, Patrick awakens his hung over aunt who defies the requisites of her late brother’s will by enrolling him in an experimental school in Greenwich Village, called "The Laboratory of Life." The school is run by one of Mame’s offbeat friends and the students spend their time at school in the nude. Mame tells Patrick she is going to open his eyes to the world and all that life has to offer (OPEN A NEW WINDOW- Sc to F/Ch Duet to Mixed Chorus). The number quickly moves to the streets of New York where Patrick is introduced to various characters. He is followed by an angry Mr. Babcock, the conservative banker in charge of Patrick’s trust fund who instructed Mame to enroll Patrick in one of Manhattan’s conservative, all boy schools.

        Babcock arrives at the apartment in a fury. The decor of the place has totally changed; it is no longer wild with color and modern art, but is church-like and filled with religious art. The angry Babcock, upset at Mame’s deception, promptly enrolls Patrick in St. Boniface, a boarding school in Massachusetts. Mame is broken hearted at losing Patrick.

        As Patrick prepares to leave for St. Boniface, Mame receives the news from her broker that she has lost everything in the stock market crash. She has absolutely no means to support her extravagant lifestyle, so her best friend Vera Charles, a famous actress, insists Mame appear in her newest play. The play is about a woman astronomer who discovers that the man in the moon is really a lady. Mame’s role will be that of the moon lady. As Vera is describing the operetta, the set drops in and the performance begins (THE MAN IN THE MOON- L to F Solo). Mame is late for her entrance and, as a result, doesn’t secure herself adequately to the lowering moon. As it begins to move down, Mame loses her balance, starts to fall from the moon and ends up hanging underneath the moon. She totally upstages Vera who is still singing.

        Backstage, Mame valiantly tries to make amends but accidentally gets her jewelry caught on Vera’s and can’t get it untangled by curtain call time, so, as Vera goes out to take her bow, so does Mame who is promptly fired. Patrick arrives backstage to tell her how great he thought she was (YOU’RE MY BEST GIRL- Sc to Ch/F Duet).

        With the loss of this job Mame is forced to take a job as a manicurist in a fancy hair salon. While working on her first customer, Beauregarde Burnside, a very handsome member of the rich southern aristocracy, she becomes so enthralled that she forgets what she is doing, cuts his fingers to shreds and is instantly fired. Beau tries to console her as she is leaving.

        Mame returns to Beekman Place to discover that Patrick is home for a long weekend. When Agnes and Ito try to ease her troubles by assuring her that they won’t leave, she decides they all need an early Christmas to blster their morale (WE NEED A LITTLE CHRISTMAS- Sc to 2F/M/Ch Quartet). Beauregard invites Mame and Patrick to his plantation to meet the family. At a welcoming lawn party outside the plantation, a crowd has gathered to meet Beau’s Yankee friend. Among them is Sally Cato, Beau’s ex-girlfriend who forces Mame into joining in a fox hunt, and Mother Burnside, a Yankee hater who makes sure Mame is riding Lightnin’ Rod, a killer horse. The chorus comments on the ride as Patrick yells for Mame to fall off (THE FOX HUNT- Mixed Chorus).

        When Mame manages to catch the fox rather than see him killed, Beau realizes just how fond he is of this crazy lady and asks her to marry him. The chorus continues the tribute to Mame as the curtain rings down, closing Act I (MAME- Mixed Chorus).

        Act II opens with Patrick writing a letter to Mame to tell her everything that’s happening in his life. As one verse ends and another begins, Young Patrick is replaced by an older Patrick, who still writes his dear aunt every chance he gets (THE LETTER- Ch/M Solos). When Patrick receives the news that Uncle Beau has fallen a mountain in the Alps while skiing with Mame, he quickly phones to remind her that she still has him (YOU’RE MY BEST GIRL [REPRISE]- M Solo).

        Six months later, back at Beekman Place, Vera is waiting to greet the bereaved Mame and the two become friends again, a friendship that only two sophisticated, biting women could understand (BOSOM BUDDIES- Sc to F Duet).

        Vera and Mame, appalled to discover that Agnes has never had a date, decided to change her frumpy image. They begin the makeover, which Agnes initially rejects, but eventually enjoys and amazes them by slinking in wearing a sexy red dress. They perform a burlesque walk-off as the lights fade.

        It is six months later and the apartment is full of books, for Mame is writing her memoirs and always immerses herself in her projects. It seems Agnes disappeared the night they remade her and has only sent one postcard- from a motel in Pennsylvania.

        Patrick arrives to tell Mame that he has a girl he wants her to meet. His announcement is followed by the arrival of an extremely hesitant, embarrassed and six months pregnant Agnes who needs help. Mame listens to Agnes’ story (GOOCH’S SONG- Sc to F Solo) and insists that Agnes stay with her, a situation that upsets Patrick, who has become extremely snobby since he met Gloria Upsom, his social climbing girlfriend who isn’t elite enough to make the debutante set.

        Patrick arranges for Mame to meet Gloria’s parents at the Upsom’s family home in Connecticut. Mame is quickly bored by Gloria and her parents, and totally disgusted with the food that they serve as hors d’oeuvres, but thoroughly enjoys the young college students who are visiting (THAT’S HOW YOUNG I FEEL- F Solo to Mixed Chorus).

        The Upsoms let slip that Patrick and "Glory" are planning to be wed soon and they are giving them the lot next door as a wedding present. Mame is overwhelmed. When she and Patrick argue about the snobbery of the Upsoms’, Patrick angrily walks out, leaving Mame to wonder if she was too lenient in raising him (IF HE WALKED INTO MY LIFE- Sc to F Solo).

        Mame, determined to save Patrick from Gloria, devises a lavish party for the Upsoms at her apartment. With the aid of an attractive interior decorator, Pegeen Ryan, she has modernized the apartment. Despite Patrick’s instructions not to visit the party, Agnes comes down in all her pregnant glory. When Mame sees the reaction that Gooch’s pregnancy and lack of marriage bring to the Upsom’s, she cleverly announces that she has bought the property in Connecticut adjoining theirs to start a home for unwed mothers. The family leaves in a huff and Patrick, realizing their bigotry, thanks Mame for saving him from a disastrous marriage (YOU’RE MY BEST GIRL [REPRISE]- M Solo).

        The show closes as Patrick and his wife, Pegeen, leave their son, Peter, at the Beekman Place apartment with Auntie Mame, who promises to broaden his horizons (OPEN A NEW WINDOW [FINALE]- Mixed Chorus).

NOTES ON THE PRODUCTION

        Mame won three 1966 Tony Awards for Best Actress (Angela Lansbury), Supporting Actor (Frankie Michaels) and Best Supporting Actress (Beatrice Arthur). This was the same year as Man of LaMancha and Sweet Charity.

        The sets need not be complex, but the set decorations and props in the Beekman Place apartment are constantly changing and should always be filled with artwork demonstrating Mame’s lavish tastes.

        The major budget allocation should be given to the costumes, which span from 1928 to 1946 and involve glitzy evening clothes, hunt outfits, southern ante bellum and the theatrical Moon Lady sequence costumes. It is an extremely heavy costume show, a fact that should be carefully weighed before attempting a production of this lavish musical. A company with limited funds should seriously consider the non-musical play Auntie Mame which is less costly and has less involved.

SONGS OF SPECIAL INTEREST

    "We Need a Little Christmas," Small scene to Quartet, some movement, high energy, strong relationships

    "Bosom Buddies," Mezzo/Alto Duet, comic, biting reaction and lyrics important, strong relationship, requires maturity and comic timing

    "Gooch’s Song," Soprano Solo, character oriented, comedic sincerity and honesty

    "If He Walked into My Life," Mezzo Solo, good for club, strong dramatic and intense

    "Open a New Window," Mezzo Featured to Chorus, good for class work and revue

 

Instrumentation: 2 violins, viola, cello, bass, 5 reeds, 3 trumpets, 3 trombones, percussion, harp, guitar and banjo, piano-celeste, optional tuba

Script: Random 1967

Score:

Record: Columbia

Rights: Tams-Witmark

MAN OF LA MANCHA

 

Book: Dale Wasserman

Music: Mitch Leigh

Lyrics: Joe Darion

        (Adapted from the novel by Miguel de Cervantes y Saavedra)

ORIGINAL PRODUCTION

The ANTA Washington Square Theatre, November 22, 1965 (2,328 perf.)

Director: Albert Marre

Choreographer: Jack Cole

Musical Director: Neil Warner

Musical Arrangements: Music Makers, Inc.

 

Principals:

Don Quixote/Cervantes- Richard Kiley- Baritone

Sancho/The Man Servant- Irving Jacobson- Tenor

Innkeeper/Governor- Ray Middleton- Baritone

Padre- Robert Rounseville- Tenor

Dr. Carrasco/The Duke- Jon Cypher- Baritone

Aldonza- Joan Diener- Soprano

Antonia- Mimi Turque- Soprano

Housekeeper- Eleanor Knapp- Mezzo

The Barber- Gino Conforti- Tenor

Anselmo- Harry Theyard- VTNE

Chorus and Smaller Roles: 8M/14F

SYNOPSIS

        Act I, scene one is set in Seville, Spain at the end of the 16th century. A stairway is lowered into a dingy, prison common room that is full of prisoners awaiting trial under the Spanish Inquisition. A tall, thin, stately man in his late 40s, followed by a chubby servant carrying a straw trunk, descends. The man, Miguel Cervantes, an aristocratic poet, is approached by the prisoners’ leader, the Governor, who orders him to stand trial by his fellow prisoners. Cervantes agrees to their judgment if they will portray the characters in his newly written manuscript.

        Sancho, the manservant, brings forth the costumes and the props as Cervantes describes the leading character in his book, Don Quixote. He physically begins to take on the characteristics of the man as he applies his make-up (MAN OF LA MANCHA- L to M Duet).

        Quixote and Sancho begin their adventures (after jousting with a windmill) by stopping at an inn that Quixote imagines is a castle. Cervantes drops character to set the stage for an inn and to cast the prisoners in their roles. As the scene of the story is set, a female prisoner is chosen to portray Aldonza, the rough kitchen wench who was abandoned by her mother soon after her birth. In the poor inn, Aldonza serves a group of hungry muleteers who make lewd advances of love. She spurns them and contemptuously comments on the emotional deadness of her life (IT’S ALL THE SAME- F Solo).

        Quixote and his artless servant, Sancho, arrive at the inn, which Quixote imagines is the castle where he will find his lady. The Innkeeper humors him because he believes that madmen are the children of God and it is obvious to him that Quixote is a crazed old man. Quixote declares his love for Aldonza and insists she is his lady Dulcinea (DULCINEA- Sc to M Solo), but she harshly ridicules him for his insanity. The muleteers scoff Quixote and mimic his warm-hearted love song (DULCINEA [REPRISE]- M Chorus).

        The lights shift to the prison where the Duke, acting as Judge, accuses Cervantes of attempting to divert the prisoners from their book burning. Miguel agrees and quickly involves the Duke in the next scene by throwing him a costume. He describes the lords, ladies and retainers of the wealthy Quixote as the scene shifts to his household, composed of his selfish niece, Antonia, and his worried housekeeper. The two women confide to the local Padre that their only thoughts are of Quixote’s safety and he responds as any good confessor would (I’M ONLY THINKING OF HIM-Sc to M/2F Trio). Dr. Carrasco, Antonia’s fiancé, embarrassed by the thought of a madman in his family yet determined to marry Antonia for her future inheritance, goes with the Padre to turn Quixote from his insanity (I’M ONLY THINKING OF HIM [REPRISE]- Sc to 2M/2F Quartet).

        Cervantes shifts the scene to the inn, where Sancho is trying to give Aldonza a missive from his master. Sancho, unable to read, has memorized the message, which describes Dulcinea as the fairest of the pure. She has no understanding of Quixote and even less of Sancho, a man who would follow a madman. He delightfully explains that he doesn’t have a very good reason, he just wants to (I LIKE HIM- Sc to M Solo).

        The lights cross fade to the exterior of the inn where the muleteers are harmoniously singing a mocking song to Aldonza as she enters to get water from the well (LITTLE BIRD, LITTLE BIRD- M Chorus).

        Dr. Carrasco and the Padre arrive at the inn to discover that, although Quixote recognizes them, he is still obviously quite mad because he insists that he is a knight who has a lady named Dulcinea. When Quixote hears singing offstage and sees a traveler with a bowl on his head, he urges Sancho to hide. The merry barber enters (BARBER’S SONG- M Solo). Quixote attacks the man with his sword and insists that the barber give him his shaving basin, which Quixote imagines to be a golden helmet (GOLDEN HELMET- Sc to Trio). The Padre agrees to crown him in a mock coronation as the chorus of muleteers joins in. As the others exit, the Padre feels that Quixote is either very insane or very wise and wonders if the proposed Carrasco cure may be a mistake. Believing that everyone needs a dream he poignantly sings (TO EACH HIS DULCINEA- M Solo).

        Aldonza, on her way to meet one of the muleteers, stops to demand what Quixote wants of her for she cannot understand why he believes in knighthood. He tries to explain that he hopes to better the world and has a quest that must be followed (THE QUEST- Sc to M Solo). At the end of the song, Pedro enters and accuses Aldonza of keeping him waiting. He slaps her, which outrages Quixote who, in a comedic choreographed scene with Aldonza and Sancho, beats off the muleteers who exit, limping.

        The innkeeper, nervous that the muleteers will ruin the inn, asks Quixote to leave as soon as possible, but Quixote asks to first be dubbed a knight and given a new name. After studying Quixote’s face he devises a name that suits the bruised old man (HAIL KNIGHT OF THE WOEFUL COUNTENANCE-Sc to M Solo to 2M/F Trio) as Sancho and Aldonza join him in tribute. The innkeeper exits leaving a tired Aldonza, Quixote and Sancho. Quixote, ever the gracious knight, prepares to treat the muleteers wounds, but Aldonza, worried for his safety, volunteers to go in his stead. She goes to the angry muleteers who beat, ravish and carry her off. Quioxte, unaware of her plight, ponders on the luck of the muleteers who know the healing hand of his lady.

        The scene is abruptly cut as the inquisition men descend the stairs to fetch someone. Cervantes fears his time has come and the Duke berates him for cowardice when another is taken. Cervantes describes life as he has seen it: as a man, as a soldier and as a poet. He philosophizes on the meaning of madness.

        The orchestra underscores the next scene where Sancho and Quixote are on the open road surrounded by Moors, who bilk them and rob them of their belongings. The two are forced to return to the inn, where Quixote is confronted by Aldonza who has returned bruised and in rags. She dramatically tells him the ugly story of her life (ALDONZA- Sc to F Solo).

        A trumpet call brings forth Dr. Carrasco, disguised as the knight of Mirrors. He and Quixote duel in a dramatic movement piece where Quixote sees his own reflections in Carrasco and his attendant’s shields. The aged knight falls broken and weeping to the floor. Carrasco removes his helmet and apologizes as Aldonza sadly walks toward her broken knight, but the mood is broken by the Captain of the inquisition who tells Cervantes that he is to be called soon. Cervantes turns to his fellow prisoners to tell them that is all he has written in the manuscript, but they force him to improvise an ending.

        He summons the actors who portrayed the scene in Quixote’s household and continues the story at the manor where the old man lies ill in bed. Sancho tries vainly to cheer his dying friend (A LITTLE GOSSIP- Sc to M Solo), but Dr. Carrasco, infuriated at his mention of jousting windmills, stops him.

        As Quixote prepares to make his will, Aldonza forces her way into the room and dramatically implores him to remember her, his past dreams (DULCINEA [REPRISE]- F Solo) and his quest (THE QUEST [REPRISE]- Sc to 2M/F Trio). For a moment he remembers his past glory, but the excitement is too much and he drops exhausted to the floor where the priest gives the final blessing (THE PSALM- M Solo). Aldonza, determined that Quixote will always live, urges Sancho to believe by telling him her name is Dulcinea.

        The drums of the inquisition are heard and the Captain and his men descend to take Cervantes to trial. The prisoners return his manuscript and encourage him as he climbs the stairs to face his real trial (FINALE/THE QUEST [REPRISE]- Mixed Chorus).

NOTES ON THE PRODUCTION

        The show received five Tony Awards in 1966 for Best Actor (Richard Kiley), Best Musical, Best Director, Best Composer and Lyricist, and Best Scenic design.

        Man of La Mancha was one of the first "Goodspeed Opera House" original musicals to become a successful Broadway hit. The most famous "Goodspeed Opera House" musical to date is Annie. The description and history of the theatre at East Haddam, Connecticut is detailed in the Martin Charnin Annie book. In 1980, the theatre received a special Tony Award for outstanding contribution to the American Theatre.

        Man of La Mancha is often performed by amateur groups and remains a popular choice for revivals and stock companies. The show is well written, the music is memorable, and the moments range from charmingly comedic to intensely dramatic. It is a show well worth producing, but does require a strong choreographer to stage the Aldonza ravishment sequence.

        The play traditionally requires one set, and a limited amount of props and costumes. It is for this reason that the success of the production calls for excellent actors who sing well to portray the demanding major roles. Mood lighting is also necessary, which often requires a lot of instruments lighting various areas. The production expenses that are saved by a unit set and limited costumes should be used for lighting rental.

SONGS OF SPECIAL INTEREST

    "It’s All the Same," Soprano, good to show character development and contrast in a two song character study for class

    "Dulcinea," unusually pleasant ballad that doesn’t require a young romantic lead

    "I Like Him," Tenor, comic, charm, character solo

    "Aldonza," Soprano, powerfully dramatic and intense, excellent for class study

    Final Sequence from "Dulcinea" to "The Psalm," highly dramatic and intense, emotional, musical scene, excellent acting exercise for class work

 

Instrumentation: 5 reeds, 2 horns, 2 trumpets, 2 trombones, string bass, 2 guitars, timpani, 2 percussion, piano/conductor

Script: Dell

Vocal Score: S. Fox Publishing Co.

Record/CD: MCA

Rights: Tams-Witmark

MAN WITH A LOAD OF MISCHIEF

 

Book: Ben Tarver

Music: John Clifton

Lyrics: John Clifton and Ben Tarver

        (Adapted from a play of the same name by Ashley Dukes)

ORIGINAL PRODUCTION

Jan Hus Playhouse, November 6, 1966 (240 perf.)

Director: Tom Gruenewald

Choreographer: Noel Schwartz

Musical Director: Sande Campbell

Orchestration: John Clifton

 

Principals:

The Innkeeper- Tom Noel- Baritone

His Wife- Lesslie Nicol- Alto/Mezzo

The Lord- Raymond Thorne- Baritone

Charles- Reid Shelton- Tenor

The Lady- Virginia Vestoff- Mezzo

The Maid- Alice Cannon- Soprano

Chorus and Smaller Roles: None

SUMMARY AND NOTES

        At an early nineteenth Century Inn run by an elderly couple a small group of people arrive, the direct result of a coach disability. The guest, who are forced to stay overnight are a Lord and his manservant Charles, and a Lady, and her maid. The Lord is eager for a dalliance with the Lady. The Lady, who is the mistress to the Prince, cleverly refuses the Lord. Seeking his own form of revenge he forces his servant to make love to her.

        Charles discovers the lady is really a lady with a sensitive heart and soul. She relates the sad story of her life and the two realize they have the same philosophical outlook on life. The maid becomes involved with the Lord only to be hurt by his urging her to forget the evening. As the play ends the Lady and Charles profess their love and go off together to make a new life.

        This small cast, one set show, is ideal for small companies as the musical numbers are spread out among all the cast members. The dialogue is witty and the music is lovely. The show itself is easy to tour.

SONGS OF SPECIAL INTEREST

    "Man with a Load of Mischief," Soprano, touching song about a woman of the world who explains her past

    "Make Way for My Lady," Lovely Tenor Solo, nice vocal build, shows off voice, possible for audition

    "Once You’ve Had a Little Taste," the maid comments on how difficult it is to give up riches and wealthy men after you've experienced them, spunky character, sprightly music

    "Little Rag Doll," nice melody, poignant and touching song by the maid who yearns for her youthful innocence

 

Instrumentation: reed, cello, piano/conductor (celeste-harpsichord)

Script: NP

Selections: NP

Record: Kapp

Rights: Samuel French

ME AND JULIET

Music: Richard Rodgers
Book and Lyrics: Oscar Hammerstein II

Majestic Theatre, May 28, 1953 (358 perf.)

Director: George Abbott

Choreographer: Robert Alton
Musical Director: Salvatore Dell’Isola
Orchestration: Don Walker

Principals:

Jeanie, chorus Singer-Isabel Bigley- Soprano

Larry, Assistant Stage Manager- Bill Hayes- Tenor

Charlie, (Me) Featured Lead-Arthur Maxwell- Baritone

Lily, (Juliet) Singing Principal- Soprano

Ruby, company manager-Joe Lautner-Mezzo

Susie (Carmen) Principal Dancer- Svetlana McLee-Mezzo

Betty, successor to Susie as Principal Dancer-Joan McCracken- Mezzo

Mac, Stage Manager- Ray Walston- Baritone

Bob- Mark Dawson- Tenor

Dario, Conductor-George S. Irving-VTNE

Chris (Rehearsal pianist)- Barbara Carroll-VTNE

Chorus and Smaller Roles: 10M/10F minimum –larger is better

SYNOPSIS

        The curtain rises on a bare stage. In the foreground, the light bridge is lowered halfway to the floor. A rehearsal piano is set stage left and the stage manager’s desk is stage right. Jeanie is laying the piano. Sidney goes to a ladder that stands under the light bridge and carries a lamp up the ladder while Milton, the drummer, has entered to set his drums above the piano. Jeanie rises from, the piano striking keys with the palms of her hands in a discordant bang. She is angry because her boyfriend, Bob, has stood her up and Sidney, who needs him to help with the lights, doesn’t know where he is either. Jeanie goes back over to the piano, lost in her own thoughts and she sighs to herself (A VERY SPECIAL DAY AND THAT’S THE WAY IT HAPPENS- F Solo and Mixed Chorus). Jeanie exits as several boys and girls enter.

        Bob enters reading Variety magazine, which has great review on Me and Juliet, the show they are putting up. He asks Sidney where Jeanie is, then cannot understand why she didn’t wait for him. Sidney, who is angry with Bob for the way he treats Jeanie, makes a comment under his breath and Bob physically assaults him.

        After the fight, Jeanie enters. She forgives Bob when he begins describing a piano that he has seen. In the background, a few of the boys and girls start to slip easily into some light jazz steps, but this is all done upstage of the piano. Larry enters, but stops in the middle of his sentence because he has looked over and seen Jeanie sitting on the desk talking to Bob. They leave and Larry, at his desk, starts to think back on the recent past, just as Jeanie did when she sat there a few minutes ago (THAT’S THE WAY IT HAPPENS [REPRISE]- M Solo).

        The spot fades on Larry and the lights come upon the dancing group as the music and dancing both get hot. George, the assistant stage manager, augments the trio with his tin whistle, and, maintaining a spontaneous and impromptu spirit, the dance builds up to a big climax and stops. After applause, it is started again and, after about sixteen measures, Mac enters. As they see him, the dancers stop and so do the musicians. Mac stands in the center of the stage looking from one person to another. He is obviously respected as a disciplinarian. After he has achieved a few seconds of awed silence, he turns slowly and speaks to Larry quietly. He tells him to let the company have fun after the show.

        The crew is setting up the scenery and props for the first scene of Me and Juliet. We discover that Dario, the conductor, wants to leave the show. Mac tells Larry that he has been sending Dario gardenias which as supposedly from a mysterious woman.

        By this time, scene one of Me and Juliet has been set. It is off center at the moment and the company is drifting onto the stage and taking their places. The dancers, as usual, are stretching and limbering up as Mac asks Dario not to drown out Charlie, who plays Me.

        Scene two opens and the setting is the orchestra pit. The lights flood the show curtain of Me and Juliet. Then a spot hits Dario entering the pit as, as he mounts the stand, he gazes around the audience, obviously trying to spot the lady of the gardenia. He taps the stand and starts the overture.

        For a while, he concentrates on the music. Then, at a sentimental part, he turns around again and takes a chance that the lady of the gardenia is watching him. He lowers his nose and smells his gardenia passionately. He goes back to conducting, then, as the orchestra starts to build to its climax, he looks around to make sure she is watching his magnificent gyrations. He lifts his baton and brings it down to start the short prelude, which will bring the curtain up on Me and Juliet.

        Scene three begins as the curtain rises on a dark stage and a pin spot hits Juliet, who stands on a balcony. Below the balcony are her handmaidens, who are as yet not seen, but now their voices are heard. They ask Juliet questions and, as she answers, we learn much about both plays. She says that neither the time nor the scene of this play is important; both transcend time. The spotlight then hits Me. He talks about human perception of others and of ourselves and, while talking, he points out Don Juan, whom he envies because of his success with women. Then he points out the sexy Carmen, who tries to tempt him. He turns away from her and looks at Juliet. He sings her a love song (MARRIAGE TYPE LOVE- Mixed Chorus). As the curtain comes down on this prologue to Me and Juliet, Charlie as Me and Lily as Juliet, step forward so that the curtain is behind them and they sing an encore refrain. During the refrain, Dario makes the orchestra play very loudly to drown Charlie out every time he sings, but when Juliet sings he plays softly. As the refrain is ended and Juliet exits, she blows a kiss at Dario and Charlie, infuriated, mutters something extremely insulting indeed. Scowling at Dario, he makes his exit.

        Scene four takes place on the light bridge where Bob and Sidney are busily changing colors in their lamps. They discuss the characters in the play while it is in session. Bob compares Sidney to Me, the marrying type, and himself to Don Juan, the lady killer. He sings the song with the chorus and Jim (KEEP IT GAY- Mixed Chorus). The lights go out on Sidney and Bob and immediately come up on-stage below where Don Juan and the girls are dancing to this same song in Me and Juliet. At a certain point in the dance the lights go out and a few seconds later come up, finding Don Juan and the chorus in the same pose, only they are now in practice clothes, rehearsing the number. This is the beginning of scene five.

        Larry and Mac, as well as others, have entered the scene. Larry tells Mac that he is rehearsing Jeanie for second understudy for Juliet. Mac gives him a subtle lecture on getting involved with people from the same company, then clears the stage for auditions telling, Larry that he likes a different actress, Betty, who is working in a different show. Auditions begin. Mac auditions Betty for the part of Carmen and she gets it. Larry is furious. Ruby tells Betty that Mac will not date actresses working in his company, but Betty says that she will try to get him to change his policy.

        Meanwhile, the number nine pipe has been let down from the flies. Sidney has brought out a pile of color frames and, during the ensuing scene, proceeds to change them in the lamps on the pipe. Jeanie has come on the stage and she and Larry walk over to the stage manager’s table. They begin to rehearse and Larry tells her how to play Juliet (THE BIG BLACK GIANT- M Solo). They are both a little embarrassed and self-conscious as they practice a love scene from the play (NO OTHER LOVE- M/F Duet). At the end of the song Jeanie turns and looks at Larry, catching his eyes gazing adoringly at her. Obviously, he has been singing his half of a love duet. Quickly, he turns and crosses to Chris at the piano and whispers instructions. Chris starts to play the refrain again and Jeanie picks it up on the third line. Bob, enters, watches Jeanie singing and Larry conducting and walks downstage, mocking her manner of singing, making his gestures very broad. Jeanie sees him but continues to sing, trying to brazen it through and not let Bob think he can disturb her. But he does and she angrily leaves. Bob is hurt because she didn’t think he was cute. Only Bob and Larry are left alone on the stage. Bob tells Larry that he better just stick to rehearsing with Jeanie or he will be dead. He roughs him up a bit and Larry is ashamed and afraid.

        Scene six opens in the alley leading to the stage door. A number of the company members are there as Jim enters, very nervous. Susie, his pregnant wife who is also a part of the company, has gone into labor. He goes inside the theatre. Jeanie enters singing quite happily and goes through into the theatre. Loraine tells all that she has seen Larry and Jeanie together at a chili joint and they all wonder what will happen when Bob finds out. Everyone but Betty enters the theatre as Mac, whom Betty has obviously been waiting for, walks toward the stage door. They begin to discuss a scene that she, as Carmen, is doing with Charlie. Mac jealously thinks that it is vulgar. While they practice the scene, Betty tries to seduce him until Ruby enters and interrupts the two. After Betty leaves, Ruby teases Mac about his feelings for Betty. Mac angrily exits and Herbie enters and he and Ruby talk about show business (THE BIG, BLACK GIANT [REPRISE]- F Solo)

        Scene seven opens in Betty’s dressing room where Betty and Jeanie are getting dressed for the play. They discuss the importance of men and then show business (IT’S ME- F Duet). Larry enters while Betty exits and we discover that he and Jeanie have been married.

        Scene eight is set on the light bridge where Bob and Sidney are getting their lamps set for the finale of act one. The men talk about marriage and infidelity and Bob begins to tease Sidney, accusing his wife of cheating on him. Sidney can’t hit Bob so he gropes for another way to get even; he accuses Jeanie of dating Larry. Seething, Bob tells Sidney to prove his accusation and Sidney waits for the moment, in between a scene, when Jeanie and Larry kiss.

        Scene nine is set in a nightclub during the play where Betty and Charlie, as Carmen and Me, are on the dance floor. Jeanie, wearing the costume of a nightclub flower girl, enters and walks among the dancers with a tray of flowers. When she exits, she puts her tray of flowers on Larry’s desk and then goes up to him, as she apparently does every night, ready for a kiss. He takes her in his arms and kisses her.

        Suddenly a spotlight shines on them from the bridge and they both look up with panic in their eyes. They cling to each other like two terrified children and continue to stare up at the light as if fascinated and hypnotized by it. The music becomes very loud at this point and the dancing on the stage becomes faster. Mac enters, takes in the situation and waves to Bob to take the lights off, but the light stays on. Betty, onstage, looks up at the bridge, wondering why her spot has gone off. Then she looks into the wings and understands, and looks back at the bridge.

        Offstage, Jeanie pulls away from Larry, never taking her eyes from the bridge and Mac, in unheard dialogue, makes gestures to Larry to beat it quick. Ruby comes on with a worried expression, as if already told about the crisis. Mac talks to Larry and Ruby takes Larry’s arm and leads him away. Larry submits to this like a man in a daze. Mac then puts the tray in Jeanie’s hands and pushes her onto the stage. She walks across the stage among the dancers, looking up, frightened, at the bridge. The lamp keeps following her as if Bob will not let her go. Terrified, she moves back toward the entrance on the right where Mac, in the wings, is waving wildly up to Bob to take the spot off her. She keeps walking and, as a girl looks up and screams, a sandbag comes down and knocks Jeanie’s tray out of her hands. Mac pulls her off the stage, gets to his desk and shouts signals into his microphone, apparently ordering the curtain to come down while the dancers, terrified, go on with their routine, all keeping their eyes turned up toward the bridge.

        Act II opens in the downstairs lounge of the theatre. Two ushers enter the room and tell Herbie about the finale of the first act. After they exit, Ruby and Larry come down the stairs. Ruby leads him straight over to the door, opens it with a key and pushes Larry in. She tells Herbie not to tell Bob where Larry is hiding and leaves as the theatre patrons fill the lounge and visit Herbie’s stand (INTERMISSION TALK- Mixed Chorus). At the end of the number the lights are flashed as a signal that the intermission is over and Dario enters talking about the gardenia lady. Herbie nudges him and points across to a lady who is wearing a gardenia. Dario leaves Herbie and he and the lady gravitate toward one another. She gives Dario her phone number to give to Charlie and Dario exits a frustrated man.

        Jeanie enters and when she and Herbie hear Bob coming, she hides behind the counter. Bob enters looking for either Jeanie or Larry. He is extremely angry and, when he doesn’t see either of them, he leaves temporarily. Herbie hides Jeanie in a large box behind the counter. Bob re-enters. Just as he is about to find Jeanie, Ruby enters and tells him to get back to work. Bob reaches toward Ruby, pulls his coat up over his head, turns him around and then lands him seated on the floor. Bob then exits and Ruby leads Jeanie to the office door and locks her in with Larry.

        Scene two is set in a bar across the street where a bartender is pouring rye whiskey into a glass for Bob, who is seated at the bar. When the bartender tries to take the bottle away, Bob angrily stops him (IT FEELS GOOD- M Solo).

        Scene three starts at a sequence in Act II of Me and Juliet. Jim, as Don Juan, enters and waits for Betty, as Carmen, who slinks on toward him. They begin to sing and dance (WE DESERVE EACH OTHER- Mixed Chorus).

        Scene four opens in the office of the company manager in the theatre. Larry paces the stage. His fists are clenched as he walks and his face is tortured with worry and frustration. Jeanie sits on the couch and watches him. Larry tells her that he is afraid of Bob and ashamed because of it, but she tries to reassure him (I’M YOUR GIRL- M and F Duet). Mac enters and tells them that he doesn’t want them to return home that night because Bob is totally out of control. Suddenly a window is rattled and Mac switches off the light. Bob breaks a window, enters, sees Larry and goes after him. Mac tries to stop Bob by grabbing his arm but Bob punches him in the jaw and Mac falls back to the floor. Bob then grabs Jeanie, which awakens Larry and changes him suddenly from a sensitive, imaginative man to an instinctive animal and he springs on Bob like a wildcat. Bob then grabs Larry’s wrists and pulls his hands away easily and slowly, showing how much stronger he is and Jeanie screams for help. Ruby enters then gets hold of Bob’s hand, but he slings Ruby across the room.

        The fight finally ends when Bob hits his head on the radiator and is knocked out. Mac and Ruby stay with Bob while all else leave to continue on with the play. When Bob awakens, Mac tells him that he killed Larry. Bob is terrified. Mac tells him that Larry is alive and that he and Jeanie are married. Bob leaves again seemingly angry, and Mac goes after him. The phone rings and Ruby answers it. Mr. Harrison has called to tell Mac that he is being transferred to a different show. Now Mac can date Betty.

        Now scene five begins as Dario is spotted in the orchestra pit conducting change music into the last scene of Me and Juliet. It is a different Dario now. As he conducts he looks angrily around at the lady of the gardenia, to see if she happens to be there and he holds his lapel out to show her that he now wears a red carnation. He turns around and continues to conduct the change music and the lights come up behind the transparent curtain.

        Through the transparency the company is seen rushing into places and the stagehands are just finishing setting the scene. Larry stands in the center, making sure that the scene is set before he gives the cue to ring up. Mac runs on and asks Larry if he has seen Bob and Larry says that he hasn’t. Ruby runs on with the news of Mr. Harrison’s phone call. Mac is thrilled he and Betty embrace. Suddenly Mac is caught on stage as the curtain rises. Nimbly and ingeniously, he dodges behind one girl, then behind a boy and girl and knowing the dance routine well, does his best to keep masking himself until he is near the exit and is able to slink off stage (SECOND ACT FINALE OF ME AND JULIET- Mixed Chorus).

        The last act begins as the company is breaking up, just as it does after the finale. The stagehands immediately start to strike the set and the backdrop comes away. Larry runs onto the stage as soon as the curtain has hit the floor. He asks all to practice the first act again. Bob enters looking very angry as Larry stands his ground. He goes up to Larry and tells him that he didn’t know that he and Jeanie were married. Bob exits and the company begins to practice (FINALE OF OUR PLAY- Company).

NOTES ON THE PRODUCTION

        Me and Juliet was Rodgers and Hammerstein’s least successful production. Though the box office was doing well, its financial success was mainly due to the names of Rodgers and Hammerstein. Its main problem was its unexciting book. Perhaps in this day and age of revivals, the book needs a major rewrite.

        The action in the show takes place both onstage and backstage and this needs to be clearly shown. Another factor to consider is that this show needs to have a working fly system. It is possible to use the bridge over the audience to follow Jeanie with light in the second act. A company may also find something to replace dropping the sandbag from the catwalk if they don’t feel that it can be done safely and still have the same effect on the audience.

SONGS OF SPECIAL INTEREST

        "No Other Love," M/F Duet, became commercially popular as a romantic ballad, it may be a good class study for learning to handle subtext

Instrumentation:

Script: Six Plays by Rodgers & Hammerstein
Vocal Score: Williamson Music

Record/CD: RCA Victor
Rights: Rodgers and Hammerstein

ME AND MY GIRL

        Synopsis by UNH alum Mary Ann Plunkett who originated the role of Sally in the NYC production

 

Book: L. Arthur Rose and Douglas Furber

Music: Noel Gay

Lyrics: Douglas Furber, Noel Gay and others

        (Additional contributions by Mike Ockrent with revisions by Stephen Fry)

ORIGINAL PRODUCTION

Marquis Theatre, 10 August, 1986 (1,420 perf.)

Director: Mike Ockrent

Choreographer: Gillian Gregory

Musical Direction: Stanley Lebowsky (followed by Tom Helm after Lebowsky’s death)

Orchestration: Chris Walker

 

Principals:

Bill Snibson- Robert Lindsay- Baritone

Sally Smith- Maryann Plunkett- Mezzo

Maria, Duchess of Dene- Jane Connell- Mezzo

Sir John Tremayne- George S. Irving- Baritone

Lady Jacqueline Carstone- Jane Summerhays- Soprano

Hon. Gerald Bolingbroke- Nick Ullett- Tenor

Herbert Parchester- Timothy Jerome- Tenor

Sir Jasper Tring- Leo Leyden- Baritone

Heathersett- Tom Toner- VTNE

Lord Battersby- Eric Hutson- VTNE

Lady Battersby- Justine Johnston- VTNE

Chorus and Smaller Roles: 8M/8F minimum

SYNOPSIS

        The lights come up on a posh group of young people assembling for a weekend trip from London to Hampshire in late 1930s England (A WEEKEND AT HAREFORD- Chorus). In the course of the number, the group assembles their luggage into the shape of an automobile, and the number ends at Hareford Hall. They discuss what the newly discovered Lord Hareford will be like. At Hareford is Lady Jacqueline Carstone, daughter of the dowager matriarch, Maria, Duchess of Dene. Lady Jacqui fantasizes about grabbing up the new earl for herself (THINKING OF NO-ONE BUT ME- F Solo), while pushing around her fiancé, the weak-willed Gerald Bolingbroke.

        The family solicitor, Herbert Parchester, calls the family together to inform them of the details of the discovery of the new Earl. Unfortunately, the Earl, whose name is Bill Snibson, is the result of a relationship between the deceased Earl, and a woman from a very low class. Bill is waiting outside the door, and must be met and deemed "fit and proper" by the Duchess and Sir John. When Bill enters, the family meets a rascally Cockney wearing a checked suit, bright red neckerchief, and a bowler hat that Bill is capable of doing many tricks with. Most of the family turns away from him, but the Duchess is convinced she can turn him into a proper gentleman.

        There is a complication when it is learned that Bill has brought along his Cockney girlfriend, Sally Smith. While Bills leaves the room to get Sally, Parchester counsels the family to entrust their worries to him (THE FAMILY SOLICITOR- M Solo into Small Mixed Chorus), and they dance their way out of the room, headed to the library for a family meeting. When the room is empty, Bill brings Sally in. The richness and the size of Hareford Hall make Sally feel very out of place, but Bill playfully puts her at ease (ME AND MY GIRL- M/F Duet with Taps).

        Down in the kitchens, the servants are gossiping about Bill (AN ENGLISH GENTLEMAN- Mixed Chorus) and are very uncomfortable when Bill, seeking a place he can feel at home, visits them there. Lady Jacqui summons Bill to the drawing room, where, in a revealing negligee, she tries to seduce him (YOU WOULD IF YOU COULD- F Solo). They are discovered by Gerald and Sally, and Bill tries to make things right by seriously expressing his love (HOLD MY HAND- M/F Duet). The tender moment is broken apart as the weekend guests storm the room and Sally is rushed/pushed out. The Duchess enters and informs Bill that she is planning a party where Bill will be presented to society.

        Sir John meets Sally at the Hareford Arms Pub, where she has taken refuge, and tries to convince her that she and Bill should both go back to Lambeth. Sally tries to explain her inability to turn away from Bill (ONCE YOU LOSE YOUR HEART- F Solo) and Sir John is won over to Bill and Sally’s plight.

        On the day of the party, Hareford Hall is crowded with curious nobility, all waiting to meet Bill. When he makes his entrance, he is dressed beautifully, handsomely speaking in clipped English, putting on airs, and playing the part of the Earl as he sees it. Suddenly Sally appears in a busker outfit, with a group of Lambeth friends. She means to show Bill that she doesn’t belong, and that he should send her back to Lambeth, but Bill decides that he doesn’t belong either, and that all he really wants is to be himself (THE LAMBETH WALK- M/F Solos building to Rowdy Mixed Chorus).

        Act II opens on the afternoon after the party. Gerald and a number of guests are playing croquet (THE SUN HAS GOT HIS HAT ON- M Solo and Chorus). The Duchess confronts Sally, telling her that she must tell Bill she doesn’t love him anymore, and leave his life for good. Sir John tries to defend Sally, but weakens under the Duchess’ power, and meekly follows her out. Sally is left with the hard-of-hearing Sir Jasper, and presents her chipper survivor’s view of life (TAKE IT ON THE CHIN- F Solo). There follows a comic scene with Bill and Sally in the library, full of pratfalls and verbal misunderstandings, which ends with Sally sneaking back to Lambeth. The Duchess is still relentlessly tutoring Bill, who doesn’t realize Sally is gone, and she preaches about the long line of Hareford nobility that precedes Bill. The ancestral portraits come to life and participate in the lesson (SONG OF HAREFORD- F Solo with Dance). Sir John tells Bill that Sally has left, and, sharing a flask, they commiserate about love, Sir John confessing that, in spite of her meanness, he loves the Duchess (LOVE MAKES THE WORLD GO ROUND- M Duet w/ Ancestral Chorus).

        The scene changes to Lambeth and Sally’s preparations to move to a secret place so Bill can’t find her. Sir John appears, and tells her that she can’t give in, that he has a "good friend, Colonel Pickering," who can make Sally into a fit and proper lady. Sally goes upstairs to pack, promising Sir John that she will meet him later. Bill enters and refuses to leave the spot under Sally’s window where he dreams of his love (LEANING ON A LAMPPOST- Romantic M Solo with Dream Ballet). Sally slips away again, and Bill returns to Hereford to begin a search for her.

        In the final scene, some time has passed, and Bill, not having found Sally, has decided to return to Lambeth. Sir John has smuggled Sally in, newly made over, in a shimmering gown, with impeccable speech, and a large, face-covering fan. When Bill enters, suitcase in hand, dressed as he was at the start, the disguised Sally questions him about his love for her, revealing herself at the end as Bill takes her in his arms, and exclaims, "Where the bloody ‘ell have you been?" (FINALE)

NOTES ON PRODUCTION

        Me and My Girl received three Tony Awards for Best Actor (Robert Lindsay), Best Actress (Maryann Plunkett), and Choreographer.

        Although Me and My Girl was presented on Broadway for the first time in 1986, and was an unexpected hit, it had a long life before its New York debut. It was first performed in England in December of 1937 as a "vehicle" for the popular clown, Lupino Lane. It ran for 1,646 performances and "The Lambeth Walk" was something of an anthem-like rallying call during the War. For the modern incarnation, Noel Gay’s son, Richard Armitage, went on a search to put back together the script that was largely lost through the years. He and Stephen Fry incorporated songs from other shows and came up with the show that is available today, with the brilliant help of its modern star, Robert Lindsay. It opened before its Broadway run, in London, in 1985, with only Lindsay traveling with the show to New York.

        The show is old-fashioned, with clearly marked types of characters (i.e. Bill, the smart-mouthed lovable Cockney, with a noble soul). The key to its success and appeal in presentation is in having a depth of approach to the characters and their relationships. The production can really move an audience if they are shown that the outcome matters. Bill and Sally belong together. Those playing the roles should never forget that. The show benefits from strong actors who will hold on to a high level of believable feeling in the midst of the off-the-wall hijinks. Especially in the role of Bill Snibson, an actor is required who can live up to the classic physical clowns of the past, and still convey a smoothness and a romanticism that can melt hearts, not an easy order to fill.

SONGS OF SPECIAL INTEREST

    "Me and My Girl," a charming, playful duet for Bill and Sally, includes a break for a dance, good scene leading into it

    "You Would If You Could," a raucous, "naughty" number between Jacqui and Bill, where Jacqui does the singing and Bill does the reacting

    "Once You Lose Your Heart," Mezzo Solo, a traditional, heartfelt ballad for Sally, could be a good

audition number, as it has probably not been overused

    "Song of Hareford," a good number for an older woman, with male chorus/dancers, very funny, if there is a strong actor playing Bill to provide counterpoint through his reactions, good scene into song

    "Leaning on a Lamppost," a dreamy, romantic song for a leading man, with opportunity for dance, no trace of Bill the Clown in this song

 

Instrumentation: piano, 5 reeds, horn, 3 trumpets, trombone, 2 keyboards, drums, harp, percussion, guitar, violin, cello, bass

Script: Samuel French
Vocal Selections: Samuel French
Record/CD: RCA

Rights: Samuel French

THE ME NOBODY KNOWS

Book: Herb Shapiro and Stephen M. Joseph

Music: Gary William Freedman

Lyrics: Will Holt

        (Based on spoken text written by children, ages seven to eighteen, in New York City Schools)

ORIGINAL PRODUCTION

Orpheum Theatre, May 18,1970, moved to Broadway December 18, 1970 (587 perf.)

Director: Robert H. Livingston

Choreographer: Pat Birch

Musical Director: Edward Strauss

Orchestration: Gary William Freidman

 

Company: 6M/6F Teenagers needed for this ensemble production

SUMMARY AND NOTES

        The show is one of the earliest concept musicals and deals with the problems of inter-racial school age children who grow up in a large metropolitan area. The themes, sensitively and dramatically explored, involved drugs, poverty, death, suicide and the dream everyone has of escaping the ghetto. The script utilizes many of the words of actual school children and the experiences are all true. The youthful, energetic and talented cast, combined with refreshing music and innovative choreography, made this a captivating show.

        The show was nominated for six Tony Awards in 1971 but did not win any of them. It might have done better if it had not been competing with Company and No, No Nanette.

        The production needs no specific setting, it may be performed on a gymnasium floor, or on a unit set consisting of various levels. Each actor needs one costume, modern teenage in style.

        The nature of the material calls for a talented and sensitive company and directorial staff. It is suggested that the rehearsal period involves a great deal of discussion as to the feelings of the characters and the parallel with the actors' emotions. Although the actors' environments may differ from those of an inner city ghetto the emotional problems are quite similar.

        An effective and dramatic show well worth perusing by high schools with talented performers.

SONGS OF SPECIAL INTEREST

    "Flying Milk and Runaway Plates," Mixed Chorus, good for class situation and beginning choreographer, deals with teenagers at school lunch, lots of action and energy

    "How I Feel," Baritone/Mezzo Linear Duet, two teens, on separate sides of the stage, totally unrelated to each other, contemplate suicide, dramatic and powerful

    "If I Had a Million Dollars," Mixed Chorus with Solos interspersed, tells of various children's dreams and what they would with untold wealth, touching, good for Revue on teenagers, possible as a solo audition if a single actor is able to play three different voices and types, shows versatility but needs to be edited

    "Let Me Come In," Mixed Chorus, crying out of children who yearn for a better life, love and nurturing, good for closing of a Revue on Teenagers

    "Light Sings," Mixed Chorus with a rock beat, a hopeful song about a new day dawning, good for the opening of a Revue

    "The Tree," touching story, set to music but not requiring a good voice, about a man waiting for an apple tree to bear fruit and preparing to chop it down when it fails to do so. A fog prevents him from cutting the tree and the next time he looks at the tree, there is an apple, good for children's theatre audition

 

Instrumentation: reed, trumpet, trombone, cello, bass, guitar, drums, piano/conductor

Script: NP

Selections: Sunbeam

Record/CD: Atlantic

Rights: Samuel French

MERRILY WE ROLL ALONG

Book: George Furth

Music and Lyrics: Stephen Sondheim

        (Based on a play by George S. Kaufman and Moss Hart)

ORIGINAL PRODUCTION

Alvin Theatre, November 16, 1981 (16 perf.)

Director: Harold Prince

Choreographer: Larry Fuller

Musical Director: Paul Gemignani

Orchestration: Jonathan Tunick

 

Principals:

Franklin Shephard- Jim Walton- Tenor

Mary Flynn- Ann Morrison- Alto/Mezzo

Charley Kringas- Lonny Price- Tenor

Beth Spencer- Sally Klein- Soprano/Mezzo

Gussie- Terry Finn- Mezzo

Joe- Jason Alexander- Baritone

Chorus and Smaller Roles: 13M/7F

SUMMARY AND NOTES

        The musical begins in 1980 at a graduation ceremony, where the class expresses in song their hopes for the future. The song that they sing was written by the guest speaker, a former graduate named Franklin Shepard. As he speaks, warning the students about the harsh realities of life, the graduates become the characters in Shepard’s play, his associates and friends.

        The scene moves to Franklin Shepard’s California home where there is a party in swing to celebrate his new film. As the story progresses backwards in time from 1979 to 1955 the audience discovers that Frank and Charley, two best friends, dream of forming a song-writing team and making it in the big time. During their rise to fame the two meet Mary, who wants to write, and Joseph Josephson, a producer. The three decide to write a Revue and hire Beth, a young singer who eventually becomes pregnant and marries Frank, much to the disappointment of Mary. The two writers are eventually produced on Broadway in 1964, where Beth divorces Frank for adultery with their producer’s wife, Gussie.

        The two writers/friends have a falling out; Mary who still loves Frank is now a famous critic with a caustic tongue who is forced from his life by his most recent wife, Gussie. The show ends as it began, at graduation where Frank begins his 1955 graduation speech about his hopes and aspirations. It is a brutal reality. The curtain slowly falls leaving the audience to rethink the script.

        Stephen Sondheim was nominated for his score for Merrily We Roll Along, but lost to Nine, composed by Maury Yeston.

        There are quite a few locations which include the graduation area, a roof of a New York apartment, a nightclub, an elegant apartment, the steps of a courthouse, a television show, a hotel lounge, and a California home. It is probably best do perform the entire show on various levels and just use areas to denote location.

        Many people felt the major problem with the show was due to the reverse order. The audience never got to know the characters as nice, hopeful youngsters before events changed them into disillusioned, bitter adults. There were also complaints that the youthful cast did not have the maturity to portray the older roles, they just didn’t understand the depth of the roles. In view of the latter criticism it is recommended that the roles be portrayed by people no younger than 25, preferably 30, who have the ability to portray youth physically and to portray age emotionally. There is a note in the MTI catalogue disallowing order change as a violation of Copyright.

SONGS OF SPECIAL INTEREST

    "Not a Day Goes By," Tenor Solo that Frank sings to his wife who has just accused him of infidelity, he reaffirms his love, beautiful melody, shows off range, can be done very well as an Alto Solo

    "Opening Doors," 2F/2M Quartet, scene song that lasts approximately seven minutes, good for class study, story of Franklin, Charley, and Mary, in their early 20s and living in New York, their aspirations, work, disappointments and subsequent meeting with Beth and their first produced Revue

    "Our Time," Youthful energy and hope make this an excellent song for a Revue closing, may be done in entirety as a 2M/F Trio but addition of chorus makes it more exciting

 

Instrumentation: 5 reeds, 2 trumpets, trombone, tuba, horn, 3 cellos, electric bass, guitar, 2 keyboards (synthesizer), 2 percussion

Script: NP

Selections: Valando

Record/CD: RCA

Rights: MTI

MISS SAIGON

 

        Synopsis by UNH alum Stephen Tewsbury who understudied and played the role of Chris in the Broadway production

 

Music and Book: Claude-Michel Schonberg

Lyrics: Richard Maltby, Jr. and Alan Boublil

ORIGINAL PRODUCTION

Broadway Theatre, April 11,1991 (4,063 perf.)

Director: Nicholas Hytner

Choreographer: Bob Avian

Musical Director: Robert Billig

Orchestration: William David Brown

 

Principals:

Engineer- Jonathan Pryce- character tenor

Kim- Lea Solonga- soprano mix

Chris- Willy Falk- tenor

Ellen- Liz Callaway- soprano belt

John- Hinton Battle- lyric baritone

Thuy- Barry K. Bernal- tenor

Chorus and Smaller Roles: 9M/F Vietnamese, 11 Marines

SYNOPSIS

        The show opens in April 1975, shortly before the fall of Saigon. The Engineer is preparing the bar girls for another night of whoring themselves for the American G.I.s. (BACKSTAGE DREAMLAND- M Solo to F Chorus). The girls enter the bar, filled with drunken and drugged American Marines and South Vietnamese officers who are there to win Miss Saigon, a nightly contest. Among them are two officers, Chris and John. Chris, not enjoying the festivities, sees the newest bar girl, Kim, and is instantly taken by her. Gigi wins the contest and is taken by the winning G.I. (THE HEAT IS ON IN SAIGON- Chorus).

        Gigi, with her G.I., expresses her desire to go to America, which enrages the Marine. The Engineer disciplines Gigi, which leads her to share her dreams of leaving Saigon (MOVIE IN MY MIND- F Solo with F Chorus).

        John, trying to cheer his friend up, buys Kim for the night. After a reluctant meeting and dance, Kim leads the G.I. back to her tiny dirty room where the two make love. While Kim sleeps, Chris sings about his confusing feelings about what has transpired (WHY GOD WHY?- M Solo).

        Kim wakes to find Chris preparing to leave and tells him of how she came to be in Saigon (THIS MONEY’S YOURS- F Solo). Chris realizes at that moment that he wants to spend his remaining Saigon days with her (SUN AND MOON- M/F Duet).

        The following day Chris calls John at the embassy and tells him he is taking his leave and is moving in with Kim. John, who is upset by his friend’s actions, tells him of the unattested impending Vietnamese invasion. Finally, John agrees to cover his friend for one day (TELEPHONE SONG- M Duet).

        Kim and Chris enter a room decorated by the other bar girls and the traditional song to celebrate weddings is sung (DJU VUI VAI- F Chorus with F Solo). The party is interrupted when Thuy, Kim’s cousin, a North Vietnamese officer, comes to get his promised wife, Kim. Chris protects her and forces Thuy to leave with his weapon drawn (THUY’S ARRIVAL- 2M/F Trio). Kim fears Chris is leaving without her and collapses. Chris holds her and tells of his plans to take her back to America (LAST NIGHT OF THE WORLD- M/F Duet).

        We jump ahead to Ho Chi Mihn City (Saigon) in April 1978. The third anniversary of the reunification is being celebrated with a parade (THE MORNING OF THE DRAGON- M/F Chorus).

        In a linear scene, Kim is in a small room she shares with other Vietnamese women and Ellen (Chris’s wife) and Chris are in their bedroom. Kim sings of her belief that Chris will come and rescue her and Ellen sings of her hope that Chris will let her in on the pain of his experiences in Vietnam. Both women end the song declaring they are his wife until they die (I STILL BELIEVE- F Duet).

        In order to win his freedom from the re-education camps, the Engineer finds Kim and brings Thuy to her (BACK IN TOWN- M Solo). Thuy’s unsuccessful attempts at getting Kim to marry him become violent as he orders his soldiers to ransack her room. Kim finally shows Thuy why she can never be with him when she reveals her son Tam. Thuy erupts in rage and is seconds from killing Tam when Kim kills him with Chris’s gun (THUY’S DEATH/YOU WILL NOT TOUCH HIM- F Duet).

        The chorus, still celebrating the anniversary, enters singing (THIS IS THE HOUR- Mixed Chorus) and discover Thuy’s body. Chaos erupts and we see the Engineer using the mayhem to make his getaway. Kim and Tam enter the room where the Engineer is collecting his possessions and tells him she has killed Thuy. The Engineer realizes that with a half-breed American boy he can use them both to get to America (IF YOU WANT TO DIE IN BED- M Solo).

        Kim now alone with Tam and her new hope that she will be reunited with Chris, expresses that she will do whatever it takes to make sure Tam is taken to America and provided for (I’D GIVE MY LIFE FOR YOU- F Solo). Kim, Tam, and the Engineer then join the mass exodus out of Saigon to the boats that will take them to Bangkok (NO PLACE, NO HOME- Chorus).

        The second act begins in Atlanta, September 1978, where John, who now works for an agency that finds the fathers of Vietnamese children, addressees a conference (BUI-DOI- M Solo).

        Chris and Ellen, who have come to see their old friend, greet him after the speech. John takes Chris aside and tells him that Kim has had his son. The two decide to take Ellen and go to Bangkok to find Kim and Chris’s son (THE REVELATION- M Duet).

        In Bangkok, October 1978, we see the Engineer in a sleazy area of town working the tourists to enter his night club (WHAT A WASTE- M Solo). John finds Kim working there as a bar girl and tells her that Chris is with him in Bangkok, but he doesn’t have the heart tell her that Ellen is with him as well (PLEASE- M Solo).

        While Kim prays to her shrine Thuy’s ghost appears, reminds her of her guilt and begins the flashback into the last moments of Saigon as Chris tries desperately to get Kim out of Saigon. The scene ends with Chris being pushed by John into the helicopter as Kim is left (KIM’S NIGHTMARE- Full Company). The Engineer rushes to her room and gives Kim the address of the hotel where Chris is staying.

        When she enters the room she discovers Ellen and subsequently finds out she is Chris’s wife. Kim tells Ellen she must take Tam back with her to the States and, in a rage, declares Chris must come to her place and tell her himself to make her believe he is married to Ellen (ROOM 317- F Duet). After Kim leaves Ellen is determined to fight for Chris (NOW THAT I’VE SEEN HER- F Solo). Chris and John enter the room and Ellen forces Chris to tell her of his relationship with Kim (THE BREAKDOWN- M Solo).

        Returning to the club, Kim tells the Engineer they are all going back to America. Now elated his dreams are coming true, the Engineer fantasizes about his new life in America (THE AMERICAN DREAM- M Solo with Chorus).

        The Engineer, John, Ellen and Chris go to Kim’s room where the Engineer brings Tam out to meet Chris. A gunshot is heard inside. Chris runs in to discover Kim has shot herself and holds her one last time while she lay dying. As the curtain falls we see Tam go to Ellen.

NOTES ON THE PRODUCTION

        Miss Saigon won three Tony Awards in 1991 for Best Actor in a Musical (Jonathan Pryce), Actress (Lea Salonga), and Actor in a Featured Role (Hinton Battle).

        Since the love story is told around the historical facts surrounding the last days of Saigon, it would be difficult to pull off the production without a significant number of Asians in the company. The helicopter of course can be replaced with lighting, and the "American Dream" does not need a Cadillac for the number to work.

SONGS OF SPECIAL INTEREST

    "Why God Why?," Tenor, great solo for classwork but not recommended for auditions at this time

    "I’d Give My Life for You," Mezzo/Soprano, dramatic solo about a mother’s promise to make the ultimate sacrifice for her child

    "Now That I’ve Seen Her," Soprano with Belt, solo where the actor is struggling to make a decision throughout the number, great musical acting exercise

    "The American Dream," Tenor, fun song with the opportunity to work on stage movement and dancing, can be performed without the chorus

 

Instrumentation: violin, viola, cello, bass guitar, flutes/piccolo, oboe, clarinet, saxophone, bassoon, trumpet, trombone, horn, percussion, guitar/synthesizer, piano/synthesizer

Script:
Score:NP

Selections:
Record/CD: Geffen
Rights: Not available at press time

---

THE MOST HAPPY FELLA

 

Book, Music and Lyrics: Frank Loesser

        (Based on Sidney Howard’s They Knew What They Wanted)

ORIGINAL PRODUCTION

Imperial Theatre, May 3, 1956 (676 perf.)

Director: Joseph Anthony

Choreographer: Dania Krupska

Musical Director: Herbert Greene

Orchestration: Don Walker

 

Principals:

Doctor- Keith Dadengerg- Baritone

Tony- Robert Weede- Tenor

Cleo- Susan Johnson- Alto

Herman- Shorty Long- Tenor

Roseabella- Jo Sullivan- Soprano

Marie- Mona Paulie- Soprano

Joe- Art Lund- Baritone

Postman- Lee Cass- Tenor

Giuseppe- Arthur Rubin- VTI

Pasquale- Rico Froehlich- VTI

Ciccio- John Henson- VTI

Chorus and Smaller Roles: 12M/12F, 3 Children

SYNOPSIS

        The play opens in a San Francisco, middle class restaurant at closing time. The year is 1927. Cleo, a waitress in her mid 30s, wearing one shoe and carrying the other on a tray, limps out and sings (OOH MY FEET- F Solo). The cashier makes a pass at Cleo’s friend, Rosabella, who slaps him, despite his threats to fire her.

        Roseabella turns to clean her table and spies a man’s tie pin and note from the bashful customer asking her to write because he wants to marry her (RECITATIVE- Sc to F Duet). Cleo warns her against corresponding with an unknown man who writes in broken English, but Roseabella is interested and tells her that she wants somebody to want her and that this man may be the one (SOMEBODY, SOMEWHERE- L to F Solo).

        Several months later, on a street in a Napa Valley town, the Postman, delivering the mail to the townsfolk, presents Tony, a middle aged wine producer, with a letter from Roseabella. The town is interested in the mail order romance of Tony and Roseabella, so he shows her picture around (THE MOST HAPPY FELLA- M Solo). Tony’s older sister, Marie, comes to take Tony home but he intends to have his photograph taken to send to Roseabella. Marie is against this infatuation, but Tony defends Roseabella (I DON’T KNOW NOTHIN’ ABOUT HER- Sc to M Solo). Eventually, he decides Marie is right about sending a picture of himself and he gloomily exits, passing some of his workers, who stand on a corner to watch the girls go by (STANDING ON THE CORNER- M Quartet). When Joe, Tony’s handsome young foreman, tells him that he feels like moving on (JOEY, JOEY- M Solo) Tony asks for a picture of Joe (SOON YOU GONNA LEAVE ME, JOE- Sc to M Duet), and Joe laughingly agrees. Tony confesses to his dead mother that he is going to send Joe’s picture to Roseabella (ROSEABELLA- L to M Solo).

        Everyone in Tony’s household is anxiously awaiting the arrival of Roseabella, who is coming to marry him. Pasquale, Ciccio and Guiseppe, the three Italians responsible for organizing the party, are checking over the food and extravagant decorations (ABBONDANZA- M Trio). Tony happily looks at everyone, especially the children, and imagines his future with his wife (PLENTY BAMBINI- M Solo). Tony drives to the station to pick up Roseabella as the townsfolk arrive for the party (SPOSALIZIO- Mixed Chorus). When Roseabella enters with the Postman (SPECIAL DELIVERY- M Solo), Pasquale, Ciccio, Giuseppe, and Joe line up to greet her (BENEVENUTA- M Trio).

        Roseabella turns to Joe and asks if he is happy she has come to marry him? (AREN’T YOU GLAD?- Sc to F Solo). He is bewildered until Roseabella shows him his picture, which forces Joe to explain that Tony must have sent Joey’s picture because he thinks he is too old for her. When Joe explains he helped Tony write the letters, Roseabella is outraged and tries to leave. A scream is heard and some men carry in Tony, who has just been hurt in an auto accident. Roseabella is trapped and doesn’t know where to go (LAUGHING- F Solo). When Tony, afraid of losing her, requests that she marry him immediately she consents to the marriage to save her pride.

        Joe waits outside the house and hears the ceremony being performed. As the ceremony ends, Roseabella descends from the house crying and Joe tries to comfort her (DON’T CRY- M Solo), but she tries to run off. Joe stops her and the two succumb to their emotions, passionately embrace and slowly exit as the curtain closes.

        Act II begins one week later. The vineyard workers are very busy (FRESNO BEAUTIES- M Chorus). Joe and Roseabella are enduring the guilt of their brief affair and have not been together since her arrival. Tony enters with the doctor who tries to ease the strain of Roseabella and Tony’s relationship (LOVE AND KINDNESS- Sc to M Solo). Tony convinces Roseabella to start over and she commences to teach Tony English (HAPPY TO MAKE YOUR ACQUAINTANCE- Sc to 2F/M Trio). Cleo arrives in the middle of the song and Roseabella is overjoyed that Tony has sent for her. When Tony’s lonely sister, Marie, takes Cleo aside to convince her that Tony and Roseabella are not right for each other, Cleo takes an instant dislike to Marie (I DON’T LIKE THIS DAME- Sc to F Duet). As Marie exits, Herman, a young, friendly worker, passes Cleo, who instantly recognizes his Dallas, Texan accent, and the two realize they have a common ground. (BIG D- Sc to M/F Duet to Mixed Chorus).

    Roseabella and Tony enjoy each other’s company (HOW BEAUTIFUL- Sc to 3F/M Quartet), but Marie, realizing she has been replaced, laments and Joey yearns to leave for New Mexico.

        One month later, while the vineyard workers are dancing with Roseabella, Marie attempts to convince Tony he is old and inept (YOUNG PEOPLE- M/F Duet) but Roseabella, sensitive to his feelings, tells him how much she cares for him (WARM ALL OVER- Sc to F Solo). Nonetheless, Tony feels trapped by the wheelchair and comments on his inability to physically join in the fun (OLD PEOPLE- M Solo).

        Inside the barn, Herman is teaching Cleo how to label grape boxes when Pasquale enters and orders Herman around. Cleo, in a fury, asks Herman why he takes everyone’s guff and he responds in his usual cheery manner (I LIKE EVERYBODY- Sc to M Solo).

        Roseabella confides to Cleo that she really loves Tony (I LOVE HIM- F Solo), and Cleo urges her to "tell him" and exits. When Roseabella convinces Tony that she loves him in more than a platonic nature (LIKE A WOMAN LOVES A MAN- Sc to M/F Duet), Tony invites everybody to a Sposalizio. Suddenly Roseabella collapses and the doctor takes her inside for a check-up.

        Roseabella, realizing she is going to have Joe’s baby, asks Cleo’s advice, but for once her friend has no answers. Tony is ecstatic that Roseabella loves him and sings to his dead mother (MAMA, MAMA- M Solo), telling her how happy he is. It is a heart-rending moment, for the audience knows the hurt that Tony must face.

        At the opening of Act III, Pasquale, Ciccio and Guiseppe are preparing for the Sposalizio (ABBONDANZA [REPRISE]- M Trio). Cleo, who has packed her suitcases, stops by the barn to say good-bye to Herman, but she can’t make him understand that they may never meet again (GOODBYE DARLIN’- Sc to M/F Duet).

        At the Sposalizio (SONG OF A SUMMER NIGHT- Chorus), Doc urges everyone to leave Tony and Roseabella alone for a few moments, which gives Roseabella the opportunity to tell Tony she is pregnant and leaving because she knows what his reaction will be. He is hurt and angry and orders her to go. She sadly returns his tie pin and tells him, once more, that she loves him (PLEASE LET ME TELL YOU- F Solo). Tony orders Pasquale to tell Joe he is fired, but Pasquale tells him Joe has left to take the train out of town. Tony, thinking Roseabella has gone off with Joe, gets a gun and leaves for town, determined to kill him.

        Tony arrives at the bus station to discover that Joey has left town alone. Realizing Roseabella has told him the truth, he begins to understand what her life will be like without him and decides to bring her back (SHE’S GONNA COME HOME WITH ME- L to M Solo). Marie, happy that Tony will again be dependent on her, tries to stop Tony from seeing Roseabella by taking his cane. Cleo struggles with Marie, grabs the cane, and hands it to Tony, who goes to Roseabella. Marie lunges at Cleo and the two fight. When Pasquale separates the two women, forcing Cleo to fall to the ground, Herman strikes him, which astounds both Cleo and Herman who can’t believe he really hit someone (I MADE A FIST- Sc to M/F Duet). They exit happily as Tony convinces Roseabella that he wants her to stay and no one needs to know the paternity of the child. She is afraid, but he persuades her to start all over again. As she agrees, the chorus enters. (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

        The musical, a work of genius, deserves a thorough study by any student of musical theatre. The characters are well drawn, the music challenging and the acting opportunities excellent. The show, revived in 1979, was videotaped for Public Television. It deserves more quality productions and should not be attempted without a strong dramatic director and four excellent singers who act. The part of Maria is extremely difficult to cast for the audience must be aware the reason she appears so negative is an outgrowth of her fear of being shut out.

        The set need not be complex for the emphasis is on the singing, acting, characterizations and story line. Much of the show takes place in Tony’s barn, front yard and vineyards and these scenes may be combined. Smaller scenes occur in the San Francisco restaurant, on Main Street and at the bus station, the latter two sets may be combined. The play may be updated but should take place before World War II when society was more innocent and people weren’t as mobile. It needs the aura of naiveté to believably capture its charm.

SONGS OF SPECIAL INTEREST

    "Abbondanza," comic Italian 2 Tenor/Baritone Trio, demands tight vocals and strong story line, good for revue, characterizations important to humor of number

    "Big D," Alto/Tenor, Texas style dance duet, works well for class situation or Revue, both performers must dance and have strong relationship

    "Don’t Cry," scene to song, good acting exercise for class study; difficult, dramatic scene with lots of opposites, sub-text and reaction work

    "Happy to Make Your Acquaintance," charm song, light, concentrates on inter-relationship and reactions

    "I Don’t Like This Dame," Clever Scene to Alto/Soprano Duet, training in use of aside and reaction to other performer, subtext important

    "Ooh My Feet" into "Recitative" into "Somebody Somewhere," scene character study song for advanced musical theatre class. Requires comedic and dramatic abilities, strong relationship and reactions

    "She’s Gonna Come Home with Me" through "I Made a Fist," heavy dramatic, difficult acting sequence, for class or studio work

    "Standing On the corner," vocally tight harmony, characterizations important to the comedy, good for Revue

 

Instrumentation: 5 reeds, 2 trumpets, 2 trombones, 3 horns, harp, accordion, 2 violins, viola, cello, 2 basses, 2 percussion

Script: Theatre Arts, included in score

Score: Frank

Record: Columbia

Rights: MTI

THE MUSIC MAN

Book, Music and Lyrics: Meredith Wilson

        (Based on a story by Wilson and Frank Lacey)

ORIGINAL PRODUCTION

Majestic Theatre, December 19, 1957 (1,375 perf.)

Director: Morton Da Costa

Choreographer: Onna White

Musical Director: Herbert Greene

Orchestration: Don Walker

 

Principals:

Harold Hill- Robert Preston- Baritone

Marian Paroo- Barbara Cook- Soprano

Mayor Shinn- David Burns- Baritone

Mrs. Paroo- Pert Kelton- Alto

Winthrop Paroo- Eddie Hodges- Boy Soprano

Marcellus- Iggie Wolfington- Tenor

Eulalie Mackcknie Shinn- Helen Raymond- Soprano

Chorus and Smaller Roles: 8F/10M and 8 Boys/4 Girls

SYNOPSIS

        The play opens on the interior of a train where some salesmen are discussing business and playing cards. Their dialogue is patterned to fit the rhythm of the train clacking along the tracks (ROCK ISLAND- M Chorus). During the rhythm song, the men comment on the notorious Harold Hill, a traveling salesman who concentrates on selling band instruments and uniforms to enthusiastic parents. During their conversation, one player with his back to the audience who is winning all the money, says nothing. As the train arrives at the station Harold Hill bids everyone goodbye and descends onto the Main Street of River City on July 4, 1912.

        The town is celebrating the festive day and remarks on the peculiarity of Iowans (IOWA STUBBORN- Mixed Chorus). Hill meets his old partner, Marcellus Washburn, and tells him of his latest musical instrument scheme. Marcellus, who has given up con games, warns Hill that he will have problems with the town’s librarian and music teacher, Marian Paroo. Hill isn’t concerned and begins to tell the townsfolk of the trouble they have in their town due to the new pool table. In a fast paced patter song, he describes the evil that will befall the town’s youth. The townsfolk soon agree (YA GOT TROUBLE- Sc to M Solo to Mixed Chorus).

        Marcellus points out Marian to Hill, who attempts to strike up a conversation. She brushes him off and enters her house where her Irish born mother is cleaning and overseeing Amaryllis’s piano lesson. When Marian tells Mrs. Paroo that a strange man has tried to pick her up, Mrs. Paroo advises her to give the young man a chance. The ensuing song develops both the character of the mother and daughter and clearly defines their differing philosophies (PIANO LESSON/IF YOU DON’T MIND MY SAYING SO- Sc to F Duet).

        When Winthrop, Marian’s nine-year old brother with a lisp, sullenly enters, Amaryllis asks him to a party, but he refuses and exits to his room. Amaryllis tells Marian she loves Winthrop and hopes to marry him but fears she’ll be an old maid like Marian. Marian looks out the window as Amaryllis continues practicing. She begins to realize that she is tried of being the town’s much- gossiped-about old maid and secretly yearns for someone to love (GOODNIGHT, MY SOMEONE- Sc to F Solo).

        At the high school gymnasium, a Fourth of July pageant, circa 1912, is being presented by the townspeople (COLUMBIA THE GEM OF THE OCEAN- Mixed Chorus). The idiosyncrasies of the various townspeople are pointed up in the pageant, which deteriorates into a discussion of the local pool table. Hill reiterates (TROUBLE [REPRISE]- M Solo) and convinces the townspeople they need a boys band to keep the youngsters off the streets. In a rousing patriotic style he captures the spirit of the town (SEVENTY-SIX TROMBONES- M Solo to Mixed Chorus).

        The Mayor, astounded by Hill’s spellbinding methods, instructs the school board to get his credentials. They attempt to follow orders, but Hill hoodwinks them by pointing up their hidden vocal talents and turning them into a barbershop style quartet (SINCERE- Sc to M Quartet).

        On a street in front of the library Marcellus congratulates Hill on his flamboyant demonstration at the gym and frankly admits he is astounded by Hill’s most recent scheme. He offers to introduce him to a Sunday school teacher in town, but Hill rejects the idea for he doesn’t want any unnecessary complications (THE SADDER-BUT-WISER GIRL FOR ME- Sc to M Solo).

        The ladies of the town are overwhelmed by the professor and eagerly congratulate his speech in the gym. He discovers that the Mayor’s wife, Mrs. Shinn, is reticent, so he makes her the chairman of the "Ladies Auxilliary for the Classic Dance." She accepts and is won over. When he asks about Marian, the women fill him in with the gossip and are joined by the newly formed male quartet in the background (PICK-A-LITTLE, TAKE-A-LITTLE/GOODNIGHT, LADIES- Sc to F Chorus to M Chorus).

        Hill decides to approach Marian in the library and cons her into listening to his plea (MARIAN, THE LIBRARIAN- Sc to M Solo). He kisses her and she tries to slap him, but misses and hits Tommy, a teenager Hill has named as his assistant.

        On the Paroo porch, Mrs. Paroo is taken with Hill who convinces her that her son, Winthrop, who hasn’t spoken more than three words since his father died, can play in the band. Marian is furious with Hill and determined to expose him for the fraud he is. Mrs. Paroo cautions her against turning away all men who express an interest and accuses her of setting her sights too high. Marian assures her that she isn’t waiting for a knight in shining armor (MY WHITE KNIGHT- Sc to F Solo).

        The Mayor enters the town square, berating his wife for her nightly rehearsals, when Marian rushes on carrying a large book which proves that Hill lied about his credentials. She is interrupted by the excitement of the arrival of the band instruments (WELLS FARGO WAGON- Mixed Chorus). When Winthrop is so overwhelmed that he verbalizes his emotions, something he hasn’t done since his father died, Marian tears the incriminating page from the book and turns to Hill in gratitude as the curtain falls.

        Act II opens in the gymnasium where the Ladies Auxiliary is rehearsing (EULALIE’S BALLET/IT’S YOU- Mixed Chorus) for the ice cream social. The rehearsal ends abruptly as the social begins with the new dance the professor has taught the town’s teens (SHIPOOPI- Mixed Chorus). During a confrontation with the Mayor, where Harold defends Tommy, whom the Mayor considers a troublemaker, Marian confesses her belief in Hill. The ladies gossip on the new events and invite Marian into their circle (PICK-A-LITTLE [REPRISE]- F Chorus).

        The following week, on the hotel porch, the school board, under the orders of the Mayor, sends Hill to his hotel room to get his credentials or be arrested. He hastily segues into the name Lida Rose and the quartet begins to sing (LIDA ROSE- M Quartet). The lights come up on Marian on her porch steps thinking of the effect Hill has had on her life (WILL I EVER TELL YOU- F Solo to Counterpoint M Quartet and F Solo) and the quartet counterpoints.

        Mrs. Paroo, in the middle of insisting that Marian tell Harold her real feelings, is interrupted by Winthrop who enters to tell of his fishing trip with the Professor. He excitedly sings the song, with hardly any soft S’s, that Hill has taught him (GARY, INDIANA- L to Boy Solo to Trio) and runs off to visit Amaryllis.

        Charlie Gowell, a salesman, stops by to inform the town of Hill’s music fraud. He starts to leave word with Marian, but she decides to protect Hill by vamping Cowell and stalling for time. Gowell, realizing too late that Marian is under Hill’s spell, runs to catch his train.

        Marian agrees to meet Hill at the footbridge and tells him she doesn’t expect anything from their relationship, but is grateful for everything he has done for her family (TILL THERE WAS YOU- Sc to F Solo). Hill starts to tell her the truth about himself but discovers she already knows. He is astounded when she kisses him and runs off.

        Mayor Shinn has received convincing proof that Hill is a crook. He orders him tarred and feathered but the atrocious sound of the boys band playing the Hill Think System Minuet in G causes the town to forget their intent and cheer wildly as Marian and Hill embrace (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

        The Music Man won the coveted Tony Award for Best Musical of the 1958 season, a season whose competition included West Side Story. Robert Preston, in his Broadway debut, received the Best Actor Award, David Burns, supporting Actor, and Barbara Cook, Supporting Actress. The show also received awards for Book, Producer, Composer/Lyricist and Musical Director.

        The production needs a charming yet villainous leading man in order to succeed. Without an appealing Hill it becomes unbelievable and uninteresting. Since its 1958 production it has often been performed by high schools, community and professional theatres to sell-out crowds. This is a show that benefits from a large cast of children and adults; the larger the better for it means more people to sell tickets, make costumes and work on sets and props.

        An imaginative designer can trim the sets or use cut out silhouettes to represent various locations. Nothing need be terribly complex for the "homespun" quality is more necessary than an over produced lavish look. There should be approximately two costumes per person, which includes the band sequence, the pageant and the Fourth of July finery.

        The members of the male quartet should have excellent, tight harmonizing voices and be able to portray specific yet varied characters. In fact the emphasis in this musical is on characterization, especially among the chorus.

SONGS OF SPECIAL INTEREST

    "My White Knight," Soprano, nice opportunity for transition work and pointing up specific images, ballad

    "Piano Lesson/If You Don’t Mind My Saying So," Comic, fast paced, character song for Alto/Soprano, excellent diction emphasized, argument song, class work

    "Pick-a-Little.../Goodnight, Ladies," Revue or showcase, good number for beginning musical director and choreographer, characterizations among chorus is important, minimal movement, vocal emphasis

    "The Wells Fargo Wagon," good chorus number for class, simple staging, excitement and energy make it nearly actor-proof, good for beginning choreographer

 

Instrumentation: 5 reeds, 2 trumpets, 3 trombones, 3 violins, cello, bass, percussion, piano/conductor

Script: Frank

Score: Frank

Record: Capitol

Rights: MTI

MY FAIR LADY

Book and Lyrics: Alan Jay Lerner

Music: Frederick Loewe

        (Based on Pygmalion by George Bernard Shaw)

ORIGINAL PRODUCTION

The Mark Hellinger Theatre, March 15, 1956 (2,715 perf.)

Director: Moss Hart

Choreographer: Hanya Holm

Musical Director: Franz Allers

Orchestration: Robert Russell Bennett and Philip J. Lang

 

Principals:

Mrs. Pearce- Philippa Bevans- VTNE

Henry Higgins- Rex Harrison- Baritone

Eliza Doolittle- Julie Andrews- Soprano

Colonel Pickering- Robert Coote- Baritone

Alfred P. Doolittle- Stanley Holloway- Baritone

Mrs. Higgins- Cathleen Nesbitt- VTNE

Freddy Eynsford- Hill- John Michael King- Tenor

Mrs. Eynsford-Hill- Viola Roache- VTNE

Chorus and Smaller Roles: 12M/12F minimum, half of whom dance well

SYNOPSIS

        The curtain opens on the exterior of the Royal Opera House in Covent Garden, London. A wealthy audience emerges from the Theatre, some searching for taxis, others standing by the columns of St. Paul’s Church. On the opposite side of the stage, the costermongers are warming their hands around a small fire as three buskers rush on to perform acrobatics and dances, hoping for money from the departing audience. Mrs. Eynsford-Hill, a domineering British matron, enters with her son, Freddy, who bumps into Eliza Doolittle, a poor flower girl. She angrily accuses Freddy of ruining her violets and attempts to get him to pay, but his mother, ignoring the girl, sends him off in search for a taxi. Eliza turns to Colonel Pickering, a well dressed, middle-aged military man, who gives her some money to pay for her ruined flowers.

        Eliza, warned that a stranger has been taking down everything she says, appeals to Pickering, who comes to her aid. The man turns out to be Henry Higgins, a dialectician whom Pickering has come to London to meet. Higgins launches into a discourse on the problem of the English language (WHY CAN’T THE ENGLISH?- Sc to M Solo with Extras for Staging).

        Higgins, pleased that Pickering has come to London, invites this expert on Indian dialects to stay at his house on Wimpole Street. The two exit after Higgins buys Eliza’s entire basket of flowers. She counts her good fortune and dreams of a better life as she warms her hands at the Costermongers’ fire (WOULDN’T IT BE LOVERLY- Sc to F Solo with M Trio).

        The scene changes to a tenement section of Tottenham Court Road, where Eliza’s coarse, but charmingly roguish father, Alfred P. Doolittle, and his two friends, Jamie and Harry, are being evicted from a local pub for lack of payment. Doolittle is convinced that something is bound to turn up when he sees Eliza on her way home. He convinces her to give him some money and jubilantly celebrates with Jamie and Harry (WITH A LITTLE BIT OF LUCK- M Trio).

        The scene shifts to Higgins’ study in Wimpole Street, where Higgins is playing voice recordings to Colonel Pickering, who is growing weary of the constant guttural sounds spewing forth from the recorder. When Eliza appears, proposing to be a customer for speech lessons, Higgins boasts to Pickering that in six months, he can pass her off as a duchess at the Embassy Ball. Pickering, intrigued by Higgins’ boast, agrees to pay the expenses. Mrs. Pearce, the warm-hearted housekeeper, expresses concern for Eliza’s future, but Higgins insists he knows what is best and Mrs. Pearce takes Eliza for a thorough cleaning and some new clothes. Pickering expresses his apprehensions to Higgins and wonders if Higgins lacks character in his relations with women. Higgins assures Pickering that he is a simple man and a confirmed bachelor (I’M AN ORDINARY MAN- Sc to M Solo).

        In a local pub, when Alfred Doolittle is told that Eliza has gone to live with two gentlemen on Wimpole Street he begins to see a way to make a little money from her good fortune (WITH A LITTLE BIT OF LUCK [REPRISE]- M Solo to Mixed Chorus). Doolittle goes to Higgins’ home to ask him for reimbursement for the use of his daughter as a "guinea pig" to Higgins’ whims. Higgins and Pickering are appalled by Doolittle’s lack of morals, but Higgins is intrigued by his philosophy and offers him ten pounds. Alfie responds that he only needs five and that’s all he wants. Higgins is amused and readily gives him the five pounds.

        Higgins proceeds to drill Eliza in a series of exercises, which she soon grows to detest. She expresses her hatred of her teacher in a humorous song where she imagines all the evil things she will do to Higgins when she is a lady (JUST YOU WAIT- Sc to F Solo).

        The scene progresses with a variety of exercise vignettes and a chorus of servants who urge him to quit. When Eliza finally says her exercises to Higgins’ satisfaction, Pickering, Higgins and Eliza exuberantly sing (THE RAIN IN SPAIN- Sc to 2M/F Trio).

        Eliza is so excited by her achievement she is unable to agree with Mrs. Pearce’s attempts to have her sleep on the couch in the study (I COULD HAVE DANCED ALL NIGHT- Sc to F Solo with Small F Chorus).

        Higgins decides to test Eliza’s decorum at the annual Ascot Opening Day Horse Race where his sixty-year old mother is entertaining her society friends. The chorus, elegantly costumed in black and white, demonstrates the staid manner of the upper class British by their obvious lack of enthusiasm (THE ASCOT GAVOT- Mixed Chorus).

        A nervous Higgins, Pickering and Eliza arrive at Ascot to be greeted by the charmingly tolerant Mrs. Higgins. Eliza’s conversation, which by necessity only concerns health and the weather, captivates Freddy Eynsford-Hill, a guest of Mrs. Higgins. Freddy gives her a ticket assuring her that she will enjoy the race much more if she has a horse to cheer for. Eliza proceeds to scream her horse to victory by urging him to move his "bloomin’ arse." Her language causes several of the ladies to faint and Higgins to roar with laughter.

        The scene shifts to the front of Higgins’ house where Freddy asks Mrs. Pearce to announce him to Eliza. He is obviously infatuated with her (ON THE STREET WHERE YOU LIVE- Sc to M Solo).

        Six weeks later, at the Embassy Ball (THE EMBASSY WALTZ- Mixed Chorus Dance), Eliza manages to astound everyone by her decorum, charm and beauty. The highlight of the evening occurs when phony dialectician, Zoltan Karpathy, declares Eliza’s English to be too good for someone who spoke it from birth. He declares to everyone present that she is no less than a Hungarian Princess.

        Act II opens with Higgins and Pickering congratulating themselves to Mrs. Pearce and the servants (YOU DID IT- Sc to M Duet to Small Mixed Chorus). As everyone retires to bed, Eliza furiously throws Higgins his slippers and expresses doubts about her abilities to live and work in the world she left behind. Higgins tries to mollify her but she informs him she is leaving and he loses control for the first time in their relationship.

        Eliza packs a suitcase and leaves the house. She runs into Freddy, who is still waiting in front of the house. While actually venting her anger at Higgins she confronts Freddy and instructs him on how to behave (SHOW ME- Sc to F Solo).

        Eliza returns to her past surroundings at Covent Garden, but realizes she can never go back to her old life. When she meets her father, he tells her of an American millionaire who, upon Higgins’ recommendation, left Alfie £4000 a year for being the most original moralist in England. He is on his way to marry Eliza’s stepmother, depressed that he must maintain a certain level of respectability. Eliza leaves as the chorus of friends returns to take Alfie to his wedding (GET ME TO THE CHURCH ON TIME- M Solo to Mixed Chorus).

        At Wimpole Street, Higgins, incredulous that Eliza has left, questions Mrs. Pearce and Colonel Pickering on the behavior of women (A HYMN TO HIM- Sc to M Solo). Henry storms off to his mother’s house where he finds Eliza calmly having tea with Mrs. Higgins in the conservatory. After an unpleasant scene with Higgins, Eliza realizes she can get along without him (WITHOUT YOU- Sc to F Solo to M Solo). When he changes moods at the end of her song and tells her that he is proud she has become a strong woman Eliza leaves. He is confused by her behavior and calls out to his mother who cheers Eliza for besting him.

        He returns home in a rage, furious that he has grown so attached to a woman. As he reaches his front door he realizes he will honestly miss Eliza (I’VE GROWN ACCUSTOMED TO HER FACE- L to M Solo).

        He enters the house and turns on the recorder to hear Eliza’s voice. As he sits and listens, Eliza softly enters the room, turns off the gramophone and finishes her own words. Higgins is overjoyed but, in typical fashion, refuses to acknowledge his inner emotions, and responds by asking her where his slippers are; she smiles in understanding as the curtain falls.

NOTES ON THE PRODUCTION

        My Fair Lady won nine 1957 Tony Awards for Best Actor (Rex Harrison), Director, Musical, Book, Producer, Composer, Musical Director, Scenic Designer, and Costume Designer.

        The show is one of the finest musicals ever written. It has an excellent book, memorable music and brilliant lyrics. The characters are well drawn and the roles worthy of the best actors and actresses the musical theatre has to offer.

        The original production had eleven different scenes, several of which took place in full stage settings. It is possible to combine locations i.e. the ballroom of the embassy and the outside hall often use the same setting; the upstairs hall scene may be set in the study; the Covent Garden exterior and the flower market may be combined, as can the two Ascot scenes. This means the entire show would need: a Covent Garden Exterior, Higgins’ Study, a tenement section, an Ascot area, an Embassy Ballroom, Mrs. Higgins’ conservatory (sometimes utilizes the Embassy Ballroom drop and with different furniture), and the outside of Higgins’ house for a total of six different settings. Covenant Garden, the tenement, the Ascot scene, the Ballroom and the exterior of Higgins’ house may be rented drops. It is extremely important to the overall look of the production to have lavish sets and costumes. If a company is going to have trouble financially achieving a quality look to the production it might be better to present the non-musical version.

        The costumes are many and varied. The period is 1912, London and has costumes which vary from evening clothes to those of the Covent Garden poor. Each chorus member should have at least one costume for the Opera opening, which may be used again without the outerwear for the Embassy Ball, one costume for the Covent Garden scenes, which may also be used in the Doolittle Pub sequences, separate outfits for the Ascot scenes and possibly working class dress clothes for "Get Me To the Church On Time." Eliza needs five costumes, Higgins needs three, Pickering three, Doolittle two, Mrs Higgins two, and the house servants need at least one.

        For further reading about the original production, see Alan J. Lerner’s book The Street Where I Live.

SONGS OF SPECIAL INTEREST

    "Get Me to the Church on Time," good chorus number, excellent directing and choreographing exercise for class situation

    "I’ve Grown Accustomed to Her Face," good as final number in a character study for it shows an unusal side of Higgins

    "Just You Wait," excellent acting exercise, story style song with lots of actable specifics, good for class work

    "On the Street Where You Live," strong vocal quality needed, good for movement for awkward actor, possible Tenor audition

    "With a Little Bit of Luck," fun male trio, good for characterization and audience relationship

    "Without You," difficult and challenging scene to duet, lots of emotional levels, good for work on relationship

    "Wouldn’t It Be Loverly," good acting song, simple dance, good for class work

 

Instrumentation: 3 violins, cello, bass, 5 reeds, 2 horns, 3 trumpets, 2 trombones, tuba, percussion, harp, piano/conductor

Script: Coward-McCann Signet

Score: Chappell

Record: Columbia

Rights: Tams-Witmark

THE MYSTERY OF EDWIN DROOD

 

        Synopsis by UNH alum Hannah Murray Starobin who worked on the original Broadway production

 

Book, Music and Lyrics: Rupert Holmes

        (Suggested by Charles Dickens’ unfinished novel The Mystery of Edwin Drood)

ORIGINAL BROADWAY PRODUCTION

Imperial Theatre, December 2, 1985 (608 perf.)

Director: Wilford Leach

Choreographer: Graciela Daniele

Musical Director: Michael Starobin

Orchestration: Rupert Holmes

 

Principals:

John Jasper/Mr.Clive Paget- Howard McGillin- Tenor

Mayor Thomas Sapsea/Mr. William Cartwright, Chairman- George Rose- Baritone

Stage Manager and Barkeep/Mr. James Throttle- Peter McRobbie- VTNE

The Reverend Mr. Crisparkle/Mr. Cedric Moncrieffe- George C. Martin- VTNE

Edwin Drood/Miss Alice Nutting- Betty Buckley- Mezzo

Rosa Bud/Miss Dierdri Peregrine- Patti Cohenour- Soprano

Alice/Miss Isabel/Yearsley- Judy Kuhn- Mezzo

Beatrice/Miss Florence Gill- Donna Murphy- Mezzo

Helena Landless/Miss Janet Conover- Jana Schneider- Mezzo

Neville Landless/Mr. Victor Grinstead- John Herrera- Tenor

Durdles/Mr. Nick Cricker- Jerome Dempsy- Baritone

Deputy/Master Nick Cricker- Stephen Glavin- Tenor

The Princess Puffer/Miss Angela Prysock- Cleo Laine- Mezzo

Shade of Jasper/Mr. Harry Sayle- Nicholas Gunn- VTNE

Shade of Drood/Mr. Montigue Pruitt- VTNE

Bazzard/Mr. Phillip Bax- Joe Grifasi- Tenor

Julian/Mr. Alan Eliot- Herndon Lackey- VTNE

Horace/Mr. Brian Pankhurst- Charles Goff- VTNE

Dick Datchery- ???????- Mezzo or Baritone

Chorus and Smaller Roles: None

SYNOPSIS

        As Act I begins, William Cartwright (Chairman and host for the evening) and the company of actors from The Music Hall Royale mingle with the audience and explain that the audience will be voting later in the evening. The orchestra begins to warm up and it is pandemonium. The conductor cues the orchestra with brisk tempo as Cartwright and several of the dancers burst through and begin the opening number (THERE YOU ARE- Company).

        At the end of the opening, Cartwright hits his gavel and explains that the company will be performing Charles Dickens novel "The Mystery of Edwin Drood," but that Dickens died before he finished the book, so the audience will have the opportunity to determine how the story ends after the company acts out the tale in music hall format.

        Scene one takes place at Minor Canon Cornerin, the cathedral city of Cloisterham on a morning late in December. "Cloisterham! The ancient, mouldering cathedral city of Cloisterham!" The curtain parts to reveal the home of the choirmaster, John Jasper. Included in his home is a portrait of Rosa Bud. With an introduction by the Chairman, the orchestra begins to play and Jasper sings of his frustration (A MAN COULD GO QUITE MAD- M Solo).

        Edwin Drood enters, he has returned home to marry Rosa Bud. Jasper confesses that he has been taking medicine for pain. They sing about their close friendship (TWO KINSMEN- M Duet).

        Later that morning, in the conservatory at the Nun’s House, a seminary for young women, Jasper, Rosa’s choir instructor, arrives to present Rosa with a birthday gift. It is a song he has written and which he insists that she sing (MOONFALL- F Solo). Rosa is clearly uncomfortable, but Jasper insists that she sing it again, but with passion. She struggles to sing but collapses as Reverend Crisparkle enters with Helena and Neville Landless.

        Helena and Neville are orphans. Neville has been sent to live with Crisparkle in the hope that he can calm Neville’s temper. Rosa tells Helena of her fears of Jasper and they sing (MOONFALL [REPRISE]- F Quartet).

        Outside the residence of Mayor Thomas Sapsea the following afternoon, The Chairman introduces Durdles and his sidekick, the Deputy. Durdles tells Mayor Sapsea that he has been working on Mrs. Sapsea’s grave. He tells that the tomb should be a national treasure and that Jasper had even asked to see it. We are told that this might be a clue for later.

        At dawn the next day, in her opium den, Princess Puffer sings (THE WAGES OF SIN- F Solo). At the end of the song, John Jasper enters looking for laudanum. Jasper drinks the laudanum and we see his hallucinations (JASPER’S VISION- Ballet). As the ballet ends he calls out for Rosa.

        That afternoon in Cloisterham High Street, Drood, Neville, Helena and Crisparkle meet and discuss Edwin Drood’s plans to work in Egypt. Neville and Helena tell him of their home in Ceylon (CEYLON- M/F Duet into Ensemble). Jasper and the Mayor enter as company exits. Jasper expresses his concern of the rivalry between Edwin Drood and Neville. Jasper fears Neville’s hot temper. The Mayor does not see this side of him (BOTH SIDES OF THE COIN- M Duet).

        Late that night, at the Crypts of Cloisterham, Jasper is seen coming from the Mayor’s wife’s mausoleum. Durdles is asleep on the floor. He steals a key from Durdle’s key ring. The Deputy enters and Jasper chokes him, but the Deputy has only been faking and punches Jasper who runs out.

        At the ruins of Cloisterham on Christmas Eve Rosa and Drood are strolling by the ruins of Cloisterham. They at last talk of their true feelings (PERFECT STRANGERS- M/F Duet).

        A short time later at Jasper’s house, Neville, Helena, Crisparkle and Jasper are talking. Neville says that he has learned that Rosa’s mother was once engaged to Crisparkle. It is learned that she slipped off the cliffs on her second anniversary. Rosa and Drood enter. Neville and Drood do not get along and sing (NO GOOD CAN COME FROM BAD- M Duet into Group). Rosa, Helena and Crisparkle exit. Drood and Neville leave together.

        It is Christmas Day at Minor Canon Carner and the discovery has been made that Edwin Drood is missing. The cape that Jasper loaned to Drood, has been found by the river, torn and bloody. The Chairman agrees to let the actor playing Bazzard sing a song he has written (NEVER THE LUCK- M Solo and Company).

        A crowd pushes Neville on stage shouting that they have found him. He is accused of killing Edwin Drood. Helena says that they can not arrest him because they have no body. Neville is released and Rosa finds herself alone with Jasper. He confesses his feelings as Rosa tells him of her fear and dislike of him. They sing (THE NAME OF LOVE/MOONFALL [REPRISE]- M/F Duet with Company).

        Act II opens in Cloisterham Station six months later. The Chairman enters and explains that there has been no sign of Edwin Drood and "all of Cloisterham is agog with rumor and suspicion." The train pulls into Cloisterham Station. John Jasper steps off the train followed by two sleuths, the Princess Puffer and a detective named Dick Datchery. Puffer and Datchery have set out to solve the mystery of what has happened to Edwin Drood (SETTLING UP THE SCORE- M/F Duet with Ensemble).

        In Cloisterham High Street the company performs (OFF TO THE RACES- Company), a tradition at the Music Hall Royale.

        Puffer meets Rosa, gasps and hides her face. She says that she has found the first piece of the puzzle. Durdles asks if she will be leaving. She sings (DON’T QUIT WHILE YOU’RE AHEAD- F Solo with Company). The song ends and they begin the reprise until the orchestra and the company suddenly stop. It is at this point, the Chairman explains, that "Charles Dickens laid down his pen forever" and that "we shall together solve, resolve and conclude: The Mystery of Edwin Drood!"

        The Chairman shares with the audience what most literary experts believe: that Dick Datchery is one of the characters that we have already met. He then gives the audience and the company a chance to vote whether Edwin Drood is alive or dead. The company votes that Edwin Drood is dead. Miss Nutting, who has played the role of Edwin Drood and Dick Datchery, storms off.

        Next the audience must vote on "Who is the detective Datchery?" The possible characters are asked to step forward and the audience votes by applause for their choice.

        Then the audience is asked to choose who they want to see as the murderer. Each possible character is given a number. As they line up, they state why they might be the murderer. At this point the company spreads out into the audience to count the votes for who will play Edwin Drood’s killer. As the votes are tallied backstage, the Chairman and the suspects sing (SETTLING UP THE SCORE [REPRISE]- Company).

        Once the votes are counted, the play moves on. Princess Puffer admits to Rosa Bud that she was her nanny and sings (THE GARDEN PATH TO HELL- F Solo). This is followed by "PUFFER’S CONFESION" (F Solo). Puffer announces which character is Datchery. Who ever is chosen then sings their version of "OUT ON A LIMERICK" (Solo).

        Next Jasper sings (JASPER’S CONFESSION- M Solo). But at the end, Durdles proclaims that Jasper can not be the murderer because it is (who ever the audience chose). The murderer then sings (MURDERER’S CONFESSION- Solo).

        To leave on a happier note the audience then has a chance to choose two characters to play lovers (PERFECT STRANGERS [REPRISE]- M/F Duet with Company). As the song ends, Edwin Drood appears (THE WRITING ON THE WALL- M Solo).

        As the company takes their individual and company bows the Chairman leads them in song (DON’T QUIT WHILE YOU’RE AHEAD [REPRISE]- M Soloist and Company).

NOTES ON THE PRODUCTION

        The Mystery of Edwin Drood won five 1986 Tony Awards for Best Musical, Actor (George Rose), Director, Book of a Musical, and Original Score.

        The musical takes place in London’s own Music Hall Royale in the year 1873. The stage curtain hangs center stage and is painted with scenes of crypts and cathedrals and the name of this evening’s production, "The Mystery of Edwin Drood". In the first production, which was part of the NY Shakespeare Festival at the Delecorte Theatre in Central Park, the ushers were in period costume. It played for 24 performances.

        This show is unusual because it allows for substantial audience participation. It is involvement theatre at its height. A vote is held and the audience decides how to end the show. Each member of the cast must be prepared to sing "Murderer’s Confession" and "Perfect Strangers [Reprise]". They must also feel comfortable socializing with the audience while remaining in character.

SONGS OF SPECIAL INTEREST

    "Moonfall," Soprano Solo, excellent song to show acting ability, surprise and reaction to each lyric, as if first time hearing them, beautiful ballad
    "The Wages of Sin," Alto Solo, bawdy song to show character range, fun, could be used in revue or showcase for audience participation

 

Instrumentation: 3 keyboards, 1upright bass, 1drummer, 1 percussion, 6 violins, 3 celli, 4 woodwinds, 2 trumpets, 2 trombones and 2 french horn

Script: Tams-Witmark
Vocal Score: Holmes Line of Records, Inc.

Record/CD: Polydor
Rights: The Holmes Line of Records, Inc.

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NO, NO, NANETTE

 

Book: Frank Mandel and Otto Harbach

Music: Vincent Youmans

Lyrics: Irving Caesar and Otto Harbach

        (Re-adapted by Burt Shevelove for the 1971 Revival)

ORIGINAL PRODUCTION

Globe Theatre, Sept 16, 1925 (321 perf.)

REVIVAL PRODUCTION

Forty-Sixth Street Theatre, January 19,1971 (861 perf.)

Production Supervisor: Busby Berkley

Director: Burt Shevelove

Choreographer: Donald Saddler

Musical Director: Buster Davis

Orchestration: Ralph Burns

 

Principals:

Pauline- Patsy Kelly- Alto

Lucille Early- Helen Gallagher- Mezzo

Sue Smith- Ruby Keeler- Alto

Jimmy Smith- Jack Gilford- Light Baritone

Billy Early- Bobby Van- Tenor

Tom- Roger Rathburn- High Baritone

Nanette- Susan Watson- Mezzo

Flora- K.C. Townsend- Mezzo

Betty- Loni Zoe Ackerman- Mezzo

Winnie- Pat Lysinger- Soprano

Chorus and Smaller Roles: 8M/8F, friends of Nanette's who sing and dance well

SUMMARY AND NOTES

        This three act, hit musical charmed audiences of the 20s and the 70s. It is an energetic show, with colorful costumes, a youthful chorus, memorable songs, and marvelous character roles for the principals. Tony Awards went to Patsy Kelly, and Helen Gallagher. Costumes and Choreography were also honored.

        The story revolves around Jimmy and Sue Smith and their adopted daughter, of marriageable age, Nanette. It seems that Jimmy, a wealthy publisher of bibles, has become involved with three young girls, from various sections of the country, and sends his friend and lawyer, Billy Early, to buy them off. Billy and Nanette's fiancé, Tom, decide to expedite matters by meeting the three girls in Atlantic City at the Smith's usually vacant weekend cottage.

        Meanwhile, Nanette, yearning for adventure before she settles into marriage, begs her mother to let her have a fling with her friends in Atlantic City. Sue refuses, insisting it isn't proper unless she is chaperoned. Jimmy, who can't stand to see a young girl depressed, unknown to Sue, escorts Pauline and Nanette to Atlantic City. Sue and Lucille, Billy's wife, having nothing to do for the weekend, decide to travel to Atlantic City.

        The remainder of the play deals in fun and confusion as the three girls arrive at the cottage and refuse to be bought off, Nanette discovers Tom, and Sue and Lucille confront their husbands. Everything is tunefully resolved, much to the delight and amusement of the audience.

        The Revival, fraught with production and personality problems, is detailed in The Making of No, No, Nanette by Don Dunn. This book should be read by anyone planning a career in the professional theatre; it is full of horror stories which involve the presentation of this production. The costumes are period twenties everyday and evening wear and bathing suits. Each female cast member needs three outfits. Ideally the men should also have three.

        There are three different sets: the interior of the Smith's, the exterior of the Atlantic City cottage, and the living room of the cottage; both interiors must be large enough to hold the dancing chorus for large scale production numbers.

        No, No, Nanette requires a lot of choreography and a company that dances well. The Revival had a beach ball number with the girls walking on weighted beach balls. This effect is detailed in the Dunn book and requires a lot of rehearsal time to achieve.

SONGS OF SPECIAL INTEREST

    "I've Confessed to the Breeze," Tenor/Soprano Duet, romantic, lovely melody, Tom proposes marriage to Nanette who admits she loves him

    "I Want to Be Happy," Tenor, older man solo, originally performed by Jimmy who gives Nanette $200 to enjoy herself in Atlantic City. The chorus enters and the number becomes a large production tap number with everyone playing the ukulele. It is later reprised in Atlantic City with Jimmy, and his three gold digging friends

    "Tea for Two," Dance, romantic, charm song when Tom and Nanette imagine their future together in their own little cottage

    "You Can Dance with Any Girl At All," Mezzo/Baritone Duet, good example of stylized Astaire/Rogers musical theatre number. Good period piece with scene prior for class study. Lucille tells her lawyer, husband that she trusts him to come home to her. Good class exercise in playing scene/song to partner and audience, number ends with a fast, fox trot

 

Instrumentation: 5 reeds, horn, 3 trumpets, 2 trombones, percussion, guitar/banjo/ukulele, 2 violins, viola, cello, bass, piano/conductor

Script: NP

Score: T.B. Harms

Record: Columbia

Rights: Tams-Witmark

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NO STRINGS

 

Book: Samuel Taylor

Music and Lyrics: Richard Rodgers

ORIGINAL PRODUCTION

Fifty Fourth Street Theatre, March 15, 1962 (580 perf.)

Director and Choreographer: Joe Layton

Musical Director: Peter Matz

Orchestration: Ralph Burns

 

Principals:

David Jordan- Richard Kiley- Baritone

Barbara Woodruff- Diahann Carroll- Soprano

Jeanette Valmy- Noelle Adam- Mezzo

Comfort O’Connell- Bernice Massi- Mezzo/Alto

Mike Robinson- Don Chastain- Baritone

Luc Delbert- Alvin Epstein- Baritone

Louis de Pourtal- Mitchell Gregg- Baritone

Mollie Plummer- Polly Rowles- Alto

Chorus and Smaller Roles: 6M/8F

SYNOPSIS

        The show is set in the present in Paris, Monte Carlo, Honfleur, Deauville and St. Tropez. The play begins in prologue when the lights rise on Barbara, an attractive, vibrant American ex-patriot, who yearns for the sound of love (THE SWEETEST SOUNDS- F Solo, accompanied by a Flute). As the lights fade out on her they come up on David, a handsome man of thirty, with the same desire (THE SWEETEST SOUNDS- M Solo accompanied by a Clarinet). The lights rise on both, still unaware of each other, and they sing the final chorus and move into the darkness.

        The actual story begins in a photography studio in Paris where Jeanette, a young Parisienne coquette, is assisting Luc, her photographer boyfriend, in preparing a layout for Vogue. Mollie, editor for the famous magazine, awaits the arrival of preferred model, Barbara Woodruff. David Jordan, a youthful American writer friend of Luc’s relates his philosophy regarding women to Mollie (HOW SAD- Sc to M Solo).

        Barbara comes in to prepare for her modeling session and immediately shows her distaste for Americans by attacking David’s writing skills. She later apologizes and agrees to let him escort her home. As the scenery is changing the musicians appear and some Parisians walk by. As Barbara and David walk Barbara explains to David what she wants from life (LOADS OF LOVE- Sc to F Solo). David suspects she is involved with someone when she doesn’t allow him in her apartment. He wanders off in the crowd as the scene changes to her apartment.

        Louis, a stylishly handsome French man, in his fifties, greets Barbara whom he hopes will someday become his mistress. She is the only thing he has been unable to buy and is willing to wait until she agrees (THE MAN WHO HAS EVERYTHING- M Solo).

        The scene suddenly switches to the Monte Carlo auto races where David has gone for some enjoyment. Mike Robinson, a male escort friend of David’s who makes his living as a gigolo, brings Comfort, his latest rich American girl to meet David and Luc. They decide to throw a party at Luc’s studio in Paris, paid for by Comfort’s wealth (BE MY HOST- Sc to F Solo to M Trio). Luc makes a pass for Gabrielle, a French girl he has met but hastily bids her goodbye when Jeanette arrives. The two explain their unusual relationship to the audience (LA LA LA- Sc to M/F Duet).

        Back in Paris, at Luc’s studio the party is in full swing when Barbara arrives with Louis. David, takes her aside and confesses he cannot stop thinking about her, but Barbara tries to avoid the issue. When he accuses her of staying with Louis to be safe from real involvement she orders him to stop analyzing her motives (YOU DON’T TELL ME- Sc to F Solo). She exits with Louis and David storms out of the room, leaving Comfort and Mollie to express their viewpoint (LOVE MAKES THE WORLD GO- Sc to F Duet).

        Later that evening, in Barbara’s sitting room, David invites her to join him on a trip to the coast. She initially refuses, for she hates his empty lifestyle, but later accepts when he assures her that her influence will help him return to serious writing (NOBODY TOLD ME- Sc to M/F Duet).

        As Act II opens, David and Barbara are in Normandy and very much in love (LOOK NO FURTHER- Sc to M/F Duet). They reminisce about their childhoods; he comes from a small village in Maine and she, from a New York City ghetto (MAINE- Sc to M/F Duet). The mood is too good to last as David becomes angered because he feels he can’t write anything good. The two argue and David runs off to be with his friends so he won’t have to concern himself with writing.

        When Barbara returns to Paris seeking advice from Mollie, the older woman tells her to send David back to America where he will have to work to write a novel worthy of a Pulitzer Prize. Louis invites her, back but she refuses. He wishes her luck and leaves her alone to soliloquize on the stupidity of her relationships (AN ORTHODOX FOOL- F Solo).

        Comfort, on the beach with Mike and David, begs Mike for some action (EAGER BEAVER- F Solo to M/F Duet). When she later discovers Mike with another girl she informs him he is through. This confrontation forces David to realize that Barbara is right about his friends. He returns to Paris where he finds her in Luc’s studio and they reaffirm their love (NO STRINGS- Sc to M/F Duet). She urges him to go home to Maine. He expects her to go with him, but she is afraid to trade the safe modeling world of Paris for a quiet life in New England. Realizing she is right he urges her to stay in Paris while he goes to Maine. He promises to be back, but until he returns they agree to live their lives as if they had never met. They both sing as in the opening, passing each other and moving into the darkness.

NOTES ON THE PRODUCTION

        No Strings was nominated for nine Tony Awards in 1962 and won three for Actress (Diahann Carroll), Composer (Richard Rodgers), and Choreography (Joe Layton). Most other awards went to How To Succeed In Business Without Really Trying.

        This was Richard Rodgers’ only full-length production where he served as composer and lyricist. The show had many innovations: The actors moved parts of scenery, the orchestra, which contained no string section, was backstage and occasionally appeared onstage.

        The show is extremely fluid with scene pieces flowing into place accompanied by onstage musicians. The scenery need not be complicated or large but the lighting must be very tight for the locations to be properly delineated. The two leads must be excellent actors and singers who have the maturity to handle the romantic love scenes as well as the angry dramatic arguments. Without sensitive actors and a superior artistic staff the play runs the risk of falling flat.

        The book is an interesting, original text and the songs are worth studying for they are not over-performed; some may be suited for auditions or nightclubs. Although there is no specific mention in the script that Barbara is black there must be some reason she is insecure about returning to America with David. Of course, many of the problems a black Barbara would have faced in America of the early 60s are non-existent in an America of the 80s. If a non-black actress is used it is suggested that the play be updated to the 80s and some strong characterization questions regarding being born "up north of Central Park," her hatred of Americans, and her uniqueness as a model in Europe be answered in the early rehearsal stage.

SONGS OF SPECIAL INTEREST

    "Love Makes the World Go," Alto Duet, some movement, presentational, loud

    "Nobody Told Me," Baritone audition performed as a solo

    "An Orthodox Fool," Semi-dramatic Soprano, audition potential, shows range and emotion

    "Loads of Love," Soprano up-tempo, includes some movement, nice up beat tempo

 

Instrumentation: 4 reeds, trumpet, trombone, percussion, bass, piano, conductor

Script: Random

Score: Williamson

Record: Capitol

Rights: R & H

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OF THEE I SING

 

Book: George S. Kaufman and Morrie Ryskand

Music: George Gershwin

Lyrics: Ira Gershwin

ORIGINAL PRODUCTION

Music Box Theatre, December 26, 1931 (441 perf.)

Director: George S. Kaufman

Choreographer: Georgie Hale

Musical Director: Charles Previn

Orchestration: Russell Bennett and William Daly

 

Principals:

Diana Devereaux- Grace Brinkley- Alto

Mary Turner- Lois Moran- Soprano

Alexander Throttlebottom- Victor Moore- Baritone

John P. Wintergreen- William Gaxton- Baritone

Chorus and Smaller Roles: 15M/11F

SUMMARY AND NOTES

        The story opens on a political rally where everyone is shouting for Wintergreen to be President. He is easily nominated as his party's candidate and the action moves to the hotel and National Committee headquarters where three electioneers are planning out their strategy. Everyone is excited about the presidential choice, but can't seem to remember the name of his running mate. The forgetting of the vice presidential candidate is comically used throughout the show. The group decides to run the candidates on a "ticket of Love" and concoct a scheme where a panel of judges will meet in Atlantic City to choose the most beautiful girl in America as the wife for their candidate.

        The scene shifts to Atlantic City where Southern Beauty Diana Devereaux is chosen the winner, but Wintergreen refuses to marry her. It seems he has fallen in love with the attractive Mary Turner, a homebody who makes corn muffins without any corn.

        After Mary and Wintergreen are married, he is elected and they are living in the White House, the French Ambassador interrupts their nuptial bliss by insisting the only way to save French honor is for the marriage to be annulled and have the President marry Diana. It seems the poor girl is the illegitimate daughter of a relative to Napoleon and it is time she was legitimized.

        The Senate plans on impeaching Wintergreen, but Mary's announcement that she is going to have a baby turns their anger into joy and they stop the proceedings. France demands the baby as retribution and threatens to sever ties with the United States. The arrival of twins and the subsequent announcement that the Vice President, who must act for the President in emergencies, will marry Diana and save the honor of France makes everyone happy.

        Of Thee I Sing was the first Broadway musical to win a Pulitzer Prize. It is a multi-set show which originally had a large chorus, whose size may be trimmed.

        Revivals of this 1931 musical have attempted to update it by changing the political humor, but most have failed. It is best performed as a period piece but needs two tremendously comedic and talented leading men for Throttlebottom and Wintergreen. These two must be good actors as well as reactors. In fact, many critics believe that much of the success of the original was due to the comedic talents of the principals.

        There are approximately two costumes per actor, although the men may stay in one suit throughout if financially necessary. The female chorus needs to appear in bathing suits for the Atlantic City section as it is a spoof on the Miss America pageant, however if figures of the company are not compatible with this, evening gowns would suffice. The male chorus, originally much larger, has been trimmed to the barest minimum which means that many of the politicians, who have smaller roles will have to double as chorus.

SONGS OF SPECIAL INTEREST

    "Love Is Sweeping the Country," Up-tempo, mixed chorus, easy to move to and good for a beginning choreographer as it requires stage pictures and marching style movement more than dance steps, good in a Revue

    "Who Cares," Baritone/Soprano, carefree, movement oriented duet, now a Solo standard often performed in nightclubs. Wintergreen and Mary tell the world they don't care about the nation's worries as long as they have each other.

 

Instrumentation: 3 reeds, 2 trumpets, trombone, 3 violins, viola, cello, bass, piano/conductor

Script: Ten Great Musicals

Score: Chappell

Record: Columbia

Rights: Samuel French

OKLAHOMA!

Book and Lyrics: Oscar Hammerstein II

Music: Richard Rodgers

        (Based on Lynn Riggs’ Green Grow the Lilacs)

ORIGINAL PRODUCTION

St. James Theatre, April 1, 1943 (2,212 perf.)

Director: Rouben Mamoulian

Choreographer: Agnes de Mille

Musical Director: Joseph Schwartzdorf

 

Principals:

Aunt Eller- Betty Garde- Alto

Curly- Alfred Drake- Baritone

Laurey- Joan Roberts- Soprano

Will Parker- Lee Parker- Baritone

Jud Fry- Howard da Silva- Baritone

Ado Annie- Celeste Holm- Alto

Ali Hakim- Joseph Buloff- Tenor

Gertie Cummings- Jane Lawrence- VTNE

Ike Skidmore- Barry Kelley- Baritone

Andrew Carnes- Ralph Riggs- VTNE

Chorus and Smaller Roles: 12M/12F at least half of which should dance

SYNOPSIS

        The play opens in front of Laurey and Aunt Eller’s farmhouse, on a lovely summer day in the Oklahoma territory. The time is the early 1900s and Aunt Eller Murphy, a kind, elderly woman is busy churning butter as a male voice is heard in the distance (OH, WHAT A BEAUTIFUL MORNING- M Solo).

        Curly has come to ask Aunt Eller’s niece, Laurey, to a party and teases her into believing he has a new buggy for the event (THE SURREY WITH THE FRINGE ON THE TOP- Sc to M/2F Trio). Aunt Eller and Laurey become involved in Curley’s dream. When Laurey realizes Curley has no such rig, she leaves in a spiteful mood. Aunt Eller tells Curly that her niece likes him but Curly isn’t so sure. He exits to hitch up Aunt Eller’s big wagon to take people to the box social.

        Will Parker, a local cowhand, home from a rodeo in Kansas City, eagerly tells Aunt Eller and a group of men about the wonders of the city (KANSAS CITY- L to M Solo with M Chorus) and confides that he has come home to marry Ado Annie, his flirtatious girlfriend. Ado’s father promised Will could marry her if he had fifty dollars, which Will just won in a roping contest.

        As the boys leave, Curly asks Aunt Eller who Laurey really likes; he is unwilling to believe it is himself. Aunt Eller leads him on, even tells him it might be Jud, the hired hand. They see Jud disappear into the house, then return with Laurey saying he is taking her to the party. Curly asks Aunt Eller to accompany him to the party and exits. A frightened Laurey begs Aunt Eller to ride with her in Jud’s wagon but is interrupted by Ado Annie who enters talking to peddler, Ali Hakim. Earlier he sold Aunt Eller an eggbeater and Eller takes him into the house to complain. Ado confides to Laurey that she has difficulty choosing a favorite beau because she likes them all (I CAIN’T SAY NO- Sc to F Solo).

        Aunt Eller and the peddler return, after settling their dispute. Laurey buys a magic elixir, guaranteed to help her solve her problems. As Annie asks Ali if he really wants to marry her Will enters and explains that he and Annie can get married because he has won the fifty dollars her father required. Annie kisses Will as the party guests arrive. Curly is among them and escorting a simpering Gertie Cummings.

        Pretending she isn’t jealous of Curly’s new preoccupation with the giggling Gertie, Laurey tells the girls of her refusal to pine over men (MANY A NEW DAY- F Solo to F Chorus).

        Mr. Carnes rejects Will’s proposal since he has spent the fifty dollars on presents for Annie and no longer has the cash. When Mr. Carnes discovers Ali Hakim has been toying with his daughter, he insists that the peddler’s attentions to Ado Annie justify a proposal. Ali, furious at being trapped, vocally vents his anger (IT’S A SCANDAL! IT’S AN OUTRAGE- M Solo to M Chorus).

        Curly and Laurey, alone on the porch, challenge each other with reasons why everyone assumes they are stuck on each other (PEOPLE WILL SAY WE’RE IN LOVE- Sc to M/F Duet). At the end of the song Curly asks her to refuse Jud, but she refuses. Curly goes to the smokehouse to see why Jud is so fascinating to her.

        Curly enters the smokehouse where Jud lives and apprises him of how people would mourn if he, Jud, were to die; Jud fantasizes the event with him (PORE JUD IS DAID- Sc to M Duet). When Jud warns Curly to stay away from Laurey, Curly gives Jud an example of his gun firing expertise. The others hear the gunshot and run to the smokehouse to find out what has happened. Discovering the shooting was accidental everyone leaves but Ali, who attempts to sell Jud some of his wares. When Jud asks if Ali has a "Little Wonder" kaleidoscope, which has a knife blade hidden inside that releases when activated, but Ali says he doesn’t handle such things.

        Left alone, Jud contemplates his empty life in a chilling number that forces the audience to see him as a three dimensional character who is determined to have Laurey no matter what the price (LONELY ROOM- L to M Solo).

        Laurey seated in a grove on her farm, takes a whiff of the "Magical Potion" she bought from Ali Hakim and envisions her future (OUT OF MY DREAMS/DREAM BALLET SEQUENCE- M Solo to Dance). In her dream the leading characters of Jud, Laurey and Curley are portrayed by three dancers (In productions where Jud’s size makes it impossible to double, it is possible for him to play the dance role). During the dream Jud kills Curly and Laurey is carried off. She awakens from this nightmare to find Jud standing before her ready to take her to the box social. Afraid to reject him, she sadly gazes at Curley, who has hopefully entered and hesitantly takes Jud’s arm and exits.

        Act II begins at the Skidmore Ranch, where the party is going strong. Aunt Eller urges the groups of ranchers and farmers to intermingle (THE FARMER AND THE COWMAN- Mixed Chorus).

        Will offers to sell the presents he bought for Ado Annie to an anxious Ali Hakim who quickly agrees. Still needing more money, an unsuspecting Will sells his "Little Wonder" to Jud who knows it is a weapon and not an amusing toy. Jud and Curly both bid for Laurey’s basket in the auction, which Curly wins by selling everything he owns, including his saddle and gun. Jud pretends that there are no hard feelings and tries to show him the "Little Wonder," intending to kill Curly by releasing the safety device on the hidden knife. Ali, knowing what lies in store, tells Aunt Eller, who saves Curly’s life by asking him to dance.

        Will who was dancing with Ado Annie, takes the opportunity to tell her that she must behave and not mess around with any other men (ALL ER NUTHIN’- Sc to M/F Duet).

        The scene shifts to Jud and Laurey in front of the Skidmores’ ranch house. When Jud tries to embrace her she pulls away. He becomes enraged but she fires him and tells him to leave immediately. He promises revenge. Curly arrives and asks Laurey to marry him. (PEOPLE WILL SAY WE’RE IN LOVE [REPRISE]- Sc to M/F duet).

        Will discovers Ali passionately saying goodbye to Annie. The peddler comments that it is a traditional Persian goodbye and exits. Will tells Ado Annie she must become used to "Oklahoma Hellos" and kisses her passionately. At Laurey’s house, it is Curly and Laurey’s wedding day and everyone is gathered at the farm to celebrate the marriage and the territorial admittance to statehood (OKLAHOMA- Chorus).

        Gertie enters the celebration introducing everyone to her new husband, Ali Hakim. Will, trying to make Ali mad, gives Gertie an Oklahoma Hello, but the only one who gets angry is Annie. A brawl starts between Annie and Gertie, which ends with Gertie being chased offstage by Ado Annie.

        Jud arrives at the farm on the pretext of kissing the bride. When he grabs Laurey, Curly pulls him off and a fight ensues during which Jud pulls a knife. Jud falls on his own knife and is killed instantly. Curley is tried and declared innocent and he and Laurey depart for their honeymoon in a beautiful surrey as the company sings (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

        A landmark musical that integrated music and dance into a plausible book with three dimensional characters. It was Rodgers and Hammerstein’s first collaboration and began a new trend in musical theatre by becoming a model form for subsequent musicals. On December 13, 1979 the show was revived on Broadway and starred Christine Andreas who made Laurey into more than a love sick two dimensional ingenue. People who had seen stereotypical productions of Oklahoma! for the past 36 years were totally enchanted by this refreshing production.

        When directing a production of Oklahoma! it is essential that the director spend a lot of time working with the actors on character understanding and development. The production needs well-rounded characterizations if the audience is to empathize with the leads and be fearful of Judd. Too many productions in our modern society portray Laurey and Curley as egotistical, self-centered teenagers who are picking on Judd, a mentally retarded man who isn’t responsible for his actions. Judd Frye is a terrifying menace to society and must be played as such. His soliloquy demonstrates his dreams and aspirations but the transitions within the song are more frightening because the audience knows what he will do.

        The time of the show is the turn of the century, which is not a difficult period to costume. There are four full sets and two partial sets which usually employ wagons, i.e. the smokehouse and the Skidmore’s porch. However, on stages with limited wing space, the wagons may be cut and simple props substituted. It is possible to perform the show with the front of Laurey’s farmhouse and the Skidmore Ranch as the only full sets.

SONGS OF SPECIAL INTEREST

    "All Er Nuthin’," Alto/Baritone, comic scene to duet, good for class study or showcase

    "I Cain’t Say No," character oriented, story song, alto, deceptively simple. Emphasis must be placed on the problem of the character, not on action, too many young performers forget what the song is about and dance it through

    "Kansas City," performed as a Tenor solo, good for audition or character movement study, good for beginning performers to tackle as there are lots of "actables"

    "Lonely Room," Baritone, dramatic, introspective solo that gives an audience an understanding of Jud’s character

    "People Will Say We’re In Love," Soprano/Baritone Duet, charm, romantic, good first romantic song for hesitant performers, emphasis is on the "game" and the relationship

    "Pore Jud Is Daid," Comedic scene to Baritone Duet, good character/situation song, wonderful in intimate revue or showcase production

 

Instrumentation: 5 reeds, 2 horns, trumpet, trombone, percussion, 4 violins, viola, cello, bass, guitar, piano/conductor. 2 piano, arrangement available

Script: 6 By Rodgers & Hammerstein

Score: Williamson

Record: Decca

Rights: R & H

OLIVER!

 

Book, Music and Lyrics: Lionel Bart

        (Adapted from Charles Dickens’ Oliver Twist)

ORIGINAL PRODUCTION

The Imperial Theatre, July 6, 1963 (775 perf.)

Director: Peter Coe

Musical Director: Donald Pippin

Orchestration: Eric Rogers

 

Principals:

Fagin- Clive Revill- Baritone

Widow Corney- Hope Jackman- Alto

Mr. Bumble- Willoughby Goddard- Tenor

Nancy- Georgia Brown- Alto

Bill Sikes- Danny Sewell- Baritone

Oliver- Bruce Prochnik- Boy Soprano

Dodger- David Jones- Tenor

Mr. Sowerberry- Robin Ramsey- Baritone

Mrs. Sowerberry- Helena Carroll- Mezzo

Bet-Alice Playten- Mezzo

Mr. Brownlow- Geoffrey Lumb- VTNE

Dr. Grimwig- John Call- VTNE

Mrs. Bedwin- Dortha Duckworth- VTNE

Chorus and Smaller Roles: 8M/6F and 8M Children

SYNOPSIS

        The scene is a dingy workhouse dining room, where the starving orphans yearn for better fare to fill their stomachs (FOOD, GLORIOUS FOOD- Boy Chorus). Oliver, a small workhouse boy of 13, asks the parish beadle, Mr. Bumble, a large, pompous 55-year old man, for more of the disgusting gruel they are eating. Widow Corney, the headmistress of the workhouse, and Mr. Bumble are appalled at Oliver’s insolence and direct the boys to join in the chase when he tries to avoid punishment (OLIVER- Sc to Mixed Chorus).

        The widow locks Oliver up and settles down to a cup of tea with Mr. Bumble in her sitting room. Mr. Bumble, who is hoping to make his partnership with the Widow a little more substantial is flirting with the sharp-tongued, domineering woman who is harsh with everybody but Bumble. As Bumble makes advances toward Widow Corney, she politely refuses, hoping that he will get the idea that she wants to get married (I SHALL SCREAM- Sc to M/F Duet). After the song, the Widow advises Bumble to take Oliver out and sell him for a good price and Bumble begins his sales pitch (BOY FOR SALE- M Solo).

        Oliver is bought by an undertaker, Sowerberry, whose dower expression is matched by his extremely melancholy temperament. Sowerberry intends to make Oliver a coffin boy to follow the funerals of children and look sad. Mrs. Sowerberry, rejects the idea but finally agrees and comments along with Bumble and her husband about undertaking as a profession (THAT’S YOUR FUNERAL- Sc to 2M/F Trio).

        Mrs. Sowerberry nightly locks Oliver in the coffin room. He desperately yearns for the love he knows must exist somewhere (WHERE IS LOVE?- B Solo). Oliver escapes the Sowerberrys into the bustling city of London where he is picked up by the artful Dodger, a young, dirty, worldly, street urchin, who invites Oliver to join him (CONSIDER YOURSELF- Sc to B Duet).

        Dodger takes Oliver to the Thieves Kitchen, run by Fagin, an elderly man (still quite agile) who makes his living off the goods he receives from the children he trains as pickpockets and thieves. Fagin welcomes the new lad by teaching him the art of pick pocketing (YOU’VE GOT TO PICK A POCKET OR TWO- L to M Solo).

        The next morning, Nancy, a street girl and former protégé of Fagin’s who is now the girlfriend of the local villain, Bill Sikes, arrives with her young friend, Bet. The two meet Oliver and poignantly comment on their hard but happy lifestyles (IT’S A FINE LIFE- Sc to F Duet to B Chorus). Dodger, Nancy, Oliver, and Bet demonstrate the lifestyles of the rich (I’D DO ANYTHING- Sc to B/F Duets with B Chorus).

        Fagin sends the boys off to pick some pockets, but urges them to hurry back and be careful (BE BACK SOON- M Solo and Mixed Chorus). Oliver sets off with Dodger on his first pick-pocket outing.

        The scene moves to the street where Oliver, mistakenly accused of stealing from Mr. Brownlow, a wealthy gentleman, is captured by the police.

        Act II opens in a tavern, where Nancy is urged by the drinking clientele to sing (OOM PAH-PAH- F Solo to Mixed Chorus). As she finishes, Bill Sikes enters in a swaggering manner, boasting about himself (MY NAME- M Solo). While Fagin is talking to Bill (another of his ex-students), an exhausted Dodger enters to tell Fagin that Oliver has been mistakenly accused of pick-pocketing but released to a wealthy man who felt responsible for falsely accusing the boy. Nancy is reluctantly convinced by Bill to go after Oliver and bring him back to Fagin for safekeeping. She desperately loves Bill and expresses her feelings (AS LONG AS HE NEEDS ME- F Solo).

        Oliver has been "adopted" by Mr Brownlow, and moved into Brownlow’s mansion, where he awakens to the sound of street vendors, hawking their wares (WHO WILL BUY?- Quartet to M Solo to Mixed Chorus). Oliver, on an errand for Mr. Brownlow, is kidnapped by Nancy and Bill who return him to Fagin’s where the old man is considering his lifestyle (REVIEWING THE SITUATION- L to M Solo).

        At the workhouse, Bumble and Corney, now wed, are approached by a dying woman who confesses to stealing a locket from Oliver’s dying mother. The locket points to a wealthy family. Bumble, sensing an opportunity, takes the locket to Mr. Brownlow who recognizes the picture of the girl in the charm as his long lost daughter, Agnes, and surmises that Oliver is really his grandson. He admonishes Bumble and promises to have him evicted from his post.

        Nancy secretly arrives at Brownlow’s estate to tell Brownlow she wants to save Oliver from growing up as a thief. She arranges to bring the boy to London Bridge at midnight.

        It is a dark night as Nancy leads Oliver to London Bridge to meet his grandfather. They are followed by an angry Bill Sikes who brutally kills Nancy and takes Oliver to Fagin’s. Sikes is pursued by the police who finally kill him at the entrance to the Thieves Kitchen. Fagin is alone in the world (REVIEWING THE SITUATION [REPRISE]- M Solo), and Oliver is reunited with his grandfather (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

        Most of the season’s Tony Awards went to A Funny Thing Happened on the Way To the Forum, however Oliver! received the Best Composer/Lyricist, Musical Director and Scenic Designer Awards.

        The action may be placed in front of a backdrop of London with a practical area stage left for London Bridge. Brownlow’s house may be a folding flat that either comes from the wings or is part of the London scene and pulls out to form the house interior and exterior. Fagin’s space may be represented by a stage right door, which is functional. The actors would enter from the upstage side of the door and their entrance to the downstage side would mean they were in Fagin’s area. The pub and the workhouse may be played down center and represented by tables. The Widow Corney’s apartment may utilize part of the London Bridge level if a flat is placed in front to make it seem as if it is an upper level of the workhouse. The Sowerberry area may be represented by several coffins placed in front of the London backdrop.

        The costumes are one per actor, unless there is quite a bit of doubling. The period is Charles Dickens, mid 1800s.

        Anyone who is considering putting up a production of Oliver! Should watch the film, which was choreographed by Onna White. Her interpretation brought the dark stage production to life, utilizing the lighter sets of the rich areas and the song, "Who Will Buy?" to create a production with more depth and emotion because she allowed for different levels, not complete despair.

        The major problem in the show involves finding a talented Dodger and Oliver who both sing well. The adult characters are broadly drawn and easily cast, but a company planning a production of the show would be wise to know there were several talented youngsters who could play the leading roles. Too often the show is chosen with a young boy in mind and by the time the season gets underway, sometimes eight months later, the child’s voice has changed from a soprano to baritone.

SONGS OF SPECIAL INTEREST

    "As Long As He Needs Me," Alto solo, slow, sustained song that demands that the actress be able to portray strong emotions effectively, she must play torment, strength and pathos well

    "I Shall Scream," Comic Tenor/Alto duet with emphasis on strong characters and relationships

    "Reviewing the Situation," Introspective, comic monologue set to music, good for character development, baritone, a bit on the high side

 

Instrumentation: 2 violins, viola, cello, bass, 4 reeds, horn, trumpet, 2 trombones, percussion, piano-conductor

Script: NP

Score: Hollis

Record: RCA

Rights: Tams-Witmark

ON A CLEAR DAY YOU CAN SEE FOREVER

 

Book and Lyrics: Alan J. Lerner

Music: Burton Lane

ORIGINAL PRODUCTION

Mark Hellinger Theatre, October 17, 1965 (280 perf.)

Director: Robert Lewis

Choreographer: Herbert Ross

Musical Director: Theodore Saidenberg

Orchestration: Robert Russell Bennett

 

Principals:

Daisy Gamble- Barbara Harris- Mezzo

Dr. Mark Brockner- John Cullum- Baritone

Edward Moncrief- Clifford David- High Baritone

Themistocles Kriakos- Titos Vandis- Baritone

Warren Smith- William Daniels- Baritone

Chorus and Smaller Roles: 12M/8F

SUMMARY AND NOTES

        This unusually themed musical revolves around Daisy Gamble, an offbeat character who yearns to give up smoking by hypnosis. She attends a lecture at psychiatrist, Mark Bruckner's clinic and finds herself often hypnotized by his examples. Mark discovers her extrasensory powers, which include making plants grow, and agrees to help her stop smoking if he can discover how she developed her powers. He is astounded to discover that she lived in the eighteenth century and becomes intrigued by her hypnotic recollections of her life as Melinda Wells. Melinda, a very attractive and sought after young woman, had to constantly evade a variety of suitors, but did fall for and subsequently marry the handsome and wealthy Edward Moncrief, a painter and rake whom she eventually leaves.

        After several hypnotic sessions, Mark realizes he believes Daisy's stories and has fallen in love with her former self, Melinda. Scoffed by the other psychiatrists, Mark finds further proof from Themistocles Kriakos, a wealthy Greek, who believes in reincarnation and proves the existence of Edward Moncrief, a little known eighteenth century painter.

        Daisy overhears some tapes in the office and realizes that Mark is in love with Melinda, not Daisy. She ponders the past and dramatically wonders what she was like to make her so appealing. She runs off, refusing to see Mark anymore but he forces her back through his own extrasensory powers. She isn't certain of his feelings and decides to head for California. At the airport she succumbs to her feelings that the plane, named the Trelawney, will crash. It seems that Melinda was killed centuries ago on a boat by the same name. She returns to Mark.

        The costumes are period eighteenth century and modern day and are quite complicated. There are several sets but many of these can be combined or relocated without detriment to the script. There are several scenes on the apartment rooftop, and the remainder can take place at Bruckner's and the airport.

        The difficulty with the script lies in the fact that the show revolves primarily around a single character, which doesn't allow for much variety. The role of Daisy is difficult and requires an extremely talented actress/singer. High school directors might find the need for judicious editing in order to give Daisy a breather and to shorten and tighten the script.

SONGS OF SPECIAL INTEREST

    "Come Back to Me," Baritone, strong male solo where the psychiatrist concentrates on getting his extrasensory powers to bring Daisy back so he can tell her he loves her.

    "Hurry! It's Lovely Up Here," Mezzo Solo, Daisy, who has extrasensory powers, demonstrates, in Dr. Bruckner's office her ability to make plants grow. Charm song, good as part of a character study to help student actress work on focus, at plant, psychiatrist and audience

    "She Wasn't You," Ending sixteen bars good for an audition for High Baritone/Tenor as it shows range and isn't overdone, Ballad. Edward falls in love with Melinda

    "Wait Till We’re Sixty-Five," Mezzo/Baritone Duet, Daisy and her old boyfriend Warren, on the roof of the tenement, is excited about his job's retirement plan. He outlines all the fun he and Daisy will have when they are old, up-tempo, best used in a Revue about old age, dance and movement enhance this number

    "What Did I Have That I Don't Have?," Mezzo, semi-dramatic, questioning, good for club, Daisy discovers that Mark is really in love with Melinda and she wonders why she is so different in the twentieth century

 

Instrumentation: 5 reeds, 3 violins, viola, cello, bass, 2 horns, 2 trumpets, trombone, percussion, piano, celeste, harpsichord, piano/conductor

Script: Random

Score: Chappell

Record: RCA

Rights: Tams-Witmark

---

ON THE TOWN

 

Book and Lyrics: Betty Comden and Adolph Green

Music: Leonard Berstein

ORIGINAL PRODUCTION

Adelphi Theatre, December 28, 1944 (463 perf.)

Director: George Abbott

Choreographer: Jerome Robbins
Musical Director: Max Goberman
Orchestration: Leonard Bernstein, Hershy Kay, Don Walker and Ted Royal

Principals:

Gabey- John Battles- Tenor

Hildy- Nancy Walker- Alto

Ozzie- Adolph Green- Baritone

Claire- Betty Comden- Mezzo

Chip- Chris Alexander- Baritone

Ivy- Sono Osato- Soprano
Chorus and Smaller Roles: 12M/12F with at least 8M/8F who dance extremely well. It is actually to the production’s benefit to have a large chorus and several dance captains to ease the rehearsal pace.

SYNOPSIS

        Act I opens in the Brooklyn Navy Yard where workmen are collecting to start the day (I FEEL LIKE I’M NOT OUT OF BED YET- Mixed Chorus). As the whistle blows and the workmen scatter, three sailors, Ozzie, Chip and Gabey, enter. They are excited about seeing New York City for the first time (NEW YORK, NEW YORK- M Chorus).

        Scene two opens in a subway train in motion. Flossie and her friend discuss Flossie’s unreasonable boss as the three sailors enter. Chip has organized plans of where in the city he plans to go while the other two have women on their minds. A workman enters and tacks a poster of "Miss Turnstiles of the Month" on the wall of the train. Gabey becomes infatuated with the poster and grabs it off the wall. An old lady on the train calls them vandals, then runs to find a policeman as the three hurriedly leave the train.

        They get off on a busy New York street where Gabey vows to find Ivy Smith, Miss Turnstiles. His friends decide to help him and the three go to different places to search for her.

        Scene four opens on the Miss Turnstiles contest. The scene shows Ivy winning the contest and an announcer explains exactly what Miss Turnstiles is supposed to be like (PRESENTATION OF MISS TURNSTILES- Announcer). Next we see the little old lady from the train. She finds a policeman, tells him about the vandalism and they run off.

        The setting of scene five is in and around a taxicab. In it is a young tough girl cabbie, Hildy. She is asleep and a man wearing a jacket, on the back of which is printed "S. Uperman", awakens her roughly. He tells her to return the cab in an hour or else he will turn her over to the cops and exits. Several customers approach the cab. Hildy looks them over then refuses them rides for various reasons, but when Chip enters, she aggressively pursues him. First she pulls him into the front seat, then she kisses him warmly. Chip is taken aback even more when she invites him to her place. He tries to refuse (COME UP TO MY PLACE- M and F Duet).

        Next we see Uperman find a cop and tell him about Hildy’s taking the cab. They run off and the little old lady and her cop follow in pursuit. Scene six is set in the Museum of Natural Science where Ozzie has gone to find Ivy. Instead, he encounters the scientist, Figment, who has spent the last forty years reconstructing a dinosaur. Figment tells Ozzie to be careful around his creation, then exits. Ozzie unconsciously takes the same pose as a pithycanthropus statue. Claire, an anthropologist, enters and, upon seeing Ozzie, she begins to take his picture and measure his various body parts for a project that she is doing. Ozzie thinks that she is attempting to pick him up.

        When the mistake is revealed, Claire tells him that she is engaged to an elderly judge who understands her perfectly. They have a purely intellectual relationship. Suddenly she makes a lunge for him and then kisses him passionately. Her excuse is that sometimes she gets carried away and Ozzie can appreciate this (I GET CARRIED AWAY- M/F Duet). During the number, three prehistoric men and three bird girls enter and Claire and Ozzie join them in a dance. As a result, Claire accidentally knocks over Figment’s precious dinosaur skeleton. The prehistoric men and women scurry away and Claire and Ozzie follow. The previous characters in the chase are now supplanted by Figment, who demands that the policeman run after Ozzie and Claire who have destroyed his dinosaur. The others stream by in hot pursuit.

        Scene seven opens on the street where Gabey has asked a man reading a newspaper, and then two girls, where Carnegie Hall is. They are very rude to him and he feels lonely (LONELY TOWN- M Solo and Mixed Chorus).

        The next scene segues to a corridor in Carnegie Hall where musicians and ballet dancers are running back and forth. Suddenly the Carnegie Hall drop goes up revealing the studio of Madame Dilly. She is practicing scales at her piano, punctuating notes with copious swigs from a whiskey bottle, which reposes on the piano. Ivy enters and complains about her job, but Madame Dilly tells her that if she didn’t have such a well paying job then she wouldn’t be able to take singing lessons. Ivy begins to practice but, soon after she has started, Dilly holds up her bottle to the light, finds it empty, rises, puts it in her bosom and excuses herself for a moment. Gabey enters, surprised to have finally found Ivy. He asks her for a date and she accepts. Madame Dilly returns and kicks him out and they begin to practice again (DO-RE-DO- F Duet).

        Scene nine is a double scene. On the right is a corner of Claire’s apartment, while on the left is Hildy’s flat. As the lights go on in Claire’s apartment, Ozzie and Claire enter. Claire kisses Ozzie goodbye but then grabs him. At this point, a suave, stately, portly gentleman comes from the kitchen wearing a cocktail apron and carrying a tray, which holds two glasses and an opened bottle of champagne. He stares at Claire and Ozzie for a moment in polite surprise then comes down to them. It is Pitkin, the judge, Claire’s fiancé. Ozzie becomes nervous when he sees Pitkin, but the judge is glad to meet him and, after they have had a drink, Pitkin leaves for an appointment, telling Claire that he will meet her that night for their engagement party. After he leaves, she leaps in Ozzie’s arms and the lights dim on Claire’s apartment as they rise on Hildy’s flat.

        Hildy and Chip enter. Hildy convinces Chip to stay but, as they begin to kiss on the couch, Hildy’s roommate, Lucy, enters sneezing from a cold. She has been unable to work that day because of it. When Lucy leaves the room, Chip and Hildy try to continue with what they were doing, but Lucy keeps interrupting them. Hildy finally makes her leave and then tries to cook dinner (I CAN COOK TOO- F Solo).

        Scene eleven opens in Times Square where Gabey is waiting for Ivy (LUCKY- M Solo and Mixed Chorus). After the number, Gabey exits and Flossie and her friend enter again discussing Flossie’s boss. Ivy enters during the middle of the conversation. Flossie and her friend exit while Madame Dilly enters and tells Ivy that she had better not skip work for a date because she wants her voice lesson payment. When Dilly threatens her, Ivy finally leaves to go to work. Gabey and Chip enter from different directions and Chip tells Gabey that he has found Ivy Smith. In walks Claire dressed up as Ivy. Gabey tells his friends that he has met the real Ivy Smith as Dilly enters and tells Gabey that Ivy won’t be making it. Gabey is thoroughly disappointed. Hildy calls Lucy on the phone asking her to come and meet them downtown. Lucy is on her way to meet Gabey as soon as the phone is hung up.

        Act II opens on Diamond Eddie’s. There is loud music, a lot of smoke, a lot of loud talk and a lot of laughter. A line of six girls are doing the entertaining (SO LONG- F Chorus). Chip, Ozzie, Gabey Hildy and Claire enter. Chip and Ozzie try to cheer up Gabey as another singer, Diana Dream, is announced.

        She sings an especially depressing song, which Hildy interrupts for Gabey’s sake. Lucy phones Hildy with the news that she has reached the wrong bar and Hildy tells her to meet them at the Congacabana. Just as they are about to leave, Pitken enters for Claire’s and his engagement party. She asks Pitkin to pay the check and to meet them at the Congacabana in a few minutes and Pitkin cheerfully agrees.

        The scene shifts to the Congacabana. When the lights come up, the patrons are indulging in a Conga line, which grows more strenuous until, by the final bars, Hildy is completely knocked out and has to be assisted back to the table. Hildy and Chip threaten the emcee into letting her sing a song (YA GOT ME- Mixed Chorus). Again, just as they are planning on going to a new club, Pitkin enters. Claire again asks him to pay the tab and this time to wait for Lucy.

        The third club is very small. Gabey sits with his head on the table. Madame Dilly enters and takes a table, obviously very drunk. Gabey approaches her and is able to get the place of Ivy’s work out of Dilly. He runs out as Lucy enters. When Hildy tells her that her date is gone, she breaks out in tears. Pitkin enters and is left with Lucy as everyone else runs after Gabey (I UNDERSTAND- M Solo).

        Figment sees Judge Pitkin, demands that he arrest the criminals and runs off. A policeman follows, then Uperman, followed by another cop. The little old lady tears across next and finally Pitkin and Lucy join in the chase.

        Scene two begins in the subway train going to Coney Island where Gabey falls asleep and begins to dream. The swaying of the people in the car becomes rhythmic, the music picks up and the people dance to it in a trance-like movement, their eyes closed, their movements detached. Suddenly Ivy appears at one end of the subway car and comes toward Gabey, who looks up. The dance becomes wilder and she motions him to come into the resplendent world, which is now visible through the car windows, the dream Coney Island of his imagination. She leads him invitingly to the center doors of the subway car, which open. The entire car splits in two and rolls off to either side of the stage and Ivy and Gabey step into the dream world.

        Scene three is set in the Dream Coney Island. Gabey is obviously still dreaming on the train. He is conscious of motion around him as the lights slowly come up and he realizes where he is: a wonderful, fluid, suspended, dreamy and sophisticated place for rich people. Suave, well-groomed men and lovely, unattainable women dance by easily and coldly with a great impersonal quality about them. Ivy is seized by the men and carried off over Gabey’s head.

        There is great excitement and the real Gabey goes off to one side to see his dream counterpart enter. Two girls carry on a poster advertising "Gabey, The Great Lover" and the stage is a swirl of excitement as his dream self enters. They all watch as the Great Lover dances for them, a jazzy, slick, ingratiating, fiery, sexy dance, which he finishes with a bang.

        There is a fanfare as the Master of Ceremonies from Diamond Eddie’s enters and announces the main event. It is a prizefight with Gabey the Great Lover versus Ivy Smith. The match begins. Ivy starts toward the great Lover with soft, voluptuous movements and the attacking feints of the Great Lover become slow motion movements until finally they are caresses rather than punches. She lures him into unwrapping her turban. Suddenly, in her grasp, the length of red cloth becomes a rope with which she proceeds to ensnare the Great Lover with until he is helpless in its coils. He is over come and Ivy is left to receive the plaudits of the multitude in triumph. The real Gabey, who has watched, horror struck, is brushed away and he glides rapidly backwards off stage.

        The fourth scene takes place in the Coney Island Express. Flossie and her friend are there, continuing with the same conversation. Chip, Hildy, Ozzie and Claire are all present and the men talk about getting back to the base on time (OH WELL- Mixed Chorus).

        Scene five is set on the real Coney Island. Chip, Ozzie, Claire and Hildy wander through the crowd and out as Gabey wanders around in a daze, looking for Ivy. Bimmy of "Rajah Bimmy’s Night in a Harem" comes onto his platform to advertise his show. He introduces three girls wearing cheap Turkish costumes and then he introduces the "Girl who picks the handkerchief up with her teeth". Ivy and the girls do their bumps and grinds and parades. Ivy takes a handkerchief from a man’s pocket and proceeds with the aid of her fellow dancer to pick the handkerchief up. As she straightens up, Gabey enters and realizes with horror that this is Ivy. He makes a grab for her and pulls her skirt off. There is a pause of shock, then a police whistle and general movement as people flock around the couple. Ozzie, Claire, Chip and Hildy enter and see Gabey and Ivy.

        The cop approaches Hildy. She hits him and backs away and the six of them run to the right. Figment, the cops, the little old lady and Uperman enter, recognize their quarry and chase them. Hildy grabs Chip, who grabs Claire, who grabs Ozzie. Then Gabey grabs Ivy. Suddenly Pitken enters with Lucy. Claire is relieved to see him until Pitkin tells her that he doesn’t understand anymore. Pitkin says that he’ll never trust a woman again and then tells the cops to arrest them. He suddenly sneezes and Lucy giggles.

        The last scene opens in the Brooklyn Navy Yard. Ozzie, Chip and Gabey come on before the traveler opens escorted there by a policeman. They are disconsolate, but the music picks up as the boys hear their names called from offstage. It’s the girls. They rush on and the three men say goodbye to Hildy, Claire and Ivy (NEW YORK, NEW YORK [REPRISE]- Mixed Chorus).

NOTES ON THE PRODUCTION

        The show is difficult one to properly mount because so much of the plot is furthered through dance. It is possible to edit the length of the numbers but even with editing this still remains a difficult dance show.

        The leads in the show do not have to be terribly good looking, just average types, which is a definite strong point. There are several smaller character roles, namely Hildy’s sneezing roommate, Flossie, a New York girl whose boss is on the make, Pitkin, and a extremely prim tour guide, called Figment. The chorus is comprised of definite types which makes the show easy to cast as far as singers go. A large chorus with a separate one for dancing is recommended. Much time must be allotted for the dance rehearsals.

        There are quite a few sets and set pieces: A subway train, taxi cab, Museum, Carnegie Hall corridor, various nightclubs, Nedicks, Claire and Hildy’s apartments and Coney Island. Many of these may be pieces, but all are necessary to the flow of the show. The costumes are period forties and consist of sailor uniforms, workman uniforms, everyday clothes and evening wear. Specialty dance costumes for various club and Coney Island sequences are also necessary.

        It is a big show to tackle but well worth the effort if a company has dancers and a quality choreographer. A definite audience pleaser, partially because it isn’t often performed, mostly because the music is wonderful.

    "I Get Carried Away," Baritone/Mezzo comic duet, takes place in the Museum of Natural History between Ozzie and Claire. They discover that they are both the type to go wild over things that intrigue them. Specific examples are outlined in the lyrics, very good for class study and characterization

    "I Can Cook Too," fast paced, alto/mezzo solo, broad characterization, movement potential. Hildy has enticed Chip to her apartment and outlines her attributes, besides cooking

 

Instrumentation: 5 reeds, 3 violins, viola, cello, bass, horn, trumpet, trombone, percussion, piano/conductor
Script: NP
Selections: Warner

Score: NP
Record/CD: Polygram

Rights: Tams-Witmark

ON THE TWENTIETH CENTURY

Book and Lyrics: Betty Comden and Adolph Green

Music: Cy Coleman

        (Based on plays by Ben Hecht, Charles MacArthur and Bruce Millholland)

ORIGINAL PRODUCTION

St. James theatre, February 19, 1978 (460 perf.)

Director: Harold Prince

Musical Staging: Larry Fuller

Musical Director: Paul Gemignani

Orchestration: Hershy Kay

 

Principals:

Owen O'Malley- George Coe- Baritone

Letitia Primrose- Imogene Coco- Mezzo

Oliver Wells- Dean Dittman- Baritone

Bruce Granit- Kevin Kline- Tenor

Oscar Jaffee- John Cullum- Baritone

Lily/Mildred- Madeline Kahn- Soprano

Max Jacobs- George Lee Andrews- VTNE

Chorus and Smaller Roles: 8F/8M minimum, all must sing well, four of the men should tap dance

SYNOPSIS

        The musical opens during a mediocre performance of "The French Girl," a terrible production about Joan of Arc. Since the entire audience has walked out by the middle of the show, the play closes and the actors sing of their common problem: being out of work and having no money to get home (STRANDED AGAIN- M Solo to Mixed Chorus). During the song the set is struck to reveal Owen O'Malley, the show's fast-talking, hard drinking, press agent, and Oliver Webb, the easily angered, overweight business manager. The company surrounds the two demanding to know where Oscar Jaffee, their egotistical producer/director, has gone. Owen and Oliver send the actors to search the roof as Oscar, disguised as a knight in full armor, hands them a note to meet him on the Twentieth Century Ltd. in Drawing Room A. The set changes to the Chicago station platform where the conductors, passengers and porters are introduced to the audience as they laud the famous train (ON THE TWENTIETH CENTURY- M Duet to Mixed Chorus).

        The scene is transformed to the interior of the train showing Drawing Room A and the Observation Car. Oliver and Owen manage to get the Drawing Room by threatening to expose the occupants, a Congressman and his mistress, who quietly move elsewhere. They wait in the observation car as the train moves out, certain that Oscar has been unable to escape the angry actors. As they talk they discover Oscar hanging outside their window furious that they are not in the car he ordered. As they pull him in, he vows not to let this setback daunt his spirits (I RISE AGAIN- Sc to M Trio).

        Oscar plans to be saved by enlisting the aid of Lily Garland, the famous Hollywood star, whom he discovered, trained and fell in love with. The scene flashes back to an empty stage where a klutzy piano player, named Mildred Plotka, is accompanying and correcting an operatic star who is auditioning for Oscar's play (INDIAN MAIDEN'S LAMENT- F Solo). The temperamental off-key singer, humiliated by this treatment, fires the girl who angrily demands her twenty-cent cab fare. She terrorizes the poor woman who meekly gives her twenty-five cents, urges her to keep the change and begs someone to help her to a cab. Oscar cleverly decides the pianist is star material, changes her name from Mildred Plotka to Lily Garland, and vows to make her an international sensation. As he describes the plot of his new play to the confused girl, the scene shifts to the production featuring Lily Garland (VERONIQUE- F Solo to M Chorus). During the number she is transformed from a droll Mildred to the sparkling Lily through Oscar's coaching and direction.

        The scene returns to Drawing Room A, where an anxious conductor bursts in to inform Jaffee that he is an aspiring playwright who has written a script about life on a train (I HAVE WRITTEN A PLAY- M Solo). Oscar agrees to look at it and pushes him out the door. Meanwhile, in the observation car, the conductor informs Mrs. Letitia Primrose, a wealthy and frequent customer, there is a religious nut on the train; she smilingly nods, turns to her bible and pastes a religious sicker on the desk.

        The train stops at the edge of Chicago as the passengers excitedly anticipate Lily Garland's entrance (TOGETHER- Mixed Chorus). Lily enters through the gaping passengers followed by her sturdy maid, Agnes, and her current boyfriend, Bruce Granit. After giving Bruce a syrupy farewell, she collapses in Drawing Room B and bursts into tears. Her maid, who cynically reminds her she has been wanting to ditch Bruce for months, is interrupted by the returning lover who refuses to leave her alone on the train. She embraces him as Owen and Oliver enter to tell her that Oscar needs her. Furious to hear that Oscar is on the train she refuses to have anything to do with the man or his schemes (NEVER- 2M/F Trio). She ends the number musically screaming her rejection as Oliver and Owen beat a hasty retreat.

        Lily sits in Bruce's lap to reassure him that Oscar Jaffee never meant anything to her. The lights rise in Drawing Room A to reveal Oscar. They both reminisce and begin singing to the other as if in a memory (OUR PRIVATE WORLD- M/F Duet). At the end of the number they return to their drawing rooms to think.

        The observation car is crowded with angry passengers pulling religious stickers from their luggage and clothing. The conductor assures the wealthy Mrs. Primrose he will find the religious extremist and everyone clears the car. As Letitia looks out the windows of the train she urges everyone to change their wicked ways (REPENT- F Solo).

        Oscar sees a repent sticker on Oliver's coat, which gives him the idea to have Lily play Mary Magdalen in a play he will produce. He sends Owen and Oliver out while he quickly changes to meet Lily. As he dresses he looks into a mirror which faces Drawing Room B. Bruce, on the other side of the wall is studying himself in the mirror facing Oscar in Drawing Room A. As they preen in front of their mirrors, it looks as if they are singing to each other, but, in reality, they are singing to themselves (MINE- M Linear Duet).

        Owen, in the observation car, discovers that Mrs. Primrose is interested in artistic endeavors. He sees a way to get Oscar out of debt and excitedly calls Oliver. Oscar barges into Lily's room, interrupting a passionate moment, which ends with Lily throwing the jealous Bruce out and ordering Oscar to leave as well. She tells him she needs no one (I'VE GOT IT ALL- Sc to M/F Duet) but he retorts that she has gone stale as an actress and needs something more challenging. She scoffs, for she is going to be in a production of his archenemy, Max Jacobs’. At the mention of the name, Oscar begins shouting and exits in a fury as Lily throws a champagne bottle at the door.

        Oscar threatens Oliver and Owen with annihilation but their news about Letitia Primrose investing in the arts so excites him that he graciously escorts Mrs. Primrose into his room. The conversation is interrupted by the congressman who has written a play about life on the hog market committee (I HAVE WRITTEN A PLAY- M Solo). Oliver and Owen hastily escort the Congressman out and mime to Oscar that Mrs. Primrose is a Baptist. He quickly uses this information to his advantage and strikes a bargain with her as the passengers sing that luck may be changed by riding the train (ON THE TWENTIETH CENTURY [REPRISE]- Mixed Chorus).

        During the ENTR'ACT, four tap dancing Porters perform a number correlating life and a train (LIFE IS LIKE A TRAIN- M Quartet).

        At the start of Act II in Oscar's room, Letita writes a check, much to the excitement of Owen, Oliver, and Oscar (FIVE ZEROS- 3M/F Quartet). They are interrupted by a Dr. Johnson who bursts into the room to inform Oscar she has written a play about life in a hospital (I HAVE WRITTEN A PLAY- F Solo). Oscar, who is preparing to meet Lily, tells her he is too busy and she exits in a huff, warning him not to expect any medical assistance from her for she will certainly be too busy.

        Oscar rushes to Lily's room to outline a play about Mary Magdalen and, as he describes it, she enacts the role. When she doubts the authenticity of Letitia Primrose, he quickly ushers her next door where everyone urges her to sign the contract. Bruce enters as she is deciding and vehemently opposes her involvement with Oscar (SEXTET- 4M/2F Sextet). Lily almost relents but can't give up Hollywood for a long-term contract. Oscar promises to give her the film rights if she will agree to a short Broadway run and Mrs. Primrose agrees to put up three million dollars for Lily's own film company. Lily is interested and goes to read the contract.

        In the Observation Car, where Oliver is relaxing, the Conductor, a Porter and two Officers from a rest home enter searching for Mrs. Primrose. Word quickly spreads throughout the train as the passengers search for the crackpot (SHE'S A NUT- Mixed Chorus). Oscar, Oliver and Owen are terribly upset by the news, Bruce is overjoyed and Lily is, once again, furious at Oscar.

        Max Jacobs, Oscar's rival, enters. He has flown in to tell Lily he has a wonderful play for her. She and Max leave Oscar and go to drawing room B where Lily begins reading Max's play. As she reads she becomes caught up in the story line and begins to act out the entire production (BABETTE-LILY- L to F Solo/ Mixed Chorus needed for staging). She agrees to star in the play.

        Oscar enters the Observation Car to tell his drunken cohorts he is committing suicide (THE LEGACY- L to M Solo). They seem disinterested in his last wishes so he exits followed by Mrs. Primrose. A shot is heard offstage and it seems Mrs. Primrose shot him while trying to take his gun away. He staggers in as the attendants take Mrs. Primrose off. He decides to use the shooting incident to his advantage and promises the Doctor he will read her play if she will help him convince Lily he is dying. Lily enters and the two enact an operatic death scene (LILY-OSCAR- M/F Duet). She grants his last request to sign a contract for his new play. He falls back, seemingly dead, as Max Jacobs rushes on. Oscar rises in triumph, certain he has beat his arch rival by getting Lily's name on a contract but she tells him she knew he was faking and signed Peter Rabbit to the contract. The two laugh and fondly embrace as the musical ends.

NOTES ON THE PRODUCTION

        On the Twentieth Century won Tony awards for Best Actor (John Cullum), Featured Actor (Kevin Kline), Book, Score and Set Design in 1978.

        The show is extremely funny when directed and acted as a stylized spoof on the 1930s films. The production calls for superb acting and singing on the parts of Lily, Oscar and Bruce. Most of the stylization notes are included in the acting version of the play and should be followed quite closely if the director has limited experience in directing period style musicals. The chorus may be expanded in size; in fact, a larger company would add more to the vocals and general look of the piece. The work has been successfully presented by smaller summer stock companies and by high schools with enormous stages to fill. The play breaks down very nicely for ease in rehearsals as there is little choral work and few choreographic demands. The stage director could be working on scenes with the principals while the musical director was working with the chorus in a separate area. When the choreographer prepared to stage the larger musical numbers the director and musical director could work with the smaller vocal numbers.

        The set is not too complex. Usually the Observation Car and Drawing Room A are on a large wagon which can come onstage from stage right or be pushed downstage, and Drawing Room B is on a smaller wagon which comes from the left side. It simplifies matters if one has access to drops for the opening sequence and Babette, but small pieces can be used if there is lack of fly space. There is a scene with Mrs. Primrose on the cowcatcher of the train and another with her in the caboose to demonstrate the passing of time but the emphasis can be on lighting and not construction.

        The costumes are period 1930, Joan of Arc, and 1930 formal attire. Most of the passengers have two costumes, one for daytime and one pair of pajamas. Lily has quite a few costumes and Oscar can change his look from a suit to a smoking jacket.

        The show is a fairly complicated prop show due to the fact that the props must be period of 1930 or earlier. The props are relatively common, i.e. carpet sweeper, pens, muskets, sword, trunk, cameras, typewriter; but many items from the period now qualify as antiques and it may be difficult finding people who will loan antiques to a theatre.

SONGS OF SPECIAL INTEREST

    "I Rise Again," comic Male trio, heavily stylized, presentational

    "Never," Angry, overdone comedic song which features a soprano

    "Repent," comic Mezzo, characterization more important than vocal

 

Instrumentation: 5 reeds, 2 horns, 2 trumpets, 2 trombones, 3 violins, viola, cello, bass, harp, 2 percussion, piano/conductor

Script: Samuel French

Selections: Big Three

Record: Columbia

Rights: Samuel French

ONCE ON THIS ISLAND

 

        Synopsis by UNH alum Stephen Tewksbury who played the part of Daniel in the Equity Summer stock company at the Weathervane Theatre. Additional notations by UNH alum Susan A. Sepich who directed the production at Andover High School.

 

Book and Lyrics: Lynn Ahrens

Music: Stephen Flaherty

        (Based on My Love, My Love by Rosa Guy)

ORIGINAL PRODUCTION

Booth Theatre, October 18, 1990 (469 perf.)

Director and Choreographer: Graciela Daniele

Musical Direction: Steve Marzullo

Orchestration: Michael Starobin

 

Principals:

Daniel- Jerry Dixon- Tenor

Ti Moune- La Chanze- Mezzo/Soprano/Belt

Erzulie, Goddess of Love- Andrea Frierson- Mezzo

Asaka, Mother of the Earth- Kecia Lewis Evans- Alto

Agwe, God of Water- Milton Craig Nealy- Baritone

Pape Ge, Demon of Death- Eric Riley- Tenor

Tonton Julian- Ellis E. Williams- Baritone

Mama Euralie- Sheila Gibbs- Soprano

Little Ti Moune- Alfi McClendon- VTNE

Andrea- Nikki Rene- Mezzo

Armand- Gerry Mcintyre- Tenor

On Broadway, actors stepped in and out of principal roles to play the chorus. School groups, who usually want to include more members in the company, can easily augment the chorus to fit their needs. In the Andover High production the director cast four principal storytellers who narrated the important transitional parts of the story. The remainder of the cast was given bits of pieces of the narration and solo singing sections, which would give every actor something special to do.

SYNOPSIS

        The audience enters the theatre to an open curtain view of a Caribbean island. The actors enter the stage playing peasant villagers terrified by the oncoming storm. As a violent storm rages the peasants gather for warmth and camaraderie around a fire. The only light on stage is from the fire. We hear the cries of a child and the peasants calm her by telling a story. They describe an Island where the poor Peasants work and the wealthy grand hommes play. The peasants believe that the gods decide their fates and pray to them regularly. The wealthy grand hommes believe that unlike the peasants, they are the masters of their own fates. The storytellers introduce the characters of the story. As they do this they assume the roles of their characters as they dance to the Caribbean beat (WE DANCE- Full Company).

        The storytellers tell of the little orphan Ti Moune who was plucked from the flood waters by Agwe, God of Water, and sheltered in a tree by Asaka, Mother of the Earth. Tonton Julian and Mama Euralie find the girl and decide to take her in. In a montage, we see Ti Moune as a spunky child playing games until she is replaced by a beautiful grown-up Ti Moune (ONE SMALL GIRL- M/F Duet and Ensemble). While Ti Moune is working in the fields a rich Grand Homme drives by in a car. Ti Moune becomes aware that there is more to life than the one she knows and prays to the gods that she wants a handsome stranger to carry her away from poverty (WAITING FOR LIFE- F Solo).

        The gods break out in laughter at Ti Moune’s naiveté. They decide to answer her prayers by sending her on a journey that will test the strength of love against the power of death (AND THE GODS HEARD HER PRAYER- 2M/2F Quartet). Agwe, provides the storm that causes Daniel Beauxhomme the wealthy Grand Homme, to lose control of his car and crash (RAIN- M Solo and background ensemble). Against the wishes of her parents and the other peasants she begins to nurse Daniel back to health. Ton Ton her adopted father travels to the city to find the boy’s family. At home, Mama prays for his safe return as Ti Moune continues her obsessive vigil (PRAY- M Solo/F Solo and Ensemble).

        As Ti Moune cradles Daniel in her arms, she tells him she will be forever his and imagines Daniel telling her the same. Pape Ge, Demon of Death, appears and tries to take Daniel’s life. In a Desperate plea to save him, Ti Moune agrees to give her life for his (FOREVER YOURS- Linear Trio).

        The storytellers switch gears and tell us how the family of the Beauxhommes came to be. They tell of a rich Frenchman named Armand who came to the island and bore a son with a dark peasant girl. The son was left on the island and given the "Beauxhomme curse" which meant he could never return to France because of the color of his skin (THE SAD TALE OF THE BEAUXHOMMES- Ensemble).

        Ton Ton returns with Daniel’s people who take him back home. Ti Moune in typical teenage style declares that she wants to follow Daniel. Ton Ton and Mama with reservations and sadness let her go (TI MOUNE- Trio).

        THERE IS THE POSSIBLITY FOR AN INTERMISSION HERE, AS IT IS THE DIVIDING POINT BETWEEN THE VILLAGE AND THE CITY. THE ORIGINAL PRODUCTION HAD NO INTERMISSION AND RAN APPROXIMATELY 90 MINUTES.

        Asaka, mother of the earth, puts Ti Moune’s fears of traveling alone aside as she gets the trees, frogs, and breezes to sing, assuring her safe passage to the city (MAMA WILL PROVIDE- F Solo and Ensemble). The storytellers then tell of her travels to the city and her entrance into Daniel’s compound (SOME SAY- Ensemble).

        The stage becomes Daniel’s bedroom where he is still recovering. Ti Moune approaches him and reveals she is the one who took care of him after the accident. Once convinced, Daniel takes her in his arms and she becomes his lover. Erzulie, goddess of Love sings about the power of love (HUMAN HEART- F Solo). The ensemble gossips about Ti Moune and Daniel’s affair. Daniel’s Father tells his son that it is acceptable to have a peasant girl on the side, but he is forbidden to marry one (PRAY [REPRISE]- M Solo/F Solo and Ensemble). While lying in a garden, Ti Moune tells Daniel of how she sees their life together in the future. Daniel own thoughts focus on the confusion of what is expected of him and what he truly wants (SOME GIRLS- M Solo).

        We move to the Ball where Daniel is dancing with Andrea a rich Homme. (THE BALL- M/F Duet). Ti Moune arrives at the ball and Andrea (who was promised to Daniel from childhood) asks Ti Moune to dance for the guests. Ti Moune begins a slow dance that builds into an infectious rhythm that everyone but Andrea helps her to complete (TI MOUNE’S DANCE- Ensemble). Andrea then reveals to Ti Moune her hope that she can dance at Andrea’s upcoming wedding with Daniel (WHEN WE ARE WED- F Solo). Daniel explains to Ti Moune that he and Andrea were promised to each other as children, and must marry. A despondent Ti Moune prays to the gods.

        Pape Ge, the demon of death, appears and reminds Ti Moune her soul belongs to him; however, she can have her life back if she kills Daniel. Ti Moune confronts Daniel with a knife, but can not take his life. Daniel has her thrown out of the compound where she waits at the gate for two weeks. Daniel and Andrea are married and as tradition dictates they go to the gates to throw coins to the peasants. Daniel gives Ti Moune a coin and regretfully follows Andrea back into the compound (FOREVER YOURS [REPRISE]- M Solo and Ensemble). Ti Moune is taken by the gods and transformed into a tree.

 

EPILOGUE

 

        With the full cast on stage Mama sings that Ti Moune will always be a part of them (A PART OF US- F Solo and Ensemble. The storytellers begin to dance and sing of why they continue to tell this story now and for generations to come. The dance and celebrations wind down as the storytellers take their original positions around the fire. The light fades in the fire to a blackout (WE TELL THE STORY- Ensemble). The storm has passed.

NOTES ON THE PRODUCTION

        This is a fun and powerful show that focuses on human emotions.. The music is deeply melodic and a joy to sing but the rhythms may cause difficulty for a novice orchestra. There is a lot of underscoring which requires impeccable tempos. The show is a true ensemble piece and requires virtually no set. Although the original cast was cast along racial lines but the musical works well with any cast, as long as the peasants are clearly distinguished from the grand hommes. The authors have provided alternative lyrics and dialogue to allow greater flexibility. This is a true Story Theatre piece where actors can change or become characters through the costuming and characterization.

SONGS OF SPECIAL INTEREST

    "Waiting for Life," mezzo/belt, high-energy number about wanting more from life than already exists, lots of emotional levels and fine audition number

    "Ti Moune," Alto/baritone/mezzo, emotional trio about a mother and father letting go of their daughter, there aren’t many trios that are good acting exercises, but this is one of them

    "The Human Heart," F mezzo solo, the most recognizable song in production, sung at many weddings, great ballad that shows off ability to sustain notes

    "Some Girls," M Solo, tenor or baritone, fine ballad for class work that looks at conflicting feelings

 

Instrumentation: woodwinds, piano, keyboard, bass, percussion, electric guitar

Script: MTI
Score: MTI
Record/CD: RCA
Rights: MTI

ONCE UPON A MATTRESS

Book: Jay Thompson, Marshall Barer and Dean Fuller

Lyrics: Marshall Barer

Music: Mary Rodgers

ORIGINAL PRODUCTION

Phoenix Theatre, May 11, 1959 (470 perf.)

Director: George Abbott

Choreographer: Joe Layton

Orchestra Director: Hal Hastings

Orchestration: Hershy Kay, Arthur Beck and Carroll Huxley

 

Principals:

Winifred- Carol Burnett- Alto

Dauntless- Joe Bova- Baritone

Queen- Jane White- Alto

King- Jack Gilford- VTNE

Lady Larkin- Anne Jones- Soprano

Sir Harry- Allen Case- Tenor

Jester- Matt Mattox- Baritone

Minstrel- Harry Snow- Tenor

Wizard- Robert Weil- Baritone

Chorus and Smaller Roles: 6M/6F minimum

SYNOPSIS

        The play begins in prologue when the Minstrel appears singing and playing his lute. His story is pantomimed by the actors (MANY MOONS AGO- Minstrel and Mixed Chorus). The play moves to the "true" story of "The Princess and the Pea" where the Queen is conducting a quiz to see if princess number twelve is suitable for her son, Dauntless. The Court is anxiously hoping the princess will pass because no one in the land may marry until Dauntless is wed.

        The court, disappointed when the twelfth princess fails the Queen’s ridiculous examination, laments (OPENING FOR A PRINCESS- Sc to Mixed Chorus).

        Lady Larken explains to Sir Harry, her lover that she is pregnant and will be forced to leave the Kingdom unless they can wed. He promises to find a princess and the two anticipate their future (IN A LITTLE WHILE- Sc to M/F Duet).

        The Queen, an overbearing, dominant mother and wife, scolds Dauntless for dawdling as they walk down a castle corridor. When King Sextimus passes them chasing a girl she proceeds to scold him for not setting a proper example for the rest of the court. Dauntless hesitantly suggests to his mother that she does not really want him to get married. The Queen dramatically goes into a fit of rage (THE MAMALOGUE). Sir Harry enters to gain permission from the Queen to seek a princess from the marshland and she grudgingly concedes.

        Sir Harry, after a perilous three-week search, returns to the Kingdom accompanied by Princess Winifred, who enters sopping wet. It seems she was so excited to meet Dauntless that she swam the moat. Winifred, in a very large voice, urges the prince to step forward and greet her without being shy (SHY- F Solo). The Queen stammers that she could never consider Winifred for her daughter-in-law, but Harry presents proof that she is a real princess and the Queen is forced to test her.

        The King mimes his news to the Jester and Minstrel, who must guess his thoughts for the King is unable to speak until "the mouse devours the hawk." He tells them Larken is pregnant and begs them to keep the secret. They agree, but wonder if he can be trusted. He signals that he can’t communicate without them and the three sing of their reliance on each other (THE MINSTREL, THE JESTER AND I- Sc to M Trio).

        In a corridor, the Queen confers with the Wizard, a slimy, conniving individual, to find a test which the seemingly crude Winifred will fail (SENSITIVITY- Sc to M/F Duet). She decides on the scheme of placing a pea under twenty mattresses, a test that requires sensitivity, which Winifred certainly lacks.

        In her dressing room, where Winifred has changed from her wet clothes, she tells three ladies in waiting and Dauntless about her home on the Bog (THE SWAMPS OF HOME- Sc to F Solo with F Trio Backup). This seems to explain her unique character.

        Lady Larken enters Winifred’s room and finds her alone, on her hands and knees, mopping the floor. She mistakes her for a maid and doesn’t discover her error until Harry introduces them. She is mortified. She and Harry argue and Larken bids him an angry goodbye.

        Later that evening Lady Larken prepares to leave the Kingdom, but the King, Minstrel, and Jester try to convince her that the other side of the castle wall is terrifying if one goes alone. They advise that she journey with them to Normandy (NORMANDY- Sc to Trio).

        The Great Hall is decorated for a celebration dance, which the Queen is holding in Winifred’s honor. She hopes to get the girl so tired that she cannot possibly feel the pea under the mattress (SPANISH PANIC- L to F Solo to Dance Chorus). After the dance, everyone collapses in exhaustion except Winifred who is ready for more.

        Winifred asks Dauntless what sort of a test she should expect and he outlines previous tests the Queen has given. He tells Winifred how wonderful she is and how much he likes her (SONG OF LOVE- Sc to M/F Duet and Chorus). As he sings Winifred acts out his ideal and becomes more and more exhausted as the number progresses.

        At the start of Act II, the Queen has insisted on absolute quiet and the court is whispering (OPENING ACT II) while setting up the mattresses for Winifred’s test. The Queen discovers Larken, disguised as a boy, running away with the Minstrel. She angrily orders her to wait on Winifred and orders the Minstrel banished.

        In Winifred’s room Dauntless helps her study for the test they think is the next day. A downhearted Larken enters and Winifred convinces her to patch up her differences with Harry. The girl leaves in excitement and Dauntless follows, leaving Winifred to sleep. Unable to rest, for she fears she will fail the test, Winifred yearns to be like the other princesses in the fairy tales (HAPPILY EVER AFTER- L to F Solo).

        When the Jester and Minstrel convince the King to have his "talk" with Dauntless he embarrassingly confronts his son. He mimes his information and Dauntless slowly begins to understand the secret of a man and woman (MAN TO MAN TALK- Sc to M Duet).

        The Minstrel and Jester try to trick the Wizard into revealing the Queen’s test by reminding him of the good old days when they were all friends and arranges to meet the Wizard later to split a bottle of wine. The Jester tributes his father who played the "Palace" in 1492 (VERY SOFT SHOES- L to M Solo/Dance). Later on Larken and Harry patch up their differences (YESTERDAY I LOVED YOU- Sc to M/F Duet).

        Upstairs in Fred’s chambers, the Queen, who has been desperately attempting to get Winifred to sleep, resorts to a sleeping potion. Winifred still tosses about the lumpy bed and passes the test. When the Queen begins to berate Winifred, Dauntless tells her to shut up and The Queen is dumbstruck. The Jester realizes that the age-old prophecy of the Kingdom has come true- the mouse has swallowed the hawk. The King finally speaks and orders Queen Agravain about, to the delight of all (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

        The show is an enjoyable musical that is suited for family audiences and small theatres. Originally produced Off-Broadway the sets may be kept quite simple and may be performed on a unit with limited props. The same costumes may be worn throughout except where specifically noted in the synopsis. It is a low budget vehicle that needs a strong chorus, and good comic featured performers. The show is easily toured for medieval banners and tapestries may be used to delineate specific areas where desired.

        The story is comedic, the characters enjoyable, the treatment creative and the music extremely actable. A choreographer and director need only examine the lyrics for ideas on staging the musical numbers. The show can be easily broken down for rehearsing separate numbers simultaneously.

        It is a good "first" show for a young theatrical group for it affords a variety of individual performers a chance to showcase their talents, is low budget and has an expandable chorus with memorable songs.

SONGS OF SPECIAL INTEREST

    "Happily Ever After," Alto Solo, comedic, story song, lots of actable specifics, problem song

    "Very Soft Shoes," soft shoe dance, vaudeville style, emphasis on total performance, charming number

    "Song of Love," comic song, good for beginning director to work on for staging may be simple, character song for F, small chorus, good for class situation

    "Man-to-Man-Talk," good for class, relationship and mime stressed, charm song, possibility for showcase

    "Sensitivity," character song for loud, brazen alto, relationship with the oily wizard make this good for class work

 

Instrumentation: 4 reeds, 2 trumpets, 3 trombones, horn, percussion, 3 violins, viola, 3 cello, bass, harp, guitar, piano

Script: Theatre Arts 1960

Vocal Score: Chappell

Record: Kapp

Rights: MTI

110 IN THE SHADE

Book: N. Richard Nash

Music: Harvey Schmidt

Lyrics: Tom Jones

        (Based on the play The Rainmaker by N. Richard Nash)

ORIGINAL PRODUCTION

Broadhurst Theatre, October 24, 2963 (330 perf.)

Director: Joseph Anthony

Dances and Musical Numbers Staged by: Agnes de Mille

Musical Director: Donald Pippin

Orchestration: Hershey Kay

 

Principals:

Starbuck- Robert Horton- Baritone

File- Stephen Douglass- Baritone

Snookie-Lesley Warren- Mezzo

Lizzie- Inga Swenson- Mezzo

H.C.- Will Geer- Baritone

Noah- Steve Roland- Baritone

Jimmy- Scooter Teague- Tenor

Chorus and Smaller Roles: 4M/4F

SYNOPSIS

        At the Railroad station of a western town, the townsfolk are waiting for the train and commenting to Sheriff File about the long drought (ANOTHER HOT DAY- Mixed Chorus). The townsfolk exit as the enthusiastic, youthful Jimmy Curry rushes on to see if his sister, Lizzie's train has arrived. His father H.C. and stern older brother Noah appear and sing of their feeling for her (LIZZIE'S COMIN' HOME- M Trio).

        Lizzie greets her family warmly. She is a plain, bright and matter-of-fact girl in her late 20's who has traveled to her in-laws to see if any of her cousins could be considered perspective suitors. She informs them she didn't meet any man she could consider marrying. H. C., concerned for her future, decides to invite the sheriff to a picnic. Lizzie, who likes File, is embarrassed but hopes he will consider their offer (LOVE, DON'T TURN AWAY- L to F Solo).

        At the sheriff's office, the three men discuss Lizzie's attributes and enter into a card game, hoping to get File to the picnic (POKER POLKA- Sc to M Quartet). File, realizing they are planning a match, refuses their offer. H.C. accuses File of having a chip on his shoulder because his first wife ran out. File attempts to deny their accusations but H.C. forces him to realize the whole town knows the truth. The men depart as the scene shifts to the picnic grounds.

        Lizzie and the women prepare for the picnic (HUNGRY MEN- Mixed Chorus). Lizzie, realizing that File isn't coming, attempt to cover her disappointment by pretending nothing is wrong. Her emotions quickly switch to interest as Bill Starbuck, a strong, virile and energetic man arrives in their midst. He introduces himself as a Rainmaker and boldly announces he can save the crops (RAIN SONG- L to M Solo to Mixed Chorus). Although Lizzie and Noah urge their father not to risk his money, H.C. gives Starbuck $100 and lodging in exchange for rainy weather in 24 hours.

        A crowd gathers around Starbuck's wagon and he begins giving direction: Jimmy is to beat a drum when he gets the feeling, H.C. is supposed to point an arrow with a special white point and Noah is to tie the hind legs of a mule together. Lizzie is infuriated that her family is going along but H.C. tells her one must take a chance in life without any fear. Starbuck is impressed by H.C.'s confidence and promises he will get his money's worth. After everyone leaves Lizzie accuses Starbuck of being a con man, and he accuses her of not being a woman. In a dramatic scene/song the two express their anger but there is an underlying physical attraction driving the tension (YOU'RE NOT FOOLIN' ME- Sc to M/F Duet).

        Starbuck leaves a shattered Lizzie who quietly re-thinks his words. Noah, Jimmy and H.C. return. Starbuck's influence has begun to affect Jimmy who realizes he isn't as dumb as Noah makes him believe. The two brothers leave as Lizzie asks her father how to take lessons in being a woman. He scoffs but she is serious and begins parodying the various sexy mindless girls around town (RAUNCHY- Sc to F Solo).

        File arrives at the picnic as Lizzie ends the number. He abruptly tells her that he and his first wife were divorced and he has a bitter outlook on marriage. Lizzie shows him that relationships need not be ugly and bitter (A MAN AND A WOMAN- Sc to M/F Duet). They seem to be close but Lizzie discovers File's pride wouldn't let him ask his wife to stay and calls him a fool. He rushes off in anger as the family runs on to question her. Lizzie, left alone after a confrontation among Starbuck, Jimmy and Noah, ponders Noah's prophecy that she will be an old maid (OLD MAID- Sc to F Solo).

        At the opening of Act II, the townspeople are celebrating and dancing at the Pavillion (EVERYTHING BEAUTIFUL HAPPENS AT NIGHT- Mixed Chorus). Lizzie seeks out Starbuck at his wagon. He tries to get her to believe in herself (MELISANDE- L to M Solo) and flashily creates a new image for her, but Lizzie needs little things (SIMPLE LITTLE THINGS- Sc to F Solo).

        Realizing her need to be beautiful, he embraces her, unpins her hair and urges her to say over and over that she is pretty. She begins to believe the words as Starbuck gently kisses her and forces her to realize they are true.

        In another part of the picnic grounds, Noah and H.C. search for Jimmy who enters to tell them he has spent the night with his girlfriend Snookie, whom Noah considers ditsy and conniving. He and Snookie describe the innocence of the evening (LITTLE RED HAT- M/F Duet). File interrupts to question them about Starbuck's whereabouts but they feign ignorance and File searches elsewhere. Noah reproaches H.C. who tells him it is important to Lizzie to be wit a man who can make her feel important-even for one night.

        The scene shifts to Lizzie and Starbuck seated by the wagon. Lizzie asks Starbuck if she has changed (IS IT REALLY ME?- Sc to M/FDuet). He admits he is a fake and would consider leaving his world to be with her. Overjoyed, she goes to share the news with the family but File returns to arrest Starbuck. Convinced to let him go he and Starbuck try and persuade Lizzie to stay with them (WONDERFUL MUSIC- Sc to 2M/F Trio). As Lizzie decides to stay with File it begins to rain. For the first time Starbuck's miracle has worked (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

        This musical, although not one of the more frequently performed, is excellent for dramatic study and characterization work. The script seems to be locked between the large scale musicals of the 60s and the smaller ones that concerned themselves primarily with drama and story line. The power of the piece lies in the scenes that are closely connected to the straight play. When the play "opens up" to become a large musical, suitable for Broadway theatre-goers of the 60s, the story line loses importance.

        It has long been rumored that Schmidt and Jones were going to re-do the show and delete the larger numbers but to date this hasn't been done. A company considering a production may want to obtain permission to turn it into a small 5M/2F show.

        The characters are well drawn, the family relationship true to life and the situation dramatically strong.

SONGS OF SPECIAL INTEREST

    "Love Don't Turn Away," Mezzo, simple lyric, crying out with drama, shows off voice and acting

    "Melisande," Baritone, lots of actable specifics, story song, strong character required

    "Old Maid," dramatically gripping song, introspective, frightening, heart-rending, powerful Mezzo number, excellent for character study

    "Poker Polka," M quartet, good for class study, comic dance, nice choice for beginning choreographer

    "Raunchy," comic song, shows vocal range and characterization ability, movement required but need not be graceful of coordinated, good song to loosen up a stiff soprano

    "You're Not Foolin' Me," dramatic scene to Baritone/Soprano duet, good for relationship, tension, sub-text, song deals with two people who are attracted and terrified of each other

 

Instrumentation: 6 reeds, 2 horns, 3 trumpets, trombone, 2 percussion, guitar, harp, 4 violin, 2 cello, contra bass, piano/conductor

Script: NP

Score: Chappell

Record: RCA

Rights: Tams-Witmark

ONE TOUCH OF VENUS

 

Book: Ogden Nash and S.J. Perelman

Music: Kurt Weill

Lyrics: Ogden Nash

        (Suggested by F. Anstey's The Tinted Venus)

ORIGINAL PRODUCTION

Imperial Theatre, October 7, 1943 (567 perf.)

Director: Elia Kazan

Choreographer: Agnes de Mille

Musical Director: Maurice Abravanel

 

Principals:

Whitelaw Savory- John Boles- Baritone

Molly Grant- Paula Laurence- Alto

Rodney Hatch- Kenny Baker- Baritone

Venus- Mary Martin- Mezzo

Mrs. Kramer- Helen Raymond- VTI

Gloria Kramer- Ruth Bond- VTI

Stanley- Harry Clark- Tenor

Taxi Black- Teddy Hart- Tenor

Chorus and Smaller Roles: 12F/12M, at least half of which dance well

SUMMARY AND NOTES

        The plot opens at the museum of wealthy Whitelaw Savory, an eccentric art collector, who espouses the theory that new art is true art (NEW ART IS TRUE ART- M Solo and Chorus). Savory, who has a barbed tongue and wit to match, has sent the shady Taxi Black to find a famous missing statue of Venus, the goddess of love. When Taxi returns with the statue, which is shrouded in mysterious events and deaths, Whitelaw is ecstatic and Molly, his Eve Arden-type Girl Friday, wonders what the statue has that she hasn't got (ONE TOUCH OF VENUS- F Solo and F Chorus).

        Rodney Hatch, a young barber who is substituting for Savory's real barber happens to see the statue. He puts an engagement ring, intended for his girlfriend, on the statue's outstretched hand and, when the statue comes to life, Rodney's troubles begin.

        Savory is convinced that Rodney has stolen the statue and he sends his henchmen, Taxi and Stanley, to discover any information as to its whereabouts. The beautiful Venus, ever devoted to love, follows Rodney to his flat. She finds him singing of his devotion to his intended, Gloria Kramer (HOW MUCH I LOVE YOU- M Solo). Venus flirts with Rodney who is overwhelmed by the tempting goddess, but he rebuffs her and she is completely confused by the modern day morality, which seems to reject physical love. She determines it is time to modernize herself. (I’M A STRANGER HERE MYSELF- F Solo)

        Venus goes to Radio City where she gets caught up in the lunch time melee of shoppers (FORTY MINUTES FOR LUNCH- Ballet) and becomes interested in obtaining some clothes off a store mannequin. The manager calls the police, but Whitelaw Savory and Molly pay them off. Whitelaw then tells Venus he loves her, but she spurns him, announcing that love is only for the present. The love-struck Whitelaw promises her anything and vows to make her love him. She exits and he sings a ballad (WEST WIND- M Solo) which explains that she reminds him of a lost love.

        At the bus depot, Stanley and Taxi spy on Rodney, who awaits the arrival of his girlfriend, Gloria, and her overbearing mother. Gloria uses a new acquaintance, Sam, to try and make Rodney jealous as Mrs. Kramer finds fault with everything. (WAY OUT WEST IN JERSEY- M/2F Trio) Venus arrives and watches Rodney try to explain the loss of Gloria's ring to the haughty beauty. Gloria, goaded by Venus, leaves Rodney with a vow to end their relationship if he doesn't produce the ring in twenty four hours. Rodney is now irritated and confused. He is upset with all the women in his life and thinks that love is highly overrated. (THAT’S HOW I AM SICK OF LOVE- M Solo)

        Taxi and Stanley bring Mrs. Kramer to Savory and she tells of Rodney’s suspicious behavior. Whitelaw is now certain that Rodney has stolen his statue, but before he can act upon this, Venus unexpectedly arrives at the museum. He flirts with her (MY FOOLISH HEART- F Solo) and decides that Rodney, who is clearly his rival for her affections, must be eliminated. Savory goes to Rodney’s barbershop, where Taxi and Stanley are already waiting, to search the place, and they commiserate on the necessity of woman. (THE TROUBLE WITH WOMEN- M Quartet with Barbershop harmonies) When Gloria unexpectedly arrives, the boys suspect her of being an accomplice. They tie her up and leave Rodney unconscious in the basement. Venus interrupts the search, discovers Gloria and magically sends her out of Rodney's life to the North Pole. Rodney finally admits to his growing attraction for Venus and declares his love. (SPEAK LOW- M/F Duet)

        Rodney and Venus go to a ball at the art museum (ARTIST’S BALL- Dance) to try and prove his innocence. Whitelaw tries to trap Rodney into an admission of guilt by telling, with the help of mimes, a story of a decades-old murder (DR. CRIPPEN- M Solo and Chorus). As the story unfolds, Mrs. Kramer accuses Venus and Rodney of murdering Gloria and disposing of the body. Whitelaw tries to keep Venus free, but she rejects him in order to stay with the one she loves. They are led away to jail as Act I ends.

        Act Two begins in the museum with Whitelaw Savory nursing a very pronounced hangover. He receives no sympathy from Molly however (VERY, VERY, VERY- F Solo). As he bemoans his situation, he is attacked by Zuvetli, an Anatolian who wants his statue of Venus returned. Savory tells Zuvetli where to find Venus… in jail at the Tombs.

        Rodney and Venus are question by the police, psychoanalyzed by Dr. Rook and threatened by Zuvetli, but to no avail. They are able to escape with the aid of Venus's magic powers and news of their escape brings the entire cast running in a funny, complicated musical number (CATCH HATCH- Company).

        Venus and Rodney take a room in an area hotel. Venus explains why she loves Rodney (THAT’S HIM- F Solo), but he tells her they can never be together because the police believe he is a murderer. She immediately produces Gloria and Rodney realizes he would have been miserable married to such an overbearing woman. He reiterates his love for Venus and paints a picture of their married life (WOODEN WEDDING- M Solo). The scene segues into a ballet sequence, (VENUS AND OZONE HEIGHTS BALLET- M/F Dance) which depicts Venus's life as a suburban housewife. As the number ends she realizes she wouldn't be happy and transforms herself back into a statue.

        Back in the museum, Rodney gazes at the statue, unable to believe his dream of life with Venus is gone. As he sings to himself, he notices a girl who looks exactly like Venus entering the museum. Rodney discovers she comes from Ozone Heights. He glances once more at the statue of Venus and introduces himself as the curtain falls.

NOTES ON THE PRODUCTION

        One Touch of Venus is a show definitely worthy of more productions. It is a charming musical with excellent character roles for men and women, witty dialogue, exceptional lyrics and wonderful supporting music. The necessary sets include the Savory Foundation, Radio City, a bus terminal, the barbershop and the apartment. Other scenes may be moved to these locations or played "in one" with a prop piece to establish location. The costumes are everyday wear and the period may be moved to the present to keep costume costs down.

        The characters are well drawn and the amount of women's leading roles and vignette parts makes this a show to be perused. Rodney need not be a handsome leading man and all the other male roles are definitely character types. The music is not easy, but it is also not well known, thus making it possible for mediocre performers to excel. This show is recommended for colleges and community theatres as an outstanding choice.

SONGS OF SPECIAL INTEREST

    "Speak Low," Mezzo Solo, standard, good for clubs

    "That's Him," Mezzo Solo, comic charm, ballad, not overdone

    "The Trouble with Women," Male Quartet, Taxi, Stanley, Savory and Rodney, four extremely different types of men, comment on their experience with women, clever lyrics, each man has a solo sections which revolves around a problem with women

    "Very, Very, Very," Mezzo comic solo, makes fun of the problems of the very, very rich, not difficult musically, could be used as an audition piece, great character

    "West Wind," schmaltzy ballad, could be sung by a male or female, reminiscent of an old love wanting to be rekindled

    "My Foolish Heart," M/F Duet, pretty waltz gives opportunity for dance, can be done as a solo, can be used in clubs and revues

 

Instrumentation:

Script: Ten Great Musicals

Score: Chappell

Record/CD: Decca

Rights: Tams-Witmark

---

OVER HERE!

 

Book: Will Holt

Music and Lyrics: Richard M. and Robert B. Sherman

ORIGINAL PRODUCTION

Shubert Theatre, March 6, l974 (# perf.)

Director: Tom Moore

Choreographer: Patricia Birch

Musical Director: Joseph Klein

Orchestration: Michael Gibson and Jim Tyler

 

Principals:

Mitzi- Janie Sell- Alto

June- April Shawhan- Soprano

Bill- John Driver- Tenor

Paulette De Paul- Patty Andrews- Mezzo

Pauline De Paul- Maxene Andrews- Mezzo

Utah- Treat Williams- Tenor

Sam- Samuel E. Wright- Baritone

Chorus and Smaller Roles: 4M/3F

SYNOPSIS

        The scene opens at a train station in the beginning of World War II. Norwin Spokesman, who portrays Sarge, the train conductor, and serves as a narrator throughout the course of the play, talks about the effects of the war. All the old memories are relived as pictures of FDR and various popular stars of the l940s are shown. He and the rest of the company introduce the wartime atmosphere and capture the loneliness a soldier feels without his "gal" (SINCE YOU’RE NOT AROUND- Mixed Chorus).

        As the train whistle blows, the civilians board the train. They consist of many types: a mother and a father who represent model middle-aged American parents, Mr. Rankin, a prosperous businessman and wartime profiteer, Donna, a local waitress, Maggie, a wealthy debutante on her way to Wellsley, and Mitzi, a Nazi spy who uses her lipstick and compact as a secret transmitter and camera.

        Spokesman talks about the draft as two American boys, Lucky and Utah, head for the train. Utah’s character is very true to his name- the honest, cowboy with a strong belief in his country. Lucky, the wise kid from the city, puts on a tough act, but underneath it all he is both patriotic and sensitive. Next to arrive on the scene are June and Bill, high school sweethearts still attired in their prom outfits. The draftees are inducted and Spokesman transforms into a hard and overbearing Army Sergeant.

        Pauline and Paulette De Paul, a singing sisters act who are looking for a third singer to complete their act, arrive to boost morale. They sing about working together as a team for the good ‘ole USA (OVER HERE!- Sc to F Duet to Mixed Chorus). The train door finally closes as Sam, the black porter, and Spokesman yell "All aboard for Victory!" (BUY A VICTORY BOND- Mixed Chorus).

        The train sets off and the various lives of the travelers are revealed in typical forties style. June tells Bill she loves him but cannot sleep with him until they are married (MY DREAM FOR TOMORROW- Sc to F Solo).

        June meets up with the De Pauls and they allow her to bunk with them if she will help them out by serving donuts at the canteen. Donna and Maggie join in as the troop enters the canteen. Lucky and Maggie are reminded by Pauline that romance can happen anywhere (CHARLIE’S PLACE- Sc to Mixed Chorus with Jitterbug). June and Bill are still debating their relationship. Bill wants to live for today, June hopes for the future, and Mother and Father supervise. Father talks to Bill about his younger days in World War I and the difference between a "good girl" and a "good time girl". Rankin joins in as he and Father reminisce about the French girls in WWI (HEY YVETTE- Sc to M Trio).

        Mother, Father, and the rest of the civilians intervene in Bill and June’s dilemma and explain that there are larger issues at hand; June should stop thinking of herself and get involved in helping the boys. June decides to collect lipstick tubes and donate them to make munitions.

        The Sarge gives the boys a lecture on hygiene and disease which the De Pauls reinforce (THE GOOD TIME GIRL- Sc to F Duet and F Chorus).

        When Paulette asks Mitzi to join the canteen activities, Mitzi agrees, thinking she will be able to get information. Mitzi tries to convince Bill not to wait until he marries June since he may not make it back from the war (WAIT FOR ME MARLENA- F Solo and M Chorus). June accidentally collects Mitzi’s secret transmitter lipstick, which leaves her unable to communicate with the Germans, but, in a sudden stroke of luck, Pauline and Paulette ask her to join their group which will be broadcasting over the radio (WE GOT IT- Sc to F Trio and Mixed Chorus).

        At the opening of Act II, Mitzi devises a song for the trio to sing which is actually the Morse code signal for "ship leaving twelve midnight." Various relationships develop as the train speeds along. As usual June and Bill are discussing sex, but Bill decides to wait until they are married. The De Pauls sing about wartime marriages (WARTIME WEDDING- Sc to F Duet and Mixed Chorus) and the company prepares for the wedding.

        Sam, caught up in the wartime enthusiasm, considers enlisting, but Spokesman reminds him, in racist tones, to remember who he is. Sam retaliates in his own lingo (DON’T SHOOT THE HOOEY TO ME, LOUIE- Sc to M Solo).

        The civilians try to get off the train, which is temporarily stopped, but are ordered by Spokesman to stay put. The company grows more and more annoyed; Lucky and Utah start fighting as even Paulette gets discouraged (WHERE DID THE GOOD TIMES GO?- Sc to F Solo). Pauline manages to lift her sister’s spirits by getting her to knock some sense into the company. Everyone ends up taking out their frustrations by hitting each other, but the effect is positive and all are in better spirits. Each ponders on their own dreams (DREAM SEQUENCE- Dance). The number culminates as Utah fantasizes about being a famous drummer (DREAM DRUMMIN’- Sc to M/F Solos and Mixed Chorus).

        Paulette, Pauline and Mitzi perform on the radio singing Mitzi’s hidden code song (THE BIG BEAT- F Trio). Lucky recognizes the Morse code in the song and figures out that it is a message to Hitler. After quizzing the trio, Mitzi is dragged off as a Nazi spy. Bill and June complete their wedding ceremony and the train finally arrives at the last stop and everyone promises there will be no farewells (NO GOODBYES- Sc to F Duet- Mixed Chorus).

NOTES ON THE PRODUCTION

        Janie Sell won the 1974 Tony Award for Supporting Actress in a musical for her roll as Mitzi.

        The production script differs from the Broadway original and the cast has been slightly minimized which should appeal to smaller companies. The music is tremendous fun and should appeal to audiences of all ages. It is very 40s and works quite well in the context of the show.

        The script is quite wordy and could benefit from some trimming, but the musical numbers, when combined with an excellent cast, would make this a show worth seeing. The women who play the DePaul’s are obviously a carbon copy of the Andrews Sisters and must have tremendous performing confidence in tight microphone style singing. If a company has three excellent female singers and a top "big band" this show can be rewarding. Without the combination of vocal blend, musical sound and singing style the production is risky. There are some memorable vignette roles that are important to the overall quality of the show.

        The primary set is a train with separate cars for the military, civilians and the canteen. The canteen could be a neutral area between the civilians and the military. The DePaul’s are supposed to enter on a military jeep, but this may be impossible in theatres with no backstage. All attempts should be made to focus attention on their entrance if a jeep isn’t used. Projections may be used to familiarize younger audience members with familiar figures from the forties. They also enable some variety to be added to the set and more firmly establish the nostalgia element of the piece.

        Costumes may be the same throughout. The show is relatively inexpensive to technically produce. It is assumed that the bulk of the budget will go to pay the musicians. It is perfectly acceptable to have the band onstage as the music is extremely important and may be further highlighted.

SONGS OF SPECIAL INTEREST

    "The Big Beat," good period style trio in Andrews Sisters’ Style, good for revue with full orchestra

    "Don’t Shoot the Hooey to Me, Louie," Baritone, good stylized movement number, bitter humor, black actor, dancer necessary

    "Over Here!," good period duet in the Andrews Sisters’ style, good for class or revue

    "Where Did the Good Times Go?" Alto/Mezzo, good for club or semi-dramatic for class study

 

Instrumentation: 5 reeds, 4 trumpets, 4 trombones, 2 percussion, cello, bass, guitar, piano/conductor

Script: Samuel French

Selections: Hansen

Record: Columbia

Rights: Samuel French