VERY GOOD EDDIE

 

Book: Philip Bartholomae and Guy Bolton
Music: Jerome Kern

Lyrics: Schuyler Greene

ORIGINAL PRODUCTION

Princess Theatre, December 23, 1915 (341 perf.)

Director: unaccredited
Choreographer: David Bennett

 

Principals:

Ernest Truex, Alice Dovey, Oscar Shaw, Helen Raymond, John E. Hazzard, John Willard, Ada Lewis

REVIVAL PRODUCTION

 

Booth Theatre, December 21, 1975 (307 perf.)

Director and Choreographer: Bill Gile

Musical Director and Orchestration: Russell Warner

 

Principals:

Mrs. Elsie Lilly- Cynthia Wells- Soprano

Mr. Dick Rivers- David Christmas- Tenor

Mr. Eddie Kettle- Charles Repole- High Baritone

Mrs. Elsie Darling- Virginia Seidel- Soprano

Mr. Percy Darling- Nicholas Wyman- Baritone

Mrs. Georgina Kettle- Spring Fairbank- VTNE

Mme. Matroppo- Travis Hudson- Alto

Steward- James Harder- VTNE

Chorus and Smaller Roles: 6M/4F total

SYNOPSIS

        The scene opens showing the deck of a Hudson River Dayliner in June 1913. The steward briefly enters telling us that this particular landing is Poughkeepsie. As he leaves the entire company is revealed. They echo the excitement of the day (WE'RE ON OUR WAY- F Solo and Mixed Chorus).

        As the opening number closes the audience has already learned that Dick Rivers, a journalist, has fallen in love with Elsie Lilly, a voice student of Madame Matroppo, whom he has never met before. During the opening song, Dick blew her a kiss, which Madame Matroppo accidentally intercepts for herself. Rivers tells Madame that he wishes to write an article on the "Matroppo Voice Culture Method" and must interview Elsie for the article. Madame Matroppo falls unwittingly into his scheme. Rivers tells Elsie that he is in love but he does not tell her with whom. They discuss his past loves (SOME SORT OF SOMEBODY- M and F Duet).

        Next we meet the first set of newlyweds, Georgiana and Eddie. Quickly it becomes apparent that Georgiana is indeed the one out of the two that is in charge (THIRTEEN COLLAR- M Solo)

        As Georgiana and Eddie leave the deck, the second group of newlyweds, Percy and Elsie, appear. Unlike the previous couple, the husband, Percy, is the domineering one (BUNGALOW IN QUOQUE- M and F Duet).

        These two contrary couples meet while still on board the deck of the dayliner. Rapidly Georgiana and Percy begin to argue over the close proximity of the two sets of suitcases. In the middle of the argument, Percy and Eddy recognize each other as old school chums. They all discover that they were married by a Reverand Hoskins at different times earlier that morning (ISN'T IT GREAT TO BE MARRIED?- Quartet-2F. and 2M.).

        Accidentally Percy and Georgiana are left on the pier together while a terrified Eddie and Elsie are left alone on board the dayliner (GOODNIGHT BOAT- Mixed Chorus). Somehow the whole boat is under the impression that Eddie and Elsie are married to each other. This frightens the timid two even more but they are obligated to continue with the facade (LEFT ALL ALONE AGAIN BLUES- F Solo and M Chorus). Because of Eddie's incompetence, the facade becomes worse as it is his mishap to meet another old school friend, Rivers, and convince him that Elsie Darling is his wife. Rivers leaves. Elsie asks the steward for lunch and instead the steward sings a song about romance (HOT DOG- Mixed Chorus).

        The longer that Elsie and Eddie are together the closer they become as their acquaintance moves to friendship (IF YOU'RE A FRIEND OF MINE- M and F Duet). And within that friendship, Eddie is a little more daring as he tries to impress Elsie with the way he can belt down cocktails. Much to their mutual terror, on the conclusion of the last song, they kiss. Eddie blames the kiss on the effects of the champagne they've been drinking and also on seasickness, but it is becoming more apparent that love is beginning between the two. To make matters worse, the others on the dayliner surround the two with garlands of flowers and push them together for the finale of act one (WEDDING BELLS ARE CALLING ME- Mixed Chorus).

        Act II opens in the lobby of the Honeymoon Inn in the Catskills where Elsie and Eddie have been left off since their respective mates have taken their boat tickets with them (HONEYMOON INN- F Solo and Mixed Chorus). Soon it is established that the Frenchman, Madame Mattrappo, her voice students and Dick Rivers have also gotten off the dayliner at the same inn. The Frenchman begins to persue all Madame Mattroppo's voice students (I'VE GOT TO DANCE- Mixed Chorus and M Solo).

        Still, Eddie and Elsie Darling are considered husband and wife. Thus, they must register as Mr. and Mrs. although they are able to get separate rooms. Madame Matroppo is seen chasing Dick Rivers and flirting with the Frenchman; both are not interested. She is obviously in the mood for love (MOON OF LOVE- F Solo and M Chorus). Madame continues in hot pursuit after a man, while Eddie and Elsie decide to spill ink on the hotel register in order to destroy any evidence that might later betray them. Rivers attempts to tell Elsie Lilly his feelings about her by telling her that he loves all women but after she exits, he whispers, "I love just you" (OLD BOY NEUTRAL- M and F Duet). Rivers then devises a plan in which he sends Elsie Lilly a bunch of roses asking her to wear one to breakfast if she feels the same way about him. The clerk carelessly shoves copies of the note Rivers wrote to Elsie under the doors of the Frenchman's and Elsie Darling's rooms, as well as Elsie Lilly's.

        Late that same night, the plot thickens when Georgiana and Percy make it to the inn, then take the only room available. The clerk remarks that the inn is a respectable one, thus Georgiana and Percy must register as a married couple. After they depart to their room a scream is heard. Eddie runs to the rescue of Elsie Darling, who has been frightened by a mouse in her room. He comforts her tenderly (BABES IN THE WOOD- M and F Duet). At the end of the song, they go to their rooms throwing a finger kiss to each other.

        The next morning the hilarity continues as the clerk bungles Rivers' plan by passing out roses to Elsie Darling, the Frenchman and the intended Elsie Lilly. We discover that Georgiana and Percy's relationship is following a similar path as that of Eddie's and Elsie's. Percy sees Rivers, who is an old college chum of his. Rivers mentions that Eddie and his wife are there at the inn having a wild time. Percy and Georgiana are shocked. In the meantime, Madame Matroppo decides to approach the clerk with certain propositions. The clerk refuses but seems to enjoy her flirtations. She sings to him (KATYDID- F Solo).

        The plot takes another turn when Eddie gives Elsie Darling the roses that the clerk gave to him. She has received a copy of the note that Rivers wrote to Elsie Lilly and this upsets her. Elsie Lilly thinks that Eddie, who is an old flame of hers, sent the note. She quickly angers when she discovers that Eddie is with someone else’s wife. She vows to now forget him at last, leaving herself open for Rivers. When Rivers approaches her she is more accepting of his affections (NODDING ROSES- M and F Duet).

        Georgiana and Percy overhear Eddie and Elsie who are pretending to be in love in front of the suspicious clerk. Percy and Georgiana confront them. The evidence seems against poor Eddie and Elsie until it is discovered the Percy and Georgiana are registered as man and wife. Eddie has changed because of the adventure; more forceful and confident, scaring Georgiana, who says that she will be going home to her mother. Suddenly the Frenchman enters with two telegrams, one for each couple. It is revealed that Reverand Hoskins' license had expired the month before, meaning that the marriages are not legal. The four are overjoyed (FINALE- Company).

        This charming Revival was one of the original Princess Theatre Musicals especially written for the intimacy of the 299 seat house. The idea behind the productions was to develop musicals limited to two sets, a small cast and orchestra. This was extremely innovative in 1915 as musicals of the day tended to be Revue, Operetta and nearly plotless, all mounted on a large scale.

        Revived in 1975 by the Goodspeed Opera, a professional theatre in East Haddam, Connecticut who seasonally produces two revivals and a new musical, the show subsequently moved to Broadway where it received three Tony nominations.

        The dialogue is witty, the characters well drawn and the situation hilarious. The production needs a chorus of good singer/dancers and principals with impeccable timing. The character roles of the Frenchman, the Steward, who also acts as the desk clerk, and Mme. Matroppo and excellent character vignettes and add greatly to the delight of the show. An excellent vehicle for any group with a good Director/Choreographer who can time the comic chases and recapture the style of the Pre World War I dances.

SONGS OF SPECIAL INTEREST

    "I’ve Got to Dance," Mixed chorus, could be a mixed quartet for class study, period 1915 dance number staged as Vernon and Irene Castle, spirited tempo

    "Thirteen Collar," High Baritone Solo sung by Eddie who has married a domineering woman, song of the down trodden meek and small in size husband, problem charm song, character oriented

 

Instrumentation: 2 violins, viola, cello, bass, 2 reeds, trombone, trumpet, percussion, piano/conductor

Script: NP

Score: T B Harms

Record: DRG

Rights: Tams-Witmark

VICTOR, VICTORIA

        Synopsis by UNH alum Brian Sutherland who subsequently performed the role of King Marchan in the Broadway              production

 

Book: Blake Edwards

Music: Henry Mancini

Additional Musical Material: Frank Wildhorn

Lyrics: Leslie Bricusse

ORIGINAL PRODUCTION

Marquis Theatre, October 25, 1995 (# perf.)

Director: Blake Edwards

Choreographer: Rob Marshall

Musical Director and Vocal Arrangements: Ian Fraser

Orchestration: Billy Byers

Dance and Incidental Music: David Krane

Fight Staging: B. H. Barry

 

Principals:

Victoria Grant- Julie Andrews- Alto

Carroll Todd- Tony Roberts- Baritone

King Marchan- Michael Nouri- Baritone

Norma Cassidy- Rachel York- Mezzo

Squash Bernstein- Gregory Jbara- Baritone

Andre Cassell- Richard B. Shull- Baritone

Henri Labisse- Adam Heller- Baritone

Richard Di Nardo- Michael Cripe- Tenor

Jazz Singer- Devin Richards- Tenor

Street Singer- Tara O’Brien- Mezzo

Sal Andretti- Ken Land- Baritone

Chorus and Smaller Roles: 12M/9F equal mix of Soprano, Alto, Tenor and Baritone

SYNOPSIS

        At the opening of Act I, we find ourselves in a gay club on Paris’ Left Bank called "Chez Lui," where Carroll Todd ("Toddy") is holding court (PARIS BY NIGHT- M Solo and M Chorus). Business isn’t exactly booming, and when Toddy insults a group of customers, which includes his old flame, Richard, he is threatened with immediate dismissal by the club’s extremely high-strung owner, Labisse. Toddy makes the mistake of trying to help a destitute soprano named Victoria who has come to audition, and an enraged Labisse fires him and tosses them both out on the street. Victoria has nowhere to go and Toddy offers her the modest comfort of his tiny flat, where they hit it off instantly.

        They muse on what it would be like to be the opposite sex; Victoria is sure that she’d be better off as a man (IF I WERE A MAN- F Solo). To demonstrate, she dons some clothing belonging to Richard (Toddy’s recently insulted ex), who shows up to claim his belongings. When Richard becomes hostile, Victoria socks him and throws him out and the "macho" display sparks Toddy’s imagination. He hatches a scheme: Victoria could become a man, but to capitalize on her singing ability she would be a female impersonating-man. "His" name will be Count Victor Grazinsky, a Polish aristocrat. Victoria is skeptical but Toddy is enthused (TRUST ME!- M Solo to M/F Duet).

        Toddy introduces his new "lover" Victor to his impresario friend Cassell, and soon "he" is the toast of Paris’ café scene (LE JAZZ HOT- F Solo to Mixed Chorus). Victor’s gender is unquestioned by all except a visiting "businessman" (read gangster) from Chicago named King Marchan. He is somewhat of an expert on the fairer sex and assures his vivacious but intellectually challenged girlfriend, Norma, and his loyal bodyguard, Squash, that no man could be as convincingly feminine as Victor. To prove his point, he arranges a meeting with Victor backstage, and later at the opening night party sends Norma to dance with him (THE "PARIS BY NIGHT" TANGO- Dance). Victor passes this test with flying colors, and back at the hotel King struggles with opposing forces: a newly libido-charged Norma, fresh from her tango with Victor (PARIS MAKES ME HORNY- F Solo) and his uncomfortable feelings for a man named Victor. Things are equally topsy-turvy in the adjoining suite, where Victoria confesses to Toddy her attraction to King and her frustration at having to hide both her feelings and her identity (CRAZY WORLD- F Solo).

        When Act II begins, Victor is still wowing them in Paris (LOUIS SAYS- F Solo to Mixed Chorus), and, having sent Norma packing back to Chicago, King determines to confront his doubts about himself and Victor once and for all (KING’S DILEMMA- M Solo). A night out on the town with Victor and Toddy is planned and, when dinner yields no fresh insight, they retire to Chez Lui for a nightcap. Labisse has his own suspicions about Victor and invites him to sing. In the middle of a hastily improvised duet with Toddy (YOU & ME- M/F Duet), Toddy’s old friend Richard rudely interrupts and Victor again responds with manly force. A brawl ensues and King and Victor escape to the street, where the now thoroughly aroused and perplexed King succumbs to his attraction and kisses Victor. He doesn’t even seem fazed when Victoria confesses her true gender. They kiss again in the romantic square outside the club, serenaded by a street singer (PARIS BY NIGHT [REPRISE]- F Solo).

        Later, back at the hotel, Squash is stunned to find his boss in bed with Victor and, when King tries to explain, he is stunned when Squash reveals that he, too, is gay. Victoria and King reluctantly agree that their romance as two men won’t work (ALMOST A LOVE SONG- M/F Duet). Meanwhile, back in a Chicago nightclub (CHICAGO, ILLINOIS- F Solo to F Chorus), a disgruntled Norma enlists the aid of King’s partner, Sal Andretti. When Sal learns that King has thrown Norma over for a "gay polish fairy," they head for Paris.

        Toddy and Squash have become quite cozy, but Victoria can’t keep up the charade any longer if it means she and King can’t be together (LIVING IN THE SHADOWS- F Solo). She and Toddy agree that Victor will soon retire, but before the official final appearance they attempt to keep up the ruse. Upon Sal and Norma’s arrival, King professes his love for "Victor," but, when Labisse witnesses Victoria’s revealing of her true femininity to Norma (thereby vouching for King’s manhood), all seems lost. Labisse will expose "Victor" to the world as a fraud. At the final performance, it’s Toddy to the rescue, in drag in place of Victoria, and the day is saved for all happy couples (VICTOR/VICTORIA- M/F Duet to Mixed Chorus).

        Victor, Victoria won Drama Desk Awards for Best Actress and Featured Actress and Outer Critics Circle Awards for Best Broadway Musical and Actress.

        Based on the film of the same name, Victor, Victoria ran on Broadway from October 1995 until August 1997. The Broadway production was considerably splashier than the film, taking advantage of the use of the theatrical stage in the performance numbers, and of the talents of its choreographer, Rob Marshall. It also starred Julie Andrews, reprising her film role (she was later replaced by Liza Minnelli, and then Raquel Welch), and featured Tony Roberts in the role of Toddy (Robert Preston in the film) and Michael Nouri as King (James Garner in the film).

        As with all Blake Edwards’ pieces, the emphasis is clearly on comedy (including one extended chase sequence without dialogue, reminiscent of some "Pink Panther" films). The characters are outlandish and the comic elements easily as important as the love story. That being said, it requires expert comedic actors in the leads- Victoria must be able to convincingly morph genders at will, not to mention sing and dance. Toddy must be played by an actor who is very comfortable with portraying an unabashedly gay man who is unwilling to behave in a traditionally "manly" way. In fact, he envies Victoria’s opportunity to live out the fantasy of switching genders.

        Although the Broadway production was decidedly big-budgeted and played a very large house, it is feasible to produce Victor/Victoria on a smaller stage. It could even be in a cabaret type space (since the performance numbers do ostensibly take place in a café), with more emphasis on book scenes and less on production values.

SONGS OF SPECIAL INTEREST

    "If I Were a Man," "Crazy World," "Living In the Shadows," and "Le Jazz Hot," Alto Solos, can be used in class or even as audition material

    "Paris Makes Me Horny," "Chicago, Illinois," Mezzo Solos, good for comedy, a female comic in the tradition of Adelaide and Ado Annie

    "King’s Dilemma," Baritone Solo, soliloquy, good practice at using a song as a problem solving-monologue, not really appropriate for auditions, as it is specific to the context in many places

 

Instrumentation: 3 violins, 2 violas, 1 cello, 1 bass, 5 woodwinds, 3 trumpets, 2 trombones, 1 guitar, drums and percussion, accordion, keyboards

Script:

Selections: Warner Bros., dist. by Hal Leonard

Record: Philips

Rights: Tams-Witmark

VIOLET

        Synopsis by UNH alum John Porcaro who performed in SpeakEasy Stage Company’s Boston premier production

Book and Lyrics: Brian Crawley

Music: Jeanine Tesori

        (Based on The Ugliest Pilgrim by Doris Betts)

ORIGINAL NEW YORK PRODUCTION

Playwrights Horizons, NYC, March 12, 1997 (# perf.)

Director: Susan H. Schulman

Choreographer: Kathleen Marshall

Musical Director: Michael Rafter

Orchestration: Joseph Joubert and Beryl Reid

 

Principals:

Father- Stephen Lee Anderson- Baritone

Creepy Guy/Bus Driver2/Radio Singer/Billy Dean/Virgil- Kirk McDonald - Tenor

Flick- Michael McElroy - Baritone

Leroy Evans/Waiter/Mechanic/Lead Radio Singer/Bus Driver 3/Earl- Michael Medeiros - Baritone

Old Lady/Hotel Singer/Old Lady 2- Cass Morgan- Mezzo

Woman with Fan/Music Hall Singer/Mabel- Paula Newsome- Mezzo

Monty- Michael Park- Tenor

Young Vi- Amanda Posner- Mezzo

Woman Knitting/Landlady/Hotel Singer2/Gospel Soloist- Roz Ryan- Mezzo

Violet- Lauren Ward- Mezzo (belt)

Bus Drivers 1 & 4/Preacher/Rufus/Radio Singer- Robert Westenberg- Tenor

Chorus and Smaller Roles: None, but it can be expanded

SYNOPSIS

        The show begins with Violet sitting on a bench in Spruce Pine, North Carolina waiting for a Greyhound Bus. It is September 1964 and she is a 25-year old girl with a tremendous scar across her cheek, stretching from her ear to the bridge of her nose. She received the scar 12 years ago, when she was only 13, from an accident in which her father’s ax blade flew off its handle and struck her in the face. Her father saved up enough money to take her to a plastic surgeon for her 18^th birthday, but unfortunately it was too late. It has now been two years since her father’s death and Violet has saved up enough of her own money to travel from North Carolina across Tennessee and Arkansas to Tulsa, Oklahoma in hopes of meeting a televangelist who will grant her a miracle and heal her scar.

        As Violet waits for the bus, she sees herself at the age of 13, before the accident (WATER IN THE WELL- F Linear Duet). Violet is brought back to reality upon hearing her father yell his failed warning to her at the moment when the ax blade flew off its handle. She is approached by a local who asks her if she is going somewhere. Annoyed with his stupidity and the stupidity of the townsfolk in general, she takes great pleasure in thinking how they’ll react to her once she returns without her scar (SURPRISED- F Solo). During the course of the song she boards the bus and we see the reaction of the bus driver when he sees her scar. He is shocked and immediately looks away. Violet continues to get on the bus and advises him to stare at her all he wants, knowing that within a week the scar will be gone. The Old Lady takes the seat next to Violet and comments on ‘The Baltimore Catechism’ that Violet is carrying. We find out that it belonged to Violet’s mother and serves as her journal throughout her trip. The Old Lady continues to talk non-stop, while Violet imagines what the Old Lady’s features would look like on her own face. Along with the rest of the people on the bus, she is beginning her journey (ON MY WAY- F Solo and Mixed Chorus).

        There is a brief flashback to young Vi and her father in which her father confronts her about being picked on by the neighborhood children. He convinces her that they’re ignorant and gives her a quarter to go see a movie while he goes and deals with the neighborhood bullies.

        We return to the present time and the bus has made its first stop in Kingsport, Tennessee where the passengers look forward to the time off the bus (M&Ms – Mixed Chorus). While in the roadside diner, Violet meets two soldiers on their way to Fort Smith, Arkansas. One is named Flick and the other named Monty. They invite Violet to join them in a game of poker and we once again go back in time to see Young Violet getting a lesson from her father in how to play poker. (LUCK OF THE DRAW – M Solo with Principals) Mid-way through the song, we are brought to the present where Violet is winning the poker game in the diner. The song ends with both young Violet and Violet beating their opponents, much to their surprise.

        Back on the bus, Monty questions Violet about her journey and, when she tells him about going to see the preacher to be healed, both Monty and Flick laugh at the idea. Monty shares his opinion that Violet has lived a sheltered life in the mountains and has no idea ‘what the real world is like’ (QUESTION & ANSWER- M/F Duet). Monty takes Violet’s catechism away from her, causing a scene in front of the other passengers. He reads out loud from it, making fun of what she has written. Violet grabs it from him and we flashback to Young Violet in the attic of her house being confronted by her father for looking at her mother’s book. She is told that there ‘are things in its pages not suitable for a young girl’, Young Violet obeys her father’s wishes and returns the book to him.

        Back to the present, we find Violet, Flick and Monty at the bus station in Nashville, Tennessee. Flick asks Violet what it is she really wants to change about herself. Violet grabs a movie magazine from a local vendor and, with the magazine’s help, describes to the men what it is she really wants (ALL TO PIECES- F Solo). They get back on the bus and Violet daydreams about seeing the preacher. We see Young Violet talking to the preacher about her accident and she explains to him that she is ready for him to heal her (A HEALING TOUCH- M Solo).

        As the bus gets closer to Memphis, Flick and Violet continue their conversation and he attempts to convince her that she doesn’t need a preacher to heal her, she can heal herself (LET IT SING- M Solo). The bus arrives in Memphis and Violet, Flick and Monty are preparing to say goodbye to each other when confronted by a couple of locals looking for a fight. They immediately target Flick, due to the fact that he is black, and a fight ensues. The locals are chased away, but they managed to take Violet’s suitcase, which contained all of her clothes and the phone number of the relatives she was going to stay with for the night. Flick and Monty convince her to stay the night with them and she will leave first thing in the morning. Violet is shown to her room, turns on the radio and takes a nap (WHO’LL BE THE ONE [IF NOT ME]- M Solo with 2M Singers). Violet dreams of her younger self, introducing her father to the Old Lady from the bus and dancing around the room with Monty. While she naps, Monty comes in the room to wake her and sees Violet’s catechism sitting on the nightstand. He picks it up and begins to read what Violet has written in it. He reads some comments that have been written about him that he is not too pleased with, but rather than become angry, he decides for forgive Violet, given all that she has gone through (YOU’RE DIFFERENT- M Solo).

        Flick enters and Violet is now awake. The three of them set out for a ‘night on the town’ and find themselves in a Beale Street music hall (LONELY STRANGER- F Solo). In the music hall, all three are dancing together and Monty makes a pass at Violet. Seeing this, Flick leaves the music hall and Violet goes after him. Flick and Violet return to the boarding house and are confronted by the landlady who watches until they both go off to their separate bedrooms. Later in the night, after Violet has been asleep for some time, Monty enters her bedroom through her unlocked door, wakes her and they make love.

        We are back in the past on the last day of high school where we see a Young Violet being followed home by Billy Dean. We discover that Billy Dean has been paid to approach her for sex by the other kids in the neighborhood because he is a virgin. Young Violet is aware of the situation and confronts Billy Dean who quickly admits the truth. She agrees to go along with him, as long as he is ‘gentle’. This is Violet’s first sexual experience.

        We return to Violet and Monty in bed, where, after making love, Monty quickly falls asleep while laying with his head on Violet’s chest (LAY DOWN YOUR HEAD- F Solo). This brings us to the end of the first act where we see Violet and Monty in bed together, Flick drinking alone at a local bar and a trio of locals, the music hall singer, a hotel singer and a street walker (ANYONE WOULD DO- F Trio).

        Act II begins on the bus, coming to a stop in Fort Smith, Arkansas. Monty gets off the bus, promising Violet a surprise when he returns. While Monty is gone, Flick confronts Violet about what went on the night before (HARD TO SAY GOODBYE- M/F Duet). As the song finishes, Violet runs off into the bathroom to practice what she is going to say to Monty when he returns. At the same time, Monty is getting advice from Flick as to what to say to Violet when she returns. But when the time actually comes for them to say goodbye, Monty ends up asking Violet to meet him back at Fort Smith once her healing is complete (PROMISE ME, VIOLET- 2M/F Trio). She gets on the bus, promising nothing.

        The song segues immediately into the middle of choir rehearsal at the Hope and Glory Building in Tulsa, Oklahoma. (RAISE ME UP- Mixed Chorus) where Violet has become completely enthralled with the preacher rehearsing his sermon. At the climax of the song, the preacher stops everything and reprimands the choir for their performance. While doing this, he includes Violet and yells at her, thinking she is part of the television crew. She tells him that she doesn’t work for him, but is there to be healed. He tells her to come back the next night, and send his assistant to pray with her so she’ll go away.

        As they begin praying, Violet sees her father carrying her younger self down the mountain immediately following the accident (DOWN THE MOUNTAIN- M/F Duet). After trying to talk some sense into the preacher’s assistant, Violet gives up and runs away from him, trying to find the preacher herself. She comes upon the televangelist’s empty chapel and starts laying out her hand written bible quotes on the altar. The preacher discovers her in his chapel and continues attempting to get her to leave. She refuses and begs him once again to heal her scar (RAISE ME UP [REPRISE]- F Solo). He tells her that there is nothing he can do for her, after all the scar is already healed. He tells her that his preaching has become more of a show than anything else. Violet informs him that his deception has ‘stolen years of her life.’ She insists that he see her for what she really is (LOOK AT ME- F Solo). During the song, the preacher exits without Violet noticing. She continues to set up the altar for her healing and, as the song reaches its climax, Violet begins tearing up the catechism, scattering the torn pieces all around the altar. Violet hasn’t noticed that her father has replaced the preacher. He is joined by Young Violet. Violet watches her younger self confront her father about the accident and they fight until her father finally apologizes. He tells her that he is aware that he may not have always known how to be the best father to her, but he did the best that he could do (THAT’S WHAT I COULD DO- M Solo).

        After the confrontation with her father, Violet becomes aware that something about her has changed and assumes that it is her scar (SURPRISED [REPRISE]- F Solo). She refuses to look at it for herself, deciding to give it some more time to heal. She re-boards the bus and, although all the passengers on board are different people, they remind her of the people she traveled with before (M&Ms [REPRISE]- Mixed Chorus). She strikes up a conversation with one of the passengers telling her that if she gets to Fort Smith and Monty doesn’t recognize her then she’ll know that she’s been so completely transformed she could ‘live happily ever after with him.’ She also says that if he does recognize her she’ll know that she is too ugly to ever be happy and will immediately get back on the bus. Her fellow passengers don’t quite know what to make of her, and suggest that she maybe needs some rest.

        When the bus stops at Fort Smith, both Monty and Flick are waiting for her. Violet rushes off to see Monty and, when she asks him what he thinks, he says, ‘I tried to tell you what would happen. But you didn’t want to hear it.’ Upon hearing this, Violet realizes that her scar is still there and she hasn’t been healed. She is speechless and doesn’t want either of them to look at her. Monty tells her that he has volunteered to go to Vietnam and is leaving in a few days. He asks Violet if she will go with him to San Francisco for a few days before he has to leave, but she refuses and he leaves. Flick can see that Violet has indeed changed since the last time he saw her, even though the scar remains. He tries to convince her to stay with him (PROMISE ME, VIOLET [REPRISE]- M/F Duet). At first she refuses, but then the image of her younger self enters and helps to convince Violet to stay with him. As the show comes to an end, Violet and Flick join hands and are surrounded by the entire company, who have watched Violet find her true beauty, inside herself (BRING ME TO LIGHT- Mixed Chorus).

NOTES ON THE PRODUCTION

        Violet had a limited run as part of Playwrights Horizons’ 1996-97 season. It won the New York Drama Critic’s Circle Award for Best Musical and was the first Off-Broadway show to do so. Violet was also awarded the Lucille Lortel Award for Outstanding Musical. The show’s composer, Jeanine Tesori, was awarded an Obie Award Special Citation for Music.

        The show works well in a very small space with a small cast, but can be enlarged for school or community groups wanting to give more performing experiences for their company. In an enlarged cast there would be little or no doubling. Due to the various locations throughout the piece (North Carolina, Tennessee, Arkansas and Oklahoma) a dialect coach would be helpful, to make sure the accents are consistent with each location. The use of various musical styles (gospel, country, rock and roll, as well as classical musical theatre) throughout the score make it very appealing to all audiences, as the show contains ‘something for everyone’. This is an ideal show for high school audiences as it deals with the issues of internal vs. external beauty. Violet’s entire struggle is based on what she looks like on the outside, but throughout her journey she discovers that she is truly beautiful on the inside where it matters. It is especially touching when she discovers that someone (Flick) is able to see what a truly beautiful person she really is.

        The Boston production of the show was extremely well received and earned Bridget Beivrne, who played the title role, an Elliot Norton Award for Best Musical Performance in the 2000 season of Boston theatre. The Boston production of Violet was also awarded the Best Musical Award by the Independent Reviewers of New England.

SONGS OF SPECIAL INTEREST

    "On My Way," Upbeat chorus number that could easily be trimmed down for use in the classroom or in a revue, great melody and harmonies

    "Lay Down Your Head," Mezzo Solo, beautiful ballad that can be easily used out of the context of the show, also good for 16-32 bars for audition purposes (Can also be heard on Audra McDonald’s solo CD How Glory Goes)

    "Let It Sing," M Solo, (medium tempo, not ballad) a great find for a strong baritone, can also be cut for 16-32 bars for auditions

    "You’re Different," Baritone Solo, good choice for 16-32 bars for an audition (section near the end of the song)

    "Hey I’m Dyin," F Solo Also a good choice for 16-32 bars for an audition (especially for 16-32 bars for up-tempo, Rock)

Instrumentation: bass, percussion, 2 guitars, 3 keyboards, violin, cello
Script: MTI
Score: MTI
Record/CD: Resmiranda Records
Rights: MTI

WALKING HAPPY

Book: Roger O’Hirson and Kitti Frings

Lyrics: Sammy Cahn

Music: James Van Heusen

        (Based on the play Hobson’s Choice by Harold Brighouse)

ORIGINAL PRODUCTION

Lunt Fontanne, November 26, 1966 (161 perf.)

Director: Cy Feuer

Choreographer: Danny Daniels

Musical Director: Julian Stein

Orchestration:

 

Principals:

Will- Norman Wisdon-

Hobson- George Rose-

Alice- Sharon Dierking-

Albert- James B. Spann-

Mrs. Hepworth- Emma Trekman-

Maggie- Louise Troy-

Beenstock- Ed Bakey-

Vickie- Gretchen Van Aken-

Freddie- Michael Berkson-

Tubby Wadlow- Gordon Dilworth-

Chorus and Smaller Roles:

SYNOPSIS

        The show is set in an industrial town in Lancashire, England in 1880.

        At the Moonrakers Pub, the men are starting to leave when Beenstock, a temperance believer, arrives to give his nightly speech (THINK OF SOMETHING ELSE- Sc to M Chorus).

        In Hobson’s shop, while Hobson’s two daughters, Vickie and Alice, moon over their two boyfriends, Albert and Freddie Beenstock, Maggie, Hobson’s intelligent oldest daughter, sells Freddie a pair of shoes and convinces Albert to fix his. The two leave and Maggie tells the girls that the boys had better declare their intentions. When Hobson, at thirty, informs Maggie that she is an old maid, Maggie accuses him of not looking for a husband for her. He denies it and exits. Maggie fumes that her father forces her to run the store and keep the house (WHERE WAS I?- Sc to F Solo). Knowing her father is using her, Maggie is determined to outwit him and find her own husband.

        In the cellar of the Bootery, Will Massop, a thirty-year old bootmaker, asks Tubby how to act around a girl (HOW D’YA TALK TO A GIRL- Sc to M/F Duet).

        Maggie, realizing Will is a talented bootmaker, proposes to him and promises that love will come. She tells him that he is her best chance to succeed in life and he happily agrees to the marriage (IF I BE YOUR BEST CHANCE- Sc to M Solo). But when she tells him bans will be posted the following Sunday, he tells her he has already promised himself to Ada Figgens, the daughter of the man he lodges with.

        Maggie goes to Ada’s house to argue with Ada for Will, but Ada’s mother pushes Will at two men who begin a barrel dance (JOYFUL THING- Mixed Chorus). Will is upset, but Maggie returns, threatens to report them to the police and exits with Will, who she vows to make into the finest bootmaker in Lancashire. They take Maggie’s orders and Will is confused and wonders (WHAT MAKES IT HAPPEN- M Solo).

        Hobson, furious because the marriage contract Albert has drawn up calls for Hobson to pay £250 sterling per daughter as a dowry, won’t agree to any marriages. When the girls tell Maggie, she urges them to work with her (USE YOUR NOGGIN- F Trio).

        Will enters and Maggie informs the girls and her father that she is going to marry Will. Hobson, in a fury, hits him, but Will just stares, turns and kisses Maggie again and again. Will realizes his rashness and faints dead away. Maggie leans over him as the curtain falls.

        Act II opens in Mrs. Hepworth’s sitting room. Maggie tells Mrs. Hepworth she and Will are going to be married and need a loan to start a new life and business (I’LL MAKE A MAN OF THE MAN- Sc to F Solo).

        Maggie rents a cellar in a very dirty condition with the idea of opening a shoe business. She urges Will, who starts off slowly, to believe in their abilities (WALKING HAPPY- M/F Duet to Chorus).

        In the cellar bedroom, which is clean and orderly, Maggie makes Will work on his writing. He copies a phrase she has written (I DON’T THINK I’M IN LOVE- Sc to M/F Duet). Their first customer enters for a new shoelace and they are both very happy.

        At the Moonrakers, Hobson is in a drunken state, attempting to forget his troubles (SUCH A SOCIABLE SORT- Mixed Chorus).

        On his wedding day, Will accuses Tubby of being responsible for his marriage (IT MIGHT AS WELL BE HER- M Duet).

        Hobson arrives at the wedding where Maggie forces him to accept Will as a son-in-law. Hobson offers Will his old job, much to Maggie’s chagrin (YOU’RE RIGHT- M/F Duet). Will agrees to Hobson’s proposal if he will make him a partner.

        Maggie, realizing that Will is afraid of her, packs her bags to leave, but Will orders her not to, and the two happily realize their love.

        The show was not well received even though Will was portrayed by an excellent English comedian.

SONGS OF SPECIAL INTEREST

Instrumentation:

Script: Samuel French

Selections: Shapiro, Bernstein
Record/CD: Capitol

Rights: Samuel French

WEST SIDE STORY

Book: Arthur Laurents

Music: Leonard Bernstein

Lyrics: Stephen Sondheim

        (Based on Shakespeare's Romeo and Juliet and an idea by Jerome Robbins)

ORIGINAL PRODUCTION

Winter Garden, September 26, 1957 (732 perf.)

Director and Choreographer: Jerome Robbins

Co-Choreographer: Peter Gennaro

Musical Director: Max Goberman

Orchestration: Leonard Bernstein, Sid Ramin and Irwin Kostal

 

Principals:

Riff- Mickey Calin- Baritone

Bernardo- Ken LeRoy- Baritone

Tony- Larry Kert- Tenor

Maria- Carol Lawrence- Soprano

Anita- Chita Rivera- Alto

Chino- Jamie Sanchez- VTNE

Doc- Art Smith- VTNE

Anybodys- Lee Becker-Dancer- VTNE

Chorus and Smaller Roles: 10M/8F teens and 2M adults

SYNOPSIS

        The scene opens on two rival New York street gangs: the Jets whose leader is Riff and whose members are American, and the Sharks whose leader is Bernardo and whose members are Puerto Rican. Because of the difference in backgrounds, there is much hostility and prejudice, and wars over territories.

        One late afternoon Bernardo and the Sharks corner A-rab, a Jet member, and proceed to beat on him until the rest of the Jets arrive. A free-for-all breaks out and gets broken up by a big, goon-like cop, Krupke, and plainclothesman, Schrank. They advise the two groups to leave each other alone.

        The Jets, determined to hold their turf, plan on a rumble against the Sharks. In counting up their available members they decide to enlist the help of Tony, a former member/founder who hasn't been with the gang for awhile. Leader Riff assures them that once someone is a Jet they are always loyal to the group (JET SONG- M Solo with M Chorus).

        When Riff finds Tony at the drugstore where he works, he asks Tony to join him at the dance to fight the Sharks. Tony reluctantly agrees, for Riff is like a brother, yet yearns for something different (SOMETHING'S COMING- M Solo). Tony meets Bernardo's sister, Maria, at the dance and realizes she is what he has been waiting for (MARIA- M Solo with Mixed Chorus Background). He goes to Maria's home and climbs the fire escape to see her. The two express their feelings (TONIGHT- Sc to M/F Duet).

        The Sharks and their girls are in the street arguing about the virtues of Puerto Rico. When the boys leave to plan the War Council, the girls comment on Puerto Rico; Rosalia, fantasizing about the island's beauty, while Anita, Bernardo's girlfriend, and the other girls prefer the USA (AMERICA- F Chorus).

        The Jets are in the drugstore planning their rumble strategy despite Doc's comments on the pointlessness of fighting. He calls them hoodlums, which angers the boys, but Riff wisely counsels them to save their energy for the Sharks (COOL- M Solo with M Chorus).

        Bernardo and the Sharks arrive at the drugstore to settle the details of the rumble. They agree to meet the next night, under the highway and prove which gang is best by a fist fight between each gang's best man.

        Tony secretly meets Maria in the dress shop after she finishes work. Using dressmaker dummies to represent their families, they dramatize what their lives should be like. The mood becomes serious as they enact their make-believe wedding ceremony (ONE HAND, ONE HEART- Sc to M/F Duet).

        In various areas of the neighborhood, the Jets, Sharks, Anita, Maria and Tony prepare for the evening (TONIGHT- Mixed Chorus).

        The rumble begins with Bernardo and Diesel, the two best fighters, surrounded by the other gang members. They are interrupted by Tony who, keeping his promise to Maria, tries to stop the fight. Bernardo, recognizing him as the boy who danced with his sister, taunts Tony in an attempt to fight him. Riff seeing that Tony will not fight back, strikes out at Bernardo and both Riff and Bernardo pull knives. Tony draws Riff's attention away from the fight, which enables Bernardo to kill him. Enraged, Tony grabs Riff's switchblade and kills Bernardo. He stands there stunned as the gang members all begin fighting. The sound of police sirens drives everyone off but Tony stands staring at the two bodies and cries Maria's name. Anybodys, a tomboy who yearns to join the Jets, darts on and pulls him away as the cruiser lights comb the area.

        As Act II begins, Rosalia and Consuelo, two Puerto Rican girls, are in Maria's bedroom, discussing what they will do after the Rumble when Maria announces that there will be no rumble and that she feels wonderful for it is her wedding night. The girls think she is crazy (I FEEL PRETTY- F Trio) and warn her that one must get married before the wedding night. As Chino, her former Puerto Rican boyfriend, enters the girls leave. Chino tells her there has been a fight and Maria reveals she is worried about Tony. Chino tells her that Tony has killed Bernardo and slams the door leading to the parlor. He stops before leaving and picks up Bernardo's gun.

        Tony enters through the bedroom window to tell Maria he has killed her brother. She pleads with him not to leave her and the two, in an imaginary dance sequence, visualize their utopian world. As an offstage voice sings (SOMEWHERE- F Solo, M/F Duet) the walls of the apartment move off and the Sharks and Jets enter with their girls. Everyone dances happily together. The lights suddenly become harsh and the dream turns into the real nightmare with the re-enactment of the knife fight. At the end of the number they are back in the bedroom holding one another and finishing the song.

        In an alley, the Jets, in hiding from Officer Krupke, comment on the officer and his treatment of them (GEE, OFFICER KRUPKE- M Chorus). Anybodys enters to tell them that Chino is out to get Tony and the gang spreads out to warn and protect Tony.

        Anita enters Maria's room seeking comfort and discovers Tony has been there. She tells her that Tony is no good but Maria forces Anita to understand that her love for Tony is as great as Anita's for Bernardo (A BOY LIKE THAT/I HAVE A LOVE- Sc to F Duet).

        Officer Schrank enters to question Maria, who asks Anita to deliver a message to the drugstore. When Anita arrives at the drugstore, the Jets, believing she is there to find Tony, push her around in a dramatically stylized dance (THE TAUNTING- Dance) which is stopped by the arrival of Doc. Angry, Anita tells the Jets to tell Tony that Chino has shot Maria and storms out of the drugstore.

        Doc goes into the cellar to give Tony money for his escape and informs Tony that Maria is dead. Stunned he runs out into the streets yelling for Chino to kill him. As he enters the street, he sees Maria and starts to her but Chino shoots him. Tony dies in Maria's arms and Maria, enraged and saddened by Tony's death, grabs the gun from Chino and threatens both Jets and Sharks with death. She collapses in tears but recovers herself and stretches out her arms to both gangs who gently carry Tony's body off.

NOTES ON THE PRODUCTION

        West Side Story won two 1958 Tony Awards for Scenic Design and Choreography. It was year of stiff competition and most other awards went to The Music Man.

        The show was lyricist Stephen Sondheim's Broadway debut, and was a brilliantly dramatic treatment of the "Romeo and Juliet" theme. The music and lyrics are familiar to modern audiences and enhance the book's dramatic action.

        The production is extremely demanding, as it requires "triple threat" performers capable of excellent dancing, singing and acting. The dancing is a high point and amateur groups will need a lot of work on these "action" oriented numbers to avoid the risk of being hurt. Do not attempt to perform this musical without excellent dancers, a quality choreographer and a lot of rehearsal hours.

        The larger dance numbers require full stage space to perform which usually means drops to set the location of the gym, the alley, the highway and the street. It may be possible to combine the street sequences and possibly even include the rumble in the street drop. Other scenes occur in the bedroom/parlor, the bridal shop, the drugstore and the cellar. Some groups may find it technically feasible to have the drugstore and cellar placed in the same location and have Tony enter the drugstore from a separate entrance after the Jets leave. The important element in designing the sets is to keep the stage action flowing from scene to scene.

        The company members, except Anybodys, Doc and the policeman, usually have two costumes, one for the dance and one for everyday.

SONGS OF SPECIAL INTEREST

    "A Boy Like That/I Have a Love," Alto/Soprano Duet, excellent scene/song, dramatic, powerful, excellent for class study

    "Gee, Officer Krupke," Comic Male Chorus number, many actable specifics, and solo sections, good for showcase or class study

    "I Feel Pretty," Female Trio, inter-reaction, reaction stressed

    "One Hand, One Heart," Romantic Soprano/Tenor Duet, excellent scene, transitional emphasis

    "Something's Coming," quality tenor number, exciting, up-tempo, good for audition

 

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

Script: 10 Great Musicals, Theatre Arts, Dell

Score: Schirmer, Chappell

Record: Columbia

Rights: MTI

WHAT MAKES SAMMY RUN?

 

Book: Budd Schulberg and Stuart Schulberg

Music and Lyrics: Erven Drake

        (Based on the novel by Budd Schulberg)

ORIGINAL PRODUCTION

54^th St. Theatre, February 27, 1964 (540 perf.)

Director: Abe Burrows

Choreographer: Matt Mattox

Musical Director: Lehman Engel

Orchestration: Don Walker

 

Principals:

Al Manheim- Robert Alda-

Rita Rio- Graciela Daniele

Laurette Harrington- Bernice Massi-

Tracy Clark- Richard France-

Sammy Glick- Steve Lawrence-

Kit Sargent- Sally Ann Howes-

Julian- George Coe-

Sheik Orsini- Barry Newman-

Chorus and Smaller Roles:

SYNOPSIS

        The play starts with Al, the drama editor of New York Record, reminiscing about his first meeting with Sammy Glick as a newspaper copy boy. The scene shifts and the audience meets Sammy, a conniving lad. Al discovers Sammy has used a mistake on Al’s part for his own financial gain and Sammy tells him his philosophy (I GOT A NEW PAIR OF SHOES- Sc to M Duet to Chorus).

        Sammy proceeds to get Al’s column shortened so he will have room for his own radio column, but claims he was only trying to help. Al counters (YOU HELP ME- M Duet to Counterpoint Duet).

        Sammy quickly steals a young boy’s story for a radio drama and wheels and deals to get it produced as a movie, with writing credit going to himself. He moves to Hollywood to become a writer on the sound stage at World Wide Pictures. On location, where the Queen of Sheba’s film is being shot, Sammy tries desperately to be noticed. Kit Sargent, the writer, asks to talk to him, but he is disappointed when he finds out she only wants him to join the Screen Writer’s Guild. Sammy reads the contract as Kit realizes she has a tender spot for him because he is a misfit (A TENDER SPOT- F Solo). He signs because he is convinced that he could be President of the Guild someday.

        Sammy runs into Al, who is in Hollywood adapting his play to a film. Al is nervous about writing a screenplay, but Kit and Sammy convince him that it is very simple (LIGHTS! CAMERA! PLATITUDE!- 2M/F Trio).

        Sammy, alone on the sound stage, pretends that he is the producer when Sidney and Fineman, the producer, enters and listens. Sammy apologizes, but Fineman admits it was the sort of thing he did himself. Bert tells Sammy it’s a tough town and one must be good to make it. Sammy says he belongs (MY HOMETOWN- M Solo) and quickly creates a film story.

        Sammy becomes interested in Laurette Harrington, a film investor’s daughter. Sheik, the director, warns him that she is not good to mess with, but Sammy ignores him (I SEE SOMETHING- M/F Solo).

        At Kit’s apartment, she tries to explain to Al why she is so attracted to Sammy. He is glad she told him, but hopes that at some later date, she will notice him (MAYBE SOME OTHER TIME- Sc to M/F Duet). Sammy interrupts to tell them that Fineman made him a producer and asks Kit to join him in Mexico (YOU CAN TRUST ME- Sc to M Solo) describing the hotel of his choice (A ROOM WITHOUT WINDOWS- to M/F Duet).

        Laurette phones to tell Sammy she wants to see him, which leaves Kit in an angry mood (KISS ME NO KISSES- Sc to M/F Duet).

        At the opening of Act II, Sammy, at Grauman’s Chinese Theatre, tells the columnists and celebrities that he hasn’t changed (I FEEL HUMBLE- Mixed Chorus).

        Al is in New York, trying to write a play about Sammy when Sammy arrives to convince him to write a screenplay with Kit. Al calls Kit to make sure she wants him to come back. She does and sings about her new feelings (SOMETHING TO LIVE FOR- F Solo).

        At a New York party, Laurette and Sammy realize they have a lot in common (YOU’RE NO GOOD- Sc to M/F Duet).

        Sammy has connived to become Head of Production by ensuring his mentor, Al, that Fineman will be fired. Laurette arrives and tries to seduce Sammy in his office (FRIENDLIEST THING- F Solo), but he doesn’t believe in office sex. She is intrigued and decides she wants to marry him.

        The wedding party is in full swing (WEDDING OF THE YEAR- Mixed Chorus), but the reception is interrupted with news that Sidney Fineman shot himself. Sammy goes to tell Laurette and is shocked to find her partially dressed, embracing a young French actor. She tells him that she plans to go on living her own life the way she wants, and if he leaves her, she will make sure he doesn’t last as head of the studio. He backs down and agrees, but begs her to keep it discreet. Al and Kit, finally rid of Sammy, return to New York. Sammy realizes that he is really alone and defeated (SOME DAYS EVERYTHING GOES WRONG- M Solo), but he gains back his strength and convinces himself that everything is really going right.

NOTES ON THE PRODUCTION

        The show had an enormous build-up due to the popularity of Steve Lawrence, but when the star missed performances too often, the public refused to gamble their money on his moods and the show closed.

        Sammy’s description of his "Monsoon" film is worth a quick perusal for a possible audition monologue.

SONGS OF SPECIAL INTEREST

Instrumentation:

Script: Random House
Score:

Record/CD: Columbia Masterworks
Rights: Tams-Witmark

WHERE’S CHARLEY?

Book: George Abbott

Music and Lyrics: Frank Loesser

        (Based on Charley’s Aunt by Brandon Thomas)

ORIGINAL PRODUCTION

St. James Theatre, October 11, 1948 (792 perf.)

Director: George Abbott

Choreographer: George Balanchine

Musical Director: Max Goberman

Orchestration: Ted Royal, Hans Spialek and Philip J. Lang

 

Principals:

Charley- Ray Bolger- Baritone

Amy- Allyn Ann McLerie- Mezzo

Kitty- Doretta Morrow- Soprano

Jack- Byron Palmer- Tenor

Sir Francis- Paul England- Baritone

Dona Lucia- Jane Lawrence- Soprano

Spettigue- Horace Cooper- VTNE

Chorus and Smaller Roles: 8M/8F

SUMMARY AND NOTES

        The show takes place in Oxford England, 1892. Charley and Jack, two Oxford students, are entertaining two young ladies, Amy and Kitty, who have come to visit them. The girls are properly upset to discover that Charley’s aunt hasn’t arrived to chaperone, but the boys assure them she will be on the next train. Jack suggests that Charley pose as his own Aunt in the costume he is to wear in the drama club production. He is forced to agree in order to appease Kitty’s guardian, Amy’s Uncle, Mr. Spettigue. Spettigue, an opportunist who has heard the Aunt is extremely wealthy, considers marrying her for her money. Charlie, as Dona Lucia Alvadorez, leads him on a merry chase.

        The real Dona Lucia, an extremely attractive, stylish woman, arrives. She is greeted by Jack’s father, Sir Francis, whom she recognizes as the soldier she was infatuated with twenty years before. She decides to disguise her true identity until she has talked to Charley, announces herself as Mrs. Beverly-Smythe, and renews her acquaintance with Sir Francis.

        The play resolves when Charley, as Dona Lucia, agrees to marry Spettigue if he gives his written consent that Kitty and Amy may marry Jack and Charlie. Spettigue doesn’t mind losing their money (which he controls until they marry) since he is going to gain more wealth by marriage to Donna. Spettigue announces his agreement to the marriages of his niece Kitty and ward Amy to the boys. A humorous scene of Charley rushing back and forth to change from himself to Dona follows. His disguise is unveiled, but the couples are still to be wed for they have the letter of agreement. Charley meets his real aunt who declares her love for Sir Francis and the musical ends on a happy note.

        A Tony was awarded to Ray Bolger who nightly stopped the show with the charming "Once In Love with Amy," soft shoe solo where he invited the audience to sing along.

        The show is an ideal one for school groups with large choirs who want to give everyone a singing opportunity because the dance requirements are limited and the chorus is expandable. There are several dance sections but these may be trimmed in length and are set in the Victorian period, where style is more important than tricky steps. The principals need excellent singing voices and Charley must be a high energy comedian who dances.

        The costumes, although period ones, also include some Spanish styled ones for a movement sequence involving Dona Lucia's background. Charley's costume, traditionally representing Whistler's Mother needs to be designed for quick changes. It is advised that extreme care be given to casting a Charley with a sense of humor and a certain masculine charm. Without this the transvestite sections may become uncomfortable.

SONGS OF SPECIAL INTEREST

    "Make a Miracle," Baritone/Soprano, up-tempo, duet between Charley and Amy about the future inventions, Charley wants to talk about their future but Amy is more enthralled with future technology. Unusual lyric about love, with definite actables

    "Once In Love With Amy," Baritone charm song, Charley expresses his love for Amy by cavorting in soft shoe and song around the stage

 

Instrumentation: 5 reeds, 2 trumpets, trombone, horn, 3 violins, viola, cello, bass, percussion, piano

Script: French of London

Score: Frank

Record: Monmouth-Evergreen

Rights: MTI

WHOOPEE!

 

Book: William Anthony McGuire

Lyrics: Gus Kahn

Music: Walter Donaldson

        (Based on The Nervous Wreck by Owen Davis)

 

ORIGINAL PRODUCTION

 

New Amsterdam Theatre, December 4, 1928 (379 perf.)

Director: William Anthony McGuire
Choreographer: Seymour Felix and Tamara Geva

Principals:

Eddie Cantor, Ruth Etting, Ethel Shutta, Paul Gregory, Frances Upton, Tamara Geva, Albert Hackett, George Olsen Orchestra, Buddy Ebsen

REVIVAL PRODUCTION

 

ANTA Theatre, February 14, 1979 (204 perf.)

Director: Frank Corsaro

Choreographer: Dan Siretta

Musical Director: Lynn Crigler

Orchestration: Russell Warner

 

Principals:

Sheriff Bob- Nicholas Wyman- Baritone

Mary Custer- Bonnie Leaders- Alto

Sally Morgan- Beth Austin- Mezzo

Henry Williams- Charles Repole- Tenor

Wanenis- Franc Luz- High Baritone

Harriet Underwood- Catherine Cox- Mezzo

Chorus and Smaller Roles: 11M/5F, may be expanded.

SYNOPSIS

        The scene opens at Mission Rest, Arizona and the day is Sally Morgan’s wedding day. As the curtain rises immediately the audience is told of the approaching wedding by the town (WHOOPEE TONIGHT- Mixed Chorus). After the townsfolk disperse the main conflict is revealed. Sheriff Bob, the bridegroom, and Sally, the prospective bride, meet. Sally breaks into tears, saying that it is the happiest day of her whole life; thus one discovers that the bride is not quite up to this wedding. She, unfortunately is in love with Wanenis, the eastern educated son of the American Indian, Black Eagle.

        Next, we are introduced to Miss Custer, the nurse of Henry Williams, and Henry, himself. It is clearly established that Miss Custer is chasing after Henry for more than just the reason of his medicine. Henry hides behind Sally’s bridesmaids until she exits, then he states his opinion of matrimony (MAKIN’ WHOOPEE- M Solo and F Chorus).

        Sally and Wanenis meet secretly and another obstacle is presented. It seems that Sally, who is white, and Wanenis, an American Indian, each worry about being accepted in the others world where racism is the norm. They are found by Sheriff Bob and Sally’s father, Judson, who force them to split up. This is the last straw for Sally who then decides to escape by fooling Henry Williams into thinking that it is Sheriff Bob’s wish. When all discover what has happened, Sheriff Bob saddles up a posse in order to commit a "hanging" (GO GET ‘IM- M Solo and Mixed Chorus).

        In the meantime it is evening in Black Top Canyon where Sally and Henry discover that they are out of gas. Sally tells Henry that she will never go back to marry Sheriff Bob and, since she can not marry Wanenis, perhaps she should marry him. Henry refuses (UNTIL YOU GET SOMEBODY ELSE- M and F Duet).

        Soon, another automobile approaches Sally and Henry’s fliver. It is the Underwood family; Father Underwood, his sex-crazed daughter, Harriet, and his meek son, Chester. When Underwood refuses to give Henry any of his spare gasoline, Sally hands Henry an unloaded gun. A hilariously bungled "stick ‘em up" scene occurs in which Henry and Sally finally get their gas.

        The chase continues at the Bar M Ranch the next morning Sally and Henry have been "kidnapped" by the foreman of the ranch, Andy, and his muscular pal, Mort, while ordering breakfast. It seems that the cook escaped the night before and Sally and Henry have been detained in order to take his place. Miss Custer enters the ranch disguised as a cowboy where she discovers Henry. Again she proposes to him (LOVE ME, OR LEAVE ME- F Solo). Henry does not have a chance to answer when Miss Custer spies Sally and mistakenly thinks that Henry is in love with Sally. She leaves after knocking Henry’s jaw into a spin.

        Next, the Underwood family enters the Bar M Ranch, which they own, but they don’t recognize Henry since he has removed his glasses. Sheriff Bob arrives and discovers Sally, but not Henry because he is hiding in the oven. While Underwood and Sheriff Bob are conversing, Wanenis steals Sally from under their noses. Sheriff Bob, for the moment, decides to investigate the gasoline theft against the Underwoods and takes Chester Underwood as a deputy. Chester, who has found Henry’s fliver, the "get-away" car, is told to guard it.

        We discover that Wanenis and Sally are in a canoe nearing the shore of the Indian reservation. Before they arrive, Wanenis again proposes, asking her to forget their cultural differences (I’M BRINGING A RED, RED ROSE- M and F Duet). She cannot answer and, in confusion, runs away from him. Back at the Bar M Ranch, Sally and Sheriff Bob meet and Sally lies, telling him that bandits kidnapped her. During this scene Henry is behind Sheriff Bob, ready to hit him over the head. Sally stops him subtly a number of times. After the Sheriff leaves, Sally and Henry are stopped from escaping by Mort, who carries them both to Sheriff Bob. The Sheriff, who doesn’t recognize Henry, tries to prove that he isn’t a cook. When Henry claims to be a performer, he tries to disprove that scenario as well (MY BABY JUST CARES FOR ME- M Solo and Mixed Chorus). As Henry stops singing, Chester, who has been hit over the head by Henry in a previous scene while guarding the car, runs in and accuses Henry of being the bandit. The townsfolk react angrily (GO GET ‘IM- M Solo and Mixed Chorus).

        Back at the reservation, Wanenis brings in Sally and Henry, whom he has kidnapped. Wanenis proposes again to Sally as she declares her love for him (OUT OF THE DAWN- M and F Duet). Meanwhile, Underwood and Chester are scouting around the reservation looking for Harriet Underwood, who had been chasing after Henry, while Sheriff Bob, Andy and Mort look for Sally. Black Eagle and Henry meet and become friends, inspiring Black Eagle to name him Chief-Sunk-In-the-Ditch. The ancient Tapahoe ceremony begins in Henry’s honor (THE TAPHOE TAP- Indian Dance).

        In the wilderness, the Indians and Wanenis attempt to hide Sally from Sheriff Bob, who has found them. Sally is revealed accidentally to the Sheriff and her father. Again, Sally disappears, although this time with her father. Everyone leaves and Sheriff Bob is left alone to collect his thoughts (REACHING FOR SOMEONE- M Solo).

        Still in the wilderness, Sheriff Bob is now being followed by Harriet. She quickly declares her love for him and Sheriff Bob returns the sentiment (YOU- F Solo and M Chorus).

        Back at the Bar M Ranch Sally finally explains to Sheriff Bob and the others that there weren’t any bandits, only Henry and herself, but they don’t believe her. Chester attempts to prove that Henry is the bandit through hypnosis but utterly fails, instead proving his innocence. Miss Custer and Henry finally clear things up and tell all that they are getting married (LOVE ME OR LEAVE ME [REPRISE]- F Solo) (YES, SIR, THAT’S MY BABY- M Solo and Mixed Chorus).

        Soon after, Wanenis and Sally are together again, for good, while Sheriff Bob and Harriet make up the third couple and a happy ending (WHOOPEE!- Company).

        The show, set in Arizona in the later 1920s has several sets that are usually: Mission Rest, 4 different "In One" scenes that occur on roads or in the wilderness, the Ranch, and The Reservation. The interior of the Ranch set consists of a kitchen with an oven large enough to hold Henry. There are also two period automobiles, one a touring car, the other a sportier model; these may be cutouts. The costumes are period ones and western outfits. The chorus members should have two each for visual variety.

    The script is extremely funny and the role of Henry requires a superb comic with impeccable timing. The roles are broadly written and comedic which makes it excellent for summer stock fare or for organizations looking for something witty and refreshing.

SONGS OF SPECIAL INTEREST

    "Love Me, Or Leave Me," F Alto Solo, now a standard, good for club, sung by Mary who is Henry’s nurse and is hurt that he doesn’t return her affection.

    "Makin’ Whoopee," High Baritone Solo To Mixed chorus, clever lyrics that describe the different things that happen to men when they get married, sung by Henry who hopes to remain single, strongly associated with Eddie Cantor who originated the role

    "Yes, Sir, That’s My Baby," M Baritone Solo, sung by Henry who realizes he loves his nurse, Mary and is ready for marriage, joined by the company

 

Instrumentation: 3 violins, viola, cello, bass, 4 reeds, trumpet, trombone, banjo, piano, percussion

Script: NP

Score: Shirmer

Record/CD:

Rights: Tams-Witmark

THE WHO’S TOMMY

        Synopsis by Gene Lauze who worked on the Broadway production

 

Book: Pete Townshend and Des McAnuff

Music and Lyrics: Pete Townshend

Additional Music and Lyrics: John Entwistle and Keith Moon

ORIGINAL PRODUCTION

Theatre, April 22, 1993 (# perf.)

Director: Des McAnuff

Choreographer: Wayne Cliento

Musical Director:
Orchestration:

Principals:

Mrs. Walker- Marcia Mitzman-

Capt. Walker- Jonathan Dokuchitz-

Uncle Ernie- Paul Kandel-

Tommy (age 4)- Carly Jane Steinborn/Crysta Macalush-

Tommy (Age 10)- Buddy Smith-

Tommy- Michael Cerveris-

Cousin Kevin- Anthony Barrile-

Gypsy- Cheryl Freeman-

Chorus and Smaller Numbers: 9M/7F

SYNOPSIS

        The time is 1940. World War II is at its height and the audience sees, as a prologue, the meeting, courtship and marriage of Captain Walker and his wife. Capt. Walker then leaves to fight at the front and is captured and interred in a POW camp (OVERATURE- Orchestra). Back in London, a pregnant Mrs. Walker receives the bad news that her husband is presumed dead (CAPTAIN WALKER- 2M Duet).

        It is now 1941 and Mrs. Walker gives birth to a son (IT’S A BOY- F Chorus).

        Four years later, Capt. Walker is finally released from his POW camp and returns home just as Mrs. Walker and her lover are celebrating her birthday (TWENTY-ONE- M/F Duet). Four-year old Tommy watches in a mirror as his father kills the young woman’s lover. Traumatized by the events he has just witnessed, Tommy can do nothing but stare at his reflection in the mirror. The Walkers realize that Tommy has seen everything and try to convince him that he hasn’t seen or heard anything (YOU DIDN’T HEAR IT- M/F Duet). When the local authorities arrive to investigate the shooting young Tommy is still staring into the mirror. The adult Tommy appears in the mirror, only seen by the little boy (AMAZING JOURNEY- M Solo).

        Having been charged with the murder of the lover, Capt. Walker is in court awaiting the decision of the Judge. Capt. Walker is found innocent of the charges, but the family’s joy is taken away when they realize that young Tommy has been stricken deaf, dumb and blind by the traumatic events.

        It is now 1950 and ten-year old Tommy is still haunted by the horrors of what he witnessed. His devastated parents take him to a hospital to see if they can help him. He is given a battery of tests by the doctors there, but it seems hopeless (SPARKS- Orchestral).

        The Walkers go to a family Christmas dinner, where young Tommy seems enthralled by his Uncle Ernie’s playing of the French horn (CHRISTMAS- Chorus). He is again joined by the presence of the older Tommy (SEE ME, FEEL ME- M Solo).

        The Walkers leave Tommy at home with Uncle Ernie as the baby sitter, but they are worried about what the inebriated Uncle will do with the little boy (DO YOU THINK IT’S ALRIGHT- M/F Duet). Once the parents have left, the uncle wastes no time molesting the boy (FIDDLE ABOUT- M Solo). Tommy is next left under the care of his cousin Kevin. Kevin is a young thug who taunts and abuses young Tommy unmercifully (COUSIN KEVIN- M Solo). To make fun of his deaf, dumb and blind cousin, Kevin brings him to a youth club and makes him play pinball. To Kevin and everyone’s surprise, Young Tommy is a genius at the game (SENSATION- Mixed Chorus). Encouraged by Tommy’s new accomplishments, the Walkers again have him tested by doctors, but to no avail (SPARKS [REPRISE]- Orchestral).

        A discouraged Mr. Walker is approached by a hawker who promises a cure for his son (EYESIGHT TO THE BLIND- 2M Duet). The hawker brings the man and his son to a prostitute called the Gypsy. The Gypsy is offering sex and drugs to cure his son (ACID QUEEN- F Solo). A horrified Mr. Walker grabs his son and leaves.

        The act ends with the now 17-year old Tommy madly playing pinball in a local arcade to the eager delight of the other area teens (PINBALL WIZARD- Mixed Chorus).

        Act II opens 2 years later. Tommy is the champion pinball player and a hero to all of the local kids (UNDERTURE- Orchestral). Mr. Walker tries once more to find a cure for his son (THERE’S A DOCTOR- M/F Duet). Again, they conduct a battery of tests, but the doctors can do nothing for Tommy (GO TO THE MIRROR/LISTENING TO YOU- 2M/2F Quartet).

        Tommy is stopped on the street by a group of local thugs who pick him up and carry him home (TOMMY, CAN YOU HEAR ME?- M Chorus).

        Devastated and thinking that there is no hope for their son, the parents consider institutionalization (I BELIEVE MY OWN EYES- M/F Duet). Tommy still stares at his reflection in the mirror and, in a desperate attempt to reach him, Mrs. Walker smashes the mirror (SMASH THE MIRROR- F Solo). Tommy is freed. The smashing of the mirror has brought him into consciousness (I’M FREE- M Solo). He leaves home as the word of his miraculous cure hits the papers (MIRACLE CURE- M Chorus).

        It is now 1961 and word of his miraculous cure and his pinball playing prowess have made Tommy famous. He is now a major attraction at stadiums all over (SENSATION/I’M FREE/PINBALL WIZARD [REPRISE]- Chorus). Everyone is trying to cash in on Tommy’s success, including Uncle Ernie who opens up Tommy’s Holiday Camp, complete with smashable mirrors, Tee shirts and all sorts of other Tommy merchandise (TOMMY’S HOLIDAY CAMP- M Solo).

        At a concert, a young girl named Sally Simpson manages to climb up on the stage to touch Tommy. The girl is pushed aside and beaten by Tommy’s guards (SALLY SIMPSON- F Solo with Chorus). The young girl’s beating makes Tommy realize that he has gotten too caught up in being a celebrity. He decides to stop everything and invites everyone back to his house (WELCOME- M Solo to Chorus). Back at the house, Tommy is shocked to find out that Sally wants to be just like him. He tells her that there is no reason to want to be him. She is enough just the way she is (SALLY SIMPSON’S QUESTION- M/F Duet). The crowd is maddened by the words of their hero, turn on him and leave (WE’RE NOT GONNA TAKE IT- Mixed Chorus). Tommy hears the voice of his ten-year old self and appears to be going back into his old unconscious self (SEE ME, FEEL ME [REPRISE]- Juv Solo to M/Juv Duet). Instead, he opens his arms to his family in acceptance and becomes whole again (LISTENING TO YOU [REPRISE]- M Solo to Chorus).

NOTES ON THE PRODUCTION

        Tommy was nominated for ten 1993 Tony Awards including Musical, Book, Costumes, Featured Actor (Michael Cerveris) and Featured Actress (Marcia Mitzman). It won the Tonys for Director, Score, Scenic Design, Lighting Design, and Choreography. It was also nominated for 6 Drama Desk Awards including Musical, Director, Orchestration, Choreography, Lighting and Set Design.

        Tommy was a smash hit when it opened. The popularity of the WHO’s original version of this rock opera coupled with the brilliant staging of this new version made the show a huge hit with younger audiences. These audiences had no other outlet on Broadway at the time, and as a result they were very eager to accept Tommy and embrace it as their own. The show was loud and very energetic. The staging relied heavily on the use of projections to set the scenes since the pace was fast and didn’t really allow for conventional staging. The result was a sort of MTV goes to the theatre show. Scenes flows seamlessly from one to the next and nothing lasted too long. The cast was young and energetic and worked very hard to keep the pace of the show high.

        The story, however, was not everyone’s cup of tea. While the theatrical community embraced the show as a hit, it was unlikely that the standard, blue-haired Broadway theatre-going public was going to want to see a show about a young boy who gets molested and abused and finds his "voice" playing the pinball machine. Once the younger audiences had died out the show had a hard time staying open.

        What the show did well was take a rambling story, spread out over almost 30 years, and made it accessible and exciting. Des McAnuff’s clever staging was thrilling to see and full of visual surprises (characters somersaulting in from the rafters, flame throwing pinball machines, etc.). The show really led the way into a new generation of Broadway and allowed shows like Rent to be accepted on Broadway. It helped create a new younger theatre-going public.

SONGS OF SPECIAL INTEREST

Instrumentation:

Script:
Score:

Record/CD: RCA Victor

Rights:

THE WIZ

 

Book: William F. Brown

Music and Lyrics: Charlie Smalls

ORIGINAL PRODUCTION

The Majestic Theatre, January 5, 1975 (1,672 perf.)

Director: Geoffrey Holder

Choreographer: George Faison

Musical Director and Vocal Arrangements: Charles H. Coleman

Orchestration: Harold Wheeler

 

Principals:

Tinman- Tiger Haynes-

Lion- Ted Ross-

Scarecrow- Hinton Battle-

Addaperle- Clarice Taylor-

Dorothy- Stephanie Mills-

Glinda- Dee Dee Bridgewater-

The Wiz- Andre de Shields-

Aunt Em- Tasha Thomas-

Evillene- Mabel King-

Chorus and Smaller Roles: 9M/5F minimum

SYNOPSIS

        The curtain opens on a small, ramshackle farmhouse in Kansas where Dorothy, a bright, energetic young teenager, is being scolded by her Aunt Em, a farm wife who is disappointed that Dorothy isn't ready to accept the adult responsibilities necessary to life on a farm. Despite her strict manner, it is obvious that Aunt Em cares very much for the girl (THE FEELING WE ONCE HAD- F Solo).

        A tornado, played by a colorful mass of dancers (TORNADO BALLET-Dance) sweeps up Dorothy's house, and carries it to the strange, mystical and magical land of Oz, where it kills the Wicked Witch of the East. The witch's death causes quite a stir among the Munchkins and the Good Witch of the North, Addaperle, an extremely zany comic character. When Dorothy asks the Munchkins and Addaperle how she is to get back to Kansas they advise her to visit the great Oz (HE'S THE WIZARD- F Solo to Mixed Chorus).

        A yellow brick road appears, played by four men in yellow and orange squared costumes, but Dorothy is frightened of the journey she must take (SOON AS I GET HOME- L to F Solo). Her fears are alleviated by a friendly scarecrow perched on a pole in a cornfield whom she frees. He tells her about his dream to have brains (I WAS BORN ON THE DAY BEFORE YESTERDAY- L to M Solo). Dorothy tells the Scarecrow that the Wiz could probably help him and the two decide to join forces with the "road" on their way to the Emerald City (EASE ON DOWN THE ROAD- M/F Duet to Chorus).

        In a small patch of woods along the yellow brick road, they find a rusted Tinman who begs for some oil (SLIDE SOME OIL TO ME- Sc to M Solo) and tells the two he wants a heart to make his life complete. They ask him to join them and the three set out. (EASE ON DOWN THE ROAD [REPRISE]- 2M/F Trio) Their journey is interrupted by the Cowardly Lion who tries to convince them of his ferocity (I'M A MEAN OLE LION- M Solo). He turns out to be under the psychiatric care of an owl and decides to go to Oz in hopes of finding courage. (EASE ON DOWN THE ROAD [REPRISE]- 3M/F Quartet) When the Lion shows his cowardice in a fight with the Kalidahs, a frightening witch like gang (KALIDAH BATTLE- Dance), Dorothy comforts him (BE A LION- Sc to F Solo).

        When the four find themselves in a poppy field, Dorothy remembers the warning that Addaperle gave her about the dangerous Poppies. She warns everyone to leave the field but the Lion succumbs to the treacherous Poppies. Luckily a paddy wagon containing four mice from the "Mice Squad" comes in and rescues the four travelers from the sensual Poppies.

        After many trials and tribulations, the group arrives in the futuristic Emerald City and meets its exotically and exquisitely dressed inhabitants. All the citizens wear green glasses as part of their apparel (EMERALD CITY BALLET- Dance).

        The four eventually meet the Wiz who makes a fantastic entrance riding in on set piece that looks like a giant tongue. He strikes a magnificent pose, which overwhelms everyone. The Wiz theatrically introduces himself to the travelers who are thoroughly frightened by what they have just witnessed (SO YOU WANTED TO SEE THE WIZARD- M Solo). The Wiz listens to their problems and though he appears very harsh with everyone's requests, he is deeply moved by the Tinman's song (WHAT WOULD I DO IF I COULD FEEL- L to M Solo). He agrees to grant their wishes if they kill Evillene, the Wicked Witch of the West and the most powerful witch in Oz.

        Act II opens in Evillene's perfectly dreadful castle where a large ugly throne is rolled on, covered with carcasses. The large, grotesque Witch harshly instructs her slaves, the Winkies, not to bother her for she is in a bad mood (DON'T NOBODY BRING ME NO BAD NEWS- F Solo). When an unfortunate messenger has the bad luck to have to report on the presence of Dorothy and her friends the angry Witch kills the messenger and summons the winged monkeys. The scene shifts to another part of the stage where the monkeys do a wild dance, which includes the capture and eventual kidnapping of Dorothy (FUNKY MONKEYS- Dance).

        At Evillene's castle, about a week later, when Evillene starts victimizing the Lion, Dorothy hurls a bucket of water on the unsuspecting Witch, who promptly shrieks in horror, begins to melt and finally is reduced to a pile of smoldering cloth on the floor. The Winkies shout with joy at the death of their despicable Witch (EVERYBODY REJOICE- Mixed Chorus).

        The four return to Emerald City where they discover the Wiz is a fake. Dorothy and her friends angrily comment (WHO DO YOU THINK YOU ARE?- F/3M Quartet). The Wiz reveals to Dorothy and the others that he really isn't a Wizard but a plain old nobody from Omaha, Nebraska who's hot air balloon got swept up in a big storm and landed in the middle of a ladies social in Oz. These women, having never seen a hot air balloon before, expected him to do another miracle so he devised the green glasses that everyone wears. The four friends are puzzled until he explains that the miracle behind the glasses is what you allow yourself to see (IF YOU BELIEVE- Sc to M Solo).

        The Wiz reaches into his magic storage chest and begins to hand out his miracles: a box of all bran sprinkles for the Scarecrow, which he dubs "all brain"; a large, red satin heart for the Tinman; a whiskey bottle marked O & Z, which he throws together in a chalice and has the lion drink for courage; and a promise to take Dorothy back to Kansas in the balloon he arrived in.

        At a farewell launching where the citizens are bidding their leader goodbye (Y'ALL GOT IT!- L to M Solo and Chorus), the balloon accidentally ascends without Dorothy. Dorothy, in a fury, throws a temper tantrum which is interrupted by a puff of smoke and a dazed Addaperle who tells the foursome that her sister, Glinda, the Good Witch of the South, is on her way. She arrives in a large tent with an escort of 4 Quadlings and she tells Dorothy to rest her body and her mind (A RESTED BODY- F Solo). Glinda then tells Dorothy she can go home if she believes in herself (IF YOU BELIEVE [REPRISE]- Sc to F Solo).

        Dorothy begins to sing of her home (HOME [REPRISE]- F Solo) and is reminded by her friends that she can return to Oz by clicking her silver shoes and thinking of them. During the song the members of the Oz fantasy disappear leaving her alone on stage at the end of the song. Toto, her dog, appears and she realizes that she's home.

NOTES ON THE PRODUCTION

        The Wiz won seven 1975 Tony Awards for Best Supporting Actor (Ted Ross), Supporting Actress (Dee Dee Bridgewater), Musical, Direction, Score, Choreography and Costumes.

        An extremely innovative production with marvelous dancing and theatrical staging. Audiences who most enjoyed it were the ones that didn't compare it to the Judy Garland film, The Wizard of Oz, though the story line is very similar in plot to the famous 1939 MGM film version of The Wiz. The show is an interesting one to produce, for much of its success lies with a creative director and choreographer. The company may be relatively small, with the chorus portraying a variety of different parts, or large, with the chorus work not as involved. In the case of community theatres with lots of people with limited dance training it would be best to have a larger cast and several dance captains. This would enable the choreographer to stage a number and have the dance captain polish the number while the choreographer went on to stage another number with a different group of people.

        The costumes are many; each group of people mentioned in the synopsis needs extremely different costumes, i.e. the Winkies and the Citizens of Oz. It is a heavy costume show and, while much is creative and can be inexpensively achieved, the fact remains that there are a lot of costumes. It may be another reason for trying to have a large chorus so that everyone could be responsible for sewing their own costume.

        The production is approximately 30 minutes too long for younger children of kindergarten age, as they grow very restless in the slower, less visually exciting moments. A director may want to consider minor editing if there will be a lot of younger children in the audience.

        The show has quite a few props, but these are usually oversized, not run of the mill stock props. It is suggested that the Props Master be a fun loving, imaginative person in order to guarantee the consistent look the production calls for.

        The notes in the published Samuel French version are quite detailed and well worth following. The play is a challenge to any group and can best be performed under the auspices of a creative director and a strong choreographer.

SONGS OF SPECIAL INTEREST

    "No Bad News," comic character development, good study for performers who have trouble bringing strong characters to life

    "Home," dramatic ballad that needs strong character

    "Ease On Down the Road," small chorus number, good for revue or class situation, requires movement

 

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

Script: Samuel French

Selections: Fox Fanfare Music, dist. by Columbia Pictures Publications

Record: Atlantic

Rights: Samuel French

WONDERFUL TOWN

Book: Joseph Fields and Jerome Chodorov

Music: Leonard Bernstein

Lyrics: Betty Comden and Adolph Green

        (Based on the play My Sister Eileen by Joseph Fields and Jerome Chodorov and the stories by Ruth McKenney)

ORIGINAL PRODUCTION

Winter Garden Theatre, February 25, 1953 (559 perf.)

Director: George Abbott

Choreographer: Donald Saddler

Musical Director: Lehman Engel

Orchestration: Donald Walker

 

Principals:

Ruth- Rosalind Russell- Alto

Eileen- Edith Adams- Soprano

Robert Baker- George Gaynes- Baritone

Wreck- Jordan Bentley- Baritone

Frank- Chris Alexander- VTI

Chick- Dort Clark- VTI

Appopolous- Henry Lasscoe- VTNE

Chorus and Smaller Roles: 12M/12F, all males must sing well and dance is helpful; a small ensemble of policemen who sing tight harmony is included in the 12 males

SYNOPSIS

        The setting is New York City in the 1930s. At the play's opening, a guide is showing a group of tourists the sights of Greenwich Village (CHRISTOPHER STREET- Mixed Chorus). In the course of this fast-paced number various members of the community are introduced: Mr. Appopolous, a dynamic and explosive artist; Lonigan, the cop whose beat is Christopher Street; Wreck, a football player; and his girlfriend, Helen. At the end of this number, a scream is heard off-stage and Ruth Sherwood and her sister Eileen enter, claiming that someone has stolen their typewriter. Appoplolous, who has ended up with the typewriter in question, returns it. When the sisters, newly arrived from Ohio, tell Appopolous that they need a place to stay, he offers to let them see an apartment he owns that was just vacated.

        The scene shifts to an absolute horror of an apartment, which sits below street level and contains two daybeds, a fake fireplace and one barred window that looks out onto the street. The girls are forced to take the apartment. When a man walks in the front door looking for Violet, the former tenant, and a prostitute, the girls call for help. Wreck, a neighbor, enters and scares the man off.

        Later that night Ruth, an aspiring writer, and Eileen, an aspiring actress, begin to regret their decision to rent the apartment (OHIO- Sc to F Duet).

        A pantomime is seen showing the sisters' struggles to make it in their respective fields; but wherever Ruth goes with her manuscripts no one is interested and wherever Eileen goes for theatre jobs the people are interested in her, but not as an actress. The girls are very discouraged. (CONQUERING THE CITY- Dance).

        A few weeks later, on the street, Eileen has managed to accumulate quite a group of helpful men in waiting. The floor manager of the supermarket who gives food samples, Speedy Valenti, owner of the Village Vortex, a local nightclub, who might hire Eileen if he knew her a little better, and Frank, the manager of Walgreen's drugstore who gives her free lunches. Ruth is amazed at Eileen's innocent ability to attract men and comments on her own problems with the opposite sex (ONE HUNDRED EASY WAYS- L to F Solo).

        At the "Manhatter" office of editor Robert Baker, Ruth attempts to convince the skeptical Baker to read some of her stories. He and two of his editors advise her to return to Ohio while commenting on the waste of talented people in New York (WHAT A WASTE- M Trio). Baker finally reads three of Ruth's stories, all containing sophisticated heroines in worldly situations. As Baker, on one side of the stage, reads, Ruth, on another, acts out the vignettes with herself as the heroines (RUTH’S STORIES- Mime with 4M/1F).

        On his way to work, Frank meets Eileen on the street and gives her a box of candy. She reminds him of their dinner date and imagines herself in love (A LITTLE BIT IN LOVE- Sc to F Solo).

        Wreck and Helen, who live upstairs from Ruth and Eileen, have convinced the girls to let Wreck live in their kitchen during Helen's mother's visit. Wreck, in the garden of the apartment, brags to the delivery boys about his college career as a football hero (PASS THE FOOTBALL- M Solo).

        Eileen has invited three men, including Bob Baker from the "Manhatter," to dinner at the apartment. Everyone tries to ease the tension created by not having anything to discuss (CONVERSATION PIECE- 2F/3M Quintet). After Bob Baker tells Ruth she has talent, but she must stop writing about situations she hasn't experienced, a stormy argument ensues and she leaves. Baker yearns for a long lasting relationship with someone quiet and gentle (A QUIET GIRL- Sc to M Solo).

        Chick Clark, a newspaperman and admirer of Eileen's, desires to be alone with her and sends Ruth to Brooklyn on a phony assignment. At the Naval Yard, Ruth attempts to interview a group of Brazilian cadets, but they are more interested in the Conga. Every time she asks their opinion they break into a wild Conga and force her to join in (CONGA!- F Solo to M Chorus). The men Conga Ruth all the way back to her apartment. The wild party that follows is raided by the police, who arrest Eileen as part of a prostitution ring.

        Act II opens at the Christopher Street Police Station where Eileen has become the darling of the force (MY DARLIN' EILEEN- M Trio). She is visited by Ruth, who marches around with an electric "Village Vortex" sign across her chest drumming up business (SWING!- F Solo with Mixed Chorus).

        Ruth takes Baker's advice and writes about something she has experienced, namely the Brazilian Admirals and her sister's arrest. Baker argues with his editor who refuses to publish it and gets fired. He tries to convince Eileen it was a matter of principle but she tells him he's upset because he loves Ruth (IT'S LOVE- Sc to M/F Duet). Eileen arrives back at the apartment, followed by Chick Clark whose editor wants to offer Ruth a job, and Speedy Valenti, who offers Eileen a singing job at his club.

        The scene shifts to the Village Vortex where Ruth and Eileen perform a period duet, a la 1913 vaudeville (WRONG NOTE RAG- F Duet with Mixed Chorus). Bob admits he loves Ruth (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

        Wonderful Town won Tony Awards for Best Musical, Book, Music, Sets, Choreographer, Musical Direction and Actress (Rosalind Russell).

        This wonderfully funny show isn't produced often enough, possibly because it has long been forgotten. Both high schools and community theatres would benefit greatly from a production of this hit musical. The music is memorable, the characters enjoyable, the dialogue witty and the chorus emphasis is on characterization and situation. Ruth should sing, dance and have good audience presence to effectively perform the Conga number and "One Hundred Easy Ways." Eileen needs an excellent voice that blends with Ruth's.

        The show was originally set in the 1930s but some companies have updated it to the late 50s for costume reasons. It could probably be set in the present, although the Village Vortex scenes wouldn't work as well and the Greenwich Village "street types" of today might not create as amusing an evening. The script is totally innocent and charming and the setting and time frame should be kept in a similar era.

        The sets aren’t complicated, much of the action takes place on the street, in the garden, and in the apartment, with additional settings in the jail, Baker's office, the Navy Yard and the Village Vortex. It is possible to utilize more scenes in front of the street drop and just add props for the garden, Christopher Street and the Village Vortex exterior. For those with limited offstage and fly space it is possible to have one drop of the street and a turntable revolve which shows the other locations.

SONGS OF SPECIAL INTEREST

    "Conversation Piece," good for class study or Revue, complicated timing, musically difficult

    "Ohio," Alto/Soprano, comic, tight harmony number, good for class study with scene work

    "One Hundred Easy Ways," Alto, comic, character song, lists specifics, good for audience contact

    "What a Waste," actable due to the specifics in varying stories, nice harmony for male trio, all men have solo section

 

Instrumentation: 6 violins, 4 woodwinds, 3 trumpets, 2 trombones, viola, cello, bass, percussion, piano/conductor

Script: Great Musicals, Volume 2, Random

Selections: Chappell

Record/CD: Decca

Rights: Tams-Witmark

WORKING

 

Book: Studs Terkel and Stephen Schwartz

Music and Lyrics: Craig Cornelia, Mickie Grant, Mary Rodgers, Susan Birkenhead, Stephen Schwartz and James Taylor

ORIGINAL PRODUCTION

Forty-Sixth Street Theatre, May 14, 1978 (25 perf.)

Director: Stephen Schwartz

Musical Staging: Oona White

Musical Director: Stephen Reinhardt

Orchestration: Kirk Nurock

 

Principals:

Cleaning Woman- Lynne Thigpen- Alto

Lovin ‘Al- David Langston Smyrl- Baritone

Newsboy- Matthew McGrath- Boy Mezzo

Teacher, Millworker- Bobo Lewis- Alto

Waitress- Lenora Nemetz- Alto/Mezzo

Joe- Arny Freeman- Baritone

Fireman- Matt Landers- VTNE

Housewife- Susan Bigelow- Mezzo

Chorus and Smaller Roles: 3F/4M minimum

SUMMARY AND NOTES

        It is impossible to capture the scope of this musical in synopsized form simply because it deals with so many characters. The individual monologues are absorbing, the music and lyrics impressive in the messages they convey and yet the entire show lacks an overpowering emotional impact.

        It is a show about individuals who work with excellent monologues worth studying and gripping songs worth singing. Working is an easy show to rehearse because there are so few sequences with more than one character.

        The musical opens to a jazzy theme song, complete with working sound effects. As the show unfolds, the various characters tell about themselves: the garage man who takes great pride in all the cars he parks; the stone mason who builds his walks to last; the frightened office of Vice President; the Newsboy; the school teacher trying desperately to adapt to the new system; the phone operators; the migrant workers whose lives are ones of severe hardship; the housewife who enjoys her job and resents those who look down on her; the widowed millworker who barely ekes out a living by endless production line labor; the retiree who still enjoys life; the waitress; the truckers; the firefighter; and the cleaning woman who works so her children will have a better chance in life.

        The show may be performed anywhere with props to designate specific location. Lighting should be tight in order to keep the flow. The company may vary in size, although the show has more impact with a smaller company because the audience is impressed by the acting versatility of the performers.

SONGS OF SPECIAL INTEREST

    "Cleanin’ Women," Alto/Mezzo Solo, soul sound, ambitious woman who wants her daughter to achieve, requires a powerful voice, usually performed by a black woman

    "It’s an Art," Mezzo Solo, waitress who has a theatrical flair describes her love for her job, good character oriented song

    "Joe," Baritone/Tenor Duet, talk sung by a retiree who reminisces and tells about his days, poignant and charming, strongly character oriented, deceptively simplistic, good for class or a Revue about aging

    "Just a Housewife," Mezzo Solo sung by the housewife whose full time job is taking care of her family, made to feel unimportant by television she defends herself, strong subtext, dramatic, character oriented

    "Millwork," Mezzo Solo with Trio Back-up, a story about a widowed Millworker who despises her job but accepts the necessity of feeding her family. She reminisces about her past, transitions, many specifics and mood changes make this excellent for class study

    "Nobody Tells Me How," Alto/Mezzo Solo, sung by the older schoolteacher, dramatically powerful with some comic overtones in the monologue, excellent for characterization development and transition from story to song

 

Instrumentation: 2 keyboards, guitar, bass, drums, percussion

Script: NP

Selections: Valando

Record: Columbia

Rights: MTI

YEARLING

Music: Michael Leonard

Lyrics: Herbert Martin

(Based on the novel by Marjorie Kennan Rawlings, adapted by Herbert E. Martin and Lore Noto)

ORIGINAL PRODUCTION

Theatre, December 10, 1965 (3 perf.)

Director: Lloyd Richards

Choreographer:

Musical Director: Julien Stein

Orchestration: Larry Wilcox

 

Principals:

Penny- David Wayne-

Jody- Steve Sanders-

Buck Forrester- Allan Louw-

Ora- Dolores Wilson-

Fodder-Wing- Peter Falzone-

Ma Forrester- Fay Sappington-

Chorus and Smaller Roles:

SYNOPSIS

        The story is seen through the eyes of Jody, a twelve-year old. His mother, Ora, is upset because a bear has just killed her favorite sow and it will mean hardships this winter. Her husband, Penny, tries to cheer her (SPRING IS A NEW BEGINNING- Sc to M/F Duet).

        Jody longs for a pet deer, something to care for. He discovers deer tracks and observes many animals in the forest (THE FLUTTERNELL SONG- M Solo).

        When Jody and his dad go to the neighbors for trading, Jody finds his friend Fodder-Wing (BOY THOUGHTS- M Duet). Fodder-Wing tells Jody he wants to fly (SOME DAY I’M GONNA FLY- M Duet).

        Jody and his father get embroiled in a fight and Jody’s grandmother cleans them up (YOU’RE EVERYTHING IN THE WORLD I LOVE- F Solo). When Jody’s father gets bitten by a snake, Jody, terribly frightened, runs for help (MY PA- M Solo).

        Jody’s father survives and Jody claims it was the doe’s liver that pulled out the poison and saved him. He begs to go find the now motherless fawn and raise it; surprisingly, his father agrees (WHAT A HAPPY DAY- Mixed Chorus).

        At the opening of Act II, Jody is thinking of Twink Weatherby’s song and calls her out to sing it for the audience (I’M ALL SMILES- F Solo).

        Jody goes to Fodder-Wing for help in naming the fawn. He learns his friend has died while saving the fawn, Flag. Jody thanks the family and leaves (BOY THOUGHTS [REPRISE]- M Solo). Ora is angered by Jody’s attachment to the fawn, but Penny calms her by offering to take the family to town. Ora wonders why Penny married her (WHY DID I CHOOSE YOU- F Solo). When Jody’s Grandma’s house burns, she leaves for Boston, urging Jody to be brave (GROWING UP IS LEARNING TO SAY GOODBYE- F Solo).

        Penny and Ora plant their crops (PLANTING FEVER- M/F Duet).

        When Jody’s fawn, grown to a yearling, devours the family’s crops, Jody is told to kill the deer. He begs not to, but Ora shoots the deer, wounding it. Jody finishes the job. He runs away and nearly dies of starvation, but Fodder-Wing’s parents save him. He returns home (SPRING IS A NEW BEGINNING [FINALE]- Mixed Chorus).

NOTES ON THE PRODUCTION

        The show is a dismal adaptation of a story that should be read and pondered. The song "Why Did I Choose You" is a nice tune as are some of the other musical numbers, but they are only usable as specialty-type numbers.

SONGS OF SPECIAL INTEREST

        See the Notes on the Production.

Instrumentation:

Script: Dramatic Publishing

Selections: E.H. Morris, dist. by Hal Leonard Publishing Corp.
Record/CD:
Rights: Dramatic Publishing

YOU’RE A GOOD MAN, CHARLIE BROWN

Book: John Gordon

Music, Lyrics and Adaptation: Clark Gesner

        (Based on the comic strip "Peanuts" by Charles M. Schulz)

ORIGINAL PRODUCTION

Theatre 80, March 7, 1967 (1,597 perf.)

Director: Joseph Hardy

Musical Supervisor, Arrangements and Additional Material: Joseph Raposo

 

Principals:

Charlie Brown- Gary Burghoff- Tenor

Schroeder- Skip Hinnant- Baritone

Lucy- Reva Rose- Alto

Linus- Bob Balaban- Baritone

Patty- Karen Johnson- Soprano

Snoopy- Bill Hinnant- Tenor

Chorus and Smaller Roles: None, see notes section

SYNOPSIS

        The play is a series of vignettes in an average day of Charlie Brown’s life. Charlie Brown is a rather simple soul who is considered to be stupid, clumsy and destined for failure by his friends Patty, Linus, Schroeder, Lucy and his dog Snoopy.

        The lights rise to full as the company sings the title song which attempts to make Charlie feel good about himself (YOU’RE A GOOD MAN, CHARLIE BROWN- Mixed Chorus).

        Charlie, left alone clutching his lunch bag, soliloquizes on the contents of his lunch and the little red-headed girl he wants to speak to. As he builds his courage, he realizes she is watching him and puts his lunch bag over his head. Lucy and Patty enter discussing a dress and proceed to draw a design on Charlie’s bag without noticing him. He stands, speaking through the bag, about his dilemma. He finally removes the bag and sadly walks off as Beethoven’s "Moonlight Sonata" is heard and the lights rise on Schroeder who is sitting at a box which resembles a piano. He is absorbed in his playing and Lucy tries to get him to manifest some interest in her (SCHROEDER- F Solo).

        Various characters comment on events in their daily lives. Lucy greets Snoopy, but is unable to kiss him because she is repelled by the thought of kissing a dog. Linus questions the meaning of happiness and Lucy asks a disturbed Schroeder how he would feel about selling his piano to buy saucepans for their future kitchen. Schroeder collapses as Snoopy imagines he is a fierce animal. Charlie Brown tells Snoopy he will be back with his supper and Snoopy thinks about his winning personality (SNOOPY- M Solo).

        Charlie Brown enters with his paper bag, talking about introducing himself to the little red-headed girl. He realizes it’s impossible and exits. Snoopy looks up to grimly face the fact he is a dog and can’t advance further.

        Linus sits to watch TV while clutching his blanket. He gradually overcomes his dependency and casually walks away only to return to it (MY BLANKET AND ME- M Solo). Lucy enters, forces her brother to change channels and tells him she is going to be a queen when she grows up. He attempts to tell her that queen is an inherited title, but she angrily retorts it’s undemocratic and she will find a loophole. Charlie enters with an invisible kite and struggles to get and keep it airborne (KITE SONG- M Solo).

        Everyone is exchanging valentines and Charlie is upset to discover Snoopy has received a ton of valentines while Charlie hasn’t even received one. In desperation, he seeks help from Lucy, who considers herself an amateur psychiatrist (THE DOCTOR IS IN- Sc to M/F Duet). Feeling much better, Charlie thanks Lucy for her friendship. She responds by charging him five cents for her advice. Schroeder, Linus, Lucy and Charlie Brown enter with pencils and "notebooks" and sit in various places around the stage as they prepare to write their homework (BOOK REPORT- 3M/F Linear Quartet).

        The Act II lights rise on Snoopy atop his doghouse, dressed as a World War I flying ace in search of the Red Baron (THE RED BARON- M Solo). Patty enters and orders Snoopy to join her in a rabbit hunt. He goes through the motions, but falls in front of her in feigned exhaustion. She congratulates him for his spirited effort and exits.

        As the manager of the baseball team, Charlie attempts to give the group the desire to win, despite Lucy’s disparaging remarks (THE BASEBALL GAME- Sc to Mixed Chorus). Charlie Brown, the last man at bat, sees the little red-headed girl and strikes out as the team sadly leaves.

        Schroeder tells Lucy, as a favor, that she has a "crabby" personality. She is quite angry but decides to take a personality rating poll. She corners Charlie Brown to ask his opinion. He is extremely uncomfortable and attempts to evade her questions, but responds with nebulous answers in order to stave off Lucy’s wrath. Linus ranks her at a 95% on crabbiness and she slugs him but has regrets and begins to admit she is a terrible person. She is bemoaning her personality when Linus tells her he loves her. She happily bursts into tears and the two exit.

        Schroeder leads everyone in choir practice but an argument ensues and he is unable to keep order (GLEE CLUB REHEARSAL- Sc to Mixed Chorus). Several vignettes follow. Lucy enters with Linus to undertake the job of teaching him about life (LITTLE KNOWN FACTS- Sc to F Solo/2M needed for Staging), but she is interrupted by Charlie Brown who is appalled at her lack of honesty.

        Snoopy imagines that Charlie Brown has forgotten to feed him and dramatically soliloquizes. When his supper finally arrives, he bursts into song (SUPPERTIME- L to M Solo).

        At the end of the day the group relaxes and defines their own meaning of happiness (HAPPINESS- Mixed Chorus).

NOTES ON THE PRODUCTION

        This is a good first show for a newly formed theatre group as it is usually performed on a bare stage with set pieces in the shape of large children’s blocks. These colorful blocks represent a piano, Snoopy’s house, chairs and tables and may be moved as needed. There are very few props or extra costume pieces. The cast is small, although some companies have enlarged the bigger production numbers to include more performers.

        Because the show consists of many unrelated vignettes, it is essential that lighting be as controlled as possible. Much of the flow of the production comes from the ability of the audience to move their attention from one segment to another. This can only be achieved by area lighting that allows performers to enter and exit quickly without pulling unnecessary focus.

SONGS OF SPECIAL INTEREST

        It is best to avoid performing these songs at an audition as they have tricky rhythms and are difficult for an audition accompanist to sight read.

    "The Baseball Game," Small Chorus, character oriented, action and energy essential

    "The Doctor Is In," Alto/Baritone or Tenor Duet, good for actors in beginning musical theatre class, not vocally demanding, interaction and listening exercise

    "Little Known Facts," Alto, good for part of character study for Lucy

    "Suppertime," Tenor, vaudeville styled, soft shoe, shows movement ability and style

 

Instrumentation: 2 violins, viola, cello, bass, 5 reeds, horn, 2 trumpets, trombone, percussion, piano, celeste, toy piano, melodica, guitar, combo score as heard on record is also available

Script: Fawcett

Score: Jeremy

Record: MGM

Rights Tams-Witmark

ZOMBIE PROM

 

        Synopsis by UNH alum Mike Bucco who produced the Walnut Hill Summer Theatre production

 

Book and Lyrics: John Dempsey

Music: Dana P. Rowe

        (Based on a story by John Dempsey and Hugh Murphy)

ORIGINAL OFF-BROADWAY PRODUCTION

Variety Arts Theatre, April 9, 1996 (# perf.)

Director: Philip William McKinley

Choreographer: Tony Stevens

Musical Director: Darren R. Cohen

Orchestration: Michael Gibson

 

Principals:

Miss Delilah Strict- Karen Murphy- comedic Alto/Mezzo

Toffee- Jessica-Snow Wilson- Mezzo

Candy- Rebecca Rich- Mezzo

Coco- Cathy Trien- Alto/Mezzo

Ginger- Natalie Toro- Mezzo/Soprano

Jonny Warner- Richard Roland- Tenor (with a rock sound)

Joey- Marc Lovci- Lower Baritone

Josh- Jeff Skowron- Baritone

Jake- Stephen Bienskie- Baritone

Eddie Flagrante- Richard Muenz- Baritone

Chorus and Smaller Roles: The original production utilized doubling in various sections and was performed with a cast of ten. The Walnut Hill version used 23 with 1/3^rd males and 2/3^rd females

SYNOPSIS

        During the prologue, we find out that Zombie Prom is a spoof on the 1950s sci-fi movies. The show takes place in Enrico Fermi High School (named after the man who invented the atomic bomb). The musical opens with a lengthy and humorous prologue where Miss Strict, the comic and demanding high school principal and the students are introduced as they sing the joys of high school (ENRICO FERMI HIGH- Plot interspersed with Scenes, Mixed Chorus).

        Suddenly, Miss Strict throws the Civil Defense siren and the students fall under their desks for the drill test. Jonny (the James Dean school rebel) and Toffee (the typical good girl) fall under the same desk and meet for the first time. It is love at first sight as Johnny and Toffee, in true fifties style, decide to go steady (AIN’T NO GOIN’ BACK- Sc to M/F Duet with M/F backup chorus).

        The light shifts and we see Miss Strict and Toffee’s parents telling Toffee that Jonny is no good for her and she must end the relationship. Toffee obediently tells Jonny that her parents won’t let her see him anymore, despite the fact that she still loves him. They argue and Jonny runs out the door as Toffee begs him not to do anything rash. Through sound effects the audience becomes aware that the town’s nuclear power plant has exploded. The voice of Eddie Flagrante, the reporter for Expose magazine, is heard reporting the news that Jonny has died by hurling himself into the Francis Gary Powers nuclear power plant which made it explode in a class three nuclear disaster.

        Three weeks later Toffee laments the tragic tale of her last moments with Jonny to the girls, who become backup singers (JONNY DON’T GO- F Solo with F Trio). This marks the ending of the prologue background, which sets the tone of the piece.

        At the school the students are getting excited about the forthcoming Senior prom (GOOD AS IT GETS- Mixed Chorus). The kids try and cheer Toffee so she will move on with her life by looking to the future instead of the past (THE C WORD- Mixed Chorus). She ignores their advice and "acts" out. Miss Strict appears on the scene and admonishes Toffee for her behavior (RULES, REGULATIONS AND RESPECT- Sc to F Solo to Mixed Chorus). The song ends as the kids march off and Toffee hears Jonny’s voice from afar. She reacts as Miss Strict tells her to get on with her life and exits. The kids reenter to cheer up Toffee as the lights change and Jonny’s voice gets stronger and stronger. (AIN’T NO GOIN BACK [REPRISE]- Sc to M/F Duet and Mixed Chorus). The lights change as the music builds and a locker is spotted by a green light. Toffee opens the locker to behold a phosphorescent green Jonny covered with seaweed (BLAST FROM THE PAST- M Hard Rock Solo to Mixed Chorus). At the end of the song Toffee rushes off in fear and Jonny runs after her.

        The scene shifts to the newsroom of Expose magazine where the reporter Eddie Flagrante is sitting at his desk, bent over his typewriter, singing of the joys of his job (THAT’S THE BEAT FOR ME- M solo). During the song he answers a phone call from one of his informants and humorously responds in a comic monologue a la famous characters in the fifties. The song continues as Josh, the head of the student newspaper enters to tell Eddie that Jonny has returned from the dead. The song ends with Josh, secretaries and copy boys joining in.

        Outside Enrico Fermi High, Jonny catches up with Toffee to explain how he returned to her (THE VOICE IN THE OCEAN- M Solo to M/F Duet). The set changes to the locker hallway (IT’S ALIVE- M/F Solos and Mixed Chorus with Rock Movement Dance). Miss Strict is appalled at the turn of events and tells Jonny that he will not be allowed back at school and exits. The Kids, Jonny and Toffee wonder what to do (WHERE DO WE GO FROM HERE- Mixed Chorus). Johnny asks Toffee to go to the prom but she sadly refuses because she can’t disobey her parents.

        Eddie enters to try and get Jonny’s story when Miss Strict marches on in her gym clothes. The action freezes except for Eddie and Miss Strict, who recognize each other from their pasts. She orders the kids off but Jonny stays in the background. Eddie and Miss Strict sing about their past (CASE CLOSED- M/F Duet). The song continues as Jonny pleads his case and Eddie speaks in Jonny’s defense but Strict is adamant (CASE CLOSED [CONTINUED]- 2M/F Trio). The case is closed!

        Act II begins in the school hallway where the kids and Eddie try and get Jonny back in school (THEN CAME JONNY- Mixed Chorus). Eddie plans to put Jonny on "Hard to Believe," a TV show. The Motorized Gasoline Guys (the show’s sponsors) and Ramona Merengue open the show with song (COME JOIN US- F Solo and M Chorus). Eddie interviews Jonny who tells of his love for Toffee (HOW CAN I SAY GOODBYE- M Solo to M Chorus).

        Toffee is in her bedroom surrounded by study books with a small TV on the floor. She has just finished watching the interview (EASY TO SAY- F Solo to F Chorus). In the midst of the song her girlfriends call to tell her that the show was the most romantic thing they had ever seen on TV.

        The scene shifts to Miss Strict’s office where Eddie appears and they discuss their past love affair (AT THE DANCE- M/F Duet). They continue their discussion (EXPOSÉ- M/F Duet) about their memories and how they broke each others hearts. At the song’s end they embrace.

        The gym is decorated for the "atomic prom," and the students are in their prom gowns (ISN’T IT?- Mixed Chorus). At the end of the song Toffee enters in a gorgeous taffeta gown and Toffee and Jonny sing (HOW DO YOU STAND ON DREAMS- M/F Duet). The music swells and they kiss (FORBIDDEN LOVE- M/F Duet to Mixed Chorus). Miss Strict enters to see them kissing and she, Eddie and the kids sing (THE LID’S BEEN BLOWN- M/F Duet and Mixed Chorus). She wants Jonny to leave the prom. Eddie pushes Delilah Strict for the reason she despises Jonny so much (DELILAH’S CONFESSION- M/F Sc to Duet) and Eddie exposes Delilah who, in actuality, is Jonny’s real mother, something she is shocked to hear. The Zombie Jonny was the baby of their love affair. Jonny calls her "mom," everything is resolved and we go into the finale (ZOMBIE PROM- Mixed Chorus).

NOTES ON THE PRODUCTION

        Zombie Prom is an ideal musical for groups who are looking for the spoof of Grease but want a show that isn’t overdone. The cast may be easily expanded as there are many chorus and dance numbers in the fifties era style. The set can be anywhere from simple to extravagant without harming the style of the piece; however the locations must shift quickly to keep the pace and comedy going. Costumes are also simple as they are mainly everyday 50s style clothes and prom dresses are easily obtained.

        The character of Miss Strict is a showcase role for a mature, comedic actress. In the original production there are references to the fact that Jonny has committed suicide. High School companies who are painfully aware of the increasing number of teen suicides may want to consider portraying Jonny as a rash young James Dean type who accidentally ran his car into the power plant. This change in focus may allow more school groups to seriously consider this fun-packed, witty musical.

SONGS OF SPECIAL INTEREST

    "Jonny Don’t Go," F Solo with Girl Backup, good 50s style song, showcase song, emphasis is on the period vocals and movement

    "That’s the Beat for Me," M Solo, good audition song for City of Angels or another period piece, doesn’t require a strong voice but showcases spunk, acting, and movement

    "The Voice in the Ocean," M/F Duet, pop style song for class study

 

Instrumentation: piano, synthesizer, electric/acoustic guitar, bass guitar, drums

Script: Samuel French

Score:

Record/CD: First Night Records

Rights: Samuel French

ZORBA

Book: Joseph Stein

Music: John Kander

Lyrics: Fred Ebb

        (Adapted from Zorba the Greek by Nikos Kazantzakis)

ORIGINAL PRODUCTION

Imperial Theatre, NY, November 17, 1968 (305 perf.)

Director: Harold Prince

Choreographer: Ron Field

Musical Director: Harold Hastings

Orchestration: Don Walker

 

Principals:

Leader- Lorraine Serabian- Alto

Nikos- John Cunningham- Tenor

Zorba- Herschel Bernardi- Baritone

Pavli- Richard Dmitri- VTI

Widow- Carmen Alvarez- Mezzo

Mme. Hortense- Maria Karnilova- Mezzo

Mavrodani- Paul Michael- VTI

Mimiko- Al De Sol- VTI

Chorus and Smaller Roles: 9M/5F

SYNOPSIS

        The story takes place in Piraeus, Greece and on the Island of Crete in 1924.

        The play opens on a bare stage with the entire company seated in two semi-circles, Bouzouki style. Each of the company members has an instrument of some sort with which they accompany the other members of the chorus. As the company decides to do a narration of the Zorba story (LIFE IS- F Solo to Mixed Chorus) they begin to set the stage to represent a cafe in Piraeus. Nikos enters carrying a coat, valise and a carton of books. He is uneasy for he is not the type of person who is usually found in such a cafe.

        Zorba, a lusty man in his late sixties, enters. He spies the stranger and strikes up a conversation. Zorba’s manner of interrogation into Nikos’ affairs is more an attempt at inflicting his own beliefs than an honest attempt to listen to Nikos’ problems. Zorba explains his philosophy on life to Nikos (THE FIRST TIME- M Solo).

        When Nikos tells Zorba that he is going to take over a mine that he recently inherited, Zorba insists that he too go along because "mining is his specialty." He gives the impression that everything is his "specialty". Nikos agrees rather halfheartedly.

        The scene shifts to the exterior of a cafe in Crete where the men are playing games, drinking and discussing the new owner of the mine. The village is extremely poor, backward and superstitious. When Zorba and Nikos arrive, they are urged to stay with certain villagers and agree to move in with an old man who starts demanding extra payment for various services. However Mimiko, a young nineteen-year old simpleton, entices them to the house of the "Frenchwoman." The chorus tells them about Madame Hortense (THE TOP OF THE HILL- Mixed Chorus).

        Nikos and Zorba go to a shabby inn where they are greeted by Mme. Hortense, a flirtatious, faded coquette in her fifties who still dresses and acts in a youthful manner. An interested Zorba charms her as she relates her experiences to him (NO BOOM BOOM- L to F Solo). While Zorba is carrying Mme Hortense to her bedroom the chorus comments (VIVA LA DIFFERENCE- Mixed Chorus). Zorba romantically calls her his virgin. She is pleased and confesses she has been a virgin many times, but never married. Her deepest wish is to marry before she dies. Zorba answers, "Perhaps," and begins to caress her.

        The men are gathered at the mine to sign in for work. Mimiko enters only to be berated by Manolakas, the younger brother of Mavrodani. Zorba stands up for the boy as an attractive widow enters with Mimiko’s lunch. The widow is a woman in her late twenties with an air of mysterious tragedy about her. Most of the men in the village are attracted to her, especially Pavli, Mavrodani’s son. Having no interest in any of them, she ignores them. Zorba urges Nikos to follow her, but Nikos refuses. The chorus and Nikos comment on not rushing things (THE BUTTERFLY- Mixed Chorus).

        The next day as Zorba leaves to buy items for the mine, Hortense offers Zorba a farewell basket of fruit and worries that he will forget her while he is away (GOODBYE, CANAVARO- Sc to M/F Duet). She tells him she would like a ring when he returns.

        The scene opens with Nikos reading a letter from Zorba, which flashes back to a cafe in Khania. The song is acted out by Zorba in another part of the stage and tells of Zorba’s failure to spend Nikos’ money on anything but women and good times. He mentions nothing about Hortense (GRAND PAPA- M Solo to Chorus), but Nikos tells her that Zorba is bringing her a present when he returns. She excitedly tells him she knows it is a ring and that Zorba will marry her. Nikos is uneasy, but she is ecstatic (ONLY LOVE- F Solo).

        The chorus approaches Nikos, leading him to the widow’s house (BEND OF THE ROAD- Chorus). She opens the door and they embrace. Pavli sees them embrace and runs off in agony.

        As Act II begins, a dance in the village square is interrupted by a mourning song. The priest and townsfolk enter, carrying the body of Pavli, who has drowned himself. The town blames the widow for driving him to suicide.

        Zorba returns to Hortense’s garden and lyingly says he has ordered the rings. When Hortense shows him wedding rings she already has, he is forced to agree to the engagement. The chorus and Nikos solemnize the occasion (Y’ASSOU- Mixed Chorus) in a mock marriage ceremony.

        On the road, Nikos tries to assure the widow that everything will be fine but she is unable to express her feelings (WHY CAN’T I SPEAK?- M/F Duet). As he tries to draw her out, a young girl stands behind the widow, expressing the widow’s innermost thoughts and they sing together.

        On the steps of the church, Mavrodani, in a dramatic and captivating scene, decides to revenge his son’s death by stabbing and killing the widow.

        At the entrance to the mine, a priest is chanting blessings. Nikos, still distraught over the death of the widow, can’t condone Zorba’s compliance of letting Mavrodani live, but Zorba philosophizes that revenge only brings more revenge. Zorba and Manolakas go down in the mine to try a sample blast but a huge explosion occurs and the mine is declared useless. Its timbers are rotting and it isn’t operational. Mimiko enters to tell the men that Mme Hortense is very ill and wants Zorba.

        They arrive at Hortense’s home to discover the chorus gathered around her like vultures (THE CROW- F Chorus) waiting for her death so they can take her things.

        Zorba enters, pushing the women out, and tells her he has come. She confesses to him of her past and her sixteenth birthday; the action freezes as she walks downstage and sings as if she was a young girl (HAPPY BIRTHDAY- F Solo). At the end of the song, she collapses on the bed and dies in Zorba’s arms. Zorba is overcome with grief and Nikos, fearing Zorba will go mad if he doesn’t vent his sorrow, begins a Greek Dance, which Zorba finally joins.

        The baggage is packed and Zorba and Nikos are ready to leave. Nikos suggests that he might join Zorba, but Zorba knows he really isn’t able to do that for only he is able to risk all that he has (I AM FREE- M Solo). The two men say goodbye and the play closes as it began with the Chorus singing (LIFE IS [REPRISE]- Mixed Chorus).

NOTES ON THE PRODUCTION

        Zorba was nominated for eight 1969 Tony Awards, but won only the award for Set Design. The show was revived in 1983 and Lila Kedrova received the Best Actress award.

        Written by Kander and Ebb, the show has some excellent musical numbers that allow for solid characterizations. It is very simple to stage for the premise is a group of people who gather to perform a re-telling of the Zorba story. The stage is more interesting if there are levels but the production works quite well on the stage floor. The actors may set their own props in full view of the audience, which helps if there is a limited technical crew available.

        The actors need one costume throughout the production, although Hortense should have at least two, as it is more fitting for her character.

        The script is exciting and interesting, but greatly dependent on an excellent actor to play Zorba and a charming, comedic actress to play Hortense.

SONGS OF SPECIAL INTEREST

    "Life Is," Alto Solo, good choice for musical revue, or as a solo nightclub performance

    "No Boom Boom," Comedic story song, character oriented, should have a small male chorus but works quite well as a Mezzo solo in a classroom situation

    "I Am Free," Baritone, strong, robust, some movement

    "Goodbye, Canavaro," Mezzo/Baritone, nice scene to duet character oriented, charm number, character study in class situation

    "Why Can’t I Speak," Mezzo, effective female duet where one character can’t express emotions and other character does, pretty ballad, effective number for showcase

 

Instrumentation: 2 bouzouki/mandolin, 4 reeds, 4 trumpets, french horn, 2 trombones, 2 percussion, 2 violins, viola, cello, bass, guitar, accordion. electric harpsichord/conductor (Piano may be substituted)

Script: Random House, Samuel French

Selections: Valando

Record/CD: Capitol

Rights: Samuel French