Musicals - A through C

A . . . MY NAME IS ALICE
Contributed by actress Bonnie Rivers who played Baby June in the UNH production of Gypsy and who, as an adult, appeared in the Syracuse, NY production of A...My Name is Alice

Book: Joan Micklin Silver and Julianne Boyd
Music: Various Lyrics: Various
Conceived by: Joan Micklin Silver and Julianne Boyd

ORIGINAL PRODUCTION

Village Gate, April 1984 Village Gate (# perf.)
Director: Julianne Boyd
Choreographer: Hope Clark
Musical Director: Joel Fram Orchestration: Doug Katsaros

Principals:
5F Vocal types may be interchanged and expanded but there should be at least one alto, two mezzos and one soprano
Roo Brown-
Randy Graff-
Mary Gordon Murray-
Alaina Reed-
Charlaine Woodard-
Chorus and Smaller Roles: None in the original-could be expanded if characters didn’t double and triple etc.

SYNOPSIS AND NOTES ON THE PRODUCTION

A…My Name Is Alice was produced Off-Broadway by Rosita Sarnoff, AnneWolder, and Douglas F. Goodman, at the Village Gate. It is a Musical Revue with works from twenty-eight different writers, including David Zippel and Carol Hall. The cast consists of five women, originally played by Roo Brown, Randy Graff, Mary Gordon Murray, Alaina Reed, and Charlaine Woodard, who all play several different characters throughout the revue.
The opening number of this musical revue is called ALL GIRL BAND. This song sets up the through line for the entire show. A…My Name Is Alice is about the different roles women in our society play. Everyone is represented, from a housewife, to an executive, to a famous blues singer and her psychiatrist. "Alice" represents all women, and therefore the show features women of all different ages and walks of life. In the opening number all five women play a game of jump rope that children play called "A…my name is Alice." Each woman starts out with that line and continues on to describe their very different lives, which is the theme for the revue. Although it is a Musical Revue, it is not made up of all songs, there are several monologues as well.
Each new scene introduces a new character or set of characters. They are all very diverse in subject matter and mood. Some of the lighter scenes deal with three different woman going out to a male strip club for the first time, a woman getting wrapped up in a romance novel, and several "for women only" poems that look at the more abstract side to being a woman. The more dramatic scenes deal with the trials and tribulations of growing older, how friendships change through the years, and how to deal with the loss of a mother.
Since each woman plays so many different roles, they require several different costumes. There are many quick changes, so it is suggested that each woman start out with a basic outfit, then add and take away pieces as needed. All the characters are modern day, so there are no period costumes required.
The set must be versatile, but it can be very minimal. Simple blocks, a few pieces of furniture, and a lot of imagination are all that is needed.
This is a low budget musical, perfect for smaller venues and colleges. However, companies interested in doing this musical revue must have an imaginative director and five extremely talented and versatile women at their disposal. It is not a well known musical, but it is a solid piece, so with the right cast and some good marketing, word should spread quickly that this is a "must see" show.
A . . . My Name Is Alice won the Outer Critics’ Circle Award for Best Musical.

SONGS AND MONOLOGUES OF SPECIAL INTEREST

"The Portrait," an Alto solo, is a wonderfully moving ballad about a woman dealing with life after the loss of her Mother. It is the story of a grown woman, who does not feel very grown up when her mother passes away and she realizes she can’t go to her for the "answers" any more. This song can easily be taken out of context and used in a classroom situation or another revue.
"Demigod," a serio-comic monologue about a woman taking out her marital problems on her laundry. This monologue works well in a classroom situation, but is somewhat overdone in an audition situation.
"Friends," a duet for two Altos or Mezzos. It is a charming duet about two friend talking on the phone and how their friendship changes throughout the years. They start out as teenagers and go through several stages until they wind up as two older women, sipping tea. This song would work very well in a classroom because it works both the acting and vocal ranges of two actresses.
"Trash," an Alto solo, is a delightful look at a woman bored with her everyday life, who fantasizes that her life is more like a romance novel. This song is intertwined with several scenes so it would be hard to do in a classroom; however, the whole scene would work well in another revue.
Instrumentation: piano, reed (flute, clarinet, tenor and baritone saxophones), percussion
Script: Samuel French, Inc.
Score: NP
Record/CD: Original Cast Records under title "A . . . My Name Will Always Be Alice," with selections from A . . . My Name Is Alice and from A . . . My Name Is Still Alice
Rights: Samuel French, Inc.

ALL AMERICAN

Book: Mel Brooks
Music: Charles Strouse
Lyrics: Lee Adams: (Adapted by June Walker Rogers, based on "Professor Fodorski" by Robert Lewis Taylor)

Winter Garden, March 19, 1962 (# perf.)
Director: Joshua Logan
Choreographer: Danny Daniels
Musical Director: John Morris
Orchestration: Robert Ginzler
Principals:
Professor Fodorski- Ray Bolger- Baritone
Dean Elizabeth Hawkes-Bullock- Eileen Herlie- Soprano
Susan Johnson- Anita Gilette- Mezzo
Ed Bricker- Ron Husmann- Baritone
"Hilly" Henderson- Fritz Weaver- VTNE
Chorus and Smaller Roles: 6M/6F minimum

SYNOPSIS

A group of immigrants, recently arrived at Idlewild Airport, hope to blend into their new country (THE OLD IMMIGRATION AND NATURALIZATION RAG- Chorus). Professor Fodorski, dressed in typical Mittel-European clothes, comments on the countryside as he routes from New York to the Southern Baptist Institute of Technology where he has a position as Professor of Engineering (WHAT A COUNTRY- M Solo to Chorus).
Dean Hawkes-Bullock discovers that she and the professor have the common habit of thinking of the students as their own offspring (OUR CHILDREN- Sc to M/F Duet).
The students are too football oriented to understand the Professor’s teaching but he manages to stimulate Ed Brinker, who is interested in education, not football (WE SPEAK THE SAME LANGUAGE- Sc to M Duet).
When Fodorski wins over the campus by using football to teach the principles of engineering, the students admit that education is fun (IT’S FUN TO THINK- Sc to M Duet). The Dean is pleased at the Professor’s acceptance by the students and the two discuss their past romances (ONCE UPON A TIME- Sc to M/F Duet).
Ed Brinker sneaks into Susan Johnson’s room to deliver some trigonometry notes and later realizes he has seen her without her make-up for the very first time (I’VE JUST SEEN HER- M Solo).
When the big football game is a disaster, due to the football coach’s injury, the Professor takes over the coaching job and convinces Ed to join the team and use his mathematical ideas to lead the team to victory. Fodorski sends the team out for the second half (ARE WE GONNA FIGHT?- M Chorus).
At the beginning of Act II we learn that Fodorski has been named "Coach of the Year" for leading his team through a spectacular season of wins. The players warm up with their daily exercises (PHYSICAL FITNESS- M Solo to Chorus).
Susan is upset that Ed has joined the team, for she detests football and the emphasis the college students place on it. Her friends urge her to escape her problems (NIGHT LIFE- F Trio).
At the Homecoming Dance, the Professor tries to propose to Elizabeth, but is unable to express his wishes due to embarrassment. He attempts to tell her his feelings by switching roles (IF I WERE YOU- Sc to M/F Duet).
Ed is awarded a plaque for being a great kicker and modestly announces his success was due to the team’s help (I COULDN’T HAVE DONE IT ALONE- M Solo). When a business promoter blackmails the Professor into endorsing all types of products, the Professor and the school become national news, which causes Elizabeth to comment on the change in the Professor (ONCE UPON A TIME [REPRISE]- F Solo). Susan and the Dean, furious at the change in Fodorski and Ed, plot to ensure the team will lose the Cotton Bowl. Elizabeth vamps Fodorski (THE REAL ME- Sc to F Solo) who is so overwhelmed by the change in her that he faints. She feels guilty that she has tricked him from being with the team and tells him the truth. He rushes off to the game in a fury, but stops and contemplates who he really is (WHICH WAY?- M Solo).
Fodorski is busy packing for Austria when Elizabeth arrives with his citizenship papers. He agrees to stay if he doesn’t have to coach (FINALE/WHAT A COUNTRY- Company).

NOTES ON THE PRODUCTION

All American was nominated for two Tony Awards in 1962, but did not win in either category. The music and lyrics are worth listening to. This was script writer Mel Brooks’s first foray into a Broadway Musical and the difficulties of producing formed the catalyst of an idea that subsequently became the film The Producers and eventually the hit 2001 Broadway musical. It is very well suited to high school productions and perhaps Mr. Brooks will consider a rewrite of the book at a future date. Until that happens high school directors may want to ask for permission to make any script alterations.

SONGS OF SPECIAL INTEREST

"If I Were You," light tripping, soft shoe
"Once Upon a Time," Irish sound, nostalgic
Instrumentation: Script: Dramatic Publishing Score: NP Record/CD: Columbia
Rights: Dramatic Publishing
ALL IN LOVE
Book and Lyrics: Bruce Geller
Music: Jacques Urbont: (Based on Sheridan's The Rivals)

ORIGINAL PRODUCTION

Martinique Theater, November 10, 1961 (141 perf.)
Director: Tom Brennan
Musical Director: Jacques Urbont
Orchestration: Jonathan Tunick

Principals:
Lucy- Christine Gillespie- Soprano
Mrs. Malaprop- Mimi Randoph- Alto
Jack Absolute- David Atkinson- Baritone
Sir Anthony Absolute- Lee Cass- Bass
Lydia Languish- Gaylea Byrne- Soprano
Bob Acres- Dom Deluise- Tenor
Chorus and Smaller Roles: 6M/5F, 3 of the men form a vocal trio (bass, baritone, tenor) and must vocally blend well

SYNOPSIS

The year is 1775. The location is an inn on the way to Bath, an English resort where the elegant Ladies and Gentlemen go for amusement and flirtations. The Upper Crust of England and Bag, a lowly servant, comment on the place (TO BATH, DERRY-O!- Mixed Chorus).
The chorus exits as Sir Anthony, a wealthy aristocrat, appears, followed by his page, to inform Mrs. Malaprop, an elderly lady also accompanied by a servant, that his son, Jack Absolute, will be courting her niece, Lydia Languish. Mrs. Malaprop, a comic chatterbox who confuses word meanings and constantly twists the English language around, agrees to the proposed match.
As the two exit with their servants, Lydia appears with her maid, Lucy, who she sends to fetch Ensign Beverly, Lydia’s latest fiancé. She loves him because he is impoverished and doesn’t realize that Beverly is actually Jack Absolute in disguise. Sir Lucius O’Trigger, a rake, notices Lydia and begins to stalk her. Mrs. Malaprop returns, becomes infatuated by Trigger, and begins pursuing him.
O’Trigger, escaping Mrs. Malaprop, gives Lucy a note for Lydia and a kiss for her trouble and exits as Mrs. Malaprop enters and gives Lucy a note for O’Trigger. Lucy agrees to deliver it, but privately decides to confuse things by giving the letters to the wrong people. The foppish Bob Acres, Lydia’s former fiancé, hearing that Lucy is in love with Ensign Beverly, also gives Lucy a note for Lydia. In keeping with her plan, Lucy discards the note.
A month later, on a street in Bath, Lucy spies an angry O’Trigger chasing Sir Anthony, who he thinks is too old for Lydia. She wonders if she could be in love with this roguish man (WHAT CAN IT BE- F Solo).
In Jack Absolute’s room, Bob Acres, a close friend removes his wig and confides that he has lost Lydia to Ensign Beverly. He reels off a torrent of genteel swear words and urges Jack to utilize his new system of "Sentimental Swearing" (ODDS- L to M Duet). Bag announces the arrival of Jack’s father and Beverly dons his wig and exits. When Sir Anthony tells Jack he wants him to marry a wealthy girl, Jack, not knowing the girl is Lydia, refuses. His father gives him six hours and fifteen minutes to change his mind or be disowned. After his father leaves, Jack comments that he is in love with a foolish girl who only loves a man because he is poor (I LOVE A FOOL- L to M Solo).
In the garden and drawing room of Mrs. Malaprop’s house, Lydia bemoans to Lucy that she is discontented for she hasn’t heard from Beverly. When her aunt enters with Anthony, she flounces out. Sir Anthony blames the girl’s attitude on reading, but Mrs. Malaprop extols the virtues of education in a humorous manner (A MORE ORDINARY GLORIOUS VOCABULARY- Sc to F/M Duet). The two plan to get Lydia and Jack together.
Outside the Baths, Jack meets Lucy, who, thinking he is Ensign Beverly, tells him that Sir Anthony wants his son to marry Lydia. The delighted Jack begs forgiveness from his arriving father who extols the virtues of Lydia (THE LADY WAS MEANT TO BE LOVED- Sc to M Solo). Lucy, who unknowingly greets Jack as Ensign Beverly, is overheard by Sir Anthony, O’Trigger and Acres. The men rush off as a male trio of Grenadiers comment on the lowering of modern standards (THE GOOD OLD WAYS- M Trio).
In the Baths, O’Trigger convinces Bob Acres to challenge Beverly to a duel (HONOUR- Sc to M Duet) and Acres asks Jack to be his second. Jack refuses. Anthony meets the Grenadiers and agrees that the times are dreadful. (THE GOOD OLD WAYS [REPRISE]- Male Quartet).
Act II begins on a street in Bath. Lucy propositions O’Trigger, but he yearns for a lady of wealth who can save the ancestral home. She hopes the situation will change for she is in love, but her fellow servants remind her that a maid doesn’t marry wealth (I FOUND HIM- F Solo to Mixed Chorus).
At Malaprop’s house and garden, Lydia is surprised that her aunt has let Beverly call, but finds Jack visiting instead. Jack tells her he has fooled Mrs. Malaprop into thinking he is Beverly. She is delighted and begs him to tell her how much he loves her; he refuses (DON’T ASK ME- Sc to M/F Duet). When Sir Anthony and Mrs. Malaprop discover Jack’s masquerade they tell Lydia. She is also furious that she has been deceived and they all renounce him.
Jack, in a drunken state, waits outside a brothel where he comes upon the Grenadiers, all married men, with girls on their arms. He grabs the girls and enters the brothel leaving the Grenadiers, O’Trigger and Bag to comment on why men marry (WHY WIVES- Small M Chorus). Sir Anthony enters in a foul mood and O’Trigger goads him into a duel. Jack forces O’Trigger to challenge him to a duel five minutes earlier in hopes of saving his father’s life.
In Malaprop’s house and garden, Lucy and Lydia console each other and bemoan that men have the better life. Mrs. Malaprop enters with Bag to tell them about the pending duels, but circumlocutes the issue (QUICKLY- Sc to F Trio). Bag finally blurts out the dueling arrangements and everyone exits to the dueling grounds.
At the dueling grounds, everything is resolved. Lydia agrees to marry Jack, Lucy, who has gained great wealth from carrying messages, tells O’Trigger she is ready to marry him, and Mres. Malaprop is paired with Bob Acres (ALL IN LOVE/FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

The show, though short lived, is an interesting one with challenging music and good roles for a small company. The story line is confusing, fun and must be quickly paced to keep the action flowing. A good director with an understanding of the style of the piece is important.
There were quite a few sets in the original, but these may be easily cut down and scene locations switched without affecting the meaning of the script. The scene at the Baths may be moved to the exterior of the Baths, thereby eliminating one set. It is possible to do the show on a three sided revolve, one side for Mrs. Malaprop’s, one for the exterior of the Baths, and the third for Jack’s room. The exterior of the Baths may be redecorated for the exterior of the Brothel, or the scene may be moved to the exterior of the Baths with some stretch of the imagination.
The costumes are period, somewhat complex and costly in terms of fabric yardage. However, the cast is small and most may wear the same costume throughout. Lucy should have several costumes, each demonstrating her rising financial status.
The show is worthy of consideration by a company with a small theatre who is looking for something different. If a large stage must be used it would be advisable to bring the wings in as much as possible in order to minimize the length of stage the chase scenes must play.

SONGS OF SPECIAL INTEREST

"What Can It Be?" mezzo/soprano, up-tempo, movement oriented for comic soubrette
"A More Than Ordinary Glorious Vocabulary," comic alto duet, diction and character emphasized, good for class scene study and possibly revue
Instrumentation: piano, bass, drum
Script: MTI
Score: NP Record/CD: Mercury
Rights: MTI

ALLEGRO
Book and Lyrics: Oscar Hammerstein II
Music: Richard Rodgers

ORIGINAL PRODUCTION

Majestic Theatre, October 10, 1947 (315 perf.)
Director and Choreographer: Agnes de Mille
Orchestra Direction: Salvatore Dell'Isola
Orchestration: Robert Russell Bennett

Principals:
Joseph Taylor Jr.- John Battles- Tenor
Marjorie Taylor- Annamary Dickey- Soprano
Dr. Taylor- William Ching- Baritone
Jenny- Roberta Jonay- Mezzo
Emily- Lisa Kirk- Alto
Beulah- Gloria Wills- Soprano
Grandma- Muriel O'Malley- Alto
Charlie- John Conte- Baritone
Millie- Julie Humphry- Soprano
Chorus and Smaller Roles: 7M/7F minimum. If the show is done in a theatricalized choral manner the principals may join the chorus when they are not specifically featured in a scene.

SYNOPSIS

The show opens in a mid-western town, in the year 1905 with the townspeople lauding Marjorie Taylor, the proud mother of a baby boy (JOSEPH TAYLOR JR.- Mixed Chorus). Grandma Taylor envisions the future the baby will have (I KNOW IT CAN HAPPEN AGAIN- Sc to F Solo).
The chorus quickly forwards the action by performing the thoughts of Joe Jr. as he grows from infancy and experiences the death of his grandmother, his first kiss and his graduation from High School (ONE FOOT, OTHER FOOT- Mixed Chorus).
Before Joe leaves for College, his parents sit on the front porch and ponder what his future will be. Joe Jr. near an open window hears every word of the conversation and interjects his feelings to the audience. Joe Sr. hopes his son will pick the right girl, one similar to his own wife, but Joe feels no girl can compare to his high school sweetheart and childhood friend, Jenny. Joe's father, the warm hearted town doctor, hopes his son will follow in his footsteps and dreams Joe will help his father build a town hospital. Joe's father confides to Marjorie that the right wife is important to a man's career and he is grateful that he picked her. They are a contented couple and comment on the fact (A FELLOW NEEDS A GIRL- Sc to M/F Duet).
The time is 1921 and the action is transported to a college dance where the students are portrayed as they would like to appear; graceful and elegantly dressed. This is in direct opposition to the awkwardness they actually possess.
Joe, who is studying to be a doctor, enjoys college, but discovers it is quite a bit different from his hometown (IT'S A DARN NICE CAMPUS- M Solo). He meets Charlie, a happy-go-lucky fellow student and football star who is more interested in women than in medicine. He is an opportunistic, yet likable young man who uses Joe to help him pass his courses. Meanwhile, Jenny, who is still back home, has Joe worried because the letters she has been writing haven't been wholly enthusiastic about having to wait for him to graduate. Immediate marriage is on her mind.
In a collage of Joe's thoughts, and letters, enhanced by choral commentary (SHE IS NEVER AWAY- Mixed Chorus), we learn that Jenny has gone to Europe and is infatuated by another man. Joe, hurt by her infidelity agrees to a double date picnic with Charlie. On the date, Charlie and his girl leave Joe and Beulah, a swinger of the "new generation", together on a blanket. Beulah's seduction attempts fail when Joe falls asleep (SO FAR- Sc to F Solo).
Joe returns home to see Jenny, who tells him that she is going to wait for him. They reaffirm their love (YOU ARE NEVER AWAY- Sc to M Solo). We soon learn, however, that Jenny has no intention of being the wife of a poor local doctor. When she tells Joe's mother she would prefer that Joe work for her father's lumber and coal company or be a city doctor, Mrs. Taylor attempts to convince her that Joe will be happiest carrying on his father's practice. Jenny, realizing that she must get Joe away from the influence of his mother declares open war and angrily leaves. Marjorie who was never very strong, dies of a heart attack and silences the only verbal opposition to the match. Joe and Jenny decide to marry (TO HAVE AND TO HOLD, WISH THEE WELL- Mixed Chorus).
Act II opens eight years later in the backyard of the Taylor House. Jenny is hanging up the wash as her father, who has lost his fortune, business, and home in the recent stock market crash, enters. Jenny, angered that she is forced to live in a below average home, spitefully lets her father know she feels he is a failure. After her father leaves, Jenny regrets her sharpness but the confrontation has made her more determined than ever to quickly better her circumstances. She invites some neighborhood women over and they commiserate over the luxuries none of them are able to afford (MONEY ISN'T EVERYTHING- Sc to F Quintet).
When Joe is offered a partnership with Charlie's uncle, Bigby Danby, a well-known city doctor, Jenny finagles him into taking the position. He enters a superficial world, demonstrated by a typical cocktail party (YATATA, YATATA, YATATA- Mixed Chorus). Joe's nurse, Emily, who recognizes Joe's talents is infuriated by his overly ambitious wife. She sees that Joe is quickly losing his potential and self-esteem because his major concerns are turning to more social involvement with the "leaders of the community." Emily steps onto the street during a downpour and vainly attempts to hail a cab. She is obviously attracted to Joe yet angrily comments on his naiveté (THE GENTLEMAN IS A DOPE- L to F Solo). Joe and Charlie, another employee of Bigby’s, realize that Bigby only involves himself with the rich hospital benefactors. They scornfully confer with Emily about the present situation (ALLEGRO- Sc to 2M/1F Trio to Mixed Chorus).
Mrs. Lansdale, a wealthy patient, whose husband is the major trustee of the hospital, enters to give Joe a Detective's Report linking Jenny with her husband. He examines the situation and realizes, in an introspective monologue, that his life is empty. As the chorus reminds him that he is always welcome home (COME HOME- Mixed Chorus), Bigby Danby and Lansdale enter to offer him the position of Physician-in-Chief. They leave to announce the news to the Board of Trustees. Emily and Charlie, left alone in the office, worry that Joe will accept. They both feel he has the ability to be an excellent doctor and should be more than a medical politician.
At the New Private Pavilion of the hospital, Lansdale begins his speech as the chorus intersperses comments (YATATA YATATA YATATA [REPRISE]- Mixed Chorus). Joe surprises everyone by declining the offer and announcing that he is going home to help his father build a hospital. The play ends as he leaves for home with Emily and Charlie.

NOTES ON THE PRODUCTION

The play deviates in style from the collaborators' first two popular works, Oklahoma! and Carousel. It is presented in a choral/acting manner, which is why Agnes de Mille was hired as both choreographer and director of this difficult theatre piece. The interesting style and use of a Greek Chorus made the show innovative, but critics and audiences expected something more "new style traditional" from the writing team that produced two prior hits.
In 1970, Equity Library Theatre, an Equity showcase theatre based in New York, produced the show and demonstrated its worth as a revival piece. There are good singing opportunities for choral/acting work as the entire company may appear as various characters in the scenes and dances when needed. The production would be an excellent choice for a school or university and could be interestingly mounted by the combined talents of the music department's choir and the drama department's actor/singers. A refreshing change from the usual choral offerings, it is a light technical production that may be performed on a small stage with limited wing and fly space. Relatively inexpensive to produce it can be effectively costumed and designed with stylized pieces.

SONGS OF SPECIAL INTEREST

"A Fellow Needs a Girl," baritone/soprano, romantic, older couple, charm duet
"The Gentleman Is a Dope," alto solo, up-tempo, vocally interesting, actually a love song that begins in anger, has charm and ends poignantly
"Money Isn't Everything," F quintet, good number for developing character as the girls have individual sections of the verse, up-tempo, Comments on what the rich have that they do not

Instrumentation: 4 reeds, 2 horns, 2 trumpets, 2 trombones, tuba, percussion, 4 violins, viola, cello, bass, piano/conductor
Script: Modern Library
Score: Williamson
Record: RCA
Rights: R&H

THE AMOROUS FLEA

Book: Jerry Devine
Music and Lyrics: Bruce Montgomery
(Based on Moliere’s School for Wives)

ORIGINAL PRODUCTION

78^th Street Playhouse, February 17, 1964 (93 perf.), Moved to York Theatre
Director and Staging: Jack Sydow
Musical Director: Ted Simons
Orchestration: Lou Busch

Principals:
Arnolphe- Lew Parker- Baritone
Chrysalde- David C. Jones- Baritone
Alain- Jack Fletcher- Baritone
Georgette- Ann Mitchell- Alto
Agnes- Imelda De Martin- Mezzo
Horace- Philip Proctor- Tenor
Chorus and Smaller Roles: None

SYNOPSIS

As the overture ends Arnolphe, a middle-aged, self-centered man who always carries a gold cane is seen. His friend Chrysalde, who carries a lorgnette, is urging Arnolphe not to marry for he is convinced that the marriage will fail. Arnolphe tells him that he has kept his orphaned ward Agnes in a convent where she has been raised in total innocence. He invites his skeptical friend to visit his future bride, yet tells him he must refer to Arnolph as La Souche, for that is the name he has taught her to call him. Chrysalde exits, leaving Arnolphe to comment on his greatness in an extremely self-centered way (ALL ABOUT ME- M Solo).
The set changes to the garden of Agnes’s house where the comical servants Alain and Georgette are working. After baiting their master the two leave and Agnes enters. Arnolphe questions the young innocent only to discover that she has nightly visitors; he momentarily panics until he realizes they are harmless fleas. Arnolphe sends her away, pleased with himself for training her in the art of exiting (ALL ABOUT ME [REPRISE]- M Solo). Agnes appears in the upstairs window and comments on her situation (ALL ABOUT HE- F Solo). Agter her solo she closes the shutters and Alain and Georgetter enter to complete the musical trilogy by derogatorily singing about their employer (ALL ABOUT HIM- M/F Duet).
The scene moves to the street where Arnolphe meets Horace, the son of Oronte, an old friend. Oronte has entrusted the boy to Arnolphe’s care until her returns to Paris. Arnolphe loans the boy some money and begins to advise him about the pitfalls of Paris and the deviousness of its women. Horace quickly responds that he has found a lovely maiden named Agnes who lives on the other side of the wall. Arnolphe is apoplectic for he realizes it is his ward. He quickly exits leaving Horace to exalt his feelings of love (LEARNING LOVE- L to M Solo).
The scene returns to the arden where Arnolphe, in a rage, angrily confronts the servants. They deny any knowledge of Agnes’s lover and he exits to ask the girl for the truth. Alain and Georgetter sing of the confusing situation (THERE GOES A MAD OLD MAN- M/F Duet). At the end of the number they exit and Agnes enters with her tatting. Arnolphe enters and begins to question her until he discovers that Horace has indeed been there and caressed her incessantly. He is relieved to find that nothing of real consequence has happened and vows to put a stop to any more philandering. He tells her that she has sinned but there is no sin in anything if one is married (DIALOGUE ON DALLIANCE- Sc to M/F Duet). Agnes is anxious to marry Arnolphe immediately so she can make love to Horace. Arnolphe is appalled and he orders her to her room and insists she throw rocks out her window at the suitor. She retires, weeping, to her room and the act ends with Agnes hurling a rock at Horace.
At the start of Act II, Alain and Georgette are in the garden comically drilling a la soldiers at arms when Arnolphe enters to instruct them (MARCH OF VIGILANT VASSALS- 2M/F Duet). He sends them off and Agnes enters with her tatting. He decides to give her some lessons on married decorum (LESSONS ON LIFE- Sc to M/F Duet). His lesson ends when he is informed that Agnes’s young man is outside. Arnolphe quickly rushes out to the street to greet Horace who tells him that the rock that Agnes threw had a love letter attached to it begging him to save her from La Souche. Arnolphe is having fits of pain, but contains himself enough to tell Horace that he will be his advisor. Horace is grateful and thanks him (MAN IS MAN’S BEST FRIEND- Sc to M Duet).
Agnes, sitting in her window, tells her troubles to Georgette, who is resting in the garden. Georgetter is called back to drill and Agnes wonders what king of world is outside (THE OTHER SIDE OF THE WALL- F Solo). Horace enters with a ladder and urges her to come down. She is hesitant, he is nervous. He climbs up to her and they sing (CLOSENESS BEGETS CLOSENESS- Sc to M/F Duet). Arnolphe enters the garden to tell Agnes she is to remain locked in her room and in bed until the wedding day. She obediently closes the shutters and is locked in with Horace.
Act III opens as Agnes opens her shutters and Horace lowers his ladder, descends and exits. Arnolphe enters and allows Agnes to open her shutters and breathe in the air. She is in a good mood. Arnolph is pleased with himself and the servants are tired of guarding the girl (IT’S A STRETCHY DAY- 2M/2F Quartet).
On the street Arnolphe is busily sending his servants to prepare for the wedding when he is greeted by his friend, Chrysalde, who is astounded to hear that Arnolphe is actually marrying his ward. Arnolphe exits on his way to have his hair tinted and Chrysalde tells the audience that a man must be realistic as he grows old (WHEN TIME TAKES YOUR HAND- Sc to M Solo).
Arnolphe sees Horace and urges him to tell his latest adventures. When Horace tells of his evening spent in Agnes’s room and his plan to spirit her away at eight o’clock this evening, Arnolphe is overcome and laments alone (THE AMOROUS FLEA- M Solo).
Later that evening Horace spirits Agnes away and takes her to the street to entrust her to his friend Arnolphe. Upon his exit, Agnes discovers that Arnolphe is really La Souche who returns her to her room.
The next morning Horace meets Arnolphe and tells him that his father has arrived in Paris with the news that Horace is to marry the daughter of Enrique, a man of vast wealth. Chrysalde enters with Horace’s father, Oronte, and his friend Enrique. In the confusion that follows it is discovered that the Enrique’s daughter is none other than Agnes. There is a joyous reunion where everyone relates except Arnolphe who stands alone (FINALE- Company).

NOTES ON THE PRODUCTION

The show is enjoyable to produce and perform. The music is pleasant, the situations humorous and the characters fun to portray. It is a nice ensemble show which is relatively easy to tour and may prove a good choice for groups wishing to provide a sampling of period theatre for Junior High and High School students.
The play is relatively inexpensive as the royalty is extremely reasonable, there are few props and the actors need only one costume each. The original production employed a full set and utilized a ground row with a background of houses on a street. The main house has a window with practical shutters and a curtain with a platform large enough to enable Agnes to stand at her window. A hinged wall unit that could be opened or closed to represent the garden or the street was attached to the house. Groups wishing to tour the production or with limited technical expertise could simplify this set through the use of portable flats to represent the house, a cut-out tree with a prop bench to establish the garden, a street flat set downstage right, and two A-frame ladders with two boards across them as Agnes’s standing platform.

SONGS OF SPECIAL INTEREST

"Lessons On Life," Comic situation duet for baritone/mezzo with stylized period movement a la Moliere, character contrast and imitation add to the humor

Instrumentation: piano, percussion
Script: Dramatists Play Service
Score: NP Vocal Selections: Saunders
Record/CD: NP
Rights: Dramatists Play Service

ANGRY HOUSEWIVES

ORIGINAL PRODUCTION

Theatre, Date (# perf.)
Director: Choreographer: Musical Director: Orchestration:

Principals:
Tim - baritone
Bev - mezzo
Wendi - mezzo
Jetta - soprano
Carol - alto
Larry - tenor
Wallace - tenor
Lewd Fingers - baritone
Chorus and Smaller Roles:

SYNOPSIS

The show begins with the screeching of an electric guitar and what sounds like a cat in heat, otherwise known as a teenage boy agonizing about his horrible adolescent life (HELL SCHOOL- M Solo). The lights come up to reveal a modest home and a widow, Bev, trying to alternately clean the living room and cover her ears to block out the noise. Shortly thereafter, the source of the noise, Tim, enters. Bev has invited a large group of women over for a "Betty Jean" party, the cosmetics version of a Tupperware party. As she explains to Tim, the Betty Jean philosophy (THINK POSITIVE- F Solo) and sale of the products are going to save them, as they are quite financially strapped. However, during the course of the song, the phone continues to ring with more and more "friends" calling with excuses and regrets. Enter Wendi, a drawbridge operator and the only single female, and Jetta, a new mother, arriving for the party and confused at the lack of attendance. The arrival of Carol, a divorced high school music teacher (Tim's music teacher, in fact), completes the party. Bev attempts to sell them on the products while serving spaghetti sandwiches, the only food she has on hand. Bev quickly realizes that all four women are in the same boat -all without a penny to spare. They commiserate and joke about entering the same contest as Tim - a local punk rock club is having a Battle of the Bands with the top prize being $2000. Enter Larry, Jetta's upwardly mobile lawyer husband whose dependence on Jetta and his mommy makes him every bit the child as his own new daughter. The party breaks up, but Wendi promises to come up with a plan for cash.
The following day at the drawbridge, Wendi tries out her plan on her boyfriend Wallace, who has recently won a million dollars in a fishing derby. Wendi's idea is to form a punk rock band and enter the contest. Wallace first thinks this must be a joke, then is only concerned that this will interfere with his plans to sail to Hawaii with Wendi. As Wendi assures him that the trip will continue as planned, the other women enter. Wendi then convinces the others that her idea is the solution to all their problems (IT'S GONNA BE FUN- F Solo with 3F Backup).
Larry remains at home, panicked because Jetta is 15 minutes late and he has no clue how to deal with his newborn daughter. Larry attempts to track down Jetta by calling Tim, who is no help at all.
Scene 4 opens with the first band practice at Bev's, which is not going well. The women work on a name and an attitude for the band, but Carol feels she's too "fat and old" to be in a punk rock band and is plagued by self-doubt (GENERIC WOMAN- F Solo with 3F Backup). They decide to keep working on it, while hiding their intent from Tim.
The following day brings a fight between Wendi and Wallace, as he feels she's spending too much time practicing and not enough time helping him work on the boat. Bev tries out her new punk attitude on a stunned Tim and Carol attempts to rehearse quietly with Jetta in Jetta's basement so that Larry won't hear. After Larry interupts to scold Jetta for having store bought grape juice instead of the fresh squeezed that he prefers, Jetta laments the problems in her marriage (NOT AT HOME- F Solo).
Carol goes to the punk club to sign up for the contest and meets the owner, Lewd Fingers, who flirts outrageously with her. Carol manages to get out the door with her dignity intact just before Wallace enters looking for Wendi. Lewd and Wallace turn out to be old frat brothers, who reminisce about their college days and the conquests that they both made (BETSY MOBERLY- M Duet).
The big night arrives and the Angry Housewives turn to perform. The noisy and rude punk club crowd (in this case the audience!) boos them as they begin. The only way the women could get Jetta up on stage was to get her extremely drunk, which turns out to be a huge bonus as she is able to get over her inhibitions and sing the song as intended (EAT YOUR FUCKING CORNFLAKES- All Women). The audience, of course, goes wild.
Act II opens, the women return triumphant to Bev's house, having made the finals of the contest. Tim enters, extremely upset that his mom's band beat his band (FIRST KID ON THE BLOCK- M Solo with 4F Backup). Tim storms out and Wendi begins to think this wasn't such a great idea after all as leaves to deliver a very drunk Jetta home to Larry.
Scene 2 reveals Carol and Lewd at his favorite place to see the sunset - a freeway overpass. Lewd and Carol express their newfound attraction (LOVE-O-METER- M/F Duet) as Lewd assures Carol that her band is almost guaranteed to win the contest. Meanwhile, Tim returns home, his own band having broken up, and suggests a limited partnership for the band and tons of money to be made on fan club dues. As Jetta dresses Larry, he forbids her to continue with the band, reminding her that her job is to take care of him and their daughter. Jetta finally stands up to Larry and insists on staying with the band, causing Larry to have a panic attack. Wallace finds Wendi in the park, where they kiss and make up. Wendi tells him that she's had second thoughts and is going to tell the other women that she's quitting the band. Wallace reminds her that she's flaking on her best friends and as the women's nerves being to fray, their respective men offer their support (SATURDAY NIGHT- Company).
The women meet for dinner and Wendi calls it quits. A food fight erupts as the women recall the many times that Wendi has come up with an idea, gotten them all involved, then quit on them. Larry enters, is mortified at his wife's behavior and is left alone at the table as the women storm out. He pathetically sings of his woes (NOBODY LOVES ME- M Solo) and realizes that he needs to support his wife.
As Lewd Fingers introduces the Angry Housewives, Tim, Wallace and Larry all show up in drag to sit in for the missing Wendi. When the Housewives are nowhere to be found, the men join forces and cover (STALLING FOR TIME- 4M). The women, including Wendi, finally make an appearance and perform their final number (MAN FROM GLAD- 4F). The Angry Housewives lose the contest, but win a recording contract anyway. The finale (ANGRY HOUSEWIVES- Company) finds them starting off on their new journey as punk artists.

NOTES ON THE PRODUCTION

This hilarious musical premiered in Seattle and has become quite a cult hit along the way.

SONGS OF SPECIAL INTEREST

"Not At Home", Mezzo solo, good inner monologue/acting piece for class or audition, about the problems that arise in a marriage
"Betsy Moberly", Tenor/Baritone duet, great comic piece about a college flame
"Love-O-Meter", Alto/Baritone duet, cute, fun piece about falling in love
"Nobody Loves Me", Tenor solo, great comic monologue/acting piece, a veritable self-pity party

Instrumentation: piano, keyboard, electric guitar, bass, drums
Script: Samuel French
Score:
Rights: Samuel French

ANNIE

Book: Thomas Meehan
Music: Charles Strouse
Lyrics: Martin Charnin
(Based on the comic strip "Little Orphan Annie")

ORIGINAL PRODUCTION

Alvin Theatre, April 21, 1977 (2,377 perf.)
Director: Martin Charnin
Musical Director: Peter Howard
Choreographer: Peter Gennaro

Principals:
Annie- Andrea McArdle- Child Mezzo
Daddy Warbucks- Reid Shelton- Baritone
Miss Hannigan- Dorothy Loudon- Gravelly Mezzo
Grace Farrell- Sandy Faison- Soprano
Rooster- Robert Fitch- Tenor
Lily- Barbara Erwin- Squealy Soprano
Chorus and Smaller Roles: 7M/4F minimum, 6 young girls ages 5 to 11 who sing and dance well

SYNOPSIS

The play opens in a dimly lit orphanage in Manhattan's Lower East Side; the time is 1933 and America is in the middle of its worst depression. Six orphans have just been awakened by the nightmares of Molly, the youngest. Annie, an 11-year old who has been at the orphanage since two months of age, comforts Molly and shares her feelings about her own parents, whom she knows will come back. The other orphans wistfully listen and join in at the end of the song (MAYBE- F Solo and Female Chorus). When Miss Hannigan, the mean, liquor imbibing, manager of the orphanage discovers Annie and the girls awake she proceeds to put them to work scrubbing the bedroom floor. The girls perform the show-stopping number complete with buckets and brushes (IT'S A HARD KNOCK LIFE- F Chorus).
Annie, yearning to find her parents, escapes from the orphanage in the bottom of a laundry basket and wanders the streets of New York looking for a place to call home. She befriends a stray dog, names him Sandy and assures him that everything will be all right (TOMORROW- F Solo). Annie discovers a "Hooverville" under the 59th street bridge and finds food and friendship from the residents who sarcastically praise President Hoover (WE'D LIKE TO THANK YOU, HERBERT HOOVER- Mixed Chorus).
At the orphanage, Miss Hannigan, infuriated by Annie's escape and the practical jokes of the orphans, comments on her hatred of children (LITTLE GIRLS- L to F Solo). She turns on a radio soap opera but is interrupted by a policeman who enters with Annie. Upon the officer's departure Miss Hannigan starts thrashing Annie about but is interrupted by Grace Farrell, secretary to wealthy billionaire Oliver Warbucks. Grace is charmed by Annie and invites her to spend the next two weeks in the Warbucks mansion on Fifth Avenue.
Annie is overwhelmed by the mansion, and especially impressed by the servants (I THINK I'M GONNA LIKE IT HERE- F Solo to Mixed Chorus). Daddy Warbucks arrives and is upset to discover that Grace has brought him a girl orphan instead of the boy he requested. Annie, however, charms him into accepting her and he invites Annie and Grace to the Roxy Movie Theatre. The three walk the forty five blocks to the theatre listening to Warbucks tell them how much he loves New York City (NYC-1M/2F trio to mixed chorus). They arrive at the theatre and are ready to enter when Oliver notices Annie falling asleep; as he picks her up she falls asleep in his arms.
One week later Grace arrives at the orphanage to tell an infuriated Miss Hannigan that Warbucks intends to adopt Annie. As Grace exits she runs into Hannigan's gangster brother, RoosterS, and his bleached blonde girlfriend, Lily. He has just gotten out of prison and come to Hannigan for money. The members of the devious trio yearn for an easier, richer life (EASY STREET- Sc to 1M/2F Trio).
At the mansion, Warbucks, while attempting to tell Annie that he wants to adopt her, discovers her desire to find her real parents who left her on the doorstep of the orphanage with half a locket and a letter promising to return. Determined to make her happy, he promises to find them. The servants and Grace assure her that everything will be all right (YOU WON'T BE AN ORPHAN FOR LONG- Mixed Chorus).
Act II opens at a radio station, where Warbucks has offered a $50,000 reward to anyone who can prove they are Annie's parents. The show signs off with Bert Healy and the Boylan Sisters singing the show's theme song (YOU'RE NEVER FULLY DRESSED WITHOUT A SMILE- M Solo with 3F Trio).
At the orphanage the orphans listen to the radio and imitate the show's theme song (YOU'RE NEVER FULLY DRESSED WITHOUT A SMILE [REPRISE]- F Chorus). Miss Hannigan sends them to bed as Rooster and Lily arrive disguised as Annie's parents and convince Hannigan to help them fool Warbucks. Hannigan agrees...for half of the reward money.
In Washington, Annie and Warbucks meet with President Roosevelt and his cabinet who are depressed over the nation's economic state. Annie encourages them to look to the future (TOMORROW [REPRISE]- Mixed Chorus). The festivities are soon stopped when Warbucks recieves a telegram saying that hundreds of people, all claiming to be Annie's parents, are jamming the streets outside the mansion. Warbucks and Annie return home to discover that all claims of parentage have been false. Warbucks attempts to bolster Annie's spirits by telling her he wants to adopt her (SOMETHING WAS MISSING- M Solo). She agrees that the search was futile and happily consents to his proposed adoption (I DON'T NEED ANYTHING BUT YOU- Sc to M/F Duet). The servants enter to prepare for the adoption party and enthusiastically sing a tribute to the little girl that brightens their lives (ANNIE- Mixed Chorus). The high point of the number occurs when an enormous Christmas tree surrounded by multitudes of presents is wheeled out.
The party is interrupted by Rooster and Lily, who enter disguised as Annie's parents. They show as proof a birth certificate and the missing half of Annie's childhood locket. Annie is disappointed, but Warbucks and Grace are suspicious of these two odd characters who have left Annie to say her farewells. Warbucks turns to President Roosevelt and the FBI for help. They discover that Annie's real parents have been dead for many years and the couple claiming to be her parents are false. Annie is free to be adopted by Warbucks.
Miss Hannigan and the orphans arrive for Warbucks’ Christmas party followed by Rooster and Lily who attempt to claim Annie. The three are arrested by The Secret Service and Warbucks promises the orphans a better life. The entire company excitedly looks to the future (A NEW DEAL FOR CHRISTMAS- Mixed Chorus). The number peaks when Sandy arrives in a huge Christmas wrapped gift-box... the perfect end to a Merry Christmas and the beginning of a wonderful life (A NEW DEAL FOR CHRISTMAS- Mixed Chorus).

NOTES ON THE PRODUCTION

Annie won seven of a possible nine Tony Awards (Dorothy and Andrea were nominated for the same award which Miss Loudon received) for Best choreography, Actress, Score, Book, Costumes, Set, and Musical. The production was a lively and exciting one for children, one of the few semi-lavish family shows since the 1965 Tony award winner Fiddler on the Roof. It takes some extremely talented children and good character actors to plausibly portray the principals and the smaller vignette roles, namely Roosevelt's Cabinet. There is also a need for a dog with enough ability not to upstage the entire production.
The sets are fairly lavish and difficult to trim, although set pieces may be reused if the budget is limited. The Christmas tree is extremely important to the overall show as it helps peak the musical number and is essential in the finale. The costumes are period thirties with servants and a policeman's uniform. Nothing is terribly difficult.
Annie has been around as a popular family show for years. Networks recently mounted a national tour with UNH alum David Kaeppeler as Musical director who re-orchestrated much of the production to give it a more upbeat sound to appeal to modern audiences. Audiences of all ages love the production and it continues to be a popular choice and money-maker.

SONGS OF SPECIAL INTEREST

"Easy Street," 2F/1M trio, up-tempo, movement oriented, emphasis is on broad characterizations and character interaction and reaction
"I Don't Need Anything, But You," baritone/child mezzo duet, charming number, good for relationship and soft shoe as it is done on the vaudeville style
"Little Girls," mezzo comedic character solo, emphasis is on solid characterization through strong acting, good exercise for an actress who has trouble taking on strong characters which depart from the actress's own personality
"We'd Like to Thank You, Herbert Hoover," a delightful, up-tempo chorus number which allows much room for individual characterization and simplistic staging arising from lyrics and situation

Instrumentation: 5 reeds, 2 trumpets, 2 trombones, 1 tuba, violin, cello, bass, guitar/banjo, percussion I and II, piano/conductor
Script: NP
Score: Hansen
Record/CD: Columbia
Rights: MTI

ANNIE GET YOUR GUN

Book: Herbert and Dorothy Fields
Music and Lyrics: Irving Berlin

ORIGINAL PRODUCTION

Imperial Theatre, May 16,1946 (1,147 perf.)
Director: Josh Logan
Choreographer: Helen Tamiris
Musical Director: Jay S.Blackton
Orchestration: Philip J. Lang, Robert Russell Bennett, and Ted Royal

Principals:
Annie- Ethel Merman- Alto belt
Dolly Tate- Lea Penman- Alto
Buffalo Bill- William O'Neal- Baritone
Frank Butler- Ray Middleton- Baritone
Charlie Davenport- Marty May- Tenor
Pawnee Bill- George Lipton- Baritone
Chorus and Smaller Roles: 4 Children 3G/1B, 9M/9F minimum, various shapes and sizes to portray Indians, society and townsfolk

SYNOPSIS

Outside the Wilson House hotel on the outskirts of Cincinnati, Ohio, Charlie Davenport, manager of Buffalo Bill's Wild West Show enters with his sister, Dolly Tate to drum up business for the show. They dramatically enact the heroic episodes of their boss as a crowd of onlookers becomes involved (COLONEL BUFFALO BILL- M/F Duet To Mixed Chorus).
Foster Wilson, the hotel proprietor enters. Furious that Charlie has advertised a shooting contest between the Town's best sharpshooter and Frank Butler the show's star on the hotel grounds, he orders them off the premises. Charlie sends Dolly into the hotel to charm Wilson, a bachelor. Frank Butler, left alone with the young girls of the town warns them about his reputation (I'M A BAD, BAD MAN- M Solo/F chorus).
Dolly enters after failing to change Wilson's mind and sits down to rest near a hedge. A shot rings out knocking a decorative bird off Dolly's hat. She looks around fearfully as Annie Oakley, a tomboyish, rather grubby girl, in well-worn clothes enters. Wilson arrives to see Annie pointing a gun at Dolly who hastily exits. She attempts to sell some game birds to Wilson who is impressed by her shooting. When he orders twenty-four, Annie has to call her three sisters and brother Jake to judge the amount. Since they can only count to twenty Annie promises to deliver that amount. Wilson questions her about the family's lack of reading and writing ability but they reply that back home it wasn't necessary to have book learning (DOIN' WHAT COMES NATUR'LLY- Sc to F Solo/Children's Chorus/M Solo).
Wilson offers her five dollars to enter the shooting match against Frank Butler, whom he refers to as a swollen headed stiff. Annie agrees and confidently begins cleaning her gun but is interrupted by the handsome Butler who is appalled by the antiquity of her rifle and the bluntness of her manner. She, on the other hand, is overwhelmed by his outstanding good looks and listens closely as he tells her of his ideal woman (THE GIRL THAT I MARRY- Sc to M Solo). He tips his hat and exits.
Annie, realizing she has to be more than a good shot to trap someone like Frank into marriage, ponders her situation (YOU CAN'T GET A MAN WITH A GUN- L to F Solo). She marches off as Buffalo Bill arrives to referee the contest. When Wilson introduces Annie everyone is shocked that he has entered a girl against Frank Butler, but they are easily impressed when she wins. Despite Frank's unenthusiastic response to the idea, Buffalo Bill encourages Charlie to offer her a job with the show. They assure Frank that Annie will only assist him in the act and not do any fancy shooting that might endanger his status as number one. The three men tell her of the perils and thrills of show business (THERE'S NO BUSINESS LIKE SHOW BUSINESS- Sc to 3M/1F Quartet). The show moves by train and the scene shifts to the Pullman parlor of a train at night. The car is full of Indians with wash and living items scattered about. Dolly enters, furious that Annie has given the Indians permission to use her car but Charlie comes to Annie's defense and Annie settles down with Little Jake to study her spelling. The two are interrupted by Frank, whom Annie is hopelessly in love with. He is also becoming fond of her and asks if she has ever been in love with someone. The two are afraid of the other's reaction so they talk of the things they've heard about love (THEY SAY IT'S WONDERFUL- Sc to M/F Duet). By the end of the number Frank realizes he loves her, they embrace.
Charlie and Buffalo Bill, in hopes of getting business away from competitor Pawnee Bill, ask Annie to perform her motorcycle riding and shooting trick in Minneapolis. Annie, convinced by the two that Frank will be proud of her agrees.
Her brother and sisters are enjoying the excitement of show business so much that it is difficult to get them to sleep. They beg Annie for a lullaby and she agrees as the trainman, waiter and porter join in (MOONSHINE LULLABY- F Solo/M Trio).
Frank, feeling threatened when he sees a large poster of Annie outside the performance arena, warns Charlie that he will quit the show if the posters stay up. Charlie and Buffalo Bill, knowing the show is in financial difficulty, have no choice but to have Annie perform her trick shooting. Charlie begins the pitch to draw an audience as the company joins in (WILD WEST PITCH DANCE- Mixed Dance Chorus). Charlie's spiel is cut short by the entrance of Pawnee Bill and Sitting Bull who have come to see Annie perform. Charlie and Buffalo Bill attempt to interest the oil rich Sitting Bull in making an investment but the chief refuses.
Frank, attempts to propose to Annie but she insists he waits until after her performance, he agrees and tells his friends he is going to be married (MY DEFENSES ARE DOWN- M Solo to M Chorus).
The stage goes dark and the lights suddenly rise on Annie who is lying on a motorcycle, steering with her feet and shooting at lighted candles attached to a wheel on the main tent pole. The crowd goes wild but Frank refuses to follow such a tremendous spectacle. Annie enters anxious to discover Frank's reaction but is unable to talk to him because Sitting Bull, who labels her the best marksman he has ever seen, announces his wish to adopt her as his daughter. The ceremony begins (WILD HORSE CEREMONIAL DANCE- Male Dancers), and Annie becomes Sitting Bull's daughter (I'M AN INDIAN TOO- F Solo to Mixed Dance Chorus). At the end of the ritual Annie is exhausted and surprised to receive a letter from Frank; in the excitement she didn't realize how upset he was. She enlists the aid of Papa Bull who reads that Frank has left with Dolly to do his old act at Pawnee Bill's show. Annie is crushed and sadly reprises (YOU CAN'T GET A MAN WITH A GUN- F Solo) as the curtain falls.
The Act opens with the troupe camped atop the deck of a cattle boat in New York Harbor; they have just returned from a successful tour of Europe and are broke because European Royalty doesn't pay for command performances-they only award medals. Charlie tells Annie they are broke and the U.S. Government has placed Papa Bull on a weekly allowance. Their depression is interrupted when someone from Pawnee Bill's outfit arrives to invite them to a reception in New York. Papa Bull suggests the two shows merge and Annie anxious for a chance to reunite with Frank, agrees. She quietly sits alone and remembers (I GOT LOST IN HIS ARMS- F Solo With Offstage Mixed Chorus).
At The Ballroom of the Hotel Brevoort in New York, Pawnee Bill, Frank and Dolly tell Mr. and Mrs. Adams, two wealthy society patrons about the perils of Show Business (THERE'S NO BUSINESS LIKE SHOW BUSINESS [REPRISE]- 2M/1F Trio). The subsequent meeting between the two owners is a disaster for both discover neither one has any money. Papa Bull saves the day when he realizes that Annie's medals are worth $100,000, enough to finance the merger. Charlie warns Annie that she is giving up her only tangible wealth, but she retorts that she has enough in life (I GOT THE SUN IN THE MORNING- F Solo to Mixed Chorus). Frank joins in and the two are reunited.
Frank proposes and begins to describe the wedding he wants, but Annie envisions a very large wedding, in direct opposition to his need for a simple one (AN OLD FASHIONED WEDDING- Sc to M/F Duet). The two argue and decide to have one big shooting match to determine who is the best sharp- shooter in the world.
On the loading platform for the Ferry to Governor's Island, Dolly attempts to sabotage Annie's guns but is stopped by Papa Bull and her brother Charlie. Charlie is furious, but Papa Bull knows that if Annie wins the match she will lose Frank, so he and Charlie sabotage the guns.
At Governor's Island the shooting match is about to begin but Annie and Frank delay things by arguing about their talents (ANYTHING YOU CAN DO- Sc to M/F Duet). The competition begins with Annie missing two simple shots. Frank offers her one of his guns and she gets a hit. Papa Bull, worried that she may win with Frank's gun, takes her aside to explain she must lose the competition to marry Frank. She purposely misses the next shot and the two agree to be lifetime partners as the two shows merge (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

Ethel Merman, born Ethel Zimmermann on January 16, 1909, starred in a variety of Musical Comedy roles including Girl Crazy, Anything Goes, DuBarry Was a Lady, Call Me Madam, Happy Hunting, Red, Hot and Blue, Gypsy and Hello Dolly. More roles were written for her than for any other musical star. In fact she changed the emphasis of the musical theatre from the typical ingenue soprano heroine to the more interesting older, often brassy three-dimensional leading lady.
Considered to be Irving Berlin's most memorable score, it is interesting to note that producers Rodgers and Hammerstein II originally hired Jerome Kern whose untimely death forced them to find another writer. Berlin's wonderfully melodic score and charming lyrics combined with a well-written musical libretto helped chalk up a long run.
Revived in 1966 for a limited engagement at Lincoln Center Berlin wrote a new song for Miss Merman, "Old Fashioned Wedding." The script was changed to trim Dolly and Charlie's roles as the secondary love interest by cutting their song "Who Do You Love I Hope" and re-defining them as brother and sister. The acting version available for production is based on the revival but the older scores have the cutout song and some companies have chosen to negate the brother and sister relationship by including the original song.
The show is an extremely popular one and may be produced in all sizes and types of theatres without losing any of the production quality. The major problem is determining the best way to handle the trick shooting sequence on the motorcycle. Smaller community groups and those performing in the round have often had the sequence "performed" offstage and utilized an onstage audience's reactions to establish the mood.
It is possible to perform the show on a unit set with prop pieces to establish more specific location. The homespun charm of the story and songs are what makes the show enjoyable and enable it to be performed with a limited set and costume budget.
The production calls for an Annie with tremendous vocal and physical stamina- she rarely leaves the stage for a breather. Do not attempt this production, which was written for a star, without two talented female performers, one to perform the role and one as an understudy or alternate.

SONGS OF SPECIAL INTEREST

"Buffalo Bill," good small chorus number that calls for minimal staging, features 1M/1F, emphasis is on enthusiasm and energy with vocal and physical build
"There's No Business Like Show Business," showstopping quartet, presentational staging, basic movement patterns and simplicity
"They Say It's Wonderful," good romantic duet for an alto
"Moonshine Lullaby," nice ballad for an alto
"You Can't Get a Man With a Gun," comic problem song which forces actress to relate to audience, good for developing believability and eye contact
"I'm an Indian Too," comic song with good potential as an audition number as it shows off energy, comedy, movement and pitch

Instrumentation: 4 violins, viola, cello, bass, 4 reeds, 3 trumpets, 3 trombones, percussion, harp, guitar, piano/conductor
Script: Irving Berlin Music Corp.
Score: Irving Berlin Music Corp.
Record: RCA
Rights: R&H Library

ANNIE WARBUCKS
Synopsis by UNH alum Linette Strout Miles who was in the production at Hampton Playhouse

Book: Thomas Meehan
Music: Charles Strouse Lyrics: Martin Charnin
(Based on the comic strip "Little Orphan Annie")

ORIGINAL PRODUCTION

Variety Arts Theatre, August 9 1993 (200 perf.)
Director: Martin Charnin Choreographer: Peter Gennaro Musical Director and Orchestration: Keith Levenson

Principals:
Annie Warbucks- Kathryn Zaremba- Child Mezzo
Oliver (Daddy) Warbucks- Harve Presnell- Baritone
Grace Farrell- Marguerite MacIntyre- Soprano
Drake- Kip Niven- Tenor
Mrs. Pugh- Brooks Almy- Mezzo
Simon Whitehead- Joel Hatch- Baritone
Commissioner Harriet Doyle- Alene Robertson- Mezzo
Mrs. Sheila Kelly- Donna McKechnie- Mezzo
President Franklin Delano Roosevelt- Raymond Thorne- Baritone
Chorus and Smaller Roles: 6M/6F Minimum, 5 girl orphans of varying vocal types

SYNOPSIS

The curtain opens on the final scene from Annie. It is Christmas day 1933, and the orphans are celebrating at Daddy Warbucks’ mansion (A NEW DEAL FOR CHRISTMAS - Mixed Chorus). Everything is perfect for Annie. She is now the daughter of Daddy Warbucks (ANNIE AIN’T JUST ANNIE ANYMORE - F Solo).
But, alas, the happiness doesn’t last for very long. Commissioner Harriet Doyle interrupts the celebration. She has come to take Annie away from Daddy Warbucks because, she says, he must be married in order to legally adopt Annie. She agrees to give him 60 days to find a wife (Above the Law - F Solo). Annie begins to feel that once Daddy Warbucks finds a wife there will be no room left in his life for her (CHANGES - F Solo). She heads off to the orphanage to tell the other orphans her troubles. They convince her that once he gets married, he certainly won’t have any time for her. (THE OTHER WOMAN - F orphan Chorus)
Annie and the rest of the staff at the mansion know that Grace Farrell, Mr. Warbucks’ personal secretary, is in love with him and think the two would be perfect together. They try to convince him of it without coming right out and saying it (THAT’S THE KIND OF WOMAN - Mixed Chorus). Daddy Warbucks tries to explain to Annie that he thinks he is too old for Grace, and that she wouldn’t want someone like him, but it becomes clear in the second half of the song, once Annie leaves the stage, that he is truly in love with Grace. (A YOUNGER MAN - M Solo).
It is now a few days later, and Annie, Daddy Warbucks, Grace, and Simon, Daddy Warbucks’ lawyer, have an appointment at Commissioner Doyle’s office to sign some papers. When they arrive, they are greeted by Mrs. Shelia Kelly, an employee of Commissioner Doyle. She makes some apologies for the Commissioner’s absence, and takes care of the business at hand. During their conversation, Mrs. Kelly and Daddy Warbucks discover that they have many things in common like that they both grew up in Hell’s Kitchen. After the paper work is completed, Daddy Warbucks decides to stay and get to know Mrs. Kelly a little better. It has been a very tough life for her, but somehow she has managed. (BUT YOU GO ON - F Solo).
Daddy Warbucks decides that since time is of the essence, and he has many other business problems to deal with, that he will concentrate his efforts on getting to know Mrs. Kelly. Upon hearing this news, Grace decides she will quit her job as Mr. Warbucks secretary, and move to Washington to be an assistant to President Roosevelt. Annie is devastated. As Act I comes to a close, she decides to run away from home. (I GOT ME - F orphan chorus to F Solo).
Act II finds Annie in Tennessee with the Patterson family. Ella Patterson explains to Annie that as long as you have love, you don’t need to have fancy things, or lots of money. (LOVE - F Solo). Once the Pattersons gain Annie’s trust, she tells them her real name, and they realize that she is the same child that the millionaire Warbucks is searching for. Annie agrees to let them take her home. (REPRISE LOVE - F Solo)
Back at the mansion, all of the staff, along with President Roosevelt, have been put to the task of answering phone calls. They are being swamped with people claiming to have found Annie. But of course none of them know about the special locket she wears. Into this chaos marches Annie and the Patterson family. Everyone celebrates, and Annie introduces the Pattersons to President Roosevelt. They tell him of the hard times that have hit the Tennessee valley, and Annie asks the President if something can’t be done (SOMEBODY’S GOTTA DO SOMETHIN’ - Mixed Chorus). After mulling over the problem, Annie comes up with the idea of the Tennessee Valley Authority. Grace tells the Pattersons that they will get the reward for bringing Annie home, and everyone goes off to meet the Vice President - leaving Commissioner Doyle and Mrs. Kelly behind.
At this point the audience learns that Mrs. Kelly is in fact the Commissioners daughter. The two of them have been scheming to trap Daddy Warbucks into marriage, and death. (LEAVE IT TO THE GIRLS - F Duet). In the middle of the song, Grace interrupts to tell them they’d better hurry if they want to meet the V.P., and overhears some of their plot.
Daddy Warbucks has decided to throw a party on a Manhattan harbor ship to celebrate Annie’s safe return, and to announce that he will marry Mrs. Kelly. The orphans and the staff are excited to be there (ALL DOLLED UP - Mixed Chorus). After the announcement of their upcoming marriage, Mrs. Kelly comforts Annie by singing a lullaby that just happens to be one that Daddy Warbucks’ mother used to sing to him. Grace is very suspicious, but can not bring herself to tell Mr. Warbucks what she suspects. She offers her congratulations, and stays outside on the deck of the ship while everyone else goes in to dinner. She laments what might have been if she and Mr. Warbucks had been together (IT WOULD HAVE BEEN WONDERFUL - F Solo).
Annie and Daddy Warbucks have a song and dance, which serves to wrap up any bad feelings that Annie may still have about the upcoming wedding. It can be done in one. (WHEN YOU SMILE - M/F Duet)
The final scene opens with the wedding of Daddy Warbucks and Mrs. Kelly. The orphans are the flower girls, and Annie is the maid of honor. Just when they are about to be pronounced man and wife, Grace arrives with proof that Mrs. Kelly is a fraud. She is a convict with many aliases and served time for murdering her last husband. Grace has also discovered that the "law," which states that Mr. Warbucks has to be married in order to adopt Annie, was made up by Commissioner Doyle, and that Simon was also involved in the plot. Simon pulls out a gun and points it at Daddy Warbucks, because he does not want to be sent to jail. A struggle ensues, and Daddy Warbucks gets the gun and saves the day. He then realizes that, although he does not have to get married any longer, he feels young and is in love with Grace. He proposes, and they get married right there. Everyone on stage freezes as Grace and Daddy Warbucks kiss, and Annie sings about how happy she is that everything worked out (I ALWAYS KNEW - F Solo with Mixed chorus).

NOTES ON THE PRODUCTION

Although this show doesn’t quite live up to the original Annie, it is a good evening’s entertainment, with a few really great songs, and fun characters. The main settings are the mansion, and Commissioner Doyle’s office. The ship scene can be done with just the suggestion of a railing, and a Manhattan skyline drop. There are quite a few costume requirements for the show. All of the orphans, and the staff need a main costume, an "All Dolled Up" costume, and the orphans also need a wedding costume. The principals each need about four costumes. There is also the problem of needing a trained dog to play Sandy and, of course, a really strong young actress to play Annie.

SONGS OF SPECIAL INTEREST

Almost all of Annie’s songs would be great audition/ study material for a young belter: "Changes", "I Got Me", "Love", "I Always Knew", mezzo/belt, child
"A Younger Man," baritone, a strong acting song for a character man
"Love," mezzo/belt, strong belt/acting number for a character woman
"It Would Have Been Wonderful," soprano, beautiful torch song with good acting moments for a leading woman
Instrumentation: 3 reeds, 3 trumpets, horn, guitar/banjo, bass, drums, percussion, piano, synthesizer Script: MTI
Score: MTI
Record/CD: Broadway Angel
Rights: MTI

ANYONE CAN WHISTLE

Book: Arthur Laurents
Music and Lyrics: Stephen Sondheim

ORIGINAL PRODUCTION

Majestic Theatre, April 4, 1964 (9 perf.)
Director: Arthur Laurents
Dances and Musical Numbers: Herbert Ross
Musical Director and vocal Arrangements: Herbert Greene
Orchestration: Don Walker

Principals:
Cora Hoover Hooper- Angela Lansbury- Alto
Nurse Fay Apple- Lee Remick- Mezzo
Mrs. Schroeder- Peg Murray- Soprano
Comptroller Schub- Gabriel Dell- Baritone
Chief Magruder- James Frawley- VTI
Treasurer Cooley- Arnold Soboloff- VTI
Doctor Detmold- Don Doherty- VTNE
J. Bowden Hapgood- Harry Guardino- Baritone
Chorus and Smaller Roles- 10M/10F, 1 child

SYNOPSIS

The curtain rises on the main square of a bankrupt town, with a crooked, dilapidated City Hall on one side and the crooked, desolate Hotel Superbe on the other. The citizens are dressed in rags and glare sullenly at the audience. The only thriving business in town is The Cookie Jar, a sanitarium for the "socially pressured" who dared to be individuals in the outside world. The residents, in direct contrast to the townsfolk, are well dressed and happy (I'M LIKE THE BLUEBIRD- Mixed Chorus).
The angry citizens of the town picket outside City Hall, complaining of the corruptness of Chief of Police Magruder, Treasurer Cooley, Comptroller Schub, and Mayor Cora Hoover Hooper who arrives, laden with diamonds, and carried by four handsome young men. Undaunted by the angry townsfolk who hurl rocks at her she comments on the dismal state of affair (ME AND MY TOWN- F Solo and Male Quartet). Cora knowing it will take a miracle to save the town, goes along with the unethical plan of her lecherous right hand man, Schub; womanizer, Magruder; and ex-preacher, Cooley.
An unusual rock formation rolls on and the three officials carry out their phony miracle which involves Baby Joan Schroeder, an extremely odd looking seven-year old who thirstily licks the rock which instantly spews forth a waterfall fountain. The waterfall is proclaimed a miracle, and Baby Joan a Saint. The excited townspeople and Pilgrims laud the event (MIRACLE SONG- Mixed Chorus) as the flowers brighten and the buildings straighten.
The rock revolves showing Magruder at a water pump, and Schub working on some electrical wires; Cooley is thrilled at the success of the waterfall and begins thinking of ways to make more money from their miracle. Cora discovers her three officers in the cave and congratulates them for their brilliant scheme, which will financially benefit the town for pilgrims are arriving daily. Nurse Fay Apple, from the sanitarium, brings her "cookie" charges to take the cure, but Treasurer Cooley refuses to sell them any admission tickets, for he knows the failure of the water to cure the "cookies" will bring exposure of the fraud. While they are arguing, the "cookies" blend in with the pilgrims and Cooley is unable to convince Fay to separate them. She escapes from the town, chased by the town officials and sings of a hero she knows will come to save her (THERE WON'T BE TRUMPETS- Sc to F Solo).
A clap of thunder, a flash of lightning, and a trumpet call are heard, as J. Hapgood, arrives in town seeking the sanitarium. He is mistaken for a famous psychiatrist and enlisted to separate the cookies from the pilgrims. He proceeds to confuse everyone by his analytical method of dividing the people into group A or group One; neither of which have any significance to the discovery of the "cookies" (SIMPLE- Sc to M Solo and Mixed Chorus). Hapgood terrorizes the town officials by questioning them about the sensibility of paying government taxes to make bombs, which will eventually kill everyone, including themselves. The onstage chorus chant and circles around Cora as they ask for answers to life's questions. Hapgood pronounces everyone in the audience mad and the act closes with the characters onstage laughing at the audience. "Who is crazy?
As Act II begins, Groups A and One parade through town with placards praising Hapgood and proclaiming their sanity (A-ONE MARCH- Mixed Chorus). Fay returns to town, sexily disguised as a French lady from Lourdes, sent to test the miracle. Schub invites himself to her apartment but she denies the invitation saying she must see if the miracle is legitimate. Schub hastily exits leaving Fay to smile at Hapgood who appears on the Hotel balcony. Fay waves to him and the entire set and Hapgood move toward her. The two converse in French as English subtitles are flashed on the set. Fay entices him to leave the balcony as she seductively and comically dances (COME PLAY WIZ ME- Sc to M/F Duet). At the end of the song, Hapgood leads Fay onto the balcony and into his room. The balcony revolves to reveal a small room with a Murphy bed. Hapgood orders another bed sent up and an enormous, tacky one rolls on. Fay, without removing her disguise or her accent reveals to Hapgood her true identity and her belief that the fountain is a fraud. She tells him she has stolen the records of all the patients but Hapgood is too involved in removing her clothes to be too interested. When he removes her wig the illusion is shattered as she becomes controlled Nurse, Fay Apple who can't get drunk, laugh, be held or kissed without the aid of her wig. Hapgood accuses her of wanting the waters to be real for she needs the miracle for herself, a fact she readily admits. She sings about her inability to whistle and hopes he can help her shed her inhibitions (ANYONE CAN WHISTLE- L to F Solo).
Outside, groups A and One, parading for Hapgood, cause Cora to worry about the town's rejection of her and their sudden adoration of Hapgood. (A PARADE IN TOWN- F Solo with Mixed Chorus Interspersed).
Meanwhile, Hapgood urges Fay to destroy the records of her "cookies" thereby freeing them, which in turn will free her. Her refusal causes him to angrily comment on the problems caused by the outside world (EVERYBODY SAYS DON'T- Sc to M Solo). He tells her he not a doctor but a new patient, committed because he protested at the UN by playing his Trumpet. He has five degrees, and was adviser to the President, until he quit because he was too idealistic. Touched by his story, Fay rips up his hospital record and begins tearing up the records of all her charges. As she rips the records, the room disappears and the "cookies" begin dancing. The wild, infectious ballet of the freed "cookies" crescendos with Fay joining in (COOKIE BALLET- Mixed Dance Chorus). The stage empties as Hapgood appears on his balcony and Fay slowly walks toward him with her arms outstretched.
When the Act III curtain rises, Cora and her three officials, meet in Cora's solarium. They decide to discredit Hapgood by turning off the miracle. Certain the townspeople will blame Hapgood. She congratulates them on their clever scheme (I'VE GOT YOU TO LEAN ON- F/M Quartet to Tap Dance with Cora and her Four Boys).
In the Town Square the defunct rock is in full view and an angry crowd calls for Hapgood demanding that he identify the "Cookies" certain that his refusal to comply has stopped the miracle. As the crowd gets angry he and Fay hide in the cave and discover the miracle was a fraud. Cora and her three cohorts discover them and announce they are going to take anyone they can find for The Sanitarium Cora needs 49 patients by sundown. The four exit to begin rounding people up.
Fay wants to stop Cora and her gang by exposing the pump and the fountain as a fraud but Hapgood tells her the people need the belief of a miracle and even if they are shown it is a fake, they will still believe. She is furious at his withdrawal and slaps him for failing her. She runs away from him but stops to angrily sing (SEE WHAT IT GETS YOU- Sc to F Solo).
Meanwhile, Cora begins to randomly round up townspeople to fill her quota (COOKIE WALTZ- Dance), but Fay frees everyone as fast as they are captured. After a frenzied ballet chase, Fay's true identity as Nurse Apple is revealed by Dr Detmold, the Sanitarium psychiatrist, who orders her to expose the cookies to save the innocent. The nurse has no way out and thus obeys her orders. The "cookies" happily march off with Dr. Detmold.
Hapgood and Fay are left alone onstage. She was unable to turn him in because she feels he and others like him could possibly change the world. He asks her to come with him, but she can't break that far away from herself. He thanks her for their secret moments together and she returns the thanks (WITH SO LITTLE TO BE SURE OF- Sc to M/F Duet). At the end of the song they exit in opposite directions. Cora arrives onstage to see everyone, including Magrruder and Cooley running to a miracle statue in the next town. She is left standing with Schub who suggests they make a profit by turning the whole town into a cookie jar. Cora readily agrees realizing that she and Schub are meant for each other (I'VE GOT YOU TO LEAN ON [REPRISE]- Sc to M/F Duet). The two dance crazily off into City Hall.
The arrival of a cold, orderly female psychiatrist forces Fay to see her former self. Unable to find Hapgood she desperately whistles for him and he appears and carries her off as the "miracle waters" pour on them.

NOTES ON THE PRODUCTION

Anyone Can Whistle was an innovative musical not destined to be heralded in its own time. The show is best described by the term "alienation/theatre of the absurd", a form that commercial audiences of the sixties could not accept. Its small cast makes it ideal for adventurous Community theatres; the musical is memorable and the characters well drawn.
Technically it isn't too complex. Some production companies with limited offstage space and funds have kept the town square and its buildings onstage throughout the production and rolled on the bed, the rock and relocated Cora's massage area to the town square. There are few props necessary to the play; the waterfall is the only technical aspect which is a bit complex but a good electrician and utilization of waterproof paint should alleviate any problems.
The costumes are modern and may be "pulled" from the everyday wardrobe. Cora's costumes are more elaborate than others but are still of the modern vintage. The four "chorus" boys, who dance well, should probably be costumed alike but this may be left to the discretion of the designer.
The song "There Won't Be Trumpets," although in the published version of the script and score was eventually cut from the original production. The song may be heard on the album Marry Me a Little (RCA).

SONGS OF SPECIAL INTEREST

"Me and My Town," Alto character song, up-tempo, movement oriented
"There Won't Be Trumpets," tormented, anguish, strong Mezzo number
"Come Play Wiz Me," Fun Mezzo Duet, effective for loosening up an inhibited actress, movement is helpful
"Anyone Can Whistle," Mezzo Ballad, appears simplistic yet needs strong acting talents to keep the emphasis on the lyric meaning
"Everybody Says Don't," Sc to Baritone Solo, angry, dramatic with emphasis on the emotions
"See What It Gets You," mezzo, angry and dramatic up tempo with limited movement
"With So Little to Be Sure Of ," Mezzo/Baritone duet, poignant, romantic, farewell, love duet

Instrumentation: 5 reeds, 2 horns, 3 trumpets, 2 trombones, 5 cellos, bass, accordion, piano/conductor (also celeste)
Script: Random
Score: Chappell
Record: Columbia
Rights: MTI

ANYTHING GOES

Book: P.G. Wodehouse, Guy Bolton, Howard Lindsay and Russell Crouse
Music and Lyrics: Cole Porter

ORIGINAL PRODUCTION

Alvin Theatre, November 21, 1934 (420 perf.)
Director: Howard Lindsay
Choreographer: Robert Alton
Musical Director: Earl Busby
Orchestration: Robert Russell Bennett, Hans Spialek

Principals:
Reno Sweeney- Ethel Merman- Alto
Billy Crocker- William Gaxton- Tenor
Moon Face Martin- Victor Moore- Baritone
Hope Harcourt- Bettina Hall- Soprano
Bonnie Latour- Vera Dunn- Mezzo
Sir Evelyn- Leslie Barrie- VTNE
Chorus and Smaller Roles: 12M/12F minimum, various ages and types, the young female chorus members must tap dance

SYNOPSIS

Aboard the luxury liner SS American, heading for London, a reporter and press photographer dash about getting information on the passengers. The audience is introduced to the travelers: Mr. Elisha J. Whitney, a pompous Wall Street executive, Sir Evelyn Oakleigh, a staid British aristocrat, Hope Harcourt, his fiancé, and her mother, Mrs. Harcourt, Bishop Henry T. Dobson of the Chinese Anglican Church, and the boisterous Reno Sweeney and her "angels", an evangelist turned night club singer.
Billy Crocker, a long-time friend to Reno and the ex-general manager to Mr. Whitney, enters. Reno promptly asks him to be the master-of-ceremonies of her act and go to London with her but Billy insists that Reno is the one with talent (YOU'RE THE TOP- L to M/F Duet) and declines the offer knowing that Mr. Whitney will hire him back.
When Billy realizes former girlfriend, Hope Harcourt, is sailing he decides to stow away and attempt to convince her to give up Sir Evelyn and marry him.
Moon Face Martin, Public Enemy Number 13, disguised as a Reverend arrives followed by the FBI who know that Moon is disguised as a preacher. They mistakenly apprehend Bishop Dobson, and proceed to remove him from the ship as it is about to set sail (BON VOYAGE-Mixed Chorus).
Billy meets Moon and his high-spirited, flirtatious girlfriend, Bonnie. The two suggest Billy disguise himself as Snake-Eyes Johnson, Moon's partner who has missed the ship and give him the gangster's ticket. Later that evening, Billy finds Hope and her fiancé, Sir Evelyn, on the ship's deck, but Evelyn becomes seasick and leaves them alone. Billy reminds her of the special time they shared together as they both comment on the romantic nature of the evening (IT'S DELOVELY- Sc to M/F Duet).
The next morning, Billy tells Moon that his boss, Mr. Whitney, is in the cabin next door and if Whitney discovers Billy he be fired again. Moon decides to steal Whitney's eyeglass so that he can't see Billy, but Billy has bigger problems. It seems the FBI have discovered their mistake and alerted the Ship's Crew to be on the lookout for Snake-Eyes Johnson. Moon, Billy, and Bonnie decide it would be best if Billy changed his disguise to that of a member of the crew.
Bonnie, mistaken for one of Reno's angels, decides to show that she's just as talented as the rest (HEAVEN HOP- F Solo With F Tapping Chorus).
On deck, Sir Evelyn discovers that Hope and Billy were out until seven in the morning and his lack of concern bothers Hope. Billy appears, dressed as a sailor to remind Hope that he still loves her and wants to marry her. Billy, hoping that Mrs. Harcourt will stop Hope's wedding, decides to discredit Sir Evelyn and enlists the aid of Moon in persuading Reno to trap Sir Evelyn into a compromising situation (FRIENDSHIP- Sc to 2M/1F Trio).
In Evelyn's stateroom, when Evelyn mistakes her sexual advances as mere American slang, Reno is charmed by his innocent manner and intrigued by his wealth. Alone on deck, in a dreamy daze, Reno sings about the Englishman that's on her mind (I GET A KICK OUT OF YOU- F Solo).
Meanwhile, on the afterdeck, Billy, now disguised as a woman, is seated next to Hope and Evelyn but quickly exits when Mrs. Harcourt discovers his identity. He returns dressed as a chef, later as a purser and finally as a Count. When his false beard falls off he is mistaken for Snake Eyes Johnson and only the excited behavior of the passengers, who feel they have a celebrity on board, keeps him from the brig. Reno leads the company in the Act I Finale (ANYTHING GOES- F Solo to Mixed Chorus).
At the opening of Act II, the passengers praise Billy (PUBLIC ENEMY NUMBER ONE- Mixed Chorus) and Bonnie leads the company in a rousing number that symbolizes her philosophy (LET'S STEP OUT- F Solo).
Billy meets Hope who is upset by his behavior but he assures her he will try to put an end to his popularity. Reno and Evelyn, obviously enamored with each other, enter, and a miffed Hope exits. Evelyn and Reno are left alone to share their mutual admiration (LET'S MISBEHAVE- Sc to M/F Duet).
Billy at a revival "religious service" confesses to the passengers that he is not Snake-Eyes Johnson, but a simple stockbroker, down on his luck. The angry Captain orders Billy and Moon into the brig as Reno continues the revival (BLOW GABRIEL- F Solo to Mixed Chorus).
Five days later, the ship reaches England, with Billy and Moon still in the brig. Billy can 't stop thinking about Hope, who is in another part of the ship thinking about him (ALL THROUGH THE NIGHT- M/F Solos). Realizing that Billy is depressed by the sudden turn of events, Moon tries to cheer him up (BE LIKE A BLUEBIRD- Sc to M Solo). Bonnie appears upside down at the cell's porthole (she's being held by her ankles by a sailor friend) to ask the guys if she can do anything for them. Billy asks her to find a way to get Hope down to see him. Hope arrives with the news that Mrs. Harcourt has insisted that Hope and Evelyn be married immediately by the Captain. Hope sadly leaves after admitting her love for Billy.
Meanwhile, on deck, Reno and her angels are getting bored with shipboard life and yearn to return to New York (TAKE ME BACK TO MANHATTAN- F Solo With F Chorus). Evelyn tells Reno he must maintain his honor and marry Hope despite his deep affection for Reno.
Billy and Moon, determined to stop the wedding, escape the brig disguised as Chinese immigrants. They convince Reno to join them and the three arrive at the ceremony and convince everyone that Sir Evelyn deflowered Plum Blossom (Reno) and dishonored their family name. Evelyn and Hope, who recognize Billy and Reno, go along with the action and agree that the only way to right the wrong is to have Evelyn marry Plum Blossom and Plum Blossom's brother (Billy) marry Hope. The couples are quickly wed (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

The show established Ethel Merman's career and provided audiences with another Cole Porter score. The production was revived in 1962 with the addition of the following six Cole Porter tunes: "It's Delovely" (Red, Hot and Blue!), "Heaven Hop" (Paris), "Friendship" (DuBarry Was A Lady), "Let's Step Out" (Fifty Million Frenchman), "Let's Misbehave" (Paris), and "Take Me Back To Manhattan" (The New Yorkers).
The preceding synopsis adheres to the 1962 revised script, which is the version available for production. The show is extremely popular and often performed by Community theatres and High Schools alike. There are a number of scenes but most may take place on the deck of the ship with the ship's smokestacks forming a background. The brig is usually a small cell type arrangement placed in front of the ship structure. The cabin scenes may also use this arrangement which simplifies the technical requirements.
The costumes are styled in the 1930s. Most of the female chorus members have two costumes the show and the principals have at least two, depending on the look the designer chooses. The majority of the male chorus is comprised of the ship's crew and may utilize one costume throughout. The male passengers should have several outfits.

SONGS OF SPECIAL INTEREST

"You're the Top," M/F Duet. Emphasis on reacting to praise and instant response, simple dance movement
"It's Delovely," M/F romantic, period style, a la Astaire and Rodgers helps make this a memorable number
"I Get a Kick Out Of You," F Solo, very workable in a nightclub situation
"Be Like the Bluebird," M Solo, emphasis on comic characterization and absurd, angular movements
Many of the numbers from the revised version would be successful in a club, revue, or class situation and are worth a closer examination.

Instrumentation: 3 violins, viola, cello, bass, 4 reeds, 3 trumpets, trombone, percussion, guitar/banjo, piano/celeste
Script: Tams-Witmark
Score: Chappell, also see Cole Porter Songbook
Record: Epic
Rights: Tams-Witmark

APPLAUSE

Book: Betty Comden and Adolph Green
Music: Charles Strouse
Lyrics: Lee Adams
(Based on the film "All About Eve" and the original short story by Mary Orr)

ORIGINAL PRODUCTION

Palace Theatre, March 30, 1970 (900 perf.)
Director and Choreographer: Ron Field
Musical Director: Donald Pippin
Orchestration: Philip J. Lang

Principals:
Margo Channing- Lauren Bacall- Alto
Eve Harrington- Penny Fuller- Mezzo
Buzz Richards- Brandon Maggart- Tenor
Bill Samson- Len Cariou- Baritone
Duane Fox- Lee Roy Reams- Baritone
Karen Richards- Ann Williams- Alto
Howard Benedict- Robert Mandan- VTNE
Bonnie- Bonnie Franklin- Mezzo
Chorus And Smaller Roles: 8M/8F minimum if performers are triple threat, mixed chorus of dancers and singers, if two separate choruses are used a configuration of 12 dancers and 8 singers (equally divided M/F) with additional actors for smaller roles is suggested

SYNOPSIS

The play opens at a Tony Awards ceremony where Margo Channing, a successful, middle-aged star has just presented the best actress award to Eve Harrington, Margo's former protégé. We soon find out, however, that Margo's feelings towards Eve are anything but admirable.
In a flashback, it is now a year and a half earlier, and we are in Margo's busy dressing room where she has just opened in another stellar production. The dressing room is filled with fans, friends, and first-nighters (BACK STAGE BABBLE- Mixed Chorus). Finally Margo's dressing room clears leaving only Margo, with her friends: Bill Sampson, the slightly younger, 39 year old director/lover; Duane, her hairdresser, confidante; Buzz Richard, the author of the show, and his wife Karen.
Karen, enthusiastically introduces Margo to Eve Harrington, a seemingly meek, young fan who has spent all her money to see Miss Channing perform. Margo is preoccupied with Bill who will soon be leaving to direct a film in Rome. Temporarily left alone she attempts to convince him not to leave. He patiently tells her how nice it will be when he returns (THINK HOW IT'S GONNA BE- Sc to M Solo).
Margo, who can't face the opening night party without Bill, decides to have her own party with Duane and Eve at a Greenwich Village discotheque. Margo has a rousing time with "the boys" who are frequent customers (BUT ALIVE- F Solo to M Chorus).
Later that evening, in her apartment, Margo, Duane, and Eve learn that the reviewers declare the show a hit. It is the end of a perfect evening for Eve who expressively thanks Margo for including her (THE BEST NIGHT OF MY LIFE- Sc to F Solo). Margo enjoys the flattery and invites Eve to stay in her apartment as a companion. Happening to see a late night television movie of herself at age nineteen, she comments to Eve on the changes she has undergone (WHO'S THAT GIRL?- Sc to F Solo).
Four months have passed, and Eve, much to Duane's dismay, has become girl Friday to Margo and friend to the play's production staff. Margo trusts Eve, who ingratiates herself with Producer Howard Benedict who invites her to Joe Allen's, an after theatre spot, and asks her to understudy Margo. The two are entertained by Bonnie, a Broadway dancer, and her fellow "gypsies" who sing about the theatre (APPLAUSE- F Solo to Chorus).
Later that evening, in her apartment, Margo urges Bill, via long distance, to come home because she misses him desperately (HURRY BACK- F Solo). He promises to get there as quickly as possible.
Two weeks later, Bill arrives at one of Margo's parties and exchanges flirtatious quips with Eve, which Margo happens to witness. Threatened by Eve's youth she becomes extremely vicious and the guests sense the chill in the air (FASTEN YOUR SEATBELTS- Mixed Chorus).
Several days after the party, Eve reads for the part of Margo's understudy and impresses everyone with her talent. Margo bitterly welcomes Eve to the difficult world of show business (WELCOME TO THE THEATRE- Sc to F Solo). Eve quietly leaves during the number, she has achieved the first step in her rise to stardom. When Margo jealously accuses Bill of helping Eve get the understudy role, he is no longer able to cope with her constant insecurity and walks out leaving her alone as the curtain falls.
Act II begins a few weeks later. Margo is enjoying a quiet afternoon in Connecticut at Buzz and Karen's home. She plans on returning to the city for the evening performance but Karen, who is furious at Margo's behavior toward Eve, drains the gas tank. They are stranded and Eve performs the starring role. The three think over their respective situations (INNER THOUGHTS- Sc to F Trio). Margo is upset, it is the first performance she has ever missed and Karen feels guilty about betraying Margo. Buzz tries to cheer the atmosphere while strumming the banjo (GOOD FRIENDS- Sc to 2F/1M Trio).
In New York, Eve has received rave reviews for her performance. When Bill comes into to her dressing room, Eve tells him how much help he was and makes strong flirtatious advances, which he rejects. Feeling rejected herself, Eve accepts an invitation from an elated Howard, who asks her to join him at Joe Allen's where she purposely snubs Bonnie and the other gypsies who comment on her overnight sensation (SHE'S NO LONGER A GYPSY- Mixed Chorus).
During the filming of a coffee commercial in her living room, Margo falters from the pressure of Eve's reviews but Bill assures her that Eve can't begin to approach her talent (ONE OF A KIND- Sc to M/F Duet).
Eve has secretly taken up with Buzz whom she is trying to manipulate into writing her a new show, she is on top of the world but can't forget her hatred of her father who once called her a whore. As she stands backstage, she remembers the night (ONE HALLOWE'EN- Sc to F Solo). Howard, who wants Eve for himself, enters to insist she drop Buzz. She has no alternative if she wants to continue her career for Howard is a very powerful man. She has been trapped by someone more clever and vicious than herself.
Two weeks later, in Margo's dressing room, Karen and Margo reconcile when Karen seeks Margo's advice about Buzz who has written his new play for Eve. Margo, knowing that Eve will get the starring role, finally realizes there is more to life than the theatre. She excitedly informs Bill that he means more to her than starring roles (SOMETHING GREATER- Sc to F Solo to M/F Duet) (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

This show marked Lauren Bacall's musical debut for which she won the Tony Award for Best Actress (1970). Applause was also awarded Tonys for Best Musical, Director (Ron Field), and Choreographer (Ron Field).
The show is presented in the style of the late 60s and should remain relatively close to that period if the 1940s style "Who's That Girl" number is to remain plausible. Possibly it could be updated to 1975 if Margo's age was set at early fifties and Eve's set at early thirties. Neither period is difficult to costume. It is important that the "Gypsies" be colorfully adorned as their numbers call for flamboyance to help to ensure they will be showstoppers.
Although the original production had nine different sets comprised of wagons, a curtain and flying scenery, it is possible to simplify this. A company can delete Margo's bedroom and playing the scene in the already used living room, use one restaurant set instead of a restaurant and a disco, and use the backstage area instead of the dressing rooms. A company may want to consider keeping the backstage area onstage throughout the play as a general backdrop. The audience can accept seeing the backstage with its flats and walls as a background for minimal set pieces used to establish definite locations.
The music is memorable and the smaller characters and chorus interesting for young actors to portray. The role of Margo is extremely demanding as she must move fairly well and be able to portray a vital, though aging, star.

SONGS OF SPECIAL INTEREST

"But Alive," Alto, good for a club act, up-tempo, may be done as a solo in a Revue situation or as a solo with chorus
"Applause," a tribute to theatre, often used for the closing or encores of revues, usually performed by a chorus of dancers however, movement may be kept extremely simple because it is the energy that really sells the song
"One Hallowe'en," dramatic number for a mezzo, good acting exercise as there are several mood shifts and transitions
"Who's That Girl," Alto comment on the movies of the 40s, calls for specific knowledge of 40s dances and social history, good for movement, loosening up a stiff performer, eye contact and warmth

Instrumentation: 2 violins, viola, cello, bass, 5 reeds, 3 trumpets, 2 trombones, 1 bass trombone, 2 percussion, guitar/banjo/mandolin, harp, organ, piano/conductor
Script: Great Musicals, Vol. 2, Random House
Score: Edwin H. Morris
Record: ABC
Rights: Tams-Witmark

THE APPLE TREE

Book: Sheldon Harnick and Jerry Bock
Additional book material: Jerome Coopersmith
Music: Jerry Bock
Lyrics: Sheldon Harnick
(Based on stories by Mark Twain, Frank R. Stockton, and Jules Feiffer)

ORIGINAL PRODUCTION

Shubert Theatre, October 12, 1966 (463 perf.)
Director: Mike Nichols
Choreographer: Lee Theodore
Additional Musical Staging: Herbert Ross
Musical Director: Elliot Lawrence
Orchestration: Eddie Sauter

Principals:
Adam, Captain Sanjar, Flip- Alan Alda- Baritone
Eve, Princess, Ella- Barbara Harris- Mezzo
Snake, Balladeer, Narrator- Larry Blyden- Baritone
Chorus and Smaller Roles: 5M/5F needed for the middle and last pieces

SYNOPSIS

The show begins with The Diary of Adam and Eve, set on June 1^st in Eden.
The lights rise on Adam, slowly waking to the sound of a voice which commands him to name the creatures on Earth and warns him not to eat the fruit of a certain apple tree. Adam begins his task rather haphazardly but soon decides he better keep an accurate record of the momentous occasion, he begins to take notes on all he sees. As he attempts to categorize the creatures he realizes, quite happily, that he is the sole man. His elation is short lived as he clutches his rib in pain and a sleeping Eve rolls onstage. He curiously looks at the creature but chooses to name her later.
Eve awakens, overwhelmed to find herself in a very nice, new world; she begins taking notes, knowing that this knowledge will someday be important to historians (HERE IN EDEN- L to F Solo). At the end of the song Eve spies Adam, who wanders on carrying a fish. She screams at him to drop the pickerel, he quickly climbs a nearby apple tree and yells at her to get out. The argument ends when Adam drops the fish. Eve exits, having won their first battle.
Adam isn't pleased by Eve's presence, but she is attracted to him and examines her emotions (FEELINGS- Sc to F Solo). During the song's interval Eve begins creating fire which initially intrigues but quickly disenchants Adam who burns his fingers on the hot coals. Eve continues thinking up ways to interest him.
Adam is attracted to Eve and attempts to analyze his mixed emotions. It begins raining and Adam refuses Eve shelter in his hut. When she begins to cry it amazes him for he has never seen a person "rain." He kindheartedly manages to squeeze Eve into his new home but once inside she begins badgering him about redecorating. He is simultaneously infuriated and fascinated by this interesting creature (EVE- Sc to M Solo).
Eve puts Adam to work fixing up their living quarters and the area around the hut. She good naturedly listens to his first joke-about a chicken crossing a road and sends him to cut the grass.
Meanwhile Eve, infatuated with her reflection in the nearby pond sings to her new friend that is like a sister (FRIENDS- F Solo).
When a snake, she has befriended, impresses her with a scientific explanation of the reflection process she defers to his knowledge and eats the forbidden fruit (THE APPLE TREE- Sc to M Solo).
Adam, innocently bathing and enjoying the beauty of the world (BEAUTIFUL, BEAUTIFUL WORLD- M Solo) becomes aware that the animals are fighting and realizes death has come to the garden. He accuses Eve of eating the apple and bringing disaster upon them but she convinces him his bad jokes are at the root of the problem and he will gain knowledge if he eats the apple. Adam takes the fatal bite and he and Eve are forced to leave the sanctity of the garden and seek refuge elsewhere.
In order to survive Adam often travels great distances to forage for food. After one such trip he discovers Eve with a new creature that looks like a small human but acts like a fish and a bear. He tries to determine exactly what this new object is (IT'S A FISH- L to M Solo).
Eve cautiously comes from the hut, hoping she is alone with this new "creature," and quietly sings a lullaby (GO TO SLEEP, WHATEVER YOU ARE- F Solo). She exits and Adam re-enters, holding his recently bitten hand, to comment on the growth of the strange animal (FISH II- M Solo).
Time passes and the boys have been named and are fully-grown. Adam is worried about Cain's bad nature but having Eve to confide in makes up for his lack of trust in his son. He realizes he would be very lonely without her.
Adam and Eve are much older, Cain and Abel are both dead and they feel very much alone. Eve brings up the subject of death, admitting she could not physically survive without him, but he changes the topic by telling her a favorite joke. After he exits Eve considers life without him and ponders her reasons for loving him (WHAT MAKES ME LOVE HIM?- L to F Solo). She slowly enters the house.
Eve has died. A saddened Adam enters- realizing he never really lost Eden until he lost Eve. He crosses to the flower garden and begins to tend the flowers as the curtain falls.
Act II begins with the story of The Lady or The Tiger. The time is the Olden Days and the place is an Imaginary Kingdom.
The actor who previously portrayed the snake enters as a guitar singing balladeer to tell a story about jealously in love (I'LL TELL YOU A TRUTH- M Solo). As he finishes, the lights brighten and the company enters carrying their King Arik and his daughter, Barbara (MAKE WAY- Mixed Chorus). The Balladeer tells of King Arik's peculiar system of justice which requires the accused to choose between two doors, one containing a ferocious tiger, the other a beautiful woman.
The balladeer introduces Captain Sanjar, who has just returned from battle victorious and exhausted. Barbara eagerly ministers to him for they are actually secret lovers who have no hope of marriage because of the difference in their stations (FORBIDDEN LOVE- S to M/F Duet). They plan to run away to a place Sanjar has heard of (IN GAUL- Sc to M/F Duet) but honor stops them, after all Barbara is a princess and Sanjar has his career to think of. They decide to continue their secret relationship and madly embrace only to be discovered by an angered King Arik who orders Sanjar to stand trial.
Barbara bribes the reluctant tiger keeper to tell her which door holds the lady (FORBIDDEN FRUIT- M/F Duet) and excitedly promises to save Sanjar. She imagines his feelings when she tells him the answer (I'VE GOT WHAT YOU WANT- F Solo).
When the Princess discovers that her lovely maidservant Nadjira is to be the lady behind the door she contemplates what she should tell her lover. It seems the law states the girl must marry the prisoner if he chooses the right door and Barbara knows that Sanjar is attracted to Nadjira (TIGER, TIGER- F solo).
The ritual is about to start (MAKE WAY [REPRISE]- Mixed Chorus) but the troubador stops the action to analyze the outcome (WHICH DOOR?- Mixed Chorus); the audience is left to draw its own conclusions.
Act III opens with Passionella. The time is the 60s to the present and the place is New York City.
The lights rise on a New York rooftop where Ella, a chimney sweep who yearns to be a beautiful movie star, is working. The narrator describes Ella's dream in tones not unlike the "Queen for a Day" Television show. Ella animatedly sings (OH, TO BE A MOVIE STAR- F Solo).
The narrator outlines Ella's life of work and television dreaming. One day her boss tells her she is no longer needed since chimney sweeping has become automated. Ella, unable to find work elsewhere, sadly returns home to watch television. As she watches, her neighborhood Godmother appears promising to grant her wish. A series of flashes turns Ella into a gorgeous Marilyn Monroe style movie star.
Ella is ecstatic (GORGEOUS - F Solo) until her Godmother warns her she will only be gorgeous between the seven o'clock news and the late show. Ella rushes off to El Morocco via subway and everywhere she goes people wonder about her (WHO IS SHE?- Mixe Chorus). She confidently tells everyone that she is Passionella. A producer signs her to a lifetime contract and she rises to stardom adored by everybody. Secretly she yearns for true love (I KNOW; WEALTH- Mixed Chorus to F Solo).
At the opening of a Sunset Strip psychedelic drugstore she meets Flip, her Prince Charming, who is the idol of millions for he is dirty and "real." When he scoffs her beauty and wealthy clothes (YOU ARE NOT REAL- Sc to M Solo with Mixed Chorus) she desperately attempts to change his mind and makes a film about chimney sweeps which gains her the Academy Award. She gives her Oscar thank you speech after which Flip asks her to marry him. The happy couple retires to her home where they eagerly embrace while watching Garbo in Camille on late night television. At the end of the movie, a voice announces that programming is completed-it is 4:00 the movie is over, both freeze in fear. Black out. There is a huge flash and the lights rise on Passionella who is once again a lowly chimney sweep. She looks around to see a mousy businessman starring at her. They are stunned but happy to discover they have something in common (GEORGE- L to M/F Duet).

NOTES ON THE PRODUCTION

Barbara Harris won the 1967 Tony Award as Best Actress in a musical, winning over Lotte Lenya for Cabaret and Mary Martin in I Do! I Do! The show is a charming small cast musical where each act can be performed by different actors or the entire show by the same ensemble of actors.
It is inexpensive to produce as each act is self-contained and in a different production style. The Lady or the Tiger sequence is and traditionally performed in a large-scale style. The Adam and Eve sequence needs a simplified garden with small set pieces to represent the hut and the tree. The tree is usually practical because Adam climbs it but in some productions he hides behind it which saves on building costs and structural techniques.
The final piece is done in a Story Theatre style, which calls for very little in the way of set and props as much is covered through narration.
The directors and designers need to find sets and styles that will truly represent each play while cohesively tying the three productions together. It is important that the audience has the feeling they have spent an "evening in the theatre."
The Adam and Eve sequence may be used in one-act play contests, for assembly presentations, or entertainment at a meeting. It is the most charming of the three selections, appeals to grades five and up, and only requires three actors and minimal set pieces. Be sure and specify the desire to perform only one act when applying for royalties.

SONGS OF SPECIAL INTEREST

"Eve," introspective, charm song, good to develop male sensitivity, doesn't require a strong voice
"Forbidden Fruit," strong character Baritone, comic in tone, good for getting a stiff actor to move as the movement is eccentric in style
"It's a Fish," comic, Baritone story song, sometimes used in audition to show ability to handle comedy, good to work on in a class situation because the song is interspersed with monologues and gives the actor experience in handling lines to song
"Here In Eden," number requires Mezzo actress to visualize the various images she sees and make them real to an audience, calls for variety in expression , challenges the performer to search for differences in vocal delivery
"What Makes Me Love Him?," simple Mezzo ballad, old age delivery, charm song.
"I've Got What You Want" and "Tiger, Tiger," are both good for development of hard characters. Both numbers require strong and sensual movement, Mezzo
"Movie Star" into "Gorgeous," the combination shows Mezzo versatility and characterization change, could be adapted for an audition situation if time was permitted

Instrumentation: 4 reeds, 3 trumpets, 3 trombones, horn, 2 percussion, guitar, harp, violin, viola, cello, bass, piano/conductor
Script: Random
Selections: Appletree
Record: Columbia
Rights: MTI

ARCHY AND MEHITABEL
(Produced on Broadway as Shinbone Alley)

Book: Joe Darion and Mel Brooks
Music: George Kleinsinger
Lyrics: Joe Darion
(A back alley opera based on the stories of Don Marquis)

ORIGINAL PRODUCTION

Broadway Theatre, April 13, 1957 (49 perf.)
Director and Staging: Rod Alexander Musical and Choral Director: Maurice Levine Orchestration: George Kleinsinger Additional Orchestration: Irwin Kostal

Principals:
Voice of the Newspaper Man- Julian Barry- Baritone
Archy- Eddie Bracken- Tenor/Low Baritone
Mehitabel- Eartha Kitt- Mezzo/Alto
Big Bill- George S. Irving- Baritone
Chorus and Smaller Roles: 8M/8F

SYNOPSIS

The voice of a newsman is heard over a microphone. The voice is suddenly interrupted by a singing/dancing cockroach, who is pounding out a letter on an old typewriter (OPENING- M Solo and Dance of Cockroach).
The cockroach falls exhausted and introduces himself as Archy, a poor, humble, poetic cockroach who begs the newspaperman to leave paper in the typewriter so he can compose his poetry (I AM ONLY A POOR HUMBLE COCKROACH- M Solo).
Archy proceeds to write of the city characters: Broadway, the lightning bug, and the incredible Mehitabel the Cat. He describes the alley cats dancing (THERE’S A DANCE OR TWO IN THE OLD GIRLS YET- Small F Chorus). Archy is fond of Mehitabel, though she thinks of him as "stiff-necked" (CHEERIO, MY DEARIO- F Solo and F Chorus).
Archy mostly quips about politics, ethics, philosophy and life in general, but his main interest is Mehitabel, who is in love with a no good tomcat (MEHITABEL AND BILL DUET- M/F Duet). Archy, saddened by Mehitabels’s attitude, writes of Broadway, the lightning bug (LIGHTNING BUG SONG- M Solo accompanies dance).
One day, Archy excitedly writes that Mehitabel is back with a brood of kittens and no Bill (MEHITABEL’S RETURN- M Solo). He describes the welcome home party (LOOK AT THE PRETTY KITTENS- F Chorus). Mehitabel, tired of motherhood, confides to Archy that the kittens could easily drown in s sudden rainstorm for they are living in a garbage can with no cover. Archy is horrified because it is pouring. He desperately urges her to save them. Mehitabel rescues her kittens, but spitefully forces Archy away (RESCUE- M/F Duet).
Archy, who works relentlessly to upgrade Mehitabel’s standard of living by urging her to get a job as a house cat, finally succeeds, only to discover that he gets very lonely without her (MEHITABEL, THE WAY SHE USED TO BE- M Solo). In the distance, Archy hears Mehitabel humming her motif (CHEERIO, MY DEARIO [REPRISE]- F Solo) and is happy to hear she has returned.

NOTES ON THE PRODUCTION

The opera may be performed as a concert piece or mounted as a full production. It is excellent for students to perform because it gives them a chance to work on relaxed and natural movements while they portray animal characters but sing in a folk-opera style. The piece should be done in a small space to maintain its charm.

SONGS OF SPECIAL INTEREST

"There’s a Dance or Two In the Old Girls Yet," Small F Chorus, good up-tempo number which may be performed as a solo or larger number, full of fun. On the recording Carol Channing gives the song a certain vocal flavor as Eartha Kit must have in the original Broadway version

Instrumentation: reed, trumpet, trombone, electric/acoustic guitar, bass, piano
Script: NP
Score: MTI
Record/CD: Columbia
Rights: MTI

BABES IN ARMS

Music: Richard Rodgers
Lyrics: Lorenz Hart
Book: Original Book: Lorenz Hart and Richard Rodgers
Revised Book: George Oppenheimer

ORIGINAL PRODUCTION

Shubert Theatre, April 14, 1937 (289 perf.)
Director: Robert Sinclair
Choreographer: George Balanchine
Music Director: Gene Salzer
Orchestration: Hans Spialek

Principals:
The acting manuscript was rewritten in 1959 and all the characters except Val and Gus were re-named. In order to avoid confusion, a description of the character is used instead of the cast member in the original production. See notes section for further details.
Terry- comedic, lovestruck- Alto
Gus- clumsy apprentice- Tenor
Valentine- composer, romantic- High Baritone
Susie- enthusiastic, attractive- Mezzo
Seymour Fleming- theatre owner- VTNE
Bunny- Eve Arden type- Alto/Mezzo
Lee Calhoun- southern playwright- VTNE
Jennifer Owen- stage mother- VTNE
Steve Edwards- Broadway producer- VTNE
Press Agent- Narrator- VTNE
Chorus and Smaller Roles: 4F/3M but may be expanded

SYNOPSIS

The play opens on the exterior of the Surf and Sand Playhouse where a press agent congenially welcomes everyone and gives some background on Seymour Fleming's failing Cape Cod Theatre. He introduces the apprentices who are in their mid to upper teens, who perform and demonstrate varying degrees of talent.
Gus, a comically, awkward, young man, accuses Terry, his coquettish girlfriend, of ignoring him. She agrees with his perception and plans on continuing her behavior. Valentine White, a young composer, lyricist and author who is trying to get Fleming to produce his revue, enters. He is followed by Susie, a bright, enthusiastic girl who idolizes him. The apprentices gather round to hear Val's latest song (BABES IN ARMS- M Solo to Mix Chorus).
Fleming, the tyrannical theatre owner, enters, and accuses everyone of working on their revue instead of his shows. The theatre's impoverished co-owner, Bunny, interrupts to tell him Phyllis Owen is on the phone to discuss her famous daughter Jennifer's costume. Fleming leaves after telling Bunny she must pay him the money she owes or forfeit her half of the theatre.
Susie tries to bolster everyone's spirits by convincing Val and the apprentices to continue their work on the show and give Bunny the profits to save her theatre. Bunny is overcome and Susie tactfully changes the subject to their forthcoming production, "The Deep North," written, directed and acted by Lee Calhoun. The lunch bell rings and the apprentices rush off, leaving Susie to ask Val how he feels about her. She is angered by his response and tells him to stop thinking of her as a younger sister (ALL AT ONCE- Sc to M/F Duet).
In the theatre, several days later, Gus, the bumbling apprentice, is adjusting lights from a ladder when the arrogant, pint sized, Lee Calhoun enters and begins throwing his weight around. When Gus confronts him about his behavior, Calhoun takes away the ladder and leaves Gus hanging from a light bar. Terry rescues him and Gus gives her a kiss, which she initially resists (I WISH I WERE IN LOVE AGAIN- Sc to M/F Duet).
Outside the Playhouse, Val is seated at a small piano composing as starlet Jennifer Owen enters and congratulates him on his song. He asks if she has a special man in her life and she flirtatiously responds that she has a fiancé but he is in New York and she feels very close to Val (WHERE OR WHEN- Sc to M/F Duet).
Susie enters with Mrs. Owen. Both are upset to see Val and Jennifer in a romantic mood. Val hastily exits as Susie snubs him. The apprentices exit from the Playhouse, where Calhoun has insisted on silence, and Bunny asks Val what part he wants her to play in his revue. When he questions her about her vocal type she responds that she is a western singer from New York (WAY OUT WEST ON WEST END AVENUE- F Solo).
Later that evening, at an old barn, the apprentices are rehearsing. Jennifer, who has escaped the watchful eye of her mother, enters and tells Val she will try to get Steve Edwards, her producer fiancé, producer, to see his show. He kisses her as Susie enters to warn them that Jennifer’s mother is coming. Jennifer rushes off as Val thanks Susie. He starts to give her a platonic kiss, but runs off in confusion, leaving Susie to comment (MY FUNNY VALENTINE- Sc to F Solo).
Back at the theatre, the dress rehearsal has ended in a shambles. Everyone is on edge when Fleming and Mrs. Owen decide to delay the opening until the week scheduled for the apprentice Revue. The kids and Bunny are dejected and consider quitting until Susie bolsters their spirits and urges them to fight (BABES IN ARMS [REPRISE]- Mixed Chorus).
Act II opens on the exterior of the theatre. The apprentices are frozen in dejected poses as the Press Agent enters to bring the audience up to date on the progress of Calhoun's show, which is a flop. He exits. Susie enters to energize the apprentices (IMAGINE- F Solo to Mixed Chorus Dance). When Jennifer enters to apologize to Val for not saving his Revue, the apprentices hide her from Calhoun and lock him in the cellar. Val, left alone with Jennifer convinces her to feign sickness and force Fleming to cancel the show and allow the Revue to go on. (YOU'RE NEARER- Sc to M/F Duet).
Bunny and the apprentices enter after Jennifer leaves and Val starts to tell them the good news, but is interrupted by Mrs. Owen who demands Jennifer's whereabouts. When everyone sends her in a different direction she insults Bunny by telling her she should be more ladylike and exits in a huff. Bunny quickly laughs and tells Susie, Val and Gus that she is a different type of lady (THE LADY IS A TRAMP- F Solo).
Terry comes running on to tell everyone that Calhoun has escaped from the cellar and overheard Steve and Jennifer's plans. The apprentices are dejected but Susie insists that she can get Steve Edwards to watch the revue in the barn after the evening performance.
In a bedroom at the hotel Susie enters through the window and warmly greets her brother. It seems that she has wanted to make it on her own so hasn't told anyone about their relationship. Terry, Gus and Val discover her in Steve's bedroom and Susie plays the scene to the hilt hoping that Val will be jealous.
Backstage, while Terry counts the audience, Gus and Susie enter in a panic for they can't find Val. When he enters in a drunken stupor, Susie tells him that Steve is her brother. The show begins and the apprentices begin to sabotage "Deep North" by turning lights off and on and ringing phones in the wrong places. The frustrated Calhoun tells the audience he can take no more and is returning to the South forever.
On a country road leading to the barn the apprentices are singing as Bunny and Susie try to sober Val. At the barn, the press agent comments on the hopes of the apprentices almost being fulfilled and announces the Revue. Bunny enters, dragging a rocking chair, and is surrounded by Terry and Gus, dressed as children, who beg a story. She tells them about a boy named Johnny (JOHNNY ONE-NOTE- L to F Solo). The song ends and Val rushes on stage with Susie and a check from Steve Edwards, who has commissioned the Revue for Broadway. The excited apprentices launch into the Finale (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

The original production, with a much different book, featured young and relative unknowns: Ray Heatherton, Alfred Drake, Dan Dailey, Mitzi Green, Robert Rounsiville, and Wynn Murray. The songs, excellent in 1937, are still performed and have become "notable standards". "You're Nearer", originally from Too Many Girls, was added to the revised acting version.
The "book" is quite thin and must be played with believable charming innocence in order to be enjoyable. It has been re-set in the 1950's and works as a show because the music and lyrics are so enjoyable, familiar and, memorable. There is something pleasant about seeing songs one has grown up with being performed in a theatrical setting.
The show may be performed using one set for the stage of the theatre and placing all the theatre scenes there. A separate set is needed for the hotel bedroom. The costumes are simple and easily pulled from wardrobe or attics. It is inexpensive to produce and, in the hands of a good director and cast, worthy of a summer theatre or school production.

SONGS OF SPECIAL INTEREST

"I Wish I Were in Love Again," alto/tenor duet for young comics, good exercise for beginning choreographer as the number almost directs itself yet allows for individual creativity
"Johnny One-Note," story song, possible for children's theatre audition when combined with monologue
"The Lady Is a Tramp", standard club song, good for Revue. Excellent lyrics, emphasizes attitude
"My Funny Valentine," charm song, good for club
"Way Out West on West End Avenue," F alto solo, presentational, clever lyrics

Instrumentation: 4 reeds, 3 trumpets, trombone, percussion, 4 violins, viola, cello, bass, piano/conductor
Script: NP
Score: Chappell
Record: Columbia
Rights: R & H

BABY

Book: Sybille Pearson
Music: David Shire
Lyrics: Richard Maltby, Jr.
(Based on a story developed with Susan Yankowitz)

ORIGINAL PRODUCTION

Ethel Barrymore Theatre, December 4, 1983 (241 perf.)
Director: Richard Maltby Jr.
Musical Staging: Wayne Cliento
Music Direction: Peter Howard
Orchestration: Jonathan Tunick

Principals:
Lizzie- Liz Callaway- Mezzo
Danny- Todd Graff- Tenor
Arlene- Beth Fowler- Mezzo
Alan- James Congdon- Baritone
Pam- Catherine Cox- Mezzo/Soprano
Nick- Martin Vidnovic- High Baritone
Chorus and Smaller Roles: 5F/2M minimum

SYNOPSIS

A movie scrim drops in and a film of various images begins as a voice narrates the monthly trip of the egg. As the narration continues the music peaks and the film dissolves to a bedroom in a College Town which the twenty-year old Danny and Lizzie enter. Danny kneels by the bed composing on an electric piano and complains that all the good music has been written. Lizzie stops him from playing and asks him to feel the magic of the moment when two lives begin to merge (WE START TODAY- Sc to M/F Duet). As she sings the film bleeds through the scrim showing continued development of the egg.
The film dissolves to show Alan and Arlene a couple in their forties returning from their twentieth anniversary celebration. They comment on how empty the house seems since the last of their three children has gone to school but look forward to their new beginning as a couple with freedom to live their own lives (WE START TODAY- Sc to M/F Duet).
The film bleeds through to show the further development of the egg and dissolves to the same bed in the room of Gym coaches Nick and Pam, a couple in their thirties who desperately want a baby (WE START TODAY- Sc to M/F Duet). The other two couples join in and the number becomes a sextet as all go on with their daily lives. The scrim passes in front of them and the film represents an embryo one month later. The film dissolves and the lights rise on passersby and the couples on a spring day in April.
The three women line up outside the doctor's office to discover they are pregnant. Each reacts quite differently to the news. They turn to their respective husbands who greet them with varied reactions and the number ends (WE START TODAY- Sc to Mixed Chorus).
In Danny and Lizzie's apartment, Danny attempts to convince her that marriage will not ruin their relationship, but she is adamantly opposed. They imagine what the baby will be like (WHAT COULD BE BETTER- Sc to M/F Duet).
In Arlene and Alan's bedroom the two are exercising and wondering when the baby was conceived (THE PLAZA SONG- Sc to M/F Linear Duet). He hopes it is twins and feels rejuvenated. She is overwhelmed.
The scene shifts to Nick and Pam's where Nick urges Pam to set aside her feelings of being unwomanly and only have positive thoughts around the baby (BABY, BABY, BABY- Sc to M/F Duet to Mixed Chorus). The other two couples join in.
The scrim comes on showing the embryo at five weeks. The three women, now at the doctor's office, introduce themselves and discover they all want the same thing, despite their differences in age and perspective (I WANT IT ALL- Sc to F Trio).
Nick, Danny's track coach, advises him on the complexities of women (AT NIGHT SHE COMES HOME TO ME- Sc to M Solo to M Linear Duet). Danny completes the song in a different area of the stage. Pam enters to tell Nick she isn't pregnant, there was a mistake in the records. He comforts her as the scene shifts to Danny and Lizzie where Danny informs Lizzie he is taking a high paying job with a punk rock group. He is insistent on being financially as well as emotionally responsible for the baby (WHAT COULD BE BETTER [REPRISE]- Sc to M/F Duet).
The film shows the embryo with its hand moving, age eight weeks, and the scene shifts to the doctor's office where Nick and Pam discover that their inability to produce a child isn't due to Pam. The doctor suggests adoption but gives them specific rules to follow if they are insistent on having their own offspring. At the faculty-student baseball game Danny arrives in his new punk rock costume, excited that he is going to be a responsible father. He is joined by two other faculty men with definite opinions on fatherhood. Alan, Danny and Nick, still determined to father his own child, examine the emotional feelings of being a father (FATHERHOOD BLUES- Sc to M Quintet).
The subsequent scenes show the agony Arlene is feeling about a baby interrupting her chance to be alone with her husband, Pam and Nick living their sex life by the rule book, and Danny and Lizzie preparing for their summer separation. Pam, knowing Nick is upset by his failure to create a child, desperately tries to keep humor in their relationship (ROMANCE- L to F Solo, M necessary for staging).
The film flashes on showing the embryo at eleven weeks. The lights rise on Lizzie and Danny at the Bus Station. Danny gives Lizzie a ring telling her that he is marrying her whether she marries him or not. He sings the song he has just finished to honor the occasion (I CHOSE RIGHT- Sc to M Solo).
Lizzie, now obviously pregnant returns to the apartment and feeling the baby kick realizes the importance of the cycle of life (THE STORY GOES ON- F Solo). As she sings she reaches out and the scrim image shows a baby's hand reaching out. The stage goes black.
Act II opens with Lizzie, on her way to mail a letter to Danny, being greeted by various women who insist on asking about the baby and relating terrifying experiences (THE LADIES SINGING THEIR SONG- F Chorus).
Arlene leaves the doctor's office after experiencing the sixth month sonogram, sits on the park bench and sings a lullaby. She is amazed at the scientific advancement during the past twenty years (BABY, BABY, BABY [REPRISE]- F Solo).
Pam, tired of the nightly ritual the doctor has prescribed and upset that the romance has gone from their lives laments (ROMANCE [REPRISE]- Sc to F Solo). Nick agrees with her and the two decide to let nature take its course.
Arlene, over a dinner that Alan has solicitously prepared, tells him that they are first and foremost parents and she will always wonder if they could have been more. Alan realizes she is right and admits to himself that children are less threatening than a relationship with an adult (EASIER TO LOVE- M Solo).
The scrim shows the baby, nearly full size, as Danny returns to Lizzie who is now anxious to marry (TWO PEOPLE IN LOVE- Sc to F/M Duet).
Nick, painfully aware of how much Pam wants a child, and anxious about their future together, asks her how she will feel if they never conceive. She reassures him (WITH YOU- Sc to F M Duet).
Alan and Arlene confess to each other their belief that the children may have been what kept their marriage together. As they consider how different their lives might have been, they discover that they really are in love (AND WHAT IF WE HAD LOVED LIKE THAT- Sc to M/F Duet).
The couples consider their relationships, Arlene and Alan are committed to being more than just parents, Pam and Nick vow to keep trying and Lizzie and Danny realize how better prepared they are to handle the responsibility of parenthood. Lizzie goes into labor and the baby is born (THE BIRTH- Mixed Chorus). Alan and Arlene, Nick and Pam go to the hospital to see the new baby (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

Baby won the Outer Critics’ Circle Award for Best Musical.
Baby, originally designed with the use of a film to show time lapses, was effectively presented without the film on the 1984 summer stock circuit. The story line, which is of import to a variety of ages, is universal in its appeal as it centers on the development of three specific relationships. The music is modern in tone, yet the lyrics and situation add enough drama to bridge any age gap.
It is a marvelous vehicle for stock, college, and community Theatres. There are more females required in the company than males and everyone, including the chorus, has good singing and acting roles.
The costumes are modern and the set (if the film is cut) is quite simple. Both the Broadway and stock productions used one bed and relocated to a different position on stage for each couple’s bedroom. The only other specific scenes are the doctors' offices, the baseball field, the bus station and the park. Simple set pieces will suffice.

SONGS OF SPECIAL INTEREST

"What Could Be Better," Tenor/Mezzo, reaction oriented duet, young couple
" I Want It All," Mezzo Trio, up-tempo, character reaction and character oriented
"The Ladies Singing Their Song," F Quintet, good for character study and showcase or Revue situation

Instrumentation: 2 reeds, 3 trumpets, 2 trombones, horn, drum, bass, synthesizer, piano/conductor
Script: NP
Selections: Valando
Record: Polydor
Rights: MTI

BAJOUR

Book: Ernest Lindy
Music and Lyrics: Walter Marks
(Based on "New Yorkers" stories by Joseph Mitchell)

ORIGINAL PRODUCTION

The Shubert Theatre, November 23, 1964 (218 perf.)
Director: Lawrence Kasha
Choreographer: Peter Gennaro
Vocal arrangements and Musical Director: Lehman Engel
Orchestration: Mort Lindsey

Principals:
Anyanka- Chita Rivera- Alto
Cockeye Johnny Dembo- Herschel Bernardi- Baritone
Emily Kirsten- Nancy Dussault- Soprano
Lt. Lou MacNiall- Robert Burr– Tenor
Mrs. Helen Kirsten- Mae Questil- VTNE
Steve Dembo- Gus Trikonis- VTNE
Newark- Herbert Edelman- Baritone
Loop- Antonia Rey-
Charilady- Lucie Lancaster-
Chorus and Smaller Roles: 9M/3F

SYNOPSIS

The show opens on the interior of a shabby, empty store in New York City, which a rental agent is showing prospective customer, Johnny Dembo. The realtor leaves as Johnny's tribe of gypsies, laden with all their worldly goods, enters and begins to transform the store into a gypsy haven (MOVE OVER, NEW YORK- Chorus). The action moves through a series of pantomimed scenes, which show the gypsies in various acts of thievery. The sequence ends with the local police station being rolled on. The officers are taking reports on the recent outbreak of thefts in the precinct when Lou MacNiall, the rugged head of the station arrives to announce that Johnny Dembo and his tribe have returned to the city. He isn't too worried because Johnny and his gypsies are fairly ineffectual and unable to pull off a successful scam or "Bajour."
He is told that Emily Kirsten, an NYU-PhD candidate in anthropology, needs a topic for her dissertation. The girl arrives to tell of the problem of finding anything unique to study and implores Lt. MacNiall, to help her find a tribe (WHERE IS THE TRIBE FOR ME- Sc to F Solo).
The scene changes to Emily's room where her momma is frantic at the news her daughter is going off to live with gypsies. Undaunted by her mother's constant reminders of her married cousins, she packs an overnight bag and sets out.
A scream is heard and the lights rise on the backyard of the store where two thrones have been devised from packing boxes. Lou arrives in the yard to greet Johnny, who he has dealt with before. Johnny tells him he has come to New York to find a suitable wife for his son, Steve, and hopes to make a match with a gypsy tribe from Newark who has an eligible girl. Lou attempts to tell Johnny about Emily but the noise of the awaited Newark tribe interrupts their conversation and Lou exits to get Emily.
The Moyna tribe arrives to haggle over the bride's wedding price. As Newark's daughter, Anyanka, begins dancing, her lineage is announced and her virtues extolled. When Lou returns with Emily, Anyanka has five minutes to steal his watch, an act she easily performs as she reads Lou and Emily's palms. She proclaims their future destinies (LOVE LINE- Sc to F Solo) while stealing Lou's watch. Lou leaves Emily with Johnny's tribe, regains his watch and warns Johnny there is to be no crime in his precinct.
Emily begins her anthropological study by giving Johnny a Projective Word Association Test, which he thoroughly enjoys. He responds by giving her a lesson in Gypsy psychology, during which they both realize she may be in love with Lou (WORDS, WORDS, WORDS- Sc to M/F Duet). Anyanka has fallen in love with Steve, but knows her father plans to pocket the down payment and disappear before the wedding day. She decides to raise the money herself by swindling Emily's widowed, gullible mother and proving her qualifications to Dembo's tribe (MEAN- F Solo).
Meanwhile, Lou meets Emily on the street, but barely recognizes her because she is in full Gypsy regalia and attempting to shoplift! He expresses concern for her, but she assures him that everything is working out fine. As they walk, they sadly comment on the dilapidated neighborhood and invent stories of what took place on this now empty street. Lou walks her back to Johnny's and kisses her goodnight. This sudden tenderness causes her to question her relationship with him (MUST IT BE LOVE?- F Solo).
Later that night, Anyanka arranges for Mrs. Kirsten to give her $10,000 to remove a curse from her late husband's insurance money. The gypsies enthusiastically celebrate the forthcoming Bajour (BAJOUR- Mixed Chorus).
Emily enters, and in all of the excitement Johnny lets it slip that they are going to pull off a Bajour. Emily knows that means a swindle, but is excited to be involved, not knowing her mother is to be the victim of the swindle. Just then, Lou arrives to talk to Emily but realizes that a Bajour is about to take place. Furious at Emily for not helping him, he says he will blame her if anything happens. The gypsies are elated at her loyalty to them and the act closes with Emily feeling accepted by her tribe.
Act II opens in the backyard where the gypsies are relaxing and playing cards. Steve, wanting to spend more time alone with Anyanka, is forbidden to do so by his father. Johnny reassures Steve that the rest of the money to pay for Anyanka will soon come with the successful completion of the Bajour (SOON- M/F Duet to Mixed Chorus).
The next morning, Mrs. Kirsten phones Dembo's to tell the gypsies she is planning to remove the curse herself by giving away the $10,000 at a charity tea. Anyanka tells Emily there will be no Bajour, for her powers have failed but Emily cheers her (I CAN- Sc to F Duet) by asking her to the charity tea and dressing her for the occasion. Lou has Emily brought to his office and warns her that if the Bajour is successful, Emily will be an accessory to a crime, and urges her to give up her gypsy infatuation and live a normal life (LIVING SIMPLY- Sc to M/F Duet Whole Trio). Emily leaves as Newark, Anyanka's father, arrives to tell Lou the dupe of Johnny's Bajour is Emily's Mother.
At the Guggenheim Museum, a small musical group is playing and ladies are milling about as Anyanka, Johnny and Emily arrive. As Mrs. Kirsten rises to announce her $10,000 gift to the Ladies Society. Anyanka and the gypsies spirit her away from the charity tea and convince her the only way to break the curse is to bring the money to their office in small bills, if she gives the money to the Charity everyone who receives it will be cursed. The befuddled woman agrees.
Outside the museum, Lou warns Emily that the Bajour is to be perpetrated on her mother but she trusts Johnny too much to believe Lou's warning. Dembo and the King of the Newark gypsies meet and comment on their suspicions of the other's honesty (HONEST MAN- Sc to M Duet).
In Momma's apartment, Emily attempts to warn her mother about the gypsies behavior and their successful attempts to swindle women, but her mother assures her that they haven't asked her for any money. Satisfied, Emily questions her mother about love. Her mother explains it is a chance that must be taken (GUARANTEES- Sc to F Solo). Emily agrees that love is very risky (LOVE IS A CHANCE- F Solo).
Mrs. Kirsten arrives at the gypsy storefront, now decorated as an Egyptian Temple, and places the money in an embroidered bag, which Anyanka provides (THE SEW UP- Chorus). The bag is substituted for one without money, which is returned to Mrs. Kirsten. She is warned not to open the bag for seven days or it will change to blank paper and the curse will continue to plague her and Emily. Mrs. Kirsten leaves and Anyanka quickly counts out the $10,000 to the eager gypsies.
Later that night, Emily and Lou arrive at an empty storefront to discover the gypsies have gone. Emily is shattered but Lou tries to ease the pain by explaining the gypsy way of life; the King of the Newark Gypsies arrives, furious that his own daughter has pulled a Bajour on him. It seems she gave him a bag containing $8,000 for her freedom, which he signed a receipt for. After she had gone, he realized she had switched bags and left him nothing but blank paper. Emily discovers a note addressed to her, attached to a Bajour bag left by Anyanka. It seems Anyanka, pleased with freeing herself from her father, has returned $9,000 of Mrs. Kirsten's money and saved the rest for traveling expenses. Emily is grateful, for now her dissertation can be written and Lou won't be in trouble with the Commissioner for allowing a Bajour in his precinct. Lou comments on the uniqueness of the gypsies who pursue their own lifestyle in a settled world. As he and Emily exit, the Dembo gypsies are seen anticipating the riches of the fifty states that await (LET’S GET MOVING, MOVING, MOVING...- Mixed Chorus).

NOTES ON THE PRODUCTION

Although the show relied heavily on the singing and dancing of Chita Rivera, Nancy Dussault was nominated to the Tony over Miss Rivera. In fact, it wasn't until her 1984 performance in The Rink that Miss Rivera received the coveted award.
The music is melodic and catchy and fun to perform by soloist and chorus alike. Some of the songs would be quite effective in a showcase presentation.
The sets may be as minimal or complex as the artistic staff desires. It is possible to perform the production on a series of levels and use small set props for various locations. The free wheeling spirit of the gypsies should prevail through all aspects of the production, which leaves lots of artistic and creative license to the designers. The costumes are colorful and the chorus members only need one each for the entire show. Emily needs four outfits and Anyanka at least two.
The characters are interesting to act, the situations humorous, and the songs memorable. It is a show worth considering by a group who has good dancers and is searching for a high-energy show.
The only foreseeable problem in the script revolves around the portrayal of gypsies as thieves. Audiences of today seem anxious to avoid stereotypes and may initially feel uncomfortable with the present script. A director would do well to emphasize the uniqueness of a people who live by their wits and are clannish by nature. The gypsies must be seen through Emily's eyes and this requires a strong actress. It may also be prudent for the director to downplay the thieving aspects of the script and build up the conflict of opposition tribes and the roguish charm of Johnny Dembo.
The production is an inexpensive and colorful one and might be considered for the uniqueness of the characters and the sparkle of the music.

SONGS OF SPECIAL INTEREST

"Where Is the Tribe for Me", excellent story song, lots of lyrical specifics, comic, good acting
"Words, Words, Words", clever M/F duet with emphasis on lyrics-good for showcase
"I Can", good F duet, mood change, nice vocal blend, marching movement, good for energy
"Mean", strong character oriented solo, movement required, energetic

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

BALLROOM

Book: Jerome Kass
Music: Billy Goldberg
Lyrics: Alen and Marilyn Bergman

ORIGINAL PRODUCTION

Majestic Theatre, December 14, 1978 (116 perf.)
Director and Choreographer: Michael Bennett
Co-Choreographer: Bob Avian
Musical Director: Don Jennings

Principals:
Bea Asher- Dorothy Loudon- Alto
Alfred Rossi- Vincent Gardenia- Baritone
Helen-Sally- Jane Heit- VTNE
Jack- John Hallow- VTNE
Marlene- Lynn Roberts- Alto
Nathan Bricker- Bernie Knee- Baritone
Angie- Patricia Drylie- VTI
Pauline Krim- Janet Stewart White- VTI
Chorus and Smaller Roles: 11M/10F minimum

SYNOPSIS

In widow Bea Asher's second hand shop, her friend, Angie, urges Bea to get out and enjoy her life, which has been empty since her husband passed away one year ago. Angie vividly describes the Stardust Ballroom and Bea hesitantly decides to give it a try.
Outside the dance hall several couples greet each other warmly before entering. Bea arrives and tries to bolster her confidence by remembering Angie's description (A TERRIFIC BAND AND A REAL NICE CROWD- F Solo).
Inside the hall is a mirrored room and a large orchestra with band singers, Marlene and Nathan. The regular customers are enjoying the dance music (A SONG FOR DANCING- M/F Duet with Dancers for Visual)
Angie introduces the reticent Bea to many of the regulars before she and "Lightfoot," her steady partner, step onto the floor to demonstrate their Lindy skills (ONE BY ONE- Mixed Dancers and Band Singers).
The music changes (THE DANCE MONTAGE- Mixed Dancers Featured). Bea meets Al Rossi, a middle aged, quiet man, who leads her through several dances, ending with a fox-trot (DREAMS-band singer solo). When Rossi offers to take her home, she refuses, but ponders the evening (SOMEBODY DID ALL RIGHT FOR HERSELF- F Solo).
In Bea's living room, her sister-in-law Helen is anxiously waiting for Bea. She is certain she has been murdered and is shocked to discover Bea has been out dancing. Helen reassures Bea's daughter by phone that everything is all right and Jack, Helen's husband, arrives in his Pajamas; he has been driving around the neighborhood searching for Bea. After everyone leaves the phone rings. It is Al who tells Bea he hopes she will be back at the Stardust the next evening. Bea makes no promises but is pleased to be wanted (A TERRIFIC BAND AND A REAL NICE CROWD [REPRISE]- F Solo).
A month later, at the Ballroom, Al and Bea enter the Tango Contest and thoroughly enjoy themselves (GOODNIGHT IS NOT GOODBYE, I'VE BEEN WAITING ALL MY LIFE- Mixed Dancers and Band Singers). She invites Al to her house for a cup of coffee and he tries to tell her how he feels about her. Bea is not ready to deepen the relationship, but for the first time in a year, feels a part of someone's life.
At the junk shop, when Bea's daughter, Diane, reproaches Bea, who has reneged on a babysitting commitment to go out on a date with Al, Bea realizes she must live her own life, for she is still young enough to enjoy what life has to offer. She makes a major decision that leaves the family upset.
Later that night, Bea makes a spectacular entrance in a purple disco dress. She has added a reddish tint to her previously greying hair and emerges as a new woman. Everyone admires the new look, especially Al, and Bea feels like a movie star. Al confides his feelings for her as his favorite dancing partner (I LOVE TO DANCE- Sc to M/F Duet). Al confesses to Bea that he is married, something that she instinctively knew, but preferred not to think about.
The set changes to Bea's living room where Al is well on his way to winning a Scrabble game. The two discuss how comfortable they feel with one another and then decide to practice their "hustle" steps. They are not aware that Helen has used her own key to come in and is observing them. A startled Bea at last notices Helen's disapproving stare and quickly introduces her to Al. Somewhat uncomfortable, Al bows out. Helen interrogates Bea about her relationship with Al and leaves in disgust when Bea reveals that Al is a married man.
At the Ballroom a hustle lesson is in progress (MORE OF THE SAME- Mixed Dancers, Band Singers). Bea is nominated for Queen of the Stardust Ballroom. It is an exciting moment, which Al is not able to share because of his home situation. She realizes how vulnerable she is, and rushes home, where her sister-in-law, son and daughter confront her about her affair. Her children are more able to accept their mother's new life then Bea's sister-in-law. Bea is left to contemplate her relationship (FIFTY PERCENT- F Solo) and decides 50 percent is better than nothing at all.
Bea returns to the Ballroom (THE STARDUST WALTZ-Dancers) where she is crowned Queen and thanks everyone for her new life (I WISH YOU A WALTZ- L to F Solo). The dancing continues (FINALE- Mixed Dancers).

NOTES ON THE PRODUCTION

Michael Bennett and Bob Avian won the Tony Award for Best Choreography. Sweeney Todd won most of the other 1979 Tony Awards. The production requires a solid female actress and a chorus of excellent ballroom dancers. It is a good vehicle for Community Theatres who have access to experienced "partner" dancers and a knowledgeable choreographer.
The costumes can probably be obtained from cast members, but each of the female dancers should have at least two different dresses. The settings are not complex and consist of the dance hall, Bea's shop and her apartment.
The subject matter may not be acceptable to every audience, for it centers around a widow who has an affair with a married man. It can be given a sensitive treatment and be thought provoking and timely, but can only be effective if given a quality production.

SONGS OF SPECIAL INTEREST

"Fifty Percent," Dramatic Alto solo, where character defends her beliefs
"Somebody Did Alright For Herself," Alto, good song to complete a two song character study in a class situation
"A Terrific Band and a Real Nice Crowd," Alto solo, questioning, decision making

Instrumentation: 4 reeds, 3 trumpets, 1 horn, 3 trombones, 2 percussion, 3 violins, 2 cellos, bass, harp, guitar, piano/conductor
Script: Samuel French
Selections: Schirmer
Record: CBS
Rights: Samuel French

BARNUM

Book: Mark Bramble
Music: Cy Coleman
Lyrics: Michael Stewart

ORIGINAL PRODUCTION

St.James Theatre, April 30, 1980 (854 perf.)
Director and Choreographer: Joe Layton
Musical Director: Peter Howard
Orchestration: Hershy Kay
Principals:
P. T. Barnum- Jim Dale- High Baritone
Chairy Barnum- Glenn Close- Mezzo
Ringmaster, Goldsmith, Bailey- William C.Witter- Baritone
Joice Heth- Terri White- Alto
Tom Thumb- Leonard John Crowfoot- Tenor
Jenny Lind- Marianne Tatum- Soprano
Chorus and Smaller Roles: 7M/5F minimum

SYNOPSIS

As the audience awaits the opening of the theatre, a barker performs magic tricks and sets the scene. His sales pitch is followed by a young woman, Amy Beecher, who guides tours through the exhibition of wonders in the inner lobby. The exhibition is in actuality a re-creation of many of the wonders of Barnum's famous museum. The audience proceeds to a slide show history of Barnum's life and finally into the theatre which is decorated to give the illusion of a circus tent.
A man in shirtsleeves enters the center ring. It is Barnum. He introduces himself and the sights that will follow as the company enters. A woman from a box seat in the audience rises to leave and Barnum excitedly asks her where she is going. It is his wife who stands for truth and despises the humbug that Barnum loves. Barnum leaps from a trampoline into the box to kiss her as the ringmaster announces the struggle that will take place in the center ring between P.T. Barnum and his wife, Chairy. Barnum slides down a rope to return to the stage and sings an energetic number which reflects his philosophy (THERE IS A SUCKER BORN EV'RY MINUTE-L to M Solo).
Barnum's first attraction is the oldest woman in the world, the 160-year old Joice Heath, whom he passes off as George Washington's nurse. She begins singing at the piano and ends leading the tambourinists and Barnum in a tribute to old age (THANK GOD I'M OLD- F Solo).
Barnum's first humbug, a patriotic one, was such a success that he began signing up other attractions in hopes of making a fortune. He takes wife Chairy to lunch at The Women's Emporium where they argue about their different philosophies; Barnum needs excitement, energy and bright colors, while Chairy is practical and wants her life in calmer, more muted tones. Barnum illustrates his needs by changing a decanter of water to purple, a grey napkin to crimson, and the cyclorama to crimson (THE COLORS OF MY LIFE- Sc to M solo). He rushes off to meet his future partner in his museum scheme and leaves Chairy alone to contemplate their differences (THE COLORS OF MY LIFE- F solo).
The ringmaster appears on a "walking ladder," falls off and introduces the clowns and bricklayers who are to build Barnum's American museum. Everyone chaotically attempts to build the brick building which will house Barnum's latest attractions, but the endeavor is a failure, which ends as the building topples.
Barnum is defeated until Chairy arrives and tells him she will supervise his workers to slowly build (ONE BRICK AT A TIME- Sc to F Solo to Mixed Chorus). The number ends with the museum completed and the patrons holding up their $1.00 admission fees. Barnum describes the sights that are to be found inside (MUSEUM SONG- M Solo).
Fourteen years later, in the back yard of their Bridgeport home, Barnum gives Chairy a pearl necklace to mark their fourteenth anniversary. She is suspicious because their anniversary is not for six months. He confesses that he needs help in his newest venture, the signing of a young Swedish singer. Chairy wants nothing to do with his deals and returns his gift. Yet, despite their age-old differences, they are still in love (I LIKE YOUR STYLE- Sc to M/F duet). Chairy agrees to go to New York to help sign the star but the announcement from Amos Scudder, Barnum's partner, that the museum has burned to the ground forces Barnum to change his plans. He undauntedly decides to put his museum on wheels and tour the East Coast featuring the 25" midget General Tom Thumb.
The ringmaster announces the smallest man in the world as Tom Thumb enters, looking quite impressive in a general's uniform. He is played by an average sized actor but appears with two stilt walking performers and oversize props which create the illusion of smallness. (BIGGER ISN'T BETTER- M Solo). During the song the ringmaster announces Tom Thumb's command performance for the queen and Barnum's acquistion of Jumbo, the World's largest Elephant.
Leaving Chairy at a railroad station in Boston, he rushes off to sign Jenny Lind, the Swedish Nightingale to an American tour. She closes her first hit concert with a special song (LOVE MAKES SUCH FOOLS OF US ALL- F Solo). Barnum proves the truth of the sentiment when he agrees to escort Jenny to a reception. Barnum says goodnight to Chairy and absolves his guilt by reiterating his philosophy of grasping at life (OUT THERE- M Solo). He walks a tightrope to Jenny Lind and the two ascend on a trapeze as the act ends.
Act II opens as the company enters from the aisles (COME FOLLOW THE BAND- Mixed chorus). It is six months later and Barnum, tired of the life he leads with Jenny, decides to return to Chairy a little less colorful. A blues singer paints a picture of the new man (BLACK AND WHITE- F Solo to Chorus). In the middle of an election for mayor of Bridgeport, which Barnum is losing, Chairy agrees to let him put the color back in his life and he wins.
Chairy dies after Barnum agrees to fulfill her wish that he run for the Senate. However, he is not nominated by his Party because they feel he lacks dignity. He decides to go on a lecture tour and tell everyone about humbug (THE PRINCE OF HUMBUG-L to M Solo), but Bailey enters to offer him a partnership in his circus (JOIN THE CIRCUS- Sc to M solo to Mixed Chorus).
Barnum agrees to the merger and dubs the show the greatest one on earth. The circus performers join the reprise as Barnum regretfully steps forward to comment that although times have changed and his kind of humbug is gone he will always remember the days when there was "a sucker born ev'ry minute."

NOTES ON THE PRODUCTION

Barnum won three 1980 Tony Awards for Best Actor (Jim Dale), Costumes, and Scenic Design.
The Broadway production took place in a circus ring complete with trapeze, tightrope, trampoline and other circus paraphernalia. The show's scenes flowed easily into each other by use of simple set pieces to denote new locations. It is possible to expand the circus theme by further simplifying the set pieces and using the tent set to greater advantage. The various settings may be established by simple signs or stylized props. The entire mood of the production is one of circus style fun, which enables the audience to readily accept the convention of a unit set with minor changes to establish location.
The majority of the performers were versed in various circus skills, i.e. juggling, acrobatics, baton twirling, and tumbling, star Jim Dale actually walked a tightrope. Most Community Theatres don't have the fly space to rig an operating trapeze let alone cast performers trained in walking the high wire. Much of the more complex circus routines can be cut or varied without a great deal of detriment to the story or characters.
The play takes place between 1835 and 1880 and the female non-circus costumes must reflect the time change. The earlier costumes should consist of hoop skirts and crinolines, which require yards of fabric and lots of rehearsal use. It may be advisable to rent Chairy and Jenny's costumes as they are the most opulent and time consuming to make.
It is important to cast a Barnum that has the energy and vitality to carry this production, a man who moves well and has the ability to give a charismatic performance. It may be necessary to work with several actors in the audition situation to ensure the right one is being cast, for without a strong Phineas the show runs the risk of being extremely slow paced. It may be advisable to cast an understudy or alternate with equally strong talents in case of physical mishap.
Tom Thumb should be played by an average sized adult. In the original production he was surrounded by large props and two men with stilted pants who towered above him. The props are a nice addition but not absolutely necessary as they can prove to be a backstage storage problem. It is advisable to employ the stilt walking men to flank Tom Thumb as they establishes the illusion that he is 25" tall.
Barnum is an enjoyable family entertainment and can be as simple or as complex as the theatre is able to produce. Each company should make the decision concerning the pre-show slide exhibition, informative lecture and circus acts.

SONGS OF SPECIAL INTEREST

"Come Follow the Band," good number for opening a revue, energetic chorus style number
"Thank God I'm Old," alto, bouncy, energetic, and presentational, good for audience eye contact
"There is a Sucker Born Ev'ry Minute," high energy baritone number which requires lots of broad and dynamic movement, good for building gesture strength
Instrumentation: violin, cello, bass, 5 reeds, 3 trumpets, 3 trombones, tuba, 3 percussion, guitar/banjo, 2 pianos, piano/conductor
Script: Doubleday
Selections: Notable
Record: Columbia
Rights: Tams-Witmark

BELLS ARE RINGING

Book and Lyrics: Betty Comden and Adolph Green
Music: Jule Styne

ORIGINAL PRODUCTION

The Shubert Theatre, November 29, 1956 (924 perf.)
Director: Jerome Robbins
Choreography: Jerome Robbins and Bob Fosse
Musical Director: Milton Rosenstock
Orchestration: Robert Russell Bennett

Principals:
Sue Summers- Jean Stapleton- Mezzo
Inspector Barnes- Dort Clark- VTNE
Sandor- Eddie Lawrence- Baritone
Ella Peterson- Judy Holliday- Character Alto
Jeff Moss- Sidney Chaplin- Tenor
Carl- Peter Gennaro- Tenor (must dance)
Larry Hastings- George S. Irving
Chorus and Smaller Roles: 12M/12F would be adequate for all roles, at least 6M/6F should be good dancers

SYNOPSIS

The lights rise on eight depressed girls as an advertisement announcer explains that they are depressed because they missed that all-important call from the man of their dreams. The announcer's solution to all their problems is the never-failing Susanswerphone Answering Service. The girls perk up and extol the benefits of the service (BELLS ARE RINGING- F Chorus).
The main curtain rises to disclose the Susanswerphone office. Sue Summers, the owner of the company, her cousin, Ella Peterson, and operator Gwynne Smith are working. As the day progresses, Sue leaves, warning Ella not to get too involved with the clients. Unlike her cousin, Ella believes in taking a personal interest in the customers and portrays different characters when she talks to them. She is in love with client/writer, Jeff Moss and sings about the problems of their relationship, for they have never met yet he refers to her as mom because she uses the voice of a 63 year-old woman (IT'S A PERFECT RELATIONSHIP- Sc to F Solo).
Two men enter the answering service and introduce themselves to Ella as magazine reporters, Barnes and Francis. They are really Inspector Barnes, an overly anxious, bumbling detective, and his partner Frances, who suspect the answering service is a cover-up for a prostitution ring. Sue returns to the office and introduces Sandor Prentz, a shady character who has proposed marriage to Sue. Barnes and Francis warn everyone that one wrong move will quickly shut the company down.
The scene shifts to Jeff Moss's apartment, where he tells a group of his friends that he is excited to be writing without his partner of many years (ON MY OWN- M Solo). In actuality, Jeff is unsure of his ability to write alone, and is stalling on a new script he must have at his publishers by noon the next day. He phones Ella, "Mom," and she gives him the push he needs to believe in his ability to write alone. Unfortunately, he doesn't have enough self-confidence and angrily pushes the blank pages aside.
In a dirty alley, Sandor who is actually a bookie is seen teaching a group of disreputable characters his latest code for placing bets via the answering service (IT'S A SIMPLE LITTLE SYSTEM- M Solo and Chorus). At the Susanswerphone office Ella is trying to reach Jeff with his wake-up call. Sandor is teaching Sue his system for taking record orders and calling them into the shipping company. Sue, totally ignorant, believes that Sandor is an extremely brilliant man.
When Ella gets a message from Jeff's producer that he will be fired unless he finishes the first two acts of his play, she decides to go to his apartment to convince him to work on the play. Realizing she is being followed to the apartment by Inspector Barnes, she attempts to confuse him (IS IT A CRIME?- Sc to F Solo). After she thinks she has eluded the Inspector, she enters Jeff's apartment where he is still sleeping.
Ella fascinates Jeff, for she claims to be a psychic named Melisande. She finally convinces him to write an outline and accompanies him to his producer who likes it. During the subway ride home, Ella gives Jeff and the other passengers a lesson in friendliness (HELLO, HELLO THERE- Mixed Chorus). He is overjoyed at meeting this unusual, honest girl and soliloquizes (I MET A GIRL- M Solo).
Meanwhile, Ella has decided to spread her sunshine on some other service customers of hers, such as the singing dentist, Dr. Kitchell, and actor Blake Burton. As she does this, Francis and Barnes are right behind her, snapping pictures and trying to build a case against the answering service. They suspect Sue is running a drug ring.
At Jeff's apartment "Melisande" arrives and tells Olga, a girlfriend of Jeff's, that she is his secretary and he must begin work. A surprised Olga exits. Melisande starts working as his secretary as he dictates a memo telling of his love for her (LONG BEFORE I KNEW YOU- Sc to M/F Duet). The act ends as Detective Francis snaps a picture of them embracing.
Act II opens at the answering service. Before a date with Jeff, Ella gets dancing lessons from delivery boy, Carl (MU CHA CHA- Sc to M/F Duet). Ella meets an excited Jeff in the park, but loses her confidence when she learns that they must attend a scheduled party with Jeff's theatre friends. Feeling terrified, Ella begs him to forget about the party and just take her dancing. To build her confidence, he begins dancing with her in the park (JUST IN TIME- Sc to M/F Duet). A crowd gathers as Jeff and Ella improvise a vaudeville routine to entertain the crowd.
At the theatre party, where Ella is obviously out of place, a kindly butler advises her to drop a name and assures her that she'll fit right in. She attempts to follow his advice, but is a dismal failure (DROP THAT NAME- Mixed Chorus).
Jeff and Ella return to the terrace where Ella attempts to explain who she really is. He refuses to believe her, which makes her think he isn't in love with Ella Peterson, but a non-existent girl she has made up, left alone by Jeff who is saying goodbye to everyone, she ponders her situation (THE PARTY'S OVER- F Solo). Ella writes him a note and disappears.
At a cafe, Sandor, the bookie, discovers that Ella has incorrectly placed an order and he must pay the mob in two hours or suffer the consequences. He decides to marry Sue for her $6,500 savings and the two sing of their future life together (SALZBURG- Sc to M/F Duet).
Jeff, upset that Ella has disappeared, goes to a nearby nightclub where a floorshow is in progress (THE MIDAS TOUCH- Mixed Chorus). At the bar Jeff discovers that Dr. Kitchell, one of Ella clients, has written songs for the club and Blake Barton, an actor customer of Ella's, has been signed to Jeff's new play. He finally realizes that Mom is Melisande, and runs to the answering service to find her.
At the answering service, Ella is packing her suitcase preparing to return to her job as a model (I'M GOING BACK- Sc to F Solo), for she knows she cannot stay and hear Jeff's voice everyday.
Meanwhile, Sandor, with the help of Emma, is captured by Inspectors Barnes & Francis. They ask Sue to testify against him. Ella promises to cover the switchboard until Sue returns, but learns that Jeff is on his way, so she disguises herself as an old woman. Jeff sees through the disguise and explains to Melisande, Mom, and Ella that he loves her no matter who she is. Sue, Gwynne, and Barnes enter as Ella and Jeff embrace. Then the other subscribers to the company come in and thank her for everything she's done, and the play ends happily (FINALE).

NOTES ON THE PRODUCTION

In 1957, Judy Holliday won the Tony for the Best Actress in a musical. Most of the other Tony Awards were awarded to My Fair Lady.
Because the show was written especially for the talents of Judy Holliday, who became a star in Born Yesterday, amateur groups should avoid a production of this musical unless they have a fantastic leading lady with a strong voice.
The show is enjoyable and not produced often enough. The songs are clever, tuneful, and memorable. The characters broadly characterized and the script quite humorous.
The play may be set in the present, which makes the costuming quite simple as it can be pulled from the modern wardrobe. The set for the answering service calls for one switchboard, which may be angled so that the audience doesn't see that the entire board isn't real. A clever set designer can trim the sets by combining the terrace and the main room of the party and utilizing part of the party section for the nightclub or even combining all three assuming that the club was rented for a private party. If the cast is small and the subway car is a problem the scene could be transferred to an elevator for the desired effect of unfriendly New Yorkers in a closed area. If a company has limited stage space, it would be advisable to bring on the 3 foldable, easily stored walls of the elevator because an elevator doesn't require seating.

SONGS OF SPECIAL INTEREST

"Just in Time", vaudeville, soft-shoe, movie musical style, with dialogue interspersed, good for class study
"The Party's Over", alto, poignant ballad
"It's a Perfect Relationship", comic, character oriented, problem number
"I'm Going Back", ragtime, gutsy, club style, brassy
"Mu Cha Cha", energetic dance number

Instrumentation: 4 violins, viola, cello 5 reeds, guitar, 3 trumpets, 2 trombones, 2 horns, harp, percussion, piano/celeste/conductor
Script: Random House and Theatre Arts 4/59
Score: Schirmer Record/CD: Columbia
Rights: Tams-Witmark

BEN FRANKLIN IN PARIS

Book and Lyrics: Sidney Michaels
Music: Mark Sandrich, Jr.

ORIGINAL PRODUCTION

Lunt-Fontanne Theatre, October 27, 1964 (215 perf.)
Director and Choreographer: Michael Kidd
Musical Director: Donald Pippin
Orchestration: Phillip J. Lang

Principals:
Ben Franklin- Robert Preston- Baritone
Diane- Ulla Sallert-
Temple- Franklin Kiser-
Beaumarchais- Bob Kaliban-
Janine- Susan Watson-
Chorus and Smaller Roles:

SYNOPSIS

The musical opens with the U.S. Marines aboard a ship in the French Harbor in the winter of 1776. They are singing about their home states (WE SAIL THE SEAS- M Chorus). The Parisians arrive to greet Benjamin Franklin, the famous American inventor, who tells of his greatest invention (I INVENTED MYSELF- M Solo).
At Versailles, Franklin, discovering that Louis XVI is not the one who makes the court decisions concerning aid to foreign countries, turns his attention to Mmd. La Comtesse- Diane, the advisor to the court and a charming former lover of Ben’s. The two reminisce about their romantic meeting ten years earlier (TOO CHARMING- Sc to M/F Duet).
Temple, Franklin’s seventeen-year old grandson, regrets that true French diplomacy is controlled by women because his Harvard professors didn’t prepare him for such a phenomenon (WHATEVER BECAME OF OLD TEMPLE?- L to M Solo). Franklin advises Temple to have a fling with an older woman and advises his younger grandson, Benny, to win friends for America anywhere he can (HALF THE BATTLE- L to M Solo and Chorus).
Franklin, needing to be alone with Diane for a private conversation, tricks her into taking a ride with him in a balloon (TO BE ALONE WITH YOU- Sc to M/F Duet).
Meanwhile, Temple enjoys teh sights of Paris with pretty revolutionary Janine, who takes him on a tour of famous places (YOU’RE IN PARIS- F Solo).
Franklin fears that Diane desires marriage and the two have a violent argument. She considers the absurdity of their situation (HOW LAUGHABLE IT IS- F Solo).
In an Abbey winery, the monks are chanting a Latin tune (HIC HAEC HOC- M Chorus) and Franklin cleverly succeeds in getting the Spanish Ambassador drunk. After celebrating a variety of toasts (GOD BLESS THE HUMAN ELBOW- Chorus), the Ambassador agrees to give money to America.
Act II opens at the Spanish Embassy where Janine watches Temple dance with the Ambassador’s daughter and announces her intention of refusing all dances unless Ben Franklin chooses her. He complies and charmingly flatters the young revolutionary (WHEN I DANCE WITH THE PERSON I LOVE).
Franklin desperately needs France’s help and flatters Diane (DIANE IS- M Solo) by asking her to marry him (LOOK FOR SMALL PLEASURES- Sc to 2 Solos). She promises to think it over.
Franklin boasts of his success with women to Beaumarchais (I LOVE THE LADIES- M Solo) but Diane wisely refuses to marry him. However, she does convince Louis to acknowledge the United States as a new nation. In the final scene, Franklin is announced at court as the Ambassador from the United States. It is a major triumph.

NOTES ON THE PRODUCTION

The show is not a notable one, and most agree that the performance of Robert Preston (of Music Man fame) was the major factor in keeping the production running for six months.

SONGS OF SPECIAL INTEREST

Instrumentation:
Script: Random House
Score:
Record/CD: Capital
Rights: Samuel French

THE BEST LITTLE WHOREHOUSE IN TEXAS

Book: Larry L. King and Peter Masterson
Music and Lyrics: Carol Hall

ORIGINAL PRODUCTION

The 46th St. Theatre, June 29, 1979 (1584 perf.)
Director: Peter Masterson and Tommy Tune
Choreographer: Tommy Tune
Musical Director and Vocal Arranger: Robert Billig

Principals:
Sheriff Ed Earl- Henderson Forsythe- High Baritone
Doatsey Mae- Susan Mansur- Alto/Mezzo
Mona- Carlin Glynn- Alto
Amber- Pamela Blair- VTI
Jewel- Delores Hall- VTI
Shy- Joan Ellis- VTI
Melvin P. Thorpe- Clint Allmon- Baritone
Scruggs and Governor- Jay Garner- Tenor
Senator- J. Frank Lucas- VTI
Chorus and Smaller Roles: 10M/8W who play a variety of roles

SYNOPSIS

The production opens with a five-piece orchestra prologue. The orchestra leader/narrator sets the scene of this 1930 Texas whorehouse with its skeletal upstairs rooms and a stairway leading to a large open parlor downstairs.
It seems the house has been in existence since 1890 but didn't become upgraded until the depression when Willa Jean became the Madam and began to accept vegetables and chickens as payment, thus the nickname, "Chicken Ranch." As the song continues, the bandleader brings the audience up to the present while the girls and customers highlight his narrative (TWENTY FANS- Male Solo to Mixed Chorus).
Willa Jean dies and leaves the Ranch to Mona, the best of the girls who tells two newcomers, one a hardened city whore and the other an inexperienced, gawky, farm girl, the rules of the Chicken Ranch. She enlists the aid of her "girls" who reel off the rules of the place (A LIL' OLE' BITTY PISSANT COUNTRY PLACE- L to F Solo and F Chorus). Mona decides to hire the newcomers on a trial basis and renames the hardened girl Angel and the other girl Shy. She attempts to bolster Shy's confidence while urging her to leave the past behind and look toward the future (GIRL, YOU'RE A WOMAN- Sc to F Solo to F Trio). During the song, Shy is transformed from an awkward hayseed to a sexily clad, though still awkward, more attractive girl of the night. She greets her first customer, an awkward young farm boy.
The scene quickly shifts to a television studio where the Dogettes, four men wearing Texas hats, sing the show's theme song (WATCHDOG THEME- M Quartet). They represent Melvin P. "Watchdog" Thorpe, a moralistic news reporter who is appalled by the Chicken Ranch (TEXAS HAS A WHOREHOUSE IN IT- Mixed Chorus). He vows to close down the Chicken Ranch as the Dogettes and chorus perform a flashlight dance that resembles a revival meeting.
Back at the ranch, Mona overhears Angel secretly talking on the upstairs phone to her mother and young son and offers to let her go home for Christmas. Downstairs, Jewel, the maid, tells the girls she is spending the next 24 hours with her husband and promises it will be something special. She steps to the bandstand and sings (TWENTY-FOUR HOURS OF LOVIN'- F Solo and F Chorus) while the girls dance together. Ed Earl Dodd, Mona's lover who is also the town sheriff, arrives to warn Mona of Melvin Thorpe's intentions, but Mona is certain the furor will quickly end.
It is Thanksgiving Day. In the Texas Twinkle Cafe, a local hang-out for the town's leading citizens, Doatsey Mae, the wise-cracking waitress, serves Edsel Mackey, the editor of the paper, and the town politicians who discuss Ed Earl's treatment of Watchdog. As the men freeze, Doatsey Mae dreams of changing places with Mona (DOATSEY MAE- L to F Solo).
It is half-time at the Thanksgiving Day football game where the Angelettes are performing a close order tap routine with look-alike dolls. This clever choreographic sequence with each girl holding a life-size doll between them causes the Troupe to appear much larger (ANGELLETTE MARCH- F Dance Number).
After the game, the team is seated in the locker room dressing for their winning evening at the Whorehouse, a traditional reward provided by a distinguished Senator Alumnae (THE AGGIE SONG- Male Chorus).
At the Chicken Ranch, the boys and the Senator are being entertained by the ladies while Mona and the sheriff reminisce about Mona's first day in town. The act ends in a frantic chase when Melvin P. Thorpe and his cohorts sneak into the Ranch to take pictures of the "happy couples." Ed Earl, runs them off as the stage clears and the bandleader promises to continue after intermission.
Act II opens with a repeat of the raid on the whorehouse. The Senator quickly dresses and blames the Communists, claiming he was doped. The reporters, led by Melvin P. Thorpe, confront the recently arrived Governor who gives his political viewpoint on solving the sticky situation (THE SIDESTEP- M Solo to Mixed Chorus). He agrees to close the Whorehouse.
At the Chicken Ranch Mona sends the girls upstairs to pack and tells Jewel she has learned not to expect much from life (NO LIES- Sc to F Duet to F Chorus).
In Ed Earl's office, a phone call from the Governor forces him to close the ranch. He contemplates his true feelings for Mona (GOOD OLD GIRL- L to M Solo) and phones to give her the official news.
The girls, in their respective rooms, sing of what they might do with their futures (HARD CANDY CHRISTMAS- Sc to F Chorus).
The sheriff arrives to ease Mona's departure, but she realizes he can never be involved in a more permanent and romantic relationship and they bid each other farewell. She introspectively studies her life (THE BUS FROM AMARILLO- Sc to F Solo). As she sings the final verse, the girls slowly move behind her while the Governor's aide presents a plaque for service to Melvin P. Thorpe.

NOTES ON THE ORIGINAL PRODUCTION

The Best Little Whorehouse in Texas won two Tony Awards in 1979 for Best Actor in a Featured Role (Henderson Forsythe) and Best Actress in a Featured Role (Carlin Glynn). Sweeney Todd took most of the major musical awards for 1979.
It appears that Mona's song "Bus From Amarillo" in the Boston tryout occurred at the end of Act I, during her reminiscent scene with Ed Earl, but the French version has the song at the end of Act II. Directors may want to consider re-positioning the full song at the end of Act I and use the Act II slot for a reprise. It is a solid dramatic number that becomes less important at the end of the show when the audience wants things resolved.
Smaller theatres have successfully utilized a unit set to represent the Chicken Ranch, and brought on chairs for the cafe and a desk and phone for Ed Earl's office. The main setting is usually sparsely furnished and the upstairs rooms have roll down blinds that may be raised and lowered appropriate to the scenic needs.
The girls need two or three costumes for the ranch sequences and, if they play the Angelettes and various townsfolk they will need more. The male chorus needs western style outfits and the Aggie boys could use some football equipment for the locker area, but may be dressed as if ready for the party rather than in uniform.
It is possible to lighten the sexual implications of the script by physically playing down certain sections and not emphasizing sexuality in the choreography. The fact remains, however that the story is based on a Whorehouse. Even though Mona tried to add class to the place by cleaning up the language and manners of the girls the innuendoes remain. It is doubtful that the show will be performed by companies who are worried about their loss of income due to the subject matter.
The characters afford good acting studies because the backgrounds of the female principals give actresses a firm foundation from which to develop a well-rounded characterization. The story, based loosely on fact, is cleverly told and the music popular among those who like a country western sound. The show has been well-received in larger communities and summer theatres where there is a wide audience to draw from. It is popular among college students and the music and large female cast would make it a good choice for theatre departments with an abundance of females.

SONGS OF SPECIAL INTEREST

"The Bus From Amarillo," poignant, older woman's examination of life, alto
"Doatsy Mae," character oriented, semi dramatic, good for mezzo with a limited range
"Hard Candy Christmas," Female, character oriented chorus number, good for beginning director to attempt in a class situation, emphasis on characterizations in chorus
"The Sidestep," may be performed as a male baritone character song in a class situation, humorous, good for freeing up a stiff performer as movement may be comedic

Instrumentation: reed, trumpet, trombone, are optional and not necessary, violin/viola, guitar, rhythm and steel, bass, drums, piano/conductor
Script: Samuel French
Score: MCA Music
Record: MCA Music
Rights: Samuel French

BIG RIVER

Book: William Hauptman
Music and Lyrics: Roger Miller
(Adapted from Mark Twain's novel Huckleberry Finn)

ORIGINAL PRODUCTION

Eugene O'Neill Theatre, April 25, 1985 (1,005 perf.)
Director: Des McAnuff
Choreographer: Janet Watson
Musical Direction: Linda Twine
Orchestration: Steven Margoshes and Danny Troob

Principals:
Huckleberry Finn- Daniel Jenkins
Widow Douglas, Aunt Sally- Susan Browning-
Miss Watson- Evalyn Baron-
Jim- Ron Richardson-
Tom Sawyer- John Short-
Ben, Hank, Fool- William Youmans-
Pap Finn- John Goodman-
The King- Bob Gunton-
The Duke- Rene Auberjonois-
Mary Jane Wilkes- Karla DeVito-
Judge, Wilkes, Silas- Ralph Byers-
Mark Twain, Doctor- Gordon Connell-
Chorus and Smaller Roles: 3F (2 must be black), 5M (2 must be black), all must sing

SYNOPSIS

The audience enters the theatre to see a scrim map of Mark Twain country which outlines the territory from Missouri to Arkansas. The overture begins with a mournful sound from a harmonica with a fiddle, Jews harp and percussion predominating. The mood and location are established. The lights rise on a rear view of Mark Twain reading one of his famous sayings. As Twain watches the saying flies out, the set is changed to represent a dining room which contains a large period style scenic painting (scrim) behind a long table and chairs. The various characters are introduced; Huck Finn, the adventurous young lad who presently lives in the home of The Widow Douglas; Jim, the widow's slave who yearns to be free so he can buy his wife and children; and Tom Sawyer, Huck's clever, though often overly dramatic, friend.
The Aunt and her friend Miss Watson, are joined by the rest of the good citizens of St Petersburg, Missouri in encouraging Huck to get an education and fear the lord (DO YOU WANT TO GO TO HEAVEN?- Mixed Chorus). Huck torn between his desire for an education and his yearning to roam free runs off. The lights rise behind the painted scrim scene to show the town in the distance. Huck meets Tom and his friends in a cave and Tom makes them vow never to reveal their secret hiding place (THE BOYS- Sc to M Solo to M Chorus). After the boys leave, Huck tells Tom he plans on running downstream and Tom promises to join him- during summer vacation. Huck realizes he must go alone (WAITING FOR THE LIGHT TO SHINE- L to M Solo). As he reaches the end of the song the bed rolls in, signifying his bedroom, and his father appears in his bedroom.
The father, a drunken bum who ran out on Huck a year ago, has heard of Huck's $300 yearly trust fund interest, and returned to claim his share. Huck is frightened of his father but must leave the widow's and move to a shack in the woods. The father begins drinking and cursing the government for ruining a man's life (GUV'MENT- Sc to M Solo). Huck enjoys the moment and humor of his father but it is soon broken when his father succumbs to the liquor and pulls a knife on the boy.
The next morning, Huck, realizing he must escape, kills a pig and spreads the blood around to make it look as if his father has killed him. He comments on Tom Sawyer's thoughts on the usefulness of pigs as Tom enters to put the words into song (HAND FOR THE HOG- M Solo).
The lights change, the moon rises as Huck enters paddling a canoe to Jackson's island. On the island he extols the virtues of being free (I, HUCKLEBERRY, ME- M Solo). Jim appears. It seems he has decided to run off and is hiding out on the island and readying the raft with provisions. Huck decides to help him in his travels but begs to return to town to see what everyone is saying. In the disguise of a woman, Huck discovers that everyone thinks he has been killed by Jim and that some men are planning on searching the island for the runaway.
He returns to the island and the two set off down river on a raft (MUDDY WATER-M Duet). As they go downstream the picture and wing pieces disappear leaving a large open space with a full drop of the winding Mississippi running off into the distance.
Along the river they hide from an overseer returning with some captured slaves (CROSSING OVER- Mixed Chorus); and convince some men looking for Jim that the only other person on the raft is Huck's father who is dying of smallpox. It begins to rain (RIVER IN THE RAIN- M Duet). The rain stops and the stars come out.
Huck asks two men being chased by the law to join them; the first, called Duke, is a broken down actor and the other, who claims he is the Dauphine of France, calls himself King. Duke promises to help King become a great actor and the two team up (WHEN THE SUN GOES DOWN IN THE SOUTH- M Trio).
Act II begins as King and Duke rehearse. They meet three half-wits and try to convince them to see the show (THE ROYAL NONESUCH-M Solo to Mixed Chorus). The show begins, a confused travesty of Shakespeare and P.T Barnum.
Huck returns to the raft where the two men have chained Jim and disguised him as a silk Arab. Huck laughs and the black is angered at his friend's ill treatment. As Jim gets out of his costume Huck considers apologizing. A difficult moment for a white youth raised in a southern state. He admits he was wrong and Jim is overwhelmed; the two embrace (WORLDS APART- Sc to M Duet).
The Duke and the Prince return dressed as gentlemen and the four continue their journey to Hillsboro. They meet a young foolish boy waiting for a boat (ARKANSAS- M Solo). The boy mistakes the men for Mary Jane Wilkes’ uncle and brother who have come from England to help her father, now dead, with his financial affairs. The two opportunists quickly decide to pose as the relatives and scheme to get the estate. They threaten to sell Jim if Huck doesn't comply and the three arrive at the estate in time for the funeral. (HOW BLEST WE ARE- F Solo to Mixed Chorus).
Mary Jane the dead man's daughter trusts that King is her uncle and gives him full power to run the estate. He and Duke prepare to sell everything, including the slaves and run off. Huck feels compassion for the girl and steals a bag of gold from the men and hides it in the dead man's coffin. Mary Jane enters by candlelight to mourn her father, she is joined by her sisters (YOU OUGHT TO BE HERE WITH ME-F Trio).
The King makes a mess of the funeral oration, which the Duke tries to correct, despite the fact he is posing as deaf and dumb relative. Huck tells Mary Jane the truth, and she promises to wait until Huck and Jim have escaped before exposing the two villains. She wants him to stay and Huck is torn between loyalty to Jim and desire (LEAVING'S NOT THE ONLY WAY TO GO-2M/F Linear Trio).
The plan is fooled when the real Uncle arrives and Huck discovers the Duke has sold Jim for forty dollars to Silas and Sally Phelps. He rushes off to save Jim. Huck arrives at the Phelps's cabin where he is mistaken for their nephew Tom Sawyer. When Tom arrives later, Huck convinces him to help free Jim. Tom agrees if he can make the moment a dramatic one. Jim waits in a shack for the boys to free him (FREE AT LAST-M Solo). Tom is shot during Jim's escape and Jim gives himself up to help the doctor save the boy. Tom tells everyone that Jim is really free because The Widow Douglas died and left Jim is freedom in her will. The only reason he didn't tell anyone before is because he wanted the adventure of the escape.
Jim and Huck go off together (RIVER IN THE RAIN- M Duet) and Jim tells Huck he has nothing to fear by returning home because his father was drowned the first night of the journey.

NOTES ON THE PRODUCTION

Big River won Tony Awards for Score, Book, Direction, Best Musical, Set Design, Lighting Design and Featured Actor. There were no awards given for Actress, Actor, or Choreography that year.
The show is performed in Story Theatre Style. Much of the success of the Broadway production was due to the marvelous sets which established the mood of the piece by opening and closing the acting area as necessary, and the excellence of Rene Auberjonois as the conniving Duke. Community theatres planning a production of this multi-scene show should carefully consider the technical aspects before acquiring the rights. It may be simplified but probably to the detriment of the overall show. There are a great many moments to be filled and the visual impact allows the audience to experience these moments more richly than. It is assumed that companies will not attempt this show without at least four blacks in the chorus to establish the slavery issue; a strong actor/singer for Jim and an endearing young man for Huck. It is further recommended that an excellent actor in the role of Duke is perhaps the most essential to the overall success of the production.
Where the roles of Jim and Huck are supplemented by expository dialogue, song and a developing relationship, the role of the Duke is one that highlights everything else and adds tremendous comedy to a piece that could become trite and overly sentimental. His comedy adds a richness to the overall tone and really enlivens the audience.

SONGS OF SPECIAL INTEREST

Instrumentation: harmonica, guitar/banjo, fiddle, trombone, drums, bass, trumpet, guitar, woodwind, piano
Script: Grove Press
Score: Record/CD: MCA Rights:

BILLION DOLLAR BABY
A musical play of the terrific 1920s

Book and Lyrics: Betty Comden and Adolph Green
Music: Morton Gould

ORIGINAL PRODUCTION

Alvin Theatre, December 21, 1945 (nearly seven months)
Director: George Abbott
Choreography: Jerome Robbins
Musical Director: Max Goberman
Orchestration:

Principals:
Maribelle Jones- Joan McCracken-
Georgia Motley- Mitzi Green-
Dapper Welch- David Burns-
Rocky Barton- William Tabbert-
M.M. Montague- Robert Chisolm-
Champ Watson- Danny Daniels-
Esme- Shirley Van-
Jerry Bonanza- Don de Les-
Ma Jones- Emily Ross-
Rocky (Dancer)- James Mitchell-
Pa Jones- William David-
Chorus and Smaller Roles:

SYNOPSIS

After most scenes in this musical, Newsboys enter announcing headlines pertinent to both historical facts of 1928-1929 and the facts of the story.
Act I, scene one takes place in a living room on Staten Island. We first hear a spng on the radio about how fun it would be to just walk up the aisle with the baby with the million dollar smile. For that, one could give up a million dollar bank note (MILLION DOLLAR SMILE- M Solo). Maribelle Jones, Miss New York, is on her way to Atlantic City for the Miss America pageant. Her father laments that her bathing suit is "too small to sneeze on."
Neighbors arrive to see Maribelle off, including Champ Watson, a boy with whom she won the Queens Dance Marathon. Mr. Jones wishes Champ would look for a decent job. Champ knows the Staten Island Ferry would take him back anytime.
Throughout scene two, the Miss America Floats are on parade in Atlantic City: Massachusetts, Oklahoma, California, Texas and New York (Maribelle).
The Miss America pageant is in the last day of competition. George Motley, the proprietress and star performer of a nightclub (read as a sleazy speakeasy) named Chez Georgia in New York City, is the judge. She arrives and gives an encouraging, yet discouraging, speech to the contestants concerning the situation of the American woman in both home and workplace. Contestant eliminations are made during a song expressing the wishes and dreams of Hollywood and Fortune. By the song’s end, Georgia has overlooked New York’s Maribelle Jones and crowned Miss Texas the new Miss America (WHO’S GONNA BE THE WINNER- F Solos).
Ma Jones tries to console Maribelle. Maribelle tells Ma to "shut up" and storms off the stage. Georgia is handed a cup to present to the new Miss America. Georgia naturally thinks the cup is for her and begins to leave. Her mistake is pointed out to her. Upon presenting the cup to the winner, she discovers a paper inside of it which gives Miss Texas the new Miss America contract, which is a week’s engagement at Loew’s State (WHO’S GONNA BE THE WINNER [REPRISE]- Full Chorus).
Scene four is the return of the Miss America Pageant floats (Oklahoma, Massachusetts, Texas, California and a disgruntled New York).
Back in the Jones’ living room on Staten Island, Champ Watson is practicing his time-step. He got his Staten Island Ferry job back. He asks Maribelle to ride the night shift with him. She is still pining about losing Miss America three weeks earlier. She bets that Miss Texas is out with the multi-millionaire M.M. Montague. She wonders how one could meet a man like that. Ma Jones tells her a girl has to make her own opportunities. Maribelle sings of how she doesn’t wish to lead an ordinary life. She will make her dreams come true, no matter what she may have to do (MAKE MY DREAMS COME TRUE- F Solo into Ballet with 3M dancers as Rudolph Valentino, Richard Barthalimiss and Ramon Navarro).
At the Staten Island ferry, a violin player is playing for the passengers. Jerry Bonanza enters and demands the violinist play something jazzy. The violinist can’t comply. Jerry gets nasty and threatens the player to learn something fast or else. Champ and Maribelle are seen talking. She has hoped that Champ has aspirations to become a millionaire. She also wants him to take the night off from his work on the ferry and go to New York. Champ leaves her to do his job, but will return.
Seeing Maribelle is upset, Jerry asks her if she was being harassed by Champ. He thought she looked like a female in distress. He also offers to take her to the Great White Way and gives her his card: "Jerry Bonanza- Beverages delivered discreetly." He is a man with connections, including the famous Georgia Motley. Maribelle asks Jerry to take her to Chez Georgia. Jerry would prefer to bring Maribelle to "good joints." Jerry tells her she will be going places tonight and leaves to make plans. When Champ checks in with her, Maribelle has recovered. In fact, she has never felt better.
Scene five, which is a dance sequence (SPEAKEASY DROP- Charleston dance), seques into the Chez Georgia. After the dance, Georgia is enticed to sing by the patrons. She warns the girls that "no one wants a blossom that has faded" (BROADWAY BLOSSOM- F Solo). After her song, Georgia argues with her man, Dapper Welch, about a dame he is fond of and a millionaire, M.M. Montague, who is fond of Georgia. Dapper is the manager of Chez Georgia. He is currently displeased with Herry for delivering "imported stuff" that blinded twenty people.
When Jerry arrives with Maribelle, Jerry is given a cool reception. On the other hand, Dapper is quite taken by Maribelle. Maribelle, keeping her rage to herself, tells Georgia that they met at Atlantic City. Georgia warns her of Jerry. Jerry wants to leave, but Dapper insists they stay. Maribelle wants to stay too. She tells Jerry that he was wrong about Chez Georgia being a "crummy joint" and "Dapper isn’t a slob at all." Hearing this, Dapper seethes and tells tales of pals who have disappeared (SPEAKING OF PALS- M Duet with Chorus).
At the end of the song, Jerry gets a phone call in the back room. He exits, followed by two gunmen. Two shots are heard. All sing the last refrain to the last song, "Whatever became of Jerry?" (SPEAKING OF PALS [REFRAIN]- Chorus).
In Georgia’s dressing room, Dapper tells Georgia that he has taken to Maribelle and wants to put her in the Jollities (Georgia’s show), set her up in his apartment for a few months, and then give her a farewell party, like he does for all his girls. Dapper’s sidekick, Rocky, announces M.M. Montague. M.M. is very disappointed to see Dapper present and proceeds to tell a very dull golf story to get rid of him. After Dapper leaves, M.M. proposes to Georgia. Georgia turns him down because "people’d think it was for the money and they’d be right." M.M. tries to entice Georgia with money, a townhouse, the Diamond Horseshoe box at the Metropolitan Opera, and his will (THERE I’D BE- M/F Duet).
Back in the Jones’ living room, Maribelle shows her Ma a big ring Dapper gave her and tells of her chance to be in the Jollities. Rocky arrives to whisk her away to Dapper’s apartment. Champ and Esme catch them leaving. Maribelle tells the two about the offer she received from "the big theatrical producer." Champ asks her if she will still accompany him on his ferry job. Maribelle tells him she won’t be able to do the ferry gig anymore.
After Maribelle and Rocky exit, Esme explains to Champ that he’s been ditched, so he should enter the marathon with her. They’ll go to Florida and win the marathon and become national heroes (ONE TRACK MIND- M/F Duet with tap routine).
Rocky and Maribelle arrive at Dapper’s apartment. She runs to a clost and tries on a ruf cape. She’s so happy she kisses Rocky. They kiss again, and again (BAD TIMING- F Solo). She can’t love Rocky because he is not the one providing the apartment and job. She threatens to tell Dapper, who enters. Rocky leaves, very confused and disappointed. Maribelle says nothing to Dapper, but gets cold feet and dodges Dapper’s advances. The doorbell rings and Ma enters with suitcases in hand; She’s moving in. Dapper is furious. Maribelle agrees to get rid of her in one day. Ma has brought all the supplies needed for a good home-cooked meal. She drags Dapper into the kitchen to help her prepare the meal. Dapper exits with the words, "If Georgia hears about this..."
At the West Palm Beach Dance Marathon, sponsored by the Kumquat Growers Association of Florida, we follow the dancers from Day 1 to Day 21 to Day 90 to Day 121 (THE MARATHONERS- Dance). Champ and Esme do very well.
At a party at Dapper’s, four months after Maribelle and Ma have moved in, Ma is the belle of the ball, leading all in a raucous song (MILLION DOLLAR SMILE [REPRISE]- Chorus). Dapper tells Ma that she has made an old-fashioned boy out of him. The guests are all awaiting Maribelle’s arrival. Georgia enters. She happily thinks that she is attending Maribelle’s farewell party. Rocky and Maribelle enter. Dapper proposes to Maribelle. Georgia attacks her and Maribelle runs to Rocky for protection. A fight ensues.
Backstage at the Jollities, Maribelle is crying. She loves Rocky and can’t stand Dapper. Ma is urging her to wed Dapper because Dapper is a provider. The Chorines enter (Note: Helen Gallagher is one of the Chorines) all excited with the news that Georgia has said yes to M.M. Georgia enters and apologizes to Maribelle. She never thought she’d see the day when Dapper went legit. Georgia leaves to get ready for Jollities finale. Rocky enters. He and Maribelle confirm their love for one another and conspire to make a getaway before the curtain call. Dapper catches them talking and suspects something. Maribelle jokes Dapperout of his suspicious mood and even gives him a generous kiss. She runs off to make her entrance. Ma comes rushing in to tell Dapper that she heard Rocky bothering Maribelle. He even threatened to kidnap Maribelle. Dapper is triggered for revenge.
Onstage at the Jollities, Georgia sings a song about how a lovely girl is like a lovely bird for both love their nest, then leave their nest by spreading their wings. As queen of the skies, each is a bird of paradise, a lovely vision for the world to see (A LOVELY GIRL- F Solo). During this song, Rocky shoots Dapper. Maribelle rushes to Rocky and pushes him away. The Chorines scream and the Act I curtain comes down.
Act II opens on Dapper’s funeral. Three molls enter. Each brings in a bouquet bigger than the previous one to place on Dapper’s casket. Other molls bring in a pillow which has written upon it the words, "Don’t worry, Dapper. We’ll get Rocky." Danny comes in and says that Rocky has been drilled full of holes and is in the East River. Maribelle, upset by this news, starts blubbering. Ma tells her to stop because they are both going to West Palm Beach. Ma knows that Champ is down there. She also knows that he’ll be glad to see Maribelle (FUNERAL PROCESSION- Ballet).
On the porch of the Plaza Hotel, in West Palm Beach, M.M. Montague is telling another boring golf story. Georgia entreats him to dance. M.M. would rather watch the Marathon. He has already won $500 betting on Champ and Esme. Georgia sings a sarcastic ditty about her glorious, boring Florida vacation (HAVIN’ A TIME- F Solo).
At the entrance to the marathon, Maribelle sees M.M. Montague. She purposefully bumps into his men and spills her purse. M.M. comes to her rescue. They talk. Maribelle is being very coy and alluring. Georgia enters and stops Maribelle’s charade. Maribelle surprises them with the news that she is in Florida to surprise her fiancé, Champ.
It is now the 143^rd day of marathon. Five couples are left, Champ and Esme among them. Esme wants to sleep. Champ calls Esme Maribelle. This fires Esme up. She is tired of being called Maribelle all the time. She wonders when he will face the fact that Maribelle deserted him. Champ says that Maribelle has been too busy to send a penny postcard. Then, Champ sees Maribelle and, with a burst of energy, he and Esme win the marathon.
At the marathon entrance, we see Champ on a stretcher surrounded by M.M., Maribelle and Georgia. Georgia says to take Champ up to her room. Mirabelle soon comes running back to M.M. She is crying. She portrays Champ as a two-timer and Georgia as the other woman. M.M. is angry at Georgia and finds himself falling in love with Maribelle (FAITHLESS- M/F Duet). M.M. and Maribelle end their song with an embrace.
In scene six, Rocky shows up at the marathon two weeks late. This scene is done in one.
In the next scene, Rocky surprises Maribelle in her Plaza Hotel bedroom. She is packing to leave for New York with M.M. She still loves Rocky, but can’t give up what she has worked so hard for. Rocky implores her to reconsider, but she can only envision life with Rocky as a gangster (SURE OF YOUR LOVE- M Solo into A LIFE WITH ROCKY- Ballet). After the ballet, Mirabelle is still packing. She is very nervous. She turns up the radio to drown out the noise of sirens and police. Rocky senses something’s up and runs. We hear gunshots.
In a church vestry, M.M.’s men warn him of an unstable stockmarket. Georgia refuses gifts from M.M. Just then Maribelle arrives bejeweled and bewitched. She quickly assures M.M. that she is not marrying him for the money (MARRIAGE PANTOMIME- Dance).
Right after the ceremony, Georgia enters with a newspaper with the headline "CRASH." She shows M.M. who collapses. Meanwhile, Maribelle has been taking off her expensive jewelry and tossing it to her guests. M.M. sees this and tries his best to stop her. While Maribelle dances the Charleston with the wedding guests, bankers stalk M.M. Montague. The Newsboys run up the center aisle announcing the fall of multi-millionaire M.M. Montague.

NOTES ON THE PRODUCTION

SONGS OF SPECIAL INTEREST



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

BLOOD BROTHERS

Book, Music and Lyrics: Willy Russell

ORIGINAL BROADWAY PRODUCTION

Music Box Theatre, April 25,1993 (839 perf.)
Directors: Bob Tomson and Bill Kenwright
Musical Directors: Rod Edwards and Rick Fox

Principals:
Mrs. Johnstone- Stephanie Lawrence- Mezzo
Narrator- Warwick Evans- Tenor
Mickey- Con O’Neill- Baritone
Eddie- Mark Michael Hutchinson- Tenor
Sammy- James Clow- VTNE
Linda- Jan Graveson- Mezzo
Mrs. Lyons- Barbara Walsh- Mezzo
Mr. Lyons- Ivar Broggerr- VTNE
Chorus and Smaller Roles: 4M/3F minimum

SYNOPSIS

The house lights dim and we hear haunting humming in the background. A backdrop of Liverpool, England is seen as the Narrator enters to tell the story. Mickey and Eddie walk on from opposite sides of the stage and lie down on two separate stretchers, which we realize indicate they are dead. Two dock workers enter to cover each body as news photographers arrive to take flash photographs. Two bodies lie on the stage and various people come on who played a part in their lives and relate to the bodies of each brother. The boys’ mother, Mrs. Johnstone begs it not to be true and the Narrator begins the story of the Johnstone twins who were separated at birth. Two dock workers take off one brother and then the other. The story-theatre style is set as everyone but Mrs. Johnstone and the Narrator exits. The Narrator whips Mrs. Johnstone’s coat from her shoulders as she turns and starts singing. The Narrator exits sharply. All of his moves are very deliberate, crisp and sure. He appears and disappears throughout the action of the piece.
The story flashes back 20 plus years as the mother becomes younger in movement and manner, to the time when she was likened to a famous film star (MARILYN MONROE #1- F Solo). She dances with little care but, as the story continues with the chorus taking on various characters, the audience discovers that her husband has left her with 7 starving children and she is pregnant again.
Mrs. Johnstone gets a job as a cleaning lady for Mrs. Lyons, a wealthy woman who can’t have children. The Narrator enters and places a rug SL as others bring on a loveseat and coffee table to set the stage for the Lyons household. This type of set change is used throughout the play. In the Lyons home Mrs. Johnstone discovers a pair of shoes that Mrs. Lyons has put on the table and tells her of the superstition surrounding new shoes on the table. Mrs. Lyons teases her but later uses Mrs. Johnstone superstitious nature for her own ends.
The scene switches to the doctor’s office (with the doctor being played by a chorus member) where Mrs. Johnstone learns that the baby she is expecting is not one baby but two. She is worried because she could manage the expense of one child, but not two.
The next day she tells Mrs. Lyons she is having twins and Mrs. Lyons suggests giving one to her and tells how much she has always wanted a son (MY CHILD- F Solo to F Duet). Mrs. Johnstone considers all the boy would have and agrees. Mrs. Lyons makes Mrs. Johnstone swear on the Holy Bible that no one will ever know the truth.
The Narrator appears to remind everyone that "a debt is a debt and must be paid." The babies are born (mimed), her creditors appear to repossess the radio, which she has purchased for her home and Mrs. Johnstone realizes the problem of living on credit (EASY TERMS- F Solo with Mixed Chorus).
Mrs. Lyons arrives at Mrs. Johnstone’s home and discovers the children have been born. She needs her son now because her husband is returning from a long trip and she must have the baby when he comes home. Mrs. Johnstone is upset and tries to keep the child, but is reminded of her promise on the Bible. Mrs. Lyons chooses one of the boys and tells Mrs. Johnstone to take the week off from work. Mrs. Johnstone is devastated by Mrs. Lyons’ actions. When the kids on the sidelines ask what happened to the other twin she tells them the baby died
One week later Mrs. Johnstone is at Mrs. Lyons house where Mr. Lyons is looking at his "son" with great pride. Mr. Lyons leaves for work and Mrs. Lyons, afraid to have Mrs. Johnstone around her son, fires her. Mrs. Johnstone threatens to go to the police but Mrs. Lyons tells her she won’t be believed, gives her money and tells her to leave. Mrs. Lyons tells her the superstition that if either twin learns of the other’s existence, they both will immediately die. The Narrator looks at Mrs. Lyons and tells her that "The Devil’s got your number" (SHOES UPON THE TABLE- M Solo). He exits sharply.
Seven years later, Mickey comes onstage to complain to Mrs. Johnstone about being youngest of seven siblings and bemoans the fact that he isn’t included in the older kids’ games. When he tells her that he has been playing by the big houses near the park, she gets upset and tells him to stay away from the rich neighborhood but she won’t say why. He is upset to think he can’t roam the way the other kids can; he doesn’t consider himself to be seven because he is nearly eight. (NEARLY 8- Monologue). Edward Lyons, another seven-year old with excellent manners and a rich look about him, befriends Mickey. They discover that they have a birthday in common and Mickey asks Eddie to be his blood brother, cuts his own hand and Eddie’s, and they make a pact.
Sammy, Mickey’s older brother who is a bit of a goof off and a delinquent, enters and his attitude and language overwhelm Edward. When Mrs. Johnstone is introduced to Eddie Lyons, she fearfully instructs him never to come back again (EASY TERMS [REPRISE]- F Solo).
The scene shifts to the Lyons household where Mickey arrives looking for Eddie. When Mrs. Lyons discovers Mickey’s last name is Johnstone, she angrily tells him to go home because it’s Eddie’s bedtime. She is terribly afraid and turns her anger on Eddie, presumably for playing in a poor area. Eddie swears at his mother and she slaps him. Both are horrified by the mother’s actions.
The scene shifts to the street- where a chorus of kids leap onstage and fight play (KIDS GAME- Mixed Chorus). They mime shooting and playing gangsters and cowboys and Indians. Chorus kids who are specific characters, i.e. Linda and Sammy, have color in their costumes to differentiate them from non-family members. This scene is an action oriented one and should be fully staged with lots of movement and kids’ games.
Mickey shows Linda, a girl his age, Sammy’s air gun and takes her to Eddie’s house. He convinces him to come to the park with them. Mrs. Lyons is fretful when she discovers Edward has gone off and Mr. Lyons attempt to calm her, but the Narrator suddenly appears, almost as her inner thoughts, to remind her that there are "gypsies in the wood" (GYPSIES IN THE WOODS- M Solo). Mr. Lyons attempts to calm his wife, who is overly worried about Edward and Mickey’s relationship.
The next scene takes place in the park where Eddie, Mickey and Linda are taking turns playing with Sammy’s air gun. Linda proves to be the better shot. A chorus member wearing a policeman’s jacket and cap enters and Eddie decides to show that he is one of the gang by being fresh to the bobby. The policeman decides to teach them a lesson and takes them home to their parents.
He takes Mickey home first and warns Mrs. Johnstone she will go to court if she doesn’t keep control of her children. He is very harsh with her and she dreams of moving away and starting a new life. When the cop takes Eddie home he has a nice chat with Mr. Lyons and tells him that Edward seems like such a good lad, that he best not mix with the gang of hooligans. Mr. Lyons decides it would be best for Mrs. Lyons’ nerves and Edward’s future if they moved to the country. When he mentions this to Edward, the boy begs him not to move.
Eddie goes to see Mrs. Johnstone to tell her they are moving to the country and wants to see Mickey. He cries and falls into her arms and she gives him a locket with a picture of Mickey and her to take with him to remember them both. He looks at her lovingly and tells her she is special. Mickey and Eddie say goodbye and Eddie exits sadly.
The Lyons have moved and Edward is thinking of Mickey and feeling lonely in his new home. Meanwhile Mickey goes to Eddie’s old house to find out if anyone has an address where he can be reached, but is sent away by the new owner. The two, in separate areas of the stage that represent their homes, sing about their loneliness (LONG SUNDAY AFTERNOON/ MY FRIEND- M Linear Duet).
Telegrams comes for Mrs. Johnstone and the other neighbors regarding a moving notice that will take them all to the country and out of the slum they live in. Mrs. Johnstone is excited because she will be able to start life over again. She bursts into song and embraces her various children as she tells them the news. Everyone is excited that they are moving and the cast launches into song with her (BRIGHT NEW DAY- F Solo to Mixed Chorus). Act I ends in a vibrant and colorful full stage, movement number.
At the opening of Act II, Mrs. Johnstone updates the audience on what has happened in the past 6 years (MARILYN MONROE #2- F Solo and Mixed Chorus). She is overjoyed because her life is so much better, despite the fact that Sammy burned down the school. The bright side is that the judge only gave Sammy probation. She wonders how her other fourteen-year old son is doing.
The scene shifts to the Lyons’ country house where a happy Mrs. Lyons is teaching the fourteen-year old Edward to dance before he returns to prep school. She is much happier and more relaxed now that Mrs. Johnstone is out of their lives.
The next two scenes show the boys in their respective schools as a parallel to their different stations in life. Fourteen-year old Mickey meets a very mature, mini skirted, fourteen-year old Linda at the bus stop. It is very obvious that she is attracted to him as much more than a friend.
At Edward’s prep school his teacher confronts him about wearing a locket around his neck and tries to take it away. Edward refuses and, when he curses the teacher, he is thrown out of prep school.
The scene shifts to Mickey’s classroom where the same chorus member portrays his teacher. When he is unable to answer the teacher’s questions, Linda stands up for him and the two are suspended.
Mrs. Lyons confronts Edward about the reason for his expulsion and he shows her the locket. She thinks that the picture in the locket is of Mrs. Johnstone with Edward but he laughs at her having mistaken him for Mickey. She overreacts in fear and the Narrator once again warns her that the devil has her number.
The scene switches to Linda and Mickey crossing a field that looks out on a large house. She tries to seduce him, but is unsuccessful and leaves in a huff. Mickey sees a young boy in the window of the house and yearns to be like him because he is sure that the other boy would know what to do in a similar situation (THAT GUY- M Linear Duet). Eddie feels the same way.
The boys recognize each other and catch up on the missing years spent apart. Eddie gives him a lesson in talking to women and the two decide to go see an X rated movie to learn how to talk to women. They go to Mickey’s house and get some money for the movie, pretending they’re on their way to a regular movie, but Mrs. Johnstone sees through their ploy and gives Mickey the money anyway. She is happy to see Eddie again and glad the boys are together.
Mrs. Lyons comes to see Mrs. Johnstone to confront her about the locket and accuses her of following them to the country in order to get Edward back. In desperation she offers her money to move again, but Mrs. Johnstone says no. Mrs. Lyons is obviously in failing mental health due to her fear that Mrs. Johnstone will have a hold on Edward. She pulls a knife from the table and goes at Mrs. Johnstone. Mrs. Johnstone protects herself and accuses Mrs. Lyons of being mad, which she obviously is, and Mrs. Lyons leaves in haste (MADWOMAN- Mixed Chorus).
The boys are miming actions of movie spectators and they clearly react to what they see on screen. When they leave the film they meet up with Linda and her friend Brenda. Linda is reintroduced to Eddie and the three instantly get into mischief. A bobby enters and the three friends take off. We see the teens go from age 15 to 18 (SUMMER SEQUENCE-M Solo) as the three friends spend all their time together.
It is summer’s end and Eddie and Linda are waiting for Mickey. Eddie tells Linda he is going to university tomorrow. He loves Linda but knows that she yearns for Mickey, so he decides to bring the two together (I’M NOT SAYING A WORD- M Solo with Chorus). Eddie helps Mickey ask Linda out and she accepts. Eddie leaves for school.
Mickey tells his mother that Linda is pregnant and she asks him when the wedding will be. Times are bad in Liverpool and soon Mickey gets fired. The man he works for happens to be Mr. Lyons. Mr. Lyons has his secretary, Miss Jones, hand the men their pink slips and, by the end of the song, Miss Jones has received hers too (TAKE A LETTER MISS JONES- M Solo with A Capella Chorus).
Eddie comes home for Christmas holidays and prepares to party with Mickey and Linda, but he greets a very changed Mickey who tells him he has no money because he is out of work. When Eddie offers him some money, Mickey gets angry and realizes that the two have grown very far apart. Eddie is hurt and confused and tries to make things all right, but Mickey tells him to get out.
Linda sees Eddie at the same time that Sammy convinces Mickey to take part in a robbery and Eddie proposes to Linda, Linda tells him she is married and pregnant
Mickey goes off with Sammy to act as lookout, a man is shot and Mickey gets sentenced to 7 years in jail (MARILYN MONROE #3- F Solo).
Linda gets a job to support the family and, in jail, a doctor puts Mickey on pills for depression. Linda is confused by the indifferent and medicated Mickey and tries to get him off the medication. It turns out that Eddie has helped Linda find a job and, unknown to Mickey, has managed to get them government housing. Mickey discovers that he must be indebted to Eddie and is angry.
The Narrator talks about Linda and her dreams as she calls Eddie to ask his advice about Mickey and they agree to meet in the park. Mrs. Johnstone comments as their innocent relationship grows and the narrator enhances the moment (LIGHT ROMANCE- F/M Linear Duet with Chorus). Mrs. Lyons, a crazed and disheveled woman, runs to Mickey to point out Linda and Eddie in the park. Mickey, who has stopped taking his medication, snaps and runs to find a gun (MADMAN- Narrator and Mixed Chorus). Mrs. Johnstone runs after him and finds Linda who sends her to city hall, where town councilor Eddie is holding a meeting. Mickey accuses him of taking Linda from him; he thinks even his child might be Eddie’s. The policemen enter and tell Mickey to put down the gun, but Mickey is confused and waves the gun about. His mother enters and tells him that he and Eddie were separated at birth and that Eddie is his brother. Mickey shouts that he could have been Eddie and, as he waves the gun about, says repeatedly that it could have been him. Mickey shoots Eddie and is shot by the police. The finale is same look as opening (MARILYN MONROE #4 [FINALE]- F Solo builds to Company).

NOTES ON THE PRODUCTION

Although the show had a relatively short life on Broadway, Blood Brothers was a major hit in London, opening in 1983 and starring Petula Clark. It was remounted and still running as of winter 2000. The music is pop in style and the show appeals to a young audience because it is about three very different young people, their emotions and their stories. It contains showcase material for the Narrator, Mrs. Johnstone, Linda, Mickey, Eddie and Mrs. Lyons and is a good entry for a state contest. The role of the narrator almost appears to be a late thought because the character acts as a cross between a storyteller and a moral commentator. A creative director might seriously consider having the narrator character divided into two or three characters, one, a male to tell the story narrative, and the other two, alter egos of Mrs. Lyons and of Mrs. Johnstone. The change would add two more females to the company (something colleges and area theatres are always searching for) and add a tangible relationship between the women and their fears.
The show demands Liverpudlian accents, which is one of the most difficult accents to master. The major problem with young people working on accents is that often the accents are so varied that one does not even know that they are in the same play. It is important to demonstrate that there are three classes of people in this production- the wealthy, the poor and the middle class workers.
The style of the production, narrative story-theatre, requires an open stage with room for movement. Many of the scenes are small in size and since the story tends to be very dark an open space is necessary to highlight the children’s game and "Bright New Day" sequences. The audience must see the abandonment and enjoyment in these heightened moments and the lighting and mood must be bright.

SONGS OF SPECIAL INTEREST

The songs are tightly integrated into the show and don’t stand too well alone, though Mickey has some excellent monologues, which may be worth considering for an audition.

Instrumentation: 2 keyboards, saxophone, trumpet, bass guitar, percussion, drums
Script: Samuel French
Score: NP
Record/CD: 1995 London Cast album-RCA Victor
Rights: Samuel French

THE BOY FRIEND

Book, Music and Lyrics: Sandy Wilson

ORIGINAL PRODUCTION

The Royale Theatre, September 30, 1954 (484 perf.)
Director: Vida Hope
Choreographer: John Heawood
Musical Director: Anton Coppola
Orchestration: Ted Royal and Charles Cooke

Principals:
Polly Browne- Julie Andrews- Soprano
Bobby- Bob Scheerer- Baritone
Tony- John Hewer- Tenor
Hortense- Paulette Girard- Mezzo
Percival Browne- Eric Berry- High Baritone
Maisie- Ann Wakefield- Mezzo/Alto
Mme. Dubonnet- Ruth Altman- Mezzo
Lord Brockhurst- Geoffrey Hibbert- Baritone
Dulcie-Dilys Lay- Alto
Chorus and Smaller Roles: 3F/3M

SYNOPSIS

In the drawing room of the Villa Caprice Finishing School, located near Nice, Hortense, the chic maid, admonishes her charges about their behavior. The girls insist they always act properly (WE’RE PERFECT YOUNG LADIES- F Solo to Small F Chorus). Dulcie, Maisie, Fay and Nancy, four students at the school, are extremely excited about the forthcoming carnival ball and girlishly comment on their dresses and their dates. When Polly Browne, one of their more quiet friends, approaches the girls with a letter from her boy friend they beg her for the details (THE BOY FRIEND- F Solo to Small F Chorus to Small M Chorus).
Madame Dubonnet, the very attractive owner of the school, sends the girls to their classroom but takes Polly aside. She discovers that Polly has made up an imaginary, boy friend because her millionaire father thinks men are only after her wealth. Madam Dubonnet promises to talk to her father who is arriving this very morning. Polly gratefully rushes off to class.
Maisie, the flirtatious, soubrette of the group, enters to retrieve her "dorothy bag" but Bobby Van Heusen, a good-looking, wealthy, young American jet-setter, interrupts her search. Maisie is quite chagrined that he is on the premises but secretly pleased when he asks her to dance all evening (WON’T YOU CHARLESTON WITH ME?- Sc to M/F Duet).
Percival Browne, Polly’s father, arrives and is shocked to discover that Madame Dubonet is his wartime flame "Kiki." She asks if he remembers one of their more romantic moments but he denies everything. When she recreates the moment he reluctantly joins in (FANCY FORGETTING- Sc to M/F Duet). She is about to kiss him but is interrupted by offstage giggles. The two exit to tour the school.
The girls enter with Polly who begs off trying on her ball costume claiming she is waiting for her father and her boy friend. Alone in the drawing room she is surprised by Tony, a delivery boy who brings her costume. He eagerly asks her to the ball, apologizes for appearing forward, and bursts into song. (I COULD BE HAPPY WITH YOU- Sc to M/F Duet). They agree to meet later that afternoon on the beach. He hurriedly exits leaving a happy Polly. (THE BOY FRIEND [REPRISE]- Mixed Chorus).
Act II opens at the beach. The boys and girls are frolicking (SUR LA PLAGE- Mixed Chorus) as Lord Brockhurst, a wealthy Englishman with an eye for the female figure, enters. He is quickly followed by his domineering wife who is distraught with grief over the sudden disappearance of their son, Tony.
Polly tells Tony she is Madame Dubonnet’s secretary and quite content with the simple things in life. He is enthused by her response and the two mime their ideal life (A ROOM IN BLOOMSBURY- Sc to M/F Duet). Hortense arrives dressed in her Sunday best and threatens to tell Madame Dubbonet, but Polly takes her aside and swears Hortense to secrecy.
The boys and girls corner Hortense and try to trick her into telling about Polly’s beau but she refuses and gaily responds (IT’S NICER IN NICE- F Solo to Mixed Chorus). As the number ends Hortense spies Madame Dubonnet and hastily exits.
Mme. Dubonnet, in a 20s bathing costume, attempts to involve Percy in the pleasures of Nice, but when he realizes that there are other men attracted to her, namely Lord Brockhurst, he attempts to leave. Madame Dubonnet accuses him of being a "damp blanket" (YOU DON’T WANT TO PLAY WITH ME BLUES- Sc to M/F Duet with F Chorus).
Maisie, trying to make Bobby jealous, shows her true spirit by flirting with all the boys on the beach (SAFETY IN NUMBERS- F Solo and Small M Chorus).
Polly and Tony return as Lord and Lady Brockhurst recognize their missing son. A Gendarme is called and Tony hastily exits. Polly, assumes he is a thief and sobbingly tells the company she won’t be going to the carnival ball (I COULD BE HAPPY WITH YOU- F Solo to Mixed Chorus).
Act III begins at the Cafe Pataplon where the boys and girls have gathered for the Carnival Ball. During the course of the evening Maisie, Dulcie, Fay, and Nancy are proposed to by Bobby, Alphonse, Marcel, and Pierre respectively. While the girls delay their decision making, they decide to pass the time dancing (THE RIVIERA- Mixed Chorus).
Tony meets Hortense who accuses him of ruining Polly’s evening. He persuades her to bring Polly to the ball and promises to make amends. Hortense agrees.
In a corner of the room, Dulcie angrily slaps Pierre’s face and Lord Brockhurst suggests that she should experiment with older men (IT’S NEVER TOO LATE TO FALL IN LOVE- Sc to M/F Duet).
Polly, in a Pierrette costume, arrives at the ball alone and terribly hurt by Tony’s betrayal, but Madame Dubonnet tells her an old French legend and assures her that Pierrot will arrive (POOR LITTLE PIERRETTE- Sc to F Solo). Tony does arrive to tell her that he is not a thief, but the son of Lord and Lady Brockhurst and that he wishes to marry her. She happily consents and tells him that she is the daughter of millionaire Percival Browne. The play ends happily with all the couples, including Madame Dubonnet and Percy, agreeing to marry (FINALE- Mixed Chorus).

NOTES ON THE PRODUCTION

The play, a spoof on the plots and songs of the 20s musicals, is fun to perform for principals and chorus alike. It is a small cast show but, in larger schools with a great many female students in the drama club, a larger female chorus may be used. There are many good women’s roles, which is quite unusual for vintage style musicals.
It can be successfully produced by Junior High school students and is enjoyable for audiences of all ages. The scripts calls for three sets, one for the finishing school, one for the beach area, and one for the cafe. Some productions have used the same set for Act I and III by changing the properties and adding Japanese lanterns.
The entire cast needs approximately 3 costumes each, one for each Act. Act II primarily consists of vintage style bathing suits, Act I typical 1920 street clothes, and Act III the Carnival costumes. It is possible to have the boys in the same costumes in both Acts I and II using the girls to create the visual interest.

SONGS OF SPECIAL INTEREST

"The Boy Friend," F chorus, good revue number which calls for period style movement and attitudes
"It's Never Too Late to Fall In Love," older male Baritone and young Alto character oriented, humorous
"Perfect Young Ladies," period F chorus, requires definitive characters
"A Room in Bloomsbury," Tenor/Soprano charm song, calls for some mime, and soft shoe
"Won’t You Charleston with Me?," period movement oriented Mezzo/Baritone duet, nice scene before to develop character and game playing

Instrumentation: 3 reeds, 2 trumpets, trombone, percussion, 2 violins, bass, banjo or guitar, piano/conductor
Script: Chappell, E.P. Dutton
Score: Chappell
Record/CD: RCA/MCA
Rights: MTI

BOYS FROM SYRACUSE

Book: George Abbott
Lyrics: Lorenz Hart
Music: Richard Rodgers
(Based on Comedy of Errors by Shakespeare)

ORIGINAL PRODUCTION

Alvin Theatre, November 23, 1938 (235 perf.)
Director: George Abbott
Choreographer: George Balanchine Musical Director: Harry Levant Orchestration: Hans Spialek

Principals:
Dromio of Syracuse- Jimmy Savo- Baritone
Dromio of Ephesus- Teddy Hart- Tenor
Antipholus of Syracuse- Eddie Albert- Baritone
Antipholus of Ephesus- Ronald Graham- Baritone
Luce- Wynn Murray- Alto
Adriana- Muriel Angelus- Mezzo
Luciana- Marcy Westcott- Soprano
Courtesan- Betty Bruce- Alto
Tailor’s Apprentice- Burl Ives- Baritone
Chorus and Smaller Roles: 6M/6F

SYNOPSIS

The scene opens in a square in Ephesus, which is located in Ancient Greece. We are introduced to Dromio of Ephesus and Dromio of Syracuse and we learn from them that this is "a story of mistaken identity" and also that it is based on a Shakespearean play.
Act I begins when Aegean of Syracuse is dragged on stage by the Corporal to the Duke who pronounces a very severe sentence on him. He will be executed because he is a Syracusian, thus unwanted in Ephesus. Aegean tries to explain that he has been searching for his twin sons, their twin slaves and his wife, who were all lost at sea when their ship was "torn asunder". The Duke, Corporal and crowd do not believe him (I HAD TWINS- Mixed Chorus and 3 M Singers).
Dromio and Antipholus of Ephesus enter as the crowd carries Aegean off to the prison. They agree that anyone from barbaric Syracuse ought to be executed. Dromio tries to get Antipholus to go home to his wife, Adriana, since she has ordered him to do so. Dromio knows that he will be the one who is blamed for Antipholus’ mistakes. As the two exit, Dromio and Antipholus of Syracuse enter. They are followed by a merchant of Syracuse who tells them to leave Ephesus because it has become too dangerous for them.
Antipholus of S (Syracuse) doesn’t like the idea since he has spent years searching for his mother, brother and Dromio’s brother without any success. But, as the crowd becomes louder, he finally agrees to do so. Dromio leaves to prepare for the trip. Antipholus sings about his love for Syracuse (DEAR OLD SYRACUSE- M Solo).
Dromio of E (Ephesus) enters and tells Antipholus of S, who he thinks is his master, that he must go home quickly because his wife is looking for him. Antipholus thinks that this is Dromio of Syracuse, drunk. Both sets of Dromios and Antipholi (Antipholus of S and Antipholus of E) are identical, so one understands the mistakes of both Dromio of E and Antipholus of S. Antipholus leaves and Dromio’s wife, Luce, enters. She is angry because he does not pay enough attention to her and tells him so with a song (WHAT CAN YOU DO WITH A MAN- M and F Duet).
Scene two begins with Adriana asking her sister, Luciana, where that husband of hers, Antipholus, is. Angrily she tells Luciana to stay away from romance (FALLING IN LOVE WITH LOVE- F Solo). Luce and Dromio of E join the two women. Dromio tries to tell Adriana that Antiphulus has gone a little crazy but she will not listen and sends him back out again after her husband.
As scene 3 opens, the audience once again is privy to the square. Antipholus of S. and Dromio of S. meet. Antipholus is extremely angry at Dromio because he does not realize that the Dromio he was speaking to was not Dromio of S. Adriana and Luce come searching for their husbands and think that they have now found them. There is obviously much confusion as the women try to make the men go home. Both men decide that they will go with them since they really have nothing else to do. Before they leave, a sorcerer shows up selling magic. The four refuse his services and leave.
A number of courtesans appear in the square. The sorcerer attempts to do business with them, but they also refuse him. Another courtesan enters looking for Antipholus of E. He arrives and she asks him to spend the evening with her. He remarks that he must be at home once in awhile. She exits pouting. Antipholus is approached by the goldsmith, Angelo, who tells him the gold chain that he ordered is ready. Antipholus says that he will pick it up later at the goldsmith’s shop. The courtesan tempts Antipholus again. He finally agrees but, before he leaves, Antipholus discusses the romantic things that Adriana says to him with the Sergeant. The courtesan jealously remarks that these compliments should be set to music (THE SHORTEST DAY OF THE YEAR- M Solo). Antipholus is quite awed by her flirtations.
Meanwhile, Antipholus of S. has become interested in Luciana. He is struck by her and immediately falls in love. Luciana reminds him that he should not talk to his sister-in-law in that way. However it is obvious that Luciana is in love with him (THIS CAN’T BE LOVE- M and F Duet).
Suddenly, a confused Dromio runs into the room. He says, "Do you know me, Boss? Am I Dromio?" Luce, Dromio of E.’s wife, has been chasing him around the kitchen hoping to catch him and have a little fun at the same time. Adriana sends both Dromio and Luce away.
Scene five begins in street before Adriana’s house. Antipholus and Dromio of E., who have been out late, arrive. Dromio of E. is very nervous over the prospect of getting hit over the head by Luce, who he is sure is waiting behind the kitchen door. Antipholus haughtily remarks that he wouldn’t let a woman do that to him. He tries the door but finds it locked. This takes him completely by surprise. He begins to yell, "Open this door!" Adriana tells him to go away. As a result of the commotion a crowd gathers and both men are forced to leave the premises. They go to the courtesan’s house. Antipholus is extremely jealous and refuses to be calmed by her. She and her friends perform a ballet for him (LET ANTIPHOLUS IN- Dance).
The curtain rises on Act II and it’s the next morning at Adriana’s house. The maids, the goldsmith, Sergeant and courtesans all sing about the ladies of the evening (LADIES OF THE EVENING- Mixed Chorus). Adriana enters beaming. Dromio of S. and Luce approach the scene arguing quite steadily. Adriana reprimands them both, then exits with Luce. Antipholus of S. appears and sends Dromio to look for a Sycusian ship in the harbor. As he leaves Angelo enters. He gives Antipholus of S. the gold necklace meant for Antipholus of E. Antiopholus tries to resist accepting it but he is forced to. Luciana enters. He tells her that he is leaving her sister. They sing a love song (YOU HAVE CAST YOUR SHADOW ON THE SEA- M and F Duet).
Scene II begins in the square where the Goldsmith asks Dromio of E. where Antipholus is. Antipholus of E enters. Angelo needs the money for the necklace now because he owes a merchant a considerable sum. A mix-up begins when Antipholus of E. says that he has not received the chain and the merchant becomes angry. Antipholus sends Dromio of E. for some money. In the middle of this confusion, Dromio of S. walks in with the news that their ship leaves in an hour. Soon Antipholus of E. is arrested and Dromio of S. is sent for money in order to bail him out (COME WITH ME- 3 M Singers and M Chorus). They all leave.
Dromio of E. enters running wondering where they have gone. The same sorcerer enters and tells him that he can give him a vision of his long lost brother. He does and we learn just how much he misses his twin (BIG BROTHER- M Solo). The curtain falls. Inside Adriana’s house, Luciana is crying to Adriana because Antipholus has approached her. Adriana tells her that men are like that. Luciana then goes on to tell her what her love will be like (SING FOR YOUR SUPPER- 2F Singers and Ensemble). Suddenly Dromio of S. rushes in to Adriana requesting money for Antipholus’ bail. She quickly gives it to him.
Meanwhile, at the square, the Merchant of S. and Antipholus of S. are wondering where Dromio is. Dromio of S. enters asking him if he has escaped the cops. The courtesan walks in with a proposition for Antipholus, which he refuses. She spies the gold chain he is wearing, which Antipholus of E. had bought for her, and attempts to get it from him. Antipholus of S., who doesn’t know her, pushes her away. A fight ensues. The courtesan says to Luce that she wants an old-fashioned, honest man (OH, DIOGENES- F Solo and Mixed Chorus).
As the last scene begins, the audience is taken outside the temple. Angelo and the Merchant of E. are present. They watch Dromio and Antipholus of S. enter and Angelo notices that Antipholus is wearing the very chain that he said he didn’t have. Antipholus and the merchant argue about the chain and eventually draw swords. The crowd enters from all sides. Dromio and Antipholus of S. run into the temple. A mysterious Seeress appears among the crowd asking questions. Adriana attempts to get her arrested for turning her husband mad.
We learn that Antipholus of E. has broken out of jail. He enters. The prisoner, Aegean, speaks to Antipholus and Dromio of E. He asks them if they recognize him. Both reply negatively. Aegean tells Antipholus that he is his father. Out of the temple come Antipholus and Dromio of S. It is discovered that the two Antipholi (Antipholus of S and Antipholus of E) and the two Dromios are brothers. Aegean is the father of both Antipholi and the Seeress is their mother. The curtain falls after a brief song (THIS CAN’T BE LOVE- Company).

NOTES ON THE PRODUCTION

The play revolves around the twins Antipholus, lost at birth and their twin servants, the Dromios. Interspersed with witty dialogue, comedic business and a marvelous score, the show still proves to be entertaining.
It was successfully revived Off-Broadway on April 15, 1963 and ran for 502 performances. The 1963 script was revised by Fred Ebb and contains many directorial and choreographic notes, a detailed ground plan, costume plots, technical notes and property lists.
Basically a four set show that takes place: in a square, inside the house of Antipholus, on a Street outside the house of Antipholus and in the House of the Courtesans. It is possible to combine the street and the square into one unit, and possibly the two interiors into one interior.
The action must be broadly played and quickly paced order to keep the confusion comedic. Many of the musical numbers are popular standards and will be a good selling point.

SONGS OF SPECIAL INTEREST

"Oh, Diogenes," Comic, Alto Solo, witty lyrics, not often performed, good for Revue. Sung by the Courtesan who has just been seemingly lied to by Antipholus. She comments to the chorus that all men are crooks
"Sing for Your Supper," F Trio, tight harmony, potential show stopper, good for Revue. Adriana, Antipholus of Syracuses’s wife and Luce, her servant, try to comfort Luciana (Adriana’s unmarried sister) who has just fallen in love with Antipholus (actually of Epheseus), whom she believes is her sister’s husband. Adriana tells the women it is best to please the men in your life
"This Can’t Be Love," Nightclub standard, originally a Soprano/Baritone Duet sung by Antipholus of Epheseus upon meeting Luciana. As the song progresses she finds she is falling in love with the man she believes to be her sister’s husband and hastily exits

Instrumentation: 3 reeds, trumpet, trombone, 2 percussion, 2 violins, cello, bass, harp, piano/conductor
Script: NP
Score: Chappell
Record/CD: Columbia,
Rights: R & H

BRIGADOON

Book and Lyrics: Alan Jay Lerner
Music: Frederick Loewe

ORIGINAL PRODUCTION

The Ziegfield Theatre, March 13, 1947 (581 perf.)
Director: Robert Lewis
Choreographer: Agnes de Mille
Musical Director: Franz Allers
Orchestrations: Ted Royal

Principals:
Tommy Albright- David Brooks- Baritone
Fiona MacLaren- Marion Bell- Soprano
Meg Brockie- Pamela Britton- Alto
Mr Lundie- William Hansen- VTNE
Charlie Dalrymple- Lee Sullivan- Tenor
Jeff Douglass- George Keane- VTNE
Harry Beaton- James Mitchell- VTNE
Jean MacLauren-Virginia Bosler- VTNE
Chorus and Smaller Roles: 14M/12F, usually a separate dance chorus 8M/8F

SYNOPSIS

The curtain rises at the end of the overture and a haunting chorus is heard (ONCE IN THE HIGHLANDS- Mixed Chorus) offstage which fades out as the action begins.
It is five o’clock on a misty morning in the Scottish highlands. The time is the present day. Two American tourists, Tommy Albright, an attractive yet sensitive man in his thirties, and Jeff Douglass, his happy go lucky friend, are lost in the middle of nowhere. As they wait for the mist to clear they discuss their different attitudes on life. It seems that Tommy, who has a successful life and is engaged to a wonderful girl is searching for something more, Jeff can't understand what more there could be. The two are interrupted by the sound of distant, almost hallowed singing (BRIGADOON- Mixed Chorus) and as the mist clears they spy a distant village that isn't in their guidebook or on the map. The two set out for the little town.
The scene switches to the town of Brigadoon where the Scottish villagers, dressed in eighteenth century peasant garb, are involved in the town fair. Vendors’ calls inviting people to the weekly fair are heard and as people rush to the sound (VENDORS' CALLS- Mixed Chorus) the curtain opens on the central square of Brigadoon, complete with market booths. The booths' owners urge everyone to buy their wares as the various central figures are introduced (DOWN IN MACCONNACHY SQUARE- Mixed Chorus).
Lovely Fiona MacLaren and her shy sister Jean enter with their father to buy a waistcoat for Jean's forthcoming wedding to the handsome, well-educated Charlie Dalrymple. Harry Beaton, The weaver's son and former suitor to Jean, greets the girls despairingly. He is angered that Charlie Dalrymple has graduated from the university and won Jean, two things that he can never achieve for himself.
Fiona sets out to buy the food for the wedding supper and stops to buy milk from the highly spirited, flirtatious Meg Brockie who asks her when she is going to consider her own marriage. Fiona brightly responds to Meg and four nearby girls that she is waiting for the right man (WAITIN' FOR MY DEARIE- Sc to F Solo to Small F Chorus).
As the song ends the Americans, Tommy and Jeff, enter, awed by the town and its residents. The townspeople study them curiously. After being told by Meg that it is fair day, Tommy attempts to buy some milk from her using a modern coin. Everyone is interested in the coin, but no one will take it. Fiona apologizes for their strange behavior explaining that visitors don't often come to Brigadoon. Tommy responds that he can understand, for everyone treats them as if they are from another world. The conversation is interrupted by the arrival of Charlie, Jean's betrothed, who greets everyone warmly as Angus offers him a drink. When Charlie offers a toast to a Mr. Forsythe for postponing the miracle, Tommy begins to question him, but Fiona promises to tell him later and the two exit.
Angus comments to Charlie that the American talks oddly and wonders what American women are like. Charlie responds that he can only think of Bonnie Jean (I'LL GO HOME WITH BONNIE JEAN- Sc to M Solo to Mixed Chorus to Small Dance Chorus). Fiona and Tommy re-enter as the townspeople disperse. Tommy is impressed by Charlie's enthusiasm. He tells Fiona he wishes he felt more excited about his own wedding and weakly explains his reasons for agreeing to marry. Fiona is appalled and bluntly states her feeling. Her straightforwardness is one of her charms. Tommy asks if he can help her gather Heather for the wedding bouquets (HEATHER ON THE HILL- Sc to M/F Duet).
The two exit at the end of the song and the scene shifts to an open shed on the edge of a field on Meg's father's land. The furniture consists of a rocking chair and divan. Meg hopes to entice Jeff into romance but he is disinterested enough to feign sleep. Unaware that he isn't listening, she proceeds to tell him of her love life and its many problems (THE LOVE OF MY LIFE- Sc to F Solo).
The scene shifts to the MacLaren living room with little in the way of furniture. There is a fireplace and some steps leading up to Jean's bedroom. There are several small closed trunks and one large one that is open. The girls are excitedly helping Jean pack her clothes (JEANNIE'S PACKIN’ UP- F Chorus). Charlie arrives to see Jean, but is stopped by her father who sends him out to sign the family Bible. A disgruntled Harry Beaton arrives with the waistcoat for Jean's father and refuses to acknowledge Maclaren who queries him about his hatred. He retorts that he hates everyone because his life is meaningless; he can't go to the University, can't marry Jean, and can't leave Brigadoon. He angrily exits.
Charlie re-enters but Jean, through a closed door, begs him to leave so that she can come down. He stands on the stairs outside her door and sings (COME TO ME, BEND TO ME- M Solo to F Ballet). He leaves as Tommy and Fiona enter. Fiona runs up the stairs to help Jean as Jeff enters to inquire about Tommy's day. Tommy enthusiastically responds (ALMOST LIKE BEING IN LOVE- M/F Duet). He is joined by Fiona and the two romantically finish the song. Jeff is anxious to leave but Tommy urges him to stay for the wedding and casually picks up the MacLaren Bible, studies it and shows Jeff Fiona's birth date which is 1722. It lists Jean's wedding day as 1746. Tommy demands an explanation, but Fiona insists he ask the schoolmaster Mr. Lundie and the three set off.
They find the schoolmaster on a bench outside his home and he agrees to tell about the miracle that happened to the town 200 years ago. It seems the minister, Mr. Forsythe, in order to save his parish from the dangers of the outside world, asked God to make Brigadoon and its citizens vanish for 100 year periods. At the end of each 100 year period they would awaken and lead normal lives for 1 day and at the end of the day they would return to sleep. If anyone leaves Brigadoon the spell is broken forever, but if someone from the outside world loves someone in Brigadoon, they're welcome to stay. As Fiona prepares to dress for the wedding Tommy promises her that he will be there. The ringing chimes herald the various clans’ arrival at the church as everyone gathers (ENTRANCE OF THE CLANS- March).
The wedding ceremony begins, followed by the wedding dance. As the dance ends Harry kisses Jean who falls to the floor and then runs to Charlie to keep him from fighting Harry. Harry draws a dagger and Tommy jumps him and manages to free the dagger. Harry slowly rises and tells the group he is leaving Brigadoon and runs off, followed by a crowd of frightened citizens as the curtain falls.
Act II begins somewhere in the woods as the men search for Harry (THE CHASE- M Chorus). After a struggle Harry is found dead, accidentally killed by Tommy, but it is supposed he fell and hit his head on a rock. MacLaren and the town leaders decide it best not to ruin the wedding by telling of Harry's death and everyone exits for the festivities except Fiona, who wants to find Tommy who she fears may be hurt.
When he appears, she confesses her love and insists on knowing his feelings about her. He responds that his life would be meaningless without her (THERE BUT FOR YOU GO I- Sc to M Solo). He tells her that he wants to stay and the two embrace.
In the glen a short time later, the festivities are in full swing. Meg Brockie compares it with her parents wedding (MY MOTHER'S WEDDING DAY- F Solo to Mixed Chorus). As the song ends, Charlie and Jean exit as do Meg and two men. The townsfolk, all a little tipsy, continue to dance. Their happiness is interrupted by a mournful lament from the bagpipe as Harry's funeral begins (THE FUNERAL PROCESSION AND DANCE). Tommy spies Jeff watching and tells him he plans on staying with Fiona in Brigadoon. Jeff confuses things by warning him that he could be caught in an inescapable dream where nothing is real. Tommy is forced to tell Fiona he is unable to give up the rest of his life to stay forever in Brigadoon, but he wants her to know that she will always be a part of him no matter what happens (FROM THIS DAY ON- Sc to M/F Duet).
As the lovers part, Tommy and Jeff watch the town disappear in the highland mists. Four months later, in a bar in New York City, Jeff is swilling whiskey when Tommy, who he hasn't seen for a month, enters to tell him he can't forget Fiona. His fiancé, Jane, enters. She has been searching for him for the past month. As they talk she happens to use familiar phrases that remind him of Fiona. Several reprises are heard as the lights dim on the bar and Fiona is seen in the distance (COME TO ME, BEND TO ME/HEATHER ON THE HILL/I'LL GO HOME WITH BONNIE JEAN/DOWN IN MACCONNACHY SQUARE [REPRISES]- Various characters). Tommy announces he isn't going to marry Jane and calls Jeff to invite him to return to Scotland where they first saw Brigadoon.
The two return to the hills and find it vacant. As they turn to leave, the chorus is heard in the distance (BRIGADOON- Mixed Chorus) and Mr. Lundie appears to take Tommy to Fiona as Jeff looks on, bewildered. The music swells and the curtain falls.

NOTES ON THE PRODUCTION

1947 marked the debut of the Tony Awards. There were few categories and no differentiation between plays and musicals. Agnes de Mille won an award for Choreography.
The music is lovely and memorable and the show is often revived by amateur groups because its story is family oriented and romantic and has a large audience appeal. The production usually employs drops as backgrounds for the scenes, with finish set pieces in front. For theatres with no way to fly the drops out it is possible to use two drops, one for the Scotland Moors, the other, which drops in front, for the town. The rest of the scenes can be set in front of the town drop with clever design, the addition of set pieces to represent the shed, Jean's home, the church area and Mr. Lundie's cottage. It would be a visually richer production if there is one more drop utilized and all the drops could fly for the chase scene is more exciting if it is in a wooded area.
The show has been successfully produced at Longwood, Kennett Square, Pennsylvania in the outdoor, open air theatre with flats to represent the town and various locations and the natural woodland setting of the theatre to provide the outdoor atmosphere. Establishing a production style is more important than tremendous variety in set location.
The costumes are mostly Scottish clan and while there should be two costumes per chorus member to make the march of the clans a high point, it is not absolutely essential if a company is limited financially.

SONGS OF SPECIAL INTEREST

"I'll Go Home with Bonnie Jean," possible audition for lyric tenor, up-tempo yet romantic
"My Mother's Wedding Day," comic, up-tempo, good diction and memorization exercise for class study
"Waitin' for My Dearie," possible audition ballad, romantic yet determined soprano, good pace
"The Love of My Life," story song, comic, lyric emphasis
"Heather on the Hill," romantic duet, up-tempo, movement a help
"Almost Like Being in Love," romantic duet, up tempo, relationship oriented

Instrumentation: 2 violins, 1 viola, 1 cello, 1 bass, 1 flute-piccolo, 1 oboe, 2 clarinets, 1 basoon, 1 horn, 3 trumpets, 1 trombone, percussion, piano-celeste, piano-conductor's score
Script: Chappell, also 10 Great Musicals
Score: Sam Fox Publishing Co.
Record/CD: RCA
Rights: Tams-Witmark

BYE BYE BIRDIE

Book: Michael Stewart
Music: Charles Strouse
Lyrics: Lee Adams

ORIGINAL PRODUCTION

The Martin Beck Theatre, April 14, 1960 (607 perf.)
Director and Choreographer: Gower Champion
Musical Director: Elliot Lawrence
Orchestration: Robert Ginzler

Principals:
Albert Peterson- Dick Van Dyke- Baritone
Conrad Birdie-Dick Gautier-Tenor
Rosie- Chita Rivera- Alto
Mae Peterson- Kay Medford- VTNE
Kim MacAfee- Susan Watson- Soprano
Mr. MacAfee- Paul Lynde- Tenor
Mrs. MacAfee- Maryjane Maricle- Mezzo
Randolph MacAfee- Johnny Borden- Boy Soprano
Chorus and Smaller Roles: 11 Teen F/7 Teen M; 7 Adult M/6 Adult F minimum with lots of doubling

SYNOPSIS

The overture is accompanied by a film sequence of rock star Conrad Birdie and a small chorus of teen girls who sing from the orchestra pit (WE LOVE YOU, CONRAD- F Chorus).
The play opens in the office of Almaelou Music where Albert Peterson, thirty three-year old song writer and founder of the record company, is nervously talking on the phone about Conrad’s draft call. Albert, who makes most of his income as Conrad’s writer/manager, is worried about the future.
Rosie, Albert’s secretary enters to announce her resignation. She wants to be more than just a secretary and Albert isn’t ready for marriage, due to the influence of his overly domineering mother, Mae. Rosie urges him to join a respectable profession and get out of the music business (AN ENGLISH TEACHER- L to F Solo).
Albert, realizing his career as Birdie’s songwriter/manager is nearly over, makes a deal with her; if she helps him with one last publicity gimmick to push Albert’s latest song, he’ll make enough money to cover the rest of Birdie’s contract, quit the music business, marry her, and teach English. Rosie readily agrees and springs into action. She randomly picks a teenage fan to be the recipient of Birdie’s "last kiss" based on a song that Albert will write. Albert agrees that the idea is a great one and the call is placed to teenage fan Kim MacAfee.
In Sweet Apple, Ohio, all the phones are busy due to the recent pinning of Kim to Hugo Peabody (TELEPHONE HOUR- Mixed Teen Chorus).
Kim considers herself a mature woman, although her mode of dress belies the fact as she dons jeans, a baggy sweater, socks and a baseball cap (HOW LOVELY TO BE A WOMAN- F Solo). Her new found maturity quickly dissipates when she learns she has been chosen to receive Conrad’s last kiss.
At Penn Station in NY, Albert rehearses a group of young fans (WE LOVE YOU, CONRAD- F Chorus). He discovers a sad faced girl sulking over Conrad’s departure and cheers her (PUT ON A HAPPY FACE- M Solo) only to turn and find another sad girl. He clowns about and dances with them both. After several pratfalls he manages to leave both girls in good spirits.
Rosie enters to urge Albert to get onboard the train before anyone can interview Conrad but Albert insists on waiting for his mother. Mae greets him warmly and tells Rosie how horrible she looks. The reporters arrive, but Rosie and Albert manage to sidetrack their questions by enlisting the aid of the teen fans (A HEALTHY, NORMAL, AMERICAN BOY- Sc to Mixed Chorus). They exit to the train as the station sign changes to Sweet Apple, Ohio.
At Sweet Apple the teenagers greet Conrad with cheers and music. Hugo, Kim’s boyfriend, takes her aside to urge her not to kiss Conrad, but she and her two girlfriends tell him he is her special boy (ONE BOY- F Solo to F Trio).
On the Courthouse Steps the Mayor and his wife are preparing to give Birdie the key to the city when Conrad bursts into song (HONESTLY SINCERE- M Solo). The girls and women, including the Mayor’s rather staid wife, go absolutely wild. At the end of the number the stage is littered with the bodies of Conrad’s fans, male and female, who have fainted from all the excitement.
At the MacAfee house, where Rosie, Conrad and Albert are living, Mr. MacAfee, infuriated by the upheaval Conrad is causing, threatens to evict them. Albert, sensing promotional disaster, promises him a guest appearance on the "Ed Sullivan Show". MacAfee, overcome with excitement, gathers his family around him (HYMN FOR A SUNDAY EVENING- Sc to 2F/1M/1 C Quartet) for a tribute to the favorite Sunday night show of the 50s.
Backstage at the Movie Theatre which will house the Television Special, Rosie, infuriated by Albert’s inability to face up to his mother, fantasizes various ways to kill him (HOW TO KILL A MAN BALLET- F Dance Solo).
At the television taping, Conrad sings Albert’s song (ONE LAST KISS- M Solo) while everyone tries to get themselves on television. As Conrad prepares to end the song with a kiss, Hugo jealously strikes him and the evening ends in chaos.
Act II opens in Kim’s bedroom as Rosie and Kim share the same angered mood and wonder what they ever saw in their men (WHAT DID I EVER SEE IN HIM?- L to F Solo to F Duet).
When Rosie decides to make up for the eight years she wasted on Albert by painting the town red, Kim vows to join her and runs away from home. Meanwhile, Conrad, fed up with the midwestern celibate image he is forced to maintain, escapes Albert’s watchful eye and sets off for a night of fun with the teens (A LOT OF LIVIN’ TO DO- M Solo to Mixed Chorus).
Mr. MacAfee, discovering that Kim has run off, confides to his wife his confusion about modern teenagers (KIDS- Sc to M/F Duet).
Albert, in a one-sided phone conversation tries to convince Rosie, who is at Maude’s Roadside Retreat, that he loves her. His sentiments are echoed by a male quartet, which passes by the phone booth (BABY, TALK TO ME- M Solo and M Quartet). Rosie, believing Albert will never actually escape his mother’s domination, decides to play the role of a wild Spanish girl for a Shriners party at Maude’s (SHRINER BALLET- F Dance Solo with M Dance Chorus).
Albert, followed by the Sweet Apple parents, reaches Maude’s where Hugo and Rosie tell them the kids are with Conrad at the Ice House, a notoriously wild hangout.
The scene switches to a darkened barn-like building where Conrad is putting the make on Kim. Realizing she is underage, he begins to leave but is mobbed by teen fans and their parents. Conrad is dragged off to jail.
Albert tells Rosie to make the wedding arrangements while he goes to the courthouse to save Conrad. As Albert leaves, his mother enters to tell Rosie she is not pleased that he is marrying someone Spanish. Rosie, unabashed by Mae’s attitude, plays Spanish to the hilt (SPANISH ROSE- F Solo).
At the train station, Albert shoves Mae and Conrad, now disguised as an old woman, onto a waiting train. Albert proclaims his love for Rosie by telling her he is applying for an English teaching job in Pumpkin Falls, Iowa and has sent Mae in the other direction (ROSIE- Sc to M Solo to M/F Duet).

NOTES ON THE PRODUCTION

Bye Bye Birdie won five 1961 Tony Awards for Best Musical, Best Libretto, Best Director, Best Choreography, and Best Actor (Dick Van Dyke).
The show marked Gower Champion’s first directing job on a "book" musical. Those who saw the show still remember the magnificent "Shriners’ Ballet" danced by Chita Rivera, the cleverly simplistic staging of "Telephone Hour" and the hilarious "How to Kill a Man" where Chita Rivera acts out various methods of killing Albert.
The production calls for a creative and highly organized director. Because it is a satire of the teenagers of the fifties and their relationship with their parents, the actors must have the ability to play comedy and sing with confidence. Rosie and Albert must dance. Rosie should be versed in Jazz and Albert in tap, and soft shoe. It is also important that Albert be able to do pratfalls and be extremely limber. Dick Van Dyke was the perfect Albert and helped make the show entertaining.
The costumes should represent the style of the late 50s and early 60s. Modern styles that do not reflect the period should not be used because the story line, references and situations are not totally applicable to today’s teens.
Since the play was written during the period of large, multi-set shows the original production had 14 different locations, many which were full stage sets. The most essential sets are the MacAfee home, Maude’s Interior, and the Almaelou office. The train locations can utilize signs and overhanging cutouts in front of a drop to represent a station. The courthouse steps set, while nice, as it gives levels for the choreography, may be represented by a platform for Conrad and the dignitaries. The stage of the theatre and backstage office scenes may be combined and performed on the stage and Kim’s bedroom may be included in the home set. Even with this oversimplification the show is technically quite complex and money should be budgeted accordingly. Most of the costumes may be pulled from people’s attics or easily adapted. However, the money saved on costumes is going to have to be expended on sets as too much scrimping will definitely hinder the overall look of the production.

SONGS OF SPECIAL INTEREST

"How Lovely to Be a Woman," Mezzo, light comic number which requires youthful sincerity and the visual gag of dressing like a boy
"Kids," comic duet, strong characterization and emphasis on lyrics needed
"One Last Kiss," period Rock N’ Roll performed a la Elvis Presley
"Put on a Happy Face," solo nightclub style number, or done as charm solo with girl needed for dance section
"Spanish Rose," movement oriented, up-tempo, good for building strength and precision in performance

Instrumentation: 3 violins, cello, bass, 4 woodwinds, 3 trumpets, 2 trombones, guitar, percussion, piano/conductor
Script: DBS, Chappell*
Score: Edwin Morris
Record: Columubia
Rights: Tams-Witmark
*The British script (Chappell) changed Conrad into a British quartet called Conrad and The Birdies

CABARET

Book: Joe Masteroff
Music: John Kander
Lyrics: Fred Ebb
(Based on John Van Druten’s play I Am a Camera and stories by Christopher Isherwood)

ORIGINAL PRODUCTION

The Broadhurst Theatre, November 20, 1966 (1,165 perf.)Director: Harold Prince
Dances and Cabaret numbers: Ron Field
Musical Director: Harold Hastings
Orchestration: Don Walker

Principals:
Emcee- Joel Grey- Tenor
Herr Schultz- Jack Gilford- Baritone
Clifford Bradshaw- Bert Convy- Tenor
Sally Bowles- Jill Haworth- Alto
Fraulein Schneider- Lotte Lenya- Alto
Ernst Ludwig- Edward Winter- VTNE
Fraulein Kost- Peg Murray- VTNE
Max- John Herbert- VTNE
Chorus and Smaller Roles: 8M/8F minimum plus a four-piece onstage all-girl orchestra - one male in chorus must be a very high tenor to sing "Tomorrow Belongs to Me"

SYNOPSIS

In pre-war Berlin, at the Kit Kat Klub Cabaret, the Master of Ceremonies welcomes everyone to an evening of varied entertainment (WILKOMMEN- M Solo to Mixed Chorus). The scene switches to the compartment of a European railway car where Cliff Bradshaw, an American novelist and language tutor, is greeted by Ernst Ludwig. Ludwig is a jovial German in his 30s who gives Cliff the name of a boarding house for cheap lodging and the location of the biggest night spot in Berlin: The Kit Kat Klub. The train arrives and the two shake hands as the train moves off and the emcee continues his song.
Cliff goes to the boarding house, which is run by Fraulein Schneider, a sprightly woman in her 60s. Cliff offers a price for the room, one lower than Fraulein Schneider had asked for, but, as she explains, a little money is better than no money. She agrees and explains her philosophy (SO WHAT?- Sc to F Solo). Fellow boarders Fraulein Kost, a large woman in her mid-30s, who entertains a variety of sailors in her room, and Herr Schultz, a warm, cheerful Jewish fruit proprietor who is Fraulein Schneider's beau, are introduced. Cliff, alone in his room can't concentrate on his writing and goes to the Kit Kat Club to celebrate the incoming year.
He arrives in time to see the barely competent Sally Bowles, an English girl in her mid-20s, and the Cabaret Girls perform (DON'T TELL MAMA- F Solo to Chorus). The club is a phone club and, as the New Year rings in, Sally phones Cliff and becomes quickly intrigued by this young American writer who speaks her language. The phones become very busy (TELEPHONE SONG- F Chorus). The next day, Cliff is in his room tutoring Ernst, his first student. Ernst tells Cliff he knows of a way to make lots of money but, before he gets a chance to explain what it is, Sally appears in Cliff's room and convinces him to let her stay. Cliff objects, but she obtains Fraulein Schneider's blessing by offering to pay more for the room. She tells Cliff he needs her as a lover/roommate to inspire him (PERFECTLY MARVELOUS- M/F Sc to Duet). In the Cabaret, the Emcee is singing of the advantages of having more than one girlfriend (TWO LADIES- M/2F Trio).
The lights rise on Fraulein Schneider's living room where Fraulein Kost is entering with a sailor. Fraulein Schneider warns her to be discreet as Herr Schultz enters with a gift of fruit in a brown paper bag. As the two romantically examine the Pineapple it is obvious they are fond of one another (IT COULDN'T PLEASE ME MORE- Sc to M/F Duet). At the Kit Kat Klub, the waiters sing of the future of Germany (TOMORROW BELONGS TO ME- Chorus).
In his room, Cliff tells Sally he is living in an unreal situation but that he is loving every minute of it (WHY SHOULD I WAKE UP? - Sc to M Solo). Sally tells Cliff she is carrying his child, news which is extremely maturing. He tells her that he plans on finding steady employment. When Ernst arrives to offer Cliff seventy-five Marks to carry a briefcase full of money from Paris to Berlin, Cliff agrees.
In the Club, the Emcee continues to entertain with the help of the girls (THE MONEY SONG- M Solo and F Chorus). In the boarding house when Fraulein Kost discovers Herr Schultz secretly leaving Fraulein Schneider's room, she makes a snide remark, to which Herr Schultz responds that they have agreed to marry. Herr Schultz and Fraulein Schneider are overwhelmed by his suggestion and decide to seriously consider it. She goes to her room to think the matter through as he stays in the living room to ponder (MARRIED- Sc to M/F Linear Duet).
Herr Schultz throws an engagement party in his fruit store and entertains with a Yiddish story (MEESKITE-L to M Solo). The party is full of Nazi sympathizers, Ernst being one of them, and they begin singing a party song (TOMORROW BELONGS TO ME [REPRISE]- Mixed Chorus) which builds to a terrifying, foreshadowing, anti-Jewish frenzy, but only Fraulein Schneider and Cliff seem to realize the implications.
Act II opens in the Kit Kat Klub. The tone of the music is more military oriented and the audience is aware that the Nazi's are achieving power. (TOMORROW BELONGS TO ME- Dance). Fraulein Schneider visits Herr Schultz in his store to tell him she fears marriage to a Jew and must survive in her own way. He vainly attempts to change her mind but a brick crashes through the store window and seals her decision.
The Emcee enters the Club with a Gorilla and urges the audience to view the gorilla with open eyes (IF YOU COULD SEE HER- M Solo). This song is a direct parallel to Fraulein Schneider and Herr Schultz' situation in that both scenarios would be sneered at. Fraulein Schneider returns Sally and Cliff's wedding gift and tells them the engagement is off because she knows what will happen if she marries a Jew (WHAT WOULD YOU DO?- Sc to F Solo).
After she leaves, Cliff, upset by the political situation in Germany, orders Sally to pack for America and safety. She is upset by his suggestion for she realizes she is an untalented performer who has only been able to perform at the club because she was mistress to one of the owners. Terrified of having to face the truth, she decides to have an abortion and return to the club.
Cliff enters the club to try and force Sally to realize the truth about herself but she rushes off to perform as Cliff is accosted by Ernst, who has him beaten by two Nazi thugs. Sally begins performing a song that reflects her attitude towards life (CABARET- F Solo).
Herr Schultz comes to Cliff's room to say goodbye for he is moving out of the rooming house in deference to Fraulein Schneider. Cliff invites him to leave Germany for America, but he responds that he is a German and everything will eventually pass.
Sally enters to tell Cliff the truth about the baby and the fact that she intends to stay. She tries vainly to explain, but Cliff sadly leaves her a railway ticket to Paris and leaves.
The lights rise on a railroad car where Cliff is writing about Sally and Germany. The Emcee enters from the wings and the Cabaret appears, decorated with swastikas and filled with Nazi party members. The various characters are seen recounting their philosophies and the Emcee steps forward to say goodbye.

NOTES ON THE PRODUCTION

Cabaret won Tony Awards for Best Musical, Composer, Lyrics, Libretto, Director, Choreographer, Featured Actor, Set Design and Costume Design.
The show, a version of the rise and decadence of Nazi Germany, is reminiscent of the Kurt Weill and Bertolt Brecht shows that actually arose from the era. The musical operates on two levels, one being the musical storyline and the other being the Club numbers. Much of the character development of Herr Schultz and Fraulein Schneider comes from their songs which were cut from the film version due to Director, Bob Fosse's decision to only use music in the nightclub numbers. For those only familiar with the movie version, a survey of the script would be worthwhile before deciding to produce the show.
The script is an ingenious one for it captures the temper and mood of Germany during the Nazi take-over. As each scene involving the major characters ends, the scene switches to the Cabaret where the song and dance action is a commentary on the prior scene. The show becomes horrifying to an audience that knows where the madness will lead. The foreshadowing and tragedy of the innocents, like Schultz, the older Germans who were powerless, like Schneider, and the disbelieving, like Sally, become more powerful as the show progresses. It is a powerful, thought provoking script that requires a sensitive, yet strong, director to capture the historical mood of the piece.
A word of warning to actresses who try to imitate Liza Minnelli's starring performance - it must be remembered that Sally Bowles is an English girl performing in Germany. The script mentions she is performing in the club because she is mistress to one of the owners. This is a fact which Sally may not admit to herself, but it must be seen by the audience. If she was a star performer, she could perform in any country in the world and this free-thinking, fun-loving girl would readily go to any new opportunity in America. She probably isn't a bad club performer, but she certainly isn't a star. If an actress chooses to play Sally as a competent but not excellent singer/dancer, it might be necessary to preface this with a program note so audiences won't expect an imitation of the movie.

SONGS OF SPECIAL INTEREST


Instrumentation: 2 violins, viola, cello, bass, 4 reeds, horn, 2 trumpets, 2 trombones, percussion, accordion, celeste, guitar & banjo, and piano-conductor. stage band: tenor sax, trombone, piano, and trap drum set
Script: Random House
Score: Valando Record/CD: Columbia
Rights: Tams-Witmark

CALL ME MADAM

Book: Howard Rendsay and Russel Crouse
Music and Lyrics: Irving Berlin

ORIGINAL PRODUCTION

Imperial Theatre, October 12, 1950 (644 perf.)
Director: George Abbolt
Choreographer: Jerome Robbins
Musical Director: Jay S. Blackton
Orchestration: Don Walker

Principals:
Sally Adams- Ethel Merman- Alto
Cosmo Constantine- Paul Lukas- Baritone
Ken Gibson- Russell Nype- Tenor
Pemberton Maxwell- Alan Hewilt- VTNE
Sebastian Sebastian- Henry Lasscoe- VTNE
Princess- Galena Talva- Soprano
Congressman Wilkins- Pat Harrington- Tenor
Chorus and Smaller Roles: 12M/12F, half of which must be able to dance

SYNOPSIS

Sally Adams, a popular, wealthy Washington socialite noted for her parties, has been named Ambassador to the Grand Duchy of Lichtenberg. After she is sworn in she asks Secretary of State Dean Acheson where Lichtenberg is. The lights blackout and rise "in one" on guests carrying invitations to Sally’s farewell party (MRS. SALLY ADAMS- Mixed Chorus).
The curtains open on a fabulous Washington party where Ken Gibson, a Harvard educated International Relations graduate, is introduced to various Republican Congressmen by his wealthy father. It seems Ken has been assigned to Sally’s embassy and plans to help Lichtenberg achieve self sufficiency. Sally enters and demonstrates her obvious ignorance of Lichtenberg by laughingly explaining that she received her post because she is a marvelous party giver (HOSTESS WITH THE MOSTES’- Sc to F Solo). She demonstrates her abilities as a party giver by ending various political discussions and arguments between the Republicans and Democrats (WASHINGTON SQUARE DANCE- F Solo to Mixed Chorus).
The scene shifts to the town square of Lichetenberg where Cosmo Constantine, present finance minister, introduces himself and explains the problems of the smaller European countries who need modernization without losing their old world qualities (LICHTENBERG- M Solo to Mixed Chorus).
In the office of the embassy, the anxious, highly efficient Charge d’Affaires, Pemberton Maxwell, nervously introduces Sally to Tantinnin, the Lichtenberg Secretary Of State who asks for a U.S. loan. Sally refuses and he exits. Moments later, the newly appointed Secretary of State Cosmo Constantine arrives to receive Sally’s credentials. Overwhelmed by his debonair manner, she asks how much money he needs (CAN YOU USE ANY MONEY TODAY- Sc to F Solo).
Cosmo calls her a true American, but refuses her generosity by explaining there are things more valuable then money (MARRYING FOR LOVE- Sc to M Solo and F Solo). After he leaves, she looks after him and echoes his sentiment.
The fair, which originally was canceled due to lack of funds, is in full swing, thanks to Sally’s generous private donation. The villagers are in their native costumes (THE OCARINA- Mixed Chorus) and Sally is enjoying the occasion with Cosmo. Sally, who thinks Princess Maria would be a suitable companion to her aide Kenneth, defies protocol and invites her to sneak through the secret passage from the palace to the embassy.
Sally discreetly exits to another part of the fair, leaving Kenneth alone with Maria. When he questions Maria about Lichtenberg, he is appalled by her lack of knowledge and brashly accuses her of not keeping up with the times. She becomes defensive and angry at his impudent manner and turns to go, but he urges her to spend the day with him (ITS A LOVELY DAY TODAY- Sc to M/F Duet).
In a corridor in the palace, Maria greets Cosmo, who has been elected Prime Minister by the cabinet. She begins telling him of Kenneth’s ideas for reform, which is a surprise to Cosmo. As he exits to present his credentials to the King and Queen, a nervous Sally arrives, coached by Maxwell who urges her to be proper. As she practices curtseying she falls on her face and the lights blackout.
In Sally’s sitting room, Cosmo enters on "official business" to inform her of the Grand Duke and Duchess’s displeasure at her behavior. He exits but immediately returns on "unofficial business" to explain that the rulers are upset because Maria has been alone with Kenneth in the Embassy. He urges Sally to be more careful, for he wants to stay in Lichtenberg. She tells him her only interest is in keeping him happy (THE BEST THING FOR YOU WOULD BE ME- Sc to F Solo). A phone call from President Truman granting Lichtenberg the loan pleases Sally who informs Cosmo. He is upset that she could deceive him by asking for a U.S. Loan. He thought she understood his desire to make the country self-sufficient. Sally is helpless. It seems she was duped by Sebastian, the former Prime Minister, who trapped her into thinking Cosmo would want aid after he became Prime Minister. Cosmo leaves in anger as Kenneth arrives with a note from Maria refusing to see him again.
Act II opens with Sally throwing an embassy party to introduce some visiting U.S. Congressmen to the country, to patch things up between Maria and Kenneth, and to straighten out her relationship with Cosmo (SOMETHING TO DANCE ABOUT- F Solo to Mixed chorus). Kenneth, left alone with Maria, tells her he loves her (ONCE UPON A TIME, TODAY- M Solo).
The congressional loan approval committee arrives to meet the Prime Minister and Cabinet. They are so impressed with Cosmo, who tells them the country needs to help itself, that they double the loan amount. Cosmo resigns, thereby forcing a general election, something the country hasn’t had in twenty years.
As the set changes, the two Democratic Congressmen, Brockbank and Gallagher, ask the Republican, Wilkins, who his party is running for President (THEY LIKE IKE- Sc to M Trio).
At the embassy sitting room, Kenneth attempts to concentrate on business but keeps thinking of Maria. Sally tells him he’s in love (YOU’RE JUST IN LOVE- M/F Counterpoint Duet) Ken opens a letter from his father giving him 90% backing for a Lichtenberg hydroelectric plant on the condition that 10% be raised locally. Sally, now living in Lichtenberg, promises a personal loan to get things rolling.
Sally is recalled by the U.S. government for becoming involved in the elections of a foreign country and she says a sad goodbye to Cosmo. She is interrupted by the royal family who want to thank her for all she has done for the country. Kenneth announces he is staying to develop the country and Maria, in keeping with Royal tradition, asks him to marry her (IT’S A LOVELY DAY TODAY [REPRISE]- M/F Duet).
The scene shifts to Washington and another of Sally’s galas (MRS. SALLY ADAMS [REPRISE]- Mixed chorus) Cosmo arrives, he has been re-elected Prime Minister and named Ambassador from Lichtenberg. Sally greets him warmly (FINALE- Mixed chorus).

NOTES ON THE PRODUCTION

A warmly engaging show that isn’t done enough, the script is witty, the music catchy and enjoyable, the story humorous and the leading role an excellent vehicle for a strong female star.
The show needs to be set in the fifties as it has a lot of political humor that belongs in that time frame. If it is updated the clever male trio "They Like Ike" makes no sense.
The original show utilized several drops for "in one" scenes It is possible to cut the number of sets and drops by place the swearing in ceremony and the Palace corridor in a neutral area, possibly a grouping of panels. Sally’s living room in Washington, the reception room in the Embassy, and Sally’s sitting room may utilize the same background with some different props. The Lichtenberg exterior sequences and the embassy ball may be moved to the reception room rather than the garden. If Sally’s sitting room and the reception room are the same there should be a more intimate downstage right seating arrangement for the smaller scenes. This new scenic configuration would mean one large set for Sally’s parties, a neutral paneled location, and a public square.
The costumes are period 50s and native folk with some formal clothes for everyone. The three male Congressmen should be able to vocally harmonize and move well to make the "Ike" number a showstopper.
The show works best for an older audience and is excellent dinner theatre fare. Unfortunately, there are more featured male roles than female. However, if one wants to forego the accuracy of a predominantly male congress, it is possible to use females in some of the feature Congressman roles.

SONGS OF SPECIAL INTEREST

"Hostess With the Mostes’," F Alto subjective, nice rhythm, written for female star, good for learning to take stage and playing an audience
"It’s a Lovely Day Today," Soprano/Tenor, charm, up-tempo duet, good for movement, fun number, good for Revue
"Marrying for Love," F Alto possible audition ballad

Instrumentation: 5 reeds, horn, 3 trumpets, 2 trombones, percussion, guitar, 4 violins, viola, cello, bass, piano/conductor
Script: Chappell
Score: Irving Berlin
Record: Decca
Rights: MTI

CAMELOT

Books and Lyrics: Alan Jay Lerner
Music: Frederick Loewe
(Based on The Once and Future King by T.H. White)

ORIGINAL PRODUCTION

Majestic Theatre, December 3, 1960 (873 perf.)
Director: Moss Hart
Choreographer: Hanya Holm
Musical Director: Franz Allers
Orchestration: Robert Russell Bennett and Philip J. Lang

Principals:
Merlyn- David Hurst- VTNE
Arthur- Richard Burton- Baritone
Guenevere- Julie Andrews- Soprano
Sir Dinadan- John Cullum- Tenor
Sir Lionel- Bruce Yarnell- Baritone
Nimue- Margorie Smith-VTNE
Lancelot- Robert Goulet- Tenor
Mordred- Roddy McDowall- Baritone
Pellinore- Robert Coote- Baritone
Morgan Le Fey- M’el Dowd- Mezzo
Chorus and Smaller Roles: 12M/12F

SYNOPSIS

The beginning of the play reveals Arthur, the 20-year old, boyish King of Camelot, hiding in a tree on top of a hill trying to catch a glimpse of his future bride. Merlyn, his wizard friend and teacher, orders "Wart" (a childhood nickname for Arthur) to go home and face his coming marriage. He says Guenevere is beautiful and that if his subjects see him acting like a child he will be disgraced. Arthur comments on what his subjects think of him (I WONDER WHAT THE KING IS DOING TONIGHT?- Sc to M Solo).
Arthur returns to his tree just as Guenevere comes racing in. She is trying to get a moment alone to pray to St. Genevieve for deliverance from King Arthur (WHERE ARE THE SIMPLE JOYS OF MAIDENHOOD?- Sc to F Solo). Arthur frightens her when he falls from the tree but they talk easily and enjoy one another. Not knowing he is King Arthur, she tells him she plans to run away and asks him to be her protector. He declines and tells her that Camelot is really quite nice and unique (CAMELOT- Sc to M Solo). When the Royal Procession arrives, Guenevere discovers she has been talking to her future husband, but he tells her the story of how he became King and finally convinces her not to run away.
Merlyn knows what the future holds for the newlyweds but before he can warn Arthur about Lancelot’s involvement with Guenevere, a nymph, Nimue, takes all his powers and seals him away in a cave forever.
Five years later, Arthur and Guenevere are in the study talking about Arthur’s achievements, his most famous being a new code of chivalry that centers around "the round table," made up of knights who fight together for good. A young, handsome French knight, Lancelot, hears of the Knights of the Round Table and goes to Camelot to join this union (C’EST MOI- L to M Solo). Arthur meets this idealistic young knight and takes him in to see Guenevere who is enjoying the festivities of spring with the court (THE LUSTY MONTH OF MAY- F Solo to Mixed Chorus).
An old man with rusty armor and a dog show up. He learns that the boy he once met in Camelot, is now King Arthur. The man, Pellinore, is invited to spend the night at the castle so he can see the King.
Lancelot is introduced to Guenevere and she takes an instant dislike to his egotistical manners. In an effort to show him up, she sides with three knights in a plan to defeat Lancelot. She agrees to allow them to carry her handkerchief during their jousts against Lancelot (YOU MAY TAKE ME TO THE FAIR- 1F/3M quartet).
Pellinore stays on at the castle and agrees with Guenevere that Lancelot is not likeable, but Arthur is perplexed by Guenevere’s attitude toward Lancelot and attempts to puzzle it out. He secretly fears there is something underneath the surface, but he cannot justify his feelings (HOW TO HANDLE A WOMAN- L to M solo).
At the jousting competition, Lancelot overcomes all the knights that Guenevere favored (THE JOUSTS- L to Mixed Chorus). He is obviously the greatest knight present, but it is not until he saves Sir Lionel from death that Guenevere realizes she loves him and prays he will leave before she becomes involved (BEFORE I GAZE AT YOU AGAIN- F Solo). King Arthur knows that they are destined for each other and realizes how much pain they will all suffer as a result of the love they feel for each other. At a ceremony that night King Arthur knights Lancelot.
Act II begins in Camelot several years later. While Lancelot is reading his poetry to Guenevere he tells her of his love (IF EVER I WOULD LEAVE YOU- Sc to M Solo). The scene continues while Arthur and Pellinore are interrupted by a rude young man. The man identifies himself as Mordred, Arthur’s illegitimate son. Arthur puts him in the knights’ training program, not knowing that Mordred is there to destroy the Round Table. Mordred slyly comments on the sin in the world (SEVEN DEADLY VIRTUES- M Solo).
A month later, Mordred has done a great deal of damage to the court by causing dicontentment among the knights. Arthur yearns to banish him but knows that until Mordred breaks the law there is nothing he can do. He and Guenevere yearn for an easier life, for there is strain in their relationship caused by Lancelot’s continued presence. They talk about what it would be like if they weren’t King and Queen (WHAT DO THE SIMPLE FOLK DO- Sc to M/F Duet).
Mordred finds his aunt, a witch named Morgan Le Fey, and enters her invisible forest to persuade her to play a trick on Arthur. For a basket of candy, Morgan agrees to detain King Arthur while he is in the forest hunting. Mordred is convinced that if she keeps him there overnight, he can incriminate Lancelot and Guenevere (THE PERSUASION- Sc to M/F Duet). While Arthur and Pellinore are hunting, Morgan puts an invisible wall around Arthur who tells Pellinore to run to the castle and warn Lancelot and Guenevere to be careful.
Back at the castle, Lancelot enters Guenevere’s room while Mordred and some knights watch. They discuss that they are in love but that they never should have admitted it (I LOVED YOU ONCE IN SILENCE- Sc to F Solo). She tells Lancelot that she will never leave Arthur, and he agrees. They both love him too much to hurt him, but it is too late. Mordred and the others barge in and accuse them of treason. Lancelot escapes but Guenevere is captured and sentenced to be burned at the stake. Lancelot returns just in time to save Guenevere as the chorus tells of the end of Arthur’s dream of the Round Table, and of peace.
War breaks out and the new code of chivalry is dead. Lancelot and Guenevere meet Arthur on the battlefield and ask to be taken away to make up for what they did. Arthur explains it is too late, Mordred has taken up an army against him so he must go to battle. Arthur learns Guenevere is not with Lancelot at his castle but is living in a convent. Guenevere looks to Arthur for forgiveness and finds it as she returns to the nunnery.
Arthur hears a rustling in the bushes and finds a young lad named Tom who has come to be a Knight of the Round Table. Before entering battle, Arthur realizes his dream can still come true and he sends the boy home, to make sure all the people of every land know what the Round Table was all about and to defend its concepts throughout his entire life (CAMELOT- Sc to M Solo).

NOTES ON THE PRODUCTION

Richard Burton won the Tony Award for the Best Actor in a musical, Franz Allers won for Musical Director, Oliver Smith for sets, and Adrian and Tony Duguette for costumes.
Camelot may have fared better if it had preceded My Fair Lady for the critics compared it to the previous Lerner & Loewe hit, and found it tedious and far short of expectations. After the death of President Kennedy, "Camelot" became synonymous with the Kennedy dream. The show ran for two years and was revived in 1980 with Richard Burton, and subsequently Richard Harris, recreating the role of King Arthur. The Richard Harris version was televised and can occasionally be seen on Cable television.
The sets may be trimmed from the opulence of the original but the props and costumes are expensive to re-create as there is a lot or armor that must be accurate to the period. The women’s gowns require quite a bit of material and most amateur groups are unable to pull many costumes from their limited wardrobes for either men or women.

SONGS OF SPECIAL INTEREST

"I Wonder What the King Is Doing Tonight,"
"Where Are the Simple Joys of Maidenhood,"
"Camelot," combined with above two as a scene character study for a class
"Seven Deadly Virtues," movement, character oriented, emphasis on evil
"What Do the Simple Folk Do," difficult duet, emphasis on transitions and mood
changes, good for class study

Instrumentation: 2 violins, viola, cello, bass, 5 reeds, 2 horns, 3 trumpets, 2 trombones, percussion, guitar/lute/mandolin, harp, piano/conductor
Also available: 12 piece condensed orchestration.
Script: Random House (also Idylls of the King and Camelot published by Dell)
Score: Chappell
Record/CD: Columbia
Rights: Tams-Witmark

CAN CAN

Book: Abe Burrows
Music and Lyrics: Cole Porter

ORIGINAL PRODUCTION

Schubert Theatre, May 7, 1953 (892 perf.)
Director: Abe Burrows
Choreographer: Michael Kidd
Music Director: Milton Rosenstock
Orchestration: Philip J. Lang

Principals:
Aristide- Peter Cookson- High Baritone
La Mome Pistache- Lilo- Mezzo/Alto
Claudine- Gwen Verdon- Alto
Mimi/Streetwalker- Dania Krupska- VTNE
Hilaire- Erik Rhodes- Baritone
Boris- Hans Conreid- Tenor
Chorus and Smaller Roles: 9M/4F minimum

SYNOPSIS

1893, a police court in Paris. Judges Paul Barriere, President and Aristide Forestiere try a case involving several laundresses arrested for performing the Can Can at the Bal du Parades dance hall. The girls demand to be heard (MAIDENS TYPICAL OF FRANCE- F Chorus). Although there were several policemen involved in the arrest, only two are able to provide testimony and neither saw anything. Aristide, the youngest judge, is furious at their lack of respect for the law, but Paul, who is more liberal and free thinking, urges caution. The President dismisses the case for lack of evidence. Aristide vows to visit the establishment in Montmartre even though Paul laughingly warns him of the many enticements of the area.
Outside the Bal du Parades, Hilaire, a handsome man, tries to pick up Claudine, one of the dancing laundresses, but she points to her lover, Boris, a jealous sculptor. As she and Boris enter the club, the set changes to the interior where Gabrielle, Celestine, Marie, Hercule, Etienne and Theophile are dancing.
Mome Pistache, the owner, warns Boris that his credit is no longer good and chides Claudine for being the sole support of the ne’er do well artist. Pistache goes to the other men in the club, all artists who are being kept by the dancers, and wisely advises the girls to keep their money (NEVER GIVE ANYTHING AWAY- F Solo with F Chorus). Boris leaves in a huff.
Pistache greets Aristide, whom she supposes is a wealthy customer, and thoroughly incriminates herself by telling him about the illegal Can Can and the bribed policemen. She teases him into coming to her office where she has a list of all the policemen she has bribed. On the way to the office one of the dancers informs her that he was a Judge at their trial.
In her office Pistache urges Aristide to let the girls perform their harmless dance. When he refuses her attempt at bribery, she accuses him of being a prude and warns him never to fall in love for it is too unpredictable (C’EST MAGNIFIQUE- Sc to F/M Duet). She kisses him passionately and his eager response convinces her that he will do the club no harm. She sends him off to see the Can Can, which he has photographed for evidence in court. Pistache angrily reproaches him.
The next day a waiter hangs a sign, "waltzes only," on the exterior of the dance hall. Hilaire, who is Paris’s most famous art critic, tells Claudine and Pistache the notoriety of the court case will increase business and he plans on adding to the scandal by renting the hall for the Quat’z Arts Ball. Pistache rushes inside to tell the girls and Hilaire asks Claudine to come home with him (COME ALONG WITH ME- M Solo).
The scene shifts to prison where Pistache frees her three Can Can dancers who exit for the dance hall. Aristide apologizes to Pistache, but refuses to return her restaurant license and tries to advise her instead. She angrily refuses to let anyone tell her how to live (LIVE AND LET LIVE- F Solo) and leaves him alone to analyze his feelings (I AM IN LOVE- M Solo).
In the artists’ studio, Boris, Hercule, Theophile and Etienne are preparing for Hilaire’s arrival. The girls enter, followed by Claudine who is wearing a new outfit purchased by Hilaire. Boris angrily tells her not to make a fool of herself over Hilaire who has promised to help her become a famous dancer. The men side with Boris and the women with Claudine (IF YOU LOVED ME TRULY- Mixed Chorus). Hilaire enters to view the artists’ work and the girls exit. A discussion follows as the artists show their works, each more bizarre than the last. Hilaire is appalled.
It is the night of the ball, on a street in Montmartre. Boris enters in a gorilla suit, his costume for the evening, but is stopped by Aristide who tells him to send Pistache out.
In the dance hall, the Garden of Eden Ballet is finishing when Aristide enters to urge Pistache to return everyone’s admission price in order to avoid jail. He kisses her and Hilaire quickly photographs the event to use as evidence in court. Aristide confesses his love, but she responds by ordering him to leave (ALLEZ-VOUS-EN- F Solo) and he breaks down in tears.
Act II begins in the studio. The artists are reading the papers concerning Aristide’s scandalous behavior when Aristide enters with a terrible headache. It seems he returned to the dance hall and became involved in a brawl. They invite him to hide out at the studio until things calm down and explain their life style (NEVER, NEVER BE AN ARTIST- Sc to Male Quartet with F Model). Boris reads Hilaire’s negative critique of his work and vows revenge.
On Montmartre Aristide, dressed as a workman, waits for Judge Paul Barriere when Mimi, a streetwalker, asks to join him. He agrees although she isn’t the girl he wants to be with (IT’S ALL RIGHT WITH ME- M Solo). Pistache enters, sends the streetwalker off, apologizes for ruining him, and offers him a partnership in her new business, a laundry/concert hall/café. When Paul enters, Aristide tells him he is going into partnership in an illegal café and getting himself a jury trial, which will reinstate him to the bar. Paul loans him the partnership money and exits as Pistache re-enters. Aristide buys into the business but refuses to touch Pistache- even to shake hands. He leaves and she comments on men (EV’RY MAN IS A STUPID MAN- F Solo).
In Pistache’s new establishment, the laundry/café La Blanchesserie, the Apache Dancers perform a violent dance for three of the customers.
At a sidewalk café on Montmartre, Theophile forces the still angry Boris to see that the only proper way to revenge himself is to duel Hilaire.
On the rooftop of La Blanchesserie, Pistache is admiring the view of Paris (I LOVE PARIS- F Solo w/ back-up chorus). Aristide arrives and the two express their love (C’EST MAGNIFIQUE- Sc to M/F Duet). He tells her he wants to have the place raided since, legally, he can defend his own property, but she refuses, afraid she will lose her business. He gives her his half of the business and leaves to attend his judicial inquiry, despite her request for him to stay in Montmartre. The artists enter to prepare for the duel and Pistache leaves to find Claudine. When Hilaire arrives with his second and chooses swords as the weapon, Boris faints and turns to Theophile as second, but Theophile also faints. When Claudine arrives and admonishes Hilaire for picking on Boris, who is a coward, Hilaire promises to write a new review.
Aristide, waiting in prison for his trial, is surprised when Paul tells him he will be able to defend himself and the café girls’ right to dance. It seems Pistache has decided to return his half of the café.
The scene switches to the courtroom where three judges and a prosecutor try Aristide and Pastiche who ask to demonstrate the Can Can for the court (CAN CAN- F Solo to F Chorus). Everyone is acquitted and the entire company joins in the celebration.

NOTES ON THE PRODUCTION

Can Can, originally a large cast, multi-set show, may be trimmed in size without losing its charm or the story line. It is possible to play more scenes in the dance hall and change the sidewalk café to the Montmartre drop. Since Montmartre is predominant in the actor’s dialogue, it is possible to use it as a background for everything, including the court. If the drop is used throughout the show as the background for all the smaller scenes it will set a style and atmosphere that allows for a limited set.
The music is quality Cole Porter, the characters engaging with opportunities for good actor/actress characterizations. The plot may seem thin in synopsized form, but the dialogue, music and comedic character development make up for this in actual performances. Ideal for dinner theater and summer stock, the cast has many excellent character roles. It is possible to use a smaller chorus if the large ballet number and apache number are severely edited. Two of the three judges in the opening court scene could be retained for the final scene, the waiter could act as Hilaire’s second, and the Bailiff could double with the Prosecutor. These changes would allow the total company to number 12 M, 7 F. If this minimal configuration is used, it is essential that all be able to sing and dance well. In productions that need to utilize more people the number of women could be increased.
It is also recommended that the scene in the artists’ studio may benefit from being trimmed and some companies may want to delete the part of the female model who appears in minimal clothing.

SONGS OF SPECIAL INTEREST

"It’s All Right with Me," M Solo
"C’est Magnifique," Sc to F/M Duet
"Never Give Anything Away," F Chorus
Instrumentation: 6 violins, accordion, 2 guitars, viola, cello, bass, 5 reeds, 3 horns, 2 trumpets, 2 trombones, percussion, piano/celeste/conductor
Script:
Vocal Score: Chappell Record: CAP
Rights: Tams-Witmark

CANDIDE

Book: Hugh Wheeler
Music: Leonard Bernstein
Lyrics: Richard Wilbur
Additional lyrics by: Stephen Sondheim and John La Touche
(Based on the book by Voltaire)

ORIGINAL REVIVAL PRODUCTION

Broadway Theatre, March 5, 1974 (740 perf.)
Director: Harold Prince
Choreographer: Pat Birch
Musical Directors: John Mauceri and Paul Gemignani
Orchestration: Hershy Kay

Principals:
Candide- Mark Baker- Tenor
Paquette- Deborah St. Darr- Mezzo
Cunegonde- Maureen Brennan- High, Strong Soprano
Maximilian- Sam Freed- Baritone
Old Lady- June Gable- Alto
Dr. Voltaire/Dr. Pangloss/Governor/Host/Sage- Lewis J. Stadler- Tenor
Chorus and Smaller Roles: 8M/8F

SYNOPSIS

The overture begins and the lights rise on Voltaire, an old man in a nightshirt and nightcap in bed. He sleeps throughout the overture.
At the end of the overture a servant rushes on with some hot chocolate and exits as Voltaire begins reading his manuscript. The four teenagers that his manuscript centers around are introduced: Candide, the bastard cousin who is well treated, Paquette, the sexy sewing maid who happily grants favors to her master, Cunegonde, the Baron’s virgin daughter, and her brother, Maximilian, an extremely self-centered, egotistical young man who is constantly admiring himself in a mirror (LIFE IS HAPPINESS INDEED- Sc to 2M/1F Solo to 2M/2F Quartet).
The focus shifts back to Voltaire, continuing his story and now acting out the character of Dr. Pangloss, the admired teacher. He is joined by his four pupils in a parade to the schoolroom (PARADE- Instrumental). The castle schoolroom resembles an 18th century American one, complete with desks, a blackboard, and a picture of the Baron that is reminiscent of George Washington. The four teenagers seat themselves as Dr. Pangloss begins the lesson (THE BEST OF ALL POSSIBLE WORLDS- Sc to 3M/2F Quintet).
At the end of the class, Paquette is privately tutored by Dr. Pangloss, who teaches her sex and physics. The two are witnessed by Cunegonde who asks Dr. Pangloss to enlighten her on advanced physics. Using Paquette to help him demonstrate, he explains the specifics of gravity between the male and female bodies.
A delighted Cunegonde leaves the two and searches out Candide in the Baron’s orchard where she proceeds to enlighten him. The two wildly kiss and embrace and envision their married life together (OH HAPPY WE- Sc to M/F Duet). During the song the begin undressing each other until they are in their undergarments.
The Baron, Baroness, Maximilian, Pangloss, and Paquette interrupt the two lovers who entreat the Baron to let them marry. The Baron, appalled by the suggestion that his daughter marry a bastard, banishes Candide. The young lad wonders about his lonely future (IT MUST BE SO- M Solo). Two men grab the innocent boy and carry him off in a sack to join the Bulgarian Army.
Back at the Baron’s Chapel, the Baron and his family are praying for deliverance as the sounds of the battle between the Bulgarians and West Phalians are heard in the distance. The Bulgarians enter and spear all but Cunegonde who they carry off to sell her favors for 20 ducats per customer. The chorus mournfully comments in Latin (O MISERERE- Mixed Chorus).
Voltaire, in another area of the stage, describes the fate of Candide and Cunegonde as their scenes are enacted. Candide escapes when his two abductors are killed. Cunegonde is left for dead after having been ravished. The two, in separate areas of the stage, lament their fate a cappella (OH HAPPY WE [REPRISE]- M/F linear Duet).
Voltaire continues to outline their adventure. Candide has become an actor playing female roles quite badly and Cunegonde has been moved from brothel to brothel until she becomes the mistress of a wealthy Portuguese Jew in Lisbon. The scene moves to their bedchamber in Lisbon where the Jew gives Cunegonde a diamond Star of David and the Grand Inquisitor pays her with a diamond cross. Cunegonde, left alone, ponders her life as she examines her jewels (GLITTER AND BE GAY- F Solo).
Candide is seen in a part of Lisbon that has been destroyed by an earthquake. As he surveys the disaster, he discovers Dr. Pangloss sporting a metal nose as a result of Syphilis he contracted from Paquette. The two are arrested for heresy and dragged before the excited citizens in the central square who are there to witness the floggings, hangings and burnings of the inquisition (AUTO DA FE- Sm Mixed Chorus).
Cunegonde enters with an old woman and settles down to watch the proceedings. Pangloss is taken off to be hung as Cunegonde recognizes her old teacher and Candide, who is flogged and left unconscious. He is taken off by Cunegonde’s servant and healed, but he doubts the value of life (THIS WORLD- M Solo). The old woman leads him to Cunegonde and the two are happily reunited (YOU WERE DEAD YOU KNOW- M/F Duet). They are interrupted by the arrival of the Jew, who is accidentally killed by Candide, and the subsequent arrival of the Grand Inquisitor, whom Candide purposely kills. The old lady urges them to flee and attempts to gain money for the trip by seducing three Spaniards (I AM EASILY ASSIMILATED- F Solo to M Trio), but her efforts are spurned.
As Cunegonde, Candide and the old lady await their fate, a businessman offers Candide a job as Captain of a ship bound for the new world. The three ponder their future as a Latin rumba rhythm underscores a scene change.
Voltaire describes Cartogena, Columbia while a local whore transforms him into the lecherous provincial Governor. Two young female slaves are whipped onto the slaves’ block and instantly recognize each other as Maximilian, who has disguised himself as a girl to avoid the army, and Paquette. The Governor rejects Paquette and chooses Maximilian and begins expressing his emotions (MY LOVE- Sc to 2M Duet).
Maximilian attempts to avoid him, but the Governor misinterprets the avoidance as shyness and takes Maximilian to be married in a mock ceremony. After the fake ceremony the Governor fondles Maximilian, realizes that something is wrong, rips open Maximilian’s blouse, and finds coconuts on a hairy chest. Maximilian pleads for his life.
Four sailors enter to convert the theatre into a ship carrying Candide, Cunegonde, and the old woman. The old lady tells her two companions about her lost buttock, which was cut off by a pirate. Her extremely descriptive character monologue tells of her capture and ravishment by various villainous groups. Her tale is interrupted as she and Cunegonde are carried off and Candide is left unconscious.
The scene switches to a cathedral which Candide enters seeking solace. He is approached by two priests who he discovers are Paquette and Maximilian (ALLELUIA- Mixed Chorus). When Candide tells Maximilian that Cunegonde lives and he plans on marrying her, the enraged Maximilian attempts to kill him because Candide is, after all, still a bastard. Candide accidentally hits Maximilian with a statue and, assuming that he is dead, leaves with Paquette.
Voltaire appears to continue the narrative as a "jungle" of green paper streamers drops in. Candide and Paquette stumble upon Eldorado, a fabled land where life is wonderful; the inhabitants gentle and intelligent, and even the animals, represented by two pink sheep, are happy creatures (SHEEP’S SONG- F Duet). Unable to stand the placid life, Paquette and Candide steal two of the sheep and load them with jewels and gold.
Candide and Paquette return to Columbia where they find the old lady who tells them Cunegonde is in Constantinople. The Governor arrives, impounds the sheep, takes Paquette to his room and gives Candide to some whores for pleasure.
Later, the Governor and some townspeople bid farewell to Candide, the old lady and Paquette (BON VOYAGE- Mixed Chorus) as they send them off in an unseaworthy skiff which sinks.
The three land on a desert island followed by the two sheep, still laden with the jewels and gold. They joyously sing (THE BEST OF ALL POSSIBLE WORLDS [REPRISE]-2F/1M Trio) before setting off for Constantinople.
In Constantinople they find Cunegonde disguised as a belly dancer (YOU WERE DEAD YOU KNOW [REPRISE]- M/F Duet). Candide buys her and a disguised Maximilian. The five set off to find the wisest man in the world who is none other than their old teacher Dr. Pangloss. They journey off together to create a true Garden of Eden (MAKE OUR GARDEN GROW- Mixed Chorus).

NOTES ON THE PRODUCTION

Candide, with book by Lillian Hellman, was originally produced on December 1, 1956 for a run of 73 performances. It was later revived in 1974 with a new book, added lyrics and a fresh production concept. The revival was noted for its sheer fun and lively adaptation. The vibrancy of the production and the youthful energy of the performers, combined with a more intimate production, helped make it a theatrical event.
The 1974 version won Tony Awards for Best Book of a Musical and Best Direction.
The script is almost a story theatre piece and requires little in the way of a specific, permanent set. Set pieces may be brought in by members of the ensemble when required or Voltaire’s description alone can suffice for location.
There are quite a few costumes per character and every effort should be made to define the period, country, and style through the costumes. If there is little or no set it is essential that the costumes establish location.
The audience enters a carnival oriented theatre lobby where hot dogs, peanuts, and drinks are readily available for patrons to take to their seats. The interior of the theatre allows for the audience and orchestra to be seated around the stage area; the atmosphere is unusual and festive. The show is performed without an intermission.
The show is a festive one and the revised Wheeler script and Prince production are worth emulating. Mr. Prince has an excellent preface in the score, which should be absorbed by any director planning to do this production. In its present form the show may not be advisable for some theatre groups as the subject matter involving homosexuality, decadent priests and sexual ravishment would not be accepted by some of the audience or, for that matter, by members of the producing organization.

SONGS OF SPECIAL INTEREST

"Life Is Happiness Indeed," Up-tempo, good for classroom study of how to handle music to dialogue to music
"You Were Dead You Know," Spoof on the operetta style, comic song that requires good direction
"Glitter and Be Gay," requires high soprano, ending good for audition, comedic
"I Am Easily Assimilated," Comic, character oriented

Instrumentation: violin, cello, bass, 2 trumpets, trombone, 2 pianos/celestes, electric piano, 3 reeds, percussion
Script: Schirmer Books, Inc.; Script is also in Macmillan’s score
Score: Schirmer
Record/CD: Columbia
Rights: MTI
CARMEN JONES

Book and Lyrics: Oscar Hammerstein, II
Music: George Bizet

ORIGINAL PRODUCTION

Broadway Theatre, December 2 1943 (503 perf.)
Directors: Hassard Short & Charles Friedman
Choreographer: Eugene Loring
Musical Director: Joseph Littau
Orchestration: Robert Russell Bennett

Principals:
Carmen Jones- Muriel Smith- Soprano
Joe- Luther Saxon- Tenor
Cindy Lou- Carlotta Franzell- Soprano
Husky Miller- Glenn Bryant- Baritone
Frankie- June Hawkins- VTI
Drummer- Cosy Cole- VTI
Chorus and Smaller Roles: 12F/12M, 8 Children minimum, the music would be richer with more in the company

SYNOPSIS

The curtain opens to show the exterior of a parachute factory on the edge of a river. The factory is near a Southern town and an army camp is beyond. The time is 1943. The stevedores are carrying cases from the factory onto the loading platform to await shipment, the MPs are on guard and other workers are readying a parachute for folding. The soldiers and workers improvise a work song to keep the pace and encourage the war effort (PRELUDE- M Chorus).
Cindy Lou, an attractive girl from out of town, attempts to gain entrance to the factory but is stopped by the MPs. Morrell, who considers himself a ladies man, crosses to greet her, only to discover she is looking for a Corporal named Joe and has no interest in flirting with anyone else. Morrell and the men playfully attempt to entice her but she laughingly tells them she only likes one man (OPENING- M/F Solos to M Chorus).
She exits as the change of the guard begins and a line of street urchins enters, imitating the more formal guard changing ceremony. The children comically perform the guard change, complete with baseball bats and broomsticks, while the Sopranos sing with childlike intonations (LIFT ‘EM UP AND PUT ‘EM DOWN- Ch and F Chorus). After they complete maneuvers the urchins exit.
Joe enters with the new guard and the foreman informs him Cindy Lou is looking for him. Sergeant Brown, one of the new guards strikes up a conversation with Joe. Brown is swaggering and proud, for he is from New York and a real ladies man. The men inform him that Joe is quite popular among the factory girls, especially Carmen Jones, but he shuns all of them in favor of his girl back home. The lunch whistle sounds and the men tell of their hunger for a girl, not food (HONEY GAL O’MINE- M Chorus).
Female laughter is heard from the direction of the parachute factory. Lieutenant Eddie Perkins, a flier who used to work at the factory, enters followed by the factory girls who are dressed in flat-heeled shoes and dresses. They wish him good luck and hope that if he ever has to bail out he will use one of their parachutes (GOOD LUCK, MR. FLYIN’ MAN- F Chorus).
Carmen, an extremely sexy, over dressed girl wearing a rose in her hair and high heels, enters. The crowd is obviously awed except for Sally and Joe. Carmen tells everyone that love is where you find it; it comes and goes (DAT’S LOVE- F Solo to Mixed Chorus). She is the type of woman who wants what she can’t have and, once she wins, quickly loses interest. At the end of the song she throws a rose at Joe’s heart. Everyone exits, leaving Joe alone to ponder this unusual woman.
As Joe slowly picks up the rose Carmen has left, Cindy Lou enters and confesses she has come because his mother has had several superstitious omens, buzzard feathers and a bad tea leaves reading. They are upset by the omens but attempt to put it aside by expressing their love (YOU TALK JUS’ LIKE MY MAW- Sc to M/F Duet). At the end of the number the two are in each other’s arms. Joe decides to read the letter his mother has sent but Cindy, knowing the letter is a request for Joe to marry Cindy as soon as possible, leaves Joe alone. He agrees with his mother and is grateful the letter has come before he has succumbed to Carmen’s wiles.
Joe prepares to discard Carmen’s flower when a terrible row is heard from the factory and Joe rushes to the entrance, which is now filled with the factory girls who are escaping a fight between Carmen and Sally. The girls describe the fight which verbally continues as Sally and Carmen are dragged on (MURDER, MURDER- F Chorus). Sergeant Brown threatens to throw Carmen in jail for her actions, but she taunts him, claiming he has no authority over her for he only has military jurisdiction and she is a civilian. He retaliates by ordering Joe to take her to the guardhouse. She runs away from Joe and kisses him when he finally catches her. The crowd comments (FINALE OF SCENE 1- Mixed Chorus).
The chorus, in the orchestra pit, happily sings (CARMEN JONES IS GOIN’ TO JAIL- Mixed Chorus). On a road lined with shrubs Joe is seen leading Carmen to jail, followed by eight taunting children who reprise the adult song. Joe chases them off and they vow revenge. After Carmen seduces Joe into taking her dancing at Billy Pastor’s (DERE’S A CAFE ON DE CORNER- F/M Duet), he lets her go on the condition that she meet him at the cafe. She runs off and Sergeant Brown enters with Cindy Lou to be told by the street urchins that Joe has let Carmen go. Brown is furious, has Joe put in the guardhouse, and goes to meet Carmen at the cafe.
Three weeks later a happy crowd is enjoying the music at Billy Pastor’s. Frankie, who is dancing with Rum, a prizefighter’s manager from Chicago, expresses her feelings for the music in song (BEAT OUT DAT RHYTHM ON A DRUM- F Solo To Mixed Chorus). There is great excitement among the crowd as the famous Husky Miller, a 6’6" majestic prizefighter, enters. Husky buys drinks for the house and tells the admiring crowd about prize fighting (STAN’ UP AN` FIGHT- M Solo to Mixed Chorus).
Carmen enters during Husky’s song and his attraction to her forces him to embellish the number. She gives him one disinterested glance and walks away. Husky tells Rum and his assistant, Dink, that he wants to see Carmen waiting for him when they get off the train in Chicago. If they can’t coerce her into going to Chicago they can consider themselves fired.
At Frankie and Myrt’s table the two girls confide to Carmen that Rum and Dink want them to go to Chicago and they would like Carmen to join them. Carmen dreams of traveling and Rum and Dink heighten her interest with a description of the speeding train (WHIZZIN’ AWAY ALONG DE TRACK- 3F/2M Quintet). Carmen almost gives in, but confesses that she is in love with Joe and can’t leave while he is in jail. Rum describes the easy life in Chicago and further entices her by telling her how easy it would be for her to work in a nightclub. Carmen promises to reconsider.
Joe arrives, after having finished his three weeks in jail, excited to find that Carmen has waited for him. When he shows her the rose she gave him three weeks before (DIS FLOWER- M Solo) she realizes he is in her power. Carmen invites him to Chicago (IF YOU WOULD ONLY COME AWAY- F/M Duet) but he wants to better himself through flying school. Sergeant Brown overhears this last comment, begins needling Joe and a fight occurs. Brown is knocked out and Joe, thinking he will spend years in prison if he stays, agrees to leave with Carmen. Carmen tells the crowd that Joe is going to flight school and the company lines up to wish him farewell (ACT I FINALE- Mixed Chorus).
Act II opens at the classy Meadowlawn Country Club in Chicago where Frankie, Rum and Myrt are obviously out of their element. Carmen arrives alone, grateful to be away from Joe and ready to meet Husky. Myrt entertains the women by reading cards and telling fortunes (DE CARDS DON’ LIE- F Chorus). Carmen cuts a nine of spades which terrifies her for it is an omen of death (DAT OL BOY- F Solo).
Husky and his opponent from Brazil arrive. Both are strikingly dressed in evening clothes. The crowd is excited and greets Poncho (PONCHO DE PANTHER FROM BRAZIL- M/F Chorus). Husky is introduced to Cindy Lou who has come searching for Joe. When Husky asks her what is so special about Joe she easily responds (MY JOE- F Solo). Husky goes to get Carmen to help.
Left alone, Cindy surprises Joe who arrives at the club looking for Carmen. She desperately urges him to come home, but he refuses and attacks Husky, who has entered the garden with Carmen. Rum and Dink break up the fight and convince Husky to return to the club. Rum, Carmen, Cindy, Frankie, and Myrt urge Joe to go home with Cindy to be with his dying mother. He agrees but promises Carmen he will return for she is his forever (FINALE OF SCENE 1- 4F/2M Sextet). Carmen shrugs indifferently and walks into the clubhouse where Husky is waiting.
It is one week later, outside a baseball park on the night of the championship fight, the fans are excited (GIT YER PROGRAM FOR DE BIG FIGHT- Mixed Chorus). The crowd is anxiously awaiting Husky (DAT’S OUR MAN- Mixed Chorus) and goes wild with excitement when he enters with Carmen. The police guards escort him inside leaving Carmen with Frankie and Myrt who warn her that Joe is waiting for her. Although they urge her to run, she feels the future is fated and turns to face him.
Joe slowly approaches Carmen to tell her his mother died before he got home. She comforts him, but tells him if he is going to kill her to get it over with. He asks if they can begin again (BEGINNING OF FINALE- Scene to M/F Duet) but she replies that she needs new fire and their flame is gone. In a grippingly difficult and dramatic twelve-minute musical scene, the two rehash their relationship with each crying out for something different. As the chorus reprises (DAT’S OUR MAN [REPRISE]- Mixed Chorus), Carmen starts to go in to her soon to be victorious lover, Husky. Joe is overcome with jealousy and kills her. Behind this downstage death tableau the lights rise, revealing a victorious Husky and a cheering crowd. The lights dim as Joe, on his knees, announces that his death will bring him to his Carmen.

NOTES ON THE PRODUCTION

In Oscar Hammerstein’s introduction to the play he gives a background of his early impression of opera and further theorizes the reason that opera is so successful in Europe is mainly due to the fact it is sung in the native language of the presenting country. He feels that opera which has been translated into English has generally failed because the translations have been more scholarly in nature than theatrical. It was for this reason that this creative man wrote Carmen Jones.
Hammerstein based his musical play on the Bizet opera Carmen, he felt his treatment would enable audiences to understand the story line, the characters, and the dialogue and be moved to emotional heights by the musical line which underscores the piece throughout. Oscar Hammerstein wrote the play for black actors because he felt the American black community had the freedom and abandon necessary to capture the gypsy spirit of Bizet’s opera.
Vocally the work is extremely difficult and requires operatic voices. Billy Rose, the producer of the original production, considered the roles too vocally taxing to sing twice a day and double cast the principals.
The show was extremely successful, opulently mounted, visually exciting and musically true to the original. It is the only adaptation of an opera which truly appealed to Broadway audiences, and one that is worthy of more public performances.
An interesting note from Abe Laufe’s Broadway’s Greatest Musicals which should encourage Community Theatres is that none of the principals in the original production were professional; all were making their Broadway debut. Certainly a company who has the vocal ability to handle Porgy and Bess should consider adding Carmen Jones to their repertoire.
The costuming adds color and variety to the show and all efforts should be made to have a visually exciting grouping of costumes. It is probably more important, in this show, to spend a larger portion of the budget on the costumes than on the scenery.
There are essentially three sets, the exterior of the parachute factory, the interior of the cafe, and the exterior of the country club. The exterior of the baseball park is traditionally a painted scrim, but this can be trimmed in size and placed to one side of the stage. It is visually better to have the ending scene performed with a scrim, even a small one.

SONGS OF SPECIAL INTEREST

"Finale," Sc to tenor/soprano dramatic duet, extremely difficult and worthy of working on

Instrumentation: 4 reeds, horn, trumpet, 2 trombones, percussion, 4 violins, viola, cello/bass, harp, piano, piano 4/conductor
Script: Knopf
Score: Williamson
Record: Decca
Rights: R & H

CARNIVAL!

Music and Lyrics: Bob Merrill
Book: Michael Stewart
(Based on the film "Lili" by Helen Deutsch, adapted from a story by Paul Gallico)

ORIGINAL PRODUCTION

Imperial Theatre, April 13, 1961 (719 perf.)
Director/Choreographer: Gower Champion
Musical Director: Saul Schechtman
Orchestration: Philip J. Lang

Principals:
Lili- Anna Maria Alberghetti- Soprano
Marco- James Mitchell- Baritone
Paul- Jerry Orbach- High Baritone
Rosalie- Kaye Ballard- Alto
Jacquot- Pierre Olaf- Baritone
Schlegel- Henry Lascoe- Baritone
Chorus And smaller Roles: 6M/6F minimum, circus skills necessary

SYNOPSIS

The play begins in an empty meadow sometime before sunrise. Jacquot enters, playing a concertina. He sits and begins to sing. The other carnival performers and roustabouts enter to raise the tent for the eventual performance. Schlegel, the owner, calls for the parade that announces the arrival of the Cirque de Paris to begin. The performers and their specialties are introduced (DIRECT FROM VIENNA- Mixed Chorus) as the parade starts for town.
Lili, a waif-like, recently orphaned teenager, arrives seeking work from her father's friend who runs the souvenir concession. Grobert, the abrupt, new souvenir operator, gruffly informs her thatthe man is dead. Lilli offers to sell souvenirs for him (VERY NICE MAN- Sc to F Solo) and he lustily invites her into his wagon to discuss the matter.
Marco, the self-centered magician, hears crashing noises from Grobert's and is intrigued by Lilli who scampers out of the wagon. He charms her with some magic and showmanship, but Grobert angrily orders her to leave the carnival and she wanders off.
The lights rise on the puppet booth where Carrot Top, an endearing red-headed puppet, is singing (FAIRYLAND- M Solo) to Schlegel who is in a fury about the incompetence of the act. He yells for the puppeteers, Jacquot and Paul, and warns them to get a new act or be fired. Paul, the head puppeteer, a former dancer who was crippled in the war, angrily begins to pack up. Jacquot, his good-natured, caring assistant, begs him to reconsider, but Paul responds that his present life is meaningless (I'VE GOT TO FIND A REASON- Sc to M Solo). When Lili enters looking for Marco, Paul furiously tells her to go home and leave men like Marco alone. She retorts that he performs magic and Jacquot kindly agrees with her, but also urges her to go home. She tells him how far she has traveled and how much her town meant (MIRA- Sc to F Solo).
The Carnival Parade returns and Marco invites Lili to have lunch in his wagon. As he sings of how wonderfully gallant he is, the Roustabouts mock him, but the infatuated Lili doesn't notice (A SWORD, AND A ROSE, AND A CAPE- M Solo to M Trio).
Rosalie, Marco's girlfriend, starts to go to Marco's wagon but Schlegel, anxious to avoid problems with his star, offers her a drink. Rosalie tells Schlegel she has a proposal of marriage from a Swiss doctor and is considering accepting. She sarcastically tells of Marco's nauseating habit of humming at his sexual successes and revels in the fact that it's her turn (HUMMING- Sc to F/M Duet). At the end of the song, Marco enters to ask Schlegel to give Lili a job and Rosalie decides to tell the Zurich doctor yes. Schlegel, surprised that Lili is the girl Marco wants him to hire, agrees to test her for six months at no salary. Lili excitedly imagines she is in love (YES, MY HEART-F Solo to Mixed Chorus). As she sings, various Roustabouts and performers enter and begin decorating the carnival for the evening's performance. Everyone becomes involved in her mood and song.
The company exits as the focus shifts to Jacquot who tells Paul he is staying with the Carnival. Paul angrily urges Jacquot to see the people and show for the mediocre place it is, but Jacquot tells him the ugliness is within Paul himself and exits. Paul looks sadly at Carrot Top, his favorite red-headed, little boy puppet and bitterly wonders if he should be more like the puppet (EVERYBODY LIKES YOU- M Solo).
The lights fade on Paul and rise later that night on the Carnival show. Various acts perform and Marco headlines with his magic act, assisted by Rosalie (MAGIC MAGIC- M/2F Trio). Lili keeps commenting to the audience on the magnificence of the act, which upsets Marco who has her fired. The Carnival Ballet closes the scene and the Carnival for the night.
Lili crosses an empty stage, puts down her suitcase and begins to climb a tall ladder, but the voice of Carrot Top slowly guides her from her contemplated suicide. She meets the rest of the puppets: Horrible Henry, a walrus, Renardo, a clever fox, and the elegant Marguerite.
After Renardo insults Horrible Henry, Carrot Top urges Lili to sing Henry a cheerful song, which she does (GOLDEN DELICIOUS- Sc to F/2 puppets Trio). She then lyricizes the carnival theme (LOVE MAKES THE WORLD GO ROUND-F Solo). The puppets query her about her feelings and Carrot Top's voice gradually becomes that of Paul, who begs her to care about him. The puppets join her in the song, which stops when Lili sees Marco. Carrot Top, in Paul's voice, orders Jacquot to hire Lili for their act and get her away from Marco. As Jacquot leads her off, Paul slowly comes from behind the booth and removes Carrot Top.
The curtain rises on Act II as the roustabouts, band, and performers prepare for the puppet show. The fanfare is played and Marguerite pops up with Renardo and Henry. Lili joins them (RUM TIKI TIKI TUM-F and Puppet Trio). Schlegel watches as the crowd grows at the puppet booth and decides to move the puppet theatre to a more central location.
The lights flash on to the puppet booth, which is larger and freshly painted. The puppets are better costumed (THE RICH-F and Puppet Trio). The show continues (BEAUTIFUL CANDY-F and Puppet Quartet to Mixed Chorus).
When Schlegel announces they will move to the main tent, the three are excited but Lili breaks the mood when she remembers she is to watch Marco's act. Left alone, Paul agonizes (HER FACE- M Solo). During the song, he realizes he has fallen in love. Paul calls to Jacquot to freshen up the puppets and give Lili a new song. Jacquot excitedly imagines their act will be so successful it will play Paris (CIRCQUE DE PARIS BALLET- M Solo to Mixed Chorus). He is joined by the Carnival people.
The next morning, the sudden arrival of Dr. Glass, Rosalie's veterinarian boy friend who carries some of his patients with him, causes her to have second thoughts. Marco, certain she is leaving, asks Lili to join him in the act. At this point, Paul enters and orders her to rehearse. Angered by her attitude of fear he grabs her tear-stained face and kisses her. Lili denounces him (I HATE HIM- Sc to F/M Duet).
The carnival people perform (CIRQUE DE PARIS- Mixed Chorus). Rosalie enters to tell Marco she is staying with him and is ready for their sword act. It seems Papa Glass, the owner of a large chain of hotels, is pleased that Rosalie is not marrying his son and has booked their act. She gets into the sword box and the two sing as Marco stabs swords into the box and she reacts as if hit (ALWAYS, ALWAYS YOU- Sc to M/F Duet).
Rosalie tells Lili that Marco no longer needs her and Jacquot urges her to go home to Mira, for Paul has torn down the puppet booth. When Marco enters to tell Lili he plans on seeing her again, Paul drives him off and angrily calls Lili cheap. She screams that she hates him and he slaps her across the face. She runs off and Paul laments (SHE'S MY LOVE- M Solo). He slowly exits.
Lili informs Marco that she has grown up and learned some truths about the world; she won't be seeing him anymore. He kisses her fondly and exits. As she walks by the broken puppet tent Carrot Top and the other puppets ask her to stay. As she embraces them she realizes that the puppets are indeed Paul. She lifts the curtain and demands an explanation. He admits that the puppets are aspects of his personality and angrily asks if he must make another puppet in the form of a cripple. Irritated with himself for opening up, he angrily orders her out and hurls Carrot Top to the ground. She looks at him and, admitting that he needs her, he reaches out his hand and she runs into his arms. They exit arm in arm.

NOTES ON THE PRODUCTION

This small cast musical is suitable for family audiences and one of the more inexpensive musicals to produce. It is dramatic, comedic and charming and has something that will appeal to all audiences. The music is melodic and highlights the story quite well.
The costumes are carnival/circus in style. It is best if placed sometime before World War II when the world was a bit more innocent. The performers only need one costume, although Rosalie should probably have several to help her character believability.
Set requirements call for a puppet booth, a wagon for Marco, and a souvenir stand. Usually the Puppet Booth is the rear of the souvenir stand. Marco's wagon balances the stage and may be left onstage or moved off as desired. The carnival tent is set up in the beginning of the show by the actors and may be as simple as banners or as elaborate as a full tent. The action is choreographed and lends atmosphere to the opening.
The dramatic numbers are excellent for classroom study. There aren't many musical theatre dramatic songs for a soprano and this show has some fine ones.

SONGS OF SPECIAL INTEREST

"Everybody Likes You," baritone, sung to a puppet, shows the development of the character, good in class situation for characterization study
"Her Face," solid dramatic baritone solo, good for class situation, should be performed with the scene for full value
"Humming," comedic song for character alto
"I Hate Him," strong soprano dramatic song, best when coupled with the scene before
"Mira," charm song, soprano/mezzo range, simplistic excitement, good for 2 song character study when coupled with "I Hate Him"
"She's My Love," realization song for male lead, good drama

Instrumentation: 3 violins, cello, bass and tuba, 5 reeds, horn, 2 trumpets, 2 trombones, 2 percussion, harp, guitar, accordion, piano-celeste (piano/conductor) Also available with reduced combo
Script:
Selections: United Artists
Record: MGM
Rights: Tams-Witmark

CAROUSEL

Music: Richard Rodgers
Lyrics and Book: Oscar Hammerstein II
(Based on the play "Lilliom" by Ferenc Molnar)

ORIGINAL PRODUCTION

The Majestic Theatre, April 19, 1945 (890 perf.)
Director: Rouben Mamoulian
Choreographer: Agnes de Mille
Musical Director: Miles White
Orchestration: Don Walker

Principals:
Billy Bigelow- John Raitt- Tenor
Nettie- Christine Johnson- Soprano
Julie Jordan- Jan Clayton- Soprano
Louise- Bambi Linn- VTNE, must dance
Carrie Pipperidge- Jean Darling- Mezzo
Jigger Craigin- Murvyn Vye- Baritone
Enoch Snow- Eric Mattson- High Tenor
Mrs. Mullin- Jean Casto- VTNE
Chorus and Smaller Roles: 12 F/14M minimum, several children to walk across the stage

SYNOPSIS

The show takes place between the years of 1873-1888 in a New England coastal town. The traditional Musical Theatre overture is replaced by a dance number which pantomimes the chorus enjoying the sights at a New England amusement park and the meeting of Julie Jordan and Billy Bigelow. Julie, a quiet, innocent mill worker, is infatuated by the roguish Billy who operates the Carousel (CAROUSEL WALTZ- Orchestra).
A little distance from the carousel, Julie and her friend Carrie, who have been chased out of the park by Mrs. Mullin, the jealous Carousel owner, stop to rest. Mrs. Mullin enters but is stopped by Billy who demands to know what all the fuss is about. When he learns that the cause of Mrs. Mullin’s is that he put his arm around Julie, he becomes angry and defies Mrs. Mullin who angrily fires him. He tells the girls he will be back and returns to the Carousel to pick up his things.
While he is gone, Carrie asks Julie how she feels about Billy and accuses her of being infatuated with this worldly individual (YOU’RE A QUEER ONE, JULIE JORDAN- Sc to F Duet). Carrie proceeds to tell about her fisherman boyfriend (MR.SNOW- Sc to F Solo).
Billy returns with a suitcase and coat, amazed that the girls are waiting. Julie sends Carrie home and Billy questions Julie about her reasons for staying. They are interrupted by a policeman and Mr. Bascombe, the Mill owner, who offers to take Julie to the Mill Boarding house and explain her lateness. When Julie doesn’t move, the policeman is appalled and Bascombe is resigned to her frivolity. After the two leave, Billy, becoming more enamored, discovers she has no boyfriends and no plans for marriage. He boldly asks what she would say if he asked her to marry and she responds that she would marry him, if she loved him. The two imagine how they would act if they were in love (IF I LOVED YOU- Sc to M/F Duet). Billy kisses her tenderly.
The scene shifts to Nettie Fowler’s Spa later that year. A group of hungry men carrying baskets of clams enter, anxious for the clambake to begin. Carrie tells the men to be ashamed of their loud behavior as the women shout encouragement. (GIVE IT TO ‘EM GOOD CARRIE- F Solo to Mixed Chorus). Nettie passes out hot doughnuts and coffee while wisely commenting that everyone is impatient for the first clambake of the year because it marks the beginning of summer (JUNE IS BUSTIN’ OUT ALL OVER- F Solo to Mixed Chorus). Carrie, who hasn’t seen Julie since she married Billy and moved in with Nettie, greets her friend with the excited news she is going to marry Mr. Snow. She tells Julie and the girls about her plans and, as they play act the ceremony, Mr. Snow arrives (MISTER SNOW- Sc to F Chorus & M Solo).
Julie is introduced to Enoch, a preening, straight-laced man with a peculiar laugh, and is pleased to see Carrie starting out her married life with such a homebody. When Billy enters to tell her he isn’t going to the clambake she breaks down and exits into the house.
Left alone, Carrie and Mr. Snow wonder about the future. (WHEN THE CHILDREN ARE ASLEEP- Sc to M/F Duet). After their dreaming, the men, all seamen, enter and describe their life as whalers (BLOW HIGH, BLOW LOW- Male Chorus). They are joined by Billy and his friend, Jigger, who later attempts to convince Billy to rob the mill payroll. Their plans are interrupted by Mrs. Mullin who offers Billy a job on the Carousel if he will leave Julie. An anxious Julie comes to the porch and privately takes Billy aside to tell him she is going to have a baby. Overwhelmed by the news he softens his usually harsh behavior by helping her into the house. He returns to tell Mrs. Mullin he is going to be a father. Julie’s announcement forces him to consider his sudden responsibility (SOLILOQUY- L to M Solo). He imagines first his relationship with his son and then the outcome if the baby is a girl. Realizing he must have money to protect a daughter from people like himself, he rashly decides to join Jigger in the robbery.
Act II opens on an island later that night. Couples are resting and talking about the clambake (THIS WAS A REAL NICE CLAMBAKE- Mixed Chorus). Nettie sends Enoch to hide the treasure for the traditional male treasure hunt and Jigger takes Enoch’s absence as the opportunity to flirt with Carrie. Enoch returns and accuses Carrie of being a loose woman. He sadly turns away to dream of what might have been (GERANIUMS IN THE WINDER-L to Solo). As Carrie sobs, Jigger comforts her. He tells the arriving chorus that any girl in love with a virtuous man is destined for unhappiness (THERE’S NOTHIN’ SO BAD FOR A WOMAN- M Solo to Mixed Chorus).
Billy quietly tells Jigger it is time to sneak back to the mainland to rob the payroll. The women, left alone, express various opinions on married life and Julie tells Carrie her viewpoint (WHAT’S THE USE OF WOND’RIN’- Sc to F Solo).
On a mainland wharf Billy and Jigger’s plan to rob Bascombe is thwarted when Bascombe pulls a gun and yells for the police and ship’s crew. Jigger escapes, but Billy is trapped. Knowing he will spend the rest of his life in jail, he stabs himself and cries out Julie’s name. Julie and Nettie enter and Billy calls Julie for one last good-bye and dies in her arms. She quietly says good-bye to Billy and tells him she loves him. When she brokenheartedly asks Nettie what to do, Nettie tells her she will never be alone (YOU’LL NEVER WALK ALONE- Sc to F Duet).
As Julie and Nettie kneel in prayer two heavenly friends enter and order Billy to come with them. Billy arrogantly demands to be judged by the Lord himself (THE HIGHEST JUDGE OF ALL- L to M Solo). The two exit with Billy.
In heaven Billy meets the Starkeeper who informs him that he hasn’t done enough good deeds in his life, but may return to Earth to help his fifteen-year old daughter. The stage becomes extremely bright and Louise is spotted running on the beach with two young ragamuffins. Enoch enters followed by Carrie and his six snobby children. After a variety of short dance scenes, which depict various groups of children rejecting and taunting Louise, Billy starts off with the Heavenly Friend to descend to Earth.
Outside Julie’s cottage, Junior Snow is appalled to discover that Louise is going to run away with a man in a theatrical troupe. When he tells her he wants to marry her if his father will agree Louise sends him away. Billy appears and talks to her about her father, but she tries to run into the house. He grabs her and tries to give her a star he has brought with him, but the terrified girl tries to pull away and he slaps her. Louise screams for Julie. Billy disappears from their view but watches as Louise describes her meeting with the stranger. Julie sends her into the house, crosses to the star and holds it before exiting. Billy, realizing he must do something to help Louise, decides to attend the graduation.
Later that day, outside the schoolhouse, the students are receiving their diplomas. The Principal announces the keynote speaker, the town doctor, who looks quite similar to the Star Keeper. The doctor proceeds to tell the graduates that the world is theirs. As he continues the group sings (YOU’LL NEVER WALK ALONE [REPRISE]- Mixed Chorus) and Billy urges Louise to listen to the words of the song. She moves closer to the group and a fellow classmate embraces her. Billy’s last words on earth are to tell Julie he loves her. She smiles, feeling his presence, and she and Louise gain the strength to face their future. (FINALE- Mixed Chorus)

NOTES ON THE PRODUCTION

The artistic and producing staff names are familiar to those who have seen Oklahoma! It is a brilliant work, with a dramatic book, memorable music and excellent characters. The show is worthy of a quality production and requires talented singers and actors in the leading roles. A careful analysis by the director, using the advice of Harold Clurman in his book On Directing, can only enhance the acting motivation. Many of the scenes, the "bench scene" in particular, where Billy and Julie talk of love are subtly contrived yet add much to the character relationships. Billy’s dramatic "Soliloquy" is one of the most developed character songs ever written for the American musical stage. If the song-scenes are not fully acted and directed, much of the dramatic value of the script and the motivation of the characters are lost. This show, considered by some to be Rodgers’ and Hammerstein’s greatest achievement, needs three dimensional characters to achieve its full dramatic potential. Anything less is not worthy of production.
The sets are not terribly complicated, if a practical carousel is not used. The costume period (1873-1888) may be the same throughout the show. The strong consideration here is the acting. The choreography may be complex or simple but there should be at least one good male and female dancer in the company. The opening number is a classic musical theatre piece which establishes the main characters and situation and requires a lot of rehearsal.

SONGS OF SPECIAL INTEREST

"Geraniums in the Winder," tenor charm character song
"If I Loved You," character development scene/song with lots of specifics to act, good tenor/soprano duet for class example
"What’s the Use of Wond’rin," semi dramatic, resigned, female solo, good for class or small revue
"When the Children Are Asleep," tenor/mezzo, charm duet, good for intimate Revue
"You’re a Queer One, Julie Jordan" into "When I Marry Mister Snow," excellent song to scene character study for mezzo/soprano
"Mr. Snow" is also an excellent story song with lots of images for acting
"You’ll Never Walk Alone," often used at graduations and in choral work, dramatic, tearful scene into song, good acting exercise in handling drama, 2 sopranos

Instrumentation: 3 violins, viola, cello, bass, 4 reeds, 3 horns, 2 trumpets, 2 trombones, tuba, harp, percussion, piano/conductor, 2 piano score also available
Script: Six by Rodgers and Hammerstein
Score: Williamson
Record/CD: Decca
Rights: R&H
THE CAT AND THE FIDDLE
A musical love story

Synopsis by UNH alum John Garand

Book and Lyrics: Otto Harbach
Music: Jerome Kern

ORIGINAL PRODUCTION

Globe Theatre, October 15, 1931 (395 perf.)
Director: José Ruben
Choreographer: Albertina Rasch Musical Director:
Orchestration:

Principals:
Shirley Sheridan- Bettina Hall-
Alec Sheridan-
Angie Sheridan-
Pompineau- George Meader-
Victor Florescue- Georges Metaxa-
Maizie Gripps-
Odette-
Christian Biddlesby-
Major Chatterly-
Clement Daudet-
Chorus and Smaller Roles:
SYNOPSIS
Act I begins with a street scene in Brussels consisting of a church on a backdrop with an illuminated clock striking midnight. This first scene is completely underscored. Onstage there are four vending booths with books, flowers, fruit and vegetables and crockery. All of the vendors cry their wares in song (VOILA LES LIVRES VENEZ VOIR- M Solo). An old Roué sits with a poodle. Pierre and Madeleine enter. The Roue flirts with Madeleine. She is amused until he shows her a 1000 franc note. Meanwhile, Pierre buys a book. They exit, followed by the Roué.
The Americans, Alec Sheridan and his sister Shirley enter. We hear English for the first time. He is younger, but has the self-appointed air of a dictator. They are arguing. It seems Alex has left his wife, Angie, at a theatre to look for Shirley. He demands that Shirley stay on a bench until he returns with Angie. The Vegetable Vendor sings her song to Shirley (LA JEUNE FILLE, ELLE EST MALADE- F Solo). Offstage, Pompineau is heard singing to the accompaniment of a guitar. He enters, sings directly to Shirley, and offers to sell her a copy of the song (LA NUIT EST POUR L’AMOUR- M Solo). He discovers she is American and tries another song only to find out that Shirley wrote it. (SHE WOULDN’T SAY YES, SHE DIDN’T SAY NO- M/F Duet). Of course, he offers Shirley all the copies she wants for nothing. He ends up giving her the name of a French establishment popular with Americans, La Petite Maison.
Victor Florescue, who has entered and has been perusing a book at the bookstall, interrupts, thinking that Pompineau is annoying Shirley. Pompineau leaves Victor to Shirley. Shirley recognizes Victor from the Conservatory, as he is a composer and she heard his symphony. He, of course, does not recognize her. She’s no longer at the Conservatory due to a lack of women’s tuition. He can see she is a pianist by her hands and takes one of hers in his own. She doesn’t withdraw, but refuses to have supper with him. He does take her address and promises to write. They make it clear that whenever they wish to "end" this relationship, all that needs to be done is for one or the other to stop writing.
Alec and Angie enter, disagreeing whether the show that they have just seen was good (Alec’s opinion) or bad (Angie’s view). They meet Victor as he is leaving and question Shirley about his intents. Angie asks what "she" (Shirley) said (SHE DIDN’T SAY YES- F Duet). Angie, Shirley and Alec buy vegetables and sing the Vegetable Vendor’s song (LA JEUNE FILLE ELLE EST MALADE- M/2F Trio). Pompineau enters (THE NIGHT WAS MADE FOR LOVE- M Solo). Shirley stops to listen to her song.
The scene shifts to an entrance into a cafe a La Petite Maison. It is early afternoon. Angie is sitting and Alec enters. He is upset to hear a waiter call her Mademoiselle, which is what she had asked the waiter to do. They have moved to an apartment at La Petite Maison. It has a piano in it, which will be a grand surprise for Shirley when she returns from a two-week trip to Paris. Shirley was there waiting for her money from a music publisher. Alec and Angie speak of how Shirley is nuts for Victor who sends her many letters. Shirley enters. Having gone on a shopping spree with her royalties, she wears a new wardrobe and brings Angie some new dresses too.
Shirley has just been to the post office. She is upset that she hasn’t heard from her Rumanian, Victor. A piano is heard and the sound catches her attention. Pompineau enters. Shirley thanks him for his assistance in finding them a new apartment and offers him a tip. He refuses, for he has already received his commission. Shirley, Angie and Alex exit. Pompineau sits at a table. He is joined by Maizie Gripps, a chambermaid at La Petite Maison. Maizie likes Pompineau, even though he gives her the cold shoulder. Pompineau is the only man she has met who doesn’t have "posterior motives." A chorus is heard offstage. Couples enter singing "Two by two. Two by two. So goes the love parade." Both Pompineau and Maizie would rather watch the love parade pass them by (I WATCH THE LOVE PARADE- Chorus into M/F Duet).
In Victor’s studio, an apartment comfortably furnished with a parlor grand piano, Victor is at the piano rehearsing a Commedia scene with Odette, who is playing the violin, Constance and Christian Biddlesby, a peculiar-looking English-type (SONG WITHOUT WORDS- F Solo). They madly search for the words, which Christian has misplaced. They hear the piano across the court playing jazz. This puts Victor in a rage. The lyric is found in Christian’s pocket, but Victor refuses it and exits.
Christian tells that Victor is in love. Odetter thought he was in love with her, so is a bit unnerved to hear of Shirley. Christian shows Shirley’s gloves, which Victor used to keep over hispiano. Victor was seen kissing these gloves. Christian does not dare tell Victor that he, Christian, lost Shirley’s letter with her Paris address. Victor wrote and wrote (to presumably their old address), but all of his letters were returned. Odette, glad to hear this, advises Christian to think no more about it.
There’s a knock at the door. A theatrical producer, Major Chatterly, enters. Victor enters with another producer, Daudet. The producers have come to hear the final episode of Victor’s "The Passionate Pilgrim." Odette reveals that it is based upon one of Victor’s grand passions, The Glove Lady. With a glare at Christian, Victor sings a rather sad song about the night Shirley and he sat on the bench (ONE MOMENT ALONE [IS ALL WE OWN]- M Solo). Daudet wanted something happier. He suggests that an audience is not interested in the state of an author’s heart. The jazz piano is heard offstage once more. Daudet likes what he hears, something rhythmic and dancy. Victor claims that he does not write such trash. Daudet, then, cannot consider producing Victor’s somber piece. Daudet and the Major exit. Odette leaves to phone the Major to convince him to use his influence on Daudet. The scene ends with Victor bemoaning the agreement to just stop his writing. He begins a piano duel with the jazz piano. The jazz piano wins. This is all too much for out Victor, who leaves the room a very disturbed man.
In the Sheridans’ apartment at La Petite Maison, Alec is doing dishes and Angie is at a baby grand piano. They talk about how their lives would be better in New York and of how Shirley still yearns for Victor. An excited Shirley enters. She tells them both to clean the place because the producer, Clement Daudet, is coming. He has heard them play and wants to hear them in person. Angie and Alec get right to work. They are as excited as Shirley, for they are a dance team.
Daudet enters. Shirley hands Daudet some handwritten lyrics of hers so he can follow along as she sings what is certainly a companion piece to Victor’s "just doing my best to forget so I’ll remember you" song (TRY TO FORGET- F Solo). Daudet is enchanted. He offers 1000 francs outright and 500 francs a week for a few pieces to interpolate in a more somber piece he has. Shirley balks. She knows how composers are. She tells Alex to give back the check to Daudet. Alec refuses. After all, Angie’s and his careers depend on that money, too. Victor’s somber piano playing is heard. Daudet recognizes the playing and identifies the player, Victor Florescue. Shirley is stunned. Daudet goes on to say how he was burned by a lady with a glove and is now having an affair with Odette. Shirley again requests that Daudet’s check be returned. Angie remarks that the Sheridan name has always been a fighting name in American history. This makes Shirley change her mind. Angie and Alec are ecstatic. Shirley sings the second verse of her song (TRY TO FORGET- F Solo). Maizie interrupts with a message from across the court, "please play the piano a little more piano." Both Shirley and Daudet sing her song forté with Alec and Angie dancing (TRY TO FORGET- M/F Duet).
Scene five is done in one as a rear seat of a self-lighted limousine. Odette and the Major discuss that evening’s try-out of Victor’s show. She learns about Shirley’s presence as composer-in-the-wings. Also, we see Odette and the Major becoming infatuated with each other.
On the stage of the theatre in Louvain, Victor conducts "The Passionate Pilgrim" (PROLOGUE- POOR PIERROT LOVED HIS FAIR PIERETTE- M Duet). In the play, we see a view of Pierette’s garden. She dines with her new lover, Harlequin. Pierrot (Christian) enters in rags, violin in hand. Pierette laughs and sends food to Pierrot who refuses the meal (PIERETTE, PIERETTE, VOYONA- 2M/2F Quartet).
After the play, backstage, Daudet and the Major disagree about its success, or not. Daudet insists it is a failure and needs a bit of life. Enter Shirley, Alec and Angie. They sing and dance Shirley’s song (TRY TO FORGET- F Solo). As the song ends, Odette and the Major bring on Victor. Daudet informs Victor that the song he just heard will be used in his show. Victor replies, "That trash? Never!" At which point, Shirley, who has had her back to Victor, rises and turns to face him. Victor looks at her in blank amazement. The two of them quarrel. Victor insinuates Shirley is in love with Daudet; Shirley insinuates that Victor is having an affair with Odette. (TRY TO FORGET/FINALE- M/F Duet). Shirley, in spite, kisses Daudet. Odette finds herself held by the Major and can’t get to Victor’s side. The Major shrugs the whole thing off. Victor sees all and leaves the scene.
Act II opens in Daudet’s apartment in Brussels. The apartment is exquisite and luxurious with all of the newest amenities including a record player. It is all in "good taste." Daudet is having a party after "The Passionate Pilgrim." We find the Major and Daudet smoking. Claudine is seated, Colbert plays a guitar, and Biddlesby is dancing with Constance Garrington. Daudet and the Major smile at Biddlesby’s dancing. Odette enters to announce that Shirley is asleep in the bedroom. She also teases Daudet about Shirley’s lyric, which she found in his keepsakes. As the guests leave, Daudet assures them that he has ordered a car for Shirley. Odette teases that he will get no sleep that night. Pompineau is heard singing outside. Daudet listens and happens to find Shirley’s glove. Shirley enters, refreshed. She loved Victor’s work and wishes that Daudet would not meddle with it. Daudet yearns for another kiss from Shirley and reveals to her that he has ordered no car. Shirley teases that she has nothing with which to spend a night, but Daudet assures her that she has everything she would need. In fact, he exits to show her what he does have.
Shirley plays a record, her own song heard in the first scene. She sings along (SHE WANTED TO STAY, BUT THOUGHT SHE SHOULD GO- F Solo). While she sings, she gathers her things and leaves. Daudet enters carrying "many lovely bits of feminine boudoir apparel." He rushes after Shirley. Pompineau is heard singing. Daudet joins in (THE NIGHT WAS MADE FOR LOVE- M Duet).
In the street under Daudet’s window, Pompineau’s singing continues through the scene change. Shirley enters through the door beneath the window. Daudet yells dow to stop his bird from flying away. Shirley yells to him that she is a homing pigeon. She and Pompineau sing Shirley’s song up to him (SHE DIDN’T SAY YES- M/F Duet). A taxi is heard and Shirley exits to hail it down.
At Victor’s studio, Victor and Biddlesby discuss the previous night. Victor sings a new song he wrote about how love doesn’t fade (SHE BRINGS A NEW SMILE or YOUR NEW LOVE IS OLD- M Solo). Shirley enters and Biddlesby leaves. Shirley tells Victor that she won’t tamper with his play. Odette calls. Shirley bristles for both she and Victor must find out about their fears: Daudet and Odette. Shirley continues telling Victor that he could brighten up his own work very easily, for "it’s not a case of melody, but of rhythm and accent." Victor agrees. He goes as far as to show Shirley his inspiration, her gloves. She sits at the piano and suggests that his song could have a happier ending, playing it with a happier lilt. He plays too. She rises and spontaneously changes the ending to "It might have lived again." They embrace (ONE MOMENT ALONE- M/F Duet).
He asks why she was so cruel the previous night. She replies because he stopped writing letters to her. They discover their mutual mistake. Victor agrees to rewrite the ending of "The Passionate Pilgrim" so that all will be happy. Why, he will even include Shirley’s music, too. Shirley leaves Victor to his work. Odette enters and informs Victor that Shirley just wants to meddle with his play and shows him Shirley’s handwritten lyric found in Daudet’s bedroom. Odette also claims that Shirley spent the night with Daudet. Practically vioent, Victor is convinced and crushed. Ordering a scared Odette to leave him, he pines over Shirley’s gloves. But he dramatically drops them when he hears Shirley happily playing the theme of her blues tune over and over and over.
The curtain opens to eight girls costumed grotesquely as a jazz band, each with a different instrument. The curtain closes as four dancers do a jazz dance and a chorus sings the jazz theme (JAZZ THEME- Chorus with Dance).
Two weeks later, in Alec and Angie’s dressing room, we see Daudet and Shirley. "The Passionate Pilgrim" is in performance. Shirley can’t bear to watch. During these two weeks, Victor has not been seen, nor has he left a forwarding address. Daudet is still after Shirley. He proposes to her. Alec and Angie interrupt. Their number was a success, even if Alec did miss the last step. Daudet and Shirley exit. Angie receives flowers from a German admirer. Alec, of course, is jealous. Then, Angie notices that the flowers are not for her. The flowers are for Alec!
In the street outside of La Petite Maison, we see a street cleaner who is singing (M Solo), a few couples, a street walker and Victor. Maizie enters. She has just seen his play and can’t understand why there wasn’t a passionate pilgrim in it. She is off to Daudet’s opening night party. Is Victor going to? Why didn’t he appear on the stage when the audience called for him? Should she tell Miss Sheridan that she saw him? To all of her questions, Victor answers, "No."
Scene eight takes place at the restaurant a la fresco at La Petite Maison. Beyond the wall, we see the lights of the city. Daudet’s party is in full swing. Daudet finally gets the Major to admit that the show has improved. A light is seen in Victor’s window for the first time in two weeks. Pompineau appears. Daudet reminds him that he failed him by not stopping the flight of "homing pigeon Shirley." Odette is astounded to hear this. She tells the Major and Daudet what she told Victor and that it must be why Victor disappeared. Daudet implores her to tell him the truth. However Odette remembers how violent Victor became and is afraid.
Shirley arrives in a lovely evening gown. Shirley says that it is not language that gets to her, it’s the mood (IF YOU’RE FOR ME- F Solo). Pompineau sings to Daudet and Shirley, thinking them to be a couple (POOR PIERROT- M Solo). A drunken Victor enters and witnesses the serenade. Victor kindly asks Pompineau if he can sing it too. He sings it jealously, with all the passions his injured feelings can conjure (POOR PIERROT- M Solo). Daudet is annoyed and Shirley is petrified. Daudet threatens to tell Victor the truth himself if Odette will not. Odette tells Victor of the lies she unknowingly told him. Victor could strangle her. Shirley is angry. Victor immediately apologizes to her. Pompineau sings (SHE DIDN’T SAY YES- M Solo). Shirley has been very silent. She realizes that her true Pierrot is Victor Florescue (ONE MOMENT ALONE/FINALE- M/F Duet into Full Chorus).

NOTES ON THE PRODUCTION

SONGS OF SPECIAL INTEREST

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

CATS

Synopsis written by UNH alum Brian Sutherland who was in the Broadway production

Book: Trevor Nunn
Music: Andrew Lloyd Webber
Lyrics: T.S. Eliot and Trevor Nunn
(Based on T. S. Eliot’s Old Possum’s Book of Practical Cats)

ORIGINAL PRODUCTION

Winter Garden Theatre, October 7, 1982 (7,485 perf.)
Director: Trevor Nunn
Associate Director/Choreographer: Gillian Lynne
Production Musical Director: Stanley Lebowsky
Musical Director: Rene Wiegert
Orchestration: David Cullen and Andrew Lloyd Webber

Principles:
Alonzo- Hector Jaime Mercado- Baritone
Bustopher Jones/Asparagus/Growltiger- Stephen Hanan- Tenor
Bombalurina- Donna King- Alto
Carbuckety- Steven Gelfer- Tenor
Cassandra- René Ceballos- Alto
Coricopat/Mungojerrie- René Clemente- Baritone
Demeter- Wendy Edmead- Mezzo
Etcetera/Rumpelteazer- Christine Langner- Soprano
Grizabella- Betty Buckley- Mezzo
Jellylorum/Griddlebone- Bonnie Simmons- Soprano
Jennyanydots- Anna McNeely- Soprano
Mistoffelees- Timothy Scott- Tenor
Munkustrap- Harry Groener- Baritone
Old Deuteronomy- Ken Page- Tenor
Plato/Macavity/Rumpuscat- Kenneth Ard- Baritone
Pouncival- Herman W. Sebek- Tenor
Rum Tum Tugger- Terrence V. Mann- Baritone
Sillabub- Whitney Kershaw- Soprano
Skimbleshanks- Reed Jones- Tenor
Tantomile- Janet L. Hubert- Alto
Tumblebrutus- Robert Hoshour- Tenor
Victoria- Cynthia Onrubia- Mezzo
The Cats Chorus:
Walter Charles—Baritone
Susan Powers—Mezzo
Carol Richards—Mezzo
Joel Robertson—Tenor
(Cats Chorus also understudies several roles and doubles vocals offstage)

SUMMARY

Eerie music and a theatre full of green eyes announce the arrival of our hosts, who instruct the audience as to the divinity and the proper naming of cats (JELLICLE SONGS FOR JELLICLE CATS/ THE NAMING OF CATS- Mixed Chorus). Mistoffelees, a magical cat, and Munkustrap, who will be a kind of narrator for the evening, welcome the cats to the Jellicle Ball, a once-a-year gathering where Old Deuteronomy will choose one cat only to go to the Heaviside Layer, to be reborn to another life.
The candidates are presented, starting with Jennyanydots, a rather dowdy housecat who displays a penchant for organizing cockroaches into a tap-dancing brigade (THE OLD GUMBIE CAT- M Solo to F Solo to F Trio to Mixed Chorus). She is interrupted by a renegade and outsider (THE RUM TUM TUGGER- M Solo to Mixed Chorus), who has the flamboyant image of a rock star. In the middle of his antics, Grizabella, the faded glamour queen with tattered coat, enters and is immediately shunned by the others as one who has fallen into disrepute (GRIZABELLA: THE GLAMOUR CAT- F Solo to F Duet to Mixed Chorus).
More socially accepted is an impeccably groomed old gentleman in spats, whose girth is explained by his description of his favorite eating establishments (BUSTOPHER JONES: THE CAT ABOUT TOWN- F Solo to M Solo to Mixed Chorus). A crashing sound, at first thought to be the evil and omnipresent Macavity, turns out to be a larcenous duo who acrobatically describe their adventures. (MUNGOJERRIE AND RUMPELTEAZER- M/F Duet).
Suddenly, all sense the arrival of their benign and wise leader (OLD DEUTERONOMY- M Solo to Mixed Chorus), and Munkustrap organizes them to entertain him (THE BATTLE OF THE PEKES AND THE POLLICLES/ THE MARCHING SONG OF THE POLLICLE DOGS- M Solo to Mixed Chorus). Deuteronomy entreats them to begin the Jellicle Ball, an elaborate dance expressing the sheer mystery and joy of felinity (THE SONG OF THE JELLICLES- Mixed Chorus). At its orgasmic climax, they scatter as they are once again interrupted by Grizabella who, unbeknownst to her, is watched by Old Deuteronomy as she remembers her lost glory (MEMORY- F Solo).
Act II begins with Old Deuteronomy reflecting on the meaning of the experience the cats have just had (THE MOMENTS OF HAPPINESS- M Solo). Jellylorum introduces the frail but venerable old thespian, Gus (GUS: THE THEATRE CAT- F Solo and M Solo), who reminisces about past theatrical triumphs (GROWLTIGER’S LAST STAND- M/F Duet and Mixed Chorus). A spirited and cheerful narration (SKIMBLESHANKS: THE RAILWAY CAT- M Solo and Mixed Chorus) is interrupted by the arrival of the fearsome Macavity, whose awesome powers are detailed by Demeter and Bombalurina (MACAVITY: THE MYSTERY CAT- F Duet to F Chorus). Indeed, Macavity has kidnapped Old Deuteronomy, and returns disguised as their beloved leader, only to throw off his cloak and engage in a demonic battle ending in his fiery disappearance. The cats are lost without their leader, and Rum Tum Tugger suggests enlisting the aid of the magical cat, who succeeds in conjuring Old Deuteronomy, seemingly out of thin air (MR. MISTOFFELEES- M Solo to Mixed Chorus).
As dawn approaches and Old Deuteronomy is poised to make his choice, Grizabella arrives and sings poignantly of her need to belong (MEMORY [REPRISE]- F Solo). All slowly realize that she is the one most deserving, and Old Deuteronomy leads her triumphantly to her new life (THE JOURNEY TO THE HEAVISIDE LAYER- Mixed Chorus). Deuteronomy gives the audience a final admonition on the proper respect for cats (THE AD-DRESSING OF CATS- M Solo to Mixed Chorus).

NOTES ON THE PRODUCTION

Cats won seven 1983 Tony awards, including Best Musical and Best Featured Actress in a Musical (Betty Buckley). The Broadway production of Cats ran from 1982 to 1999, and followed a lengthy original production in London. It surpassed A Chorus Line to become the longest running musical in Broadway history, and has spawned several companies in over 22 countries.
Obviously, any production of Cats will depend, at least somewhat, on costumes and makeup to suggest the illusion of felinity. It is also an equal task for both director and choreographer, as there are extended sequences of music intended purely for dance. So, too, must the performers be agile and preferably triple threats in order, not only to capture feline movement, but to be able to execute a variety of dance styles, and sing a relatively demanding score. A facility with language is also very helpful, as all spoken and sung dialogue is in verse. In all productions to date, an environment was created scenically that was fanciful and over-sized, a sort of junkyard for cats. Smaller theaters may be overwhelmed with the budgetary concerns of approximating what was a spectacular and lavish original production.

SONGS OF SPECIAL INTEREST

Although all material in "Cats" is specific to its subject matter, some material could be useful in audition or class situations, with the suggestion of feline physicality when appropriate.
"The Rum Tum Tugger," Baritone Solo, can be used as an audition piece or in class- good for movement and for working on singing contemporary style with a rock and roll flair
"Mungojerrie and Rumpelteazer," Tenor/Soprano Duet, can be fun for a class, comic and can incorporate dancing and partnering, story song in which they explain their methods of crime
"Macavity: the Mystery Cat," Mezzo/Alto Duet, jazzy and sultry, good for working on movement and singing,should probably be tightly choreographed
"Memory," Mezzo Solo, certainly has been used in every venue thus far, more an acting piece than most in the show, requires a powerful voice to convey deep emotion, Grizabella sings of her lost youth and glamour and yearning to belong
"Gus: The Theatre Cat"

Instrumentation:
Script: NP
Score: NP
Record: Polydor
Rights:

CELEBRATION

Music: Harvey Schmidt
Lyrics: Tom Jones

ORIGINAL PRODUCTION

Ambassador Theatre, January 22, 1969 (110 perf.)
Director: Tom Jones
Choreographer: Vernon Lusby
Musical Director: Rod Derefinko
Orchestration: Jim Tyler

Principals:
Potemkin- Keith Charles- Baritone
Orphan- Michael Glenn-Smith- Tenor
Rich- Ted Thurston- Baritone
Angel- Susan Watson- Mezzo
Chorus and Smaller Roles: 5M/5F who move well

SUMMARY AND NOTES

The story, told by a Narrator, aided by a chorus of revelers and musicians, revolves around a young orphan who hopes to create a lovely garden on the site of the now demolished orphanage. He meet Potempkin, a sleezy con artist, played by the narrator, who takes the youth to meet Mr. Rich, the owner of the property.
As the play progresses the themes of corrupt money, that the world belongs to the young, and the yearning of the old to recapture their youth are explored. Mr. Rich attempts to regain his youth through Angel, a rock singer who orphan loves. In the end, Rich dies in the arms of the youthful orphan.
The impact of the show rests on a visual look which greatly involves the choreography as well as the design elements. The chorus is greatly involved throughout as a visual entity and enhances the overall theatricality of the piece. The chorus may be kept at a minimum or expanded without detriment to the show.
The costumes of the chorus members may be basic but many add on pieces will be required for special movement sequences.
An unusual, through interesting, choice for College groups wishing to give audiences a thought provoking, often exciting production.

SONGS OF SPECIAL INTEREST

"Somebody," Alto/Mezzo Solo, audition potential, sung by teen rock singer who yearns for stardom, driving tempo, some movement necessary
"Celebration," Mixed chorus, Baritone soloist featured, good for Revue, has an aura of mystery, show's opening song which invites the audience to join in the celebration of the evening's events

Instrumentation: 2 pianos, percussion, guitar, bass, harp, electric piano
Script: Drama Books
Score: Portfolio
Record: Capitol
Rights: MTI

CHARLIE AND ALGERNON

Book and Lyrics: David Rogers
Music: Charles Strouse
(Based on the novel Flowers for Algernon by Daniel Keyes)

ORIGINAL PRODUCTION

Helen Hayes Theatre, September 14, 1980 (17 perf.)
Director: Louis Scheeder
Musical Director/Conductor: Liza Redfield
Choreographer: Virginia Freeman
Orchestration: Philip J. Lang

Principals:
Charlie- P.J. Benjamin- Tenor
Alice Kinnian- Sandy Faison- Soprano
Dr. Strauss- Edward Earle- VTI
Dr. Nemur- Robert Sevra- VTI
Mrs. Donner- Nancy Franklin- Mezzo
Little Charlie- Matthew Duda- VTNE
Lita- Loida Santos- Mezzo
Frank- Patrick Jude- Baritone
Charlie's Mother- Julienne Marie- Alto/Mezzo
Charlie's Father- Michael Vita- High Baritone
Chorus and Smaller Roles: None

SYNOPSIS

During the overture the lights rise on a New York playground where Charlie Gordon, a gentle 30-year old with the mind of an eight-year old, is waiting for Alice Kinnian, his attractive, 30-year old teacher. As the music continues Alice warmly greets him with a handshake. They cross the stage and voices that sound like children are heard (I GOT A FRIEND- Mixed Chorus). During the song small mimed moments are presented to demonstrate Charlie's mental abilities and his reliance on Alice. She tells him to wait, crosses the stage and reads Dr. Strauss's letter. As she reads the letter, the taped voice of Dr. Strauss of the Beekman University Clinic is heard. It seems that Charlie is being considered for an intelligent operation, the first ever performed on a human. Alice relates to the audience how she first met Charlie (CHARLIE GORDON- F Solo).
Charlie and Alice arrive at the doctor’s office where Dr. Strauss, age 50, and his associate Dr. Nemur, age 30, explain their project to replace damaged brain tissue with a synthetic replica. They have successfully experimented on Algernon, a mouse, and are anxious to experiment on the perfect human candidate. Charlie endears himself to them (I GOT A FRIEND- M Solo).
Alice leaves Nemur, Strauss, and Charlie to begin the testing. One test consists of a maze, in which Charlie must race against Algernon. He loses, which is emotionally upsetting to him. He wants to be like normal people so he will not be lonely. Alice, sensitive to his emotions, agrees to the operation.
The scene changes to a hospital room where Charlie is recuperating from the operation. Strauss hands him a diary to record his thoughts, but Charlie is depressed because he doesn't have instant intelligence. The doctors and Alice explain it will take time (SOME BRIGHT MORNING- Sc to 3 M/F Quartet). During the number Charlie's mind develops and the days pass. He is making progress, but wants to return to work at the bakery. As he expresses this desire the scene shifts to the bakery.
Mrs. Donner, the 60-year old bakery owner, excited to see Charlie, calls his co-workers, Frank and Lita (JELLY DOUGHNUTS AND CHOCOLATE CAKE- Sc to 2M/2F Quartet), who are amazed that he is smart enough to work the mixing machine.
Charlie returns to the clinic to tell Nemur and Strauss who are so amazed at his progress that they race him against Algernon in the maze. He beats the mouse and gives Algernon a piece of Mrs. Donnor's cake as a booby prize. He excitedly runs about singing (HEY, LOOK AT ME!- Sc to M/Solo). As he exits with Algernon, the song is completed by Alice, who is told of Charlie's development by Strauss.
The set becomes a classroom where Alice questions Charlie on various novels he has read, War and Peace, which he finished in one day, and Dr. Jekyl and Mr. Hyde, (READING- M Solo with scenes interspersed). Impressed with his growth, she tells him he has to learn to make his own decisions. He immediately asks her for a date but she refuses. An embarrassed Charlie runs off, leaving Alice to question their relationship (I WANT NO SURPRISES- Sc to F Solo).
The scene moves to a bar where Charlie has gone to celebrate with Frank and Lita (MIDNIGHT RIDING- Sc to M/F Duet). The two teach Charlie how to dance, but he realizes he has sexual feelings and becomes embarrassed. Frank laughs behind Charlie's back but Charlie, who is still naive in the ways of the world, isn't aware of it.
The set clears but the incident with Frank forces him to recall specific moments from his past. "Little Charlie" comes in the room and tells his mother he played hide-and-seek with the kids, but they all ran off. His mother tries to comfort him (DREAM SAFE WITH ME- Sc to F/Solo). Charlie watches and smiles at the memory of human contact. Dr. Strauss enters to compliment him on remembering his childhood. The scene continues as Charlie's father, a beaten looking man in his thirties enters and refuses to take Charlie to another specialist. His parents argue about his future, which upsets Charlie who becomes violently ill. The scene fades and Charlie painfully tells Strauss that his memory is coming back in disjointed pieces. He sees his parents yell at him about touching girls, then he hears them talking about sending him away. His mother wants him out right away for she is afraid of what his presence is doing to his sister. She finally forces the father to agree to let him go (NOT ANOTHER DAY LIKE THIS- Sc to M/F Duet).
Charlie is emotionally in pain but the Doctor interrupts his thoughts to tell him Mrs. Donnor has come to call. She adds to his grief by telling him she doesn't want him to work for her anymore because he is a new person and doesn't fit in with the people at the bakery. The old Charlie was someone who needed her and she loved him but the new Charlie doesn't need her anymore (SOMEBODY NEW- Sc to F/Solo). It has been three months since the operation and, while he has gained superior intelligence, he still has no friends. He vows to make his own life and strongly soliloquizes (I'M SOMEBODY NEW- M Solo).
Charlie's has enrolled at the University and he has become a linguist. His voice is heard on tape describing his mental growth. The lights rise on the street where Alice and Charlie are coming home from a movie. He tries to tell Alice how he feels about her but confesses that although he knows eight languages and has memorized the classics he can't express his emotional feelings (I CAN'T TELL YOU- Sc to M/Solo). When he realizes she is frightened that his mind will outgrow hers he kisses her and tells her he loves her. Realizing she loves him as well, she asks him to stay (NOW- Sc to M/F Duet).
Alice and Charlie begin living together which upsets Nemur who demands that Charlie come to the office. It seems he wants Charlie and Algernon as examples at an examination for the grant renewal. Charlie agrees, but sarcastically comments to Algernon and proceeds to remove the mouse from his cage. The two perform a vaudeville act during the number (CHARLIE AND ALGERNON- Sc to M Solo)
In the conference room, Charlie tries to make the visitors realize that his emotions are very important and he is still human. When the doctor puts Algernon to the maze test the mouse becomes confused and bites Nemur. This action leads the scientists to fear that the mouse has achieved his highest level of intelligence and is regressing. Charlie, fearing he will also regress, realizes there are no options; if he is going to regress it will happen (THE MAZE- Sc to M/Solo). Nemur, hoping that his superior intelligence will aid the project, invites Charlie to join the research team.
Alice finds Charlie, on the playground, reflecting on the fact that he has found a flaw in the surgery hypothesis. Knowing he will soon be losing his intelligence he tells her they should break up, but she refuses and wants to stay with him as long as possible. He makes her promise she will go when he tells her and she agrees to make the most of the time they have left (WHATEVER TIME THERE IS- Sc to M/F Duet).
They discover that Charlie's theory is right, he is regressing. Strauss says they must try again but Nemur is worried about the emotional impact on Charlie. The two, one a humanist, the other a scientist, examine the situation (EVERYTHING WAS PERFECT- Sc to M Duet).
Charlie enters carrying the dead Algernon in a box. He is visibly upset, for he knows there is no reversal. While accusing Strauss of treating him as a laboratory experiment and not as a person, he begins to return to the "old" Charlie. His speech slows noticeably and his vocal pattern becomes more hesitant. He snaps back to the present and vows to finish his research in order to help others. Charlie tries to concentrate, but all the people from his past encircle him and he screams out against them (CHARLIE- Sc to M Solo). He vows to fight his past, finishes the report, and slowly walks to the playground.
Alice finds Charlie who asks her to move out. She agrees, knowing his deterioration will be painful for both of them. They reaffirm their love (I REALLY LOVED YOU- Sc to M/F Duet) and she walks out of his life.
It is September 21, six months after the operation. Charlie sits on the bench listening to a cassette of his voice outlining his future at the Warren Home. The voice slowly speaks of practicing his reading so he can be better than he was before the operation and urges Alice not to feel sorry for him because he had a lot of experiences he never would have without the operation. He closes by asking her to put some flowers on Algernon's grave.

NOTES ON THE PRODUCTION

This sensitive treatment of the classic book is an extremely moving theatrical experience in the hands of a talented company and director. It is not expensive to produce if the sets and props are kept to a minimum. In fact the show works better if the sets do not overpower the actors. It is a perfect community and regional theatre show for it can only benefit from a smaller production geared toward avid theatre patrons.
The show did not last long on Broadway, but this in no way reflects the quality of the piece. Broadway audiences traditionally support lighter fare with more emphasis on spectacle. This is a strong, emotional, theatrical experience, worthy of smaller productions.
The major problem that confronts anyone considering the production is the portrayal of Algernon. The acting version of the script contains a detailed explanation of training and working with a pet mouse. Many people are frightened of this and companies may want to consider a shadow puppet or medium sized marionette to depict Algernon. Most professional puppeteers are able to successfully create and operate a puppet in a manner conducive to the mood of the play. It is not difficult for an audience to accept the convention of the puppet/mouse and it makes the show much easier to produce.

SONGS OF SPECIAL INTEREST

"Charlie," Tenor, dramatic solo, ending vocally demanding, possible for audition
"Charlie and Algernon," good for class style Tenor vaudeville number, comic monologue in the interlude
"Hey, Look At Me!" Audition potential for Tenor, up-tempo, exciting
"I Really Loved You," Romantic, Tenor/Soprano duet. Would be effective, in a class situation, to perform the number as it occurs in the show, when Charlie is still of superior and intelligence and then as his IQ returns to 68
"The Maze," semi dramatic, situation oriented Male solo, good for class work, good for transition work
"Whatever Time There Is," M/F Duet, poignant, semi dramatic

Instrumentation: 2 reeds, trumpet, horn, cello, harp, bass, percussion, piano/conductor
Script: Dramatic Publishing
Score:
Record/CD: Original Cast Records (under title Flowers for Algernon)
Rights: Dramatic Publishing

CHESS

Book: Richard Nelson
Lyrics: Tim Rice and Richard Nelson
Music: Benny Andersson and Bjorn Ulvaeus
(Based on an idea by Tim Rice)

ORIGINAL PRODUCTION

Imperial Theatre, April 28, 1988 (68 perf.)
Director: Trevor Nunn
Choreographer: Lynne Taylor-Corbett
Musical Director: Paul Bogaev
Orchestration: Anders Eljas

Principals:
Florence- Judy Kuhn- Mezzo Belt
Anatoly- David Carroll- Baritone
Freddie- Philip Casnoff- Rock Style Tenor
Walter- Dennis Parlato- Bass/Baritone
Svetlana- Marcia Mitzman- Mezzo with Strong Belt
Arbiter- Paul Harman- Rock High Baritone
Molokov- Harry Goz- Bass
Gregor- Neal Ben-Ari- Baritone
Nikolai-Kurth Johns- VTNE
Chorus and Smaller Roles: 8M/8F

SYNOPSIS

It is Budapest, Hungary, 1956 and there is a war going on. In a small crowded room people are waiting and, amidst the people, Gregor is urging his 4-year old daughter, Florence, to concentrate on her chess game. Gunshots are heard as men with guns enter, which distracts the young girl’s attention, but Gregor urges her to focus as he tells the history of Chess (THE STORY OF CHESS- M Solo). As the song ends, he sends Florence off to safety as he stays to continue the war effort.
The scene shifts to Bangkok, Thailand in 1986 where the world chess championship is being played. Freddie, the bold, brash, outspoken American champion makes his entrance (FREDDIE'S ENTRANCE- M Solo) During the song Freddie and his party enter the room where the Russian representative world chess champion, Anatoly, and Molokov, his second, are waiting. Various international news reporters interview the two and Freddie’s egotistical and obnoxious personality come out. When a reporter questions his relationship with Florence, his second, Freddie makes a scene, hurls water at him and storms out of the room. Chaos reigns as the reporters discuss Freddie and Florence admonishes them (SMILE YOU GOT YOUR FIRST EXCLUSIVE STORY- F Solo and M Trio).
Anatoly and Molokov are on their way to their hotel suite when they are handed a series of written messages, one of which is from Anatoly’s wife. We discover that his marriage is on the rocks and that he only finds satisfaction in playing chess. They also learn that the Russians have complete dossiers on all involved in the match, including Florence. Their discussion is interrupted by a phone call from the Russian ambassador who wants to play chess with Anatoly. Anatoly bristles at the idea, but Molokov says that he has no choice and leaves. Anatoly, alone in his room studying his chessboard, realizes that he has become a realist and his dreams have long been sublimated (WHERE I WANT TO BE- M Solo). He tries to convince himself that he is happy with his life but it is obvious that he is not.
The scene shifts to the Freddie’s suite where Florence and Freddie are practicing. Walter, Freddie’s marketing agent, is on the phone sealing a deal for print work. After the sleazy agent leaves Florence makes it clear to Freddie that she will not allow anything to interrupt his preparation for the forthcoming match. She shows him a move that he cannot get out of and he concedes, misunderstanding that she wanted him to know that his Russian opponent was able to get out of the move. Freddie is unable to be serious and Florence questions why she puts up with his attitude when she was once a brilliant scholar but she gave up her ambition to be with him (HOW MANY WOMEN- Sc to M/F Duet).
In a large hall, a Chess trade show is going on (MERCHANDISERS- Mixed Chorus). Florence meets Molokov to discuss the details of the surroundings of the forthcoming match and it is obvious that their discussion is political (DIPLOMATS- Mixed Chorus). It is obvious the Americans and the Russians are using this game to make nationalistic comments.
The scene shifts to the match between Anatoly and Freddie. A crowd is watching when Freddie suddenly notices that Anatoly is eating his second cup of yogurt and he accuses the Russian of receiving signals through the choice of yogurt flavor. When the Arbiter refuses to make a decision in the matter Freddie announces that the game is over and storms out of the room.
Molokov, Florence and Anatoly meet with the Arbiter (QUARTET-3M/F Quartet). Florence defends Freddie to the other three, but ends up sharing an elevator with Anatoly and, as they continue to argue, it is obvious that there is an attraction. The song becomes a linear quartet with the Arbiter and Molokov in one elevator and Florence and Freddie in another. The song ends with all four moving to the Arbiter’s chambers. The Arbiter is fed up and orders the two players to show up tomorrow ready to play. He storms out leaving Florence and Molokov to iron out the details and the two agree to meet at a mutually decided upon restaurant.
In Freddie’s suite, Walter is on the phone as Florence arrives to confront Freddie. She throws him out and asks Freddie when he turned from a young man who lived to play chess to an opportunist who was only game playing for publicity and other status seeking advantages. To her it is Walter’s influence. She tells him that they have a meeting tonight with the opposition but he refuses to go and Florence gives him a warning (YOU WANNA LOSE YOUR ONLY FRIEND- Sc to F/M Duet). He reminds her that she should hate the Soviets because they took away her childhood and manipulates her loyalty by telling her that if her father were alive he would die of shame if she walked out on the American chess champion. He storms out, leaving her to soliloquize (SOMEONE ELSE’S STORY- F Solo). She contemplates her relationship with Freddie and wonders at the changes over the past seven years. She realizes that she has matured while Freddie is still a temperamental egotist. She doesn’t think she matters anymore and considers moving on.
On the streets of Bangkok, where anybody can get satisfaction in a million different ways, Freddie watches the "action" (ONE NIGHT IN BANGKOK- M Solo and Mixed Chorus) but refuses to succumb. He heads for the meeting with the Russian knowing that the one thing he cares about is winning the match.
At the Generous Sole restaurant Anatoly and Molokov wait, while another man (obviously a soviet agent) sits at a far corner table, watching. Florence rushes in and, since she has no idea where Freddie is, Molokov goes to find him, leaving Anatoly and Florence alone at the table. They banter nervously back and forth but it is obvious there is a very strong attraction. Nervously Florence excuses herself suggesting that Freddie may be on the terrace. She leaves the room (TERRACE DUET- F/M Linear duet) and Anatoly watches her from the door. Midway through the song he joins her on the terrace and they continue the song, which ends with a kiss.
Freddie enters the scene as they kiss a second time (WHO’D EVER THINK IT- M Solo) and accuses her of working for the Russians and betraying him. Florence is furious, but Freddie tells them he has decided to play because Walter can get him another $100,000 just to play. He leaves as Molokov argues with Anatoly.
The next day the chess match has resumed with Anatoly leading 3 points to 1 when the Arbiter calls an end to the day’s challenge. Freddie is examining the board, replaying the moves when Florence tries to make amends. He retorts in anger (SO YOU GOT WHAT YOU WANT- M/F Duet), accusing her of being a typical female parasite, and storms out. Florence is astounded and confused (NOBODY’S SIDE- F Solo). As the song continues she moves to her hotel room to pack her suitcase, determined to go it alone.
In a garage under the arena, Florence enters with two men. One carries her luggage and the other holds her arm. Walter appears and urges Florence to go to Anatoly’s hotel room, but she doesn’t understand the connection. An American reporter spies Florence and asks her about the rumor that Anatoly Sergievsy is about to defect. What does she know about it? Walter slams the reporter against the wall, urging him to shut up, and Florence is frightened and confused. A group of Americans (looking like Secret Agents) hurry in, surrounding Anatoly. Walter grabs Florence and pulls her off after the group as Molokov runs on screaming for Anatoly to stop. A squeal of cars is heard. Anatoly has defected.
In an airport lounge Florence and Anatoly are on separate trunks, both nervous about their futures. The reporters arrive led by Walter (REPORTERS- Mixed Chorus) and Anatoly attempts to convince them that he is not leaving for political reasons but because he wants to discover many things for himself. The reporters continue to harangue him and he responds (ANTHEM- M Solo).
Act II begins in Budapest eight weeks later (HUNGARIAN FOLK SONG- Mixed Chorus). Florence goes off to see Budapest on her own. She enters a dimly lit cathedral and Molokov appears from the shadows to tell her he is just here to watch the chess match; his job has ended due to Anatoly’s defection. She tells him that she is looking for someone who may know what happened to her father. He offers to help her and comments that she seems to make Anatoly very happy, no doubt because they are spending so much time together fulfilling their mutual love. He exits and Florence contemplates her situation (HEAVEN HELP MY HEART- F Solo).
In Freddie’s Budapest suite, he is being interviewed by a young, attractive American reporter. He learns that Florence and Anatoly are in the same hotel and takes out his anger on Walter, who enters to tell him that he must meet with the Secretary of State for a photo op. The two argue their points (WINNING- Sc to M Duet).
Florence and Anatoly have spent the day with three of Anatoly’s close Russian friends, discussing chess and speaking mostly in Russian. He apologizes to Florence for shutting her out because she doesn’t understand the language. She says that the one word she did understand was wife’s name and when she asks him why it kept cropping up so much she discovers that Svetlana is in Budapest and that Anatoly will quite probably meet her (YOU AND I- F/M Duet).
There is a blackout and the scene shifts to Svetlana’s hotel room where Anatoly is meeting with his wife. She remonstrates him saying that his ambitions killed their relationship (YOU AND I- F Solo to M/F Duet). She leaves as Molokov enters and tells Anatoly how his wife’s stature has diminished since he defected: no car, a cheap apartment etc. He also tells him that he has been accused of stealing from the treasury and the Russian people think he is a traitor and a thief. He has ruined the lives of those who helped him and the lives of everyone in his family. Molokov tells Anatoly to get out because he is disgusted by him.
Outside the arena Freddie is surrounded by reporters and fans (FREDDIE GOES METAL- M Solo). Florence passes him and he assures her that he will win the match. Florence exits with Anatoly.
Molokov meets with Walter to see if he can devise a scheme to get Anatoly back that is to everyone’s advantage (LET’S WORK TOGETHER- Sc to M Duet). Over the loudspeaker the Arbiter announces that the game is tied. Walter agrees to help Molokov get Anatoly to return to Russia and agrees to give Florence an envelope stating that her father is still alive.
In a restaurant Anatoly, Walter and Florence are finishing their dinner as Anatoly is told there is a phone call for him. When he leaves she tells Walter that she thinks that maybe her father is alive. Molokov enters with Svetlana and introduces her to Florence. A worried Anatoly returns to Florence to tell her that his brother’s five-year old son has just had an accident. The Russians are making it very clear that he must come home. Florence asks to be alone and crosses the room as Svetlana greets her and the two women move to the terrace (I KNOW HIM SO WELL- F Duet) realizing that their love for Anatoly is a common thread.
Nikolai, a KGB agent abusively takes Svetlana away as Anatoly enters. His and Florence’s idyllic world is falling apart. Anatoly makes her realize that she can never see her father as long as she is involved with him because the Russians will use her as a tool to get Anatoly back to Russia. They ask Arbiter to postpone the match for one week. He needs time to think and she must get Freddie to agree.
In Freddie’s suite he is being interviewed by the female reporter who listens to the story of his life in a miserable home situation and how he found his escape in the game of chess (PITY THE CHILD- Sc to M Solo).
Meanwhile, along the Danube, Nikolai finds Florence to tell her to come with him if she wants to see her father. A man in a wheelchair is pushed onstage and Molokov arrives to translate any of her questions. The father begs to be left alone with her and they sing a charming duet, he in Hungarian and she in English (LULLABYE- Sc to M/F duet). She recognizes the song and, as they embrace, we see spectators walking by on their way to the chess match.
Anatoly is in his dressing room considering if he should forfeit the game or play as the chorus, Arbiter, customers, merchants and others discuss the situation (ENDGAME- Mixed Chorus).
Anatoly enters to play the game and he and Freddie finish the song from their own perspective. Anatoly is torn between staying with Florence or returning to his life in Moscow with his wife and is unable to focus his attention on the match so the American wins. Freddie is triumphant as Anatoly turns his king down, admitting defeat.
At the Budapest airport, Anatoly and Svetlana sit on their luggage awaiting a plane to take them to Moscow where they will be reinstated in their home. Florence enters and, after an awkward moment, tells them that she and her father will be going to a small home in Connecticut. Svetlana leaves them alone to say goodbye and tell of the strength of their love for each other (YOU AND I- Sc to M/F Duet). Anatoly leaves Florence alone with her thoughts. Molokov surprises her as he goes off to the Moscow plane and Walter enters and tells her the truth. It is not her father that she met, but a soviet impostor; her father was most likely killed in 1956. The Russians agreed to release one of the CIA agents if Anatoly would return to Moscow and Florence was used to help the CIA achieve their aim. She and Anatoly were just pawns in a chess game. Florence is devastated, realizing that her world is exploding around her the same way it did in 1956. She wonders how to start again (FINALE- F Solo).

NOTES ON THE PRODUCTION

Chess was nominated for two Tony Awards in 1988. However, it was competing with Into the Woods and The Phantom of the Opera, which won the majority of the awards. There are some wonderful numbers for classroom use and dramatic intensity. The songs are character driven and Anatoly, Freddie and Florence make an excellent romantic and dramatic triangle.
The show isn’t often done in colleges and community theatres because its title isn’t as regionally well-known as other musicals and can be technically complicated if done as the Broadway original. A director will need to develop a very clear idea of what is important in the script and focus on that. In an educational setting it may be advantageous to center on the combined themes of the chess games and how governments have the ability to make all of its citizens mere pawns in the game of life. With four talented leads who have excellent dramatic and musical ability the technical aspect of the show can be minimized. We may see revivals of this show once Mama Mia, the ABBA musical, hits Broadway because Chess was composed by two of the ABBA members.
SONGS OF SPECIAL INTEREST
"Where I Want to Be," Baritone questioning number by a strong Russian Chess champion who has given up his dreams for success and attempt to convince himself that he hasn’t lost out
"Someone Else’s Story," Strong Mezzo who realizes that she has intellectually moved beyond her boyfriend whom she once loved unquestioningly. She wonders where the girl she used to be has gong
"Terrace Duet," Mezzo/Baritone duet. Two people are adversaries yet are attracted to each other. The song begins as a linear duet but the two gradually move together and admit they want to be together
"Nobody’s Side," Mezzo solo. An angry Florence realizes that her relationship with her boyfriend has changed. She keeps thinking of her attraction to another and determines that she must rely on herself, none other
"Heaven Help My Heart," Mezzo Solo. Florence has become involved with a married man from another country. She knows that she will be hurt because he will not stay intrigued with her for long. However, she will bear the pain because she is in love
"I Know Him So Well," Mezzo/Soprano. A wife and a current lover feel that the man they both love can never belong to either of them. They mutually share their feelings in an interactive duet
"Pity the Child," Tenor Solo, a song that fleshes out the character of the brash, egotistical American chess champion. He sings of his pain at age nine when his parents fought and he closed the door to his room and played chess to shut the world out. His fears and reasons for being the way that he has become are established
"You and I," Baritone/Mezzo Duet, two lovers part knowing they will remember everything about the other but knowing they could not have done anything differently

Instrumentation: piano/conductor, 4 reeds, 3 trumpets, 2 trombones, percussion, drums, 3 keyboards, 3 violins, cello, bass
Script: Samuel French Selections: MCA Music Record/CD: RCA/Victor Rights: Samuel French

CHICAGO
Book: Fred Ebb and Bob Fosse
Music: John Kander
Lyrics: Fred Ebb
(Based on the play Chicago by Maurine Dallas Watkins)

ORIGINAL PRODUCTION

46th St. Theatre, June 3, 1975 (947 perf.)
Director and Choreographer: Bob Fosse
Musical Director: Stanley Lebowsky
Orchestration: Ralph Burns

Principals:
Velma Kelly- Chita Rivera- Alto
Amos Hart- Barney Martin- Baritone
Roxie Hart- Gwen Verdon- Mezzo/Alto
Billy Flynn- Jerry Orbach- Baritone
Matron- Mary McCarty- Low Alto
Mary Sunshine- M. O'Haughy- Contra Tenor
Chorus and Smaller Roles: 6M/6F minimum

SYNOPSIS

In the first scene, Velma Kelly sets the mood of the Chicago gangland era (ALL THAT JAZZ- F Solo to Chorus) where anything is acceptable, even murder. This opening leads into the story of two murderesses, Velma and Roxie Hart. Roxie, who has just made sensational news for killing her salesman lover, hopes her nebulous husband, Amos, will take the blame for her crime. She sings of her feelings for him in a Helen Morgan style song (FUNNY HONEY- F Solo). When Amos realizes that Roxie was having an affair with their furniture salesman, he refuses to take the rap and Roxie goes to jail. In the jail, six other murderesses, among them Velma, sing of their crimes. Each girl carries her jail cell door, which she hands to another girl during her solo section. During the choral parts the girls form interesting choreographic configurations with their cell doors (CELL BLOCK TANGO- F Chorus).
The prison matron introduces herself Sophie Tucker style, and explains the prison bribery system (WHEN YOU'RE GOOD TO MAMA-L to F Solo). She advises Roxie to get lawyer Billy Flynn to take her case.
Billy, primarily interested in love and money (ALL I CARE ABOUT- M Solo and F Chorus), agrees to take the case for $5,000 and calls in reporter Mary Sunshine for an interview. Mary Sunshine, who always finds good in everyone, is a natural to help Roxie (A LITTLE BIT OF GOOD- M Contra Tenor Solo).
Billy, deciding Roxie's case needs publicity, plans an interview with the press, but decides Roxie's language is too abusive and crude for public sympathy. He sets her on his knee like a ventriloquist's dummy and she mouths the words to the story he invents (WE BOTH REACHED FOR THE GUN- M Solo and Mixed Chorus).
Roxie is such a big sensation with the public that she dreams of having her own vaudeville act (ROXIE- L to F Solo). Velma whose notoriety has taken second place to Roxie's murder, desperately tries to convince her to do a sister act so she can capitalize on Roxie's fame. She describes the act (I CAN'T DO IT ALONE- F Solo), but Roxie prefers to perform solo.
Roxie's notoriety is short-lived when a pineapple heiress shoots her husband. She and Velma realize they can only rely on themselves (MY OWN BEST FRIEND- Sc to F Duet, Period Style). Roxie, refusing to surrender her popularity, feigns pregnancy and regains fame among the press.
The Second act becomes extremely vaudeville oriented with short dialogue sequences before musical numbers.
Velma, astounded by Roxie's clever ploy, wonders why she didn't think of pregnancy herself (I KNOW A GIRL- F Solo).
Roxie is a big hit with the press who leave to write up her story. She removes her hospital garb and performs a la Eddie Cantor (ME AND MY BABY- F Solo). Amos, secretly imagining he is the father of the baby, has hope that perhaps someone will at last notice him and performs a Bert Williams style number complete with a sad clown outfit and oversized shoes (MISTER CELLOPHANE- L to M Solo, Period Style). At the end of the number the spot doesn't even follow him off.
In a desperate attempt to re-generate Billy's interest in her case, Velma describes the perfect defense (WHEN VELMA TAKES THE STAND- F Solo and Mixed Chorus). Billy takes all her ideas and promptly uses them to defend Roxie. He prepares for the courtroom (RAZZLE DAZZLE- M Solo and Mixed Chorus).
In the jail, Velma and the matron, are listening to a radio broadcast describing the trial when Velma realizes that Roxie has stolen her defense ideas. The two women comment on the basic dishonesty in the world (CLASS- Sc to F Duet).
Roxie is acquitted, but receives little publicity. Realizing she won't be a big vaudeville headliner, she is dismayed (NOWADAYS- F Solo), but joins forces with Velma. The emcee announces a duo vaudeville act and Velma and Roxie perform (NOWADAYS/RSVP/KEEP IT HOT- 2F Duet).

NOTES ON THE PRODUCTION

The production is vaudeville oriented and must be directed/choreographed by someone with an understanding of the people represented and the style of the era. The two main female roles require tremendous triple threat performers with a lot of energy, charisma and physical stamina.
The show flows very quickly, with locations loosely established by a simple set piece here and there. Because it is established as being "theatrical" in tone, the locations are often-times on a bare stage with the performers in tight lighting or spots.
Technically, the emphasis must be on quality lighting and the bulk of technical funds should be spent in renting more instruments. The show is dance oriented and should be side lit well to show off the movement to best advantage.
There are a few mildly risqué sections which can be cleaned up, but it is better for adult performers than younger ones.

SONGS OF SPECIAL INTEREST

"All That Jazz," Alto/Mezzo, club style, movement and sensuality emphasized
"Cell Block Tango," excellent female chorus number with specific characters and monologues, great for showcase, unfortunately the music isn't in the vocal selections
"Mister Cellophane," Baritone, low key, poignant, heavily stylized, good for class
"Class," 2 Alto Duet, comic, though slightly crude, emphasis on character and situation, works in class situation
"Razzle Dazzle," Baritone, club potential
"Roxie," Mezzo/Alto, excellent choice for usually inhibited actress who needs to loosen inhibitions when combined with monologue that precedes
"When You're Good to Mama," brassy solo for big voiced character Alto, audition potential

Instrumentation: 3 reeds, 2 trumpets, 2 trombones, tuba/bass, percussion, violin, banjo, 2 keyboards
Script: Samuel French Score: Chappell Record/CD: Arista Rights: Samuel French

A CHORUS LINE
Conceived by: Michael Bennett
Book: James Kirkwood and Nicholas Dante
Music: Marvin Hamlisch
Lyrics: Edward Kleban

ORIGINAL PRODUCTION

Shubert Theatre, July 25, 1975 (6,137 perf.)
Director and Choreographer: Michael Bennett
Co-Choreographer: Bob Avian
Musical Director: Don Pippin
Orchestration: Bill Byers, Hershy Kay and Jonathan Tunick

Principals:
Sheila- Carole Bishop- Alto
Val- Pamela Blair- Mezzo
Mike- Wayne Cilento- Baritone
Maggie- Kay Cole- Soprano
Richie- Ronald Dennis- Baritone
Zach- Robert LuPone- VTI
Cassie- Donna McKechnie- Mezzo
Al- Don Percassi- Tenor
Kristine- Renee Baughman- Alto
Bebe- Nancy Lane- Mezzo
Diana- Priscilla Lopez- Mezzo
Paul- Sammy Williams- VTI
Chorus and Smaller Roles: 7M/7F who should also act as understudies or alternates

SUMMARY AND NOTES

A Chorus Line won the 1976 Pulitzer Prize for Drama and captured the following Tony Awards: Best Musical, Director, Book, Score, Choreography, Actress (Donna McKechnie), Featured Actor (Danny Williams), Featured Actress (Carole Bishop) and Lighting Designer. On September 30, 1983, it surpassed the record for longest running show, previously held by Grease (3,388 perf.). Both shows have now been surpassed by Cats (7,485 perf.). Michael Bennett celebrated A Chorus Line’s record-breaking occasion with a special performance featuring 332 of the dancers who once appeared in the show. At that time the show had grossed more than $75 million.
This innovative musical opens with director/choreographer Zach auditioning twenty-six dancers. The first cut leaves nine women and eight men for the final audition sequences. Zach, seeking to know more about these dancers asks them to tell about themselves and how they became interested in dance.
The audience is introduced to the various performers: Sheila, the aging chorine, who, along with Bebe and Maggie, escaped her childhood problems at the dance studio; Val, who has undergone plastic surgery to improve her looks; Cassie, Zach’s former lover, begging for a chance to be in the chorus; Diana, who always wanted to be an actress; Paul, who at last understands his manliness and his homosexuality; Kristine, a capable dancer who is unable to carry a tune despite her husband Al’s assistance and the rest of these talented performers.
As the play progresses, the dancers’ personalities and problems are enacted, often in monologue. The moments are interspersed with dance and end in tragedy when Paul falls on an already injured knee. Zach asks the auditioners what they will do when they have to give up dancing. The answers are different but all agree that everything they went through to become dancers was an act of love. The show ends as Zach makes his final cut and the entire company comes out for their bows in white tuxedos.
The costume requirements are dance outfits and excellent fitting tuxedos for the finale. The major theatrical emphasis must be on the lighting, acting, dancing and singing . The original Broadway version utilized mirrors for Cassie’s solo, but this may be left to individual directors.
Companies excited about the availability of this low-budget musical should ensure they have an excellent choreographer and a talented company of male and female triple threat performers before attempting this show. Many audience members familiar with the original will be justifiably alienated by a weak production of this classic show.

SONGS OF SPECIAL INTEREST

"At the Ballet," Alto/Mezzo/Soprano Trio, Wonderful number for three dancer/actresses, dramatic, moving, works well in a class or revue situation, each girl has a solo section which explains why she chose dance to escape the reality of her childhood
"Dance: Ten; Looks: Three," Mezzo Solo, story of a girl who discovers after an audition, that her dance excels but her physical attributes are hindering employment. The song is the story of her visit to the plastic surgeon and the subsequent changes in her life, biting comedic tone, character oriented
"Nothing," Mezzo/Alto Solo, story song, revolves around girl who wants to be an actress, but is put down by her teacher at the high school of Performing Arts, poignant ending
"I Can Do That," Baritone Solo, tap oriented, overdone as an audition piece but works well in a class situation, young man shows off his talents while telling the story of how he began dance classes

Instrumentation: 4 reeds, 3 trumpets, 3 trombones, 2 keyboards, guitar/banjo, fender bass, bass, percussion, drums, harp
Script: NP
Score: Portfolio
Record/CD: Capitol
Rights: MTI

CITY OF ANGELS

Book: Larry Gelbart Music: Cy Coleman
Lyrics: David Zippel

ORIGINAL PRODUCTION

Virginia Theatre, December 11, 1989 (# perf.)
Director: Michael Blakemore
Musical Numbers Staged by: Walter Painter
Musical Director: Gordon Lowry Harrell
Orchestration: Billy Byers

Principals:
Stone (private eye)- James Naughton- Baritone
Stine (fiction writer)- Greg Edelman- Tenor
Irwin S. Irving (movie mogul)/Buddy Fidler (movie director/producer)- Rene Auberjonois- Baritone
Gabby (Stine’s wife)/Bobbi (Stone’s ex-fiance)- Kay McClelland- Mezzo
Oolie (Stone’s secretary)/Donna (Buddy’s secretary)- Randy Graff- Mezzo
The Angel City 4- Peter David, Amy Jane London, Gary Kahn, Jackie Presti- Soprano, Baritone, Tenor, Alto
Jimmy Powers (movie crooner)- Scott Waara- Tenor
Carla Haywood (Buddy’s wife)/Alaura Kingsley- Dee Hoty- Mezzo
Mallory Kingsley (Alaura’s stepdaughter)/Avril Raines (starlet)- Rachel York- Mezzo
Lt. Munoz (police detective)/Pancho Vargas (actor)- Shawn Elliott- Show Baritone
Peter Kingsley (Alaura’s stepson)/Gerald Pierce (actor)-Doug Tompos- VTNE
Probable Chorus and Smaller Roles: 5M/4F

SYNOPSIS

The overture ends to the sound of gunshots as the lights rise on a hospital gurney and the body of black and white movie hero, Stone, a private detective. Two orderlies discuss his chances as the scene flashes back to Stone’s Outer Office where his secretary Oolie is busy quoting rates to a potential customer. Stone enters his private office and speaks Dashel Hammett style about L.A. in a narrative detective voice. He is interrupted by Oolie who informs him that a very wealthy, potential customer, Alaura Villiers, is here to see him. Stone looks her over and continues (detective style) describing his thoughts about this gorgeous woman. Stone and Alaura switch between song and dialogue in an attempt to psych the other out (DOUBLE TALK- Sc to M/F Duet). Stone agrees to the job and takes Alaura’s check as he escorts her out the door.
The lights rise on fiction writer, Stine, who is typing at his desk. He x’s out the last bit of comments between Oolie and Stone as the action moves in reverse; the goodbye to Alaura is rewritten and the action moves forward with new dialogue. This happens several times until the phone rings and Stine gives up writing to answer it as the lights fade on Stone and Oolie.
The lights come up on movie mogul, producer Buddy Fidler’s office. Buddy introduces himself in song and tells Stine he wants a re-write. Stine, who is new in Hollywood and to writing for film, agrees to Buddy’s request (DOUBLE TALK- Sc to 2 M Solos, showing the perspective of each). Stine resumes typing which "activates" Stone and Oolie, who are looking at Alaura’s check. Stone sends Oolie off to cash the check and Stine goes to his hotel bedroom where his wife, Gabby, is packing to return to her editing job in New York.
He wants her to stay but she refuses and hopes that he will wake up to the reality of Hollywood and the fact that he is focusing on the dollars he can get from the movie industry rather than refining his craft. A studio car arrives to take him to Buddy’s for a meeting and a screening and Gabby reminds him that she caught him cheating the last time and will probably find out if he attempts it again.
He promises to be faithful and exits his room as Stone exits from his office. The two women are left onstage in parallel positions. Oolie is in Stone’s office and Gabby continues to pack (WHAT YOU DON’T KNOW ABOUT WOMEN- F Linear Duet). The scene ends as the two exit their respective locations and slam the doors.
The scene shifts to Stone’s bungalow where a radio is heard. Stone enters from his offstage bathroom and describes the situation in detective narrative form. There is a knock at the door and, when Stone tells the knock to go away, the door crashes in and two thugs beat him up. The radio is turned up louder and the focus shifts to the radio station set where the Angel City 4 and Jimmy Powers are singing (YA GOTTA LOOK OUT FOR YOURSELF- 2F/3M Quintet). The thugs finish with Stone and steal his radio, which abruptly ends the song. They leave Stone on his bed.
Stine enters Buddy’s office and Buddy tells him that he loves his work, but it needs fixing. He explains the movie business as painting with pictures more than words The friendly advice turns into forceful advice as he tells him that no one says no to Buddy (THE BUDDY SYSTEM- M Solo).
In Stone’s bungalow, Lt. Munoz, a plain-clothes detective, eyes the unconscious Stone as he assures Oolie that things will be O.K. His assistant, Pasco, a uniformed cop, revives Stone with a glass of water in his face. It is obvious that Stone is not going to cooperate with the police, which means to Lt. Munoz that there is a dame involved. Stone’s words are heard in narrative form, agreeing with Munoz, especially where his ex girlfriend Bobbi is concerned.
Flashback as the lights rise on a cocktail lounge where Bobbi Edwards is singing (WITH EVERY BREATH I TAKE- F Solo). Stone and Munoz, as young police officers, enter. Stone proposes to her, but Bobbi wants a career in the films. She is certain that she will be discovered by producer Irwin S. Irving. Stone, in narrator style, stops by Bobbi’s dressing room to discover that she is "involved" with Irwin S. Iving. There is a three way scuffle in the darkened room and three gunshots ring out as the lights rise on Stine’s office where the writer is on the phone to his wife Gabby in New York, hoping she is missing him as much as he misses her. He returns to his typewriter.
Oolie is at a pay phone informing Stone that she has cashed the check and obtained the address of Alaura Kingsley.
At the Kingsley mansion, Alaura is being massaged by her son-in-law Peter when Stone enters with a bandaged face to return her deposit. Instead of taking back the money, she takes him in to meet her husband as Stone introduces Luther Kingsley, a plane and tank manufacturer of World War II, detective narrative style.
In the Kingsley Solarium, Luther Kingsley is in an iron lung, being wheeled in by Dr. Mandril, a spiritual therapist. Mandril tells Stone that Kingsley always gets his way and gives him $10,000 to find Mallory, his daughter. They exit as Alaura vamps Stone (THE TENNIS SONG- M/F Sc to Duet)
The search is on for Mallory and Stone is accompanied by the Angel City 4 as he looks for her. The lyrics of the song specify the location and the action (EV’RYBODY’S GOTTA BE SOMEWHERE- M Solo to 2M/2F Quartet), but Stone has no luck and heads for home.
In Stone’s bungalow it is very dark and shadowy. Stone sees movement under the sheet on the bed and, with gun drawn, he removes the sheet to discover a very cheerful, scantily, or not at all, clad Mallory. The Angel City 4 finish the lyric of the song (EV’RYBODY’S GOTTA BE SOMEWHERE- 2M/2F Quartet). Stone narrates as Mallory assures him she has indeed been found (LOST AND FOUND- L to F Solo).
In Donna’s bedroom, Donna is tying Stine’s tie. She tells him that she knows that he loves his wife and he admits it. She invites him to spend the night, but he has to call his wife in New York. He confesses that his characters lead him to his actions and, right now, Stone’s moral side is telling him to leave.
Back at Stone’s bungalow, Mallory forces Stone into a compromising situation as a photographer enters and takes their picture together. Stone runs out after the photographer and Mallory steals Stones revolver and rushes off.
Again we flashback to the morgue where Irwin S. Irving, who has been killed by two bullets, lies. The movie press agent is ignoring the facts and creating an innocent Hollywood announcement that Irving died in his sleep. Young policeman Stone enters to give his badge to the Police Commissioner, who exits.
Bobbi urges Stone to forget her and the audience gets the idea that Bobbi committed the crime and Stone is taking the fall. She sadly leaves and he vows never to forget her. An angry Policeman Munoz enters to tell Stone that he didn’t deserve to get away with murder and if Munoz, a non gringo, had killed anyone he would fry for it. He warns Stone that he is following him and will get his revenge, so Stone better watch himself and not slip up.
Back in the present, Buddy is on a massage table telling Stine that he doesn’t want the morgue scene in the movie, as it is too full of social injustice. He insists on another rewrite.
The morgue is newly written with Dr. Mandril as the deceased. Munoz brings Stone in for questioning (ALL YE HAVE TO DO IS WAIT- M Quartet) and Stone denies that he had anything to do with Mandril’s death. He says that he was obviously framed. Munoz begins to talk about Stone being a non gringo and we see Stine xxxing out the sentence as the flashback begins. Stine inserts a fresh sheet of paper and starts to type. The dialogue begins, but Stone steps out of the scene and asks Stine if he is really going to do what Buddy wanted. The two argue (YOU'RE NOTHING WITHOUT ME- Sc to M Duet). The lights fade as Stine finishes the song in triumph, proving that he controls Stone and the script.
At the opening of Act II, we are in a recording studio where Jimmy and the Angel City 4 sing to set the mood (STAY WITH ME- M Solo with 2M/2F Quartet). There is a blackout as the scene shifts to Buddy’s wife, actress Carla Haywood, who will play the part of Alaura. She is reading the script and has a few suggestions of her own.
Oolie arrives at the jail with a raincoat over her nightgown. It is the middle of the night and Stone needs Oolie to find out who set him up. She returns home wondering why she is always being taken in by the wrong kind of guy (YOU CAN ALWAYS COUNT ON ME- F Solo).
The lights come up on Donna’s bedroom where Donna wakes up and assures Stine that his writing is good, but he feels he has "settled." It isn’t good enough for his wife and Donna tells him that no matter who he goes to bed with he always wakes up thinking of his wife (YOU CAN ALWAYS COUNT ON ME- F Solo, Continuation). Stine reenters the scene, ready for the typical "Hollywood" party and throws her his key, since she won’t be there. He exits as she ends the song.
Songwriter Del DaCosta is at the piano at Buddy’s party. Stine is in Buddy’s study talking to Gabby who has just discovered that there is a woman waiting for him in his hotel room. He tries to explain but she hangs up.
Stone has been bailed out of jail, much to Munoz’s anger and, as he leaves, the lights return to Stine, who is trying to call Gabby. He gives up as Avril Raines, a very sexy starlet who is to play Mallory Kingsley in the film, appears. She vamps him, but is interrupted by Buddy’s wife, Carla, who tells Avril it’s time to leave Stine. She and Stine discuss Stone’s plight as the scene shifts to Stone, who is tied up by Big 6 and his henchman. It looks as if Stone will meet his maker, but Stine shows what will happen and we see Stone escape.
The scene shifts to Alaura Kingsley’s where she confesses to Stone that it was her stepson who hatched the plot. They embrace as the scene cuts.
We discover that Stine has gone to New York to straighten things out with Gabby. In their New York apartment, she tells him that he should write a Hollywood ending for them. He tries unsuccessfully to tell why Donna was in his room, but Gabby tells him he must do better to make the story believable (IT NEEDS WORK- Sc to F Solo). She yearns for the old Stine, who had talent and integrity. At the end of the number she hands him his suitcase.
At a Los Angeles brothel Stone greets Madam Margie. He is looking for Peter Kingsley, but she invites him in and he discovers none other than Bobbi, the girl he could never forget. She confesses that she told Peter Kingsley the truth, that she was the one who pulled the trigger, not Stone. Stone and Bobbi tell each other that they are always in their hearts and thoughts (WITH EVERY BREATH I TAKE [REPRISE]- Sc to M/F Duet).
Later, Stone is at a phone booth and Oolie tells him that Peter Kingsley should be at the Kingsley House. The scene shifts to Alaura hand feeding Luther in his iron lung.
Stone arrives to tell Luther that his wife Alaura has killed before and, through twists and turns, Mallory and Peter arrive on the scene as Alaura and Stone fight for the gun. Three shots ring out as Stone falls to the floor and Alaura looks victorious until we see blood at her heart. The lights iris out.
Stine is in his office reading the movie script to Donna. He finally realizes that she has also been rewriting his words and comments on the comic opera of his life (FUNNY- M Solo).
On the studio sound stage, chaos is raging as everyone prepares to shoot the final scene in the Kingsley solarium. Stine has lost all control of the script and is appalled when Jimmy Powers, the crooner, enters to play the part of Stone. Stone agrees with Stine and the two watch as the cameras roll and Jimmy Powers attempts to be the typical private eye. Stine tells them to stop the cameras as Buddy calls for the studio security guard. He gives up the rights to the script in order to return to writing good solid fiction. Stine and Stone freeze the action of the picture and joyously sing (I’M NOTHING WITHOUT YOU- M Duet to 2M/F Trio). Gabby arrives and the three triumphantly extol the fact that they are all together.

NOTES ON THE PRODUCTION

The show captures the Hollywood movie era of the 40s and the detective film noir. The show captured Tony awards for Best Musical, Best Book of a Musical, Best Original Score, Lyrics, Best Actor in a Musical (James Naughton), Best Featured Actress in a Musical (Randy Graff), and Best Scene Design.
A challenging piece for any group, the stylistic rewards are great. The show is written for double casting of many of the leads based on the premise that the writer creates characters from those that he knows. Amateur groups may find this concept confusing unless there are excellent actor/singers capable of making the differentiation clear to the audience. School groups, always looking to expand the number of women’s roles, may desire not to double cast but to keep the author’s intent by making it clear to the audience the writer’s philosophy of writing from personal life.
The stylistic tongue-in-cheek film noir scenes and the brilliant writing of Mr. Gelbart, combined with Cy Coleman’s music and David Zippel’s lyrics, make this a show well worth contemplating.
It is possible to utilize a logo style set with a "Hollywood" image on the rear of the stage and have the remaining settings be very "movie studio fake." The original show delineated between film noir by showing the "film" in black and white and the "reality" scenes in color. The set and costume designer should work together to keep this tonal effect.

SONGS OF SPECIAL INTEREST

"What You Don’t Know About Women," F Mezzo Linear Duet, two women who have problems with the men they love comment in sync from separate rooms. Many of their actions-including the final slamming of the door which buttons the number, are together
"The Tennis Song," Baritone/Mezzo duet full of double meanings, good class study for the focus is on the relationship and "topping" and "scoring one’s wins"
"You’re Nothing Without Me," Baritone/Tenor duet, on occasion this number has been used as a portion of an audition with the singer performing both roles to show vocal differentiation and physical change
"You Can Always Count on Me," Two Mezzo Solos performed by two different characters, if song is sung in its entirety the actress should make it clear to the audience when the character shift occurs

Instrumentation: 2 violins, viola, cello, bass, 4 reeds, 3 trumpets, 2 trombones, drum (trap set), percussion, 2 pianos/synthesizers, piano
Script: Applause
Selections: Notable Music Co., dist. by Warner Bros. Publications
Record/CD: Columbia
Rights: Samuel French

THE CIVIL WAR

Synopsis by UNH alum David Leong who was the battle choreographer on Broadway

Book: Frank Wildhorn, Gregory Boyd and Jack Murphy
Music: Frank Wildhorn
Lyrics: Jack Murphy

ORIGINAL PRODUCTION

Theatre, April 22, 1999 (# perf.)
Director: Jerry Zaks
Musical Staging: Luis Perez
Battle Choreography: David Leong
Musical Director: Jeff Lams
Orchestration: Kim Scharnberg

Company: 18 Men, 4 must be African-American
7 Women, 2 must be African-American
Original Cast included: Betty Buckley, Linda Eder, Cheryl Freeman, Carl Anderson, Dr. John, Amy Grant, Patti Labelle, Michael Lanning, Bebe Winans, Trisha Yearwood, Trace Adkins, Dr. Maya Angelou, Michel Bell, John Berry, Broadway All Stars, Ellen Burstyn, Deanna Carter, Charlie Daniels, Michael English, James Garner, Danny Glover, Hootie & the Blowfish, Tracy Lawrence, Gene Miller, John Popper, Kevin Sharp, Shiloh, Travis Tritt & Bryan White

SUMMARY AND NOTES

The production originally commissioned by the Alley Theatre (Houston,Texas) is a unique musical event that does not follow the traditional structure of a book musical. The Civil War is not history, not historical drama, not fiction, and not traditional narrative. It actually stands somewhere nearer to a musical revue format linked together by letters, diaries, newspaper accounts, as well as the poetry of Walt Whitman, speeches by Abraham Lincoln, Frederick Douglas and other great orators of the time. The authors attempt to create a "thematic musical event" which movingly recounts the individual hopes and heroics, love and loss, and the private battles between brothers.
The cast of characters play multiple roles some of which make up three diverse groups of people: African-American slaves, white Confederate and Union soldiers and the wives of the soldiers. Wildhorn’s memorable tunes include twenty three songs combining pop, r&b, country, gospel, and folk music. The authors attempted to write melodic songs that would ‘reckon back to the days’ when "Theatre Music" (Gershwin, Porter, Rodgers & Hart & Hammerstein, Bernstein, etc.) was the Pop Music of the day.
The show will become a mainstay of high school and college groups when the amateur rights become available. Production values are very flexible. The setting of the musical can be played in a large open space, on a unit set or include multiple scene changes depending upon the budget and concept of the show. Costumes can range from very simple to historically accurate clothes which can be rented at most costume rental shops or obtained through Civil War re-enactment troops found throughout the United States.
The Civil War will also attract a great deal of interest because of the youthful age requirements of the cast. Audiences will favor the show because of the strong sentimental patriotism featured throughout the show. The African-American roles (played by more mature actors) are exceptionally dynamic and require strong voices. Note: Strong issues of slavery are dealt with in a mature manner that will not offend people of any race, color or creed. Currently the show is on National Tour.

SONGS OF SPECIAL INTEREST

"If Prayin Were Horses," husband and wife lament the loss of their future after they are sold off separately from the auction block to a life of slavery. Backed by chorus of slaves, the emotional power of this song resembles that of ‘Ol Man River from Showboat Bass and mezzo-soprano
"Missing You (My Bill)," very moving soprano ballad by a soldier’s wife as she recounts the struggles of raising her son while she waits longingly for her husband Bill to return home, excellent audition piece that requires vulnerability and emotional truth
"Someday," chorus of slaves working in the fields rejoice momentarily as they hope to someday celebrate their own ‘Independence Day,’ a showstopping gospel-rock like song in the first act
"I’ll Never Pass This Way Again, solo folksy ballad sung by a soldier (can be either Union or Confederate) who awaits the call of the bugle by reminiscing how ‘he’ll never pass this way again.’ Requires the actor to accompany himself on guitar, no background orchestration
"Candle In the Window," melodic ballad sung by three on a lonely snowy night, each one with their own story wonders how their respective loved ones candle still burns
"River Jordan", features one performer (tenor) along with the chorus of slaves as they weave their way along the Underground leading to the emotional reunion of the husband and wife sold off the auction block in Act One. The showstopper amongst all songs, size and dynamics equal to "Sit Down Your Rockin’ the Boat" from Guys and Dolls
"The Honor of Your Name" Excellent solo by the same wife who sings Missing You (My Bill) after she hears word that her husband died in a battle, another good audition piece

Instrumentation: reed, trumpet, trombone, violin, cello, guitars, drums, percussion, bass, harmonica, 2 keyboards
Script: NP
Score: NP
Record/CD: Atlantic Records
Rights: Amateur rights unavailable as of this date

COMPANY

Book: George Furth
Music and Lyrics: Stephen Sondheim

ORIGINAL PRODUCTION

The Alvin Theatre, April 26, l970 (705 perf.)
Director: Harold Prince
Choreographer: Michael Bennett
Musical Director: Harold Hastings
Orchestration: Jonathan Tunick

Principals:
Robert- Dean Jones (replaced by Larry Kert one month later)- Tenor
Joanne- Elaine Stritch- Alto
David- George Coe- Baritone
Kathy- Donna McKechnie- Mezzo
April- Susan Browning- Soprano
Sarah- Barbara Barrie- Alto
Amy- Beth Howland- Mezzo
Jenny- Teri Ralston- Soprano
Harry- Charles Kimbrough- Baritone
Larry- Charles Braswell- Baritone
Marta- Pamela Myers- Mezzo
Susan- Merle Louise- Soprano
Peter- John Cunningham- Baritone
Paul- Steve Elmore- Tenor
Chorus and Smaller Roles: Possibly 4F who represent the vocal minority and sing from the pit

SYNOPSIS

The set is a unit set, meaning that various locations are delineated by use of props. The play opens as Robert, a bachelor whose closest friends are married, is given a surprise party on his 35th birthday by these same friends who feel he should be married (COMPANY- Mixed Chorus).
Robert visits Sarah and Harry, a couple in daily competition with each other. Sarah, a student of Karate, succeeds in throwing Harry, while Joanne, a brassy, blunt, but always humorous neighbor, comments on the scene in another area of the stage (THE LITTLE THINGS YOU DO TOGETHER- F Solo to Mixed Chorus). Robert asks Harry if he ever regrets getting married, to which Harry responds that he is both sorry and grateful (SORRY-GRATEFUL- M Solo and Male Linear Chorus).
Robert then moves to Susan and Peter’s apartment where he discovers that the charming, feminine, southern Susan and her Ivy League husband are divorcing. Robert, visibly shaken by the news, moves on to Jenny and David’s.
He discovers the couple experiencing pot for the first time. It affects both quite differently, for Jenny is babbling a mile a minute while David is nearly comatose. During the course of the conversation, Robert tells them he is ready to marry. In another area of the stage, April, Kathy and Marta, three of Robert’s girlfriends, disbelievingly comment (YOU COULD DRIVE A PERSON CRAZY- F Trio).
In their various apartments, the husbands tell Bobby of the various girls they’ve found for him (HAVE I GOT A GIRL FOR YOU- M Chorus), but he is looking for a girl who is right for him, preferably with the same qualities of his friends, Sarah, Amy, Joanne and Jenny. He is convinced that he will find her (SOMEONE IS WAITING- M Solo).
Marta, seated on a park bench, comments on life in New York (ANOTHER HUNDRED PEOPLE- F Solo). Between each verse the action focuses on Robert, who, in the course of the song, says goodbye to his three girlfriends. April leaves, feeling that she’s boring and has nothing to say. Kathy leaves to marry a man she doesn’t love because she is tired of playing at life, while Marta exits after telling Robert he is uptight and not a part of the real New York.
In Amy’s apartment, the flighty, nervous girl begs her fiancé, Paul, to call off the wedding. As she pleads, a girl in a white choir robe describes the event (GETTING MARRIED TODAY- F Solo with M/F Solos interspersed). The act ends in Robert’s apartment with all the guests gathered, exactly as in the opening scene.
Act II begins one year later with Robert at his birthday party. Robert tells everyone he doesn’t need birthday presents for he has friends who are more important (SIDE BY SIDE/WHAT WOULD WE DO WITHOUT YOU- Mixed Chorus).
The couples leave and April enters in her stewardess uniform. She is apprehensive, as it is her first visit to Robert’s apartment. As they begin to neck, the wives, in their own apartments, worry about Robert being alone (POOR BABY- Mixed Chorus). While Robert and April make love, their inner thoughts are expressed by Kathy’s solo dance which expresses their changing moods (TICK TOCK BALLET- F Dance). Early the next morning, as April prepares to leave for her stewardess job, Robert unwittingly asks her to stay (BARCELONA- Sc to M/F Duet). She initially refuses, but finally agrees.
In a short scene, Robert brings Marta to visit Peter and Susan, who are happily living together, despite their divorce.
At a private club, Joanne drunkenly comments to Robert and her husband Larry about the women patrons who spend their days dining out (THE LADIES WHO LUNCH- L to F Solo). Later, a very drunk Joanne accuses Robert of being weak and not committing to life. When Larry leaves to pay the tab, Joanne offers to take care of Robert. Her proposition forces Robert to realize that his friends have been taking care of him too long and he decides to find someone he can take care of (BEING ALIVE- M Solo).
Once again, Robert’s friends are gathered to give him a surprise birthday party, but he doesn’t arrive. When they realize that he is not coming, they quietly extinguish the candles and leave him to lead his own life.

NOTES ON THE PRODUCTION

Company won Tony Awards in 1971 for Best Musical, Best Composer, Best Lyrics, Best Libretto, and Best Director.
Those looking for good audition monologues may want to examine April’s speech in Act I as it shows character and is comedic.
A synopsis of Company doesn’t do justice to the excellence of the script, for the plot seems rather disjointed. The play traces the life of a New York bachelor who realizes his friends are jaded and not happy in their relationships.
The show may be easily played on a small unit set with simple set pieces to establish specific location where necessary, i.e. a bed to delineate Robert’s bedroom. The other scenes need little, if any props and may be styled to remain inexpensive. It is also possible to use one costume per actor and enhance April’s wedding scene with a veil rather than a full costume. The cast is very balanced, which makes the show a good choice for community groups who want to give opportunities to a variety of their better performers. Special attention should be given to casting April and Marta who have precise, rapid diction numbers. One cast member must dance well. The only major company dance number "Side by Side" requires soft-shoe dancing.

SONGS OF SPECIAL INTEREST

"Being Alive," semi dianetic, shows off Tenor voice, possible last 16-bar audition. Good for club
"Getting Married Today," Trio, good for class and precise diction, showcase material
"The Ladies Who Lunch," character oriented song for low alto, hard-nosed
"You Could Drive a Person Crazy," F Trio a la Andrews Sisters. Actresses must have individual characters and attitudes to make it work

Instrumentation: 5 reeds, 3 trumpets, 2 horns, 2 trombones, 3 violins, 2 cellos, 4 female pit singers, electric keyboard/ piano conductor, 2 guitars, bass, 2 percussion, abbreviated instrumentation available
Script: Random, included in 10 Great Musicals
Score: Valando
Record: Columbia,
Rights: MTI

CRAZY FOR YOU
Book: Ken Ludwig
Co-conceived by Ken Ludwig and Mike Ockrent
Music: George Gershwin
Lyrics: Ira Gershwin
(Inspired by material by Guy Bolton and Elizabeth Williams)

ORIGINAL PRODUCTION

Shubert Theatre, February 19, 1992 (1,622 perf.)
Director: Mike Ockrent
Choreographer: Susan Stroman
Musical Director: Paul Gemignani
Orchestration: William D. Brohn

Principals:
Bobby Child- Harry Groener- Baritone
Lottie Child (Bobby’s mother)- Jane Connell- VTNE
Polly Baker- Jodi Benson- Soprano/Mezzo
Irene Roth- Michelle Pawk- Mezzo
Lank Hawkins- John Hillner- Baritone/Bass
Bela Zangler- Bruce Adler- Baritone
Everett Baker- Ronn Carroll- VTNE
Tess- Beth Leavel- VTNE
Eugene- Stephen Temperley- VTNE
Patricia- Amelia White- VTNE Chorus and Smaller Roles: 8M/8F minimum
SYNOPSIS
Bobby Child has one dream: to dance and sing in the world famous Zangler Follies of New York. He hurries to his private audition with Bela Zangler, but Zangler is too interested in Tess, a young, pretty chorine, to even notice him. The audition (K-RA-ZY FOR YOU- M Solo) is a disaster and young Bobby is despondent. The Follies’ dancers enter and try to cheer Bobby.
They are interrupted by the entrance of Irene Roth, a society debutante who has set her eyes on Bobby and his fortune. She discourages Bobby’s show biz plans and suggests he concentrate on his real job, the family banking business. Just then, Lottie Child appears. She informs her son that he will be going to Deadrock, Nevada to foreclose on an old theatre. While Irene and Lottie snipe at one another, Bobby slips into a fantasy where he dreams of performing in a big musical production number (I CAN’T BE BOTHERED NOW- M Solo with F Chorus). As the fantasy ends, Bobby is forced to choose between Irene and his mother, New York or Nevada. He heads for Nevada and away from Irene.
Bobby arrives in Deadrock to find a town on the edge of extinction where tired, sluggish cowboys sing of their existence (BIDIN’ MY TIME- 3M Trio and Male Chorus). Not even the entrance of the lovely Polly Baker with their mail brings them to life. Polly finds a letter addressed to her father, Everett, telling of the imminent arrival of Bobby Child and his foreclosure papers. Polly is furious with Bobby before they have even met!
Polly and Everett, are the owners of the Gaiety Theatre, which has been closed since the death of Polly’s mother. To make ends meet, they have converted one section of the theatre into the U.S. Post Office. Lank Hawkins, the local saloon owner, has repeatedly tried to purchase the theatre, but Polly and Everett refuse to part with it. Polly is certain she can find a way to keep the old theatre, but how?
Into town drags Bobby Child, determined to carry out his mother’s wishes. However, one look at Polly renders him a love-crazed fool (THINGS ARE LOOKING UP- M Solo). Realizing that Polly is terribly biased against him, he suggests they try to reopen the Gaiety, and use the show proceeds to pay off the mortgage. She loves the idea, but doesn’t trust Bobby. He thinks for a bit and makes a crazy decision: he will disguise himself as New York producer, Bela Zangler, save the theatre and win Polly!
The next scene is the invasion of the Follies’ dancers to Deadrock. The laconic cowboys become quite animated as the females descend upon the town (GIRLS ENTER NEVADA- Chorus). Bobby, in disguise as Zangler, joins them and the fun begins. Bobby begins his plan to produce a show while wooing Polly. Polly is attracted to Bobby, but finds it difficult to believe he is really interested in her (SOMEONE TO WATCH OVER ME- F Solo).
Meanwhile, the dancers are trying to transform the cowboys into dancers. Bobby comes to their rescue by converting Moose, a clumsy cowboy, into a bass player (SLAP THAT BASS- 2M/2F and Company). Their rousing production number has two outcomes: a successful number for their show and Bobby (as Zangler) endears himself to Polly. As the song ends, however, who should appear but his fiancé, Irene. She is astonished to find Bobby masquerading as Zangler and quite displeased to see the attraction between Bobby and Polly. Before she can expose the truth, Lank arrives and Bobby pawns Irene off on him. Sparks fly between Lank and Irene as the two spar in an extremely comedic interchange. Bobby, still playing Zangler, whisks Polly off before she can learn the truth.
Once they are alone, she tells him that she loves someone. He is jealous, but she reveals that she is in love with him (EMBRACEABLE YOU- M/F Duet), but she still believes him to be Zangler and not the hated Bobby Child! They begin a dance which ends in a kiss.
The next scene is backstage, the evening of the big performance. The girls and cowboys are in their respective dressing rooms, singing of the excitement ahead (TONIGHT’S THE NIGHT- Company). Bobby, dressed as Bobby, enters following Polly. He accuses Polly of loving Zangler and displays every form of jealousy possible. She exits, very irritated with him, and he tries to determine why she loves him as Zangler and hates him as Bobby. He exits to transform back into Zangler.
Lank arrives at the theatre. He meets up with Irene who tells him of Bobby’s treachery. Lank is overjoyed at the thought of the show failing since he wants to build a casino in Deadlock. Irene and Lank argue their way out to the street. They join the cast members who are waiting for the audience to arrive by train.
To their dismay, there are no hoards of people, only two tourists from Britain. Their big plans to reopen the Gaiety seem doomed, but Polly reminds them that they haven’t lost; they worked together as a unit and they had everything to be proud of (I GOT RHYTHM- F Solo and Company). As this huge production number ends, the real Bela Zangler stumbles into town and collapses, ending Act I.
When Act II opens, it is approximately fifteen minutes later inside Lank’s saloon. The cast is having a party (THE REAL AMERICAN FOLK SONG [IS A RAG]- 3M and Company) and singing and dancing. Bobby, once again dressed as himself, approaches Polly and proclaims his love. He asks her to marry him, but she refuses, because she believes herself to be in love with Zangler. Bobby tries to explain that he is Zangler, but Polly is unmoved and convinced that he has become unhinged! Just then, the real Zangler enters. Polly crosses to him and kisses him passionately. In despair, Bobby grabs a bottle of whiskey and exits in misery.
As the kiss ends, Polly exits leaving a befuddled and bedraggled Bela Zangler behind. Tess, Zangler’s favorite chorine, hurries over to him and begins to scold him for being there. He confesses that he has left his wife and followed Tess to Deadrock to prove his love. Tess remains skeptical of his sincerity. She implores him to use his influence to attract an audience for the show at the Gaiety. When he resists, she walks out on him, leaving him alone and depressed that he was unable to convince her of his ardor. Bela heads to the bar, and picks up a bottle of whiskey. He consumes several drinks, sits at a table to drown his sorrows and drops his head down on the table. Bobby, dressed as Zangler, enters and is quite intoxicated. He sits opposite Zangler and puts his head down as well. When they raise their heads, neither is aware of the other. They believe they are looking into a mirror. They mirror each other’s motions in a hilarious bit, then they burst into a song commiserating the problems caused by women (WHAT CAUSES THAT?- M Duet).
The next morning an identical Bobby and Zangler are passed out on the floor of the saloon. Polly enters with the mail and is shocked to see the "twins." She is horrified at what she perceives as a great humiliation and resolves to sell the theatre and leave town immediately. Bobby rushes after her, but is stopped by Irene. He finally persuades her that he will not marry her because he loves Polly. Irene is miffed for a moment, but it doesn’t take her long to find the next available man…Lank (NAUGHTY BABY- M/F Duet and M Chorus).
Backstage at the Gaiety, the cast is determining their next course of action. Should they use their last two weeks to try and perform the show again, or should they cut their losses and sell the theatre to Lank? The British tourists, Eugene and Patricia, suggest they control their emotions (STIFF UPPER LIP- M/F Solos and Company) and for a moment they are enthused, but then reality descends upon them and they decide to forgo another show. Bobby tries to dissuade them, but he is unsuccessful. He tells Polly he’ll never forget her (THEY CAN’T TAKE THAT AWAY FROM ME- M Solo) and leaves her to return to New York. She is singing of her loneliness (BUT NOT FOR ME- F Solo) when Zangler and Tess enter. Zangler is impressed with the dancing and singing of the cowboys and decides to help with the show.
Six weeks have gone by and Bobby is once again with his mother in New York. She is foreclosing on another property- the Zangler Theatre. She gives the theatre to Bobby for his birthday. He is overjoyed at first, but then wonders why the theatre is empty. His mother informs him that Zangler has thrown his life in New York away for some woman. Then she enters the theatre and Bobby remains outside to contemplate the life he has chosen away from Polly (NICE WORK IF YOU CAN GET IT- M Solo and F Chorus). As the song concludes, he realizes life is nothing without Polly. He tears up the deed and heads back to Deadrock.
Six weeks has transformed Deadrock. Lank’s Saloon is now a French restaurant (BIDIN’ MY TIME [FRENCH REPRISE]- 3M), and the Gaiety is packed with a full house every night. However, Polly has had enough. She misses Bobby and decides to leave Deadrock to find him. Zangler is trying to find someone to take her place in the show when Bobby and his mother, Lottie, arrive in an overheated limousine. Bobby tries to fix the car so that he can hurry to get Polly before she leaves on the train. Irene enters and reveals, through a rather heated exchange with Lottie, that she has married Lank. Everett takes one look at Lottie and is love struck (THINGS ARE LOOKING UP [REPRISE]- M Solo). Into this confusion, Polly returns and all the lovers are united (FINALE- Company). Who could ask for anything more?

NOTES ON THE PRODUCTION

Crazy for You won three Tony Awards in 1992 for Best Musical, Costume Design, and Choreography (Susan Stroman).
Five different sets can be used instead of the nine that are scripted by utilizing "in ones." For example, scenes that are done on the Gaiety stage can be done "in two" with props, like ladders and boxes, placed around to give a backstage feel.
The play is versatile and can be adapted by the director to utilize additional Gershwin tunes (please obtain permission). The dance numbers are very long and intricate. Directors may find it easier for both audience and performers if these numbers are tailored to fit the dancing ability of the chorus.
The Fodors (English tourists) can be cast as male or female and the smaller roles can be doubled with the cowboys and the Follies girls.

SONGS OF SPECIAL INTEREST

"Someone to Watch Over Me," "Embraceable You," and "But Not For Me," slow ballads, good for nightclubs or any kind of revue, available in all different keys, so they can be sung by anyone
"I Got Rhythm," up-tempo, great dance number, usually sung by a woman, but acceptable for a male
"They Can’t Take That Away From Me," M/F ballad, blues feel, perfect for nightclubs and revues
"Nice Work If You Can Get It," M/F swing, can be done without chorus
"Slap That Bass," great chorus and production number, swing, lots of jazz style dance, fits in any kind of performance (dance or revue), not difficult musically, opportunity for lots of people to have solos

Instrumentation: 6 violins, 2 cellos, 5 woodwinds, 2 horns, 2 trombones, 2 trumpets, tuba, 2 keyboards, bass, drums, guitar/banjo, percussion
Script: Tams-Witmark Score: Warner Bros. and Chappell & Co. Record/CD: Broadway Angel Rights: Tams-Witmark

CURLEY MCDIMPLE

Book: Robert Dahdah and Mary Boylan
Music and Lyrics: Robert Dahdah

ORIGINAL PRODUCTION

Bert Wheeler Theatre, November 22, 1967 (931 perf.)
Director: Robert Dahdah
Musical Staging: Lonnie Evans
Musical Director: Robert Atwood
Musical Arrangements: Keith McClelland and Robert Atwood

Principals:
Jimmy- Paul Cahill- High Baritone
Bill- George Hellman- Baritone
Sarah- Helen Blount- Alto/Mezzo
Miss Hamilton- Norma Bigtree- VTI
Alice- Bernadette Peters- Mezzo
Mr. Gillingwater- George Galvin- VTI
Curley- Bayn Johnson- Child Mezzo
Chorus and Smaller Roles: None

SUMMARY AND NOTES

This musical spoof of the depression era Shirley Temple films is a nice small-cast musical for smaller companies who have a talented and not obnoxious child for Curley.
The play takes place in Sarah's Theatrical Boarding House where Curley, an endearingly optimistic eight-year old, arrives looking for a mother and father to adopt her. She wisely settles on Jimmy and Alice, two boarders who room next to each other and who fall in love at first meeting. The boarders come to the aid of Sarah, whose mortgage is about to be foreclosed, by producing a vaudeville benefit. During the rehearsals for the benefit, an evil Social worker, looking quite like the Wicked Witch of the West, takes Curley to an orphanage in New Jersey. Curley escapes and performs in the show, aided by Miss Hamilton and the wealthy banker, Mr. Gillingwater. The show is booked on Broadway, Curley discovers that Gillingwater is her grandfather and former sweetheart of Sarah's, and Jimmy and Alice marry.
Not technically difficult, the music is enjoyable, the story charming, and the roles good for talented performers. The principals all take part in a playland jamboree dream and a larger sequence where they appear as fairy tale characters. The costumes (period 30s, dream sequence, and fairy tale) can usually be pulled from a company’s costume collection.

SONGS OF SPECIAL INTEREST

"The Meanest Man In Town," Mezzo Solo spoof, torch song

Instrumentation: piano
Script: Samuel French
Score: Chappell
Record: NP
Rights: Samuel French