PACIFIC OVERTURES

Book: John Weidman

Music and Lyrics: Stephen Sondheim

Additional Material: Hugh Wheeler

ORIGINAL PRODUCTION

The Winter Garden, June 11, 1976 (193 perf.)

Director: Harold Prince

Choreographer: Patricia Birch

Musical Director: Paul Gemignani

Orchestration: Jonathan Tunick

 

Principals:

Reciter- Mako- Baritone

Abe- Yuki Shimoda- Baritone

Manjiro- Sab Shimano- Baritone

Kayama- Isao Sato- Baritone

Chorus and Smaller Roles: 12M/9F who play a variety of roles*

*Original was performed by an all male cast, see notes

SYNOPSIS

        The play begins in a quiet Japanese fishing village in 1853, during the Tokugawa era when most of Japan was outlawed to foreigners and the Japanese were prisoners of their homeland. The Reciter, in Kabuki/Bunraku style narrates the story by conveying the history and the advantages of isolation (THE ADVANTAGES OF FLOATING IN THE MIDDLE OF THE SEA- M Solo to Mixed Chorus).

        The Reciter introduces the Shogun’s Court where the Counselors are meting out sentence on Manjiro, a young sailor who was shipwrecked, taken to Massachusetts and recently returned to Japan to announce the impending arrival of the Americans. The counselors are enraged that he suggest they contemplate trade with the approaching Westerners.

        Next to arrive at the Shogun’s Court is Kayama Yesaemon, a minor Samurai who mistakenly cast his fishing nets in a stream belonging to the Shogun. Kayama is elevated to the position of "Prefect Policeman" and ordered to greet the approaching Americans and send them away.

        As Kayama tells his wife Tamate of this impossible task two singers appear onstage, one to sing her thoughts and one to tell about her. During the song, Tamate mimes her emotions, for she knows that failure of this important task will mean dishonor for the family and thus suicide (IS THERE NO OTHER WAY?- M/F Duet). As this touching scene ends, an enormous bell rings signaling the arrival of the Americans. Various villagers comment on their ideas of the warship; a Fisherman hears this bell and perceives the four battleships to be four black dragons, spitting fire. A merchant realizes that the arrival of the battleships will endanger his family and attempts to move elsewhere before being destroyed by "foreign dogs." Lastly, a thief sees the battleships and thinks they are four volcanoes spitting fire. Each villager reacts with fear and shock as the U.S.S. Powhatan disturbs their peaceful isolation (FOUR BLACK DRAGONS- M Trio to Mixed Chorus).

        Kayama dutifully rows to the warship, but is shamefully sent away by the Americans who demand that a high official receive their message. The Council decides to disguise the English speaking Manjiro as a high official and the two manage to bide six days time for the Country. At the end of six days, if the Shogun hasn’t personally met with Commandor Perry on Japanese soil, the American warships will level the town of Uraga. Manjiro and Kayama are left with the tasks of pleasing the demanding Americans and respecting the sacred decree that will not allow a foreigner to set foot on Japan.

        The isolation of the Shogun and his refusal to deal with the changing outside world are seen in the Shogun’s quarters when the ruler repeatedly ignores his mother, who urges him to negotiate with the Americans. She gradually poisons him, for she feels that no Shogun is better than a weak one (CHRYSANTHEMUM TEA- F Solo and Small M Chorus).

        Kayama, with the help of Manjiro, proposes that a special treaty house be built and the ground be covered with Tatame mats which can be burned when the Americans leave, thereby keeping Japanese soil sacred. The Council immediately raises him to Governor of Uraga with Manjiro as his assistant. Manjiro is grateful to Kayama for saving him from the death sentence usually given to men who have left and then return to Japan. He tells Kayama that America is a land of equality and liberty. As Manjiro sings of Boston, Kayama idealizes his wife Tamate. Both the city and the woman embody life’s glorious journey to Manjiro and Kayama. They reveal these feelings through poems on the way to Kayama’s home (POEMS- Sc to M Duet).

        Manjiro waits for Kayama, who’s wife has committed suicide because she was certain her husband would fail the Shogun. Kayama leaves with Manjiro who takes his mind off of his grief by telling him of the great advancements America can bring to Japan.

        The scene shifts to a Madam and her young girls who await a boost in business when the sailors arrive. The Madam instructs her charges on behavior and hands out "instructional" fans which contain erotic drawings. The young girls are both frightened by the arrival of the "barbarians" and excited at the prospects of a booming business. The Madam hopes to satisfy the American sailors so that they will not destroy Uraga (WELCOME TO KANAGAWA- L to F Chorus).

        The narrator begins to explain that no written Japanese record survives of the treaty meeting, but he is interrupted by an old man and a warrior who outline their memories of the event (SOMEONE IN A TREE- M Duet). The treaty is signed, the Americans leave and the Japanese burn the mats and try to forget the unpleasant incident.

        Act II opens after the Americans leave the village. Abe, a former councilor, is elevated to the position of Shogun by a Bunraku "puppet" emperor. The fact that the emperor is a portrayed by puppet implies his powerlessness and inability to make decisions. In actuality, it is the priests who are running Japan, since they manipulate the emperor. Kayama is raised to the position of Governer of Uraga and Manjiro is elevated to Samurai. The priest talks for the emperor and congratulates the saviors of Japan.

        The quiet does not last and soon the British, Dutch, Russians and French join the Americans by sending envoys to make treaty demands (PLEASE, HELLO- Small M Chorus).

        The peaceful island is soon overrun with booming business and factories. Kayama, as Governor, is interested in progress, while Manjiro, now a Samurai, is studying the ancient customs. The next song covers a ten-year time span and shows how the Manjiro has adapted Western ways (A BOWLER HAT- L to M Solo).

        The arrival of the Westerners, who have been relegated to the Yokohama and Nagasakii areas, causes problems. One instance occurs when some British sailors, lonely for companionship, enter a private garden, mistake a young girl for a geisha and attempt to buy her attention (PRETTY LADY- M Trio). The girl, terrified, calls her father, who kills one of the sailors and causes an international incident. Abe, now Shogun and interested in pleasing the foreigners, suggests they punish the Samurai who killed the sailor.

        As Lord Abe and Kayama are journeying on a road, discussing the murder of the sailor, they are attacked by a Samurai and Abe is killed. Kayama recognizes Manjiro and is shocked when he is forced to fight his former friend. He is killed by Manjiro who seeks to have the puppet emperor, Meiji, in power and the foreigners expelled.

        As Manjiro and the Samurais carry the puppet emperor to victory, the puppet comes to life and announces the Japanese must become westernized and sets about to rule the Government; it is the start of the Meiji era. The scene jumps to modern times where the Japanese, in western dress, comment on their changes. They look to the future (NEXT- Chorus).

NOTES ON THE PRODUCTION

        Pacific Overtures won Tony Awards in 1976 for Set and Costume Design. Most of the other awards went to A Chorus Line.

        The show is more interesting than its short run gives credit to. In the original production, all the roles were played by men, for the director wanted to stylize the show in the Kabuki manner. This is highly unnecessary and would normally be detrimental to the quality of any American production because it takes years of training for a male actor to accurately portray a female in the traditional Japanese theatre. In fact, in America, the final product would appear more accurate if the female roles were played by females.

        The music is challenging and the show worthy of study if the director has some knowledge of Japanese dance, theatre and manners.

        The costumes include court brocades, peasant Yukatas, modern costumes, and 1860s period European military. The visual look is maintained through the costumes and they should be accurate, and designed for stylized movement. Sets may be comprised of small pieces or presented on a very large scale, depending on the director’s needs and the budget allowed. The acting and the style are more essential in creating the mood than the sets.

SONGS OF SPECIAL INTEREST

    "A Bowler Hat," Baritone, development of character throughout, good for developing Japanese character

    "Chrysanthemum Tea," Alto, clever, strong characterization for the Mother, interesting number for class project

    "Please Hello," Excellent number for class study, various nationality characters, characters important

Instrumentation: 5 reeds, 2 horns, 2 trumpets, trombone, harp, keyboard-rmi celeste, 2 percussion, viola, cello, bass, Shamisen (onstage), oriental percussion (onstage)

Script: Dodd, Mead

Score: Revelation

Record: RCA

Rights: MTI

PAINT YOUR WAGON

Book and Lyrics: Alan Jay Lerner

Music: Frederick Loewe

ORIGINAL PRODUCTION

Sam S. Shubert Theatre, November 12, 1951 (284 perf.)

Director: Daniel Mann

Choreographer: Agnes de Mille

Orchestra Conductor: Franz Allers

 

Principals:

Ben Rumson- James Barton- Baritone

Julio- Tony Bavaar- Tenor

Jennifer- Olga San Juan- Alto

Jacob- Josh Wheller- Baritone

Elizabeth Woodling- Marijane Maricle- VTI

Jacob Woodling- Joshua Wheeler- Baritone

Sarah Woodling- Jan Sherwood- VTI

Chorus and Smaller Roles: 6F/8M minimum

SYNOPSIS

        The play is set in 1853 when Californians had gold fever and any speculation of gold caused people to rush to the area of the strike.

        One evening, while Ben Rumson is delivering the eulogy for a dead miner friend, Ben’s sixteen-year old daughter, Jennifer, discovers a piece of gold. Ben quickly finishes his prayer and triumphantly stakes a claim.

        On a trail somewhere in California, Steve Bullrack, a handsome young man, decides to head north to Ben Rumson’s claim. Other men are on various roads leading to Rumson (I’M ON MY WAY- M Chorus).

        The men arrive in the rapidly growing mining camp of Rumson whose main attraction is Salem’s store. The various characters are introduced and sing about their dreams of wealth (RUMSON- M Chorus). Jennifer, the only woman in Rumson wonders why the men ignore her (WHAT’S GOING ON HERE?- Sc to F Solo). She doesn’t realize they stay away before they lose control and get themselves in trouble with her father. When Julio Valveras, a young Mexican, arrives outside Salem’s store for some foot medicine, Mike and Sandy, two miners, question him about the legend of the lake of gold. He tells them that several of his friends died looking for the gold but later explains to Jennifer he fears that if he finds the gold the men will jump his claim because he is a Mexican with no rights. Julio confides his dream of learning to read and write (I TALK TO THE TREES- Sc to M Solo).

        The men warn Jennifer to stay away from them and try and keep their minds off the wind, which calls through the hills, by telling stories about the women they left behind (THEY CALL THE WIND MARIA- M Chorus).

        In front of Rumson’s cabin, the men urge Ben to send Jennifer back East for school, but he hesitates because he will be lonely without her. She urges him to tell her about her mother (I STILL SEE ELISA- Sc to M Solo) whom Jennifer never knew and Ben decides it is time for Jennifer to get some proper schooling. She tries to talk him out of it because of Julio, but he insists (HOW CAN I WAIT?- F Solo).

        On a hill near Rumson, Jacob, a Morman man is seated with Elizabeth and Sarah, his two quarreling wives. The three pray for happiness (TRIO- 2F/M Trio).

        Ben declares it is illegal for a man to have two wives and orders Jacob to sell one of them. Ben worries that Elizabeth would mind marrying someone she didn’t know, but she figures anyone would be better than her present husband. Ben tells her about himself (IN BETWEEN- M Solo), and goes out to win the bidding (WHOOP TI AY- M Chorus). Jennifer hears that Ben is going to remarry someone he hardly knows and runs off to find Julio. Julio sensibly convinces her to go to school (CARINO MIO- M Solo) and promises they will be together in a year. She says goodbye and runs to the coach which will take her East.

        The men, anxious for female companionship, fervently await the arrival of a group of Fandango girls (THERE’S A COACH COMIN’ IN- M Chorus). Steve tells Julio his claim has dried up and Julio realizes that all the veins will soon be depleted and the town will go bust. He sadly looks off in Jennifer’s direction and wonders if he will see her again.

        Act II begins one year later at the musical hall. The men and Fandango’s are having a great time (HAND ME DOWN THAT CAN O’ BEANS- Mixed Chorus), but the atmosphere quickly changes when the girls realize the men have no cash to spend because the town has dried up.

        Mike prods Julio to take him to the frozen lake so he can strike a claim, but Julio refuses, fearing he will be killed if Mike finds gold. He finally realizes the only way to achieve his dream is to trust Mike and the two set off (ANOTHER AUTUMN- M Solo).

        Out at the diggin’s the men are packing up (MOVIN’- M Chorus).

        Jennifer, who has been gone a year, returns to the cabin in hopes of marrying Julio. She tells Elizabeth that the only reason she went was because Julio wanted her to (ALL FOR HIM- Sc to F Solo). Ben greets Jennifer with the news that he is moving out to search for new claims and Julio has gone (WAND’RIN STAR- M Solo). Jennifer resigns herself to patiently wait for his return.

        Later that night, Ben, hoping to raise money, goes to Jake’s and sells Elizabeth to Jamey the gambler for three thousand dollars. When the two discover she has run off with Crocker, Jamey attempts to get a refund, but is laughed away. There is news of another strike forty miles off (THE STRIKE- M Chorus) and the men head out. Jennifer decides to wait for Julio and Ben discovers he is unable to leave the town named after him.

        The following spring, the store is partially boarded and the population has dropped to six. Julio, on his way to Mexico, returns to inquire about Jennifer. He learns she is in town waiting for him and asks Ben how she knew he would come back. Ben responds that everyone needs a dream. When Jennifer enters Julio is overwhelmed by the change in her and they embrace (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

        The musical stage play bears no resemblance to the movie adaptation, which shouldn’t be used to judge the merits of the production. The script, in its published form, is somewhat slow but the music is exceptionally good. One may want to consider obtaining the rights to perform this show in capsulated version with shortened scenes into the musical numbers. The songs are certainly worthy of presenting and the basic idea of the show is workable. Because of the lack of action, amateur groups may find it difficult to keep the audience interested without judicious editing of the existing script.

        The scenes may be combined or trimmed to include Rumson’s cabin, Salem’s store, Jake’s and a street. The chorus may have one costume per actor, but Jennifer and Elizabeth should have at least two.

SONGS OF SPECIAL INTEREST

"I Talk To the Trees," Tenor, beautiful, lilting melody, ending possibly suited for audition

"I Still See Elisa," Baritone, poignant love song for a character actor who sings about his departed wife

"What’s Goin’ On Here?" comic lyrics, situation, make this a humorous song for an Alto, lots of actable specifics, problem song

 

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

Script: Theatre Arts ‘52 Chappell, Coward-McCann

Score: Chappell

Record: RCA

Rights: Tams-Witmark

PAJAMA GAME

Book: George Abbott and Richard Bissell

Music: Richard Adler and Jerry Ross

ORIGINAL PRODUCTION

St. James Theatre, May 13, l954 (1,063 perf.)

Directors: George Abbott and Jerome Robbins

Choreographer: Bob Fosse

Musical Director: Hal Hastings

Orchestration: Don Walker

 

Principals:

Hines- Eddie Foy Jr.- Baritone

Sid- John Raitt- Baritone

Babe Williams- Janis Paige- Mezzo

Prez- Stanley Prager- Tenor

Gladys- Carol Haney- Alto

Mabel- Reta Shaw- Alto

Poopsie- Rae Allen- VTI

Hasler- Ralph Dunn- VTNE

Mae- Thelma Pelish- VTI

Brenda- Marion Colby- VTI

Pop- William David- VTNE

Chorus and Smaller Roles: 8M/8F

SYNOPSIS

        The play opens sometime in the 1950s, in a small town in Iowa. Hines, a time study man, stands in front of the curtain, a composite of pajama fabric swatches, and introduces the audience to the "Sleep Tite" pajama factory (THE PAJAMA GAME- L to M Solo).

        The curtain opens on the interior of the pajama factory where girls are busy sewing, inspecting and sorting pajamas. As Hines continues to narrate, Prez, the Union President, a stocky, glasses-wearing, wise mouthed individual tells everyone there will be a strike if the seven and a half-cent raise doesn’t come through. Mr. Hasler, Hines’ boss, enters yelling for everyone to economize and dictates a letter to his secretary, Gladys, to refuse the proposed raise. He orders Hines to keep things going and exits (RACING WITH THE CLOCK- F Chorus).

        The girls break for lunch as Sid Soroken, the ambitious, handsome new superintendent, enters with two belligerent helpers, one of whom he shoves aside for being slow. The helper leaves to complain to the grievance committee and Sid sends the other off. He comments on the atmosphere, both in the town and among the workers, but is convinced he can overcome the obstacles (A NEW TOWN IS A BLUE TOWN- M Solo). Brenda, Mae, and Babe Williams of the workers’ "Grievance Committee" meet Sid, who convinces them he treats the workers fairly. He tells Babe she is the cutest Grievance Committee Head he has ever encountered and hopes they can discuss matters further.

        In a factory hallway, Mae, Brenda, Poopsie, Virginia and Martha encounter Babe and accuse her of being in love with Sid, but she denies any interest (I’M NOT AT ALL IN LOVE- Sc to F Solo to F Chorus).

        In the superintendent’s office, Mabel, Sid’s stylishly stout secretary, sits at her desk typing while Poopsie asks Hines if he is going to do his knife-throwing act at the annual company picnic. Hines, noticing his girlfriend Gladys putting a note on Sid’s desk, jealously accuses her of playing around. He is ashamed to discover it is only a payroll statement. Mabel tests Hines who vows he is cured of his jealousy (I’LL NEVER BE JEALOUS AGAIN- Sc to F/M Duet) and they exit. When Sid hears from Babe that the Grievance Committee is dropping the worker’s complaint he tries to date her. Doubting the wisdom of becoming involved with someone in management, she refuses. Left alone, he talks to his Dictaphone (HEY THERE- M Solo with his voice mechanically echoed).

        On the road to the company picnic, Prez, a married man, makes a play for Gladys (HER IS- Sc to M/F Duet). At the picnic, denoted by a banner, picnic tables, and beer kegs, Hines is throwing his knives at a practice target. The workers sing the company anthem and Babe nearly gets herself killed during the inebriated Hines’ knife throwing act. Sid takes Babe aside, kisses her, realizes he loves her and bursts into song. The chorus enters and joins in (ONCE A YEAR DAY- M Solo to Mixed Chorus).

        On the way back from the company picnic, Prez makes a play for the overweight Mae (HER IS [REPRISE]- M/F Duet). Babe, at home in the kitchen, attempts to force Sid to realize that the seven and a half cent proposed raise will cause relationship problems for them, but he refuses to listen (SMALL TALK- Sc to M/F Duet).

        At the factory, the girls have noticed Babe’s infatuation with Sid and hope she can handle it. Babe and Sid greet each other warmly and Sid tells her how much he loves her (THERE ONCE WAS A MAN- Sc to M/F Duet). The workers, with Babe’s knowledge, stage a slow down (RACING WITH THE CLOCK [REPRISE]- Slower Tempo F Chorus) which is stopped when Sid insists they speed up before he fires everyone. When Babe purposely jams a machine and stops the line, Sid fires her and clears the area until he can fix things. As he begins to work on the machine he realizes that the problems at work have affected his personal life (HEY THERE [REPRISE]- M Solo).

        Act II begins at a union meeting where the members are being entertained with a song and dance by Gladys and two men (STEAM HEAT- 2M/F Dance Trio).

        Sid arrives at Babe’s to tell her he loves her, despite their problems, but she exits into her room, leaving Sid with Pop and his stamp collection. In her bedroom, she tearfully sings (HEY THERE [REPRISE]- F Solo).

        Hines, who can’t stand to see time wasted, reproaches the girls involved in the factory slowdown. He feels personally attacked and tries to explain his emotions (THINK OF THE TIME I SAVE- M Solo to Chorus).

        In Sid’s office, Mabel and Sid are greeted by an angry salesman and Hines. It seems the factory workers have only been putting two threads in the buttons so when the pajama models demonstrate, the pajamas fall off. Sid who has become suspicious of Hasler’s refusal to give the workers their raise, invites Gladys to a dark restaurant to try and obtain the key to the company’s ledgers (HERNANDO’S HIDEAWAY- M/F Solo). During the song, the scene switches to Hernando’s Chop Suey Restaurant where it is pitch dark. Matches are lit showing individual patrons.

        At the end of the number the lights rise to full. Gladys, on her way to becoming very tipsy, gives Sid the key to Hasler’s accounts. A drunken Hines arrives carrying a knife and threatens Gladys, who berates him. Hines slumps in the booth and imagines what married life would be like with her (JEALOUSY BALLET- Comic Dance Sequence).

        The next morning in the office, Sid asks Charlie, Joe, Babe and Prez to keep the union rally going until he gets there. As they exit Gladys runs on seeking help; it seems Hines is chasing her around with a knife. As she speaks, a knife hits the wall near Sid’s head and several others near Hasler. Sid overpowers Hines and sends him with Gladys for medical aid. Sid tells Hasler he has discovered that Hasler gave the workers their raise on the books, six months ago and threatens to expose him unless he comes through with the raise. Hasler agrees.

        Meanwhile, on a street near the park, Prez and Babe tell the striking workers that they have figured out the overall profit rate of the proposed raise; the members are thrilled (SEVEN AND A HALF CENTS- Mixed Chorus). Sid arrives to tell them they can have their raise and the workers run off to celebrate as Babe and Sid deliriously express their love (I LOVE YOU MORE- M/F Duet).

        Hines, as the narrator, invites the audience to a joint union/management party at Hernando’s Hideaway, which is decorated for a pajama party. A pajama fashion show curtain call is performed (FINALES- Mixed Chorus).

NOTES ON THE PRODUCTION

        Pajama Game won Tony Awards for Best Featured Actress (Carol Haney), Musical, Producers, Authors, Composer, Lyricist, and Choreographer.

        The show is enjoyable and well-suited for school groups and communities as there are a variety of characterization opportunities and well known songs. The production is easily costumed, but not readily updated due to the "Seven and a half cent raise" lyric requirement which allows for $1,705.48 to buy a foreign car, and $3,411 to be real wealth. There are various dialogue sections which refer to eighty cents an hour wages.

        The part of Gladys requires an excellent dancer/comedienne while the roles of Prez, Hines, Mabel, and Mae require comedic character actors who move well. The "Steam Heat" number requires two excellent male jazz dancers and the leading players, Babe and Sid need dynamism and powerful voices.

        The sets may be trimmed and the "Pajama Sampler" drop may be used to replace certain of the "in I" scenes or used as a background throughout with set pieces placed to establish definite location.

        All in all, it is a fun show worthy of more productions.

SONGS OF SPECIAL INTEREST

    "I’ll Never Be Jealous Again," comic, soft shoe, lots of actable specifics, good for focus work

    "I’m Not At All in Love," vocally strong alto, shows off voice, good for revue, or beginning choreographer

    "Small Talk," Alto/Baritone romantic duet, good for class study

    "Steam Heat," 2M/F Trio, classic dance number, good for revue or dance concert

Instrumentation: 5 reeds, 3 trumpets, 3 trombones, 4 violins, viola, cello, bass, guitar, percussion, piano

Script: Theatre Arts 1955, Random

Score: Frank

Record: Columbia

Rights: MTI

PAL JOEY

 

Book: John O’Hara

Music: Richard Rodgers

Lyrics: Lorenz Hart

ORIGINAL PRODUCTION

Ethel Barrymore Theatre, Dec 25, 1940 (374 perf.)

Director: George Abbott

Choreographer: Robert Alton

 

Principals:

Joey- Gene Kelly- Baritone

Gladys- June Havoc- Mezzo/Alto

Vera Simpson- Vivienne Segal- Soprano

Linda- Leila Ernst- Soprano

REVIVAL PRODUCTION

Broadhurst Theatre, January 3, 1952 (542 perf.)

Director: David Alexander & Robert Alton

Choreographer: Robert Alton

Musical Director: Max Meth

Orchestration: Don Walker and Hans Spialek

 

Principals:

Joey- Harold Lang- Baritone

Gladys- Helen Gallagher- Mezzo/Alto

Vera Simpson- Vivienne Segal- Soprano

Melba- Elaine Stritch- Alto

Linda- Patricia Northrop- Soprano

Chorus and Smaller Roles: 8M/8F minimum

SYNOPSIS

    The beginning of the play introduces a cheap Chicago nightclub of the late 30s, where Joey is auditioning for an emcee/singer job (CHICAGO- M Solo). Joey is a smooth talker in his early 30s and loves to exaggerate his talents and personal accomplishments. Through his convincing conversation with Mike, the nightclub owner, he manages to get himself hired for a week’s engagement. Joey meets the girl dancers and immediately tries to charm them, but his charm tactics lead him nowhere. Later, he rehearses with the girls (YOU MUSN’T KICK IT AROUND- L to M Solo).

        Later that evening Joey notices Linda English talking to a small dog in a pet store window. He engages her in conversation by fabricating incredible tales of a wealthy upbringing and a sudden loss of finances. She is touched that he confided in her and Joey thanks her for inspiring him (I COULD WRITE A BOOK- Sc to M/F Duet).

        In the nightclub while the girls are performing (CHICAGO- F Chorus), Mrs. Vera Simpson, a very wealthy married woman, enters with some friends and beckons Joey to her table. His rudeness, which both intrigues and irritates her, causes her to leave. Mike, the owner, fires him, but Joey convinces Mike to wait for two days; he is convinced Vera will be back. Gladys and the girls perform the next song (THAT TERRIFIC RAINBOW- F Solo to F Chorus).

        Joey calls Vera, accuses her of getting him fired, tells her to go to hell and hangs up. His behavior interests her (WHAT IS A MAN?- F Solo). She appears at the club at closing time and, warning him not to cross her, tells him to get his hat and coat. He goes to get his things and tells the dancers he is only temporarily out of circulation (HAPPY HUNTING HORN- M Solo).

        Vera picks out fabric, in a tailor shop, for Joey’s custom-made suits and admits to herself that she is in love with him (BEWITCHED, BOTHERED AND BEWILDERED- F Solo). When she discovers that Joey cares for Linda English who is employed at the shop, she jealously causes Linda to believe she is Joey’s second wife. Linda, shocked to hear that Joey is married, angrily tells him off, but Joey is unmoved (PAL JOEY- M Solo).

        As Act II begins, Vera backs Joey in a nightclub venture and hires Mike and the girls to spruce the place up. The group rehearses as Louis, the tenor sings (THE FLOWER GARDEN OF MY HEART- Mixed Chorus). Melba Snyder, a famous newspaper reporter, comes to the club to interview Joey. She realizes the stories of his background are all lies and tells him that her best interview was with Gypsy Rose Lee. She proceeds to describe the classy stripper’s dialogue (ZIP- F Solo).

        A man named Ludlow Lowell comes into the club and gives Joey a proposition: he will be his agent and guarantee Joey $50,000 a year if Joey signs a contract. Joey signs without reading it, and Gladys cosigns. Joey agrees to send his paychecks directly to Lowell for deposit into a special account, not realizing he is being set up. A rehearsal number with Gladys and the ensemble begins (PLANT YOU NOW, DIG YOU LATER- F Solo to Mixed Chorus).

        Later that evening, in Joey’s apartment, which Vera is paying for, Joey reads the opening night reviews and is upset that he wasn’t highlighted. Vera reassures him (IN OUR LITTLE DEN- Sc to M/F Duet).

        Linda, waiting at the club to deliver a package for Joey, overhears Gladys and Lowell (who are boyfriend and girlfriend) talking about their plan to blackmail Vera through the use of Joey. Linda leaves and Gladys goes to rehearse a number that Mike has created (CHICAGO MOROCCO- M Solo).

        When Linda phones Joey to warn him that Gladys and her boyfriend, Ludlow, are planning on blackmailing Vera, Vera insists on talking to Linda. Joey attempts to assure her that he hasn’t seen Linda, but Vera is skeptical because Joey is such a liar. She accuses him of doing everything the hard way and he comments on her suspicions (DO IT THE HARD WAY- M Solo). After Vera hears Linda’s story she questions why Linda is so concerned about someone she hasn’t been involved with and urges Linda to take Joey (TAKE HIM- Sc to F Duet). Linda replies that Vera should keep Joey for she isn’t interested.

        Lowell and Gladys enter to get $20,000 in exchange for not revealing Joey and Vera’s affair to Mr. Simpson. Vera isn’t upset, for she is friends with police Commissioner Jack O’Brien who arrives to escort Lowell and Gladys out of town. When Vera informs Joey their affair is over and closes his bank account, Joey orders her to leave his apartment.

        Linda finds Joey in front of the pet store; apparently Vera sent her. He rejects her offer of supper and tells her he is leaving for New York. She realizes he can’t get involved in a meaningful relationship and both exit in opposite directions.

NOTES ON THE PRODUCTION

        The original show, which starred Gene Kelly, was short-lived, primarily due to the subject matter and the anti-hero quality of Joey. It opened to mixed reviews and wasn’t popular among pre-war audiences who wanted more light-hearted musicals. The revival, in 1952 was warmly received and won the following Tony Awards: Conductor, Choreographer and Supporting Actress (Helen Gallagher). It might have been even more successful had it not been competing with The King & I.

        The show is not expensive to mount as most of the action takes place in two nightclubs; the first in Mike’s lower class club and the second in Chez Joey which may be an upgraded version of Mike’s. Secondary sets are the pet shop exterior, a phone booth, a tailor shop, and Vera’s boudoir, which could consist of a phone table and an elegant side chair, tightly lit. Special attention must be given to Joey’s apartment, for several scenes and songs take place there. If offstage storage space is a problem for wagon use, it may be possible to have a section of the nightclub revolve to be the apartment.

        The play was originally set in the 30s but may be upgraded if costumes of that period are a problem. There are quite a few nightclub show costumes for the chorus girls and Vera must be opulently dressed in a new outfit per scene. Tuxedos for the men are a requirement for the Chez Joey sequences.

        The tempos on the Harold Lang record seem slow for a modern day audience and may have to be brighter to hold the musical and dramatic interest. The music is popular and much of it is well known. Those familiar with the movie will realize that the songs in the club were more familiar Rodgers and Hart melodies than those originally written for the stage play. Companies may want to consider writing for permission to use more familiar songs in order to maintain audience enthusiasm.

        Vera, played by Vivienne Segal in both the original and the revival, is a soprano role, which is unusual by modern standards. Most of the modern day older, "leading-lady sophisticate" shows seem to be written for altos. In light of this, companies, considering a production, may want to cast someone who can sing the part down, or, in cases of a smaller orchestra, rewrite the role for the lower range.

        The show is worthy of more productions and is a good vehicle for companies who have women who need good roles. It is a good university show for the parts are challenging and require good acting. The role of Joey, a despicable character, originated by Gene Kelly, is difficult to play. He must be a charming rogue who can appeal to women of all ages, yet be talented enough to act as a mediocre singer/dancer. Vera is a perfect counterpoint to Joey but their scenes must be tightly directed to be believable.

SONGS OF SPECIAL INTEREST

    "Bewitched, Bothered and Bewildered," although written for a soprano the number seems more to fit the older woman alto voice, good for character study

    "I Could Write a Book," Romantic duet, lovely melody, charm song

    "Take Him," Soprano Duet, Vera’s part could be sung down for more variety, tempo may need to be faster than record for modern day interest, good situation and scene into song for class study

    "That Terrific Rainbow," Alto Solo, up-tempo, large volumed, club style

 

Instrumentation: 5 reeds, horn, 3 trumpets, trombone, percussion, 3 violins, cello, bass, piano/conductor

Script: Random House, Popular Library

Score: Chappell

Record: Columbia

Rights: R & H

PATIENCE

Book and Lyrics: W. S. Gilbert

Music: Arthur Sullivan

ORIGINAL PRODUCTION

Standard Theatre, September 22, 1881 (578 perf.)

 

Principals:

Colonel Calverley- W. T. Carelton- Baritone

Major Murgatroyd- A. Wilkinson- Tenor

Lieutenant, The Duke of Dunstable- Tenor

Reginald Bunthorne- J.H. Ryley- Baritone

Archibald Grosvenor- James Barton- Tenor

Lady Angela- Alice Burville- Alto

Lady Saphir- Soprano

Lady Jane- Augusta Rooke- Alto

Patience- Carrie Burton- Soprano

Chorus and Smaller Roles: 8M/8F Minimum

SYNOPSIS

        The show opens as a train of languid young ladies draped in aesthetic coverings paint, play on lutes and sing. All are in the last stages of despair for their unrequited love of Reginald Bunthorne, the "Fleshly Poet" (TWENTY LOVE-SICK MAIDENS WE- F Chorus). The ladies, Angela, Saphir and Ella, are comforted with the thoughts that, though they are rivals for Reginald, the hopelessness of their love bonds them to one another. The mature Lady Jane tells them that Reginald is indeed in love with someone, but it is none other than the village milkmaid, Patience! Patience has boasted of never loving anyone, and does not understand what it even means (I CANNOT TELL WHAT THIS LOVE MAY BE- F Solo). Patience informs the ladies that their old beaus, the 35th Dragoon Guards, are on their way there. However, the maidens care nothing for the Dragoon Guards now and leave, pining for Reginald.

        The Dragoon Guards enter, led by the Major. They fall into line as the Major sings about some of the remarkable people in history who have "residuumed" into the Dragoon Guards (THE SOLDIERS OF OUR QUEEN- M Solo and M Chorus). Bunthorne enters with the Ladies following adoringly (IN A DOLEFUL TRAIN- M/F Solo and M/F Chorus). He is composing a poem, and is quite absorbed. Much to the dismay of the Dragoons, the Ladies take no notice of them. The Ladies implore the Dragoons, who are not at all in the league of their Reginald, to become a bit aesthetic, or at the very least Early English, starting with their uniforms. The Dragoons, however, are quite satisfied with their uniforms (WHEN I FIRST PUT THIS UNIFORM ON- Sc to M Solo to M Chorus).

        Bunthorne finds he is alone and changes his manner as he reveals that he is an aesthetic sham, caring only for the adoration being "aesthetic" brings to him (AM I ALONE AND UNOBSERVED- M Solo). Patience enters and Bunthorne reveals to her his love and his true imperfect self. Patience refuses him and asks Lady Angela for advice on the matter of love. Lady Angela explains that love is purity, refinement and, most importantly, the most unselfish emotion there is. Hearing that, Patience sets about to love at once. She confides to Angela that when she was young there was one she believed she loved (LONG YEARS AGO, FOURTEEN MAYBE- Sc to F Duet).

        As Patience sets forth to fall in love, a stranger enters (PRITHEE, PRETTY MAIDEN- M/F Duet). The stranger is her one love from childhood, Archibald Grosvenor, an "Idyllic Poet," perfect in every way. He is so perfect in fact, it would be unpardonable for Patience to love him; for there would be nothing unselfish in loving such a man as he. Archibald may however love Patience for she is not perfection. Thus they part from each other despondent as the Act I Finale begins (ACT I FINALE- M/F Solo to Mixed Chorus).

        Heartbroken by Patience’s refusal, Bunthorne has put himself up to be raffled off among the maidens. Patience enters to stop the raffle and offers herself to Bunthorne. She explains that she has not loved him from afar but that true love must be without alloy. The maidens, realizing they have no hope to win Reginald, return to their former beaus declaring their everlasting love. As the Dragoons and Ladies are embracing, Grosvenor enters. Being of god-like grace as well as aesthetic, the Ladies break away from the Dragoons and kneel to Grosvenor, declaring their devotion to him.

        Act II opens with Jane continuing her faithful vigil to Reginald, but she worries that he will not secure her before her charms are gone (SAD IS THAT WOMAN’S LOT- F Solo). The other Ladies are now in full vigil to Archibald the All Right (TURN OH TURN IN THIS DIRECTION- F Chorus). Grosvenor explains to the ladies he cannot return their love and prays they remember the fable of the Magnet and the Churn (A MAGNET HUNG IN A HARDWARE SHOP- Sc to M Solo).

        Patience is true to Bunthorne yet still longs for Grosvenor and is saddened by the bitter experience of love (LOVE IS A PLAINTIVE SONG- F Solo). Jane goads Bunthorne to meet Grosvenor and beat him on his own ground (SO GO TO HIM AND SAY TO HIM- Sc to F/M Solo).

        The Duke, Colonel, and Major enter. They have abandoned their uniforms and are dressed and made up in imitation of Aesthetics. They have long hair, and other signs of attachment to the brotherhood. As they sing, they walk in stiff, constrained, and angular attitudes – a grotesque exaggeration of the attitudes adopted by Bunthorne and the Ladies in Act I (IT’S CLEAR THAT MEDIAEVAL ART- M Trio). Angela and Saphir are moved by their act of reform, and now they must all decide who will be paired with whom (IF SAPHIR I CHOOSE TO MARRY- 3M/2F Quintet).

        After Bunthorne threatens to curse Grosvenor, Grosvenor agrees to make a complete change and become absolutely commonplace (WHEN I GO OUT OF DOOR- Sc to M Duet). With Reginald now reformed, (modeling himself upon Grosvenor), Patience cannot love him for he would be too perfect for love to be true. Grosvenor enters with his hair cut and dressed in an ordinary suit and hat as the Ladies follow. They all dance cheerfully round the stage in marked contrast to their former languor (I’M A WATERLOO HOUSE YOUNG MAN- M Solo to F Chorus).

        Bunthorne asks what all this normalcy means as Angela explains that Archibald the All Right cannot be all wrong; and if the All Right chooses to discard aestheticism, it proves that aestheticism ought to be discarded. Realizing Archibald is a commonplace man, Patience is now finally free to love him. As all are paired up it looks as though Bunthorne will end up with Jane until the Duke declares he himself ought to choose the one lady who has the misfortune to be distinctly plain- Jane! Hence, Bunthorne is left alone and nobody will be Bunthorne’s bride (AFTER MUCH DEBATE INTERNAL- Finale Chorus).

NOTES ON THE PRODUCTION

        During its initial American run, Patience proved to be the most profitable of the Gilbert and Sullivan musicals to date, even surpassing H.M.S. Pinafore. Gilbert and Sullivan companies would do well to add this show to its repertoire of the major three The Mikado, H.M.S Pinafore, and Pirates of Penzance.

    "In a Doleful Train," Mixed Chorus good for classroom work and beginning director dealing with two different situations at once

    "Sad Is That Woman’s Lot," Alto Solo, comedic, good for "mature" woman, should be a bit stylized

    "Love Is a Plaintive Song," Sweet ingenue soprano solo, shows off vocal ability good for audition situations

    "It’s Clear That Medieval Art," great male trio highly stylized spoof of aestheticism

 

Instrumentation: Usually done with two pianos to save on expenses. Various publishing houses Chappell etc. have Gilbert and Sullivan material for a royalty

Script: Included in Score
Score: Chappell and in public domain

Record: CD: Decca
Rights: Chappell but may find original at libraries

PIPE DREAM

Book and Lyrics: Oscar Hammerstein II

Music: Richard Rodgers

ORIGINAL PRODUCTION

Shubert Theatre, November 30, 1955 (246 perf.)

Director: Harold Clurman

Musical Director: Salvatore dell’Isola

Orchestration: Robert Russell Bennett

 

Principals:

Doc- William Johnson- Baritone

Millicent-Jayne Heller- VTNE

Suzy- Judy Tyler- Soprano

Hazel- Mike Kellin- Baritone/Bass

Mac- G.D. Wallace- Tenor

Fauna- Helen Traubel- Soprano

Jim Blaikey- Rufus Smith- Baritone

Chorus and Smaller Roles: 6F/10M minimum

SYNOPSIS

        The play opens in the early morning at the western Biological lab, which is cluttered with bottles, jars, books and art reproductions. Doc is busy at work when Hazel, his burly, slow-witted male helper who lives in a nearby flophouse, arrives. Hazel tries to comprehend everything Doc tells him, but finds it difficult to understand how knowledge of starfish can help learn more about man. Doc attempts to make his point clearer by showing how man must accept the peculiarities of nature (ALL KINDS OF PEOPLE- M Solo).

        Doc’s girlfriend, Millicent, enters from the bedroom, amazed that he is awake at 5 a.m. and working on his experiments. Mac, a friend of Doc’s, enters with Suzy, a pretty girl of twenty-one who cut her hand stealing some food from a store window. Doc fixes her hand and invites her to stay as long as she likes, though he has to leave to find some specimens (THE TIDE POOL- 3M Trio). Suzy, extremely outspoken with a surface hardness and abrasive quality, tells Doc he is wasting his time living with snakes and bugs and speculates that he is afraid of life. She is also angered that he is involved with Millicent, whom she terms a bum. She and Doc begin to argue, for they are attracted to each other terribly, but afraid of involvement. Suzy goads Doc into explaining his work, which presently involves catching an octopus for the science of invertebratology. He forcefully tells her he plans on writing a paper and presenting it to a scientific society and leaves in anger. Mac warns her to lay off Doc because the town loves him and is very protective of his skills and ideas.

        An intrigued Suzy asks him about Doc and his women and recounts her trip from San Francisco (EVERYBODY’S GOT A HOME BUT ME- F Solo). Fauna, the warm-hearted manager of the Bear Flag Cafe across the way, enters to have Doc test some illegal whiskey. She is introduced to Suzy. Fauna apologizes for not being able to offer the obviously destitute girl a job, but the recent closing of the cannery has caused a decline in business. Fauna changes her mind when Jim Blaikey, a plain-clothes cop, enters to advise Suzy to get out of town. Jim is surprised that Fauna would involve herself with someone as hard edged as Suzy.

        A few weeks later, in front of an in one drop depicting Cannery Row, Jim Blaikey is watching over things when Mac stops to chat about Doc’s desire to write his paper. The scene switches to the Palace Flophouse where the men are gathered to discuss the change that has come over Doc since Suzy trapped him into writing a paper. When Hazel tries to come to Doc’s defense, the flophouse gang drinks to his loyalty. They philosophically comment on where their lives are going and compare it to the unevenness of a lopsided bus (LOPSIDED BUS- Small Chorus).

        Fauna enters the flophouse and announces that Hazel’s horoscope said he would become President of the US. Joe, the Mexican man who owns the flophouse, arrives with his friend, Pancho, who gives a sample of his trumpet playing and Fauna invites him to play at the cafe (BUM’S OPERA- M/F Solos and Chorus).

        In front of the Cannery Row drop, Mac explains to Hazel that he wants to raffle off the flophouse in order to raise money for Doc’s microscope, which Doc needs for higher level experiments. Hazel is confused, for Joe is the new legal owner of the flophouse, but Mac is certain that Joe doesn’t know he bought two adjacent buildings. They are convinced that he only thinks he bought the cafe. They question Joe and discover Mac’s theory is right and convince him to sell fifty raffle tickets.

        Suzy has been spending a lot of time cleaning and cooking at Doc’s and he is quite bothered that she has changed him (THE MAN I USED TO BE- M Solo). When Fauna comes to ask him to take Suzy in because she is having a big party at her Cafe and doesn’t want Suzy to ruin it with her abrasive comments, he refuses. However, he agrees to take her to dinner for one night which pleases Fauna (SWEET THURSDAY- Solo).

        The girls are relaxing in a room at the Cafe while Suzy is by the window staring at an old boiler, which an old couple used to live in. Fauna arrives and begins to query her about her feelings for Doc, who phones to ask Suzy to dinner. She agrees but is frightened at the prospect, for she considers herself to be mentally inferior. Fauna calms her and builds her confidence by making her repeat positive phrases about herself (SUZY IS A GOOD THING- F Duet).

        On Cannery Row, everyone is spreading the news about Doc and Suzy. Doc takes Suzy to Sonny Boy’s Pier Restaurant, where she slowly and carefully attempts to act like a well-mannered girl. Doc enjoys her company and, as the two become romantic, Esteban sings a Spanish song which Doc translates into English (ALL AT ONCE YOU LOVE HER- 2M/F Trio). The two slowly exit to the moonlit beach as the curtain falls.

        At the opening of Act II, the girls are nursing their hangovers. Fauna enters to show them the Cafe’s Christmas card selection. They are surprised, for it is still July. When Fauna holds out a picture of the house, the girls agree it is an appropriate reminder for their customers, but requests that they be sent to the men at their offices (HAPPIEST HOUSE ON THE BLOCK- F Chorus). After the girls exit, Suzy tells Fauna that Doc is searching for a wife, but she feels she isn’t good enough. The older woman convinces her to try to win him at the masquerade ball the following night. The girls return, excited about the upcoming party, and are joined by the chorus (THE PARTY THAT WE’RE GOING TO HAVE TOMORROW NIGHT- Mixed Chorus).

        The boys are gathered at the flophouse to practice palming the raffle card with Doc’s name. Their plan is to have Doc win and give him the money in exchange for the building. Everyone begins entering in various costumes, obviously homemade, but hilariously creative. Doc wins the raffle, surprisingly, and the show, provided by Fauna and the girls, begins.

        Suzy, portraying Snow White, is constantly pushed in the direction of Doc by Fauna who joins her in song (WILL YOU MARRY ME?- M/2F Trio). Doc goes along as Prince Charming, but, when Suzy runs off in humiliation, Doc shares the same feelings and escapes in the other direction.

        The next day, Suzy approaches Jim Blaikey for some cash so she can leave Fauna’s and live in the boiler. Pleased that she has changed so much, he agrees to the loan. Hazel enters, still confused about Doc’s reaction to Suzy, and admits that he has trouble thinking (THINKIN’- M Solo).

        Fauna tries to get Doc to admit that he loves Suzy, who is proving her independence by beautifully decorating the boiler, but he is afraid of a relationship. However, he comes to her rescue when he sees Joe trying to force his way into the boiler. Fauna watches him run off and philosophically sings (ALL AT ONCE YOU LOVER HER [REPRISE]- F Solo). The next evening, everyone on Cannery Row is waiting to see if Doc is going to visit Suzy. When he enters with flowers to announce that his is scared, everyone begins giving him advice on how to handle the invitation (HOW LONG- Mixed Chorus).

        Inside Suzy’s "apartment," Doc discovers that she has gained pride in herself and now knows what she wants from life. She explains that she has him to thank. He echoes her sentiment (THE NEXT TIME IT HAPPENS- Sc to M/F Duet). After he leaves, there is a knock at the door. It is Hazel, who tries to find a way to get Suzy to Doc’s. She admits that she would come if Doc were sick or had a broken arm and his face lights up as he exits.

        At the laboratory, Doc is being treated for a broken arm he received while asleep. Suzy’s arrival forces him to realize he needs her and wants to marry her. Hazel and Mac, who have been watching though the keyhole, rush in, followed by the company who congratulate the couple (SWEET THURSDAY [FINALE]- Company).

NOTES ON THE PRODUCTION

        This unusual show is not as familiar as many of the other Rodgers and Hammerstein productions. This unusual show is not as familiar as many of the other Rodgers and Hammerstein productions but may have grown in popularity due to the TV airing of Cannery Row. The characters are interesting and one can quickly become wrapped up in the story of Doc and Suzy. The secondary characters are real "character roles" and would be good for an older company with good performer/actors.

        The music is pure Rodgers: lilting, character oriented and arising naturally from the plot. Companies using a smaller orchestration may want to consider changing the vocal type of Fauna from soprano to alto to minimalize the operatic sound of her character. It is unusual to have two sopranos in the leading women’s roles and a rearranging of her part would lend more vocal variety.

        If Fauna’s role remains a soprano, it is recommended that some of her songs be judiciously edited, cut or varied by adding more voices where possible. A professional company may want to consider revamping the orchestrations to give them a more modern sound that might be more pleasing to today’s theatre goers.

SONGS OF SPECIAL INTEREST

    "All at Once," Baritone Solo, lovely ballad, now a standard, sung by Doc as an interpretation of a Mexican song

    "Everybody’s Got a Home But Me," Alto, standard ballad, good for club, lovely melody, haunting lyrics, potential tear jerker, Suzy sings a factual song, suited for any vocal type, audition potential

    "The Man I Used to Be," Baritone, charm song, some soft shoe, nice up-tempo higher voiced song, breezy tempo, possible for a second song in an audition situation where a strong singer was trying to show light-heartedness and movement

    "The Next Time It Happens," Baritone/Mezzo or Alto, Sc to duet, good for class study, Suzy and Doc say goodbye to each other, strong subtext of two people saying goodbye who want to stay together

 

Orchestration: 3 reeds, 2 horns, trumpet, trombone, percussion, 2 violins, viola, cello, bass, piano/conductor

Script: Viking Press

Score: Williamson
Record/CD: RCA
Rights: R and H

PIPPIN

 

Book: Roger O. Hirson

Music and Lyrics: Stephen Schwartz

ORIGINAL PRODUCTION

The Imperial Theatre, October 23, 1972 (1,944 perf.)

Director and Choreographer: Bob Fosse

Musical Director: Stanley LeBowsky

Orchestration: Ralph Burns

 

Principals:

Leading Player- Ben Vereen- Baritone

Pippin- John Rubenstein- Tenor

Charles- Eric Berry- Baritone

Lewis- Christopher Chadman- Baritone

Fastrada- Leland Palmer- Mezzo

Berthe- Irene Ryan- Alto

Catherine- Jill Clayburgh- Mezzo

Theo- Shane Nickerson- Boy Soprano

Chorus and Smaller Roles: 5M/5F

SYNOPSIS

        The show opens with the Leading Player and his theatrical company "Players" informing the audience of the action that will occur (MAGIC TO DO- M Solo and Mixed Chorus). The play takes place during Charlemagne’s reign over the Roman Empire. The Leading Player tells the audience the subject of their tale: "Pippin, His Life and Times." This makes for a play within a play effect. Pippin appears on the scene with his promise not to waste his life in ordinary tasks yet by doing so, Pippin can’t seem to fit in. He must always seek an extraordinary occupation which will let his "spirit run free" (CORNER OF THE SKY- M Solo).

        The Leading Player magically transforms the scene to the royal court of Charles the Great. Pippin arrives home from his studies in Padva and converses with his father about Charles’ power. Pippin is restless for his own fame. The Leading Player then introduces Lewis, Pippin’s half-brother who is concerned only with the physical. His pumped-up ego matches his physique. Lewis boasts of his magnificent war record and vows to slaughter even more Visigoths, a nation soon to be at war with the Roman Empire. Fastrada, Pippin’s devious stepmother, is next to welcome Pippin home. Her one ambition is to see her son, Lewis, in control of the throne. After Fastrada criticizes Pippin’s posture, she and Lewis depart, leaving Charles alone again with his son. The welcoming talk between father and son is awkward and leaves Pippin unsatisfied (WELCOME HOME- Sc to M Duet). Charlemagne’s words of wisdom only confuse Pippin more and he is left with the feeling that life has no direction.

        When he sees the country preparing for war against the Visigoths, Pippin, who wants to capture glory, asks his father if he can join in the battle and Charles agrees. In a tent near the battlefield Charles lectures his Army on the science of war (WAR IS A SCIENCE- M Solo and Mixed Chorus). The inexperienced Pippin constantly interrupts his father in his enthusiasm to win the battle. Annoyed and worried at Pippin’s attitude, Charles views his son’s behavior with disapproval, but Pippin assures him he will do well.

        Lewis, Pippin and Charlemagne, along with the soldiers, leave to wage war and the Leading Player enters and sings of the glory of war as various battle scenes are acted out (GLORY- M Solo and Mixed Chorus). Service to Christ and lust for blood are oddly intertwined as the battle continues. Glory becomes grotesque as limbs and bodies litter the stage and Pippin, somewhat overcome by the death that surrounds him, cannot partake in the raping and pillaging of the Visigoths that follows the victory. Although Charles insists that Pippin join the rest of the army in song and dance, Pippin lags behind to reflect upon war. Finding a dismembered head, he converses with it and realizes that war is not what he is searching for.

        The Leading Player comments on Pippin’s life as the set changes into a country setting in the great outdoors (SIMPLE JOYS- M Solo). Next to arrive on the set is Berthe, Pippin’s spry grandmother, who is surrounded by four young male admirers. She advises Pippin to get fresh air, home cooking and even, perhaps, a little fun with women (NO TIME AT ALL- F Solo and M Chorus). Pippin temporarily gives up his quest for the "extraordinary" as he occupies himself with several girls (WITH YOU- M Solo to Chorus Dance). Pippin is overwhelmed but unfulfilled and so he turns to politics and defending the people against the tyranny of his own father.

        The Leading Player mischievously manipulates Pippin into starting a revolution, which immensely pleases Fastrada who has plans for her son Lewis to gain the throne. She sings of her philosophy to Lewis (SPREAD A LITTLE SUNSHINE- Sc to F Solo, Lewis needed for staging).

        Fastrada informs Charles of Pippin’s disloyalty, but Charles is unimpressed so she suggests that he go to church to pray. She later informs Pippin of his father’s plan and Pippin, disguised as a priest, confronts Charles at a church in Arles. When he accuses him of slaughtering peasants, Charlemagne explains it is necessary to shed blood to preserve order and prays for strength. Pippin stabs his father and becomes king (MORNING GLOW- Mixed Chorus).

        The Act II curtain opens on the same scene that closed Act I (MORNING GLOW [REPRISE]- Mixed Chorus). The Players congratulate the new king, Pippin, who gives land to the peasants, abolishes taxes, and dissolves his army. This idealistic government, however, is short lived since, upon hearing of an attack on his country, Pippin remobilizes his army and must tax the lords to run it. The lords, in turn, must take the land away from the peasants in order to have tax money. Pippin’s reign collapses and he begs Charlemagne to take back the crown. Surprisingly, with a little magic, Charles comes to life and Pippin apologizes to his father.

        The discouraged Pippin still longs for meaning in his life and the Leading Player tells him he is headed in the right direction (ON THE RIGHT TRACK- Sc to M Duet). Ironically, as the Leading Player gets more and more encouraging, Pippin sinks deeper and deeper into despair. His disillusionment leads him to collapse in a heap. He is found by Catherine, a wealthy widow, along with her small son, Theo, and his pet duck.

        As an act of charity, Catherine nurses Pippin back to health. When he is well enough, she introduces herself as an ordinary, but terrific girl (KIND OF WOMAN- L to F Solo with F Choral Backup). Catherine convinces Pippin to stay and work on her estate but somehow his heart is not in it. He grows tired of manual labor and feels there is something more (EXTRAORDINARY- M Solo). He is preparing to leave when Theo’s pet gets sick. Pippin prays for the duck (PRAYER FOR A DUCK- M Solo) in vain, for the duck dies. Theo is heartbroken and Pippin goes to all measures to raise the boy’s spirits. Catherine is pleased to see him trying so hard and the two fall in love (LOVE SONG- M/F Duet). The love spell is soon broken when Pippin realizes how ordinary his life has become and he decides to leave. Catherine quietly comments on his idiosyncrasies (I’LL MISS THE MAN- F Solo).

        Pippin greets the Leading Player who invites Pippin to join in the Finale, a magic trick of fire that will supposedly give Pippin glory with a flash. The other players rush on the set with a firebox, which they demonstrate for Pippin. They try to lure him into the firebox to achieve his final perfection, thus fulfilling the tragic plot they laid out for Pippin (FINALE- Mixed Chorus). Mesmerized by the chanting and the trickery, Pippin starts to be conned into obeying their will, but he realizes that he does no want this grand finale. He concludes that he must have ties to give meaning to his life. At this point, Catherine and Theo appear and the three stand together, hand in hand. The players leave in disgust as Pippin sings happily without music, stage lights or elaborate costumes.

NOTES ON THE PRODUCTION

        Pippin won five Tony Awards in 1973 for Best Actor (Ben Vereen), Director, Choreographer, Lighting Design and Scenic Design.

        The musical, performed in the Commedia style, was imaginatively directed and choreographed by Bob Fosse and deftly performed by the talented Ben Vereen.

        Because the success of this show relies so heavily on the talents of the leading player, colleges and universities may consider dividing the leading player part into two characters. It allows for more musical variety and staging, as it leaves room for trios and duets in a show that is solo heavy. It also adds a new dimension to this rather thin book.

        The show may be as sparse or elaborate as a company can afford because it requires few sets and only one costume per player with add on pieces. Because of minimal set requirements (an opening curtain, a drop or cut out section for the church, a bed that doubles as a tree or table, a war map and a fire box) it is necessary to have extremely tight lighting and elaborate props for the special effects. The show is supposed to be highly theatrical in tone and needs to have a consistent "look" in order for the audience to remain "caught up" in the performing style.

        It is a crowd pleaser, demanding yet fun for the performers who must all sing and dance competently. Plan on extra weeks of rehearsal with the choreographer because there are a lot of dance numbers. In its original form, a few of the more sensually oriented numbers become overly uncomfortable for some audience members. It is possible to style this production for more of a family tone, if desired, without losing the music, story or result.

SONGS OF SPECIAL INTEREST

    "Magic to Do," Small Chorus, good for revue opening

    "Corner of the Sky," Tenor solo, introspective, searching, can use movement

    "No Time At All," Good character solo, especially when tempo is slowed so lyrics and character are more easily understood, adaptable to one woman show on aging

    "I Guess I’ll Miss the Man," Mezzo/Alto, pleasant ballad, allows for some acting to show, possible audition piece

    "On the Right Track," solid movement oriented, male duet, up-tempo, for showcase and class use

 

Instrumentation: 8 reeds, 1 french horn, 1 trumpet, 2 trombone, 1 guitar, 1 violin, 1 viola, 1 cello, 1 harp, 1 harpsichord, 1 organ, percussion, drums, 1 electric bass

Script: Bard

Selections: CPP/Belwin

Record: Motown

Rights: MTI

PLAIN AND FANCY

Book: Joseph Stein and Will Glickman

Music: Albert Hague

Lyrics: Arnold B. Horwitt

ORIGINAL PRODUCTION

Winter Garden, January 28, 1955 (461 perf.)

Director: Morton DaCosta

Dances and Musical Numbers: Helen Tamiris

Musical Director: Franz Allers

Orchestration: Philip J. Lang

 

Principals:

Ruth Winters- Shirl Conway- Alto

Emma Miller- Nancy Andrews- Alto

Dan King- Richard Derr- Baritone

Peter- David Daniels- Tenor

Katie Yoder- Gloria Marlowe- Soprano

Papa Yoder- Stefan Schnabel- Baritone

Ezra Reber- Douglas Fletcher Rodgers- Baritone

Hilda Miller- Barbara Cook- Soprano

Chorus and Smaller Roles: 12M/12F and 2F Children minimum

SYNOPSIS

        Dan King, a worldly New Yorker whose grandfather has left him a farm in the Amish Country of Pennsylvania, travels with his girlfriend, Ruth Winters, to inspect the area. The two become totally confused by the road signs that lead to Bird-In-Hand and inquire at a local gas station for directions (YOU CAN’T MISS IT- M/F Duet to Mixed Chorus).

        Papa Yoder and his daughter Katie, returning from Lancaster, pass their Amish neighbors working in the fields. Katie, who is to be married in two days, marvels at the beauty of the countryside (IT WONDERS ME- Sc to F Solo to Mixed Chorus). As they exit, Dan and Ruth enter, still looking for the Yoder farm. Dan receives more directions and he and Ruth wearily walk toward the farm.

        In the Yoder yard, the everyone is preparing for the coming wedding and commenting on the bountiful crops that grow on their lands (PLENTY OF PENNSYLVANIA- Mixed Chorus). Dan and Ruth are greeted by Hilda, an attractive, easily impressed girl, who takes them to meet her uncle, Jacob Yoder.

        Peter, a headstrong Amish boy, in love with Katie since childhood, has been sent to his Aunt’s for fighting. When he hears about Katie’s impending marriage to his brother, Ezra, he returns to tell her he still loves her (YOUNG AND FOOLISH- Sc to M Solo). Katie, who still loves Peter, is afraid to get involved and runs off.

        Ruth and Dan are invited into the parlor, introduced to the family members and asked to stay in the house until Dan’s farm can be sold. They are escorted to their rooms. When the men ask Ezra how he feels about Katie he tells them his only interest is in marrying someone attractive who can cook and raise children (I’LL MARRY KATIE- Sc to M Chorus).

        Dan finds Katie outside the house and asks her for directions to his farm. She volunteers to take him and the scene shifts to show the outside of Dan’s barn where Peter is painting a bluebird for Katie. Dan, realizing the two need to be alone, leaves. Katie promises to convince her father that she should marry Peter (YOUNG AND FOOLISH [REPRISE]- F/M Sc to Duet to Mixed Dance Chorus).

        Ruth, whose bedroom is far from Dan’s, realizes she isn’t adjusting well to life without drinking, smoking or indoor plumbing. She sings about the stupidity of her affair with Dan (HELLUVA WAY TO RUN A LOVE AFFAIR- F Solo).

        Hilda, curious to know more about Dan enters to talk to Ruth. When Ruth goes to wash up in the kitchen Dan enters and asks Hilda about Peter and Katie. Hilda, infatuated with Dan, assumes, when he gives her a brotherly kiss, that they are in love (THIS IS ALL VERY NEW TO ME- Sc to F Solo F Quartet). As she sings the scene shifts to the Yoder yard and a trio of girls sings with her.

        The guests are arriving for tomorrow’s wedding. Dan, discovering that Mr. Yoder wants to buy his grandfather’s farm as a wedding present for Katie and Ezra, tells Mr. Yoder that Katie loves Peter and it is wrong to force her to marry Ezra. Yoder angrily responds that it is the Amish way (PLAIN WE LIVE- M Solo with M Chorus).

        Dan is approached by Peter, who wants to buy the farm, but Ezra interrupts and needles Peter into fighting. Peter is blamed for starting the fight and shunned by the community. Lightning strikes Dan’s barn and Papa Yoder is convinced Peter’s hex sign on the barn was meant to bring disaster to Ezra and Katie. The act ends with Peter alone onstage.

        As the curtain rises on Act II, the Amish build a new barn, demonstrating the swift results of community effort (HOW DO YOU RAISE A BARN?- Mixed Chorus). After everyone leaves, Peter enters to tell Katie he is leaving the community and privately begs her to go with him (FOLLOW YOUR HEART- Sc to M Solo). She runs to Hilda who agrees with Peter that Katie would be happier marrying for love (FOLLOW YOUR HEART [REPRISE]- F Duet).

        Meanwhile, in the Yoder kitchen, Ruth, determined to manipulate Dan into marriage by learning how to cook his favorite dishes, gives up in confusion. Emma and the girls comment on the difference between city girls and country girls (CITY MOUSE-COUNTRY MOUSE- F Solo to Small F Chorus).

        Hilda, finding Dan alone on the porch, begins to talk about marriage. Dan gently attempts to tell her she must marry someone from the same background, not a city person. She is brokenhearted and rushes off crying.

        Ezra helps Ruth unlock her hatbox where she keeps her liquor supply and begins drinking. In a matter of seconds he is totally drunk. Hilda is appalled to discover a very drunk Ezra in Ruth’s bedroom. He decides to go to the carnival in Lancaster and see some girlie shows. Ruth follows him out as Hilda decides Lancaster is a good place to become citified. In a humorous song, she dresses in Ruth’s clothes and attempts to look like a woman of the world (I’LL SHOW HIM- Sc to F Solo).

        In front of a landscape traveler, Ruth finds Peter and tells him about Ezra. Peter agrees to bring his brother home before he shames the family and Katie.

        At the fair, various midway shows are on view (SCRANTON SALLY- F Chorus and Dance). Hilda and Ezra get their fill of city ways when they get involved in a fight with Mambo Joe and a sailor. Peter, overcomes Mambo Joe, who has a knife at Ezra’s throat, and Hilda escapes for home.

        Meanwhile, outside the Yoder kitchen, Ruth has just finished making one of Dan’s favorite Amish dishes. Dan, realizing at last that she has always worked to please him, admits he loves her and wants to marry her. Hilda tells Dan and Ruth about the Carnival and her future plan to marry an Amish boy and they urge her to choose wisely (TAKE YOUR TIME, TAKE YOUR PICK- Sc to 2F/M Trio).

        Early the next morning, a drunken Ezra enters and Papa Yoder refuses to let Katie marry a drunk. When Peter arrives, escorted by a policeman who arrested him for fighting at the Carnival, Papa Yoder discovers that Peter fought to save his brother from shame. Peter, now the owner of Dan’s farm, asks permission to marry Katie. Papa Yoder agrees and the wedding procession begins (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

        The show is an enjoyable one that relies on much of its humor from character contrasts. There are quite a few good parts for women, especially the roles of Ruth, Hilda, and Emma. The dance requirements are minimal, although the barn raising sequence in the second act relies heavily on a clever set designer. It is a show worth examining and an excellent choice for high schools searching for something charming and unusual.

        The original production had a great many sets but these are easily combined to simplify the scenic costs. The major sets necessary for the production are: the Yoder yard with the porch of the house, a section of the road, the barnyard of Dan’s farm, Ruth’s bedroom, kitchen of the Yoder house and the carnival. If backstage space is limited, the kitchen scene could be moved to the yard area, if there was an area for outside cooking. For those wanting to minimize set movement, it would be possible to angle the Yoder house, stage right, and have a section of it revolve to be Ruth’s room, and later a section of the kitchen. In this manner, the barn could move on from stage left and be delineated as a separate farm by lighting. The parlor scenes could all be played on the porch area.

        The costumes, except for Ruth’s, may be the same throughout.

SONGS OF SPECIAL INTEREST

    "City Mouse, Country Mouse," Class potential, small F chorus, comic lyrics, good for beginning director

    "I’ll Show Him!" Soprano, comic, determined, needs props to work in class situation, ending good for audition as shows range and isn’t overdone

    "It Wonders Me," F Soprano, shows off range, possible for audition ballad

    "It’s a Helluva Way to Run a Love Affair," Alto, comic, lots of specifics, problem number

    "This Is All Very New to Me," possible audition for Soprano, up tempo, movement potential, abandon, shows off voice

    "Take Your Time and Take Your Pick," Alto/Soprano/Baritone Trio, up-tempo, good exercise for beginning director

 

Instrumentation: 5 reeds, 3 trumpets, horn, 2 trombones, percussion, 4 violins, viola, cello, bass, harp, piano/conductor

Script: Samuel French

Score: Chappell

Record: Capitol

Rights: Samuel French

PORGY AND BESS

Book: Dubose Heyward

Music: George Gershwin

Lyrics: Dubose Heyward and Ira Gershwin

ORIGINAL PRODUCTION

Alvin Theatre, October 10, 1935 (124 perf.)

Director: Rouben Mamoulian

Musical Director: Alexander Smallens

Choral Director: Eva Jessye

Orchestration: George Gershwin

 

Principals:

Sportin’ Life- John W. Bubbles- Tenor

Crown- Warren Coleman- Bass

Porgy- Todd Duncan- Baritone

Serena- Ruby Elzy- Alto

Bess- Anne Brown- Soprano

Clara- Abbie Mitchell- Soprano

Chorus and Smaller Roles: 20M/16F necessary for vocal quality

SYNOPSIS

        In Catfish Row, a waterfront ghetto in Charleston, SC, Clara, a young mother, is soothing her baby with a lullaby (SUMMERTIME- F Solo). The men are shooting craps on a nearby stoop and Serena is in a window above, urging her man, Robbins, not to join the game.

        The crapshooters, discussing their day’s work, are caught up in the game when Jake takes the baby from Clara and sings (A WOMAN IS A SOMETIME THING- M Solo to M Quartet). At the end of the song Clara takes the baby inside as one of the men opens the outside gate for the crippled Porgy, who enters on his goat cart to join the game. The men begin to get serious about their gambling, but are warned to wait for Crown, the bad tempered bully of the area. The drunken Crown and Bess arrive as the women, led by Serena, negatively comment to each other about Bess’s wanton ways. Crown tells Sportin’ Life, the area pusher/pimp to give him some "happy dust" to sober him up. The game begins in earnest but Crown, who is losing, gets nasty and kills Robbins with a coltar cutting hook (CRAP GAME FUGUE- M Chorus). Serena screams and catches the dying man in her arms as Bess urges Crown to escape. A police siren is heard and everyone but Sportin’ Life runs into hiding. He cleverly promises to hide Bess if she will accompany him to New York, but she isn’t ready to let any man pimp for her and refuses his offer. She runs to various doors along the row but Porgy’s is the only one that opens.

        The police have come and gone and the chanting of a funeral procession is heard as the lights rise (GONE, GONE, GONE- Mixed Chorus). Porgy leads the people of the row in a money-raising rhythmic gospel song (OVERFLOW- Mixed Chorus). A white detective arrives and questions everyone about the murder but no one has anything to say. He takes old Peter as a witness, promising to return him when Crown is captured. The people comment on injustice as Serena, the widow, reveals how empty her life is without Robbins (MY MAN’S GONE NOW- F Solo to Mixed Chorus).

        The undertaker agrees to bury the body on credit and Bess leads the mourners in a song of inspiration (LEAVIN’ FO’ DE PROMIS’ LAN’- F Solo and Mixed Chorus).

        The next morning, as the fishermen prepare their nets for the day’s catch (IT TAKES A LONG PULL TO GET THERE- M Chorus), Porgy watches the working men and just laughs because he is content with having nothing (I GOT PLENTY O’ NUTTIN’- M Solo to Mixed Chorus).

        Porgy, deeply in love with Bess, who has been living with him since Crown’s escape, observes Sportin’ Life trying to lure her back to her cocaine habit and warns him to keep away. Porgy urges Bess to join the women on the picnic and attempts to boost her spirits (BESS, YOU IS MY WOMAN NOW- Sc to M/F Duet). The women stop by to urge Bess to join them for they notice how she has changed since living with Porgy. Sportin’ Life leads the group to the picnic (OH, I CAN’T SIT DOWN- Mixed Chorus) and Bess joins in.

        Act II begins on Kittiwah Island. There is spontaneous gaiety as Sportin’ Life sings to the group (I AIN’T GOT NO SHAME- M Solo to Mixed Chorus). When Maria and Annie accuse him of Sodom and Gomorrah behavior, he responds by telling them not to believe everything the Bible tells them (IT AIN’T NECESSARILY SO- M Solo).

        The boat whistle sounds and everyone starts for shore. Bess is secretly grabbed by Crown who keeps her from leaving. She tries to discourage him (WHAT YOU WANT WITH BESS- Sc to M/F Duet), but he keeps her with him, telling her that no cripple is ever going to take Crown’s woman.

        One week later, Bess, who has been out of her mind with delirium since her return from the island, begins screaming. Porgy, who is afraid she may be dying, urges Serena, who has great healing powers, to help the woman he loves. Serena comes to pray for Bess (TIME AND TIME AGAIN- Sc to M/F Duet and Mixed Chorus) and promises Porgy she will be cured by five o’clock. As Porgy waits, the street venders peddle their wares (STREET CRIES- F Solo/M Solo). At five o’clock, Bess recovers and implores Porgy to save her from Crown (I LOVES YOU, PORGY- Sc to M/F Duet).

        A hurricane breaks out and the residents gather to pray in Serena’s room (OH, DE LAWD SHAKE DE HEAVEN- Mixed Chorus). Crown breaks in and mocks God as the people beg the Lord to strike him down (A RED-HEADED WOMAN- M Solo to Mixed Chorus). The storm stops and Clara runs to the window and spies her husband Jake’s overturned boat. Leaving her baby with Bess, Clara runs out in the storm to find her fisherman husband. She is followed by Crown, who promises to bring her back, but he fails and Clara is lost to the sea.

        Act III begins later that night as the people pray for the dead Clara and Jake (CLARA, DON’T YOU BE DOWNHEARTED- Mixed Chorus), Porgy sits at his window waiting for Crown to return. Sportin’ Life, who waits in the shadows, tells Maria, who wants to know why he is hanging around, that he is waiting for Bess. He knows that Bess is soon going to be ready to go with him for one of her men will be killed and the other jailed. As he waits in the shadows he sees Crown enter Porgy`s room with a knife. The fight ends in the street as Crown is killed with his own knife. As Bess leads Porgy inside, the men come to remove Crown’s body.

        The next morning the police choose Porgy to identify Crown’s body. He is terrified, for Sportin’ Life has convinced him that the police will know he killed Crown when the dead man’s wounds begin to bleed. Porgy is forcefully taken off.

        Sportin’ Life slyly tells Bess that Porgy will be in jail for at least two years and offers her some "happy dust." He enticingly sings (THERE’S A BOAT DAT’S LEAVIN’ SOON FOR NEW YORK- M Solo) and offers to set her up as a highly paid prostitute. She agrees and goes off with him.

        Porgy comes back a week later with presents for his friends and Bess, but realizes that something is wrong (BUZZARD- M Solo). He inquires as to Bess’s whereabouts (WHERE’S MY BESS?- M Solo) and is told she has gone back to "happy dust" and to New York with Sportin’Life. Although everyone urges him to forget her Porgy asks where New York is and prepares to follow (I’M ON MY WAY- M Solo). Everyone waves goodbye.

NOTES ON THE PRODUCTION

        The first New York production of Porgy and Bess was performed during the depression- a period when people wanted escapism not drama in theatrical entertainment; hence, it was a limited run for this Gershwin masterpiece. On October 10, 1935, after an international tour, Porgy and Bess had a nine month New York run. The show had Cab Calloway and Leontyne Price as the leads. In 1942, Cheryl Crawford revived the now musically familiar opera, which was warmly received and widely toured.

        The Gershwin estate, seeking to maintain the quality of this classic, maintains licensing control and usually only allows performance rights to professional companies. Anyone considering a production should write for permission before announcing a theatrical season.

        The music is vocally demanding and requires superb singer/actors. The lines, somewhat simplistic can seem almost racist if not properly handled. The answer to Porgy’s question that "New York is up North, beyond the courthouse" may seem ridiculous if the tone of the entire production hasn’t established the period, mood and style of the piece.

        The costumes represent a poor but proud 1935 black community and include everyday wear and Sunday best. There is no specialized choreography; the large numbers are more gospel in style and require simple movement. Sportin’ Life is traditionally played by a performer who moves well and dances soft shoe.

        The sets should be "practical" for they must hold a large company. The exteriors of the Catfish Row buildings contain windows with operable shutters and should have entrances at a variety of levels to create visual interest. Serena’s room, where everyone waits out the storm, is often constructed by a wall that folds back to show the interior. The island sequences can be a drop in front of Catfish Row.

        Lighting must recreate a hurricane and be able to properly enhance the dramatic highlights.

        Porgy and Bess is a classic that should be performed more often. It is worth trying to obtain the rights.

SONGS OF SPECIAL INTEREST

    "Bess You Is My Woman Now," heart rending Baritone/Soprano Duet, happy, exciting and dramatic, excellent for showcase and class

    "Summertime," shows incredible range and control, good for audition if Soprano can effectively sing it.

    "There’s a Boat That’s Leavin’ Soon for New York," Tenor, character oriented good for class study

    "It Ain’t Necessarily So," Tenor, good for Revue, shows character, movement oriented, solo section may be done for audition

    "I Got Plenty of Nothin’," Baritone, up-tempo, shows range, happy mood, possible club

 

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

Script: 10 Great Musicals

Score: Chappell

Record: Abben (Studio Cast) Odyssey

Rights: Tams-Witmark

PROMISES, PROMISES

Book: Neil Simon

Music: Burt Bachrach

Lyrics: Hal David

        (Based on the screenplay "The Apartment" by Billy Wilder and I.A.L. Diamond)

ORIGINAL PRODUCTION

Sam S. Shubert Theatre, December 1, 1968 (1,281 perf.)

Director: Robert Moore

Musical Numbers Staging: Michael Bennett

Musical Director: Harold Wheeler

Orchestration: Jonathan Tunick

 

Principals:

Chuck- Jerry Orbach- Baritone

Eichelberger- Vince O’Brien- VTI

Vivien- Donna McKechnie- VTI

Fran- Jill O’Hara- Alto

Sheldrake- Edward Winter- Baritone

Miss Polansky- Margo Sappington- VTI

Marge- Marian Mercer- Alto

Miss Wong- Baayork Lee- VTI

Mr. Dobitch- Paul Reed- VTI

Dr. Dreyfuss- A. Larry Haines- Baritone

Kirkeby- Norman Shelly- VTI

Peggy Olson- Millie Slavin- VTNE

Chorus and Smaller Roles: 4M/4F ideal minimum, but some productions with minimal stages have negated the chorus and utilized the principals in choral sections

SYNOPSIS

        In his office at Consolidated Life, an Insurance Company, Chuck Baxter, a rather nondescript, but likable young man is telling the audience about his lifelong problem of not being noticed. He yearns to figure out what is wrong (HALF AS BIG AS LIFE- L to M Solo).

        On his way home he stops at an Eastside bar, where he meets Mr. Dobitch, an executive at his office. Dobitch, on the pretext of helping a woman recover from a sudden illness, convinces Chuck to loan him his apartment for about an hour. Before long he is loaning out his apartment to Mr. Dobitch every Tuesday night, on Wednesday nights to Mr. Kirkeby and on Thursday nights to Mr. Eichelberger. All are executives who promise him advancement.

        Outside the apartment, waiting for the last executive to vacate, he explains his predicament (UPSTAIRS TWO FLIGHTS UP- L to M Solo). He is unexpectedly visited by Vanderhoff, another executives who promises him a promotion in exchange for using the apartment for one night. Chuck is forced to stand out in the rain until his apartment is free. His neighbor, a friendly doctor, hearing the nightly noises from Chuck’s apartment warns him to slow down.

        The next morning, Chuck, who has a horrible head cold and temperature, waits in the company medical office for treatment. Fran Kubelik enters with a case of hiccups. He tells her that hiccups are psychosomatic and urges her to take her mind off whatever is distressing her. She thinks of taking up a hobby or seeking new companionship (YOU’LL THINK OF SOMEONE- Sc to M/F Duet). The nurse tells Chuck that Mr. Sheldrake in personnel has asked to see him. He rushes off, certain that his two months of key loaning has paid off.

        In his office, Director of Personnel Sheldrake reads Chuck all the glowing reports he has received and demands to know what is going on. Chuck convinced he is going to get fired, explains his innocence in the key loaning. When Sheldrake offers him two tickets to the basketball game he realizes that Sheldrake, himself, wants the key to his apartment. Sheldrake swears him to secrecy (OUR LITTLE SECRET- Sc to M Duet).

        Chuck waits in the lobby for Fran and asks her if she is interested in basketball. When she replies "yes", he asks her to the game. She tells him she is meeting someone, but promises to be there in time for the second game and he is ecstatic (SHE LIKES BASKETBALL- L to M Solo).

        Fran goes to a Chinese Restaurant, where she meets Mr. Sheldrake, whom she has been having an affair with. Upset that he hasn’t called her in six weeks, she wants to end their relationship but can’t. When he goes to make a phone call, she berates herself for not leaving (KNOWING WHEN TO LEAVE- F Solo). During sections of her song, the spot comes up on Chuck waiting outside Madison Square Garden and making excuses for her failure to show. It is obvious that he is very naive about women. Sheldrake returns to the table and tells Fran he is going to get a divorce and convinces her to go to Chuck’s apartment with him.

        The lights come up on Kirkeby, Dobitch, Vanderhof and Eichleberger bemoaning the fact that Chuck won’t loan his key anymore (WHERE CAN YOU TAKE A GIRL?- Sc to M Quartet). They enter the executive dining room, where Fran is a waitress. When Chuck, who has been promoted, enters, Fran apologizes for standing him up and tells him she isn’t worthy of him. The four executives confront Chuck and ask for some gratitude (WHERE CAN YOU TAKE A GIRL [REPRISE]- M Quartet). Chuck goes to the executive sun deck to return a broken compact he found in the apartment and Sheldrake comments on Chuck’s bachelor life. When Chuck exits, Sheldrake contemplates the reason whey he wants things that he can’t have (WANTING THINGS- M Solo).

        Outside an elevator, the night of the office Christmas party, a tipsy Miss Olson, Sheldrake’s secretary, corners Fran and tells her she was once Mr. Sheldrake’s girlfriend and lists the other girls Sheldrake has been involved with. Fran denies everything and hastily exits.

        On the nineteenth floor, the company party is in full swing with Vivien, Miss Polansky and Miss Wong, three of the office girls, singing and dancing (TURKEY LURKEY- F Trio). Chuck asks Fran’s opinion of his newly purchased homberg hat. She assures him that he looks good and offers him her compact so he can see for himself. He recognizes the broken compact and disheartedly hands it back. She leaves as the phone rings and he tells Mr. Sheldrake the apartment is ready for tonight.

        At the opening of Act II, Chuck is in a seedy bar on 8th Avenue. He is approached by Marge, a lonely woman who hasn’t heard from her husband in two years. She talks to him in a teasing manner; she is still in love with her husband and he is interested in Fran, but, since neither of them are available, they realize something is better than nothing (A FACT CAN BE A BEAUTIFUL THING- Sc to M/F Duet to Mixed Chorus). The patrons join in and Chuck and Marge exit.

        At Chuck’s apartment, where Fran is confronting Sheldrake about his wife and his thoughtlessness where she is concerned, he apologizes and gives her a hundred dollars as a Christmas present. She suddenly feels very cheap and urges him to leave before he misses his train. She looks at a photograph of them together, and wonders why he looks different to her (WHOEVER YOU ARE- F Solo). She sees some pills and stares at them as the lights fade.

        Marge and Chuck, who are quite tipsy, enter the apartment. Chuck sees Fran, fully dressed, in a deep sleep and is unable to wake her. Realizing she has attempted suicide he rushes next door to get the doctor and sends Marge on her way. Chuck and the doctor walk Fran around the apartment for several hours, while the doctor, who assumes the suicide is because of Chuck’s behavior, berates the worried man. He does agree not to file an attempted suicide report and leaves to get some sleep. Chuck calls Mr. Sheldrake to tell him the details, but he only seems interested in not getting involved.

        The next morning, the doctor returns to check up on Fran and finds her depressed that he saved her. He and Chuck give her some advice (YOUNG PRETTY GIRL LIKE YOU- Sc to M Duet) and the doctor leaves. When Fran asks why he isn’t married, he explains he was in love once, but the girl married his best friend and he contemplated suicide. They both realize they have similar love problems (I’LL NEVER FALL IN LOVE AGAIN- Sc to M/F Duet).

        The doorbell rings and Fran’s brother, Karl, comes in to take Fran home. When the doctor enters to check her, Karl discovers that Fran has taken an overdose of sleeping pills and hits Chuck despite Fran’s protests. Outside the apartment building, the three executives are happy because they have discovered a new single man in the office who has his own apartment.

        At the office, Miss Olson tells Mr. Sheldrake she is quitting, and, if he is worried about his wife finding out about his affair, he can continue to worry.

        Mr. Sheldrake meets Chuck in the Chinese Restaurant to inform him that he and Mrs. Sheldrake they have split up. He asks Chuck for the key to the apartment so he can continue to see Fran. Chuck gives him the key to the executive washroom and walks out, promising to change his life (PROMISES, PROMISES- M Solo).

        Back at the apartment Chuck is busy packing when the doctor enters for some ice. He can’t believe Chuck has no date for New Year’s Eve, but Chuck assures him it’s so and offers him some champagne. He thanks the doctor and tells him goodbye. Fran arrives to tell him that she and Sheldrake are through, for they don’t have very much in common; he doesn’t even like basketball. She begins to deal the cards as the curtain falls.

NOTES ON THE PRODUCTION

        Promises, Promises won Tony Awards in 1969 for Best Actor (Jerry Orbach) and Best Supporting Actress (Marian Mercer).

        The show is popular among Community Theatres for the setting may be simple and the roles are good showcases for the performers. The Neil Simon book is comedic and charming and the leading character is extremely likable. Some excellent monologues are contained in this script.

        Publicity directors find the show easy to publicize for it is based on the movie The Apartment, which is often seen on television. The costumes are modern day and the production may be kept quite simple and inexpensive. It is a good fund raising show for a company who wants a popular, yet not overdone, inexpensive show.

        An excellent leading man is required. The leading actor, although not a dancer, must be able to move well. The basketball number calls for a lot of stylized movement and high energy. The other roles are primarily character oriented and require actors rather than strong singers.

SONGS OF SPECIAL INTEREST

    "Knowing When to Leave," Mezzo Solo, semi dramatic

    "Promises, Promises," Baritone Solo, decision making, strong

    "She Likes Basketball," Baritone audition potential, allows for movement, character and shows off vocal quality

    "You’ll Think of Someone," M/F Duet, charm, relationships, scene is necessary for class study

 

Instrumentation: 2 violins, 2 cellos, 4 reeds, horn, 3 trumpets, 2 trombones, 2 percussion, 2 guitars, piano/electric conductor

Script: Comedy of Neil Simon, Random House

Score: Morris

Record: United Artist

Rights: Tams-Witmark

PUMP BOYS AND DINETTES

        Synopsis contributed by UNH alum Michael Walsh who appeared in the Hackmatack production in Dover, NH

Conception, Music and Lyrics: John Foley, Mark Hardwick, Debra Monk, Cass Morgan, John Schimmel and Jim Wann

Book: Developed by cast members as the original show evolved

ORIGINAL PRODUCTION

Princess Theatre, February 4, 1982 (573 perf.)

Production Coordinator: Sherman Warner

 

Principals:

Jackson- John Foley-

L.M.- Mark Hardwick-

Prudie Cupp- Debra Monk-

Rhetta Cupp- Cass Morgan-

Eddie- John Schimmel-

Jim- Jim Wann

Chorus and Smaller Roles: None

SYNOPSIS AND NOTES

        This unique concept show, developed in Manhattan, evolved out of a period in the early eighties, when country music saw a sizeable upswing in popularity. The popularity of the film Urban Cowboy spurred on a national trend, which saw women sporting Stetsons and skirts and men wearing tight jeans, cowboy hats and silk shirts. It was during this period that Pump Boys and Dinettes, a country band with original tunes, had drifted from bar to bar with their unique "country revue" in tow. At first, beer-drinking patrons paid little attention to this Manhattan-meets-Country Music style act, but gradually the band began to garner the attention of several interested backers. Finally, Dodger Productions saw to the band’s Off-Broadway premiere during the fall of 1981. In the words of New York Times music critic, Stephen Holden, " . . . Off-Broadway audiences and critics alike responded ecstatically--and after four months of capacity business, Pump Boys and Dinettes moved to Broadway where the show received a Tony Nomination as Best Musical of 1982, as well as four Drama-Desk Award nominations, including Outstanding Musical for 1981-1982."

        One of the charming aspects of Pump Boys and Dinettes lies in its quaint subject matter, illustrated by a song entitled "Mamaw" in which the character Jim pays tribute to his beloved grandmother who has passed on. Another source of the show’s appeal is the simplicity of the wants and requirements of the characters. They may not reflect our own desires, but are not too dissimilar. Rhetta Cupp’s desire to get away is described in the song "Vacation" while another character expresses the naive belief that women will be attracted to his "Farmer Tan". Still another character sings of how wants the cashier girl in the local drugstore to become as smitten with him as he is with her in "Mona."

        But not all is innocent in Pump Boys and Dinettes. Sexual innuendoes abound: the reference to the big-busts of the Cupp sisters, the numerous displays of beer drinking, and one allusion to the smoking of cannabis-derived products.

        Still, the show elicits an "Andy-of-Mayberry" feeling of America in its post-war happy days period that is pervasive. This simplicity is still the show’s main draw and the reason for its original and enduring popularity.

        There really is no plot to speak of. The Pump Boys spend their days taking turns to see which one will go out and pump gas next, (unless an attractive girl shows up at the pumps), drag their feet about fixing the Winnebago of (the unseen) Uncle Bob, and playing their songs. It is the songs that entertain us, and may involve the audience members, if desired. For example, small percussive instruments may be passed out. In general, to what degree the "fourth wall" is torn down, may vary with each production.

        Over at the Double Cupp, the Sisters make food (the reality of which, or lack of, is up to each producers design concept), sing and alternately flirt with, then fend off, each of the Pump Boys.

PRODUCTION REQUIREMENTS

        In the original cast, six actors are required: four Pump Boys and two Dinettes. The scant book, was developed by the original cast/band. Because of this, lines may be assigned to different cast members if the original cast number requirements aren’t adhered to. The dialogue is really a series of talk-bridges to get from one song to the other. The songs and their content are the show’s true appeal. For the purposes of local, regional and community theatres, the flexibility of re-assigning lines may also apply to instrumentation assignments. Flexibility notwithstanding, the performers must range from moderately musical to very skilled. The original band members were each accomplished instrumentalists and song-writers, as well as fair to very good singers.

        The key to a successful local production lies in the performers having fun. The level of enjoyment, above all, must be conveyed to the audience. If the instrumentation is not available in its entirety, a simple acoustic guitar in a "bare-bones" production is all that is needed for such fun to get across. In terms of the set, one area of the stage must be delineated as the Pump Boys’ gas station. This area needs to accomodate their band instruments. A different area needs to represent the Double Cupp Diner. How elaborate and detailed each playing area is conceived may vary with the imagination, as well as the budget of the individual theatre company.

SONGS OF SPECIAL INTEREST

    "Sister," nostalgic, fine duet for two women, can be used for a revue

    "The Best Man," lovely country ballad, may be used for auditioning purposes when a non-traditional (non-Broadway) song is called for

    "Farmer Tan," wonderfully comic song, may be used in the same non-traditional mode as described above

    "Mona," country "rocker" that stands on its own, out of context of the show

 

Instrumentation: electric guitar(s), acoustic guitar(s), drums, (only required if the individual producer and/or director wants to retain the "Country" flavor of the original production.) and electric, or stand-up style bass, keyboard, accordion and various percussive style instruments, such as tambourine, shakers, etc. (the Cupp Sisters may become creative in the objects they use as percussive instruments i.e. dishes, pots, etc.)

Script: Sam French

Score: Sam French

Record/CD: CBS

Rights: Sam French

PURLIE

Book: Ossie Davis, Philip Rose and Peter Udell

Music: Gary Geld

Lyrics: Peter Udell

        (Based on the play Purlie Victorious by Ossie Davis)

ORIGINAL PRODUCTION

Broadway Theatre, March 15, 1970 (686 perf.)

Director: Philip Rose

Choreographer: Louis Johnson

Musical Director: Joyce Brown

Orchestration & Choral Arrangements: Garry Sherman

 

Principals:

Purlie- Cleavon Little-Baritone

Church Soloist- Linda Hopkins-Soprano

Leutiebelle- Melba Moore- Mezzo Belt

Missy- Novella Nelson- Mezzo

Gitlow- Sherman Hemsley-VTNE

Charlie- C. David Colson- Baritone

Idella- Helen Martin-Soprano

Ol’ Cap’n- John Heffernan -VTNE

Chorus and Smaller Roles: 3M/2F minimum

SYNOPSIS

        The curtain rises on "Big Bethel," a small church somewhere in Georgia, sometime in the recent past. A black congregation led by self-appointed Reverand Purlie Victorious, is joyfully singing at the funeral of Ol’ Cap’n, the man who profitted from their labors in the cotton fields (WALK HIM UP- Mixed chorus).

        The scene flashes back to a shabby yet cozy shack, in southern Georgia, the home of "Aunt Missy," Purlie’s sister-in-law. Purlie tells the young innocent Lutiebelle, whom he has brought from Alabama, that he is tired of Ol’ Capn’s exploitation of black people and wants to unite the blacks in their own church, with him as their preacher (NEW FANGLED PREACHER MAN- L to M Solo).

        When Missy arrives, Purlie reveals his plan to pass off Lutiebelle as his Cousin Bee in order to obtain his family’s $500 inheritance, which ol’Cap’n is unrightfully holding. Purlie needs the aid of his brother, Gitlow, the only black Ol’ Cap’n trusts, but Gitlow plans to continue his "Step N Fetch It" manner to win Ol’ Capn’ over. He tells Purlie, with the aid of three field hands, there are better ways to get ahead (SKINNIN’ A CAT- M Solo to 3M Trio).

        After Gitlow leaves, Missy promises to persuade him to Purlie’s side and Purlie leaves, excited at the prospects of a church for blacks. Over a slice of potato pie, Missy hints to Lutiebelle that Purlie could use a good wife. The love-struck Lutiebelle bursts into song (PURLIE- Sc to F Solo). When Purlie returns and urges Missy to beat some sense into Gitlow the spunky woman takes a baseball bat and hurries out leaving Purlie alone with the frightened Lutiebelle.

        Purlie gives Lutiebelle a pep talk about her mission to pretend to be the dead Cousin Bee and she finally agrees when he makes her proud of being black (THE HARDER THEY FALL- Sc to M/F Duet). The emotions they feel spur Purlie into asking Lutiebelle to be his disciple. They seal their convictions with a kiss just as Gitlow is persuaded by Missy, through force, to talk to Ol’ Cap’n about the $500.

        The set changes to a commisary where food and clothing supplies are sold to the blacks at outrageous prices. Charlie, Ol’ Calp’ns twenty-five year old revolutionary son, is getting a hot poultice put on his swollen eye by Ideall, a tough little black woman. She talks to Charlie about his subversive songs which go against the traditional beliefs of the Old South (BARRELS OF WAR/UNBORN LOVE- M Solo). Ol’ Cap’n, convinced his only son is a communist, arrives at the commissary to convince him the old ways, where the white man dominated the black, are best (BIG FISH, LITTLE FISH- M Duet to Mixed Chorus).

        Ol’ Cap’n, overwhelmed by Charlie’s behavior, begins having heart palpitations which Gitlow’s subservient manner gradually alleviate.

        Lutiebelle arrives with Purlie, prepared to meet Ol’ Cap’n as cousin Bee. She is very positive and feels she can conquer the world (I GOT LOVE- Sc to F Solo). Lutiebelle fools Ol’ Cap’n as Purlie and Gitlow assemble the other plantation workers and present him with a scroll of gratitude in typical "shufflin" style, but with cleverly biting lyrics. (GREAT WHITE FATHER OF THE YEAR- Mixed Chorus).

        At the end of the song Ol’ Cap’n requests Lutiebelle to sign a receipt, but she mistakenly signs her real name and the money is lost. Ol’ Cap’n orders Charlie and Gitlow to go after Lutiebelle and Purlie, but they purposely fall over each other, letting them get away.

        Two days later Purlie and Missy, in the humble shack, are frustrated and dejected. Purlie yearns for the freedom of the North, but Missy contradicts his every lyric, saying the South is far nicer (DOWN HOME- Sc to M/F Duet).

        Gitlow, convinced that he can get the money from Ol’ Cap’n leaves Lutiebelle, who is serving dinner to the lecherous old man, and tells Purlie and Missy of his certain success. Lutiebelle arrives at the cabin, disheveled and furious and Purlie stomps off to get revenge upon the man who made advances to the woman he loves.

        Act II opens with the plantation workers reclining and thinking of what they will do.

        Monday (THE FIRST THING MONDAY MORNIN’- Mixed chorus).

        At the shack, Missy tries to convince Lutiebelle that Purlie will come back unharmed, with her honor restored (HE CAN DO IT- L to F Solo).

        Gitlow arrives to tell the women Purlie is running and it is better to survive than to be brave. The women are furious that Gitlow has so little faith in his brother (THE HARDER THEY FALL-2F/M Trio).

        Purlie arrives with Ol’ Cap’n’s whip and a tall tale about how he conquered this tyrant. However, Ol’ Cap’n enters, accuses Purlie of being a thief and threatens to jail him. Charlie rushes in and covers for Purlie by confessing to the theft, but informs his father that he has bought Big Bethel and put the deed in Purlie’s name. He asks to be a member of the congregation (THE WORLD IS COMIN’ TO A START- Mixed Chorus). Ol’ Cap’n is so shocked that his son has foregone the ways of the Old South that he dies.

        The final scene, in Big Bethel, is a completion of the opening number (WALK HIM UP THE STAIRS [REPRISE]- Sc to Mixed chorus).

NOTES OF THE PRODUCTION

        The show, foot stomping and humorous, made stars of Melba Moore and Cleavon Little, who received Tony Awards for their performances.

        Purlie, has minimal set, costume, and cast requirements and would be a good "first" show for a company to attempt. The music is tuneful and the leading characters are well defined and sincere. There is a particularly excellent scene in the second act where Purlie describes his imagined confrontation with Ol’ Cap’n. It is good material for competition as the chorus is easily adapted to large or small casts, which is good in school situations where a choir director may want to involve the entire chorus.

        There are no dance numbers per se, just simple choreographic movement for a few of the songs and, as they don’t require any of the major characters, they may be rehearsed when other scenes involving the principals are being worked.

        Purlie has been successfully produced by professional companies throughout the country and warmly received by both black and white audiences as recently as 1982. It must be performed as a "period Piece" and be sincerely portrayed in order to be true to the author’s intent.

SONGS OF SPECIAL INTEREST

    "Purlie," exciting, up-tempo, full volumed, shows off the voice, audition potential

    "The Harder They Fall," foot-stomping, convincing, up-tempo, revue possibility

    "I Got Love," up-tempo, vibrant, audition, vocally demanding

    "Down Home," character and lyric contrasts, character and mood change

 

Instrumentation: piano/conductor, 5 reeds, 3 trumpets, 2 trombones, percussion, drums, 2 violins, viola, cello, bass, 2 guitars, orchestral piano, organ

Script: Samuel French

Selections: Mourbar Music

Record/CD: Ampex

Rights: Samuel French

QUILTERS

        Contributed by Linette Strout Miles, UNH alum who appeared in the production at the Seacoast Repertory Company

 

Conceived: Molly Newman and Barbara Damashek

Music and Lyrics: Barbara Damashek

        Based on the book The Quilters: Women and Domestic Art by Patricia Cooper and Norman Bradley Allen

ORIGINAL PRODUCTION

Jack Lawrence Theatre, Sept 25-Oct 14, 1984 (24 perf.)

Director: Barbara Damashek

 

Principals:

Sarah- Lenka Peterson-Mezzo

Daughters- Valyn Baron, Marjorie Berman, Alma Cuervo, Lynn Lobban, Rosemary

McNamara, Jennifer Parsons- VTI

SYNOPSIS

        The show opens with one of the daughters explaining how precious a bag of fabric scraps is, especially when you are poor. She pulls out a scrap of her wedding dress, and the other daughters join in with their scrap bags to reminisce about their lives (PIECES OF LIVES - F Chorus). Following the song the mother explains that she is old and is surely making her last quilt. It will be her legacy quilt. She begins to read a letter she has written to her daughters and they all finish reading it one by one. The quilt will contain the story of all of their lives.

        The story begins with the wagon trip out west. The actresses form a wagon with quilting hoops (ROCKY ROAD - F Chorus). The song is filled with hope for their future, but, following the song, they tell of all the hardships they endured on their travels. In a monologue, one of the daughters tells of her first winter as a pioneer. The cows all died one by one, and then her sister died. The next song begins with the line " Smile in the face of sorrow…" (THREAD THE NEEDLE - F Chorus). The song is interspersed with monologues about learning to quilt.

        The mother explains that in quilting you need "shadow blocks," dark colors to off set the lighter ones. This explanation is followed by a dark pantomime of childbirth, and then an up section including a song about a corncob doll (CORNELIA SONG - F Solo to F Chorus), a very funny monologue called Sunbonnet Sue and a ballad (WHEEL IN THE AIR - F Solos and Chorus).

        The play continues on in this way, with monologues and songs telling of the darker and lighter sides of life. It takes us through baptism, the loss of a child (and the resulting insanity), school days, and unrequited love.

        Act II opens with a square dance. It continues with vignettes of courting, marriage and raising families. One scene involves a woman expecting her twelfth child begging the doctor for an abortion. He refuses, and she turns to her woman friends who make a sort of witch’s brew for her to drink. It is implied that she dies. The following section entitled "Crosses and Losses" takes us through some dramatic monologues, and scenes about a premature death, infertility and a house fire. The mother then sings a song about her life coming to a close (EVERYTHING HAS A TIME - F Solo). The daughters must put the finishing touches on the legacy quilt an the show closes with the daughters unfolding the quilt, which contains all of the blocks they have talked about. They sing of how quilting heals and unites them (HANDS AROUND - F Chorus). The quilt flies up and the curtain falls.

NOTES ON THE PRODUCTION

        Quilters is based on the concept that the only legacy the pioneer women of America had was the quilts they made and the children they bore. They had to work very hard keeping house for their families, but the cooking, cleaning and sewing were all things that "perished with the usin’." Quilting was a job that gave them something lasting, as well as being one of the few relaxing and social activities they had. In this musical, seven actresses play many different characters. One actress (the mother) needs to be older, and plays other designated roles in the script, but the other six (the daughters) can be mixed and matched at the discretion of the director.

        The costume requirements are one simple cotton dress for each actress. The props involve the various quilt squares, wooden hoops, which are transformed into many different things, and large pieces of muslin to suggest water and fire. Most of the setting is created with lights.

SONGS OF SPECIAL INTEREST

        The songs in the show are all very specific in style and lyrics and do not present any real difficulty for the singer. Therefore, they would not be suitable for auditions. The songs "Butterfly", and "Green, Green" might be good for a soprano to work on acting a song. Any of the chorus numbers could be used for six women to work on singing harmony

Instrumentation: piano/conductor, harp, guitar 1, guitar 2, bass, strings
Script: Dramtists Play Service
Vocal Score: Included in libretto
Record/CD:
Rights: Dramatists Play Service

    THE NEW AMERICAN MUSICAL

        Synopsis written by Gene Lauze UNH alum

Book: Joseph Stein

Music: Charles Strouse

Lyrics: Stephen Schwartz

ORIGINAL PRODUCTION

Mark Hellinger, Theatre, August 21, 1986 (4 perf.)

Director: Gene Saks
Musical Staging: Ron Field
Musical Director, Vocal and Dance Arrangements: Eric Stern
Orchestration: Michael Starobin

 

Principals:

Rebecca Hershkowitz- Teresa Stratas- Soprano

David Hershkowitz- Josh Blake- Juv

Bella Cohen- Judy Kuhn- Mezzo

Avram Cohen- Dick Latessa- Baritone

Ben- Lonny Price- Tenor

Nathan Hershowitz- Larry Kert- Tenor

Saul- Terrence Mann- Baritone

Rachel Halpern- Marcia Lewis- Alto

Anna Cohen- Evalyn Baron- VTNE

Jack Cohen- Mordecai Lawner- VTNE

Ensemble: 17M/8F in original production

SYNOPSIS

        The time is 1910, a time of great immigration from troubled Eastern Europe to America. Hordes of immigrants are at the end of a long and arduous journey from their homelands in Europe to what they hope will be the land of new opportunities for them. Among this group are 5 Jewish immigrants who have made this long voyage in steerage together. Rebecca Hershkowitz, and her young son, David, have fled a pogrom, which destroyed their town and have come in search of her husband, Nathan. Nathan Hershkowitz came to America several years earlier, but did not send for his wife and young son as he promised he would. Rebecca and David were joined in steerage by Avram Cohen, and his teenage daughter Bella Cohen. The Cohens, like many before them, have come to America in search of a better life. We also meet Ben Levotowitz, a young man who has fallen in love with Bella on the long journey from Europe.

        The five frightened immigrants are processed at Ellis Island along with the thousands of other who have made the same optimistic pilgrimage (I REMEMBER/GREENHORNS- F Solo to 2M Duet). Rebecca’s hopes of seeing her husband are dashed when he doesn’t show up at the landing to meet her and David. The law states that any young woman must be met by a relative, so Rebecca and David are on the verge of being sent back to the immigration office, when Bella steps in and tells the immigration officer that Avram is Rebecca’s uncle. The immigration officer is convinced and Rebecca and her son are released to Avram’s care. When it becomes evident that Nathan is nowhere to be found, Avram and Bella’s relatives offer to let them stay with them until they can get on their feet. Ben, the brash young man who befriended Bella on the boat has quickly taken a job as a cigar maker. He knows nothing about making cigars, but the job offered "highest pay" so he lied and told him he was a great cigar maker. He tells Bella he has been offered a fine job by a relative and that he will find her so he can marry her.

        Although Rebecca and Nathan are exhausted and very frightened of their new surroundings, they are quite overwhelmed by the strange and wonderful sights around them (BRAND NEW WORLD- F/Juv Duet). Rebecca searches for her husband, Nathan, but to no avail. Although the idea of finding him seem hopeless, she remains optimistic, and remembers the difficulties and struggles that have brought her and David to this foreign and exciting place (CHILDREN OF THE WIND- F Solo).

        All five immigrants begin to work; Rebecca is hired to work in a sweatshop and Bella is also stitching, but she is doing piecework from her home. Ben is making cigars and Avram has a pushcart, which David helps him with. The work is hard and the hours are long, but the days are lightened by the ever present music of a Klezmer band (PENNY A TUNE- Mixed Chorus).

        At Rebecca’s shop, a young labor organizer, Saul, is trying to stir up enough support to organize the shop. Rebecca is not impressed by the way Saul always wants to stir up trouble, but she is convinced that Saul is right about her need to educate herself and her son (EASY FOR YOU- M/F Duet). Saul offers to take her and David to the Yiddish theatre one night to see a performance of Hamlet (HARD TO BE A PRINCE- M Solo to Mixed Chorus). David likes Saul very much and Rebecca is troubled to find that she is falling in love with the fiery labor organizer (BLAME IT ON THE SUMMER NIGHT- F Solo).

        Bella is becoming more disillusioned by America everyday. She is bored by her surroundings and is feeling constrained by her father’s over protective attitude. Rebecca offers to help get her a job in the shop, but Bella is sure her father will never let her go to work in a place where he cannot be sure of her safety. The monotony of her drab life is lifted for a moment when Ben finds her and gives her a gramophone he has bought for her (FOR MY MARY- 2M Duet, one voice is recorded). When Avram arrives and sends Ben away, Bella is furious. She knows that her father has brought her here out of love for her and a passionate hope to create a better life for them, but all Bella sees is what she has given up. She has no nice clothes, is treated like a second class citizen and spends her days sewing rags. She runs off to fantasize about what she yearns to be a part of: the high life of the upper class (RAGS- F Solo).

        At a local Irish pub, we find Rebecca’s husband, Nathan, who has renamed himself Nat Harris and is busily working his way up the ladder in local politics. Nathan has aligned himself with a local corrupt democrat who is using him to get the Jewish vote in his district (WHAT’S WRONG WITH THAT?- M Chorus). When Nathan finds out that Rebecca and David are in America, he sets out to find them, believing that the work that he is doing in politics will insure them a comfortable life.

        Saul and Rebecca are seeing a lot of one another and Saul is teaching David to stand up for himself. When David refuses to pay the local hood who takes protection money from the immigrants, he is badly beaten. Rebecca is horrified at what she sees. She has come to America to escape the danger and violence that was rampant in her homeland and here it is again. She blames Saul for putting crazy ideas into her son’s head and breaks off the relationship. Just as she feels all hope is lost in her life, her beloved Nathan arrives to save the day (NOTHING WILL HURT US AGAIN- M/F Duet).

        Act II opens as the newly reunited family is celebrating at a local café. As usual, Nathan is working the room for his political cronies. Rebecca is very proud of her Nathan, but is beginning to notice that her husband has changed. He wants to change the family name to Harris, so that they will "fit in" better. He wants to erase what he is and become more assimilated (YANKEE BOY- M Solo). He reveals to Rebecca that he has nothing but contempt for the other immigrants like themselves. He wants something better for his wife and son (UPTOWN- M solo to M/F Duet).

        Saul finds Rebecca on the rooftop of the tenement where she and David live. Although Rebecca tells him that they are through, they cannot hide the true feelings that they have for one another (WANTING- M/F Duet).

        Avram has become friends with another peddler named Rachel, an apple seller around his age. They have both lost their spouses and Rachel is beginning to think that maybe she and Avram should get together. Bella defies her father and tells him she is going for a job in a sweatshop. Avram is upset and Rachel tries to comfort him. She suggests, rather timidly, that she has a nice apartment, could use the company of a man and might be just the thing he needs to help him bring up Bella (THREE SUNNY ROOMS- M/F Duet).

        Meanwhile, David and Ben have joined forces with a clever gimmick to sell Ben’s gramophones (THE SOUNDS OF LOVE- Mixed Chorus).

        Rebecca and Nathan are at the local Democratic Club Hall. Rebecca is trying to make a good impression on the people Nathan is trying to impress, but she is having a hard time of it. Just as the leader of the party announces that Nathan is going to be the new Ward Leader for the Jewish ward, tragedy strikes. David rushes in with the news of a horrible fire at the sweatshop where Bella works. Bella has been killed and Rebecca is shattered. She leaves Nathan’s side and runs to the scene of the fire. Rebecca is greatly changed by the events of the fire; she is radicalized. She realizes that the sweatshops have to change, that Bella died because the doors of her shop had been locked. Rebecca finds strength she didn’t know she had and stands up to the boss at her sweatshop. She leads a strike against the deplorable conditions she and the other ladies are enduring (BREAD AND FREEDOM- Mixed Chorus). Avram is devastated. His life as he sees it is over and he is considering going back to his homeland. When young Ben tries tell him that Bella was killed only because she wanted the opportunities that America offered, and that by going back to Europe, Avram would be giving up, Avram decides to stay and begin a new life with Rachel.

        Nathan fears that Rebecca’s actions with the unions will endanger his political aspirations. He tries to get her to stop, but she is defiant in her position. They have grown apart. America has changed them and now they truly do not know one another or belong together and Nathan leaves her. Rebecca stays with the strikers and Saul and begins her new life (DANCING WITH THE FOOLS- F Solo).

        As a new boatload of immigrants arrives at the docks of Ellis Island, it becomes clear that through the hardship, pain and loss, Rebecca, Nathan, David, Avram and Ben have all begun to make a new life for themselves in the strange new land (FINALE- Chorus).

NOTES ON THE PRODUCTION

        Rags was nominated for five 1987 Tony Awards for Best Musical, Book, Score, Choreographer and Actress, but most of the awards that year were split between Me and My Girl and Les Miserables.

        Many people will question the inclusion of this show in this book. After all, why include a show that had a troubled Boston pre-Broadway tryout and then managed to only make it through a four performance run once it made it into New York? Those people who may have seen the show in either Boston or its brief Broadway run will remember the show for its incredible score, thrilling performance by opera diva Teresa Stratas, and, probably most of all, for the over-bearing production, which served as the show’s weakest link. The cast was large and so were the sets. Instead of relying on a charming, passionate book and score, the producers chose to follow the lead of the British Mega-Musicals and fill the stage with a lot of stuff. Those of us who fell in love with the show without seeing the original production, did so based on the recording, well after the show had closed. While the recording had many of the original cast members represented, Teresa Stratas’s role was sung by another opera star, Julia Migenes.

        What becomes quite obvious when ones listens to the cast recording is the depth of the writing by Charles Strouse. He had glorious voices to work with on this show and was inspired by the challenge. The book, by Joseph Stein is rather reminiscent of his earlier work on Fiddler on the Roof and is somewhat obvious. Stephen Schwartz’s lyrics are probably the weakest part of the mix. The moments that he chooses to musicalize are not always moments that need further exploration. But on the whole it is a fine piece and definitely worthy of further study.

        In 1991, the American Jewish Theatre in New York City mounted a newer, smaller version of Rags. Now titled Rags- Children of the Wind, this production was radically different from its Broadway predecessor. Where the first production was produced with excess, this production reveled in its smallness. A cast of over 30 was replaced, quite effectively, by a cast of only 9 (4W/5M). The sleekness of this production made the story and the glorious score the real stars of the show. The actors played many parts, with the exception of the actors playing Rebecca, Bella and David who only played one. The production’s main problem was the idea of having the same actor playing both Saul and David; the audience became a little confused by having the same man play 2/3 of a love triangle. This production did make it clear that there would be life after the Broadway flop of the show.

        This is a particularly good choice for schools to produce. The historical aspects of the show cannot be over looked. The immigrant experience, life at the turn of the century, early unionism, anti-Semitism and the politics of the day are strongly represented here. Rags offers educators a fine way to introduce students to these subjects.

SONGS OF SPECIAL INTEREST

    "Rags," Mezzo/Baritone Duet into Mezzo Solo, emotional song for a young girl, a lot of acting

    "Three Sunny Rooms," charming duet for an older couple

 

Instrumentation:

Script:
Score:

Record: Sony Masterworks
Rights: Write to Stephen Schwartz for the rights

RAISIN

Book: Robert Nemiroff, Charlotte Zaltzberg

Music: Judd Woldin

Lyrics: Robert Brittan

        (Based on the play A Raisin in the Sun by Lorraine Hansberry)

ORIGINAL PRODUCTION

Forty-Sixth Street Theatre, October 18, 1973 (847 perf.)

Director: Donald McKayle

Choreographer: Donald McKayle

Musical Director: Howard A. Roberts

Orchestration: Al Kohn and Robert Freedman

 

Principals:

Walter Lee Younger- Joe Morton- High Baritone

Ruth Younger- Ernestine Jackson- Mezzo

Lena Younger (Mama)- Virginia Capers- Alto

Joseph Asagai- Robert Jackston- Baritone

Beneatha Younger- Deborah Allen- Mezzo

Travis Younger- Ralph Carter- Boy Mezzo Range

Karl Lindner- Richard Sanders- VTNE

Chorus and Smaller Roles: 4F/4M blacks

SUMMARY AND NOTES

        Set in a black ghetto area of Chicago in the 1950s, this musical concerns the Younger family, which is comprised of Mama, daughter Benetha, son Walter Lee, his wife Ruth and their son Travis. The Youngers, cramped in their tenement apartment and stifled by the surrounding neighborhood streets, which are filled with pushers, prostitutes and drunks, yearn to better their position in life. Walter Lee, a chauffeur, dreams of a more successful career while his Mama wants to get the family into a home of their own.

        In Chicago of the 50s, that means a white neighborhood. Mama, recently widowed, awaits the arrival of her husband's $10,000 insurance check which will enable them to move. Walter, who now considers himself the man of the family, also awaits the check. He plans on going into partnership in a liquor store investment, an investment Mama is against. Benetha, a college student who Mama hopes will be a doctor, wants to escape to Africa with her boyfriend, Asagai, an African exchange student.

        The check arrives and Mama announces that she has bought a house in a white neighborhood. Walter crumbles and accuses his wife, Ruth, of not standing by him and goes on a drunken binge. Three days later, Mama finds him in a bar, gives him the money, minus the small down payment for the house, makes him promise to keep $3,000 for Benetha's schooling and allows him the responsibility of the rest. He is touched by her love and trust and makes the mistake of turning over the cash to one of his partners who promptly leaves town.

        A defeated Walter Lee decides he can get the money back by allowing the white neighborhood association buy them out of the house. Mr. Lindner had approached them earlier to convince them not to move into the neighborhood. Mr. Lindner arrives and Mama forces Travis, Walter's young son, to watch his father negotiate with the white man. Walter's pride in his parents and in himself will not allow him to take the money and he refuses the offer. The family is overjoyed. As the show ends the moving men begin emptying the apartment.

        Raisin won Tony Awards in 1974 for Best Actress (Virginia Capers) and Best Musical.

        This powerful drama, originally an award winning play, is a study in human relationships, and character growth and development. There are many dramatic points, i.e. the confrontation scenes between Walter and Mama and Walter and Ruth, and many touching moments, i.e. when young Travis says goodbye to the sidewalk tree that grows on the block and Mama's demonstration of her love and belief in Walter Lee.

        The show may be performed on a unit, multi-leveled set with set props adjusted for the various scenes, i.e. the nightclub, the church, the kitchen. The costumes should be 1950s style with a different costume per performer for each act.

SONGS OF SPECIAL INTEREST

        "Not Anymore," 2F/M Trio, comic trio that occurs after a white man representing the neighborhood association comes to plead with the Youngers not to move to the neighborhood. Walter, Ruth and Beneatha try to relate to Mama the tone of the conversation. Foot stomping, tongue-in-cheek, movement and lyric oriented song, requires clever choreography which is outlined in the script

 

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

Smaller Instrumentation: keyboard, reed, trumpet, trombone, guitar, bass, 2 percussion

Script: Samuel French

Selections: Blackwood

Record: Columbia

Rights: Samuel French

REDHEAD

Book: Herbert and Dorothy Fields, Sidney Sheldon and David Shaw

Music: Albert Hague

Lyrics: Dorothy Fields

ORIGINAL PRODUCTION

Forty Sixth Street Theatre, February 5, 1959 (455 perf.)

Director and Choreographer: Bob Fosse

Musical Direction: Jay Blackton

Orchestration: Philip J. Lang and Robert Russell Bennett

 

Principals:

Essie- Gwen Verdon- Mezzo

Maude Simpson- Cynthia Latham- Alto

Sarah Simpson- Doris Rich- Alto

Tom- Richard Kiley- Baritone

George Poppett- Leonard Stone- Tenor

Sir Charles- Patrick Horgan- VTNE

Tenor- Bob Dixon- Tenor

Howard- William LeMassena- VTNE

Chorus and Smaller Roles: 8M/8F with high energy who dance well

SYNOPSIS

        The play opens on a prologue vignette of a young actress being strangled by a red headed, bearded man. The music the girl has been singing underscores the opening of the play, the exterior of the Simpson Sisters Wax Museum. The new exhibit, "The Strangler and the Dancing Girl," is popular with the turn of the century Londoners. The inspector, who thinks the killer might visit the Waxworks on opening day to witness his likeness, plans on surveying the crowds that await the museum’s opening (THE SIMPSON SISTER’S DOOR- Mixed Chorus).

        In the main Salon of the Museum, various exhibits enhance the dimly lit space. The people anxiously await the unveiling of the new exhibit when Essie, the Simpson’s niece enters to tell Aunts’ Maude and Sarah she has had another vision of a handsome man who will enter her life. Maude accuses her of not being realistic, not hunting for a real man to marry, but Essie disagrees and sings of her hopes for marriage (THE RIGHT FINGER OF MY LEFT HAND- L to F Solo). She hurries to the unveiling where she meets Tom Baxter, a strong, handsome American actor who wants the exhibit to close because the murdered girl was his partner. He draws the curtain and orders no one to re-open it. When Maude defies him by re-opening the curtain everyone notices the scarf is gone and assumes the murderer is in the museum. Pandemonium breaks loose.

        While the Inspector is searching Essie’s workroom for the killer, Tom tells Essie about his ideal girl. Essie obviously doesn’t fit the role but, as he and his coworker George start to exit, she fabricates wild stories to elicit their attention and sympathy. The two men, appalled by her tales, urge her to get out and live (JUST FOR ONCE- Sc to 2M/F Trio). Tom and George leave for the theatre, promising to see Essie again and she feels wonderful (I FEEL MERELY MARVELOUS- F Solo). Essie tells Sarah she is in love but worries that she may never see him again. She decides to tell Tom she knows what the killer looks like and her Aunt Sarah, ever the romantic, agrees to help her in her lie. They tell Maude that the killer has attempted to strangle Essie and Maude, taken in by Essie’s story, insists they go to Scotland Yard and the three set out.

        On a foggy street Essie confuses her Aunt Maude and the three make their way to the Odeon Theatre instead of Scotland Yard.

        At the theatre, the show is in rehearsal as George leads the group in a tribute to ragtime (THE UNCLE SAM RAG- M Solo and Mixed Chorus). Essie meets Tom who is onstage rehearsing and tells him she has seen the strangler and is certain he will kill her unless he protects her. Since she needs to be around lots of people, George invites her to stay at the theatre, but Howard, the manager, is opposed. Essie quickly assures him she can perform and demonstrates with an old music hall song (ERBIE FITCH’S TWITCH- F Solo). The number is a disaster, but Tom valiantly suggests that Howard just use her in the finale. George, an expert at make-up, takes her off to begin the transformation from Essie to chorus girl.

        Sir Charles Willingham, nobleman and friend to the dead girl, has overheard Essie’s story and asks to speak to her, but Tom begs off until later. George accuses Tom of being in love with her, but he denies that she is the right girl for him (SHE’S NOT ENOUGH WOMAN FOR ME- Sc to M Duet).

        Outside the dressing room a few hours later, Essie enters, a glowing beauty, and Tom asks her to dinner before exiting in shock. Maude and Sarah, hearing the news, try and prepare her for the event; Sarah urges fun and Maude urges caution (BEHAVE YOURSELF- Sc to F Duet, Essie needed for Staging). As Essie goes on the date the Aunts, on one side of the stage, offer words of wisdom to Essie, who mistakes their advice; the scene becomes a study in opposite manners.

        Later that night, in Tom’s apartment, where Essie has moved under the chaperonage of her aunts, Tom tells her he loves her (LOOK WHO’S IN LOVE- Sc to M/F Duet). As he leaves he urges her to make a wax head of the murderer and Essie is forced to go into one of her trances in an attempt to envision the killer. While she is in the trance Sir Charles opens the door of the apartment and she sees him briefly before he exits. She is aghast, but quickly starts working on a wax replica of the head.

        In front of the wax museum, which is temporarily closed, Tom spies a picture of Essie and tells everyone she is his girl (MY GIRL IS JUST ENOUGH WOMAN FOR ME- M Solo).

        Back at the theatre, a terrified Essie is backstage waiting to go on when Tom enters and tells her she is gorgeous enough to be a star. She imagines herself as a fabulous dancer (ESSIE’S VISION- Mixed Chorus Dance). As her vision ends she is brought back to reality and the performance (TWO FACES IN THE DARK- M Solo, Mixed Chorus for Staging). Essie is totally messing up the number with forgotten choreographic movement when she sees Sir Charles seated in a box. She runs to Tom and tells him she has seen the killer. He can’t believe it is Sir Charles, his best friend and fiancé to the dead girl. When he discovers her stories have all been lies and she only saw Sir Charles in a vision he leaves in disgust. Essie goes to call Scotland Yard, but the phone goes dead and Sir Charles approaches.

        The Act II curtain rises on Tom’s apartment. George arrives to warn Tom that the stage doorman saw Essie leave with Sir Charles and she could be in trouble. Tom isn’t concerned and renounces his feelings for her (I’M BACK IN CIRCULATION- M Solo).

        On a street Sir Charles is escorting Essie to his apartment to question her about the killer. She manages to escape when she recognizes May and Tillie, two streetwalkers she met previously. The three enter a pub where she tells the patrons she is finished with lying. David and May and cheer her (WE LOVES YA JIMEY- M/F Duet, Mixed Chorus). The dance ends in a fight and the police arrive and arrest everyone.

        In jail, the following evening, Aunt Maude and Sarah come to visit Essie and arrange for her release. George arrives and tells Essie he is going to help her trap the killer by having Sir Charles come to the museum and confront Essie. George promises Tom will be on hand to save her and she agrees. Essie devises a plan to get out of jail by seducing the guard into a dance and pickpocketing the key (THE PICK-POCKET TANGO- F/M to F Chorus Dance).

        Backstage at the theatre, George attempts to convince Tom to go to the waxworks but Tom is certain he doesn’t care about Essie’s schemes. He begins to reject her but realizes he still loves her (LOOK WHO’S IN LOVE [REPRISE]- M Solo) and runs off to the museum. George’s dressing room door opens and George walks out disguised as Sir Charles.

        Tom tells Essie he loves her and the two agree to correct their flaws (I’LL TRY- Sc to M/F Duet). As Tom goes to wait for Sir Charles, Essie discovers George disguised as Sir Charles. He confesses to the murder and his tells of his plan to get even with Sir Charles by making the police think the aristocrat was the killer. As he starts to strangle her the real Sir Charles interrupts and the chase, complete with the two red headed bearded men, some police, Essie, Howard and Tom, is on.

        The play concludes happily with Tom and Essie united and Howard putting Essie and her Aunts in the show (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

        Redhead won eight 1959 Tony Awards for Best Actor (Richard Kiley), Best Actress (Gwen Verdon), Musical, Authors of a Musical, Producers, Composer, Costume Designer, and Choreographer.

        An excellent musical, though it is seldom done, Redhead is exciting and fun in the hands of a talented director, choreographer and versatile performers. A variety of smaller vignette roles make this ideal for smaller companies wishing to give everyone a chance.

        The basic sets include the waxworks exterior and interior (which may include Essie’s workroom), a stage, a street, backstage, Tom’s apartment, a pub and jail cell. Usually the street drop or the exterior of the waxworks is used to change from the larger sets. It is possible to use the combine the street and waxworks.

SONGS OF SPECIAL INTEREST

    "Behave Yourself," F Duet with 3rd F for staging, character oriented, 2 elderly women with different points of view

    "Erbie Fitch’s Twitch," Mezzo, music hall oriented, period

    "I’m Back In Circulation," Strong Baritone, possible audition, extremely masculine number

    "Just For Once," Trio, up-tempo, character of F strongly established, inter-relationships important

    "I Feel Merely Marvelous," Mezzo, up-tempo, movement oriented

    "The Right Finger of My Left Hand," Mezzo Ballad, poignant, good for 2 song character study

    "The Uncle Sam Rag," Chorus number, music hall style, good for revue

 

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

Script: NP

Score: Chappell

Record: RCA

Rights: MTI

THE ROAR OF THE GREASEPAINT—THE SMELL OF THE CROWD

Book: Leslie Bricusse and Anthony Newley

Music: Leslie Bricusse

Lyrics: Anthony Newley

ORIGINAL PRODUCTION

Shubert Theatre, May 16,1965 (232 perf.)

Director: Anthony Newley

Choreographer: Gillian Lynne

Musical Director: Herbert Grossman

Orchestration: Philip J. Lang

 

Principals:

Sir- Cyril Ritchard- Baritone

Cocky- Anthony Newley- Tenor

The Kid- Sally Smith- Mezzo

The Negro- Gilbert Price- Tenor

The Girl- Joyce Jillson- Soprano

The Bully- Murray Tannenbaum- VTNE

Chorus and Smaller Roles: 8F Urchins

SUMMARY AND NOTES

        This show is an allegory about those who get and those who do not, the establishment versus the status quo. At the opening of the show Sir, who represents wealth and success meets Cocky, who represents those who can never get ahead, for "The Game." They must play by Sir's rules and, when Cocky starts to get ahead, Sir merely changes the rules. Midway through, Cocky, tired of being bested, revolts and Sir, to appease, him allows him to be crowned King and have a few rewards, namely a girl he loves. His dreams, however, are short lived when Sir replays the game and wins the girl away. A downtrodden Black enters, even more unfortunate than Cocky, and wants to play the game. Cocky treats him as badly as Sir had treated Cocky, proving he is as unfit as Sir to rule.

        As the game goes on, Cocky gains confidence and forces Sir to play the game by his rules. The two have come full circle; neither is good alone and they must work together to create a new beginning.

        This is a simple show to produce because it requires no special set and is performed in "pulled" costumes, Victorian in tone. Often the first show in a Summer Stock season because of the small technical requirements, it is fun for the chorus, who has a great deal of performance exposure, but vocally demanding for the two principals. The female chorus may be expanded as needed. Often a larger chorus is used for choreographic variety. The music is familiar and absorbing. The character of Cocky, although a tenor, need not be played by a typically romantic tenor, as he is definitely an offbeat romantic. Sir is a character actor, usually with a theatrical flair and experience in "playing an audience."

SONGS OF SPECIAL INTEREST

    "Feeling Good," Black tenor, soulful, wonderful imagery makes this good for class study, actor must see the images and feel the emotions, vocally soaring, audition

    "The Joker," Tenor Solo, good for nightclub, semi-dramatic, gripping, soulful

    "My First Love Song," Tenor/Mezzo or Soprano Duet, This romantic song between an attractive girl and an offbeat character is especially good in a class situation as it gives atypical males a chance to experience love duets without feeling overly self conscious.

    "Who Can I Turn To?," Tenor Solo, a desperate Cocky cries out for someone or something, semi-dramatic, good for vocal styling and reaching out gestures, could be F solo if taken from context, club

 

Instrumentation: 4 reeds, 2 horns, 2 trumpets, 2 violins, cello, bass, percussion, harp, guitar/banjo, piano/conductor

Script: NP

Selections: TRO

Record/CD: RCA

Rights: Tams-Witmark

THE ROBBER BRIDEGROOM

 

Book and Lyrics: Alfred Uhry

Music: Robert Waldman

        (Based on a novella by Eudora Welty)

ORIGINAL PRODUCTION

Biltmore Theatre, October 9, 1976 (145 perf.)

Director: Gerald Freedman

Choreographer: Donald Saddler

Orchestration: Robert Waldman

 

Principals:

Jamie Lockhart- Barry Bostwick- Baritone

Clemment Musgrove- Stephen Vinovich- Baritone

Rosamund- Rhonda Coullet- Mezzo

Salome- Barbara Lang- Alto

Little Harp- Lawrence John Moss- Baritone

Goat- Trip Plymale- Baritone

Chorus and Smaller Roles: 6M/5F

SUMMARY AND NOTES

        An empty stage is in view as the audience enters. A narrator describes the small town of Rodney, Mississippi. Many of the town’s citizens gather around to reflect upon the good old days when Buffalo and Natchez Indians still existed. Each character focuses on a famous ancestor as they engage in a country dance. The character of Jamie Lockhart is pictured as the man with two faces: one very honest and clean-cut, the other like a villain. The story begins to unfold as Salome, the wicked and selfish stepmother, Musgrove, Rosamund's wealthy father, and Little Harp and Big Harp, two incorrigible robbers, are described.

        The time flashes back. Two robber brothers, Big Harp, a head who does the thinking and Little Harp, the manpower behind the scheming bandits who carries his brother's head in a trunk, attempt to murder and rob Musgrove, a wealthy man. Jamie Lockhart, another villain, saves Musgrove's life and wins the trust of this plantation owner. Musgrove promises to give him his daughter as a reward.

        Salome, Musgrove's scrawny, conniving second wife, hates his daughter Rosamund and hires Goat, a half-wit, to push her into a ravine. He is thwarted by the surprise arrival of Jamie, dressed as a robber. Jamie saves Rosamund, but steals her clothes and sends her home where her father decides to send his new friend, Jamie Lockhart, after the bandit, not knowing the man who saved his life and the bandit are one in the same.

        The next day Jamie arrives, handsomely dressed, but doesn't recognize Rosamund, nor she him. He promises to consider marriage, but can't get his mind off the girl he met in the woods. He remeets his wood nymph and, after a fight with Little Harp, discovers that Rosamund is the girl he loves. Fearing that her wealth will destroy his real feelings he runs off, but changes his mind and decides he really wants Rosamund. After nine months of searching, as Rosamund is swelling in motherhood, they find each other in New Orleans and Rosamund delivers twins.

        Barry Bostwick won the 1977 Tony Award for Best Actor in a Musical.

        The show is easy to produce for it has limited scenery and few costumes. It is stylized in the Story-Theatre/Musical Mode where the ensemble can be onstage throughout. This enables the ensemble to position set pieces to establish location by means of physical formation. This style of show needs excellent, versatile and tight lighting as areas must be readily delineated to keep the action fluid.

        The subject matter is far-fetched and farcical and the music is country/folk. There are many sexual references which are unable to be altered as they are part of the plot. This probably limits its appeal to high school groups.

SONGS OF SPECIAL INTEREST

        The songs are not easily pulled from context and as such are not well suited to classroom study or Revues.

 

Instrumentation: 3 violins, 2 guitars, bass, banjo

Script: Drama Book

Selections: Schirmer

Record: Columbia

Rights: Rights

RUNAWAYS

 

Music and Lyrics: Elizabeth Swados

ORIGINAL PRODUCTION

Plymouth Theatre, May 13, 1978 (199 perf.)

Director and Staging: Elizabeth Swados

Arrangements: Improvised by the Musicians

 

Company:

May be performed by a company of 8M/8F ranging in age from twelve to twenty. Some combining of roles necessary if the minimum configuration is used

SUMMARY AND NOTES

        The Play opens in a fenced in area with bleachers. It may represent a playground. A group of adolescents, all runaways, play typical children's games. They finally come together and perform the opening number, which asks the question, "where do people go when they run away?" The remainder of the production deals with the desperateness of these children who didn't want to leave but had no other options.

        The problems of the Runaways are shown in music, through mimes, and with powerful monologues. There are many distinct characters: the child prostitute kept on drugs by her pimp and still dreaming of a better life, the boy with a flair for theatre who is searching for a hero, the boy who escapes his home problems by playing basketball, the addict who dies despite the efforts of another runaway to get him to kick the habit, and the girl who is senselessly raped and murdered. These are the children who are forced to seek shelter on the playground, who are comfortable with each other; whose nights are a constant nightmare and whose days are filled with dreams of revenge on those who have hurt them.

        The group learns about survival and violence. After one of the girls becomes victimized the rest mock the punk rock stars who sang of a happy ending. All beg to be allowed to enjoy their youth.

        This musicalized comment on the deterioration of the family as the backbone of life is energy and emotionally charged. It is a powerful, touching and horrifying collage of the feelings of runaways.

        An excellent vehicle for touring as it requires no specific settings. The costumes are everyday present adolescent style. The piece requires an excellent director who can relate the problems of the script to a talented group of adolescent appearing actor/singers. The French acting version is broken into 11M/9F but this size abbreviated or expanded to fit the stage space.

SONGS OF SPECIAL INTEREST

    "Let Me Be a Kid," Mixed chorus, a crying out of children who want to be children while they are still able, good for a Revue on Youth, requires movement

    "Where Are Those People Who Did Hair?," Baritone/Alto duet to mixed chorus, rock tempo, questioning what happened to the rock stars of the previous generation who promised to change the world, became millionaires and are no longer concerned

 

Instrumentation: string bass, percussion, drums, 2 reeds, guitar, 2 horns/trumpets, piano/conductor

Script: Samuel French

Score: NP

Record/CD: Columbia

Rights: Samuel French