Musicals - S through U

THE SCARLET PIMPERNEL

Synopsis contributed by UNH alumni Lauri Landry, member of the original cast who understudied Marguerite and performed the role many times.

Music: Frank Wildhorn
Books and Lyrics: Nan Knighton
(Based on the novel by Baroness Orczy)

ORIGINAL PRODUCTION

Minskoff Theater, November 9, 1997 (# perf.)
Original Director: Peter Hunt
Original Choreographer: Adam Pelty

RECONCEIVED PRODUCTION

Director and Choreographer: Robert Longbottom
Musical Director: Ronald Melrose
Orchestration: Kim Scharnberg

Principals:
Marguerite St. Just- Christine Andreas- Mezzo Soprano
Chauvelin- Terrence Mann- Baritone
Sir Percival Blakeney- Douglas Sills- Baritione
Armand St. Just- Gilles Chiasson- Tenor
Chorus and Smaller Roles: 20M/10W

SYNOPSIS

Act I opens in May of 1794 at the Comedian Francaise Theater in Paris with the beautiful star, Marguerite St. Just, performing (STORYBOOK- F Solo and Chorus) while Sir Percival Blakeney, a dashing Englishman, and Chauvelin, current leader of the French revolution, look on. At the end of her performance, she announces to the audience that she is to marry Sir Percy. The loss of his past love throws Chauvelin into a rage (MADAME GUILLOTINE- M Solo).
Marguerite makes a daring escape for the English countryside where she marries Percy (YOU ARE MY HOME- F/M Duet to Chorus). But the happiness of the moment is quickly broken with the secret information that Marguerite betrayed a family friend who has been guillotined in Paris. Percy sends his wife to bed and tries to make sense of his situation (PRAYER- M Solo). In the morning, he is discovered in the study. He has obviously been up all night formulating a way to right the wrong his wife has committed by recruiting his friends to join him in rescuing the innocent victims of the revolution in France. He will become the Scarlet Pimpernel. "The League" dons disguises and heads for the shores of France (INTO THE FIRE- M Solo to M Chorus).
In Paris the group is able to pull off a daring rescue, which embarrasses Chauvelin and angers his boss, Robespierre. In a rage, Chauvelin orders his men to track down and capture the Scarlet Pimpernel (THE FALCON IN THE DIVE- M Solo).
Back in England, Percy, who has adopted a very foppish demeanor, returns from his travels. Marguerite is discouraged and saddened by her husband’s silly, childish behavior and she longs for the man she fell in love with (WHEN I LOOK AT YOU- F Solo). Armand, her younger brother arrives to join his sister in the England.
Unbeknownst to Marguerite he is recruited to assist the Scarlet Pimpernel in rescuing his innocent countrymen.
As Marguerite strolls in the garden, Chauvelin arrives from England to visit his old lover and talk her in to helping him in the revolutionary cause (WHERE’S THE GIRL?- M Solo). Marguerite refuses and dismisses Chauvelin. In her turmoil she withdraws to her bedroom. Percy, meanwhile, has a quite moment of reflecting upon the woman he fell in love with (WHEN I LOOK AT YOU [REPRISE]- M Solo).
In an effort to bolster his men and prepare them for the next dangerous mission, they all gather to dress in their "foppiest" best for the meeting with the Prince of Wales (CREATION OF MAN- M Solo to M Chorus). Meanwhile, at the Prince’s palace, Chauvelin takes Marguerite aside and informs her that Armand has been capture and is to be guillotined if she does not help him discover the identity of the Pimpernel. The main characters all come to question who is trustworthy and who will betray them (THE RIDDLE- F/2M Trio to Chorus).
Act II opens at the Prince’s ball where all the guests are abuzz about the identity of the Scarlet Pimpernel (THEY SEEK HIM HERE- Chorus). In her own efforts to discover the identity of the daring hero, Marguerite pleads with one of Pimpernel’s men to have his leader meet her on the footbridge. Marguerite waits only to be joined by her husband. She begs Percy to tell her why he is acting so differently from the man she married. In desperation, Percy leaves her there alone. Suddenly the Pimpernel sneaks up behind Marguerite and commands her not to turn around. She explains that all her mistakes and betrayals have come because Chauvelin has threatened to tell the secrets of her past to her husband. She begs for his help in rescuing her brother but she also realizes that she cannot let Chauvelin catch the Pimepernel on the bridge. Before she can convince him to leave to save himself from discovery, he sends her away. In the solitude Percy celebrates the love he has for his wife (SHE WAS THERE- M Solo). He rallies his troops for a trip to France after throwing Chauvelin off the track yet again.
Back in Paris, Marguerite has disguised herself as a barmaid in a local bistro so she can discover where her brother is being held (STORYBOOK [REPRISE]- F Solo). Chauvelin recognizes her and arrests her on the spot. When she is unresponsive to him and clearly unwilling to help him discover the identity of the Scarlet Pimpernel he throws her in jail to be guillotined with her brother. Waiting in the prison for their certain fate, Marguerite remembers her love for Percy (I’LL FORGET YOU- F Solo).
Chauvelin has a devious plan of his own though. He is sure the Pimpernel will come to rescue his beautiful prisoner and her brother, so Chauvelin stages an escape, sure that his prisoners will lead him to the Pimpernel. Sure enough, Armand unknowingly leads Chauvelin to the coast where he and Marguerite finally discover that the Pimpernel is indeed Sir Percival Blakeney. In one more daring deception Percy fools Chauvelin and escapes once more for the safe shores of England with the woman he loves (BELIEVE- M/F Duet to Chorus)

NOTES OF THE PRODUCTION

The Scarlet Pimpernel is the first show in the history of Broadway to be rewritten, retooled, redirected and rechoreographed, while running.
This period piece is a romantic adventure with nice supporting roles for a male ensemble. It could be staged with very few set pieces, only presenting small challenges for a clever set designer. It is a wonderful pop score with very accessible music for people of all ages. The costumes, besides those of Percy and his men, which should be more and more foppishly outrageous, cover two distinct groups: the English aristocrats and the French peasants.

SONGS OF SPECIAL INTEREST

"Into the Fire," Rousing anthem for a male chorus
"When I Look at You," Mezzo Pop Ballad, good for revues and character work
"You Are My Home," Baritone/Mezzo Duet with a pop/rock feel
"The Falcon in the Dive," Driving Baritone ballad

Instrumentation: 6 violins, 2 violas, 2 cellos, 1 bass, 7 woodwinds, 1 trumpet, 1 trombone, 1 french horn, 2 keyboards, 2 percussion
Script:
Score:
Vocal Selections: Warner Bros.
Record: Atlantic Theatre
Rights:

THE SECRET GARDEN

Synopsis by UNH alum Gene Lauze who worked on the original production

Book and Lyrics: Marsha Norman
Music: Lucy Simon
(Based on the novel by Francis Hodgson Burnett)

ORIGINAL PRODUCTION

St. James Theatre, April 25, 1995 (# perf.)
Director: Susan H. Schulman Choreographer: Michael Lichtefeld Musical Director and Vocal Arrangements: Michael Kosarin Orchestration: William D. Brohn

Principals:
Lily- Rebecca Luker- Soprano
Mary Lennox- Daisy Eagan- Juv
Archibald Craven (Mary’s Uncle)- Mandy Patinkin- Tenor
Dr. Neville Craven (Archibald’s Brother)- Robert Westenberg- Baritone
Martha (Chambermaid)- Alison Fraser- Mezzo/Alto
Dickon (Martha’s Brother)- John Cameron Mitchell- Tenor
Ben (The Gardener)- Tom Toner- Baritone
Colin- John Babcock- Juv Soprano
Mrs. Medlock (The Housekeeper)- Barbara Rosenblat- Alto
Chorus and Smaller Roles: 8M/7F original production

SYNOPSIS

The play opens in India in 1911. A great cholera epidemic has hit an English compound in Bombay. Mary Lennox, a young girl, awakens to discover that her mother, father and all the rest of the people she knows in the compound have succumbed to the horrible disease (OPENING – Mixed Chorus). With no place to go she is sent to live with her hunchbacked Uncle Archibald at Misselthwaite mansion in Yorkshire, England. Mrs. Medlock, the housekeeper from Misselthwaite, meets the young girl at the train station to bring her to the mansion and tells her that her Uncle has been in deep mourning over the death of his wife, Lily (the sister of Mary’s Mother) for the past 10 years. She tells Mary that she should not expect to see her uncle much, that there will be no one to play with and that she is forbidden to wander the halls (THE HOUSE UPON THE HILL- Mixed Chorus). During her first night in the gloomy, miserable mansion, Mary hears an eerie wailing. Trying to find the source of the sound, she sees nothing but the shadows of her brooding Uncle as he wanders the halls (I HEARD SOMEONE CRYING- M/2F Trio to Mixed Chorus).
The following morning, Mary meets Martha, the young chambermaid. Martha tries to lift Mary’s spirits by telling her that there might be some interesting diversions to the gloomy mansion if she went outside (IF I HAD A FINE WHITE HORSE- F Solo). Mary remains unconvinced, but decides to venture outdoors anyway. On her way she discovers her Uncle in an empty ballroom, seemingly lost and dancing with the ghost of his dead wife (A GIRL IN THE VALLEY- M/F Duet).
Mary’s spirits begin to lift after spending some of her days outside. She meets the grouchy gardener, Ben (IT’S A MAZE- M Solo), who tells her of a mysterious garden surrounded by walls, which once belonged to her aunt Lily and has been locked since her death. Mary is determined to find this secret garden and discover its contents. She meets Dickon, Martha’s brother, who is busy conjuring up the spring (WINTER’S ON THE WING- M Solo). Mary enlists the help of young Dickon to help her learn Yorkshire so that she may speak to the ever-chirping robin, in hopes that the bird might help Mary find the key to the garden (SHOW ME THE KEY- Sc to M/F Duet). The bird does in fact lead Mary to the key, but she cannot find the door to the garden. Having not found the door, Mary asks her Uncle if she might have a bit of earth to plant the penny’s worth of seeds that Dickon has given her. The request seems to unlock powerful memories in Archibald (A BIT OF EARTH- M Solo). His memories are also triggered by the likeness that Mary shares with his Lily. Archibald’s brother, Neville, who was secretly in love with Lily, also notices the resemblance (LILY’S EYES- M Linear Duet).
Mary, hearing the wailing again that night ventures to a wing of the house that she is forbidden to enter. There she finds her sickly, bedridden cousin, Colin. Colin never sees his father because, on the advice of his brother, Dr Neville Craven, Archibald only visits his sick son when he is asleep (ROUND-SHOULDERED MAN- Juv M Solo). Discovered in Colin’s room by an angry Mrs. Medlock and Neville, Mary is banished from the room and runs out into the storm where the sprits of her parents and friends in India lead her to the ivy covered door of the secret garden (FINAL STORM- Mixed Chorus).
Act II opens as Mary dreams of the garden and the happiness it will bring her. All of the people she has loved in her life are alive and well and celebrating her birthday in the lovely garden (THE GIRL I MEAN TO BE- Juv F Solo).
Inside the mansion, Archibald is preparing to leave for Paris. Neville confronts Archibald about shirking his responsibilities and insists that Mary is disturbing Colin and must be sent away (QUARTET- 2M/2F Quartet). Archibald will not change his mind and visits his sleeping son to say good-bye (RACE YOU TO THE TOP OF THE MORNING- M Solo). He then leaves for Paris.
Mary confides in Dickon that she has found the garden but that it is the "most forgotten place" she has ever seen. All the plants and trees are dead. Dickon explains that even though some things look dead, deep inside they are still alive (WICK- M Solo to M/F Duet) and they agree to work together to bring the garden back to life. Mary tells Colin she has found his mother’s garden and she thinks he should go with her to see it with her. He is fearful of going outside, but the spirit of his mother gives him the courage to go (COME TO MY GARDEN/ LIFT ME UP- F Solo to F Juv M Duet). Once Colin enters the garden, its magical powers help him overcome his fear and enable him to stand and walk (COME SPIRIT, COME CHARM- Mixed Chorus).
Neville is intent upon finding a boarding school to send Mary away to, but Mary sees that the work she and Colin are doing in the garden is making the garden come alive and helping Colin regain his strength. She refuses to go and is encouraged to continue helping Colin by Martha (HOLD ON- F Solo). Martha also helps Mary write a letter to her Uncle in Paris to ask him to come home (LETTER SONG- F/Juv F Duet).
When the letter reaches Archibald in Paris he is in deep despair (WHERE IN THE WORLD- M Solo). The spirit of his beautiful wife, Lily, comes back to comfort him and ask for his forgiveness for leaving him so early in their lives together (HOW COULD I EVER KNOW- M/F Duet). Her comforting encourages Archibald to return home.
Upon his arrival, Archibald discovers the secret garden, quite alive and in spectacular bloom, and finds his young son healthy and walking. Archibald thanks Mary for all she has done, welcomes her as his own child and assures her that Misselthwaite will always be her home. In thanks, he also gives Mary the beautiful garden to have as her very own (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

This lavish musical production, based on the beloved children’s book by Frances Hodgson Burnett, garnered three 1991 Tony Awards for Marsha Norman’s lovely book, the spectacular set designs by Heidi Landesman and the Supporting Actress performance of 11-year old Daisy Eagan as Mary Lennox. The other major musical awards that year were split between the British import Miss Saigon and Tommy Tune’s production of The Will Rogers Follies. While few could argue with the overwhelmingly positive feelings of hope and healing that this show presented, many found the frequent appearances of the spirits of young Mary’s past jarring and confusing.
Perhaps the most important factor to consider when planning a production of this piece is the ability to cast the roles. Lucy Simon’s score is both lush and demanding. The show also requires incredibly strong acting from all of the major players. While Miss Eagan won the Tony for supporting actress, her role is actually the leading female character in this show. It is a complex role that asks a lot from the young actress playing the part. She is in the majority of the scenes and sings a fair amount of the lovely, but difficult, score.
People wishing to do productions of this show should also pay particular attention to the design of the show. The original designs for the show called for the proscenium and portals to be replicas of a Victorian children’s theatre, complete with many overlapping images of birds and animals and flowers. The concept firmly rooted the show in the proper period and gave the audience an instant idea of what the feeling of the show was about. Since the score is cinematic in style, scenes flow from one to the another and locations are changed in an instant, drops and wagons, which work very well in many shows, will not work as well here. The show also takes place in the Victorian era, a time known for the beauty of its clothing. The proper tailoring of the men’s costumes and the extravagant beauty of the women’s gowns will help transport the audience into the proper time period.

SONGS OF SPECIAL INTEREST

"If I Had a Fine White Horse," Mezzo/Alto Solo with Belt, playful
"A Girl in the Valley," Tenor/Soprano Solo, story song, interaction
"Show Me the Key," Tenor/Juv. Duet, playful
"A Bit of Earth," Tenor Solo, ballad, excellent for acting,
"Lily’s Eyes," Tenor/Baritone Linear Duet, beautiful harmonies, powerful
"Wick," Tenor/Juv. Duet, playful
"Hold On," Mezzo/Alto Solo, determined, actable
"How Could I Ever Know," Tenor/Soprano Duet, difficult, tormented, resolution of conflict

Instrumentation: 4 woodwinds, trumpet/fugelhorn, trombone/tuba, 3 horns, guitar (acoustic, nylon, synthesizer guitar), dulcimer/guitar, percussion, harp, violins, viola, cello, bass (and fender bass)
Script: Samuel French
Score: Warner Bros.
V.S.: Warner Bros.
Record/CD: Columbia
Rights: Samuel French

THE SECRET LIFE OF WALTER MITTY

Book: Joe Manchester
Music: Leon Carr
Lyrics: Earl Shuman
(Based on the classic story by James Thurber)

ORIGINAL PRODUCTION

Players Theatre, October 26, 1964 (96 perf.)
Director: Marvyn Nelson
Choreographer: Bob Arlen
Musical Director: Leon Carr
Orchestration: Ray Ellis

Principals:
Walter Mitty-Marc London-Baritone
Agnes Mitty-Lorraine Serabian-Mezzo
Peninnah-Christopher Norris-Child Mezzo
Willa de Wisp-Cathryn Damon-Alto
Harry-Rudy Toronto-Baritone
Chorus and Smaller Roles: 6F/6M who play a variety of roles, need one tenor minimum

SUMMARY AND NOTES

This show is a musicalized version of the famous story of Walter Mitty, the everyday man who daydreams romantic visions of what his life could be. Walter begins his typically average day but as he shaves, his dreams come alive and he is a man who cleverly outwits the firing squad. Walter’s dreams are interrupted by his wife, who constantly reminds him of everything he forgets. The forty-year old Walter yearns for freedom and youth and easily relates to his daughter, Peninnah, whom he adores.
As the play progresses it jumps from Walter's reality to his dreams. In his real world he goes to his favorite bar where Harry, the owner, and Willa De Wisp, a nightclub singer, urge him to have confidence in himself. He decides to run off with Willa and leave Agnes, but when the moment of decision is at hand, he is unable to make the final break. Agnes sadly wonders what happened to their lives, but knows Walter needs her to get through life and she stands by him because she really cares. He realizes that things aren't going to change but appreciates the fact that he has much more than those lonely individuals at the bar because he has a family. Besides, if life gets to be too unbearable he always has his dreams.
The musical rapidly switches from reality to daydreams, which keeps the action moving and the tone comedic. A charming and lovable actor is needed to play Mitty; and an excellent actress, who can round out Agnes's character and make her less one sided and shrewish, is required to make the show honestly sympathetic to both leads. It is fun for a company of performers to present for all have roles in the dream sequences. The set may be cartoon in style with location established by props and lighting. There are quite a few costume pieces as the company portrays many parts, but most of these are quite easily obtained and modern day. The show is best suited for community theatres.

SONGS OF SPECIAL INTEREST

"Aggie," Baritone solo, touching song that Walter sings about the change in his relationship with his wife. On his fortieth birthday he looks back on his life and wonders what has become of the woman he married
"Marriage Is for Old Folks," May be performed as an alto solo, reflects free thinking nightclub singer’s attitude about life, good for freeing an inhibited performer

Instrumentation: 3 reeds, 2 trumpets, percussion, 2 violins, viola, cello, bass, harp, piano/conductor
Smaller Instrumentation: reed, bass, percussion, piano/conductor
Script: Samuel French
Score: NP
Record/CD: Columbia
Rights: Samuel French

SEESAW

Book: Michael Bennett
Music: Cy Coleman
Lyrics: Dorothy Fields
(Based on the play Two For the See Saw by William Gibson)

ORIGINAL PRODUCTION

Uris Theatre, March 18,1973 (296 perf.)
Director and Choreographer: Michael Bennett
Musical Director: Donald Pippin
Orchestration: Larry Fallon

Principals:
Gittel Mosca- Michele Lee- Mezzo
Jerry Ryan- Ken Howard- Baritone
David- Tommy Tune- Baritone
Sophie- Cecelia Norfleet- VTI
Sparkle- La Monte DesFontaines- Tenor
Julio- Giancarlo Esposito- Tenor
Chorus and Smaller Roles: 5F/3M, all must tap dance

SYNOPSIS

The curtain rises on a projection of New York City while the chorus, costumed in white, introduces the title song about the ups and downs of life (SEESAW- Mixed Chorus).
The number ends and Jerry Ryan, a lonely, attractive man from Nebraska, is propositioned by the neighborhood girls as he waits to use the phone (MY CITY- Onstage F Chorus to Mixed Offstage Chorus). A policeman enters and disperses the girls as Jerry enters the booth to phone Gittel Mosca, a girl he met at a party. As he dials the scene switches to a dance studio where Gittel, a kooky New Yorker, is working out. When she answers the phone she doesn’t know how to react and makes a mess of the conversation. They both hang up and Gittel is furious at herself and berates her ineptness (NOBODY DOES IT LIKE ME- L to F Solo). When Jerry calls back and asks her to dinner she agrees to meet him at Forty Sixth and Broadway.
They go to a Japanese restaurant where she orders a Japanese meal for him and a tuna on rye for herself. She is a character study in contrasts and he is WASP lawyer from Nebraska with marital problems, but the two hit it off. Gittel is impressed by his manners and education and he enjoys her stories and New York Jewishness. They rise and leave the restaurant as projections depicting the fountain at Lincoln Center fade up.
They stop outside Lincoln Center and begin miming conducting to the accompaniment of an offstage chorus. The onstage and offstage voices counterpoint each other (IN TUNE- Sc to M/F Duet with Mixed Chorus Back-Up). She takes him to see her friend Sophie performing in a street theatre Spanish version of Hamlet. As the play ends the audience begins to leave, commenting in a mixed Spanish and English. Jerry asks Gittel if the language is Spanish or English and Julio, a spectator, calls it Spanglish. Sophie and some other spectators join in (SPANGLISH- 2M/F Quartet to Mixed Chorus).
They return to Gittel’s apartment and Jerry makes a pass, but she rejects his advance because she never sleeps with anyone on the first date. He apologetically explains it is his birthday and Gittel melts (WELCOME TO HOLIDAY INN- Sc to F Solo, M needed for Staging).
The next morning he tells her he is getting divorced because his father-in-law and wife dictate his life. He feels like taking care of someone and would like it to be Gittel. Deeply touched Gittel decides to fix up Jerry’s apartment and enlists the aid of her gay friend and dance partner, David.
The projections show Jerry’s neighborhood and apartment which Gittle and David have decorated. Jerry, excited by the change, announces he is going to work in New York and will finance a dance showcase for Gittel and David. Gittel, ever the pessimist, wonders when her world will begin to fall apart, but Jerry loves her crazy ways and assures her it won’t (LOVEABLE LUNATIC- Sc to M Solo). A phone call from Jerry’s separated wife brings them back to reality, but Jerry begs Gittel to need him and promises to be important in her life.
In Gittel’s apartment, Gittel, readying for a party in the East 60s with friends of Jerry’s, gets an ulcer attack. She convinces herself to go, despite the pain, and starts out the door as the projection screens depict New York.
On the way to the dinner, she contemplates her relationship with Jerry (HE’S GOOD FOR ME- L to F Solo), knowing that he is good for her but wondering what she can offer him. As the song ends Gittel enters the Banana Club where David, Sophie and Oscar hang out. She orders a drink, lights a cigarette and informs everyone she never got to the party. They try to stop her from drinking but the floor show of Sparkle and the Sparklettes begins and Sophie rushes onstage. The Sparklettes do the latest dance as the patrons join in (RIDE OUT THE STORM- M Solo to Mixed Chorus).
Gittel returns to her apartment in great pain and calls the doctor who is out on call. As she hangs up Jerry enters, furious with her for missing the party. She tries to get to him to leave by convincing him she’s not his type of person, but he realizes her ulcer is acting up and calls the hospital. As Gittel clings desperately to him the curtain falls.
As the curtain rises on Act II, Jerry arrives at the hospital where Gittel is recovering with a pink flamingo for her. He tells her he is trying to pass the New York Bar and has booked a theatre for David’s and her Showcase. He tells her they are a great couple (WE’VE GOT IT- Sc to M Solo). Gittel is overjoyed that she is loved and expresses her feelings after Jerry leaves (POOR EVERYBODY ELSE- F Solo).
Jerry is in the studio watching a rehearsal and trying to learn the statutes he needs to pass the Bar. David tells him it’s easier to learn in rhythm and demonstrates as Gittel counterpoints (CHAPTER 54, NUMBER 1909/POOR EVERYBODY ELSE- 2M/F Trio and Mixed Chorus). The entire company taps out the rhythm.
Gittel is moving into Jerry’s apartment when the phone rings. It is Jerry’s wife, Tess, who is in New York to have Jerry sign the final divorce papers. Upset that Jerry neglected to tell her the divorce wasn’t final, Gittel confronts him with the facts, telling him his wife still loves him. He tries to calm her by promising to meet her after the dance concert.
At the concert the sound of applause is deafening and David is overjoyed when a famous choreographer asks him to be his assistant on a Broadway show (IT’S NOT WHERE YOU START- L to M Solo to Mixed Chorus). Gittel congratulates David who vows to include her in his plans. She realizes he is on his way to being a big name choreographer and she no longer has the drive to make it. She bids him farewell and returns to her apartment.
Jerry, who missed the concert because he was seeing his wife off at the airport, phones to tell Gittel he’ll be around as long as she needs him. She sends him home to Omaha to live life on his own terms and thanks him for helping her gain some confidence in herself. The two say good-bye and Gittel is left to re-think her life. She dashes out onto the street as the projections of New York come up, realizing she is better prepared to enter new relationships because of Jerry (I’M WAY AHEAD- F Solo).

NOTES ON THE PRODUCTION

Seesaw won two Tony Awards in 1974 for Choreographer and Supporting Actor (Tommy Tune).
There are many monologues worth studying for possible audition material but there are more in the straight play. In fact, the "opening up" of the two-character straight version to make a large, splashy feeling musical destroyed some of the dramatic impact inherent in the two-character play. The Gittel/Jerry scenes are heightened by the musical numbers and a good cutting of the show to approximately one hour would make it ideal for community theatre play contests. Permission must be obtained before cuts are made.
The script, in its present form, is most suitable for dinner theatres as it has splash, pizzazz, and drama. Traditionally, dinner theatre audiences are not overly bothered by slight inconsistencies in tonal quality and are often better suited to technically smaller versions of musicals.
The costumes are modern day and easy to obtain. The show is designed to have locations quickly established by use of projected scenes for exterior locations. Slides for the show are available from Sheppard Kerman, Suite 1700, 204 Lexington Ave, New York, New York, 10016.

SONGS OF SPECIAL INTEREST

"He’s Good for Me," Mezz/Alto, club potential, torchy sound, big volume
"I’m Way Ahead," Mezzo, up-tempo, good acting and vocal number
"It’s Not Where You Start," Baritone, audition potential as it shows excitement, character, strong voice and movement ability
"Nobody Does It Like Me," Alto/Mezzo, problem song, needs specifics added by the actress to show characterization
"Welcome to Holiday Inn," Sc to Mezzo Duet, good for sexy and open movement, relationship with other character is extremely important

Instrumentation: 4 reeds, 3 trumpets, 2 trombones, 2 percussion, drums, violin, viola, cello, bass (fender, acoustic), guitar, piano/conductor
Script: Samuel French
Selections: Notable
Record: Buddah
Rights: Samuel French

1776

Book: Peter Stone
Music and Lyrics: Sherman Edwards

ORIGINAL PRODUCTION

46th St. Theatre, March 16, 1969 (1,217 perf.)
Director: Peter Hunt
Musical Numbers: Onna White
Musical Director: Peter Howard
Orchestration: Eddie Sauter

Principals:
John Hancock- David Ford- VTI
Benjamin Franklin- Howard Da Silva- Baritone
Martha Jefferson- Betty Buckley- Mezzo
Thomas Jefferson- Ken Howard- Baritone
John Adams- William Daniels- Tenor
Abagail Adams- Virginia Vestoff- Soprano
Edward Rutledge- Clifford David- High Baritone
Richard Henry Lee- Ronald Holgate- High Baritone
Robert Livingston- Henry LeClair- Tenor
Roger Sherman- David Vosburg- Tenor
Chorus and Smaller Roles: 19M, all have specific single characters that are essential to the production

SYNOPSIS

On a hot day in May of 1776, the Continental Congress urges John Adams to stop making speeches about independence (SIT DOWN JOHN- M Chorus). John, the congressman from Massachusetts, in his fiery manner, refuses to give up his belief for independence and comments on the inability of his colleagues to make decisions on anything requiring action (PIDDLE, TWIDDLE AND RESOLVE- L to M Solo). In the midst of Adam’s fuming, Abagail Adams appears; she is speaking to him through her letters from their Braintree home. Abby is interested in having John home, but he feels too committed to the creation of a new country to give up. They express their love, though miles apart (TILL THEN- Sc to M/F Duet).
Outside the Congress John approaches Ben Franklin, who is getting his portrait painted, on the matter of getting Congress to discuss independence. Franklin, in his urbane fashion, explains to John that the members of Congress will not listen to him since he is "obnoxious and disliked" and from New England, but perhaps they would pay heed to someone else, Virginia’s Richard Henry Lee for instance. Lee enters, and Franklin entices him to return home to convince his constituents to formally declare independence. Lee, ever the endearing, egotistical aristocrat, agrees as he comments on his prestigious lineage and certain success (THE LEES OF OLD VIRGINIA- Sc to M Trio).
In the chambers, it is now early June. McNair, the chamber custodian, is greeted by the newly appointed delegate from Georgia, Dr. Lyman Hall. Hall is coerced by the conservatives to oppose independence. He is, however, somewhat unsettled in making this decision. Hancock takes his place at the president’s desk and the meeting begins but is interrupted by Lee who bursts in with the news that Virginia has sided with independence. A tally is taken and the topic of independence debated. Hancock, appoints a declaration committee composed of Adams, Franklin, Sherman, Livingston and Jefferson and recesses the Congress. The five men try to avoid writing the document as they pass a quill from man to man (BUT, MR. ADAMS- L to Small M Chorus). Jefferson, who desires to return home to his new wife, is forced to accept the task of writing the declaration.
In his room, the angry Jefferson curses the tenacious Adams and begins writing, but is unable to concentrate. Adams sends for Jefferson’s wife, Martha, in hopes that after he has seen her he will get on with his writing. This act forces Adams to realize how much he misses his own wife and in his imagination he addresses her (YOURS, YOURS, YOURS- Sc to M/F Duet).
Outside of Jefferson’s apartment, Franklin and Adams greet Martha who tells them about herself and her quiet husband (HE PLAYS THE VIOLIN- Sc to 2M/F Trio). When Adams and Martha waltz together Franklin is astonished to find that the staid Adams, can actually dance.
The time progresses to June 22. The Conservatives are convinced the fight against the British is futile but Adams takes Chase, a conservative from Maryland, to see the American militia in action. If Chase is impressed he will change his vote. Dickinson and the Conservatives are pleased by the sudden quiet caused by the absence of Adams and the other radicals (COOL CONSIDERATE MEN- M Chorus).
After the Conservatives leave, McNair, the Leather Apron and a courier from Washington’s headquarters are left alone in Congress. The courier tells them of the tragedies of the war (MAMA LOOK SHARP- Sc to M Trio, Tenor essential).
During the reading of the newly written Declaration, Franklin, Adams and Jefferson are in the anteroom, pacing in anticipation. They parallel it with an egg and the birth of a new nation and choose, after some debate, the eagle as the country’s representative bird (THE EGG- Sc to M Trio).
After all deletions and alterations are agreed upon except the freedom of slaves. Rutledge, a wealthy, South Carolina slave owner, accuses both the North and the South of needing slaves for economic reasons (MOLASSES TO RUM- L to M Solo). The southern delegates refuse to vote for independence if the slavery clause remains and the meeting ends a shambles. John sends McKean to bring back a cancer-ridden and dying Caesar Rodney from Delaware in case there is a chance. The others leave, convinced the proposal will fail, but Adams will not give up. He asks Abagail, in his imagination, for advice; however, his thoughts are interrupted by a shipment of gunpowder ingredients Abagail has sent from Braintree. He happily thanks her (YOURS, YOURS, YOURS [REPRISE]- Sc to M/F Duet).
A dispatch from George Washington arrives. Its message touches John, who wonders if anyone else in Congress cares about America’s need for independence (IS ANYBODY THERE?- M Solo). Near the end of John’s questioning, Lyman Hall of Georgia enters the dark Chamber and announces that he is voting with Adams.
July 4th dawns and everyone returns, including Caesar Rodney. Since one "Nay" vote will defeat the motion, there is tension in the room. Rodney shifts Delaware’s vote to yes and Maryland’s Chase, after seeing the Continental soldiers on the battlefield, votes "Yea." New York, as usual, votes to abstain. The issue finally comes down to Rutledge of South Carolina, who forces Jefferson to remove the passage about freedom for slaves. Franklin sways Wilson, from Pennsylvania, to change his vote to yes in order for this meek man to maintain his anonymity. The Declaration is signed by all and the play ends with actors frozen as in the Pine Savage Engraving of the historic event.

NOTES ON THE PRODUCTION

1776 won three 1969 Tony Awards for Best Musical, Director and Featured Actor (Ron Holgate).
The show was an unexpected success at a time when audiences needed to renew belief in their country. It chalked up a long run and is often revived in larger stock companies.
The show is usually performed on a set that is a replica of the Continental Congress with slatted screens pushed in front for the smaller scenes. The costumes are lavish, period 1776. The representatives to Congress were wealthy men and their financial status needs to be demonstrated through the fabric of the costumes.
The play requires four excellent actors for Adams, Franklin, Lee and Rutledge and two superb singers; a tenor for "Mama Look Sharp" and a high baritone for Rutledge. The most difficult moments in the show occur when Abagail, who is in Braintree, and Adams, in Philadelphia, have scenes. Under no circumstances should their scenes be given a Readers Theatre treatment where each actor focuses at a spot on a wall behind the audience. The scenes must be portrayed as if the two were actually in the same room, they should relate honestly as if in conversation. The distance is established by the fact that they never touch but yearn to physically relate; this adds to the dramatic impact of their scene/songs.

SONGS OF SPECIAL INTEREST

"But, Mr. Adams," M Quintet, good for examples of individual characterizations in a small chorus number, comic situation
"The Egg," Up-tempo, fun, character contrasts, good for revue, M Trio
"Is Anybody There?," semi-dramatic, completes Adams’ character study, it is recommended the music be from the original production as the vocal selections are incomplete
"Molasses to Rum," dramatically biting High Baritone solo, strong, requires good voice
"Piddle, Twiddle and Resolve," Tenor, establishes character, resolute, angered frustration
"Till Then," Tenor/Soprano Duet, charming duet, helps round out Adams’ character and should be combined with "Piddle, Twiddle and Resolve" for characterization work

Instrumentation: 4 reeds, trumpet, horn, 3 trombones, percussion, harp, harpsichord, violin, viola, cello, bass, piano/conductor
Script: Ten Great Musicals, Random
Selections: Schirmer
Record: Columbia
Rights: MTI

SHE LOVES ME

Book: Joe Masteroff
Music: Jerry Bock
Lyrics: Sheldon Harnick
(Based on the play Parfumerie and the film "The Shop Around the Corner")

ORIGINAL PRODUCTION

The Eugene O’Neill, April 23, 1963 (302 perf.)
Director: Harold Prince
Choreography: Carol Haney
Musical Director: Harold Hastings
Orchestration: Don Walker

Principals:
Amalia Balish- Barbara Cook- Soprano
Georg Nowack- Daniel Massey- Baritone
Ilona Ritter- Barbara Baxley- Mezzo
Kodaly- Jack Cassidy- Baritone
Sipos- Nathaniel Frey- Baritone
Arpad- Ralph William- Tenor
Maraczek- Ludwig Donath- Baritone
Waiter- Wood Romoff- Tenor
Chorus and Smaller Roles: 6M/8F

SYNOPSIS

The play opens in front of Maraczek’s Parfumerie in a European city on a beautiful summer day sometime in the early 1930s. During the opening song, the clerks of the Parfumerie greet each other. There are five clerks: Sipos, an agreeable, yet dull man, age forty-five; Arpad, a bright delivery boy, age sixteen, who hopes to own the Parfumerie one day; Miss Ilona Ritter, a thirty-year old woman who has experienced life and men; Mr. Kodaly, the handsome, shallow lover of Ilona; and Georg Nowack, a good-looking, soft-spoken, personable young man (GOOD MORNING-GOOD DAY- Small Mixed Chorus).
Mr. Maraczek, the 60-year old owner, unlocks the door and the front of the shop revolves, becoming the store interior, with a workroom to the right and Maraczek’s office to the left. Sipos, Georg and Kodaly successfully sell products to three women customers (SOUNDS WHILE SELLING- Mixed Chorus).
As Georg is telling Sipos that he has received another lonely hearts letter from his "dear friend," Mr. Maraczek enters and tells Georg he should really settle down and stop running around. Georg tries to explain he leads a quiet life, but Maraczek remembers his own bachelor life (DAYS GONE BY- L to M Solo). Arpad brings in some musical cigarette boxes Mr. Maraczek ordered, but Georg is unsure of their salability, so Maraczek bets him they will sell at least one in the next hour.
Amalia Balish an attractive, personable young girl in her twenties, enters and Georg tries to sell her Parfumerie items until he discovers she is only looking for a job. Amalia, spying a customer eyeing a leather music box, proceeds to sell her one on the pretext that the box is a functional candy box (NO MORE CANDY- L to F Solo). Maraczek is so pleased that he hires her on the spot. She smiles triumphantly at Georg who coldly stares back as the clerks line up to bid the customer farewell.
Georg, on a bench to one side of the shop, reads a letter to his dear friend. His subsequent letter writing is interspersed with the passing of the seasons and problems with Amalia. On a cold winter day, Amalia enters reading one of Georg’s letters concerning their upcoming rendezvous (THREE LETTERS- L to M/F Solo). Neither is aware they are writing each other. In fact, on the surface, it appears that they dislike each other, as they constantly argue.
In the shop, Georg, confides his fears about meeting his girl of the letters to Sipos (TONIGHT AT 8- L to M Solo). In the workroom, Amalia and Ilona are busy wrapping Christmas packages. Ilona is shocked to discover that Amalia has never met the man she has a date with, and imagines all sorts of horrible things until Amalia convinces her she knows about him from his letters (I DON’T KNOW HIS NAME- Sc to F Duet).
The lights come up on the interior of the shop, where Mr. Maraczek is berating Georg in an irrational manner. Unbeknown to anyone Maraczek suspects Georg of carrying on an affair with his wife. He angrily orders all the employees to stay late, but when Georg refuses, an argument ensues. Sipos, to cause a diversion, drops all the music boxes and Maraczek leaves in a rage. Sipos admits he didn’t want any trouble and doesn’t want Georg to resign (PERSPECTIVE- M Solo).
Georg argues with Amalia and Mr. Maraczek drives him in to resigning. Ilona, Sipos, Kodaly and Arpad wish him goodbye (GOODBYE GEORG- Mixed Chorus) and Amalia exits, dressed for her date, wondering if the letter writer will like what he sees (WILL HE LIKE ME?- L to F Solo).
In the shop, as the clerks are busy decorating, Kodaly attempts to play up to Ilona (ILONA- M Solo) who weakly agrees to spend the evening with him. When Kodaly unexpectedly breaks his date with her to be with someone else, she is furious and tells Sipos that she is going to change her ways and not be so easy (I RESOLVE- Sc to F Solo).
As Sipos leaves the shop, Georg, who is waiting for him, begs him to take a letter to his date saying he was called out of town, but Sipos insists that Georg accompany him to the cafe.
Mr. Keller, a private investigator, meets Mr. Maraczek in the empty shop to inform him that Mrs. Maraczek has been having an affair with Kodaly. The news upsets and surprises him because he has suspected Georg. Maraczek shakily enters his office after Keller leaves, determined to kill himself, but Arpad runs in to stop him as the lights black out.
The scene shifts to the Cafe Imperiale, a romantic cafe with candles, wine and lovers seated at the tables. An inept busboy, a snobby headwaiter and a roving violinist attempt to create a serene atmosphere (A ROMANTIC ATMOSPHERE- M Solo with Mixed Chorus).
In front of the cafe, when Sipos discovers Miss Balish is Georg’s date, he urges Georg to talk to her. Georg, convinced her presence is a mistake, enters the restaurant to discover the truth. Amalia is perturbed that he is there and tries to get him to leave. An argument ensues, much to the chagrin of the head waiter, and Georg warns her she could be in danger from this man she’s never met (TANGO TRAGIQUE- L to M Solo). She accuses Georg of being pompous and petty and cuts him to shreds. He leaves, quite upset. Amalia talks to the waiter as he closes up and sadly wonders what has happened to her letter date (DEAR FRIEND- F Solo).
Act II opens in a hospital where Mr. Maraczek is being fed his breakfast in bed by a nurse. Arpad comes in to tell him how things are going at the shop. He urges Mr. Maraczek to think of him as a potential salesman, not a mere delivery boy (TRY ME- M Solo). Arpad leaves Maraczek alone with Georg who enters to see if he can help. Maraczek apologizes to him and makes him head of the store and Arpad a half clerk, half delivery boy. Georg, hearing from Arpad that Amalia is ill, stops by her room to visit her. She accuses him of spying and rushes to get dressed for work (WHERE’S MY SHOE?- Sc to M/F Duet). He calms her down and talks to her about her dear friend’s failure to meet her. Amalia is pleased at his concern and tells Georg she really likes him after all. He promises to see her at the shop when she feels better and happily exits. She starts to write a letter to her "Dear Friend", but keeps thinking of Georg who was thoughtful enough to bring her vanilla ice cream as a get well present (ICE CREAM- L to F Solo).
Georg jauntily walks to the shop, thinking about Amalia, and is overjoyed that she cares for him even though she doesn’t know it (SHE LOVES ME- M Solo).
In Maraczek’s office, Georg is congratulated by Sipos and Ilona on his promotion. When he leaves to find Kodaly, Ilona confides to Sipos about her new boyfriend, an optometrist, and how they met (A TRIP TO THE LIBRARY- Sc to F Solo).
Kodaly leaves the store (GRAND KNOWING YOU- L to M Solo) and the carolers remind everyone there isn’t much time left until Christmas. Their song is interspersed with groups of shoppers rushing into the shop. The song ends on Christmas eve as the shop closes for the night (TWELVE DAYS TO CHRISTMAS- Mixed Chorus). Maraczek returns from the hospital to treat everyone to champagne and take Arpad to dinner. Sipos goes home to his family and Ilona is met by her optometrist boyfriend, Paul. As Georg and Amalia leave the shop he quietly tells her that he is her Dear Friend and she excitedly responds. They embrace as the Christmas tree in the shop window lights and the snow begins to fall (ICE CREAM [REPRISE]- Sc to M/F Duet) (FINALE- Mixed Chorus).

NOTES ON THE ORIGINAL PRODUCTION

She Loves Me won a 1964 Tony Award for Supporting Actor (Jack Cassidy). Other awards that year tended to go to Hello, Dolly! The show is charming and well worth character/class studies and public performance. It is especially timely for Christmas production dates.
The music is well written and strongly character oriented. It adds a richness and texture to the dialogue by rounding out the characters. The show is a "charming pastiche" and the evening a memorable one if the characters are honestly portrayed and the relationships clearly defined.
It is not a heavy costume or set show as it requires only the shop exterior and interior (usually revolving), a wagon for Amalia’s bedroom, a wagon for the restaurant and possibly two wagons for the workroom and Maraczek’s office. These last two sets could be reduced to a rolling table with 2 stools for the workroom and a desk for the office.
Although not extremely well known, the show is a favorite among Broadway theatregoers who where lucky enough to see the original. The PBS, Hal Prince directed, London version of the show has allowed it to become known by a wider public.

SONGS OF SPECIAL INTEREST

"Ice Cream," up-tempo, shows off the voice, good for audition or class study
"She Loves Me," character study, up tempo, movement oriented number for a rather quiet character
" I Don’t Know His Name," complex female duet, vocally demanding, strong character orientation
"A Trip to the Library," comic, story song for character actress, good for revue
"I Resolve," character oriented, comic song

Instrumentation: 3 violins, viola, cello, bass, 5 reeds, trumpet, trombone, harp, accordion-celeste, percussion, piano/conductor
Script: Dodd Mead and Co.
Vocal Selections: New York Times Music Corp., dist. by C. Hansen
Record/CD: MGM
Rights: Tams-Witmark

SHENANDOAH

Book: James Lee Barrett, Peter Udell and Philip Rose
Music: Gary Geld
Lyrics: Peter Udell
(Based on the original screenplay by James Lee Barrett)

ORIGINAL PRODUCTION

Alvin Theatre, January 7, 1975 (1,050 perf.)
Director: Philip Rose
Choreographer: Robert Tucker
Musical Director: Lynn Crigler
Orchestration: Don Walker

Principals:
Charlie Anderson- John Cullum- Baritone
Anne- Donna Theodore- Mezzo
James- Joel Higgins- VTI
Jenny- Penelope Milford- Alto
Jacob- Tedd Agress- VTI
Nathan- Jordan Suffen- VTI
John- David Russell- VTI
Henry- Robert Rosen- VTI
Sam- Gordon Halliday- VTNE
Gabriel- Chip Ford- Boy Soprano
Robert- Joseph Shapiro- Boy Soprano
Chorus and Smaller Roles: 8M/3F (see notes)

SYNOPSIS

In prologue, the male chorus is seen on opposites sides of the stage, half in Confederate grey, half in Union blue. As the song continues, the two sides confront each other and mime in silhouette the horrors of the war (RAISE THE FLAG OF DIXIE- M Chorus).
Act I opens inside the Anderson house on a Sunday morning as Charlie Anderson, a Virginia farmer, tells his six children, Jacob, James, Nathan, John, Jenny and Robert, and James’ pregnant wife, Anne, he refuses to have any member of his family involved in the Civil War. He tells them that the war doesn't concern them for they are first and foremost Andersons living on Anderson land. He is against war that men wage for their honor (I'VE HEARD IT ALL BEFORE- Sc to M Solo).
In church the minister is advocating supporting Virginia in the war when the Andersons tramp in and interrupt. The minister comments on their tardiness and continues his sermon on duty to the state. The congregation sings hymn number 228 (PASS THE CROSS TO ME- Mixed Chorus).
Moments later on a country road, Jenny, accompanied by three of her brothers, is stopped by her shy suitor, Sam, who nervously asks her if he can stop by later. She agrees and exits with the others as Robert arrives with his black friend, Gabriel, on their way to the fishing hole. The two discuss the differences in their lives (WHY AM I ME?- Sc to 2M Ch Duet).
In the farmyard, which consists of a barn and well, Sergeant Johnson and his patrol try to forcibly enlist the Anderson sons into the army, but Charlie convinces them it would be unwise as the boys have a natural love for fightin'. After the patrol leaves the boys roughhouse (NEXT TO LOVIN'- M Chorus).
Later that evening, Charlie and Robert are seated on the porch watching Sam, who is having a difficult time verbalizing his thoughts to Jenny. She is convinced she will be an old woman before he asks her to marry him (OVER THE HILL- Sc to F Solo, M needed for staging).
As Charlie and Robert watch Sam and Jenny go off, Charlie explains the courting procedure to his sons (THE PICKERS ARE COMIN'- Sc to M Solo). A lieutenant arrives to inform Charlie that Johnson and his patrol were wiped out on the edge of the farm. This news upsets James who tells his father they are involved whether they want to be or not. Charlie goes to visit his wife's grave and sort out his thoughts about the war (MEDITATION I- L to M Solo). When he returns to the parlor Sam asks Charlie for permission to marry Jenny. Charlie gives him some incomprehensible advice about women and agrees.
Moments before the wedding, as Anne is helping Jenny dress, she tells her about married life (WE MAKE A BEAUTIFUL PAIR- Sc to F Duet). The two leave the bedroom and descend the steps for the outside ceremony. After the wedding (VIOLETS AND SILVERBELLS- Mixed Chorus), Sam is ordered to leave for the front and Anne's delivery pains start. As everyone rushes for water and the doctor, Charlie imagines a grandson (IT'S A BOY- M Solo). The baby is a girl. The happy mood is broken when Gabriel reports to the family that Robert was taken by the Yankees because he was wearing a Confederate cap. Charlie tells the family the war now concerns them and everyone but Anne and James leaves to find Robert.
Act I ends as Charlie goes to Anne's room to say farewell to her and the baby who has been named Martha in honor of Charlie's wife.
Act II opens weeks later in the farmyard. Gabriel recounts to Anne the scene on the plantation when the Yankees freed the slaves (FREEDOM- Sc to F/M Ch Duet). Gabriel bids her goodbye, telling her he intends to look for his parents who are somewhere in Georgia and Mississippi. James enters and he and Anne plan their future (VIOLETS AND SILVERBELLS [REPRISE]- M/F Duet). She exits into the house. He is soon killed by three scavengers who enter the house to rape and pillage.
In a wooded area near a railroad track, the Andersons wait to stop another Yankee train and search for Robert. As they wait, Charlie re-affirms his belief that they will find Robert (PAPA’S GONNA MAKE IT ALRIGHT- Sc to M Solo). The train stops and the weary prisoners descend, among them is Sam who embraces Jenny and tells the prisoners to go home for their war is over. As they exit a corporal sings (THE ONLY HOME I KNOW- M Solo to M Chorus).
Later that evening two Confederate soldiers, mistaking Jacob for a soldier, kill him. When they discover their mistake, one runs off. The other tries to apologize to Charlie, but Charlie shoots him several times. The children are appalled at their father's vengeance and he sadly realizes they must go home and bury Jacob beside Martha.
They arrive home to discover that Anne and James have been murdered and only the Reverend's visit saved baby Martha from starvation. Charlie feels that if they had stayed on the farm everyone would still be alive. He leaves to visit his dead wife's grave and explain. At the grave he tells her of his bitterness and his hatred and confesses he feels that Robert is dead (MEDITATION II- L to M Solo). He hears the church bells and the family sets off to pray.
Inside the church the hymn is interrupted by the Andersons' entrance and the Reverend happily greets them and begins again (PASS THE CROSS TO ME- Company). Robert hobbles in and slowly walks to the family as the music swells.

NOTES ON THE PRODUCTION

Shenandoah won two Tony Awards in 1975 for Best Actor (John Cullum) and Best Book for a Musical. It might have won further accolades, but it was competing with The Wiz which collected most of the Tony’s that year.
The show was effectively produced and made a strong antiwar statement during a time when American sentiments were in strong agreement with Charlie Anderson. If one has a powerful singer/actor in the leading role the show is worth doing. Without an excellent Charlie the show quickly falls apart.
The cast is strongly male oriented, which is unfortunate for companies with predominately female members. There should be some women in the church sequence but the original production utilized some of the male chorus dressed as women in the hymnal sections.
There are quite a few sets which may be easily trimmed. The interior of the "home meal" scene may take place outside, picnic style; the porch of the house and the well can be combined with the barn and parlor sequences. Anne's bedroom can be placed to one side and delineated with tight lighting. The war scenes may take place in a darker area or on a country road.
The costumes, many of which are military in style, may need to be rented, which could be a major financial consideration.

SONGS OF INTEREST

"I’ve Heard It All Before," High Baritone vocal and character, strong, good for developing transitions and acting motivation
"Mediation I and II," Excellent Dramatic High Baritone Solos, thought provoking, lots of actable specifics, good for two song character study
"The Pickers Are Comin'," Poignant Baritone Solo, strong male lead demonstrates sensitivity, good for mood and transition work

Instrumentation: 3 reeds, 2 trumpets, 2 horns, trombone, percussion, 3 violins, viola, cello, bass, harp, guitar/banjo, harmonica, piano/conductor
Script: Samuel French
Selections: Morris
Record: RCA
Rights: Samuel French

SHINBONE ALLEY

See Archy and Mehitabel

SHOW BOAT

Book and Lyrics: Oscar Hammerstein II
Music: Jerome Kern
(Based on the novel by Edna Ferber)

ORIGINAL PRODUCTION

Ziegfeld Theatre, December 27, 1927 (572 perf.)
Directors: Oscar Hammerstein II and Zeke Colvan
Choreographer: Sammy Lee
Musical Director: Victor Baravalle
Choral Director: Will Vodery

Principals:
Cap’n Andy- Charles Winninger- Baritone
Parthy Ann- Edna May Oliver- VTNE
Magnolia- Norma Terris- Soprano
Gaylord Ravenal- Howard Marsh- Baritone
Julie LaVerne- Helen Morgan- Mezzo
Joe- Jules Bledsoe- Bass
Steve- Charles Ellis- VTNE
Queenie- Tess Gardella- Alto
Frank Schultz- Sammy White- Tenor/High Baritone
Ellie May Chipley- Eva Puck- Alto
Sheriff Vallon- Thomas Gunn- VTNE
Chorus and Smaller Roles: 12 M/12F, 1 white child, 2 black children; a much better configuration would be a mixed chorus of blacks and whites that totals 18M/18F, 3 children

SYNOPSIS

The time is 1890. As the river showboat, Cotton Blossom, owned by jovial Cap’n Andy and his sharp tongued wife, Parthy Ann, docks on the levee in Natchez, Missippi, the company of actors are greeted by the stevedores and townsfolk. The actors are introduced and we meet: Julie Lavern, the leading lady who is married to the untalented leading man, Stephen Baker; Frank, the villain with a comic touch who dances with Ellie, the comic soubrette (COTTON BLOSSOM- L to Mixed Chorus). The happy mood ends when Pete, who is attracted to Julie, angrily confronts her for giving his present to one of the blacks. Steve orders him away and the two fight. Cap’n Andy leads the crowd to believe that it was just a staged fight to drum up interest in the performance. The chorus exit as Cap’n Andy has Pete thrown off the boat.
Gaylord Ravenal, a handsome riverboat gambler looking for a quick passage to the next town is a traveling man with a zest for life (WHERE’S THE MATE FOR ME?- Sc to M Solo). He meets Magnolia, Andy and Parthy’s daughter, and urges her to pretend they are lovers who have just met (ONLY MAKE BELIEVE- Sc to M/F Duet). Standing on the dock, Ravenal kisses her hand, which she extends from the rail of the ship. Ravenal exits to talk to the judge as Joe, a stevedore, enters carrying a sack of flour and comments to Magnolia about the wisdom of the Mississippi (OL’ MAN RIVER- M Solo with M Chorus).
In the kitchen pantry, Magnolia asks Queenie, the cook, and Julie about love. Julie tries to explain why she loves Steve (CAN’T HELP LOVIN’ DAT MAN- Sc to F Solo to Mixed Chorus). When Queenie’s husband, Joe enters, Queenie reprises the song and Joe and two colored children join in.
In the auditorium Cap’n Andy is rehearsing Julie, Rubberface and Steve, accompanied by Magnolia on the piano. Ellie interrupts the rehearsal to quietly tell Steve and Julie that Sheriff Vallon plans to arrest Julie for being black and married to a white. Steve cuts Julie’s finger and sucks the wound, which makes him have black blood. When the sheriff accuses them of miscegenation, Steve announces he has black blood and everyone present swears it is true. Before exiting, Vallon tells Cap’n Andy he won’t arrest anyone but doesn’t want any mixed blood performers in the show.
Andy has Magnolia perform in Julie’s place and hires Gaylord Ravenal, who is still looking for passage out of town, as his leading man. As Joe watches the rehearsal he senses Ravenal will bring problems (OLD MAN RIVER [REPRISE]- M Solo). The rehearsal ends as Ravenal passionately kisses Magnolia.
On the ship’s deck, five star-struck girls enter to buy tickets to the show. When they are overwhelmed by the supposed glamour of Ellie’s life she quickly fills them in on the realities of show business (LIFE UPON THE WICKED STAGE- Sc to F Solo to F Chorus). Parthy, worried about Magnolia’s infatuation with Ravenal, informs Andy she is going to find out about Ravenal’s past.
That night, during the performance, two backwoodsmen become so antagonized by Frank portraying the villain that they pull a gun and prepare to shoot. Frank fearfully rushes from the stage and Cap’n Andy is forced to ring down the curtain and detail the remainder of the story to the audience. In a very funny monologue, he single-handedly enacts all the roles.
On the moonlit deck of the Cotton Blossom, Ravenal asks Magnolia to marry him (YOU ARE LOVE- Sc to M/F Duet) and she eagerly accepts. The next day Cap’n Andy, taking advantage of the free publicity, invites the showboat customers to the wedding (FINALE- Mixed Chorus). As the wedding carriage is drawn onstage, a scream is heard offstage and Parthy enters with Vallon and Pete claiming Ravenal is a murderer. When Andy finds out it was self-defense he tells Parthy to come along to the wedding. She promptly faints as the bridal couple enter the carriage and the curtain falls.
At the opening of Act II, it is 1893 and the Chicago World’s Fair is in full swing (AT THE CHICAGO WORLD’S FAIR- Mixed Chorus). Magnolia is showing her parents the sights. Cap’n Andy is enthralled and Parthy appalled by the cooch dancers and low life. Ravenal enters and invites them to an evening on the town, but Parthy refuses and she and Andy return to the hotel as Magnolia and Ravenal reaffirm their love (WHY DO I LOVE YOU?- Sc to M/F Duet). As they exit the Dahomey savages from the wild west show enter and perform (IN DAHOMEY- Mixed Chorus).
The scene shifts to 1904. Frank and Ellie, who have become partners in a vaudeville dance act, enter to look at a room in a second class boarding house whose former tenant is being evicted. They are shocked to discover that Magnolia is the one who is being evicted; it seems Ravenal has fallen on hard times and left Magnolia and their eight year old daughter, Kim. His final correspondence included two hundred dollars and the suggestion that Magnolia return to the Cotton Blossom. The two tactfully leave but urge her to consider the possibility of working at the Trocadero nightclub where they are employed.
Two weeks later at the Trocadero, Julie, the featured singer, depressed, drunk and alone since Steve left, is finishing a rehearsal (BILL- F Solo). Magnolia, not realizing Julie is at the club arrives to audition. She is about to be rejected when the doorman tells the boss that Julie has left to get drunk, but she recommended that Magnolia be hired in her place.
Later that evening, the comedy team of Shultz and Shultz (Ellie and Frank) performs (GOODBYE, MY LADY LOVE- M/F Comic Period Duet). A terrified Magnolia appears on stage and is nearly hissed off by the patrons, but Cap’n Andy, who happens to be carousing at the club, helps her out by urging the patrons to sing along (AFTER THE BALL- F Solo to Mixed Chorus).
It is 1927. Andy has convinced Gaylord to return to Magnolia and the Cotton Blossom. He greets Magnolia who embraces him happily as the curtain falls.

NOTES ON THE PRODUCTION

Most historians cite Show Boat as the beginning of Musical Theatre. It was not an operetta in the Viennese style nor was it a light-hearted musical comedy in the popular vein. This was the first attempt to integrate a sensitive story with music and lyrics, the first time miscegenation was mentioned on the musical stage, and unique in its treatment of the ingenue, who begins the show as a love-struck romantic and ends nearly forty years later as a mature woman. Oscar Hammerstein II and Jerome Kern took a tremendous risk in the goal to achieve a cohesive, dramatic, evening in the theatre. The fact that the show is so often revived attributes to their success.
Edna Ferber, the author of the novel, was astounded that Jerome Kern wanted to musicalize this lengthy and complicated story. She considered musical theatre as light-hearted comedy and couldn’t imagine Show Boat being successfully adapted to the musical stage of the 1920s. Even more astounding, in retrospect, is the fact that the show was produced by Florenz Ziegfeld, usually noted for his glorification of the American girl.
The show is extremely difficult to properly produce as it has a very large chorus of both blacks and whites which are essential to the overall tone of the production. Much of the emotional impact is derived from the black reaction to things that happen on the riverboat.
The acting version that is available for production is based on the 1946 Revival. Much of the material, while important in 1946, may be slightly tedious to modern day audiences. Some scenes were included to allow for set changes may not be totally necessary to modern productions.
Show Boat should not be attempted in strictly theatrical form if a company does not have the financial means to support a lavish production. It would be better to perform it as a concert piece with certain scenes being enacted prior to the songs. The music is memorable, notable and well worth being performed. When considering a concert version it should be mentioned to the licensing agency when applying for the rights.

SONGS OF SPECIAL INTEREST

"Bill," (lyrics by P.G. Wodehouse) Mezzo, poignant, club style, deceptively simplistic, takes a special personality to perform with quality
"Can’t Help Lovin’ Dat Man," Mezzo, semi-dramatic, club potential
"Goodbye, My Lady Love," Alto/Baritone Duet, vaudeville style, up-tempo
"Life Upon the Wicked Stage," Female chorus, good exercise for beginning director/choreographer, good for Revue or class situation
"Only Make Believe," Soprano/Baritone, romantic, charm duet, where lovers never touch
"Ol’ Man River," Black Bass Solo, sensitive, poignant, shows off vocal and acting
"Cap’n Andy’s Monologue," Cap’n Andy is forced to play all the parts in a one man show as he recites the ending to a curtailed performance, wonderfully comedic, may be good for an audition as it shows comic ability and physicality

Instrumentation: 4 violins, viola, cello, bass, flute, oboe, 2 reeds, 2 trumpets, 2 horns, bassoon, banjo/guitar, percussion, piano/conductor
Script: Cimino, T.B. Harms Co.
Score: T.B. Harms
Record: RCA
Rights: R & H

SKYSCRAPER

Book: Peter Stone
Lyrics: Sammy Cahn
Music: James Van Heusen
(Based on Dream Girl by Elmer Rice)

ORIGINAL PRODUCTION

Lunt-Fontanne, November 13, 1965 (241 perf.)
Director: Cy Feuer
Choreographer: Michael Kidd
Musical Director: John Lesko
Orchestration: Fred Werner

Principals:
Georgina- Julia Harris-
Timothy Busman- Peter L. Marshall-
Mr. Allerton- Donald Burr-
Roger Summerhill- Charles Nelson Reilly-
Stanley- Rex Everhart-
Herbert Bushman- Dick O’Neill-
Mrs. Allerton- Nancy Cushman-
Charlotte- Lesley Stewart-
Chorus and Smaller Roles:

SYNOPSIS

The play opens with a dream montage of various action sequences in different periods of time. An alarm sounds, causing the action to stop as all walk off. Georgina finally awakens to the ringing of the phone. The plot unfolds in conversation between Georgina and her mother. Georgina, the owner of a small antique shop, has refused to sell her brownstone house to make way for a new highrise building. She daydreams that she is awarded the Pulitzer Prize for Urban Prevention, but is being examined by doctors for daydreaming (OCCASIONAL FLIGHT OF FANCY- F Solo to Mixed Chorus).
Herbert Bushman, an aggravated individual, enters and orders Stanley, who is prepared to knock down Georgina’s house, to send the demolition ball back to Brooklyn since Georgina won’t sell.
At the Bushman building, Bert enters to tell Timothy Bushman, his younger brother, about Georgina’s stubbornness, but Tim thinks it is funny. He feels their father is ruining New York with his ugly buildings. Bert relents, telling Tim that if he manages to get Georgina to sell, he will try to convince their father to use Tim’s design for the new skyscraper. Tim wonders why Bert works at a job he hates and urges him to leave (RUN FOR YOUR LIFE- Sc to M Duet).
The construction workers are busy eating lunch and don’t even notice two girls walk by. Stanley gives them a pep talk, reminding them of their obligation to live up to their reputation (LOCAL 403- Mixed Chorus).
Tim is working at the construction shack when Georgina enters, complaining that the workers have cut off her electricity and punctured her gas pipes. She fascinates him so much he asks her to dinner, but she is furious (OPPOSITES- Sc to M/F Duet).
At the Litter Bug, an antique shop, Roger Summerhill is on the phone vainly trying to raise $35,000 for a film festival. Georgina enters and he exits to check his horoscope. She begins to daydream and Roger appears, dressed in British Military clothes, and dramatizes her dream thoughts.
Bert approaches Georgina, offering $165,000 for the building as the real Roger reenters. Georgina refuses the offer and Bert urges Roger to talk some sense into her. Glowing with hope, Bert tells Mr. Bushman he will continue trying to secure Georgina’s house for him (JUST THE CRUST- Sc to M Duet).
Tim tries explaining to Georgina that her building isn’t worth saving, advising her that she should admit she is wrong (EVERYBODY HAS THE RIGHT TO BE WRONG- Sc to M/F Duet). She insists he leave and yearns to have someone save her in her hour of need. Roger, fully dressed as a Southern gentleman, steps from the armoire and acts the part in her daydream.
Outside her bedroom window, Tim is hanging from a hook on a huge crane. He begs her to help him in. When she doesn’t, he arranges a dinner date. She agrees and he exits. As Georgina dreams, Roger dashes in through the door in his pajamas and passionately kisses her. In the ensuing dream sequence, Tim lies on her bed in pajamas as the curtain falls on Act I.
Act II begins at the Gallery Delicatessen (DELICATESSEN- Mixed Chorus). Georgina arrives dressed for a french restaurant and is disappointed to find a small, crowded delicatessen, so she fantasizes a french restaurant.
Tim guides Georgina to the 45^th floor of the unfinished building to show her the view and the New York skyline (MORE THAN ONE WAY- Mixed Chorus). After Tim tells Georgina he likes her and asks her how she feels about him, he leaves her to think about it and imaginary Roger appears as an FBI agent. Georgina begins to worry that she is mixing dreams and reality too much. Tim returns to find her daydreaming, wakes her and asks her to dinner the next night.
At the construction site, the men are busily posing with some models for "Mademoiselle" magazine. Bert is very upset when he finds they are getting $40 an hour for their magazine print work (HAUTE COUTERRE- Mixed Chorus).
At the Litter Bug, Roger is on the phone trying to determine why his horoscope was left out of the New York Post when Bert enters to tell him his time is up. Roger assures him that he will get Georgina’s signature (DON’T WORRY- M Duet). Georgina enters and Bert hastily retreats. Roger insists they need each other and should fly to Greece tomorrow. Roger says she must sell her house immediately, but she wants to think about it. He gives her one hour and exits. Tim enters and she admits her confusion between reality and her dream world. She tells him that she daydreams about a certain man. He thinks she is on the brink of realizing she cares for him and urges her to go to him. She thanks him and goes to Roger. Tim is bewildered (I’LL ONLY MISS HER WHEN I THINK OF HER- M Solo).
In a dream (SPARE THAT BUILDING- M Duet to Chorus), the chorus urges Georgina to spare that building, but she gets confused when Tim enters her dream and urges her to wreck the building.
Georgina informs Tim she has sold her house to Bert on the condition that the skyscraper be designed as Tim’s original drawing instructed. They embrace as the curtain falls.

NOTES ON THE PRODUCTION

Skyscraper was nominated for five 1966 Tony Awards, but won none finding heavy competition in a season that included Man of La Mancha, Mame and Sweet Charity.
The musical was confusing, overblown and ill-fated. There are some interesting monologues in the Odet’s play that may be worthwhile for a young actress to study.

SONGS OF SPECIAL INTEREST

Instrumentation:
Script: Samuel French Vocal Selections: Harms
Record/CD: Capitol
Rights: Samuel French

SOMETHING’S AFOOT

Book, Music and Lyrics: James McDonald, David Vos and Robert Gerlach
Additional Music and Music Consultation: Ed Linderman

ORIGINAL PRODUCTION

Lyceum Theatre, May 27, 1976 (61 perf.)
Director and Choreographer: Tony Tanner
Musical Director: Buster Davis
Orchestration: Peter Larson

Principals:
Lettie- Neva Small- Mezzo
Flint- Marc Jordan-
Clive- Sel Vitella-
Hope Langdon- Barbara Heuman-
Dr. Grayburn- Jack Schmidt-
Nigel Rancour- Gary Beach-
Lady Grace Manley- Prowe- Liz Sheridan-
Col. Gillweather- Gary Gage-
Miss Tweed- Tessie O’Shea- alto-
Geoffrey-Willard Beckham-
Chorus and Smaller Roles: None

SYNOPSIS

The curtain rises on the entrance hall of the country estate of Lord Rancour, situated on an island in the middle of a lake. The hall has several doorways leading to a library, a study, a kitchen and the outside. There are stairs which climb to an upstairs landing that has doors to at least two bedrooms opening onto it. Lettie, a young woman, enters, sets down her suitcase and surveys the room. She removes the dust cover from the desk and chair and discovers Flint, the caretaker, asleep under the dust cover. Her screams awaken Flint as Clive, the butler, enters.
Clive introduces Lettie to Flint who is surprised to learn that Clive’s wife, the former housekeeper, passed away. He is struck by Lettie’s youth but Clive implies that she prefers men with wealth.
The guests arrive, all expecting to be the only ones invited up for the weekend yet pleased at having been invited (A MARVELOUS WEEKEND- Mixed chorus). The guests include Hope Langdon, the typical ingenue; Dr. Grayburn, the family doctor; Nigel Rancour, the disgruntled nephew; Lady Grace Manley-Prowe, a typical English matron; Col. Gillweather, the retired Army Colonel; and Miss Tweed, the elderly amateur detective, reminiscent of Jane Marple. The song is interspersed throughout with dialogue and ends as the guests come to dinner dressed in their finery.
The guests are drinking sherry as Clive enters from Lord Rancour’s room to announce an incoming storm, which has made the bridge to the mainland impassable, and also that Lord Rancour is dead. Throughout his speech he slowly steps down the stairs until he announces dinner is served and steps on the last stair, which instantly explodes, killing him. The guests freeze and then become hysterical, for they realize someone has tampered with the stair and someone in the room is a murderer or murderess (SOMETHING’S AFOOT- Ensemble).
Everyone wants to leave, but the roads are flooded. While the men remove Clive, Dr. Grayburn descends from Rancour’s room to explain that he has been shot with a revolver through the heart at close range. At first everyone suspects Clive, but they ascertain he didn’t do it.
All the men leave to scout the island and see if there is any possible way to get off. The women are left alone, but valiantly vow to carry on. Hope accompanies the frightened Lettie to the kitchen as Tweed bolsters Lady Grace’s confidence (CARRY ON- Sc to F Duet to F Quartet). During the number, Lettie and Hope return and join in. As the song ends there is a clap of thunder and a flash of lightening as the door flies open and Geoffrey, a young, handsome man appears. The women automatically suspect him for the two murders and tie him up. The men return and find a gun in his backpack. Geoffrey explains he’s on the college crew team and capsized and the gun is their starting gun. Miss Tweed, who has taken his gun and substituted it for one with blanks, fires it at him and he is declared innocent.
They try the telephones, but find the wires have all been cut and they have no way to communicate with the outside world. A phone rings and Dr. Grayburn finds one hidden in the desk. As he answers, a pink gas emerges from the receiver and he is instantly killed. The men remove the body to the library; Tweed, Lettie and the Colonel go to the kitchen for some tea and Lady Grace goes to her room to rest, leaving Hope and Geoffrey alone to get to know one another (I DON’T KNOW WHY I TRUST YOU- M/F Duet).
Nigel, alone in the main room, searches through the desk but is spied by Lady Grace, whom he confronts with the fact that she was once married to Lord Rancour. She confesses and promises to help Nigel find the missing will by stalling everyone while he searches the rooms.
The Colonel comes out and, as their conversation leads to love affairs, she learns that he is Shirley, the man she once had an affair with 26 years before. They think over those happy times (THE MAN WITH THE GINGER MUSTACHE- Sc to F Torch Song). She tells him they had a child, but she was never allowed to see it because Lord Rancour took it from her, promising to raise it as his heir. Nigel enters and the three start to argue.
Tweed, Hope and Geoffrey enter holding a gun they found on Clive’s body. As they go to put the gun with the telephone they find the shears responsible for cutting the phone wires. They gaze at each other and move away (SUSPICIOUS- Sc to Mix Chorus). Thunder booms and the lights go out. As Lady Grace finds the light switch the electricity courses through her body, killing her.
Act II opens and there is just enough light on stage to make out the actions. Lady Grace is being dragged into the library. Miss Tweed enters with a candle and notices the body. She tugs at the other end. She cries out, the lights go on and the Colonel is revealed holding Lady Grace.
Nigel, left alone, earnestly begins searching the room for the will (THE LEGAL HEIR- M Solo). During the song he finds the will and learns he is not the legal heir. Suddenly, the sconce attached to the post at the bottom of the stairs strikes and kills him before returning to its original position.
The Colonel enters, finds Nigel and begins to read the will aloud. A shrunken head with a blowgun appears and shoots a poisoned dart at the Colonel who judges he has five minutes left to live. Miss Tweed enters and reads that Hope Langdon, daughter of Grace Rancour Manley-Prowe, is the legal heir. The Colonel dies as she hides the will in her pocket.
Everyone else enters and Lettie panics as they start to fling accusations. Miss Tweed calms them and they prepare to leave. Alone, Hope sings of her love for Geoffrey while standing under a chandelier. As she sings, the chandelier begins to descend, but when she moves away it stops (YOU FELL OUT OF THE SKY- F Solo). The chandelier finally falls, narrowly missing her. Geoffrey enters and comforts her as everyone enters. They put the chandelier back up and everyone goes off but Flint and Lettie. Flint tells her he remembers there is a boat they can escape in and the two prepare to run away without the others (DINGHY- Sc to M/F Duet). As Flint goes to look for oars, Lettie finds a note in her pocket that says that Lord Rancour has hidden money in the four foot tall Ming vase. Noticing she is in front of the vase, she jumps in and the vase totally engulfs her. The others return to the room, find the note and one of Lettie’s shoes and realize one more person is gone.
Flint goes to the kitchen carrying a lighted match to light the stove, but is killed by a gas explosion. Geoffrey feels he is responsible because he forgot the gas was on, but they realize that Flint must be the murderer because he was the only one who had had an accidental death. Tweed tells Hope that she is the adopted daughter of Rancour and therefore the legal heir. Hope is amazed by her deductions and she and Geoffrey beg her to tell them how she does it. She responds that she owes everything to all the famous mystery writers of the day (I OWE IT ALL- F Solo to Trio).
Hope goes to pack and Tweed decides to paint Geoffrey. As she works she realizes that Flint didn’t commit the murders and starts to announce the killer when a spear wraps around her muffler and strangles her to death.
Hope comes downstairs and accuses Geoffrey of killing Tweed. They argue as he tries to make her realize that she is wrong and he loves her. She backs to the fireplace where a portrait falls, revealing a record player. They turn it on and the voice of the late Lord Rancour explains that she is heir and he killed everyone so they wouldn’t protest his will. He also explains he has taken his own life because he convicted himself of the murders he had committed. As the record continues, Hope and Geoffrey look out the front door at the sunlight (NEW DAY- M/F Duet). The record ends as Rancour says he killed Flint with arsenic in the wine. Unfortunately, Hope and Geoffrey don’t hear this because they are toasting the new day with that very wine and they drop to the floor, dead (I OWE IT ALL- Finale and Bows).

NOTES ON THE PRODUCTION

The play is extremely enjoyable and charming. It is a musical spoof farce based on the Agatha Christie murder mysteries and must be played honestly in order to succeed. The music is enjoyable though not singularly memorable because the show works as a unit and the music helps establish the character.
Technically, the play survives on visual effects, which are carefully outlined in the French acting version. The action takes place in setting, but the visual aids are essential to the production and must be carefully handled.
The show did not survive the summer months and had a short Broadway run which is why few people have heard of it. It is funny, charming, exciting and certainly worthy of many more productions.

SONGS OF SPECIAL INTEREST

"Carry On," Female quartet, spirited kick-line ending
"I Owe It All," May be performed as a solo, clever lyrics, character oriented

Instrumentation: 2 reeds, trumpet, trombone, 2 percussion, bass, guitar/banjo, piano/conductor
Script: Samuel French
Score: NP
Vocal Score: Samuel French
Record: NP
Rights: Samuel French

THE SOUND OF MUSIC

Book: Howard Lindsay and Russel Crouse
Music: Richard Rodgers
Lyrics: Oscar Hammerstein II
(Suggested by The Trapp Family Singers by Maria Augusta Trapp)

ORIGINAL PRODUCTION

The Lunt-Fontanne Theatre, November 16, 1959 (1,443 perf.)
Director: Vincent J. Donehue
Staging of Musical Numbers: Joe Layton
Musical Director: Frederick D. Vanch
Orchestration: Robert Russell Bennett
Choral Arrangements: Trude Rittman

Principals:
Maria- Mary Martin- Mezzo
Abbess- Patricia Neway- Soprano
Capt. von Trapp- Theodore Bikel- Baritone
Liesl- Lauri Peters- Mezzo
Rolf- Brian Davies- Tenor
Elsa Schroeder- Marion Marlow- Alto
Max- Kurt Kaznar- Baritone
Sister Berthe- Elizabeth Howell- Alto
Sister Sophia- Karen Shepard- Soprano
Sister Margaretta- Muriel O'Malley- Mezzo
Chorus and Smaller Roles: 4F/2M children, 12 nuns double as neighbors, 6 men

SYNOPSIS

The play opens in Austria in 1938 in the interior of the Honnberg Abbey where the nuns are singing and praying (PRELUDIUM- Orchestra and F Chorus). When Sister Berthe discovers that someone is missing, the calls for Maria fill the hall. On a mountainside near the abbey, Maria is seen at the base of a large tree, absorbing the lovely countryside scene around her (SOUND OF MUSIC- F Solo).
In the sparsely furnished office of the Mother Abbess, the wise Mother Abbess, stern Sister Berthe, kindly Sister Margaretta and confused Sister Sophia, are discussing the merits of the postulants and the problems of Maria (MARIA- F Quartet).
The Mother asks the nuns to leave so that she can talk to Maria alone and begins to study her case. Maria enters and begs for forgiveness from her for her bad behavior, especially her constant singing. The Abbess asks her to sing one of her favorite children's songs for her because she has forgotten the words and wants to write them down (FAVORITE THINGS- F Duet). The Abbess informs Maria that she has decided to send her to Captain. von Trapp's home to be a governess for his seven children. Maria is upset to think that she is being sent from the Abbey, but the Mother feels she should be on the outside for a while before returning. Maria resigns herself to this order and leaves for the von Trapps’ home.
In the opulent living room of the von Trapp estate, where french windows open onto a terrace and a circular staircase rises to the second floor hall, which presumably leads to the bedrooms, Captain von Trapp enters and blows several signals on his boatswain's whistle. When his housekeeper, Fraulein Schmidt, and butler, Franz, enter he informs them that he has gotten a new governess from the abbey and will be leaving for Vienna for a month. After he leaves the two servants reveal that they are pro-Nazis and are waiting for some information via telegram.
The doorbell rings and Maria is greeted by Captain von Trapp, who terrifies her for he is an overbearing, strong disciplinarian and has a different whistle call for each of his children. She eventually talks with the children alone and is appalled to discover that they don't know how to sing. She teaches them the notes of the scale (DO RE MI- Sc to Mixed Chorus) and they demonstrate instant proficiency.
Outside the villa, near a stone wall and bench, later that day, sixteen-year old Liesl meets seventeen-year old Rolf, her pro-German boyfriend, who tells her she knows so little of the world that he will have to take care of her (YOU ARE SIXTEEN- Sc to M/F Duet). In Maria's bedroom, with a wardrobe on one side, a large window nearby and a hall door on the opposite side, Frau Schmidt enters with material for Maria to make a new dress. Maria discovers from the housekeeper that the von Trapp children have not sung or played since their mother's death, and she prays for a way to help. She notices Liesl climbing into her bedroom window and attempts to win her friendship. When the rest of the chidren gradually seek refuge from the sounds of a thunderstorm, she entertains them with a song (LONELY GOATHERD- F Solo to Mixed Chorus).
A month later, on the terrace of the von Trapp home, the captain is entertaining Elsa Schraeder and Max Detweiler. Elsa is a sophisticated, attractive woman in her late thirties who is intent on marrying Capt. von Trapp and Max Detweiler is a charming, middle-aged man who is trying to find a music group to enter into the Kalzberg Festival. When the captain exits to search for the children, Elsa confesses to Max that she plans on marrying the Capt., but he seems to be stalling. Max claims the reason to be money and tells her no one ever hears of rich lovers. The Captain returns and Max pushes Elsa to him (HOW CAN LOVE SURVIVE?- M/F Duet with Capt. needed for staging).
The children enter with Maria but the Capt. is appalled by their play clothes, which Maria has made from her old bedroom drapes, and their seeming lack of discipline. He complains to Maria, who furiously tells him he should learn more about his children. He orders her return to the Abbey but, just as she turns to go, the children are heard singing to Frau Schraeder. The Captain realizes he doesn't know his own children, asks her to stay and joins Maria and his family in song (THE SOUND OF MUSIC- M/F Duet with Mixed Chorus) as he throws away his whistle.
In the living room of the villa, Capt. von Trapp's party to introduce Frau Schraeder to his friends is interrupted by an argument between a pro-Nazi and a pro-Austrian. The captain invites everyone to the terrace to cool down as Kurt and Maria enter the living room and begin an Austrian folk dance. The Captain interrupts to show Kurt how the dance should be done but, when the Capt. dances with Maria, the children realize they are in love. They tell Maria and she is horrified to find anything that conflicts with her desire to be a nun. The Captain insists she join them all for dinner and sends her to her room to change as Elsa begs him to have the children perform their goodnight song for the guests. As the children say goodbye to the guests (SO LONG, FAREWELL- Mixed Chorus), Maria sadly leaves for the Abbey.
In the Abbess’ office, Maria tells the Mother Abbess she may be in love with Capt. von Trapp. The Mother Abbess sends her back to discover her true feelings and urges her to search for the life she was meant for (CLIMB EVERY MOUNTAIN- Sc to F Solo).
Act II opens on the terrace. Max, who wants to enter the children in the Kaltzburg music festival, is encouraging the children to sing, but they are upset by Maria's absence and are dismal failures. The Capt. questions them about Maria's sudden departure but they are ignorant of her reasons. He tells them he is marrying Frau Schraeder and quickly exits to the house. They sadly begin to sing and are cheered by Maria's voice from offstage. They excitedly finish the song as they greet her (FAVORITE THINGS [REPRISE]- Mixed Chorus) and they tell her Frau Schraeder is to be their stepmother.
Von Trapp enters to ask her why she left but she is unable to respond and assures him the reason no longer exists. She exits to be with the children.
Max and Frau Schraeder get into a political discussion with Capt. von Trapp about the Germans’ possible invasion of Austria. They feel he should play along as insurance on his property and wealth (NO WAY TO STOP IT-2M/F Trio).
Frau Schraeder, realizing the Capt. will not bend to the wishes of the Germans, calls off the wedding, for she knows she couldn't risk losing her assets. As she goes to pack, the Capt. and Maria confess their love for each other (AN ORDINARY COUPLE- Sc to M/F Duet). The two are married at the Abbey with the children as attendants and a chorus of nuns cloistered beyond (PROCESSIONAL- F Chorus).
During their honeymoon, the Anschluss occurs and Max is in the living room, busily organizing the children to perform in the Kaltzburg Festival. The Capt. and Maria return to discover that nearly everyone around them is pro-Nazi. Georg refuses to let the children sing in public and exits to give the children their presents. Liesl returns to ask Maria how she knew she was in love and Maria kindly responds (YOU ARE 16- Sc to F Duet).
When Rolf brings a telegram ordering Capt. von Trapp to join the German Navy, he begs them to join the Germans or leave Austria. The Germans arrive to take Capt. von Trapp to accept his Commission, but Maria bides for time, insisting that all the von Trapps are to sing in the Festival. Because the Germans want things to appear unchanged, they allow the performance. The family performs on the stage of the Kaltzberg Concert Hall (EDELWEISS/SO LONG, FAREWELL- Mixed Chorus) and escape while the judges decide the winner. They flee to the Abbey and the Germans follow them. In the garden of the Abbey, Rolf discovers the Capt. and starts to betray them, but when he sees Liesl, he cannot. The Germans leave and the family starts to cross the Alps to Switzerland and to safety (CLIMB EVERY MOUNTAIN [REPRISE]/FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

The Sound of Music was Rodgers and Hammerstein's last collaboration, for Hammerstein died in August of 1960, during the run of the show. The show won eight Tony Awards in 1960 for Best Set Design, Musical Direction, Composer, Producer, Book, Musical, Actress (Mary Martin) and Best Supporting Actress (Patricia Neway).
Little needs be said about The Sound of Music, for the success of the stage play followed by the triumph of the Julie Andrews movie, makes it a familiar musical around the globe. The story is romantic and hopeful, the songs melodious and familiar and the casting a dream, for it is one of the only shows with three times as many women as men. It is nearly an actor-proof musical, for audiences, while looking forward to good performances, are happy to hear the familiar songs and to spend an evening with their families assured that the story and language will be suitable for all ages.
The costumes, mostly habits, may be difficult to obtain for many nuns have discarded the traditional garb for modern wear. Unless a group has access to the old style, black habits, they will have to be rented.
The set for the von Trapp house is quite large and ideally structural, however, it is certainly possible and probably financially necessary to cut the stairway and hall to the upstairs and assume the stairs are offstage. The props are readily available and should not be a problem as they aren't terribly extensive.
It may be best when undertaking this show to have a nun as an advisor to the actors and director. There are many Catholics who will be in the audience who have been educated by nuns and will be aware of certain arm and hand positions, demeanor and decorum that are associated with the older nuns. It is important to the spirit of the piece.

SONGS OF SPECIAL INTEREST

Instrumentation:
Script: Random House
Vocal Score: Williamson Music Record: Columbia
Rights: Rodgers and Hammerstein Library

SOUTH PACIFIC

Book: Oscar Hammerstein II and Joshua Logan
Music: Richard Rodgers
Lyrics: Oscar Hammerstein II
(Adapted from James A. Michener’s Tales of the South Pacific)

ORIGINAL PRODUCTION

Majestic Theatre, April 7, 1949 (1,925 perf.)
Director and Musical Number Staging: Joshua Logan
Musical Director: Salvatore Dell’Isola
Orchestration: Robert Russell Bennett

Principals:
Nellie Forbush- Mary Martin- Mezzo
Emile De Becque- Ezio Pinza- Bass
Bloody Mary- Juanita Hall- Alto
Luther Billis- Myron McCormick- Baritone
Lt. Cable- William Tabbert- Tenor
Liat- Betta St. John- VTNE
Cpt. Brackett- Martin Wolfson- VTNE
Cmdr. Harbison- Harvey Stephens- VTNE
Lt. Buzz Adams- Don Fellows- VTNE
Chorus and Smaller Roles: 14M/8F and 1M/1F Eurasian Children

SYNOPSIS

At Emile De Becque’s plantation, on an island in the South Pacific, during World War II, two Eurasian children, Ngana, an eleven-year old girl, and Jerome, her eight-year old brother, are playing (DITES-MOI- M/F Ch Duet). Henry, DeBecque’s servant, interrupts their play and escorts them inside as DeBeque’s voice is heard.
DeBecque, a handsome, middle-aged French planter enters with Nellie Forbush, a young American nurse from Little Rock, Arkansas. She is overwhelmed by the beauty of the place and Emile’s lifestyle. She tells him about her optimistic outlook on life (COCKEYED OPTIMIST- L to F Solo), but becomes self-conscious. Emile tactfully offers her some cognac and the two soliloquize about their possible futures together (THIS IS HOW I’D FEEL- L to M/F Linear Duet). Emile admits to Nellie that he cares for her, even though he has only known her for two weeks (SOME ENCHANTED EVENING- Sc to M Solo). When Henry tells them Nellie’s jeep has arrived to take her back to camp, Emile tells her he has left France because he killed an evil man who bullied everyone around him. Nellie accepts his explanation, promises to consider his proposal and exits. Emile happily greets his children and the three sing (DITES MOI [REPRISE]- 2Ch/M Trio).
In an intermediate area along the beach the Seabees serenade an older Tonkonese woman, who is busy selling cheap souvenirs (BLOODY MARY- M Chorus).
The scene shifts to the edge of a palm grove near the beach with Luther Billis’s Laundry on one side and Mary’s Straw Shop on the other. Mary sells Billis her Bali Ha’i Boar’s Tooth bracelet and the men study the mysterious off-limits island where the French Planters have sent their women (THERE IS NOTHING LIKE A DAME- Sc to M Chorus).
When Lt. Cable, a handsome young officer, enters, seeking information about DeBecque, Bloody Mary tries to entice him to visit Bali Ha’i. She hauntingly describes the calling of the island (BALI HA’I- L to F Solo). She exits leaving a spellbound Cable. Billis, seizing the opportunity to be part of a trip to the island, tries to convince the officer to let him requisition a boat, but Cable refuses for he has to see the commander. Billis sends the "professor" to escort Cable to the Commander’s office, but Commander Harbison arrives accompanied by Captain Brackett to order Bloody Mary off Government property. The Seabees and Mary pick up her things and exit. Cable introduces himself to the two officers and explains his mission, which entails setting up a coast watch from the Japanese held islands. The two officers look worried until they find out that Cable plans to take DeBecque with him. They agree to meet in Brackett’s office to discuss the matter. Lt. Cable, left alone, looks at the island and begins to sing as the lights fade (BALI HA’I [REPRISE]- M Solo).
In an intermediate area Billis tells Cable, who is on his way to Brackett’s office, that he has requisitioned a boat for the trip to Bali Ha’i. Cable tells him to forget it and exits, but Billis vows to get Cable and himself on that island.
In the Commander’s office Brackett, Cable and Harbison question Nellie about her relationship with DeBecque. She leaves promising to find about more.
Nellie and Cable, in an intermediate scene, discuss differences in ages and cultures and Cable warns her that she doesn’t know much about DeBecque.
On the beach some of the nurses are relaxing, while several others are washing clothes. There is a sign advertising Luther Billis’s "showerbath." When Nellie enters to wash her hair, the nurses ask her why she is so preoccupied. She tells them she is going to break off the relationship with Emile before she gets too involved (I’M GONNA WASH THAT MAN RIGHT OUTA MY HAIR- F Solo to F Chorus).
At the end of the song, Emile appears and the girls exit, leaving them alone. He asks her to a party at his home in her honor, but she begins questioning him about his former life. He explains why he came to the islands and asks her to marry him. Nellie agrees to meet his friends the following Friday (SOME ENCHANTED EVENING [REPRISE]- Sc to M/F Duet). When Emile waves goodbye, the girls, who have been listening offstage, taunt Nellie who defiantly sings (COCKEYED OPTIMIST- L to F Solo to F Chorus).
In Brackett’s office, when Cable is unable to convince Emile to help him spy on the Japanese, the disappointed Lieutenant leaves for Bali Ha’i with Billis. On the island the French and native girls greet the boat and Bloody Mary takes Cable to the interior of a native hut where a seventeen-year old, slight framed Tonkonese waits. She introduces her as Liat, and leaves.
They embrace and the lights fade as projections come up behind. When the lights rise Cable is bare-chested and Liat’s hair is undone. He is obviously enthralled by this delicate girl and shocked to discover she is Bloody Mary’s daughter. The boat whistle is heard in the distance but he ignores it and sings of his feelings (YOUNGER THAN SPRINGTIME- Sc to M Solo).
Billis is waiting for Cable on the dock. As the young man walks to the boat he ignores the groups of waving girls and Mary happily tells everyone he is going to be her son-in-law.
On the terrace of Emile’s home Henry and another servant enter to clean up the residue of the party that has taken place. Nellie is overjoyed and a little tipsy. In a charming scene Emile and Nellie show their enjoyment of each other (TWIN SOLILOQUIES/COCKEYED OPTIMIST/ WASH THAT MAN [REPRISE]- Sc to M/F Duet). Emile’s two Eurasian children enter to say good night and Nellie is obviously charmed. When Henry leads them off Nellie asks Emile if they are Henry’s, but he tells her he is their father. She assumes he is joking until he tells her their mother is dead. Horrified by the fact that he lived with a non-white woman, she quickly excuses herself, promising to call him when she is free and rushes off in tears. Emile fears she may not return but vows to do all he can to keep her.
Act II begins during the Thanksgiving Follies. The nurses and Seabees perform (SOFT SHOE- Dance). At the end of the number the scene shifts to backstage where Emile appears with flowers for Nellie and learns Nellie has asked for a transfer to another island. Cable appears anxious to visit Liat. Mary and Liat arrive to inform Cable that unless the he marries Liat, she will be forced to marry a drunken, repulsive French planter. Mary cleverly paints a picture of Liat’s and Cable’s life together (HAPPY TALK- Sc to F Solo) and promises that they will have beautiful babies. This last forces Cable to realize that his upbringing will not allow him to marry anyone non-white. When he explains to Mary he can’t marry Liat she drags the girl off to marry the older French planter as Cable sadly watches.
At the Thanksgiving Follies, while Nellie sings, Luther enacts the showstopper of the evening (HONEY BUN- F Solo with F Chorus).
Emile finds Nellie and demands to know why she asked for a transfer. She tries to explain her reasons but leaves Cable to finish (YOU’VE GOT TO BE TAUGHT- M Solo). Feeling he has nothing to live for (THIS NEARLY WAS MINE- L to M Solo), Emile agrees to go on the mission with Cable.
In the communications office Brackett and a radio operator are listening to sounds from the island where Cable and DeBecque are spying on the Japanese. Brackett comments on the stupidity of Billis who cost the Government more than $600,000 to rescue him from the Japanese fighter planes. It seems Billis stowed away on a drop off plane and fell out. Billis enters with pilot Buzz Adams who says that Billis’s action may have bought more time for the men on the island. When Billis looks pleased Brackett throws him out.
Two weeks later, Nellie, who has been to DeBecque’s house to apologize for her earlier behavior, learns that Cable and Emile are behind enemy lines. In the radio room, she hears Emile’s voice telling everyone that Joe has been killed and Debecque himself is in danger. Nellie, realizing she may lose Emile forever, runs to the beach and calls to him to please come back so she can tell him nothing matters but them being together. She is interrupted by Mary who enters with Liat. It seems Liat refuses to marry anyone but Cable. Nellie holds the forlorn girl.
The company street is crowded with the men who are ready to move out. Billis questions Cmdr Harbison on the whereabouts of DeBecque, but no one knows if he got off the island alive.
The scene switches to Emile’s plantation where Nellie spends all her free time with Emile’s children. Emile surprises her and joins in the song (DITES-MOI [FINALE]- Mixed Quartet) knowing that all is well.

NOTES ON THE PRODUCTION

South Pacific won a Tony Award in 1949 for Best Scenic Design. It won nine Tony Awards in 1950 for Best Actor (Ezio Pinza), Actress (Mary Martin), Featured Actor (Myron McCormick), Featured Actress (Juanita Hall), Director, Musical, Producers, Composer and Authors.
South Pacific is a classic musical. The story deals with the meaning of life and the growing up of a young nurse during World War II. The music is wonderful, there isn’t a bad song in the entire score. Most of the songs are familiar, extremely actable and memorable. The book is poignant, romantic, dramatic and emotional. It is a musical well worth trying but, unfortunately, it often suffers from bad direction.
Anyone considering a production of this show must spend a great deal of rehearsal time helping the actors to understand the relationships, emotions and backgrounds of the characters they will portray. The honesty and sincerity of the principals is essential to retain the charm and drama of the piece. Too often Nellie is played as a mindless, happy-go-lucky girl, which leaves audiences wondering why the character is so unbelievable. Nellie is an educated, optimistic nurse during one of the worst wars in modern history. She has dealt with life and death, sometimes on a daily basis, yet her hope for the future keeps her going. Both she and DeBecque are lonely and isolated people for they do not fit into any "crowd" of friends. They are meant for each other, despite the difference in their ages.
There are quite a few sets in the show, five of which traditionally are full stage settings. It is possible to trim the number of sets and substitute standard curtains for the Thanksgiving show sequences. Most companies use a backdrop of Bali Ha’i throughout.
The costumes are primarily sailor type uniforms and are not expensive to obtain.
The leading role requires a strong male voice and some age. In the case of a High School production it may be advisable to find an older actor for the role. Bloody Mary, a character that can seem vicious, conniving and very corrupt, needs to be played with a comedic touch She also requires an excellent voice to sing the haunting "Bali Ha’i," a song that must evoke mood.

SONGS OF SPECIAL INTEREST

"Cockeyed Optimist," Mezzo Solo, up-tempo, requires movement, good to free up a beginning performer
"I’m In Love with a Wonderful Guy," good for audition and for movement, up-tempo
"There is Nothing Like a Dame," M Chorus, actor proof, specific characterizations help, good for beginners, Revue

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

STEEL PIER

ORIGINAL PRODUCTION

Richard Rodgers Theatre, April 24, 1997 (33 previews, 76 perf.)
Director: Scott Ellis
Choreographer: Susan Stroman
Musical Director: David Loud
Orchestration: Michael Gibson

Principals:
Bill Kelly- Daniel McDonald- Baritone
Rita Racine- Karen Ziemba- Mezzo
Shelby Stevens- Debra Monk- Alto
Mick Hamilton- Gregory Harrison- Baritone
Mr. Walker- Ronn Carroll- Tenor
Buddy Becker- Joel Blum- Tenor
Bette Becker- Valerie Wright- Mezzo
Johnny Adel- Timothy Warmen- Baritone
Dora Foster- Alison Bevan- Alto
Happy McGuire- Jim Newman- Tenor
Precious McGuire- Kristen Chenoweth- Soprano
Luke Adams- John C. Havens- Tenor
Mick’s Picks- Mary Illes, Rosa Curry, Sarah Solie Shannon- Soprano, Alto, Mezzo
Corky- Casey Nicholaw- Tenor
Dr. Johnson- Brian O’Brien- Baritone
Sonny- Gregory Mitchell- Baritone
Preacher- Adam Pelty- Tenor
The Fying Dunlaps- Leigh-Anne Wencker, Jack Hayes, JoAnn M. Hunter, Robert Fowler, Brian O’Brien- All vocal types
Chorus and Smaller Roles:

SYNOPSIS

The lights come up on a beach at Atlantic City, NJ in 1933. There is something mysterious in the air as we meet a handsome young pilot, Bill Kelly, who is holding a raffle ticket, which he says is good for three weeks. Enter Rita Racine, a one-time celebrity. Bill instantly and enthusiastically recognizes her as "Lindy’s Lovebird," the first to kiss Lindbergh upon his return from France. He invites her to be his partner in the big dance marathon at the Steel Pier, but she politely declines, as she is waiting for her professional partner. After he exits, she wistfully sings of the day when she’ll be able to put the grind of marathons behind her and return to the home she loves. (WILLING TO RIDE- F Solo).
Inside the ballroom, our master of ceremonies, Mick Hamilton, gets the marathon underway (EVERYBODY DANCE- M Solo to Mixed Chorus) As Rita’s partner fails to show, Bill once again volunteers, and Rita has no choice but to accept or face elimination. He informs her that he is in possession of a winning raffle ticket, which entitles him to a kiss and a dance with Lindy’s Lovebird. She attempts to give him a crash course in partnering, but his enthusiasm far exceeds his skill as a dancer (SECOND CHANCE- M/F Duet).
Behind the scenes, we see that Mick is not as genial as his public persona suggests (A POWERFUL THING- M Duet); he is secretly married to Rita, and is counting on her to win the marathon so that they can collect the prize money. Though he has promised Rita that this will be their last marathon, he confides to Mr. Walker that he has no intention of breaking up their lucrative operation. He takes it upon himself to show Rita off to the judges. Bill privately confesses that he is smitten with her (DANCE WITH ME/LAST GIRL- M Linear Duet).
Gradually, couples are eliminated and some of the performers pause long enough to do their specialty acts, including sassy Shelby Stevens, a long-time marathon favorite (EVERYBODY’S GIRL- F Solo). As Mick brainstorms a way to ensure that Rita and Bill emerge victorious, including an invented romance between them leading to a staged wedding ceremony, Bill and Rita enjoy some light-hearted break time near the Diving Horse’s tank (WET- M/F Duet). Before either Mick or the reluctant Rita can announce the "engagement", Bill shocks everyone by proposing to Rita. We flash back to the day they met and he won the raffle, just before taking his turn as a daredevil pilot at an air show where she was singing (LINDY’S LOVEBIRD- F Solo). Back in the present in the ballroom, it’s time for the grueling sprints, which eliminate exhausted couples and narrow the field. When Rita stumbles and falls, Bill stops, and then rewinds time in order to save them from certain elimination and the end of their partnership.
As Act II begins, Rita dreams of flying with Bill in an elaborate Busby Berkeley style number (LEAVE THE WORLD BEHIND- M Solo and Mixed Chorus). Reality returns and we see that many have been bruised by the harshness of the marathon- including Shelby, who suggests herself as a replacement for Happy’s wife, Precious (SOMEBODY OLDER- F Solo). He has had enough and is going home, but Precious has bigger dreams. Mick has been increasingly wary of the connection between Rita and Bill and coldly tells her that Bill will be replaced immediately after the phony wedding. This, and the revelation via Precious that Mick has had his own extramarital adventures, cause Rita to question her entire life and the pattern she’s in (RUNNING IN PLACE- F Solo).
The grotesque "wedding" begins, led by star-to-be Precious (TWO LITTLE WORDS- F Solo), and Bill and Rita are herded into a tent on the dance floor, which may be ripped open at any moment to expose the "lovebirds" in compromising positions. Bill urges Rita to forget the sideshow they’re in and come away with him in her mind (FIRST YOU DREAM- M/F Duet), but his three weeks are now up, and it’s time for him to go. Rita, hurt and confused, returns to the dance floor, where Mick tries coaxing her to dance with another partner (STEEL PIER- M/F Duet and Mixed Chorus). She refuses and, while she packs to go home, Mick laments his own hard luck, including the day their act was upstaged by the fatal crash of a stunt pilot. Rita is stunned to realize it was Bill who was in that plane, and he appears, as if in a dream, to collect his dance and one last kiss, and to urge her to take a chance and leave her troubled past behind her. As he disappears, she leaves the world of the marathon with hope and determination to find a new life.

NOTES ON THE PRODUCTION

Steel Pier was much anticipated in the Broadway community as an old-fashioned book musical boasting a creative team of heavyweights, including Kander and Ebb, who had recently collaborated on a successful revival of Chicago. The team also included Scott Ellis as director and Susan Stroman, who would be able to capitalize on the setting of a 1933 dance marathon as a showcase for her considerable talents. After a successful workshop, it was decided that they would go forward with an opening on Broadway without an out of town tryout, and it opened in April 1997 to decidedly mixed reviews. Although appreciated by many, and nominated for 11 Tony Awards (it won none), it closed in June of 1997 after a total run of just 109 performances.
As one might expect, a prerequisite for any production of Steel Pier will be a choreographer who is comfortable with partner (ballroom) dancing, and a team of triple threat performers capable of handling a vast array of period styles of ballroom dancing and intricate partnering. It can be scenically either very literal or quite abstract, but certainly the suggestion of a ballroom on the Steel Pier is essential. Scene changes should move the action smoothly and seamlessly (perhaps with choreography), continuing the feeling of perpetual motion we have in the dance marathon. The production at Walnut Hill utilized a unit set of platforms with beds rolling on and off to represent the dressing areas. The plane wings were replicated by the girls and the edge of the stage beyond the proscenium represented the Atlantic Ocean. This minimalist setting worked perfectly in a smaller theatre with a limited budget. The audience accepted this as a convention and the emphasis was on the performers rather than the technical aspects of the show. The costumes should be of the period and of course will have to allow for the rigorous physical demands of all the characters. Steel Pier may well be one of the unsung musicals that will fare better in future treatments, and could be an interesting diversion for both large and small theatres looking for material that is less well-known. The Walnut Hill production utilized about 1/3 the number of males to females in a cast numbering 23.

SONGS OF SPECIAL INTEREST

"Willing to Ride," Mezzo Solo, good inner monologue/acting piece for class or audition, a woman who is weary of her routine yet hopeful that things will improve
"A Powerful Thing," Baritone/Tenor Duet, character piece with some humor, the boss and his assistant ruminate on the nature of power
"Everybody’s Girl," Alto Solo, great for revue, class, or audition, comic, with lots of innuendo for a bawdy comedienne
"Wet," Baritone/Mezzo Duet, light, good for working on behavior and spontaneity, two soon-to-be lovers playfully tease each other
"Somebody Older," Alto Solo, poignant character piece in which an older woman tentatively offers a younger man her expertise and companionship
"First You Dream" Baritone/Mezzo Duet, romantic, a young dreamer urges the woman he loves to imagine a better world

Instrumentation: 6 violins, 4 violas, 2 cellos, 4 woodwinds, 3 trumpets, 2 trombones/tuba, 2 French horns, 1 bass, piano and synthesizer, drums and percussion
Script: Samuel French
Score:
Record: RCA Victor/BMG Classics
Rights: Samuel French

STOP THE WORLD—I WANT TO GET OFF

Book, Music and Lyrics: Leslie Bricusse and Anthony Newley

ORIGINAL PRODUCTION

Shubert Theatre, October 3, 1962 (556 perf.)
Director: Anthony Newley
Choreographer: John Broome
Restaging: Virginia Mason
Musical Director: Milton Rosenstock
Orchestration: Ian Frasier, David Lindup, Burt Rhodes and Gordon Langford

Principals:
Littlechap- Anthony Newley- Baritone
Evie, Anya, Ilse, Ginnie- Anna Quayle- Mezzo
Jane- Jennifer Baker- VTI
Susan- Susan Baker- VTI
Chorus and Smaller Roles: 5F/1 Boy (may be played by F chorus member)

SYNOPSIS

The play opens with the chorus, as younger children singing a child song (A.B.C. SONG- Mixed Chorus). Littlechap sets out to find his way in the world and the chorus grows up. The games turn from those of childhood to mimed work that adults perform, i.e. a production line. Littlechap is older and tries to pick up Evie, a secretary who is waiting for her bus. Flattered by his attempts she laughs and leaves him alone at the bus stop, where Littlechap decides she would be interested if he had money (I WANNA BE RICH- M Solo to Mixed Chorus).
At the end of the number he re-encounters Evie and a voice from the chorus, acting as narrator, comments on her attempts to ignore him. Evie professes she has been properly raised and is very upper class (TYPICALLY ENGLISH- F Solo with M Comments). At the end of the number she exits with Littlechap as the narrator comments on how accidents sometimes happen when twenty-five year old men become involved with seventeen-year old women.
Littlechap goes to meet the boss of his company who is unseen and represented by music. Littlechap's monologue and reactions to the music are the only way the audience understands the boss's comments. Littlechap promises never to see Evie again, he had no idea that she was the boss's daughter.
He confronts Evie who tells him she is pregnant. The wedding proceeds with Evie exiting in the middle with a wave of pregnant nausea. Littlechap tells the audience he has been forced into a marriage he did not intend (LUMBERED- M Solo to F Chorus). Time passes and Evie enters to tell him she is pregnant again. When he tells her he has been lumbered again she says she has the same feeling (LUMBERED [REPRISE]- M/F Duet).
Realizing he is going to need a larger salary to raise another child, Littlechap goes to see Evie's father who proposes to send him to their Northern Office in Sludgepool. The three arrive in the very cold, very ugly climate and are welcomed by the disgruntled workers (WELCOME TO SLUDGEPOOL- F Chorus). He sends Evie off to look at their house while he goes to examine the factory. He greets the workers who are extremely slow and tells them he has aspirations for their factory. As he sings they are skeptical but gradually become excited (GONNA BUILD A MOUNTAIN- L to M Solo to F Chorus).
Evie informs him she is pregnant and Littlechap again goes to see his father-in-law who sends him to Moscow as a delegate to the International Trade Festival. He arrives in Moscow and immediately makes a play for Anya, the tour guide, who tells him about her upbringing (GLORIOUS RUSSIAN- F Solo-to F Chorus). Anya takes him to her flat on the seventeenth floor and tells him she would like a little boy (MEILINKI MEILCHICK- Sc to F/M Duet). The little boy dies and he sadly returns to England.
Back home the two girls, now in their teens, comment on the coldness between their parents as Littlechap and Evie dig at each other from opposite sides of the stage (FAMILY FUGUE- Sc to M/3F Quartet). Littlechap goes to see his father-in-law who asks him to sit down and offers a cigar. It seems the boss is fond of him.
Evie hires Ilsa, a German servant girl who tells Littlechap she is not a Nazi and her father was cleared during the Nuremburg trials. She is extremely militaristic and tells him about her upbringing (TYPISCHE DEUTSCHE- Sc to F Solo with Mixed Chorus).
Littlechap and Evie continue to bicker (NAG, NAG, NAG- Mixed Chorus). The act ends on an ominous tone; Littlechap tells Ilsa he loves her, but Ilse twists his arm. She tells him Germany will rise again, and she has no time to waste on him. Evie confronts him with his constant philandering and moves his things into the spare room. They both yell that they have been lumbered as the lights blackout.
Act II opens with Littlechap's father-in-law sending him to New York City with his family. He arrives in New York and the chorus mimes various New York City events. Littlechap goes to the Chocolate Box Club where Ginnie, an extremely dumb girl, is performing (ALL AMERICAN- F Solo).
After the show she takes him to a Chinese Restaurant and he tells her he loves her. In the middle of the scene he hears his daughter Susan call out and rushes home to find out his unmarried daughter is going to have a baby. His whole life rushes by. He wants to stop the world, but becomes the father of the bride and gives Susan away. Back in England Littlechap goes to see his father-in-law who tells him he should run for Parliament (ONCE IN A LIFETIME [REPRISE]- M Solo). The number segues into the campaign speeches (MUMBO JUMBO- Mixed Chorus) and Littlechap wins.
Littlechap is in Parliament when he has a heart attack. He decides to take it easy. The chorus enters as retirees at a wealthy institution (WELCOME TO SUNVALE- F Chorus). Evie enters on Littlechap's arm and he quietly asked her why she stayed by him for the past thirty five years (SOMEONE NICE LIKE YOU- Sc to M/F Duet). As the number ends she dies.
He goes to visit his father-in-law's grave and tells him he is probably going to be made a lord, an honorary doctor and be given the Key to Sludgepool, but all his successes are meaningless for he has lost Evie, who was dearest to him. As he begins his memoirs all his various girlfriends re-appear but he is at last able to admit he was only in love with one person in his life and that was himself. He berates himself for his foolishness (WHAT KIND OF FOOL AM I?- M Solo with F Chorus). The play ends as his grandson appears and takes his hand.

NOTES ON THE PRODUCTION

This small cast show is a good choice for smaller companies who have an excellent Male and Female for the leading roles. Anna Quayle won a well-deserved 1963 Tony Award for her characterizations in the show. It is a duo star vehicle but has quite a lot for the chorus to do. The charm of the show is in its smallness and the chorus should be kept to a minimum and in one basic costume throughout.
Many of the songs require chorus backup to heighten the vocal and physical interest. This requires an imaginative choreographer and a chorus with mime abilities.
The subject matter is extremely serious but has a balance between the comedy and the serious. There are some very touching scenes, which may be a surprise to audiences expecting a light-hearted comedy.
The leading female roles require a singer with a large voice and a broad range. She must be able to do accents, and handle the comedy and dramatic demands of the role.
There need not be any specific set because the locations shift as Littlechap goes in search for himself.

SONGS OF SPECIAL INTEREST

"Once In a Lifetime," dramatic, club style, strong voice, shows off acting and singing
"Typically English," humorous number if the actresses attitude is typically upper class. At the end of each verse she tells of her boredom
"What Kind of Fool Am I?, " strong, vocally dramatic song

Instrumentation: 5 reeds, 2 trumpets, bass, 2 trombones, percussion, piano/conductor
Script: NP
Selections: TRO
Record: London
Rights: Tams-Witmark

STREET SCENE

Book: Elmer Rice
Music: Kurt Weill
Lyrics: Langston Hughes and Elmer Rice
(Based on Elmer Rice's Pulitzer Prize winning play of the same name)

ORIGINAL PRODUCTION

Adelphi Theatre, January 9, 1947 (148 perf.)
Director: Charles Friedman
Musical Director: Maurice Abravanel

Principals:
Abraham Kaplan- Irving Kaufman- Tenor
Mrs. Fiorentino- Helen Arden- High Soprano
Mr. Olsen- Wilson Smith- Bass
Emma Jones- Hope Emerson- Mezzo
Olga Olsen- Ellen Repp- Contralto
Henry- Creighton Thompson- High Baritone
Willie Maurrant- Peter Griffith- Boy Soprano
Anna Maurrant- Polyna Stoska- Dramatic Soprano
Sam Kaplan- Brian Sullivan- Tenor
Frank Maurrant- Norman Cordon- Bass/Baritone
George Jones- David E. Thomas- Baritone
Lippo Fiorentino- Sydney Rainer- Tenor
Harry Easter- Don Saxon- Baritone
Daniel Buchanan- Remo Lota- Tenor
Steve Sankey- Lauren Gilbert- VTNE
Rose Maurrant- Anne Jeffreys- Soprano
Chorus and Smaller Roles: 11M/8F, 2M/2F Children

SYNOPSIS

The play takes place at the exterior of a walk-up apartment house in a tenement section of New York City. Various apartment dwellers are seen at their windows and walking by the building. Emma Jones, Mrs. Fiorentino and Mr. Olsen, who are outside, comment on the heat, while inside, Abraham Kaplan's daughter, Shirley, serves her father a cup of tea (AIN'T IT AWFUL, THE HEAT- Mixed Chorus).
Henry, the happy-go-lucky janitor, comes up from the cellar with the garbage (I GOT A MARBLE AND A STAR- M Solo).
Willie Maurrant, a young boy on roller skates, yells up to his mother for some money for ice cream. Mrs. Fiorentino and Mrs. Olsen invite Anna, Willie's Mother, to come and visit. While they wait, the two gossip about Steve and Anna's affair, shocked that both are married (GET A LOAD OF THAT- F Duet). Daniel Buchanan, whose wife is about to have a baby, nervously enters with a bag of oranges and greets the three women. He tells them having a baby is also difficult for the man (WHEN A WOMAN HAS A BABY- 3F/M Quartet). His wife's voice interrupts him and he hurries off, certain her time has come.
Frank Maurrant, an abrupt man, enters complaining about the heat and berates his wife about not knowing where their working daughter, Rose, is. George Jones, Mrs. Fiorentino, Emma Jones and Mr. Olsen witness his anger. After he leaves Mrs. Maurrant tells the women she regrets that love sometimes disappears and hopes a brighter day will come (SOMEHOW I NEVER COULD BELIEVE- F Solo).
When Steve Sankey, the collector for the Milk Company, happens by, Anna makes an excuse to go off with him. Everyone feels certain her husband will discover their affair and kill them (GET A LOAD OF THAT [REPRISE]- 2F/2M Quartet). Mrs. Olsen, returning from the drugstore, announces she has seen Steve and Anna together in an alleyway. Lippo Fiorentino enters with ice cream cones for everyone; Henry re-enters (ICE CREAM- M Solo to Mixed Chorus). Maurrant, a physically violent man, argues with Kaplan, a philosopher with pro Communist leanings, and starts to go after him but is stopped by the men on the stoop. He is angry at the changes in the world (LET THINGS BE LIKE THEY ALWAYS WAS- M Solo).
A group of graduates enter and Jenny expresses how excited she is to have a diploma (WRAPPED IN A RIBBON AND TIED IN A BOW- F Solo to Mixed Chorus). The people of the neighborhood join in the merriment but the mood is broken when Willie, who has been fighting enters. As he and Anna go upstairs Frank announces he is going to shoot pool. The women's gossip is interrupted by Sam, who is in love with Rose Maurrant. Later, when the street is deserted, he studies at the quiet house (LONELY HOUSE- M Solo).
Rose enters with Harry Easter, a married coworker, who tries to kiss her. He tells her she belongs in show business and promises to arrange things (WOULDN'T YOU LIKE TO BE ON BROADWAY- Sc to M Solo), but she doesn't want to get involved with a married man (WHAT GOOD WOULD THE MOON BE?- Sc to F Solo). Her thoughts are interrupted by Daniel Buchanan who sends her for the doctor.
Mae, a flirtatious type, and Dick, a rake, enter. The two drunkenly express their emotions (MOONFACED, STARRY EYED- Sc to M/F Duet).
Rose returns from phoning the doctor and Vincent Jones tries to grab her, but Sam jumps out the window to her rescue. When the two are alone Rose asks Sam if it is true about her mother and the milkman, but he lets Rose draw her own conclusions. They both yearn to get away from the tenement and have a better life (REMEMBER THAT I CARE- Sc to M/F Duet).
Act II begins in the early morning. The children are the first ones seen (CATCH ME IF YOU CAN- Ch Mixed Chorus). Rose tries to talk to her father about being nicer to her mother, but he takes a drink and tells her to mind her own business. When his wife returns from helping Mrs. Buchanan with the baby he suspiciously questions her and tells her to look after her own home (THERE'LL BE TROUBLE- Sc to 2F/M Trio). He leaves and Willie enters on his way to school. His mother tells him she loves him and has high aspirations for his future (A BOY LIKE YOU- F Solo).
Vincent crudely comments to Rose as Sam appears to make sure she isn't being bothered. The two dream of running away (WE'LL GO AWAY TOGETHER- F/M/ Duet).
The street empties as Steve Sankey appears and Anna waves to him to come up. Sam witnesses this last exchange and worriedly sits on the stoop and waits. The Marshall enters to evict a family and various street salesman pass. Maurrant enters, sees the shade drawn in his apartment, thrusts Sam aside and rushes upstairs. Two shots are heard, the neighbors all rush to the sidewalk, the police arrive and Maurrant runs off. Rose returns in time to see her mother carried out on a stretcher (THE WOMAN WHO LIVED UP THERE- Mixed Chorus).
Later the same day, two nurses wheeling baby carriages enter to look at the house where the murders occurred. They sing a lullaby as they gossip (LULLABY- F Duet). Two policemen enter with Maurrant and he begs for a moment to tell Rose he really loved his wife (I LOVED HER, TOO- M/F Duet to Mixed Chorus). Sam offers to go away with Rose but she insists that they get to know themselves before making a lifetime commitment. They say goodbye (DON'T FORGET THE LILAC BUSH- F/M Duet) and Rose exits, leaving the neighbors to gossip.

NOTES ON THE PRODUCTION

The emphasis is on the acting and singing in this dramatic piece. There is a one unit set with practical windows and the costumes may be styled either thirties or forties. It is important to capture the flavor of the neighborhood and characters, which would not exist in their ethnic configuration much past World War II. The roles are balanced between Males and Females and the characters are definitive, well drawn and excellent to portray. Street Scene is a challenging show well worth the effort of a talented company.
The musical requirements may have to be trimmed in quantity of instruments per part, especially the string section.

SONGS OF SPECIAL INTEREST

"A Boy Like You," Soprano, lovely melody, charming lyric that expresses mother love
"Lonely House," Tenor Solo, may be done in a Revue situation by Alto, poignant, dramatic driving number
"When a Woman Has a Baby," a predominantly Tenor solo, comic, may be sung without the operatic quality and kept simplistic, problem song, charm
"Wouldn't You Like to Be On Broadway," Baritone, up-tempo, dance beat into "What Good Would the Moon Be?," Soprano, good scene character study, contrasting opinions

Instrumentation: 2 piano-celeste, 6 reeds, 2 trombones, 2 horns, 2 trumpets, 2 percussion, 11 violins, 4 viola, 3 cellos, 2 bass, conductor
Script: (in Score)
Score: Chappell
Record: Columbia
Rights: R & H

THE STREETS OF NEW YORK

Book and Lyrics: Barry Alan Grael
Music: Richard B. Chodosh
(Based on Dion Boucicault's play)

ORIGINAL PRODUCTION

The Maidman Playhouse, October 29, 1963 (318 perf.)
Director: Joseph Hardy
Choreographer: Neal Kenyon
Musical Director: Jack Holmes

Principals:
Gideon Bloodgood- Ralston Hill- Baritone
Badger- Barry Alan Grael- Baritone
Alida Bloodgood- Barbara Williams- Mezzo
Mark Livingstone- David Cryer- Baritone
Lucy Fairweather- Gail Johnson- Soprano
Mr. Puffy- Don Phelps- Tenor
Mrs. Fairweather- Margot Hand- Alto
Mrs. Puffy- Janet Raymond- Mezzo
Chorus and Smaller Roles: 5M/3F (who double as needed)

SYNOPSIS

The prologue begins 20 years before the actual play in banker Gideon Bloodgood's office. As a mob is heard outside, Bloodgood, a young widower with a baby daughter, prepares to desert the bank with all his customers’ money. He justifies himself by claiming he is only stealing the money for his poor motherless child, Alida (PROLOGUE- L to M Solo to M Duet). Badger, a bank clerk, noticing Bloodgood's intentions, promises to keep quiet if Bloodgood offers him a percentage of the take. As they are about to make their getaway, Captain Fairweather, arrives through a side door to deposit his lifes' savings for his young daughter, Lucy. Bloodgood readily grabs the money as Fairweather has a heart attack and drops dead. Badger takes the Captain's receipt and rushes off to California to dig for gold.
Twenty years later, on Wall Street, a group of tourists are sightseeing outside Bloodgood's bank. As they observe the harsh cruelty inflicted on the poor, the tourists negatively comment on the city of New York (TOURIST MADRIGAL- Sc to Mixed Chorus). As the tourists exit Bloodgood enters and sees Puffy, a chestnut seller. The heartless Bloodgood reminds him that he will foreclose if his note isn't paid. A messenger enters to tell Bloodgood his 23-year old daughter, Alida, is upset because she is not accepted by society. He rushes home to console her, shoving the tourists out of the way as he leaves.
In the drawing room of the mansion, Alida devises a plan to marry someone poor, but with a respectable name. She wants a marriage in which she can dominate (HE'LL COME TO ME CRAWLING- Sc to F Solo). Bloodgood arrives followed by a well-respected gentleman, Mark Livingstone, who has come to ask for another loan. Alida, realizing that this is her chance to acquire a good name and have infinite power, plots her own version of "the Bloodgood Squeeze" (HE'LL COME TO ME CRAWLING [REPRISE]- F Solo).
Later that afternoon, in Mme. Victorine's Dress Shop, Lucy Fairweather, the daughter of the late Captain Fairweather, is sewing a dress for Alida. The girls tease her about her boyfriend, Mark Livingstone (IF I MAY- Sc to F Solo and F Chorus). Mark nervously enters the shop and Lucy and he awkwardly talk about their past relationship, which was broken off because of their economical differences. Now Mark has squandered his wealth and wishes to befriend Lucy again. Lucy is unaware of Mark's financial difficulties and the two make plans to see each other Saturday for lunch at the Puffys’ where Lucy and her Mother are lodging. As Lucy and Mark touch hands, Alida bustles in the shop. She manages to make everyone uncomfortable by flaunting her wealth. After Mark leaves Alida offers to secure a job for Lucy on a far off, isolated island, claiming that she is fond of Lucy and wants to be her benefactress. It is obvious Alida only wants to get rid of Lucy so she can take advantage of Mark. When Lucy declines Alida's offer, Alida has her discharged.
The set changes to a street. It is Saturday and Mark contemplates his love for Lucy (IF I MAY [REPRISE]- M Solo).
In the Puffy home, Lucy and Mark sit and look at stereotypical views of India and romanticize about life there as Mrs. Fairweather comments on the cold (AREN'T YOU WARM- M/2F Trio). Mark offers to give the Fairweathers aid whenever they should need it. Everyone joins in a toast, claiming that the rich and the poor are equal in the great USA (WHERE CAN THE RICH AND THE POOR BE FRIENDS?- 3F/2M Quintet). When Bloodgood and some of his men barge into evict the Puffys, Mark flees, unable to save his friends from Bloodgood's cruel eviction.
At home Alida and her father gloat over their cruelty to Lucy and her family. As father and daughter admire themselves, Badger, the former bank clerk, arrives accompanied by some Mexican friends. When Badger reminds Bloodgood of his promise to meet him in California, he and the Mexicans sing a song which tells the tale of Bloodgood robbing Capt. Fairweather (CALIFORNIA- Sc to M Chorus).
Badger threatens to find Fairweather's heirs if Bloodgood doesn't pay him a large sum. In the midst of these dealings, Lucy arrives to beg for employment but is told that Alida and Mark are to be wed. When Mark arrives Lucy, hurt and shocked by Mark's supposed betrayal, denounces her love and leaves in tears. Alida proposes they marry each other. Bloodgood has Badger and his friends escorted to jail, but fears exposure (FINALE- Mixed Chorus).
At the beginning of Act II, it is now nearing Christmas and the Puffys are trying to sell chestnuts outside a high-class restaurant. They ironically sing joyfully about their skimpy Christmas feast (CHRISTMAS CAROL- Mixed Chorus). Mr. Puffy meets Mark who gives Mr. Puffy a card for Lucy; he intends to find out where she lives by following Puffy. Badger makes plans to meet Bloodgood at Badger's apartment to discuss the price of the receipt. Badger's address is in the same building as Lucy and her mother.
Inside Delmonico's, Mark announces to Alida that he plans to find Lucy. Deserted at her own engagement party, Alida jokes about her predicament to the guests (LAUGH AFTER LAUGH- F Solo to Mixed Chorus).
In front of her shabby apartment on Cross Street, Lucy forlornly wishes for Mark (ARMS FOR THE LOVE OF ME- F Solo and Mixed Chorus). Lucy returns to the apartment where her mother waits in the cold. Badger is seen in the next room drinking. Lucy and Mrs. Fairweather decide to end their lives. Bloodgood goes to confiscate the receipt from Badger but Badger is armed and insists on fifty thousand dollars. Bloodgood leaves to get the money as Lucy and Mrs. Fairweather hope that death will erase the pain they have suffered (CLOSE YOUR EYES- F Duet). Mark and Mr. Puffy valiantly save the suffocating Lucy, Mrs. Fairweather and Badger and Mark offers everyone a place to live in his home.
While Lucy, Mrs. Fairweather and Badger are recovering in Mark's Cottage, Bloodgood, certain the receipt is in Badger's apartment, buys the building, intending to burn it.
At Mark's cottage, Mark discovers and freely expresses his love for Lucy (LOVE WINS AGAIN- Sc to M/F Duet). Badger, deeply moved, tells the truth about Capt. Fairweather's death and Bloodgood's fortune. Mrs. Fairweather offers a large reward for any proof of Bloodgood's thievery and everyone hurries to the apartment, which is now in flames. Badger manages to get the receipt in the nick of time.
At Bloodgood's mansion, the bridesmaids excitedly comment on the supposed wedding of Mark and Alida. Mark enters with Lucy, the Puffys and Mrs. Fairweather to tell Alida the marriage is off. Mrs. Fairweather informs Bloodgood she is aware of his swindle and Badger enters, accompanied by the police and the Mexicans, to charge Bloodgood with arson, theft and murder. Alida is shocked at the extent of her father's guilt. Just as Bloodgood is being carried off to prison, Mrs. Fairweather tears the receipt and lets father and daughter begin life anew. Mark and Lucy are united in marriage (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

The Streets of New York is a musical melodrama that is fun for community theatres who have had successful productions of Little Mary Sunshine and The Boy Friend and are looking for something different. The show was originally performed in a small theatre off-Broadway and utilized a revolving turntable which had a three level set in skeletal form. The actors were able to revolve the set and place props (many of which doubled from scene to scene) eliminating the need for a large technical crew.
The show needs to be produced in the tongue in cheek melodrama style but is a refreshing change from the usual non-musical melodramas. A script well worth perusing for a small company.

SONGS OF SPECIAL INTEREST

"He'll Come to Me Crawling," Mezzo solo, evil, character oriented

Instrumentation: 2 pianos
Script: French
Score: Record/CD:
Rights: Samuel French

SUGAR

Book: Peter Stone
Music: Jule Styne
Lyrics: Bob Merrill
(Based on Billy Wilder's screenplay "Some Like It Hot")

ORIGINAL PRODUCTION

Majestic Theatre, May 6, 1972 (505 perf.)
Director and Choreographer: Gower Champion
Musical Director and Vocal Arrangements: Elliot Lawrence
Orchestration: Philip J. Lang

Principals:
Jerry (Daphne)- Robert Morse- Baritone
Osgood Fielding, Jr.- Cyril Ritchard- Baritone
Bienstock- Alan Kass- VTNE
Joe (Josephine)- Tony Roberts- Tenor
Sugar Kane- Elaine Joyce- Mezzo
Spats Palazzo- Steve Condos- Baritone
Knuckles Norton- Dick Bonelle- VTNE
Sweet Sue- Sheila Smith- Alto
Chorus and Smaller Roles: 8M/6F

SYNOPSIS

The lights rise on the stage of the Chicago Theatre where Sweet Sue, the leader of an all-girl band, is announcing the sexy vocalist/ukulele player, Sugar Kane. Sugar begins singing (WHEN YOU MEET A GIRL IN CHICAGO- F Solo with F Chorus). After the number Sue tells the audience they have a booking at a Miami Beach resort hotel (TURN BACK THE CLOCK- F Chorus).
Backstage, Sue berates manager Bienstock for not finding new sax and bass players. She stalks off to pack as Joe and Jerry, two quick-witted saxophone and bass players, enter to apply for the job. Bienstock tells them he needs girl musicians but will hire them to deliver the band's orchestrations to Dearborn Street Station for ten dollars.
The boys agree to get Bienstock's car from the Clark Street Garage and deliver the music, if nothing better turns up. They proceed to the Chicago Musicians Union where they join the job line (PENNILESS BUMS- Sc to M Duet to M Chorus). Since there are no jobs they decide to deliver the music.
As they exit, four gangsters enter with violin cases and meet Spats Palazzo, a nattily dressed gang leader who constantly tap-dances. Spats and the boys tap over to the Clark Street Garage to wipe out Knuckles Norton.
At the Clark Street Garage, a poker game is in progress with Knuckles Norton, three hoods and a garage mechanic. Jerry and Joe stumble upon the gangland killing and narrowly escape with their saxophone and bass. Spats orders his gang to find them and rub them out. In a "patter" song, he orders and dances the message to find the saxophone and bass player (TEAR THE TOWN APART- Small M Chorus).
At the train station, Sweet Sue is waiting for Bienstock to deliver the two girl musicians. Jerry and Joe arrive, disguised as Daphne and Josephine (It may help the reader keep the disguised men straight by remembering that Jo is the abbreviation for Josephine)- it is their only means of escape from Spats. They display their talent (THE BEAUTY THAT DRIVES MEN MAD- Sc to M Duet) in a humorous movement oriented number which ends with them playing their sax and bass.
In the Pullman car, which contains berths and a private lounge, Jerry and Joe enter, complaining to each other about high heels and skirts. They walk to the lounge and meet Sugar who is sneaking a bottle of bourbon from her ukulele case. Jerry is attracted to her, but Joe warns him of the consequences. Sue discovers Sugar's flask and threatens to fire her until Jerry takes the blame.
Later that night, Sugar climbs into "Daphne's" berth for a chat and proceeds to drive Jerry wild (WE COULD BE CLOSE- Sc to M/F Duet). When Dolores, Rosella and Mary Lou join the party, Sugar goes to the lounge for more cups. Joe is shaving in the lounge, but quickly cleans his face when Sugar enters. She confides that she will be glad to get to Miami to snare a millionaire with a yacht, for she is tired of poor saxophone players.
Next morning, the conductor announces their arrival in Miami and the girls, in choreographic sequence, pop their heads out of the curtained berths and sing (SUN ON MY FACE- Small F Chorus).
On the verandah of the Seminole-Ritz Hotel, Sir Osgood Fielding, an elderly millionaire, announces to the other elderly millionaires that his divorce has come through. He spies Daphne among the girl musicians, introduces himself and comments on her shapely ankle. Jerry hits him with his bass fiddle and exits as Osgood and a group of fellow octogenarians comment on youth (NOVEMBER SONG- M Solo with Small M Chorus).
In Josephine and Daphne's hotel room, the two discuss their interest in Sugar. Joe tells Jerry that Sugar wants a millionaire who wears glasses and owns a yacht, he convinces Jerry to help her achieve her dream (SUGAR- Sc to M Duet). After Jerry exits, Joe removes his wig and disguises himself in a pair of glasses and a yachting outfit.
Act II begins on the beach where Sugar notices Joe disguised as her dream millionaire. He introduces himself as Junior, tells her his family is Shell (SHELL OIL- M Solo) and returns to his Wall Street Journal. Sugar imagines herself married to a millionaire (HEY, WHY NOT!- Sc to F Solo with Small M Chorus). During the number a male chorus dressed like Joe enters, followed by a line of girl dancers dressed like Sugar. As the number ends "Daphne" enters followed by Osgood, who asks Joe to have "Daphne" meet him on his yacht so they can be alone for the evening.
Later that night, aboard the yacht, Joe tells Sugar he has a mental block about sex. She sympathizes and puts forth her best effort (WHAT DO YOU GIVE TO A MAN WHO'S HAD EVERYTHING?- Sc to M/F Duet).
The next morning, Jerry enters the hotel room acting like Hildegarde (MAGIC NIGHTS- M Solo). When Joe enters, he announces that he plans on marrying Osgood hoping for a large financial settlement when his true identity is discovered. Sugar knocks on the door and they put on their wigs as she enters to tell them she's in love. After she leaves Joe admits to himself he is a heel (IT’S ALWAYS LOVE- M Solo).
The lights fade and the sound of tapping feet is heard. Spats and his gang have arrived at the nightclub and Sue dedicates her next number to the "boys" from Chicago (WHEN YOU MEET A MAN IN CHICAGO- L to F Solo with Mixed Chorus). During the number, Jerry and Joe recognize Spats and hastily exit. Spats suspiciously follows them into the corridor. A wild chase through the kitchen’s swinging doors involving Spats, his henchmen, Sugar, Joe and Jerry ensues. During the confusion, Joe tells Sugar he isn't Josephine and he isn't a millionaire. She isn't upset for she loves him and begs to go with him. Spats is mistakenly killed by his own men, but tap dances his way to his end in an hilarious death spoof. On board the yacht with Joe, Sugar and Osgood, Jerry tells Osgood he can't marry him because he is a man. Osgood shrugs and comments that "nobody's perfect."

NOTES ON THE PRODUCTION

The show, which is built on a gimmick, doesn't have a great amount of dramatic sustaining ability, thus the success of the production depends on it's leads and should not be attempted without an extremely strong Joe, Jerry, Osgood, Sugar and Spats.
Sugar is good summer stock fare and appeals to audiences who enjoy Best Little Whorehouse in Texas. The sets may be simplified to save expenses. Some companies have combined all the hotel sequences, other than the bedroom, and placed them on the verandah/night club.
The costumes are period 30s. Jerry and Joe need a wide variety of "girls" outfits, which usually need to be sewn because of the large size required. There is a section where the chorus appears dressed as Sugar/Joe look-a-likes, but it isn't absolutely necessary to the script and may be edited if desired.

SONGS OF SPECIAL INTEREST

"It’s Always Love," Tenor, semi dramatic, questioning, lots of transitions, good for class study

Instrumentation: violins, cello, bass, 4 reeds, horn, 3 trumpets, harp, 2 trombones, guitar/banjo, 2 percussion, piano/celeste/conductor
Script: NP
Selections:
Record/CD: United Artists
Rights: Tams-Witmark

SUGAR BABIES

Conception: Ralph G. Allen and Harry Rigby
Sketches: Ralph G. Allen
Music: Jimmy McHugh
Lyrics: Dorothy Fields and Al Dubin
Additional Music and Lyrics: Arthur Malvin

ORIGINAL PRODUCTION

Mark Hellinger Theatre, October 8, 1979 (1208 perf.)
Director and Choreographer: Ernest Flatt
Musical Director: Glen Roven
Orchestration: Dick Hyman

Principals:
Mickey, First Comic- Mickey Rooney- Tenor
Ann- Ann Miller- Mezzo
Jack- Jack Fletcher- Baritone
Scot- Scot Stewart- Tenor
Sid- Sid Stone- VTNE
Chorus and Smaller Roles: At least 6F for Burlesque beauties, must sing and dance, M Quartet, and 3M for Comics and Straight Men, cast size may be adjusted according to acts and needs

SUMMARY AND NOTES

This tribute to burlesque of the early 1900s through 1930 had a long and well deserved run on Broadway. Much of the success of this historical musical was due to the talent and energy of its stars, Ann Miller and Mickey Rooney. While many of the sketches are too risqu� for some audiences the historical re-enactment of one of the greatest eras of Show Business more than compensates. America's greatest comics received their training in Burlesque before moving to Vaudeville, Broadway, films and television. The show tributes the famous stars of the genre, i.e. Sally Rand and Ed Wynn, and re-enacts the old Burlesque sketches, i.e. The Little Red Schoolhouse, Meet Me 'Round the Corner and The Minstrel.
The script provides for casting flexibility and reassigning of roles to utilize each cast member to best advantage.
The production numbers and the specialty Burlesque tributes call for elaborate settings and specialty costumes. These numbers will be the major budgetary expense of the show.

SONGS OF SPECIAL INTEREST

"Good Old Burlesque Show," Opening number tribute to Burlesque, begins as M Solo and goes into a company number, good for Tribute Revue and class
"I'm Just a Song and Dance Man," Tenor, although music is available in baritone range, dance oriented, showstopping number, great voice not required
"On the Sunny Side of the Street," Up-Tempo, movement oriented Mezzo/Tenor (Baritone) Duet, good for relationship to each other and the audience, also works as a solo for any voice range

Instrumentation: 5 reeds, 3 trumpets, horn, 3 trombones, 2 percussion, 3 violins, cello, bass, harp, guitar/banjo, piano/celeste, piano/conductor
Script: Samuel French
Selections: Jimmy McHugh Music
Record/CD: B'Way Entertainment
Rights: Samuel French

SUNDAY IN THE PARK WITH GEORGE

Synopsis by Maryann Plunkett who assumed the roles on Broadway originated by Bernadette Peters

Music and Lyrics: Stephen Sondheim
Book: James Lapine

ORIGINAL PRODUCTION

Booth Theatre, May 2,1984 (604 perf.)
Director: James Lapine
Choreographer: Randolyn Zinn
Musical Director: Paul Gemignani
Orchestration: Michael Starobin

Principals:
George- Mandy Patinkin- Tenor
Dot/Marie- Bernadette Peters- Mezzo
Old Lady/Blair Daniels- Barbara Bryne- Mezzo
Nurse/Mrs./Harriet Pawling- Judith Moore- VTNE*
Franz/Dennis- Brent Spiner- VTNE
Boy bathing/Louise- Danielle Ferland- Soprano
Young Man on bank/Frieda/Betty- Nancy Opel- VTNE
Man on a bank/Louis/Billy Webster- Cris Groenendaal- VTNE
Jules/Bob Greenberg- Charles Kimbrough- Baritone
Yvonne/Naomi Eisen- Dana Ivey- Mezzo
Boatman/Charles Redmond- Bill Parry- VTNE
Celeste #1/Waitress- Melanie Vaughan- VTNE
Celeste #2/Elaine- Mary D’Arcy- VTNE
Soldier/Alex- Robert Westenberg- Baritone
Man with bicycle/Museum Assistant- John Jellison- VTNE
Little girl- Michele Rigan- VTNE
Woman with stroller/Photographer- SueAnne Gershenson- VTNE
Mr./Lee Randolph- Kurt Knudson- VTNE
Chorus and Smaller Roles: None: *In this instance, VTNE is used at the discretion of the musical director who may vary roles and vocal types within the ensemble members

SYNOPSIS

It is 1884. An artist is sitting before a huge empty canvas (the stage) with his sketch pad. With precision, he begins the play with the words, "White. A blank page or canvas. The challenge: bring order to the Whole Through Design. Composition. Tension. Balance. Light . And Harmony." As he speaks, the canvas becomes a park on the Isle of La Grande Jatte. George is sketching his free-spirited mistress, Dot, who is finding it difficult to comply with George’s demands (SUNDAY IN THE PARK WITH GEORGE- F Solo).
Scenes shift and change with magical quickness. Rowdy boys bathing on the banks of the river, becomes, with a sweep of George’s hand, the painting "Bathing at Asnieres",at an art gallery. A rival artist, and supposed friend, Jules, comes by with his wife Yvonne,and they critique the work (NO LIFE- M/F Duet).
We are suddenly back in the park, where George is finishing up his work on Dot, and promising her they will go to the Follies that night. She leaves, and George continues his searching and sketching, chatting with an old lady and her nurse. The old lady is George’s reluctant-to-admit-it Mother.
The scene shifts to George's studio later that day. Dot gets ready for the Follies, and George works on his large canvas (COLOR AND LIGHT- M/F Linear Duet). George angers Dot when he tells her he can't go to the Follies because he has to "finish the hat," and Dot storms out.
Some time has passed and we are back in the park where George is sketching a rough boatman. The Nurse and Old Lady are back. The two Celestes observe (GOSSIP- F Duet).
Dot enters with a new man in tow, Louis the Baker. Dot is learning to read, and proudly studies her lessons as George approaches. They exchange a few tentative words and George retreats as Louis comes to fetch Dot away. George begins sketching the Boatman’s dog, bringing the dog (a cutout), and a female pug called Fifi to life with his voice (THE DAY OFF- M Solo joined by others). Several other people in the park join in the song, all from within their own insular perspectives. Dot re-enters. George leaves as he sees her approach, and Dot calls after him, declaring how lucky and happy she is now (EVERYBODY LOVES LOUIS- F Solo).
The scene continues with the people in the park taking on ever more detail and inter-relating (i.e., the two Celestes flirt with two soldiers [one real, one cutout] and join in the song as they leave the stage). We find George alone in the park, going over his days work and thinking of Dot, trying to express what it is that drives him as an artist, yet yearning as well for a human bond with someone who could accept him (FINISHING THE HAT- M Solo). Suddenly the park is alive with people again and Dot enters, approaching him as they are circled by people singing fragments of songs in a cacaphony. Dot and George move close and Dot pulls the bustle on her dress to the front, creating a pregnant stance. Lights fade and come up on George’s studio. George works. Some time has passed. Dot enters, watching him and an extended scene between George and Dot follows, filled with recrimination, yearning, and regret. They are interrupted by the arrival of Jules and Yvonne. Jules is there to look at the progress of George’s work. His response is unfavorable. When Jules and Yvonne leave, George and Dot continue their painful scene (WE DO NOT BELONG TOGETHER- M/F Duet). Dot leaves with the words, "I have to move on".
The scene changes back to the park once again. George is there with the Old lady, who is unusually tender with him now (BEAUTIFUL- M/F Duet). The Park comes alive with people again, including Dot who comes on with her baby, Marie, in her arms. She tells George she is going to America. George will not look at her or the baby, as they speak.
He denies that the baby is his. Dot leaves, and George calls after her that he is sorry. The scene continues with all the characters we have met coming into the park, interrelating and fighting. The noise and movement build to a loud, unpleasant swirl until George stops everything with a gesture and carefully, powerfully, assembles the mass into the order of the painting "A Sunday Afternoon on the Isle of La Grande Jatte" (SUNDAY- Chorus). Dot is there in the painting too, right in front as Act I ends.
Act II begins with the same tableau. Everyone in the painting is complaining (IT’S HOT UP HERE- 9F/7M). Suddenly, a century has passed and we are in the U.S., at an exhibition of the painting where another artistic George is showing his newest work, a laser-light "sculpture," Chromolume #7. This George is the great-grandson of Act I’s George, and he is here with his wheel-chair bound, 98-year old grandmother, Marie (the baby of Dot). The party is filled with critics and other artists, all with something to say about young George’s work. George tries to keep control of the situation and placate everyone (CHROMOLUME #7/PUTTING IT TOGETHER- Large Chorus and Strong M Solo with Dialogue/Scenes interspersed, complex). When all the guests are called in to dinner, Marie is left in front of the painting while George and his amicable ex-wife, Elaine, talk. Marie is in a half-dream state, looking at the painting. She begins to speak to Dot’s image, seeing her mother everywhere on the canvas, and she expresses her love and concern for her unhappy grandson (CHILDREN AND ART- F Solo). George joins her, and Elaine wheels her off, as she looks back at the painting saying, "Goodbye, Mama."
In the final scene, Marie has died and George is in France, to give a presentation of his Chromolume. He has come to the Isle of La Grande Jatte. Everything has changed. There are high-rise buildings, and dirt and noise. Only one tree remains from Act I. George is nearing despair and sits with a workbook Marie has left him. It is Dot’s workbook.
Suddenly, Dot appears to him, mistaking him for the other George. She speaks to him with the love she could never express when she was alive. George is flailing and Dot gently, wisely tells him of everything he gave to her and expresses thanks for everything, not least of all, Marie. She guides him out of his despair, to look toward the future, telling him not to worry about what he is going to do, but to just move on (MOVE ON- F/M Duet ). George asks Dot about the workbook, and she tells him that George’s words are in there. The young George begins to repeat the words his great-grandfather said at the beginning of the play, and the people from the painting enter and form a tableau again (SUNDAY [REPRISE]- M/F Duet to Company). George is on his own as the image once again fades to white. The last image to fade away is Dot’s and George is left with a future of, "So many possibilities."

NOTES ON THE PRODUCTION

Sunday in the Park with George received the 1985 Pulitzer Prize for Drama.
Richard Nelson and Tony Straiges received 1984 Tony Awards for Lighting and Set Design, respectively.
The show is inspired by the life and work of French painter, Georges Seurat (1859-91), especially the creation of his "A Sunday Afternoon on the Isle of La Grande Jatte".
The structure of this play is not linear; there are no neat scenes leading into the next. The two acts are separate, but certainly linked. There is great exploration of what it means to be an artist, of how relationships and life are affected by the pursuit of art. Art involves creation, and this play lets the person who creates through living, and love, be seen as an artist too. The two forces of Dot and George finally come together in the end, each having created their own masterpiece.

SONGS OF SPECIAL INTEREST

So much of the music is special, and deserves to be explored. Here are just a few pieces:

"Sunday In the Park with George," Mezzo Solo, a funny, challenging, word-full solo for an uncomfortable model wilting in the heat, borders on patter, good movement section
"The Day Off," great versatility of voice is needed in this song, three different voices from the George character, others join in for extended scene, could be a good "project" piece
"Finishing the Hat," Tenor Solo, a beautiful, passionate description of what an artist must do
"We Do Not Belong Together," Sc to Tenor/Mezzo Duet the scene between George and Dot, and then Jules and Yvonne, that finally culminates in the song, is almost a short one-act play unto itself, could be a wonderful long-term piece to work on
"Sunday," wonderful for close choral work
"Children and Art," Mezzo Solo, gentle, lullaby-like, the expression of the importance of Life in one’s Art

Instrumentation: Script: Dodd, Mead Vocal Score: Revelation Music Publishing Corp. and Rilting Music Record/CD: RCA
Rights: MTI

SWEENEY TODD
The Demon Barber of Fleet Street

ORIGINAL PRODUCTION

Uris Theatre, March 1, 1979 (557 perf.)
Director: Harold Prince
Choreographer: Larry Fuller
Musical Director: Paul Gemignani
Orchestration: Jonathan Tunick

Principals:
Anthony Hope- Victor Garber- Tenor
Beggar Woman- Merle Louise- Soprano
Sweeney Todd- Len Cariou- Baritone
Judge Turpin- Edmund Lyndeck- Baritone
Mrs. Lovett- Angela Lansbury- Mezzo
The Beadle- Jack Eric Williams- Tenor
Johanna- Sara Rice- Soprano
Tobias- Ken Jennings- Tenor
Pirelli- Joaquin Romaguera- Tenor
Chorus and Smaller Roles: 8M/8F absolute minimum in order to achieve vocal demands

SYNOPSIS

The play takes place in Nineteenth Century London, around the area known as Fleet Street. As the audience enters, the organ expounds funeral music while two gravediggers begin to dig a grave. When the play is ready to begin, a factory whistle is heard and the stage plunges into darkness. This whistle is effectively used throughout the production to heighten dramatic tension.
The lights rise on the company members who ominously invite the audience to listen to the tale of Sweeney Todd (THE BALLAD OF SWEENEY TODD- Mixed Chorus). Graveside action accompanies the song, which ends with Sweeney rising from the grave.
The scene switches to the docks. It is early morning and a young romantic sailor, who has saved Todd from drowning, joins the forty-year old, embittered man in expounding their different views of London. A half-crazed beggar woman interrupts them, demonstrating the coarser side of the town (NO PLACE LIKE LONDON- Sc to 2M/F Trio).
Anthony, realizing that Todd is distraught, offers him aid, but is quickly rebuffed by the angered man, who relates a story about the class structural filth of London (THE BARBER AND HIS WIFE- Sc to M Solo). The two say goodbye and Todd heads for Fleet Street, where Mrs. Lovett, the slatternly, conniving owner of a grubby meat pie shop, is busy shooing flies away from her main source of income. She is overjoyed to see a customer, but warns Todd that hers are the worst pies in London (THE WORST PIES IN LONDON- F Solo). When he asks her about renting a vacant room upstairs from of her shop she tells him the story of the former residents, an unfortunate barber and his wife (POOR THING- Sc to F Solo). When Sweeney reacts strongly to the story Mrs. Lovett recognizes him as the barber, Benjamin Barker. He assures her he is no longer Benjamin Barker, but Sweeney Todd, who has returned, after fifteen years of transportation to Australia, to gain his revenge. Mrs. Lovett offers to let him have the upstairs room and gives him his barber equipment, which she had safely stored for his return. Sweeney eyes the sharp razors and an idea begins to take its bloody shape (MY FRIENDS- Sc to M/F Duet).
The scene moves to Judge Turpin’s home, where Johanna, Sweeney’s daughter, was taken at age one to be raised by the lecherous Judge who raped Sweeney’s wife in front of a group of party guests. Johanna, at sixteen, is beautiful and naively unaware of the judge’s evil lechery. She appears at the balcony as a bird seller walks by and mournfully compares her life to that of a caged bird (GREEN FINCH AND LINNET BIRD- F Solo).
Anthony, who happens by, is instantly enamored, but Johanna is frightened inside by the sudden appearance of the beggar woman (AH, MISS- M/F Sc to Duet) who warns Anthony to avoid the house of Judge Turpin. Ignoring her advice, Anthony gives a bird to Johanna, who shyly offers him her hand as the Judge enters and calls her inside. The Judge orders Anthony away and the Beadle adds to the warning by strangling the bird. As the two exit into the house Anthony vows to steal the unhappy girl from the evil judge (JOHANNA- M Solo).
At a nearby market place, a fraudulent Italian barber, Aldolfo Pirelli, has set up his cart for his weekly Thursday haircuts and bald remedy sales. He is announcing his latest elixir with the help of his young assistant, Tobias, when Sweeney and Mrs. Lovett arrive (PIRELLI’S MIRACLE ELIXER- M Solo to Mixed Chorus). Sweeney challenges the egotistical barber to a shaving contest (THE CONTEST- M Solo) which he easily wins. His reputation is assured when the Beadle, promises to visit his shop within the week.
In his shop, as Sweeney impatiently awaits the arrival of the Beadle, Mrs. Lovett urges patience (WAIT- Sc to F Solo). Anthony bursts in to ask Todd to use the shop as a resting place for Johanna, whom he intends to steal from Judge Turpin. Todd happily agrees and the lad rushes from the shop.
Pirelli interrupts Mrs. Lovett and Todd and asks to speak to Todd alone. Mrs. Lovett takes Tobias down to the pie shop as Pirelli, who has recognized Todd as Benjamin Barker, attempts blackmail. Todd slashes his throat and stuffs the dead Pirelli in a nearby trunk. Three tenors from the chorus comment.
Meanwhile, Johanna confides to Anthony that she will kill herself if the judge pursues his desire to marry her. Anthony assures her that he will save her (KISS ME- Sc to M/F Duet). The Judge, on his way home after a long day of passing unjust sentences, confides to the Beadle his desire for Johanna. The Beadle directs him to Sweeney’s shop to get a shave and a haircut (LADIES IN THEIR SENSITIVITIES- Sc to M Solo to 3M/F Quartet). Anthony outlines his plan for escape as Turpin decides to visit the now famous barber.
The Judge arrives at Sweeney’s and Sweeney prepares to slit the Judge’s throat (PRETTY WOMEN- Sc to M Duet), but Anthony bursts in to announce his marriage to Johanna. The Judge exits, promising to remove Johanna from Anthony’s reach, and Todd orders Anthony from his sight. Mrs. Lovett enters to hear Sweeney’s vengeance (EPIPHANY- Sc to M Solo). He vows to practice his killing until the Judge returns. He is beginning to grow demented, but Mrs. Lovett forces him back to the reality of disposing of Pirrelli’s body. When she decides that burial would be a waste of a potentially good filling for her pies, the two spiritedly connive (A LITTLE PRIEST- Sc to M/F Duet).
At the beginning of Act II, Mrs. Lovett’s pie shop is so successful she has added an outdoor dining area to seat the newly acquired customers. Tobias, Pirelli’s former slow-witted assistant who is still waiting for his master to return, helps dish up the pies (GOD THAT’S GOOD!- Mixed Chorus).
Anthony is searching the streets for Johanna, who Turpin has incarcerated in a mental asylum, Sweeney is testing his newly designed barber chair which slides the victims to the kitchen below, and the beggar woman is screaming a warning about Mrs. Lovett’s pies (JOHANNA- 2M/2F Quartet).
At the end of the day, Todd rests in the parlor while Mrs. Lovett counts her money. She tries to take Todd’s mind from the judge by verbally painting a vacation spot the two of them could enjoy in married comfort (BY THE SEA- Sc to F Solo).
Anthony interrupts to tell Todd he has found Johanna in a mental asylum. Todd quickly devises a plan to disguise Anthony as a wigmaker, who can easily gain admission to purchase human hair from the inmates. When Anthony leaves, he drafts a note to the judge stating that Johanna will soon be at his shop. He vows that the Judge will not escape his vengeance again.
Tobias tells Mrs. Lovett he appreciates her kindness, and will protect her from any danger (NOT WHILE I’M AROUND- Sc to M/F Duet). During their conversation, he discovers that Todd has killed his former boss, but Mrs. Lovett lures him to the baking cellar and quickly locks him in before he can alert the police.
When she enters the house, she finds the Beadle in the parlor and joins him in some songs-hoping that Todd will return (PARLOR SONGS- Sc to M/F Duet). At last Todd arrives and escorts the Beadle upstairs to slit his throat. Tobias, in the bake-house below, hears a noise from above as the Beadle’s bloody body is deposited down the chute. He screams in terror for he has at last realized the exact ingredients of Mrs. Lovett’s pies.
Anthony rescues Johanna who shoots her captor. As they run off, the inmates tear down the wall and escape to the street (CITY ON FIRE!- Mixed Chorus).
The musical builds to the climax as Tobias escapes and Todd kills the beggar woman, whom he later discovers is his long lost wife. He fulfills his vengeance, by killing the judge and gains revenge on Mrs. Lovett, who let him believe his wife was dead, by throwing her into the oven (FINAL SEQUENCE- Mixed Chorus). As Todd mourns his dead wife, Tobias, who has gone stark raving mad, emerges from the cellar, seizes the razor and slits Todd’s throat. The Company comments as the actors return for their bows (THE BALLAD OF SWEENEY TODD- Mixed Chorus).

NOTES ON THE PRODUCTION

This unusual musical theatre offering received many well-deserved Tony Awards for Best Actor (Len Cariou), Actress (Angela Lansbury), Musical, Director, Book, Score, Set Design and Costume Design.
Sweeney Todd is a musically demanding show whose cast requirements include four tenors in leading roles and a vocally talented chorus. The set requires no drops and may be performed with the pie shop, usually a revolve from exterior to interior, and a location for Judge Turpin’s home. The costumes are period, Industrial Revolution, England. It is possible for each cast member to have one costume although it gives more visual variety if Mrs. Lovett has several.
The trick barber chair must be rigged and timed to allow the bodies to fall, via a trap door, to the area below. It is an extremely important part of the action, which must be smoothly controlled. Another consideration is the handling of the throat slashing sequences and the use of blood pellets, or squirter, either on the razor or hidden on the actors necks. The costume crew must be prepared for daily laundering.
Both Todd and Tobias visually deteriorate through the show as each grows more and more insane. Some backstage help should be waiting to assist the performers in the make-up changes.
The show is extremely exciting and can be occasionally seen on Cable TV. It would help a company considering the show to purchase or rent the Lansbury touring tape.

SONGS OF SPECIAL INTEREST

"Kiss Me," Soprano, comedic, good for relationships, vocally demanding
"Epiphany," The transition from anger to madness makes this an excellent Baritone acting song
"A Little Priest," diction, character relationship and interaction highlight this Mezzo or Alto/Baritone Duet

Instrumentation: 5 reeds, 2 trumpets, horn, 3 trombones, 2 percussion, harp, organ, violin, viola, cello, bass
Script: Dodd, Mead
Score: Valando
Record: Motown
Rights: MTI

SWEET CHARITY

Book: Neil Simon
Music: Cy Coleman
Lyrics: Dorothy Fields
(Based on an original screenplay by Fellini, Pinelli and Flaiano, "Nights of Caberia")

ORIGINAL PRODUCTION

Palace Theatre, January 29, 1966 (608 perf.)
Director and Choreographer: Bob Fosse
Musical Director: Fred Warner
Orchestration: Ralph Burns

Principals:
Charity- Gwen Verdon- Alto
Nickie- Helen Gallagher- Mezzo
Vittorio Vidal- Jamies Luisi- Baritone
Daddy Brubeck- Arnold Soboloff- Baritone
Helene- Thelma Oliver- Alto
Ursula- Sharon Ritchie- VTNE
Oscar- John McMartin- Baritone
Herman- John Wheeler- Tenor
Rosie- Barbara Sharma- VTNE
Chorus and Smaller Roles: 6M/6F

SYNOPSIS

Charity’s Theme is heard as a spotlight picks up Charity Hope Valentine, a romantic dance hall hostess, who is dancing about the stage. A sign drops in, reading: "The Adventures of Charity," followed by second, third and fourth signs that read: "The Story of a...Girl Who Wanted To Be... Loved." The lights rise to full on a park with the orchestra pit representing a lake. Charity happily greets her young, greaser type boyfriend, who is wearing a black leather jacket and dark glasses, and begins to tell him how wonderful he is (YOU SHOULD SEE YOURSELF- L to F Solo).
When she informs him she has brought her savings, enough for a down payment for some furniture, he grabs her purse and pushes her in the lake. A sign appears reading: "Splash!" followed by another reading "The Rescue." As Charity yells for help, several passersby ignore her, not wanting to get involved. A crowd gathers and comments, in typical New York fashion, before a man finally rescues her.
A sign appears reading: "Fan-Dango Ballroom...that night" and the scene shifts to the dressing room of the Fan-Dango. Charity tells her story to several of the dance hall hostesses who urge her to forget him. The girls leave Charity, who is still dressing, to enter the Ballroom.
In the Ballroom, the girls line up to greet the customers (BIG SPENDER- F Chorus). Several of the girls go to the booths with the male customers as Charity tells her problems to her friends Nickie and Helene. She explains how she got involved (CHARITY’S SOLILOQUY- Sc to F Solo).
On her way home, Charity passes the Pompeii Club as Ursula, the fianc� to famous actor Vittorio Vidal, walks out. A sign drops in reading: "A Stroke of Luck." Vidal sees Charity and asks her to join him.
In the Club, which is lavishly decorated, five couples dance (RICH MAN’S FRUG- Mixed Dance Chorus), but they stop and gossip as Vidal and Charity enter. He orders dinner and the two begin to dance, but the starving Charity faints in his arms. Vidal wonders what to do until Charity raises her head and hints that he should take her home.
In Vidal’s apartment, which is a combination bed/sitting/dressing room, Vidal arrives with Charity who is no longer hungry but does accept a drink. As the two talk, Vidal finds Charity enchanting. She begs him for a souvenir and he exits to autograph a picture. Charity imagines the reactions of her friends at the ballroom (IF MY FRIENDS COULD SEE ME NOW- F Solo with M/F Scenes Interspersed). At various points during the number, Vidal gives her a photograph, walking stick and top hat, all props from his films. Ursula arrives and demands to be seen. Manfred, Vidal’s servant, stalls her while Charity hides in the closet and, during the next scene, the lights rise on Charity in the closet, who reacts to everything she sees. Vidal woos the jealous Ursula (TOO MANY TOMORROWS- Sc to M Solo) as Charity watches. The lights fade on the bed and a sign appears: "A New Day." Ursula is asleep and Vidal tiptoes to the closet to say goodbye to Charity, who waves goodbye.
In the dressing room of the Fan-Dango Charity tells Nickie and Helene about her night with Vidal. The two girls think she is stupid for not demanding more, but all three realize they are stuck with their fate. The three sing of their aspirations for a better life (THERE’S GOTTA BE SOMETHING BETTER THAN THIS- Sc to F Trio). Herman, the manager, enters and orders the girls to the dance floor.
Charity refuses to dance and a sign drops in: "A Big Decision." She decides to get some culture as a sign appears "The 92nd Street ‘Y’ " (an institution noted for its wide variety of self improvement classes and lectures).
Charity follows a young, shy man in his mid thirties onto the "Y" elevator, which proceeds to get stuck between floors. It turns out the man is Oscar Madison who has claustrophobia. Charity s tries to calm him (I’M THE BRAVEST INDIVIDUAL- Sc to F/M Duet) but the plan fails when the lights go out. A sign appears reading "To Be Continued."
As Act II begins, a sign, "Meanwhile Back In the Elevator..." drops in. The lights are on and they are on the bottom floor. Oscar invites Charity to the "Rhythm of Life Church" which meets under the Manhattan Bridge. The two exit as the scene shifts to a garage which has been converted to a church. The service, a hash party led by Big Daddy, is in progress (THE RHYTHM OF LIFE- M Solo to Mixed Chorus), but it is soon raided by the police. Everyone stamps out their cigarettes and rushes off.
Two weeks later, Helene and Nickie, in the apartment, humorously enact Charity’s dreams for marriage, a house and children. Both agree they would like the dream for themselves (BABY, DREAM YOUR DREAM- Sc to F Duet).
A sign appears "Coney Island" and the lights rise on Charity and Oscar midway up and stuck on the famous parachute jump. When Oscar discovers Charity has a fear of heights and needs him he realizes he loves her (SWEET CHARITY- Sc to M Solo). Charity attempts to tell him the truth about her job but he expresses his love of her innocent purity and she is afraid to continue. They declare their love (SWEET CHARITY [REPRISE]- Sc to M/F Duet). In the Fan-Dango Ballroom, where there are no customers, a bored Nickie and Helene greet a new young girl, named Rosie, who only plans on working a few weeks. Charity enters and urges Rosie to get out. A customer arrives and Nickie urges Charity to look busy but she retorts that she wants out. She moves downstage and soliloquizes (WHERE AM I GOING?- F Solo).
Charity enters a phone booth to send a telegram to Oscar urging him to meet her at a chili restaurant later that night.
A sign appears "The Proposal" and the lights rise on the Eighth Avenue Chili Restaurant. There are two booths against the wall; Oscar is in one and Charity enters and sits in the booth behind so that they are back to back. She tries to tell him that she works in a dance hall but he already knows and asks her to marry him. As Oscar outlines their future, Charity walks from the scene, overwhelmed that someone loves her (I’M A BRASS BAND- Sc to F Solo).
At the Fan-Dango, the girls, waiters, three regular customers and Herman give Charity and Oscar a wedding party. Herman, their usually tough boss, breaks down at the thought of their future happiness (I LOVE TO CRY AT WEDDINGS- M Solo to Mixed Chorus).
A sign appears reading "Plans" and the lights come up on Oscar and Charity in the park. Oscar tells her he is unable to marry her because he can’t forget her past and urges her to leave him. He pushes her into the lake, apologizes and runs off. Charity, quite wet, climbs from the pit. Realizing she still has her purse, she comments that things are better. A light picks up a Good Fairy who tells Charity her dreams will come true and a sign drops in as Charity begins dancing; it reads "She lived ... hopefully ... ever after" (FINALE- Company).

NOTES ON THE PRODUCTION

Sweet Charity was nominated for seven Tony Awards in 1966, but only walked away with one for Best Choreographer (Bob Fosse). It might have won more if it hadn’t been competing with Mame and Man of La Mancha.
Anyone considering this show must have an excellent "triple threat" performer to play Charity. The part was specifically written for Gwen Verdon, whose charmingly naive, yet warm-hearted sexual quality charmed audiences of both sexes.
The musical numbers are relatively easy to stage and need not be as intricate as Mr. Fosse’s. There is room for variety and new choreographic interpretation. The script is humorous. The characters, portrayed in the movie as extremely hard, may be given a lighter touch that might appeal more to local audiences.
The major sets are the ballroom, the hostess room at the ballroom, the Pompeii Club, Vidal’s apartment, Charity’s apartment, and the Chili House. It is possible to utilize the same flats for Charity’s and Vidal’s apartments by changing the set decorations and props. The hostess room could be a permanent section on the ballroom It is also possible to turn the ballroom into the Pompeii Club and possibly the Chili House. The remaining scenes in the Park, the garage, the Y and Coney Island may be delineated by lights and a simple set piece. It would be helpful to have a NY street drop, but this isn’t absolutely necessary.
The costumes are period middle 1960s and could be updated, but the "Rhythm of Life Church" sequence doesn’t work as well because it is so obviously 60s. The costumes are inexpensive. The show is a gem for schools and communities who are looking for excellent roles for women, good songs, humorous situations and witty dialogue. A guaranteed crowd pleaser.

SONGS OF SPECIAL INTEREST

"Big Spender," good number for a Musical theatre beginning class and inexperienced choreographer, allows for specific characterizations, good for loosening stiff performers
"If My Friends Could See Me Now," Mezzo, vaudeville style song and dance, good for character study or club
"There’s Gotta Be Something Better Than This," excellent 2 Alto/Mezzo trio, specific stories, good for relationship development
"I’m the Bravest Individual," humorous scene/song, requires good characterization, comic timing, reactions
"The Rhythm of Life," simple chorus song for beginning choreographer, good for revue or class situation, allows for free style improvisation from performers, drug orientation may be deleted
"Baby, Dream Your Dream," change of character Alto duet, actable specifics
"Charity’s Soliloquy," introspective song, semi-dramatic for young Alto or Mezzo

Instrumentation: 3 violins, cello, bass, 4 reeds, 4 trumpets, 2 percussion, synthesizer, 2 guitars, piano/conductor
Script: Random
Selections: Notables
Record: Columbia
Rights: Tams-Witmark

THE TAP DANCE KID

Book: Charles Blackwell
Music: Henry Krieger
Lyrics: Robert Lorick
(Based on the novel Nobody’s Family Is Going to Change by Louise Fitzhugh)

ORIGINAL PRODUCTION

Minskoff Theatre, Date (# perf.)
Director: Vivian Matalon
Choreographer: Danny Daniels
Musical Director: Don Jones
Orchestration: Harold Wheeler
Principals:
Dipsey- Hinton Battle- Baritone
Ginnie- Hattie Winston- Mezzo
William- Samuel E. Wright- Baritone
Emma- Martine Allard- Alto
Willie- Alfonso Ribeiro- Boy Soprano
Carole- Jackie Lowe- Mezzo
Daddy Bates- Alan Weeks- Baritone
Dulcie- Barbara Montgomery- VTNE
Chorus and Smaller Roles: 7M/7F who dance well

SYNOPSIS

The curtain opens on the dining room of a comfortable apartment on a Roosevelt Island where Willie, a young black boy with a desire to dance, lives with his father, William, a successful lawyer, his mother, Ginnie, a former dancer, and his sister Emma, an overweight twelve-year old who wants to study law. Emma and Ginnie wonder how they will get William to let his son study dance (ANOTHER DAY- Sc to F Duet). William enters and strongly emphasizes his feelings that Willie should concentrate on school so he can be a lawyer and Emma should begin losing weight and dressing like a young lady.
In New York, at Uncle Dipsey’s dance studio, a rehearsal is in progress for a club show that Dipsey is choreographing. Dipsey, Ginnie’s brother and a professional dancer, shows his talent when Mona, a chorus girl, complains about the height of her heels. Dipsey dons her shoes and performs the combination complete with feather boa and high kicks.
In the apartment study, Emma laments the fact that people won’t accept her for herself (FOUR STRIKES AGAINST ME- F Solo), but her thoughts are interrupted by Dipsey’s entrance. Ginnie and Dipsey reminisce about the dance act they had with their father, Daddy Bates (CLASS ACT- Sc to M/F Duet into 2M/F trio when the deceased Daddy Bates appears). At the end of the number, William arrives to tell Dipsey he doesn’t want his son wasting his life as a dancer and Dipsey tactfully leaves. William proceeds to ground Willie, who shows him a report card of C’s and D’s, and to ignore Emma, who is nearly a straight A student.
The children, extremely disappointed by the father’s attitude, wander into the playground (THEY NEVER HEAR WHAT I SAY- Sc to M/F Linear Duet). Willie soliloquizes on the importance of dance in his life (DANCING IS EVERYTHING- M Solo) and he disobeys his father by going to the studio where Dipsey is putting together an industrial show. Willie watches the rehearsal and joins in the number (FABULOUS FEET- M Solo with Mixed Chorus). Everyone is impressed by the young boy’s talent, but Dipsey takes Willie home. He leaves his assistant, Carole, to rehearse the company.
As Carole puts the dancers through their paces, she is spotted and sings of her love for Dipsey (I COULD GET USED TO HIM- F Solo).
In the study on Roosevelt Island, William is upset that Willie has run to Dipsey for advice and tells Dipsey that he is no longer welcome in their home. Dipsey says goodbye and tells Willie to keep dreaming (MAN IN THE MOON- M Solo).
Act II opens in the dining room. After a tense meal, Emma tells her mother she doesn’t like her father because of the way he treats people. Her mother urges understanding (LIKE HIM- Sc to F Duet) and defends herself as a wife and mother.
On the playground, Emma and Willie hope that things will eventually work out for all of them (SOMEDAY- Sc to F/M Duet).
In the loft, where Dipsey is excited about his new job as choreographer of a Broadway tryout (MY LUCK IS CHANGING- M Solo), Ginnie enters. She is depressed that she is failing her children, but still defends her husband by reminding Dipsey of what her life was like before she met William (I REMEMBER HOW IT WAS- F Solo).
In his bedroom, Willie’s secret practice is interrupted by Ginnie, who has decided to let him audition for Dipsey’s show. She assures him his father loves him (LULLABYE- F Solo). As Willie sleeps the walls of his room begin to move and his grandfather steps out of a Daddy Bates wall poster to be joined by Dipsey and Willie (TAP, TAP- 2M/1 Child Trio).
After Willie’s audition he describes the feeling to his uncle. As he relives the audition the lights rise on his grandfather behind a scrim. The chorus appears as famous dancers a la Astaire, Kelly, Bojangles, Rogers, and Cyd Charisse. Willie dances with all of them (DANCE IF IT MAKES YOU HAPPY- Mixed Chorus).
At Dipsey’s loft, after Ginnie tells William she is going to let Willie perform, the entire family confronts him. The father, in a dramatic monologue and song, tries to express his inner feelings to Willie. It seems he associates tap dancing with slavery when blacks performed for the pleasure of the whites (WILLIAM’S SONG- L to M Solo). He agrees to let Willie dance and goes outside to wait for the family.
Alone in the street, William asks for wisdom and understanding (WILLIAM’S SONG [REPRISE]- M Solo). Emma tells her father she is going to be a lawyer, Willie tells his father he is going to dance but needs more training before he does any shoes, and Ginnie asks that Willie be allowed to study with Dipsey. As they leave for home Dipsey comments that they are a class act (CLASS ACT [FINALE]- Mixed Chorus).

NOTES ON THE PRODUCTION

The Broadway production had excellent dancers, but an amateur production could emphasize the family story and trim many of the dance numbers. In the original story, Emma was a more central character and, while the musical emphasizes Willie’s story, the part of Emma is equally important. In fact, teenagers will strongly identify with her.
At this writing, the production rights have not been released so the script notes have been taken from the actual Broadway production. It is quite possible that the published production will be rewritten for high school and Community groups and the dance numbers will be de-emphasized.
The costumes are modern street clothes with the only exceptions being the Daddy Bates dream sequence and period dance number. Neither are essential to the overall dialogue or plot. The setting can be as complex or as simple as is affordable. Dipsey has a dance studio and a bedroom area; the Roosevelt Island Apartment has a study, dining area, Willie’s bedroom and balcony, but these could be cut down and simplified to a single set, which represents the apartment. The remaining scenes take place on the playground or on a Manhattan street, but the playground scenes could take place in the apartment.
The show is definitely worthy of a high school production as the message is timely and it effectively portrays the problems of parents and children. If it could be trimmed in size it would be an excellent vehicle to tour to Junior High Schools and Middle Schools.
SONGS OF SPECIAL INTEREST
"Class Act," vaudeville style, period dance number
"I Remember How It Was," F dramatic solo
"William’s Song," Strong M dramatic solo
"Dancing Is Everything," possible audition song

Instrumentation:
Script: Score: NP Selections:
Record/CD: Polydor Rights:

TENDERLOIN

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

ORIGINAL PRODUCTION

The 46^th Street Theatre, October 17, 1960 (216 perf.)
Director: George Abbott
Choreographer: Joe Layton
Musical Director: Hal Hastings
Orchestration: Irwin Kostal

Principals:
Tommy- Ron Husmann- High Baritone
Nita- Eileen Rodgers- Soprano
Rev. Brock- Maurice Evans???- Baritone
Laura- Wynne Miller- Mezzo
Frye- Eddie Phillips- VTI
Maggie- Pat Turner- Mezzo
Gertie- Lee Becker- Mezzo
Margie- Margery Gray- Mezzo
Jessica- Irene Kane- Mezzo
Chorus and Smaller Roles:

SYNOPSIS

The show opens on a bare stage at the turn of the century. Principle characters are introduced in spotlight: Tommy, a reporter for Tattler magazine and a singer at Clarks, a Tenderloin bar; Nita, a Tenderloin prostitute; Schmidt, Lieutenant of police in the Tenderloin who hopes to get rich on graft; and Reverend Dr. Brock, a moral minister who hopes to close the Tenderloin District. The choir sings (BLESS THIS LAND- Mixed Chorus), after which the prostitutes and cops sing about the property they have (LITTLE OLD NEW YORK- Mixed Chorus). During the number, other typical Tenderloin characters (madams, pickpockets, drunks, etc.) are introduced.
Outside the church, Tommy is trying to convince Jessice, an uncertain young worker at the Parish house, to help him get a scoop: an exclusive interview with Dr. Brock. He meets Laura Crosbie, a lovely wealthy parishioner who sings in the choir, and getting an idea, tells Jessica he doesn’t really want a scoop, he wants to join the choir. Inside, Joe, a country yokel, and Purdy, a wealthy, elderly businessman, urge Dr. Brock to be more tolerant of the Tenderloin. Dr. Brock is exasperated (DR. BROCK- M Solo). Tommy, Laura and Jessica enter. As Jessica goes to get Martin, the choirmaster, Tommy tries to impress Laura, but is interrupted by Martin, who interviews Tommy and decides he doesn’t belong and leaves. Unruffled, Tommy opens the door to Brock’s office and begins to sing (ARTIFICIAL FLOWERS- M Solo to Chorus). Brock hears him and insists he join the choir. Finally one on one with Dr. Brock, Tommy offers to help him with information about the Tenderloin, but Brock is cool and expresses mistrust. Tommy reciprocates (WHAT’S IN IT FOR YOU- Sc to M Duet). They agree to work together.
Tommy goes to the 19^th precinct to warn Lieuenant Schmidt that Brock is preparing for a showdown. Detective Frye clears the room of the prostitutes and drunks who have been hauled in for failure to pay their graft as Brock enters. To appease Brock, Schmidt agrees to close down
Vows to get even as the Chairman of the Commission apologizes to Brock. The girls slowly cross the stage with packed suitcases (LITTLE OLD NEW YORK [REPRISE]- F Chorus).
Brock has agreed to marry Joe and Nita in the church, showing he has become more broadminded during the course of events. Purdy enters and advises Brock that he and the Elders have voted to ask for Brock’s resignation because of the recent scandal. Although Schmidt and the cops are looking for Tommy, he comes to the wedding and tells Laura he is going to Denver, but someday he will return for her. Brock tells Tommy that he is going to a new position in Detroit and they part as friends. As the show closes, Brock is in the pulpit preaching about crime in Detroit as the girls sing (LITTLE OLD DETROIT- Mixed Chorus).

NOTES ON THE PRODUCTION

I don’t know if the show’s difficulty lies solely in Brock. Although I wanted Tommy to end up with Laura, I don’t know if I wanted him to have such a change of heart and become loyal to Brock at the cost of forsaking his friends and coworkers. I felt the most sympathy toward Laura, Joe and Nita. I could be more concerned about Brock if the Tenderloin closed without Tommy proving him innocent. I wanted him to get his and still have him win.
This show can be done with a minimal cast/chorus and imaginative unit set utilizing the Parish house/church pieces in Clarks might be most effective. In this case, less is definitely more.

SONGS OF SPECIAL INTEREST


Script: Random House
Selections: Sunbeam Music Corp., dist. by Valando Music Corp.
Record/CD: DRG Rights: Charles Hansen

THEY'RE PLAYING OUR SONG

Book: Neil Simon
Music: Marvin Hamlisch
Lyrics: Carole Bayer Sager

ORIGINAL PRODUCTION

Imperial Theatre, February 11, 1979 (1,082 perf.)
Director: Robert Moore
Choreographer: Patricia Birch
Musical Director: Larry Blank
Orchestration: Ralph Burns, Richard Hazard and Gene Page

Principals:
Vernon- Robert Klein- Baritone
Sonia Walsk- Lucie Arnaz- Mezzo
Chorus of Alter Egos: 3M/3F

SYNOPSIS

This semi-autobiographical story revolves around Vernon Gersh, a successful composer and Sonia Walsk, an eccentric lyricist who meet in Vernon's apartment to decide if they are able to artistically work together. Vernon plays a song (FALLIN'- L to M Solo). They decide to attempt the collaboration and set a date for their next work session.
Sonia arrives for the meeting at Vernon's studio one day and twenty minutes late, frazzled by her break up with lover, Leon. When they finally start working, Vernon sets one of her lyrics to music and they are joined by their three person chorus alter egos (WORKIN' IT OUT- Sc to M/F Duet and M/F Chorus).
Sonia tells Vernon they must get to know each other on a personal level in order for their professional work to become cohesive. As Vernon phones for reservations at a club, she wishes he knew her better (IF HE REALLY KNEW ME- F Solo). When she leaves, Vernon expresses the same feelings (IF SHE REALLY KNEW ME- M Solo).
At "Le Club", Sonia shows up late because she has been trying to ease Leon's anguish. The two settle down to enjoy the evening but Vernon hears his first hit playing over the sound system and bursts into song (THEY'RE PLAYING MY SONG- M Solo). After the number ends, Sonia, hears her first big hit played and urges him to listen (THEY'RE PLAYING MY SONG- F Solo).
They arrange to meet at her tiny, disheveled apartment later that evening, after she gets rid of Leon. When he arrives, she urges him to play psychiatrist and listen to her problems; as she talks he thinks (IF SHE REALLY KNEW ME- M Solo). When he starts to tell about himself, her mind wanders and she comments (IF HE REALLY KNEW ME- F Solo). Vernon convinces her to join him for the weekend at a Long Island Beach house and leaves to pack while she and her alter egos consider the decision (RIGHT- F Solo/F Trio).
The trip to the island, taken in Vernon's small sports car, is fraught with wrong turns, no gas etc. They finally arrive at the house but a phone call from Leon interrupts their romantic embraces. Determined to concentrate on Vernon, she tells Leon she can't help and hangs up (JUST FOR TONIGHT- F Solo).
As Act II begins, Sonia manipulates her way into Vernon's apartment, by telling him she has no place to stay since Leon is still living at her place. He helps her with her bags and they eagerly embrace (WHEN YOU'RE IN MY ARMS- Sc to M/F Duet). Her relationship with Vernon begins to crumble because of her inability to send Leon away. Vernon interrupts a recording session to suggest they break off their relationship and leaves but Sonia stays long enough to cut their new song (I STILL BELIEVE IN LOVE- F Solo).
A few months later, while Vernon is in a Los Angeles hospital, Sonia arrives unexpectedly with a tiny red child's piano as a "get well" gift. Vernon and his alter egos compose (FILL IN THE WORDS- M Solo and M Trio).
Months later, in New York, Vernon arrives at Sonia's apartment to tell her he wants to try again-she agrees.

NOTES ON THE PRODUCTION

This show is a popular one on the winter and summer stock circuits, due to its slick book, rhythmic music, and small cast. Although it had a long run on Broadway it lost out on the Tony Awards, the majority of which went to Sweeney Todd. It is a show with a small cast, minimal costumes, a slick Neil Simon book, simple sets and memorable music.
A careful examination of the theme and dialogue must be considered because the plot revolves around the dilemma of mixing personal and professional lives and there are several mildly sexual scenes which may not be suitable for all audiences.
The dialogue is full of laughs therefore the leading characters must know how to play comedy and hold for laughs. It is nearly an actor-proof and director-proof script, however it may become dated in time.

SONGS OF SPECIAL INTEREST

"They're Playing Our Song," exuberant and energetic show stopper, although a solo it may be performed in larger configuration in a revue situation, suited for all voices
"I Still Believe in Love," romantic, club style, suited for all voices

Instrumentation: 3 reeds, 2 trumpets, 2 trombones, percussion, drums, violins, viola, cello, harp, 2 guitars, fender bass, keyboard, piano/conductor
Script: Samuel French
Selections: Chappell
Record: Casablanca
Rights: Samuel French

THE THREEPENNY OPERA
(Die Dreigroschenoper)

Original Book and Lyrics: Bertolt Brecht
English Book and Lyrics: Marc Blitzstein
Music: Kurt Weill

ORIGINAL NEW YORK PRODUCTION

Theatre DeLys, March 10, 1954 (95 perf.), Reopened September 20,1955 (2,611 perf.)
Director: Carmen Capalbo
Musical Director: Samuel Matlowsky
Orchestration: Kurt Weill

Principals:
Macheath- Scott Merrill- Tenor
Peachum- Leon Lishner- Baritone
Mrs. Peachum- Charlotte Rae- Mezzo
Polly Peachum- Jo Sullivan- Soprano
Tiger Brown- George Tyne- Baritone
Lucy Brown- Bea Arthur- Alto
Jenny Diver- Lotte Lenya- Alto
Street Singer- Gerald Price- Baritone
Chorus and Smaller Roles: 4M/4F

SYNOPSIS

In Soho, England, a beggar gives his introduction to the opera, by describing Macheath and his unlawful deeds. Macheath is the true villain in every sense of the word. He murders, thieves, rapes, and has no conscience (BALLAD OF MACK THE KNIFE- M Solo).
The set opens on Jonathan Peachum's store for beggars. Peachum, a fraud who uses the poor for his own profit, greets the new day (PEACHUM'S MORNING ANTHEM- M Solo). Filch enters Peachum's wardrobe and exchanges his old rags for new. Peachum assigns the lad to a street corner to beg and demands 50% of all of Filch's earnings. Mr. and Mrs Peachum, bemoan daughter Polly's involvement with the villain Macheath (INSTEAD OF SONG- Sc to M/F Duet).
In an unoccupied stable, Macheath announces to Polly that they are to be wed. Initially upset that he is starting their married life receiving stolen wedding gifts, she grows less shocked as the ceremony goes on (WEDDING SONG- M Chorus). Polly contributes to the singing and celebrating by telling a narrative about a poor washer girl who gets revenge on her oppressors by having them shot when her pirate ship comes in (PIRATE JENNY- F Solo).
When Sheriff Brown enters the barn the thieves are surprised to learn that Macheath's old Army buddy is there to pay respects to the bride and groom (THE ARMY SONG- Sc to M Duet). He tells his cronies about the system where Macheath gives Brown 30% of his profits earned from stealing. The wedding guests depart and Polly and Macheath reaffirm their love (LOVE SONG- Sc to M/F Duet).
At Peachum's establishment, an excited Polly tells her parents of her recent marriage (BARBARA SONG- F Solo). Peachum decides to threaten Brown with exposure if he doesn't arrest Macheath and sends Mrs. Peachum to Macheath's former whores, certain that they will help in his capture. They comment on the evilness in the world which hinders human hopes (THE WORLD IS MEAN- Sc to M/2F Trio).
As Act II begins, Polly rushes to the stable to warn Macheath to escape but makes him promise to be true. Polly, now in charge of managing the gangster business, forces the men to accept her. When Macheath, impressed by her handling of his gang, tells Polly he plans on being faithful she is certain he will not be caught whoring and neglects to warn him about her Mother's plan (MELODRAMA- Sc to M/F Duet to Polly's Song- F Solo).
Mrs. Peachum offers Macheath's favorite whore, Jenny Diver money if she reports his whereabouts to the police. Mrs. Peachum then comments on Macheath's promiscuity, which will ultimately lead to his downfall (THE BALLAD OF DEPENDENCY- Sc to F Solo).
Macheath breaks his promise and visits his harlot friends. As MacHeath reminisces with Jenny she signals the sheriff and Mrs. Peachum (THE BALLAD OF THE FANCY MAN- M/F Duet). The sheriff takes him to prison.
In the Old Bailey Prison, when Macheath gives Brown the cold shoulder the guilt ridden Brown cries. Macheath pays Smith, a jailer, to release his handcuffs and comments on the easy life (THE SECRET OF GRACIOUS LIVING- M Solo).
An angry Lucy Brown, obviously pregnant, accuses Macheath of betraying his promise to her by marrying Polly. Macheath, in order to coerce Lucy into freeing him, denies his marriage and swears allegiance to Lucy. When Polly enters the two women argue and fight (JEALOUSY DUET- Sc to 2F Duet). Mrs. Peachum enters and drags Polly out as Lucy helps Macheath escape. Peachum threatens Brown who sends a search party after his friend. Macheath sings a song about the art of survival, he is joined by Jenny (HOW TO SURVIVE- M/F Solo to Mixed Chorus).
Act II opens at Peachum's wardrobe room. He and Mrs. Peachum instruct the beggars on how to disrupt Victoria's Coronation by evoking pity in the wealthy aristocrats. Brown and his constables burst in to arrest Peachum for trying to disrupt the Coronation, but Peachum points out they would have to arrest all of the poor and handicapped. Peachum remarks about human failures and inability to attain goals (USELESS SONG- Sc to M Solo).
Jenny, in front of a curtain, contemplates various famous historical persons whose best attributes seemed to cause their downfall. She concludes that wisdom, beauty, bravery, inquisitiveness, and emotion are hindrances to humanity (THE SONG OF SOLOMON- Sc to F Solo).
In Lucy's attic bedroom, Polly seeks information on Machheath. They are sincerely sympathetic to the other when they realize that neither one knows his whereabouts. Lucy reveals that her pregnancy was a fraud to get MacHeath to marry her. Mrs. Peachum arrives to announce MacHeath's capture, and tells her daughter to prepare to be a widow.
One hour before MacHeath is to be hanged and two hours before the Coronation, Macheath desperately asks two of his gangsters to buy his freedom (CALL FROM THE GRAVE- M Solo). Everyone enters to say goodbye and MacHeath forgives them all (CALL FROM THE GRAVE- M Solo).
At the last minute, a mounted messenger arrives (THE MOUNTED MESSENGER- M Solo) with the notice that MacHeath is to be released, raised into the ranks of nobility and given �10,000 a year by the Queen of England. Peachum comments that noble messengers only too rarely appear.

NOTES ON THE PRODUCTION

The original 1954 production won a Special Tony Award as well as one for Best Actress (Lotte Lenya). The reopened production was nominated for five Tony Awards, but one none.
The show, originally performed in Berlin in 1928, was adapted from John Gay's 1728 ballad opera The Beggars Opera. It was extremely successful during its 1955 New York run and many communities have mounted productions since then.
It is possible to update the production costume-wise to the mid 30s for it is similar in tone to Cabaret. The setting may be a unit set with locations made more specific through use of props. The show is vocally demanding and requires strong voices and broad characterizations. There are quite a few featured roles of various sizes, which make it an ideal show for schools and communities. The chorus may be expanded as necessary to give more performing experience.
The music is dissonant in tone and a first time listener may not appreciate the often harsh and strident sound. The satire of the melodrama is hard to pull off, but if put in the 30s style it is much more palatable and understandable to modern audiences.
The above synopsis is based on the Grove Press text, which differs from the Off-Broadway original cast recording. In order to avoid total confusion for those who are considering the show and trying to correlate it with the record, the names of the songs have been adjusted somewhat to fit that of the recording.
The major musical differences in the Off-Broadway version and The Grove Press are as follows: Off-Broadway- "Pirate Jenny" sung by Jenny Diver, Grove-by Polly; Off-Broadway- "Barbara Song" sung by Lucy Brown, Grove-by Polly.

SONGS OF SPECIAL INTEREST

"The Army Song," Baritone/Tenor duet, blustering, bravado, militaristic, good for strong characters
"Barbara Song," Soprano, interesting lyrics, story song
"Pirate Jenny," Dramatically bitter song, many levels and lots of specifics, good for acting, Alto sound is best
"Jealousy Duet," F duet, good for Alto/Soprano, angry yet darkly comedic, good for class study, insult contest

Instrumentation: 2 reeds, 2 trumpet, trombone, percussion, guitar/banjo, piano/celeste, conductor
Script: Grove
Score: Universal
Record: MGM
Rights: Tams-Witmark

TIMBUKTU

See Kismet

TITANIC

Book: Peter Stone
Music and Lyrics: Maury Yeston

ORIGINAL PRODUCTION

Lunt-Fontanne Theatre, April 23, 1997 (# perf.)
Director: Richard Jones
Choreographer: Lynne Taylor-Corbett
Musical Director: Kevin Stites
Orchestration: Jonathan Tunick

Principals:
Officers & Crew:
Capt. E.J. Smith- John Cunningham-
Officer Murdoch- David Constabile-
Officer Lightoller- John Bolton-
Officer Pitman- Matthew Bennett
Fred Barrett, Stoker- Brian d’Arcy James-
Harold Bride, Radioman- Martin Moran-
Henry Etches, 1^st Class Steward- Allan Corduner-
Frederick Fleet, Lookout- David Elder-
Bellboy- Mara Stephens-
Chief Engineer Joseph Bell/Wallace Hartley- Ted Sperling-

Passengers 1^st Class:
Ismay- David Garrison-
Thomas Andrews- Michael Cerveris-
Isidor Straus- Larry Keith-
Ida Straus- Alma Cuervo-
Charlotte Cardoza- Becky Ann Baker-

Passengers 2^nd Class:
Edgar Beane- Bill Buell-
Alice Beane- Victoria Clark-
Charles Clarke- Don Stephenson-
Caroline Neville- Judith Blazer-

Passengers 3^rd Class:
Kate McGowen- Jennifer Piech-
Kate Murphey- Theresa McCarthy-
Kate Mullins- Erin Hill-
Jim Farrell- Clarke Thorell-
Chorus and Smaller Roles: 10M and 8F (1 may play a young boy as well as chorus), probable total 25 M and 16F

SYNOPSIS

The audience sees a scrim of the side view architectural drawing of the Titanic. During the overture the ship’s designer enters carrying rolled up blueprints and sings of the wonders that man has made throughout the years. He likens the wonders of the Pyramids and the Great Wall of China to his floating city known as Titanic. He moves SL, puts down his drawings and retrieves a model of the ship (IN EVERY AGE- M Solo).
Stoker Fred Barrett enters on the opposite side of the stage as the stage scrim slowly goes out showing a White Star Line gangway leading from the stage floor to the offstage Titanic. On both sides of the proscenium is a display stating the date: Wednesday, April 10, 1912. Barrett stares out, marveling at the great ship as he says goodbye to his girlfriend-promising to be back before "a fortnight has passed" (HOW DID THEY BUILD TITANIC?- M Solo). He is joined by radioman Harold Bride and lookout Frederick Fleet who wave farewell to their offstage girlfriends. Other crewmen enter and they all marvel (THERE SHE IS- M Chorus). The stage brightens as Captain Smith enters and greets the various officers. The stevedore begins listing the loading of the cargo and the bellboy greets everyone by name (LOADING INVENTORY- Mixed Chorus). Chairman of the White Star Line, Bruce Ismay, enters with Mr. Andrews to join Capt. Smith. The three accolade the great ship (THE LARGEST MOVING OBJECT- M Trio).
Mr. Pitman begins boarding the third class passengers of various nationalities who are looking forward to life in a new land. The size of the ship overwhelms them. Three Irish girls, all named Kate, meet each other and are soon joined by the other third class passengers. They board and Pitman announces the second class passengers (I MUST GET ON THAT SHIP- Mixed Chorus).
As the first class passengers enter, Alice Beane, the social climbing wife of a hardware store owner, moves forward to catch a better glimpse. As Pitman introduces each by name, Alice gives a more gossipy comment (THE 1ST CLASS ROSTER- M/F Solos with Mixed Chorus at the end). Pitman announces the final boarding call as the company goes up the gangway. The scene shifts to the deck of the ship where the chorus bids farewell (GODSPEED TITANIC- Mixed Chorus). The scene begins to change as a late passenger enters and realizes the ship has sailed without him. Blackout
The signs on the left and right of the proscenium now read "Ship’s bridge; Thursday/April 11." As the lights rise on the ship’s bridge we see the Captain with Murdoch, Hitchens and Lightoller. Chairman of the Board Ismay enters and urges the Captain to push his speed and it is clear that there will be tension between these two men throughout the voyage. Architect Andrews enters and tries to lessen the tension as the Captain pushes the speed and slightly alters the course.
The signs read "Boiler Room #6" where Chief Engineer Bell orders Barrett and the other two stokers to raise the speed. Barrett doesn’t find the orders sensible for a new ship and comments (BARRETT’S SONG- M Solo).
The signs read "D deck; Thursday/April 11." 2^nd class passenger Alice Beane is seen peering in the window of the 1^st class dining saloon. Her husband Edgar urges her to stay where she belongs. She tells him that she is going to be in the first class saloon if it is the last thing she does. As they exit, wealthy Caroline Neville who has run off with her middle class fianc� Charles Clarke, enter. They are running to a new life in America. 1^st class Steward Etches enters with Steward Latimer and the two prepare to serve their wealthy clientele. (REMARKABLE . . . [PROLOGUE]– M Solo, Talk Sung). The portholes disappear and we see the help finalizing the set-up of the 1^st class dining room. Various 1^st class passengers enter and sing (WHAT A REMARKABLE AGE THIS IS!- Mixed Chorus).
The next few days pass quickly with scenes in the dining room focusing on Ismay urging the Captain to increase the speed and the Captain setting the speed higher and moving to a northern course. The signs shift during these scenes to "Friday/April 12". In this brief scene telegraph operator Bride brings a wire notifying the Captain that another ship has seen an iceberg. The Bellboy announces the next dinner seating and "Saturday/April 13" is seen on both sides of the proscenium. Ismay continues to badger the Captain about increasing the speed and the Captain excuses himself. The 1^st class passengers sing of the remarkable Captain (REMARKABLE . . . [CONTINUES]- Mixed chorus).
"Ship’s Bridge; Saturday/April 13." The Captain arrives at the bridge to discuss the location, sea temperature and various notices. Murdoch warns him of the iceberg and tells him that it is on the new course the Captain has set. The Captain stubbornly refuses to alter the course and orders a higher speed as he exits. Murdoch comments on the responsibilities of being a Captain (TO BE A CAPTAIN- M Solo).
"3^rd Class Dining Saloon; Saturday/April 13." The 3^rd class passengers are seen commenting on the size of the portions of the food and how wonderful life will be in America. The Irish Kates, McGowan, Murphey and Mullins, share their dreams along with the other �migr�s (LADY’S MAID- F Trio to Mixed Chorus).
The scene shifts "Ship’s Bridge; Saturday, April 13" where Ismay arrives to push the Captain to speed up the Titanic so it will be known as a six-day ship. He is obsessed with proving that the English White Star Line is superior to the faster (though less luxurious) German ships. As Ismay leaves we hear the sound of the ship’s wireless and the scene shifts to
"Radio Room; Saturday/April 13" where Harold Bride is sending messages. Stoker Barrett apologetically interrupts and asks if he can send a message to his girlfriend (THE PROPOSAL/THE NIGHT WAS ALIVE- M Duet). Barrett proposes marriage via telegraph and Bride reflects that his only love is Marconi’s telegraph and communicating with thousands of voices.
The porthole drops in and then the scene shifts to the boat deck where the 1st class passengers gather for dancing. The sign reads "Sunday morning, April 14." The church service ends with "God Lift Me Up" and Bandmaster Hartley (playing the violin) and his two-person ensemble play a ragtime/Castle Walk style tune. The passengers join in (HYMN/DOING THE LATEST RAG- M Trio to Mixed Chorus). During the song we see Alice Beane trying to join the festivities but the first class steward tries to chase her away.
The scene shifts back to the porthole drop and the "Sunday Afternoon/April 14" display as Edgar Beane finds Alice and admonishes her for trying to be something they are not. She tells him that she needs more than they have now (I HAVE DANCED- Sc to M/F Duet).
The closing sequence in Act I quickly leads up to the moment the Titanic hits the iceberg. For fast changes it is enough to let the lighting and the various signs on the proscenium provide the location placement with each moment building to the terror of the loneliness of the lookout who yells out the iceberg warning.
"Ship’s Bridge; Sunday Evening/April 14." The Captain increases the speed of the ship.
"B Deck; 1^st class," the Strauses discuss the new world
"D Deck; 2^nd class," Edgar Beane discusses Alice with the first class steward
"F’Deck; 3^rd class," Katie eventually asks Jim Farrell if he could care about a woman who was having a baby.
The three sections shift back and forth until we move into the "1^st Class Smoke Room" where the men are playing cards and Mr. Harley is playing a new tune on the piano. Mrs. Cardoza enters the room and tells the men not to be shocked by a woman entering their territory because there is a new world out there. The focus falls on the 3^rd class deck where Kate proposes to Jim and he agrees to be her husband. The song builds to the moment of the crash as Fleet, in the crow’s nest announces "Iceberg right ahead!" (NO MOON- M Solo to Mixed Chorus) (AUTUMN/FINALE- Mixed Chorus). The signs read "Lat.41’44"/Long. 50’ 24"West; 11:40 p.m."
Act Two begins on the Upper Promenade showing a line of 1^st Class Cabin doors. The sign reads "11:47 p.m." Various 1^st class passengers come out of their respective rooms as Steward Etches knocks on the doors. The scene shifts to the bridge where Lightoller tells Murdoch the effect of the damage. The scene shifts back to the 1^st class where the passengers are gathered wearing nightgowns and robes. They are told to dress warmly and proceed to the Grand Salon, the second class passengers are also told to meet in the Grand Salon and Alice Beane is overjoyed. The "3^rd Class Corridor 11:56" is displayed as the Steward tells the passengers to find their life preservers and wait for instructions. In the Grand Salon the passengers and staff comment on the events (DRESSED IN YOUR PYJAMAS IN THE GRAND SALON- Mixed Chorus). There is irritation, but also assurance that the problem couldn’t be serious.
Meanwhile in the "3^rd class lower deck at 12:10 a.m." Jim Farrell tells the three Kates that the boat is sinking. Barrett arrives and promises to lead them to the upper deck.
Six minutes later on the "Boat Deck; 12:16 a.m." several of the 1^st class passengers and the second class women are on their way to the lifeboats. The personalities and beliefs of the characters are displayed quite strongly during these following sequences and interchanges.
The Captain, Mr. Andrews and Ismay descend on Bride in the radio room to see if there are any ships nearby. As Bride feverishly sends the S.O.S. the three blame each other until they come to blows and gradually retain their composure (THE BLAME- Sc to M Trio). At the end of the song Andrews and the Captain express remorse, but not Ismay.
On the "Boat Deck; 1:46 a.m." the women are moving toward the plank that leads to the lifeboats. Husbands and wives bid each other farewell. The Thayers say farewell (GETTING IN THE LIFEBOAT- M/F Duet) while Ida Straus tells her husband Isidor that they have been together for forty years and she is not leaving him now. The other women from 1^st and 2^nd class are sent aboard in the last lifeboat (I MUST GET ON THAT SHIP- Mixed Chorus) as Jim Farrell arrives and gets Kate on the lifeboat (LADY’S MAID [REPRISE]- M/F Duet). Jim and Fleet, the lookout, are sent onboard as rowers as Barrett, still onboard the Titanic, looks at the photograph of his girlfriend (THE PROPOSAL/THE NIGHT WAS ALIVE [REPRISE]- M Trio and Mixed Chorus) (WE’LL MEET TOMORROW- Mixed Chorus).
On the various decks the men determine how they will spend their final moments, some drinking, others gambling; there is a desire to know what the other is thinking. Murdoch tells the Captain that, as the ranking officer, he takes the responsibility for the event. They exit separately as 1^st class steward Etches states that God holds our souls.
On "A Deck; 2:14 p.m. the Strauses are being served champagne by Steward Etches. They reminisce (STILL- Sc to M/F Duet).
In the "1^st Class Smoke Room; 2:19 p.m." Architect Andrews examines the blueprints to try to determine what he should have done to design a ship that wouldn’t sink (MR. ANDREWS’ VISION- M Solo) As the song continues he envisions how the end will come and describes the horror that the audience imagines but never sees except in their minds.
The scene shifts to "The Carpathia; April 15, 1912; 8:40 a.m." The survivors are wrapped in blankets bearing the Carpathia’s name. Each makes a statement describing the feelings they had while watching the ship sink. As they move onto the bare stage (EPILOGUE: IN EVERY AGE [REPRISE]- Mixed Chorus) the scene moves to the opening with the gangway in full view. The members of the company who have died stand where we first saw them. As the song continues (FINALE- Mixed Chorus) the survivors stand where they had once stood, their voices swell and the curtain falls.

NOTES ON THE PRODUCTION

Titanic won 5 Tony Awards for Best Musical, Book, Score, Orchestration and Set Design and 2 Outer Critics Circle Awards for Set Design (a tie) and Lighting Design (a tie). It also won the Drama Desk Award for Orchestration.
Titanic is a musically demanding and exciting musical for school groups and community theatres to perform. The cast is a large one and there are many opportunities for actors and singers to showcase their talents. The original production was enormous with many sets delineating the different parts of the ship; however, it is possible to leave more to the imagination of the audience. Small budget groups may want to consider using a side-cut blueprint of the Titanic as a backdrop (projected or painted) with various areas "glowing" as a means to depict the location of the scene in front, i.e. 3^rd class, the promenade deck, etc. In that way a unit set could be utilized and the technical aspects of the show minimized. The focus of the show is on character relationships, class differences and history in the making. It represents the end of an era of isolated affluence and it is more important to place technical emphasis on lighting, period costumes and the vocal and acting demands of the piece rather than on the set.
This is an intriguing show that is musically dynamic and demanding. A strong musical director is a necessity. An organized director who can effectively work with a large cast and bring out the required emotional, vocal and physical characterizations of each character is required. There is only one dance number in the piece, which will allow rehearsals to focus on the dramatic and the vocal. Organizations seeking an excellent vehicle for ensemble performing will do well to focus on Titanic.

SONGS OF SPECIAL INTEREST

Instrumentation: 3 violins, viola, cello, bass, 5 reed, 2 horns, 3 trumpets, 2 trombones, 2 keyboards/synthesizers, 2 percussion
Script: Applause Books- complete script with original cast production shots and author’s notes
Score: NP
Record or CD: RCA Victor
Rights: Tams-Witmark

TOMMY

See The Who’s Tommy

TWO BY TWO

Book: Peter Stone
Music: Richard Rodgers
Lyrics: Martin Charnin
(Based on The Flowering Peach by Clifford Odets)

ORIGINAL PRODUCTION

The Imperial Theatre, November 10, 1970 (343 perf.)
Director and Choreographer: Joe Layton
Musical Director: Jay Blackton
Orchestration: Eddie Sauter

Principals:
Esther- Joan Copeland- Mezzo
Noah- Danny Kaye- Tenor
Shem- Harry Goz- Baritone
Leah- Marilyn Cooper- Alto
Ham- Michael Karm- Baritone
Rachel- Tricia O'Neil- Soprano
Japheth- Walter Willison- Tenor
Goldie- Madeline Kahn- Soprano
Chorus and Smaller Roles: None

SYNOPSIS

The play is set before, during and after The Flood. Outside his house, a nine hundred-year old Noah is trying to write his memoirs, when the voice of God informs him the world is coming to an end. Noah calls for his wife Esther, who usually puts up with his ideas and prattlings but can't accept this one. Noah can't understand why he has been chosen to be saved, but after considering the other men in town, realizes there is no other choice (WHY ME?- L to M Solo).
When he tells his two oldest sons, Ham and Shem, of God's pronouncement they ridicule him. Ham, Shem and Shem's wife Leah decide he is crazy and should be sent to a mental home (PUT HIM AWAY- 2M/F Trio). Japheth, the youngest son, claims that Noah isn't crazy, God is.
The earth grows very still as everyone looks out and realizes the animals are waiting calmly, two sheep next to two lions. As the biblical Gitka, the creature with the most beautiful voice, begins its haunting song, the family kneels at the well to pray for strength. Japheth begs God not to strike (SOMETHING, SOMEWHERE- M Solo). While the women start to pack and the men set out to build the ark, an angry Japheth asks Noah why the rudder wasn't included, to which Noah responds that God probably didn't want one. The three sons urge him to reconsider but he stubbornly refuses (YOU HAVE GOT TO HAVE A RUDDER ON THE ARK- M Quartet).
As the men are off building, Esther and Ham's wife, Rachel, pack their things. Esther questions Rachel about her unhappy relationship with Ham and she sadly admits that something is missing (SOMETHING ISN'T THERE- Sc to F Solo).
Japheth tells his father he isn't going to build the ark and runs off to town. A disturbed Noah, knowing he can't build anything without Japheth's youthful energy, sadly walks off. The children comment on Noah's attitude and Esther forces them to understand old age (AN OLD MAN- L to F Solo).
At the end of the song a spry young man of ninety appears; it is Noah; God has made him young so he can finish the building. He shocks his family as he cavorts with Esther (NINETY AGAIN- M Solo).
Japheth returns to the family and is shocked to see his father looking so ridiculous, but Noah is more concerned that Japheth mate with someone. The family urges him to find a wife (TWO BY TWO- Mixed Chorus). As the song ends, Goldie, a scantily dressed Temple priestess who has met Japheth earlier, enters and Noah invites her along, assuming she will fall in love with Japheth.
Rachel begs Japheth to come with them and he tells her he can't because he loves her and she is Ham's wife (I DO NOT KNOW- Sc to M Solo). She is confused, but goes to get Esther to convince Japheth to come with the family. When the storm begins, Noah knocks Japheth out and has him carried on board. Noah takes a last look at the darkening world and sadly leaves the Gitka who has no mate. He begs the Lord to reconsider but the storm crescendos and he exits up the ramp to the ark (SOMETHING, SOMEWHERE [REPRISE]- M Solo).
Act II begins forty days and nights later. The rain has stopped and everyone gazes out on an empty land. Noah philosophizes that it will be terrific when it dries, but Japheth believes the sins of man will continue (WHEN IT DRIES- Mixed Chorus). There is tremendous tension on board. Ham, who finds Goldie exciting, is constantly chasing her around the ark, Rachel has moved into Esther's room to avoid Ham and Esther feels too old for her young husband, Noah. She attempts to keep the family problems from Noah, but confesses her own feelings of inadequacy. Noah assures Goldie he needs her to cheer him (YOU- M Solo).
After Ham confides to Goldie he has never had anything of his own and wants her, she agrees to perform her Temple Song for him (GOLDEN RAM- F Solo). Noah discovers them in a compromising position and orders Goldie to marry Japheth immediately. Japheth refuses and openly declares his love for Rachel. Esther further upsets Noah by agreeing with the children. In the middle of this tense scene, the boat lists and Japheth and the boys rush to get the rudder they have stowed on board. Noah orders them to have faith in God (POPPA KNOWS BEST- M Solo), but the boat starts to sink and a defeated Noah orders Japheth to use the rudder.
Weeks later, Shem and Leah, the two most hated, Shem for his laziness and Leah for her miserliness, declare their acceptance of each other (AS FAR AS I'M CONCERNED- Sc to M/F Duet).
Noah, who hasn't spoken to anyone in weeks, appears to send the dove off in search of dry land. Japheth urges him to visit Esther, who is ill but he is too ashamed. She enters and urges him to marry the children before she dies. The dove returns with an olive branch and Noah shows it to Esther, protesting that God won't let anything happen to her. He begs her to get well (HEY, GIRLIE- M Solo), but she dies in his arms and he tearfully grants her last request by asking God to sanctify the children's marriages.
Atop Mt. Arrat, the children sadly leave the Ark and say goodbye to Noah. Noah, left alone, bargains with God for a sign that the world will be left in man's hands (THE COVENANT- L to M Solo). A rainbow appears as the curtain falls.

NOTES ON THE PRODUCTION

Two By Two has a well-written book which can be exciting when performed by a good acting ensemble. The moods shift quickly and include comedy, anger and tense drama. The subject matter covers a broad spectrum, which includes the meaning of life and death. In order to capture the sensitivity of the piece, it is essential that Noah be a three dimensional character played by a strong actor.
There are two sets, the exterior of the house, with a well to allow for movement variety, and the upper level of the ark. The final scene may be played with the ark in the background and a ramp to enable the actors to perform on "dry land." A peach tree and rainbow are also required for the final scene.
There may be as few as one costume per actor with two costumes for Noah: one when he is older and one younger. Props are quite simple and easily obtained. The animal sequences, left to the imagination on Broadway, have occasionally been given a more artistic treatment through the use of marionettes, shadow puppets or live actors with masks. It is easier to choreograph the title song if there is some sort of visual accompaniment than if the entire song is left for seven actors to perform.
The character of the "Gitka" needs to be animated. There is a strong dramatic impact on an audience who sees Noah leave a tangible, living creature behind. The Gitka may be portrayed by a bird-like marionette whose operator is fully seen, similar to the master puppeteer in the Japanese Bunraku. The audience soon accepts the convention and it greatly enhances the final scene of Act I.
The small size of the company and the relationship within the family must be believable both in acting and reacting. In order to achieve this reality the director would do well to have a certain amount of rehearsals spent utilizing improvisational techniques as a family unit and in pairs.

SONGS OF SPECIAL INTEREST

"An Old Man," Mezzo dramatic, sensitive, lyrics, philosophical teaching song, strong
"As Far As I'm Concerned," Relationship, Baritone/Alto Comic character oriented duet
"The Covenant," Tenor, semi-dramatic, strong acting, doesn't require a great voice as it may be talk sung
"Put Him Away," Comic trio with Noah needed for staging
"Something, Somewhere," ending possible for audition as the musical build shows off range and pitch, beginning is intensely dramatic

Instrumentation: 3 reeds, 2 trumpets, trombone, 2 percussion 2 violins, viola, cello, bass, piano/conductor
Script: NP
Score: Williamson
Record: Columbia
Rights: R & H

TWO GENTLEMEN OF VERONA

Book Adaptation: John Guare and Mel Shapiro
Lyrics: John Guare
Music: Galt MacDermot
(Based on the Shakespearean play)

ORIGINAL PRODUCTION

St. James Theatre, December 1, 1971 (627 perf.)
Director: Mel Shapiro
Choreographer: Jean Erdman
Additonal Musical Staging: Dennis Nahat
Musical Supervision: Harold Wheeler

Principals:
Thurio-Frank O'Brien- Tenor
Valentine-Clifton Davis- Baritone
Proteus-Raul Julia- Baritone
Julia-Diana Davila- Alto
Lucetta-Alix Elias- Mezzo
Silvia-Jonelle Allen- Alto
Eglamour-Alvin Lum- Baritone
Duke-Norman Matlock- Baritone
Launce-John Bottoms- VTI
Speed-Jose Perez- VTI
Chorus and Smaller Roles: 11M/8F who sing and move well

SUMMARY AND NOTES

The play opens with Thurio, a funny, shrill voiced character who joins the ensemble in setting the tone of the musicalized version of Shakespeare's play. As he exits, Cupid enters and zaps everyone with an arrow and the ensemble freezes, with Proteus and Valentine frozen in struggle. Valentine breaks the freeze and the play begins.
Valentine asks his friend Proteus what he wants to do with the rest of his life. Proteus who has never considered the subject before, answers that he would like to live for Julia's love-Valentine would rather rule the world and so their characters evolve: Valentine the emperor seeker and Proteus the romantic.
Valentine goes with his servant, Speed, to the city of Milan to find excitement and fame while Proteus stays home and successfully woos and unknowingly impregnates Julia. Sent by his father to Milan he exchanges rings with Julia and leaves with his servant, Launce.
Several months later, Julia discovers her pregnancy and decides that she and her maid Lucetta will disguise themselves as men and follow Proteus to Milan.
Valentine, newly arrived in the colorful city, sees Silvia, the Duke's daughter who is unwillingly betrothed to the nebulous Thurio and falls hopelessly in love. Silvia arrives at Valentine's Letter Writing Shoppe to send a letter to her true lover Eglemore begging his assistance. Valentine offers to save her from Thurio and arranges to help her escape. She declares her love for Valentine and embraces him as Proteus enters, sees them and desires the girl for himself. Proteus anonymously sends the Duke word of their escape plan. As Proteus announces his love for Silvia, Julia and Lucetta arrive, introduce themselves as Sebastian and Caesario, and are hired into Proteus's service.
Meanwhile, the Duke has thwarted Valentine's plan and drafted him into the army, but Eglamoure arrives and steals Silvia away. They are discovered by Proteus, who declares his desire for Silvia. Valentine returns, followed by Julia who announces her true identity and her pregnancy. Proteus regains his senses and declares his love for Julia, the Duke knights Valentine and decides he is a good match for Silvia, Thurio and Lucetta fall in love and all ends happily.
No synopsis can do justice to this 1972 Tony Award winner for Best Book and Best Musical; it must be seen in order to be appreciated. The songs, choreography, characterizations and creative treatment of this tale successfully bring Shakespeare to life. Originally produced as part of Central Park's summer tour, the show was so well received by the inner city population that it was moved to Broadway.
The show is best performed on a unit set, preferably multi-leveled for choreographic variety. The script will be appreciated in larger metropolitan areas and on college campuses where the sometimes off-color language, sexual innuendoes and antiwar comments may not be detrimental to the audience's enjoyment.
This show requires a choreographer versed in a variety of dance styles as the music is varied and must be properly physicalized. The cast needs to move well and be able to make modernized Shakespearean dialogue understandable.

SONGS OF SPECIAL INTEREST

The songs are integral to the show and don't work well out of context.

Instrumentation: bass, 2 guitars, percussion, drums, reed, 2 trumpets, 2 trombones, 2 violins, viola, cello, piano-celeste/conductor
Script: Great Rock Musicals
Selections: Holt
Record: ABC
Rights: Tams-Witmark

THE UNSINKABLE MOLLY BROWN

Book: Richard Morris
Music and Lyrics: Meredith Willson

ORIGINAL PRODUCTION

Winter Garden, November 3, 1960 (533 perf.)
Director: Dore Schary
Musical Number Staging: Peter Gennaro
Musical Director: Herbert Greene
Orchestration: Don Walker

Principals:
Molly Tobin- Tammy Grimes- Mezzo
Shamus Tobin- Cameron Prud'Homme- VTNE
Johnny "Leadville" Brown- Harve Presnell- Tenor
Christmas Morgan- Joseph Sirola- VTI
Johnny (Matinees)- James Hurst- Tenor
Mrs. McGlone- Edith Meiser- VTNE
Prince DeLong- Mitchell Gregg- Baritone
Roberts- Christopher Hewett- VTNE
Grand Duchess- Patricia Kelly- VTI
Chorus and Smaller Roles: 12M/12F

SYNOPSIS

The play opens in the early 1900s with Molly, a feisty Irish girl in her teens, and her rowdy brothers involved in a typical wrestling match. Molly refuses to cry "uncle" as Shamus Tobin watches his defiant daughter who yearns for a better life (I AIN'T DOWN YET- F Solo and M Chorus). Molly, determined to marry a wealthy man, decides to head for Denver. Shamus advises her to keep her religion, sense of humor and "never say die" attitude.
Molly reaches Leadville, Colorado, stops in the Saddle Rock Saloon and convinces owner Christmas Morgan to hire her as a piano player and singer. After he sees a display of Molly's Irish ambition, Christmas gives her the job and a place to sleep. Molly rehearses all night until the miners arrive for their morning drink. She successfully performs (BELLY UP TO THE BAR, BOYS- F Solo to Mixed Chorus).
After the miners leave, Molly imitates the prostitutes who were dancing promiscuously with the miners, but is interrupted by Johnny `Leadville' Brown. He tries to dance with her, but she crashes a chair over his head and flounces out.
In the saloon, three weeks later, Johnny asks Molly to marry him but she refuses because she wants a man who can give her enough money to take care of her like a lady. He warns her that he is going to win her (I'VE A'READY STARTED IN- M Solo to M Chorus).
A month later, Johnny shows Molly a rather crude, but solid, log cabin he has built for her and her Pa. He promises to give her anything she asks for (I'LL NEVER SAY NO- Sc to M Solo). Molly is so touched by the brass bed she has always wanted (MY OWN BRASS BED- Sc to F Solo) that she agrees to the marriage.
Three weeks later, Molly is alone in the cabin and dejected, for she hasn't seen Johnny since their wedding. He arrives with $300,000 as a wedding present and she is overwhelmed. He exits to buy a round of drinks at the saloon and Molly hides the money in the wood stove. Johnny returns home, lights a fire in the stove, and incinerates their fortune. He goes out to discover "Little Johnny," the richest mine in the U.S.
Six months later, she and Johnny have built a mansion in the most exclusive section of Denver, where the police comment on the ease of their jobs (THE DENVER POLICE- M Trio).
Molly yearns to be a part of the beautiful Denver society, but her neighbors are second generation wealth and feel uncomfortable with the rough and rugged Browns, who remind them of their parents. Molly unwittingly crashes the wealthy Mrs. McGlone's party and is overly awed at the beautiful decor and French speaking Americans (BEA-U-TI-FUL PEOPLE OF DENVER- L to F Solo). In a conversation with the Monsignor, Molly discovers that the affluent people of Denver haven't donated to the church building program. In a revival spirit, she rallies them to contribute (ARE YOU SURE?- F Solo to Mixed Chorus). Mrs. McGlone has Molly ushered out and Molly, not realizing she has been snubbed, invites everyone to her house-warming party in a month.
In her red parlor, decorated for the party, Molly realizes she has been given the cold shoulder when no one but the Monsignor comes to her housewarming. The Monsignor tells Molly that perhaps she ought to travel to Europe and get cultured. She is anxious to take his advice but Johnny is against hobnobbing with the Denver society. She reminds him of his promise to never say no (I'LL NEVER SAY NO [REPRISE]- F Solo) and he relents. Molly is certain of eventual acceptance (I AIN'T DOWN YET [REPRISE]- F Solo).
Act II begins at the Brown's lavish salon, in Paris. The crowned heads of Europe are giving Molly a surprise party (HAPPY BIRTHDAY, MRS. J. J. BROWN- Mixed Chorus). Molly is involved in art and foreign languages. She demonstrates her language expertise as the Prince quizzes her (BON JOUR- M/F Duet to Mixed Chorus). Molly invites her royal friends to Denver and announces to Johnny that they are going home. Johnny is worried by Molly's motives and wonders what makes her tick (IF I KNEW- M Solo).
Back home in Denver, Molly, assisted by Roberts, Mrs. McGlone's ex butler, is preparing a grand party to introduce her royal friends to Denver. Johnny tells her he has dressed his friends from Leadville as waiters and assures her that everything will be fine (CHICK-A-PEN- Sc to M/F Duet). The odd combination of guests causes the fete to end in a brawl. Molly heads back to Europe but Johnny refuses to go with her and leaves for Leadville.
On the street in front of the Saddle Rock Saloon, Johnny and the boys are enjoying themselves with the local women (KEEP-A-HOPPIN'- Mixed Chorus), but Johnny can't forget about Molly (LEADVILLE JOHNNY BROWN'S SOLIOQUY- M Solo).
It is 1912, in Monte Carlo. Molly has become superficial and jaded, a wealthy American who parties nightly with the Prince who constantly asks her to marry him (DOLCE FAR NIENTE/I MAY NEVER FALL IN LOVE WITH YOU- Sc to M/F Duet). Molly happens to meet Mrs. McGlone and attempts to embarrass her. Realizing how shabby she has become, she tells the Prince she is going home. She returns to the U.S. on the ill-fated "Titanic" where her spirit and energy save a boatload of people.
Molly returns to Denver a heroine who is finally satisfied, accepted by society and reunited with Johnny (I AIN’T DOWN YET [FINALE]- Mixed Chorus).

NOTES ON THE PRODUCTION

Tammy Grimes won the 1961 Tony award for Best Actress for her role.
This is a large-scale production with good acting roles and lots of lavish scenery, costumes and props. It is expensive to produce and requires a strong singer to effectively portray Leadville Johnny. The rest of the roles are primarily character-oriented and not as vocally demanding. It is a good choice for an organization looking for a lavish show, with humor, drama and good moral values.
There are quite a few dance sequences in the production, which will require a good choreography and possibly a separate dance chorus.
The production needs an "opulent look" to reflect Turn of the Century Denver and the chorus members will need several sets of costumes that range from 1900 to 1912. Each chorus member plays a variety of roles throughout. It would be conservative to suggest three costumes per person.

SONGS OF SPECIAL INTEREST

"Leadville Johnny Brown’s Soliloquy," tenor, dramatic, tearful yet strong, vocally difficult

Instrumentation: 5 reeds, 2 trumpets, 2 trombones, 3 horns, violin, cello, bass, percussion, piano/conductor
Script: Theatre Arts, Putnam, 1961
Score: Frank
Record: Capitol
Rights: MTI