DAMES AT SEA

Book and Lyrics: George Haimsohn and Robin Miller
Music: Jim Wise

ORIGINAL PRODUCTION

Bouwerie Lane, December 20, 1968, moved to Theatre DeLys April 22, 1969 (575 perf.)
Director and Choreographer: Neal Kenyon
Musical Director: Richard J. Leonard

Principals:
Mona Kent- Tamara Long- Alto
Joan- Sally Stark- Mezzo
Hennesey and Captain- Steve Elmore- Baritone
Dick- David Christmas- Tenor
Lucky- Joseph R. Sicari- Baritone
Ruby- Bernadette Peters- Mezzo/Soprano
Chorus and Smaller Roles: None

SYNOPSIS

The show opens onstage at a 42nd street theatre, in the early 30s, where Mona Kent, a temperamental Broadway star, is rehearsing her tap solo (WALL STREET- F Solo). At the end of the solo part of the number, Mona takes her bow. Joan enters for the chorus part but, before she gets very far, Mona becomes temperamental and refuses to go on. Hennesey, the director, rushes onstage to calm his star as Joan stands by the proscenium and reacts a la Joan Blondell. Mona orders him to have her name in lights as big as those on the Wrigley billboard, but Hennessy begs her to ease up for his nerves are shot. She exits to her dressing room as Joan sarcastically calls her "the Lady Macbeth of 42nd Street."
Ruby, a stage-struck girl from Centerville, Utah, enters the theatre to apply for a job in the chorus but Hennesey urges her to return home. Joan convinces Hennesey to give her an audition, which he quickly does. She rips off her raincoat to show her tap costume and begins tapping away faster and faster. Hennesey hires her and exits. Joan offers her a room and goes off to get the starving girl a candy bar. As Joan leaves, Dick, a handsome sailor/songwriter reminiscent of Dick Powell, arrives with Ruby’s forgotten suitcase whose only contents is a pair of tap shoes. They fall in love at first sight (IT’S YOU- M/F Period Duet). They discover they both grew up in Centerville, Utah, she yearning to be a tap dancer and he a famous songwriter. At present he is a sailor, but he promises to return to New York when his tour is up and take Broadway by storm.
Joan re-enters with Ruby’s candy bar, is introduced to Dick. She takes Ruby off for a costume fitting as Dick pulls a small piano onstage from the wings and begins composing (BROADWAY BABY- M Solo). As he completes his composition Mona enters and expresses interest in his songs, insisting he play one for her. She strikes a dramatic pose on top of the piano and proceeds to sing Dick’s torch song as the company humorously acts out the lyrics behind a shadow curtain (MAN OF MINE- F Solo). At the end of the song she drags Dick off to her dressing room.
Moments later, Lucky, a sailor friend of Dick’s, enters the theatre, spies Joan, a former girlfriend, and begs her to remember their past "good times." She refuses any further involvement without marriage (CHOO CHOO HONEYMOON- Sc to M/F Duet). Joan introduces Ruby to Lucky as Mona enters with Dick and insists he have lunch at her penthouse. Ruby is heartbroken and wants to go back to Utah, but Joan takes her aside, bolsters her spirits, orders her to practice and leaves for a date with Lucky.
Dick returns from Mona’s car to apologize for breaking his date with Ruby and begs her to understand that Mona could help his career. She beams in understanding and sits down to write President Roosevelt a letter about Dick and the U.S. Navy (SAILOR OF MY DREAMS- Sc to F Solo).
Joan, Ruby and Hennesy are rehearsing when Mona rushes on with Dick to insist that one of Dick’s specialty songs be added to her show. The company performs the number (SINGAPORE SUE- Mixed Chorus, Period Style) in the Cagney-Keeler style as Dick outlines how he envisions it being performed. An enormous Oriental idol appears as Chinese lanterns drop into place. Lucky becomes the hero of the show. He falls in love with a Chinese bar girl who is eventually strangled by the idol.
Backstage, Ruby excitedly praises Dick as a loud noise of a building being demolished is heard. Hennesey gathers the company together to tell them the theatre is being torn down for a roller rink, which means the show won’t go on. The chorus kids, led by Joan, attempt to cheer Hennesey (GOOD TIMES ARE HERE- L to F Solo to Mixed Chorus). Dick suggests they perform the show on the battleship, but Lucky is convinced the Captain would refuse. Mona discovers she once dated their Captain and assures everyone things will be just fine. As the actors clear the stage the bricks begin falling.
Act II opens with the Captain watching as Dick and Lucky swab the deck of their ship. During the song, the three girls appear in portholes and join in (DAMES AT SEA- M Duet to F Trio). The Captain, returning to reality, tells the boys there are no women allowed at sea. Mona grandly enters and informs the Captain that they are opening the show on his ship. He refuses but she calls him Kewpie Doll and he remembers she was his Consuelo whom he met and loved in Pensacola, Florida (THE BEGUINE- Sc to F/M Period Duet). The Captain agrees to let the show be performed on the ship and exits to get the suddenly seasick Mona a bicarbonate of soda. Dick enters and Mona tells him she wants Hennesey to replace the old songs with new ones written by Dick. She quickly and passionately kisses the overwhelmed boy as Ruby enters, sees them and runs off. The Captain is upset but Mona calms him and they exit.
Ruby is convinced that Dick cares for Mona, which causes her heart to break. She tearfully begins singing as the company enters in yellow slickers carrying plastic umbrellas covered with silver raindrops. As they move around her they open and close the umbrellas which gives a rain and pattern effect (RAINING IN MY HEART- F Solo to Mixed Chorus). At the end of the song Dick tells Ruby she is his girl (SOMETHING ABOUT YOU- Sc to M/F Duet).
The audience begins arriving and Mona, upset to discover that Ruby is in the show, orders her off the ship. Joan defiantly announces that the chorus kids, orchestra and everyone will walk out if Mona doesn’t back off. Joan and Lucky, who are fed up with Mona’s attitude, decide to make her seasick during one of the show’s numbers by moving the spotlight back and forth simulating the ship’s movement (THE ECHO WALTZ- Mixed Chorus). Mona rushes offstage to be violently ill as a distraught Hennesey agrees to let Ruby star in the finale. The girl becomes an overnight sensation (THE TAR STAR- F Solo to Mixed Chorus). As the number is being performed by the full company, two upstage panels turn to reveal mirrors which make the chorus appear more numerous.
Mona enters, sporting a diamond ring and quite recovered. The couples unite and the production ends with the girls in wedding dresses. As the ship’s cannons roar the entire stage is immersed in bubbles and backed by a rainbow (LET’S HAVE A SIMPLE WEDDING- Mixed Chorus).

NOTES ON THE PRODUCTION

A spoof on the Dick Powell, Joan Blondell, Ruby Keeler and James Cagney movie musicals of the 30s, with a special emphasis on 42^nd Street, the show contains many excellent period style numbers that may be more accessible then their original counterparts. It should not be attempted without a choreographer who has tap dance ability.
There are two sets. Act I occurs on an empty stage with a brick wall in the back and Act II is onboard a ship. There are technical effects in both acts which are outlined in detail in the synopsis. They are not overly complex but are essential to give the show the "Busby Berkley" quality it demands.
Hennesey and the captain may be played by one or two actors. The costume needs are minimal, the girls have rehearsal outfits, street dresses, sailor outfits, Chinese outfits, echo waltz dirndles, wedding overlays and raincoats. The men are in sailor uniforms, except for Hennesey who is dressed in rehearsal clothes. All have raincoats and Lucky needs a Chinese outfit.
The props are easily obtained, but will need to be "dazzled up" to give them a Show Biz look, i.e. buckets covered with aluminum foil and glitzy cigarette case holders.
The smoke special effects may be achieved by fire extinguishers, flash powder or paper, and the bubbles made by a child’s bubble blower.
The show is a well-written spoof with catchy songs. It shows the talents of the performers, is excellent dinner theatre fare and the first act works well as an entry in a one-act play competition. Schools who need to give more students an opportunity to gain performance experience have increased the size of the chorus in the following numbers: "Good Times Are Here To Stay," "Dames At Sea," "Raining In My Heart," "The Echo Waltz," and "Tar Star."

SONGS OF SPECIAL INTEREST

"Choo Choo Honeymoon," Baritone/Mezzo period duet-similar in style to "Shuffle Off To Buffalo," tap duet
"It’s You," period Tenor/Mezzo duet performed in the Astaire/Rogers tradition, some dance
"Good Times Are Here To Stay," small chorus, up-tempo, energetic, requires interaction, good 30s style song for class or revue
"Singapore Sue," 3M/3F,comic, story song, strong style required, good for showcase
"Wall Street," period Alto tap solo

Instrumentation: 2 pianos, percussion, 2 reeds, trumpet, 3 violins, bass
Script: Samuel French
Selections: Hastings
Record: Columbia
Rights: Samuel French

DAMN YANKEES

Book: George Abbott and Douglass Wallop
Music and Lyrics: Richard Adler and Jerry Ross
(Based on The Day the Yankees Lost the Pennant by Douglass Wallop)

ORIGINAL PRODUCTION

46th Street Theatre, May 5, 1955 (1,019 perf.)
Director: George Abbott
Choreographer: Bob Fosse
Musical Director: Hal Hastings
Orchestration: Don Walker

Principals:
Lola- Gwen Verdon- Mezzo
Joe Hardy- Stephen Douglass- Tenor
Mr. Applegate- Ray Walston- Baritone
Van Buren- Russ Brown- Baritone
Gloria- Rae Allen- Alto
Joe Boyd- Robert Shafer- Baritone
Meg- Shannon Bolen- Mezzo
Sister- Jean Stapleton- Soprano
Sohovik- Eddie Phillips- VTI
Doris- Elizabeth Howell- VTI
Rocky- Jimmy Komack- VTI
Vernon- Albert Linville- VTI
Smokey- Nathaniel Frey- Tenor
Chorus and Smaller Roles: 8M/8F minimum, who sing and dance

SYNOPSIS

The play opens on the front porch and living room of a suburban home near Washington, DC where Joe Boyd, a middle aged baseball fan, is so engrossed in a TV baseball game that his wife, Meg, is unable to converse with him. She and a chorus of wives comment on this seasonal problem (SIX MONTHS OUT OF EVERY YEAR- Mixed Chorus).
When Joe’s favorite team, the Washington Senators, lose, Joe offers to give his soul to the Devil, if he can be a hitter for the team. The Devil, appropriately named Applegate, arrives, complete with red socks and tie, and agrees to get Joe on the Senators team by making him twenty years younger and putting him in top physical condition. Joe writes a farewell note to his wife (GOODBYE, OLD GIRL- M Solo), and leaves the house as a twenty-year old baseball player named Joe Hardy.
In a corridor under the stands of the Washington Baseball Park, players Smokey, Rocky and Vernon are being told by their coach, Van Buren, to keep up their spirits and they’ll beat the Yankees (HEART- M Quartet). Gloria, a reporter, arrives to interview the team as Applegate and Joe enter and introduce themselves to Van Buren. Van Buren agrees to give Joe a tryout and everyone heads for the field. A sound of a ball hitting a bat is heard and the lights rise on the dugout where the team is watching the offstage tryout. Joe surprises the team with his expertise in hitting and fielding and Van Buren offers him a contract. Gloria attempts to find out Joe’s history, but his evasive and hesitating answers only make her more curious. She looks for an angle to describe this new baseball wonder and comes up with the name "Shoeless Joe" when she learns the shoes he had brought were too small. Gloria decides to write up an article that will make Joe famous (SHOELESS JOE FROM HANNIBAL, MO- F Solo and M Chorus).
By a billboard near the park, Sister and Doris wait with three teenagers to get autographs from the players.
In team owner Welch’s oak-paneled back room office, Applegate, knowing he does not have full control over Joe’s soul until September 24th, decides to distract Joe with a beautiful redhead from Chicago named Lola. Joe isn’t interested for he wants his wife (A MAN DOESN’T KNOW- Sc to M Solo). The reporters, led by Gloria, arrive and question Joe about the chances of the Senators winning the pennant. Joe and Welch state that they’ll have the pennant sewed up by the 24th.
Lola waits on a bench near the billboard for Applegate, who outlines her job. She says it will be no problem to seduce Joe because she is an expert (A LITTLE BRAINS-A LITTLE TALENT- Sc to F Solo). Joe goes to his old house and tries to convince Meg to rent him a room. He explains he will be away a lot and they discuss what it’s like to miss someone (A MAN DOESN’T KNOW [REPRISE]- Sc to M/F Duet). Joe meets Meg’s friends, Sister and Doris, ardent baseball fans who are excited to think Joe will be living in the neighborhood.
In the ballpark corridor, the players are commenting on the game while Gloria and Applegate discuss the fact that Joe is finally appearing on TV.
In the locker room, Van Buren tells the team to get some rest before their next game and everyone gradually drifts off leaving Joe with Applegate who introduces him to Lola and also leaves. Lola sexily vamps him (WHATEVER LOLA WANTS- Sc to F solo). She drapes herself alluringly across his lap but Joe puts her aside, apologizes and goes home to Meg. Applegate enters to chide her and she promises to try a new tactic. In front of a black traveler, Meg’s friends rehearse a song to honor Joe (HEART [REPRISE]- 3F/1M).
The curtain opens on a hotel ballroom, partially decorated to celebrate the success of the season. Joe enters and spies Lola who explains she is now an official fan and sincerely starts to make friends with Joe. When Applegate arrives she goes off to perform (WHO’S GOT THE PAIN- M/F Duet). At the end of song, Lola sees Applegate who tells her he has spread a rumor that Joe is Shifty McCoy, the missing ballplayer known to have taken a bribe in the Mexican League. Joe is to be investigated by the Baseball Commissioner the following morning. Joe, upset that he might not be able to play in the pennant deciding game proclaims his innocence as the curtain falls.
Act II opens in the locker room. The team is worried about Joe, but Rocky tells them to concentrate on the rules and think about the game (THE GAME- Sc to Small M Chorus).
On a bench in the park, Joe tells Meg that everything will be over soon, but Meg tells him she believes in him the way she believes her husband will return (NEAR TO YOU- Sc to M/F Duet). Applegate sees them and is depressed that he may lose Joe’s soul and upset that Lola hasn’t been of much help. He longs for the successes he had in the past and moves downstage as the curtains close behind him (THOSE WERE THE GOOD OLD DAYS- L to M Solo, Vaudeville Style).
In the Commissioner’s office, things look grim for Joe. He tries to leave before midnight to exercise his escape clause but time runs out and he thinks he has lost his soul to Applegate.
Later that night, Lola meets Joe on a park bench to tell him that she has drugged Applegate so he won’t awaken until after the game which means that he can’t stop Joe from winning. They both know the consequences of fighting Applegate, but decide to enjoy their last night together. They leave the park, enter a nightclub and begin enjoying life (TWO LOST SOULS- M/F Duet to Mixed Chorus Dance).
Applegate arrives at the game with Lola, who he has turned into an old hag. He angrily changes Joe into his former self but Joe, as a middle-aged man, manages to catch the final out and the Senators win the American League Championship. Joe returns home to Meg who eagerly greets him, promising to ask no questions (A WOMAN DOESN’T KNOW- F Solo).

NOTES ON THE PRODUCTION

The show made Gwen Verdon a star and won the following Tony Awards in 1956: Best Musical, Best Actress (Gwen Verdon), Best Actor (Ray Walston), Best Supporting Actor (Russ Brown), Best Composer And Lyricist, Best Libretto, Best Choreographer, Best Director, and Best Conductor/Musical Director.
This was Adler and Ross’ second and last collaboration, for Jerry Ross died on November 11, 1955, only one month before the coveted Tony Awards were given.
Much of the success of Damn Yankees relies on its two stars Lola and Applegate had to be charming and talented singer/actors. Gwen Verdon, a remarkable actress who has an appealing and distinctive style (she can portray sex and charm with humor and delight), which is appreciated by men and women alike. It is important to cast a Lola with this charming yet vulnerable qualityAnd she must also dance well.
The costumes may be modern or 50s in style. Many of them are baseball uniforms and none of them are complex. The props are basic and not overly difficult to obtain. The show was written during the period of the in "one" scene/song, where there were one or more downstage curtains dropped to allow for set changes behind the curtain. The action was forwarded by either short songs or scenes performed in front of the drop. When the set change was over the drop rose and a larger set was in view. Damn Yankees has many scenes which alternate among two billboards, a corridor under the stands, and the major set pieces: Joe’s Home, Welch’s office, the locker room, Applegate’s apartment, the Commissioner’s office, and a nightclub, all of which may be wagons or drops.
For theatres with limited fly space, the sets will need to be greatly adjusted from the original. It is possible to perform the show on a unit set with levels, small set pieces and props to delineate the different areas. The success of the show isn’t as dependent on the physical look as other period shows.

SONGS OF SPECIAL INTEREST

"A Little Brains-A Little Talent," Mezzo, character oriented, kittenish sexy, good for overcoming movement problems
"The Game," Good for showcase, good comic timing and strong characterizations required, male chorus
"Heart," Comic characterizations required, show-stopper, requires harmony, good for revue
"Those Were the Good Old Days," Tenor, vaudeville oriented song and dance style

Instrumentation: 5 reeds, 3 trumpets, 3 trombones, horn, percussion, guitar, 4 violins, viola, cello, bass, piano/conductor
Script: Random, Theatre Arts
Score: Frank
Record: RCA
Rights: MTI

A DAY IN HOLLYWOOD, A NIGHT IN THE UKRAINE
A musical double feature.
Book and Lyrics: Dick Vosburgh
Music: Frank Lazarus

ORIGINAL PRODUCTION
Director and Choreographer: Tommy Tune
Co-Choreographer: Thommie Walsh
Musical Direction and Arrangements: Wally Harper

Principals:
Mrs. Pavlenko- Peggy Hewett- Soprano
Carlo- Frank Lazarus- Baritone
Gino- Priscilla Lopez- Mezzo
Serge B. Samovar- David Garrison- High Baritone
Nina- Kate Draper- Mezzo
Constantine- Stephen James- Tenor
Masha- Niki Harris- Dancer
Sascha- Albert Stephenson- Dancer
Chorus and Smaller Roles: None
SYNOPSIS

At the rise of the curtain, six ushers in 1930 usher uniforms enter through the doors and invite the audience to escape life in Grauman's Movie Theatre (JUST GO TO THE MOVIES- Mixed Chorus). They describe the stars of the day. An usher steps forward to give a brief history of Sid Grauman's famous celebrity sidewalk. The overhead platform is revealed where the performers visually enact the historical event and the forthcoming song. Various film personalities feet from the thighs down are demonstrated by Niki and Albert: Dick Powell and Ruby Keeler, Charlie Chaplin, Sonya Henie on ice skates, Tom Mix, Judy Garland, Dracula, Dorothy Lamour, Al Jolsen, Mickey and Minnie Mouse. Priscilla and David perform below (FAMOUS FEET-M/F Duet with Dancers).
Peggy enters in her usher costume, wearing a period wig or hat reminiscent of a Jeanette MacDonald character. She carries a life size cardboard cutout of Nelson Eddy in his Mountie uniform and tells the audience how much she despises her supposedly romantic film partner (NELSON- F Solo). At the end of the number, Stephen comments on the Hollywood hopefuls, young girls who come from all over America. Priscilla enters to tell the story of a small town usher who went to Hollywood, made a film which flopped and became an usher in the film capitol (THE BEST IN THE WORLD- F Solo).
The company enacts the stories behind the method various writing teams used to write their hit songs. Stephen tells the audience that the theme song for Grauman's Chinese Theatre was a Richard Whiting standard "Hooray for Hollywood." The company tributes Richard Whiting (IT ALL COMES OUT OF THE PIANO- M Solo). The number segues to highlighted Whiting songs with the company singing and playing various instruments (RICHARD WHITING MEDLEY- Mixed Chorus). Frank, at the piano, describes a favorite movie setting of the 30's, the cruise ship. He reminisces as "Thanks For Memory" is played and sung by the onstage "Bob Hope and Shirley Ross" and the overhead stage shows a dancing Astaire and Rogers. Frank leaves the piano to join the other five ushers who are wearing tap shoes, he describes the censorship rules that set the guidelines for the 1930 movie makers (DOIN' THE PRODUCTION CODE- Mixed Chorus). They invite the audience for a preview of their next attraction starring the Marx Brothers (A NIGHT IN THE UKRAINE- Mixed Chorus).
Act II begins the second part of the play, A Night In the Ukraine.The curtain rises on the morning room of a Russian villa sometime before the Revolution. There is a grand piano stage left, a chaise lounge stage right, an easle, two chairs and a desk. As the lights rise, Masha, the maid and Sascha, a manservant, are busily working when Carlo enters carrying a large painting of Mrs. Pavlenko, a widow who is going to her first party since the death of her husband, eighteen months before.
Mrs. Pavlenko enters to tell everyone she isn't going to the party as she is still too grief stricken over the loss of her husband. Gino, looking like Harpo Marx, rushes on honking a horn and begins to chase Masha. After exchanging visual comedy routines with Carlo he succeeds in terrifying Mrs. Pavlenko who exits for her nerve tonic. Carlo begins playing the piano as Gino waters a fake hand which come to life and proceeds to tickle him. Serge B. Samovar, a lawyer, enters, he walks, acts and talks like Groucho Marx. He and Carlo go through typical comedic routines, complete with typical one line comedy gags, as they introduce themselves (SAMOVAR, THE LAWYER- Sc to M Solo). Samovar has come to see Mrs. Pavlenko to get the money her dead husband owes for legal services. Carlo replies his job is to keep people from her but Samovar confuses him, in typical Marx Brothers style, and they both exit as Mrs. Pavlenko enters with her daughter, Nina. The two are talking about Nina's prospective husband Baron Trofimov whom she doesn't love. Mrs. Pavlenko scoffs at the word love and leaves a disheartened Nina alone to dream of her unknown love (JUST LIKE THAT- F Solo).
Carlo rushes in to accoompany her on the piano. As the number ends Constantine, the coachman enters with some legal papers, he bumps into Nina, they turn and realize they are in love. He tells her he is a Coachman who dreams of being a playwright but rejection by the Moscow Art theatre has forced him to give up. She encourages him and they openly admire each other (JUST LIKE THAT [Reprise] - Sc to M/F Duet). Constantine asks her to elope and they dreamily exit.
Mrs. Pavlenko hears strains of the Ukraine Theme which reminds her of her dead husband, but her sad mood is interrupted by Samovar who, cigar in hand, climbs on top of the piano meowing like a cat. After several insulting remarks, which Mrs. Pavlenko doesn't notice, Samovar asks her for the money Nicholas owes. She refuses to pay him until her steward returns from town. He doubts she has the money, insults her and she huffily exits as Carlo enters for some slapstick comedy with Samovar, who later exits. Gino enters whistling for attention and after several minutes of miming finally gets the message to Carlo that Samovar is to be thrown out.
Constantine re-enters with Nina who goes to get her suitcase. Carlo and Gino are amazed that he is marrying Nina. He is so pleased that she has given him confidence to rewrite his play that he begins reading to them from the script. Nina enters and thinks the lines he is speaking relate to her. Thinking he is only after her money, she throws him out and bursts into song (AGAIN- F Solo). Constantine re-enters but Nina slaps him, rushes off, and he continues the song. Gino enters riding a broken down bicycle which he falls from. After several comic turns with the bike where he offers it a carrot, listens to it's heart and plays a tune on the spokes (GINO'S HARP SOLO- Instrumental) he leaves.
A distraught Constantine tells Samovar he is going back to Moscow immediately and leaving Samovar there. Samovar, failing to stop him, spies the play and begins reading but is interrupted by Nina who realizes Constantine was only reading dialogue which she thought were his own words about her. When she discovers Constantine is leaving, she bursts into tears and rushes from the room. Carlo and Gino attempt to throw Samovar out but he outwits them by asking Gino to enact what will heppen to Samovar; the scene becomes quite bizarre and physical. Mrs. Pavlenko arrives to discover everyone hurling flowers at her portrait. She sends Carlo off for help as Samovar challenges her to a duel which she readily accepts (A DUEL! A DUEL!- M/F Duet with 2M Needed for staging). She exits for the pistols.
When Carlo tells the impoverished Samovar of Mrs. Pavlenko's wealth he decides to marry her for her money and begins wooing her (NATASHA- M Solo with F and M Needed for Staging). She agrees to his proposal and falls into his arms. Constantine and Nina are reunited and Sascha and Masha enter for the finale (A NIGHT IN THE UKRAINE- Mixed Chorus).

NOTES ON THE PRODUCTION
This four Male, four Female revue and Marx Brothers spoof is excellent summer theatre fare for a multi talented company. The original music, coupled with the nostalgic tunes, make for a rewarding musical experience. The Marx Brothers sequence is enjoyable, even for non-Marx Brothers fans. In fact it may be more enjoyable for non-Marx Brothers fans for it highlights some of their famous routines in capsule form. The revue section of the two one acts, was performed in front of six revolving doors which represent the lobby doors of Grauman's Chinese Theatre in Hollywood. The doors could totally swing from red to black and each door contained a circular window, at face height, which opened and closed. This simple set allowed for various visual effects. A platform above the doors usually covered by a traveller was effectively used for the overhead "Famous Feet" number. The remaining setting consisted of two benches, a grand piano, and an art deco style bar; all represented the lobby. The costumes are not complicated, although there are a number of legged specialty ones needed for the "Famous Feet" sequence. The set used in the Broadway Production is thoroughly detailed in the acting version of the script and should be utilized.
The show calls for talented singers who tap dance, an excellent choreographer and a director with a flair for Comedy. Although most of Tommy tune's clever staging is outlined in the acting libretto, the dance numbers must be precise and clean in order to believably imitate the stars they are to portray. It is possible to perform A Night In the Ukraine as a one-act musical and it is a good choice for a one-act play competition. However, practically every comic line is enhanced by a sight gag prop and all of Gino's bits rely on the visual gag. The props are relatively common but are time consuming to obtain and the actor will need them in beginning rehearsals bgecause so much of the comic timing is determined by the props.

SONGS OF SPECIAL INTEREST

"The Best In the World," Story song, Mezzo, good acting exercise.
"Just Go to the Movies," good for opening a revue about films
"Nelson," comic number for a Soprano.

Instrumentation: 2 pianos, 1 piano onstage, Sound tape available from publisher
Script: Samuel French
Selections: Jewel
Record: DRG
Rights: Samuel French

THE DEAD

See James Joyce’s The Dead

DEAR WORLD

Book: Jerome Lawrence and Robert E. Lee
Music and Lyrics: Jerry Herman
(Based on Giraudoux’s The Madwoman of Chaillot)

ORIGINAL PRODUCTION

Mark Hellinger Theater, February 6, 1969 (132 perf.)
Director and Choreographer: Joe Layton
Musical Director: Donald Pippin

Principals:
Countess Aurelia- Angela Lansbury- Mezzo
Nina- Pamela Hall-
Sewerman- Milo O’Shea-
Constance- Carmen Mathews-
Gabrielle- Jane Connell- Soprano
Julian- Kurt Peterson- Tenor
Chairman of the Board- William Larsen- Baritone
Corporation President-
Prospector- Joe Masiell-
Chorus and Smaller Roles: 10M/10F

SYNOPSIS

The play opens at the Caf� Francis where some Parisian characters are performing and demonstrating their various occupations. Countess Aurelia is served a complimentary glass of champagne and looks through her empty glass at the world (THROUGH THE BOTTOM OF THE GLASS- F Solo).
Julian, a handsome young man who works for the president of a large corporation, is appalled at the greed of his employer, who plans on blowing up the Caf� Francis in order to obtain the oil beneath the establishment. The Lawyer, Corporation President and Prospector form a new and larger corporation in hopes of new wealth (JUST A LITTLE BIT MORE- M Trio).
Rather than obey his employers’ orders, Julian attempts suicide by drowning. His drenched body is brought to the countess at the caf� where she gives him reason to live (EACH TOMORROW MORNING- F Solo to Chorus). Aurelia questions the caf� regulars who try to explain the changes that have been occurring in Paris and the general corruption that permeates the city, but the Countess refuses to listen (I DON’T WANT TO KNOW- F Solo). Nina, a waitress at the Caf�, has fallen in love with Julian and thinks of him while clearing the tables (I’VE NEVER SAID I LOVE YOU- F Solo).
The Countess is confused by this unfamiliar world and asks her old friends Constance, Gabrielle, and the Sewerman what has caused Paris to decay. The Sewerman analyzes the changes in terms of the garbage he sees (PRETTY GARBAGE AND UGLY GARBAGE- M Solo). The Countess is appalled by the changes in her lovely city and vows to fight this new Paris. She tells her friends they must unite in the common cause because one is the largest number in the world (ONE PERSON- F Solo to Chorus).
Meanwhile, the President, Prospector and Lawyer envision the Paris their new corporation will create (THE SPRING OF NEXT YEAR- M trio).
Constance and Gabrielle join the Countess in her apartment and the three talk of their memories of Paris and their former lives (MEMORY- Constance; PEARLS- Countess and Gabrielle; DICKIE- Gabrielle; Voices- Constance; THOUGHTS- Countess; THE TEA PARTY- F Trio).
Countess Aurelia is left alone with the handsome Julian and she imagines that he is an old boyfriend (AND I WAS BEAUTIFUL- F Solo). When she comes to her senses she sends Julian to lead the Prospector and the other evil people into the caverns of the sewers. Julian and his friends comment on the tragedy of the modern world (DEAR WORLD- Mixed Chorus).
When the President and hundreds of other corporation executives descend the stairs to the sewers in hopes of finding uranium, the Countess shuts the stone door closing off their return to the surface, thereby saving Paris. The Countess urges Julian to kiss Nina and the chorus agrees (KISS HER NOW- Finale, Mixed Chorus).

NOTES ON THE PRODUCTION

Angela Lansbury won the 1969 Tony Award for her performance in Dear World.
There are a lot of speeches for various characters in the original play worth looking at for the purpose of auditioning.

SONGS OF SPECIAL INTEREST


Instrumentation:
Script: Vocal Score: Edwin H. Morris
Record: Columbia
Rights: Tams-Witmark

DISNEY'S BEAUTY AND THE BEAST

Contributed by Gene Lauze, UNH alum who costumed "The Beast" on Broadway and on tour

Music: Alan Menken

Lyrics: Howard Ashman and Tim Rice

Book: Linda Woolverton

ORIGINAL PRODUCTION

Palace Theater, April 18, 1994 (Still running)

Director: Robert Jess Roth

Choreographer: Matt West

Principals:

Beast- Terrence Mann- Tenor/Baritone

Belle- Susan Egan- Soprano with belt

Maurice- Tom Bosley- Baritone

Gaston- Burke Moses- Baritone

Lumiere- Gary Beach- Tenor

Mrs. Potts- Beth Fowler- Soprano

Cogsworth- Heath Lamberts- NA

Madame de la Grande Bouche- Eleanor Glockner- Mezzo

Babette- Stacey Logan- Soprano

Le Fou- Kenny Raskin- Tenor

Chip- Brian Press- Juvenile

Voice of Prologue Narrator- David Ogden Stiers

Chorus and Smaller Roles: 13F/14M

SYNOPSIS

In the prologue, an old beggar woman comes to the castle of a handsome young Prince. The old woman offers the Prince a single rose in return for shelter and warmth, but the selfish and spoiled Prince is repulsed by the woman's appearance, and he turns her away. She warns the Prince that looks may be deceiving and offers him the rose again. When the prince turns her away a second time, the old beggar woman is transformed into a beautiful enchantress. The enchantress casts a spell over the Prince, turning him into a hideous Beast. The spell also affects all those people living in the castle, turning them into enchanted objects. The Beast is left with a magic mirror as his window to the world, and a single magic rose. If the Beast can learn to love someone and be loved in return by the time the last petal falls from the bloom, the spell will be broken. If he fails to do this he will remain a Beast forever. As the years pass, the Beast loses hope of ever breaking the spell, . . . for who could ever learn to love a beast?

In a small provincial village, we meet Belle. She is beautiful, intelligent, loves to read, and is considered odd by the people of her village. (BELLE- Chorus). While the townsfolk may find her odd, one person is quite enamoured of the young beauty. Gaston is surely one of the most handsome men in the village, . . . Just ask him. He tells his trusty, dimwitted sidekick, Lefou, that he can wed only the most beautiful girl in the town. Since that girl is Belle, he must have her.

Belle returns home to find her inventor father, Maurice hard at work on an invention that will surely win all the prizes at the fair. Maurice is a kind, gentle old man who dearly loves his daughter and wants her to understand that she is not odd at all (NO MATTER WHAT- M/F Duet). Belle gives Maurice a new scarf she has made him for good luck and he leaves to drive his new invention to the Fair.

On the way to the Fair Maurice is attacked by wolves, but he escapes by running to a nearby castle and going in. The castle belongs to the Beast. Maurice thinks the castle is empty, but is quickly introduced to several of the Beast's servants who have been transformed into enchanted objects. He first meets Lumiere, the candelabra, and Cogsworth, the clock. While Cogsworth states that he is the head of the household, it is Lumiere who seems to be running things. He offers Maurice a chair and a cup of tea. They are joined by Lumiere’s girlfriend, Babbette, the vivacious feather duster, Mrs. Potts, the teapot, and her son Chip, a teacup, soon follow. While they all want to be hospitable to Maurice they are afraid of what will happen if the Beast finds out they have let him into the castle. When the Beast does appear it is apparent that he is not happy about Maurice’s presence and that Maurice is in great danger.

Gaston arrives to make Belle an offer he can’t imagine she would refuse. He wants her to be his wife (ME- M solo). Much to his dismay, Belle is less than enthralled with the idea and turns him down. Belle wants more from her life than to be another trophy for the boorish, brainless Gaston (BELLE [REPRISE]- F solo)

Belle runs into Lefou who is carrying the scarf that she made for her father. The scarf is tattered and turn and Lefou tells her that he found it in the forest. Belle is very worried about her father and sets out to find him. She comes across the same castle in the forest and goes in. The objects are thrilled to see Belle, hoping that she will be the girl that the Beast falls in love with and that will in return fall in love with him. Belle finds her father in a dungeon and is trying to release him when the Beast enters. He offers her a deal: in return for the release of Maurice, Belle must agree to stay in the castle forever. To the horror of her father, Belle accepts the deal. Maurice is taken away and the terrified and saddened Belle is led to her new bedroom. The Beast tells her that his servants will take care of her and also tells her she must never go into the west wing of the castle. In her room, she wonders what will happen in this new frightening place she must call Home (HOME- F solo). Mrs. Potts and Madame de la Grande Bouche come in to comfort the frightened girl. They tell her that all of the objects are impressed with what she did for her father and try to convince her that the Beast is not really as bad as he seems (HOME [REPRISE]- F solo).

Back in the village, Gaston, Lefou and the other villagers are singing about Gaston’s virtues (GASTON- Chorus). At the end of the song, a very nervous and frantic Maurice comes into the tavern to seek help in rescuing Belle from the horrible Beast. As usual, the crowd thinks that Maurice is crazy and they escort him out of the tavern. Gaston comes up with a plan to get Belle to marry him: blackmail. If he can get everyone to believe that Maurice is indeed crazy, he can have him committed to the local asylum, the Maison de Lunes. If Belle agrees to marry him, he will straighten out the matter (GASTON [REPRISE]- M duet).

At the castle, Belle has refused the Beast’s request to come to dinner, even though the enchanted objects managed to get him to say “please,” a word he hasn’t uttered in years. The Beast is furious and bewildered as to why she is being so stubborn, even after he was trying to be nice to her. He realizes that this girl may be his last chance to have the spell broken (HOW LONG MUST THIS GO ON?- M Solo).

Belle has been forbidden to leave her room and all of the enchanted objects have been told that she must not be fed until she agrees to eat with the Beast. However, when Belle comes down to the dining room, hungry, Lumiere and the other objects provide her with a meal fit for a queen, complete with a Buzby Burkleyesque array of dancing utensils, spinning plates and a cart-wheeling carpet among other things (BE OUR GUEST- M Solo and Chorus).

The Beast decides he needs to make himself more of a gentleman if he is ever to have a chance at breaking the spell. He decides to bring a tray of food to Belle in her room. As he is knocking on the door, he sees Cogsworth and Lumiere giving Belle a tour of the castle. Enraged, he returns to the west wing where the magic rose is kept under a glass dome. Belle separates herself from Lumiere and Cogsworth and goes into the west wing to see what the Beast is hiding there. She is caught by the Beast and is chased out of the room. He tries to apologize to her for scaring her, but accidentally rips the sleeve on her blouse. Promise or no promise, Belle decides to leave the castle and runs from the Beast. The Beast is devastated that he has frightened her and made her leave the castle, for there are so few petals left on the rose that he may never be able to break the spell. He is distraught and examines the predicament he is in as the act ends (IF I CAN’T LOVE HER- M Solo).

Act II opens as Belle is running from the Castle and is attacked by wolves. The Beast comes to her rescue and fights the wolves off, but is injured himself (ENTR’ACTE/WOLF CHASE- Orchestral). Back in the castle, Belle tends to the Beasts wounds and the first tender moment is shared between the two. She thanks him for saving her and he says, “You’re welcome.” Belle, the Beast and the Enchanted objects start to recognize that things are changing between Belle and the Beast (Something There- 3M/2F Quintet). To try to help them along with their newfound friendship, Mrs. Potts offers them a nice bowl of soup. They sit at the table and more tender moments are starting to occur. The Beast wants to give Belle something special to show her that he is sorry about all that has happened. The objects convince him that the perfect gift would be the library in the castle since Belle is so in love with reading. Belle is thrilled with the library and finds her favorite book. When she discovers that the Beast can’t read she decides to read the story of King Arthur to him. Belle is beginning to see that the Beast’s hideous exterior is hiding a heart that really wants to love and be loved in return. As the Beast and Belle are reading in the Library the Enchanted Objects dream of what it would be like to have their old lives back (HUMAN AGAIN- Chorus). Belle asks the Beast for a second chance at dinner and the Beast is so excited he runs from the library to get ready.

Back in the village, Gaston is going forward with his plan to have Maurice committed. He and Lefou are trying to persuade Monsieur D’Arque, who runs the Maison de Lunes, to help them in their plan. He agrees when the price is right (MAISON DE LUNES- M Trio).

At the castle, the Beast and Belle are all dressed up for a very nice formal dinner. Belle asks the Beast to dance and they waltz (BEAUTY AND THE BEAST- F Solo). As they sit in the garden after dinner, Belle confesses that she is happy at the castle, but that she wishes she could see her father again. When the Beast offers her the Magic Mirror so that she can see her father, Belle is frightened by what she sees. The Beast loves her so much he tells her she is no longer his prisoner. Even though it means that he is doomed to spend the rest of his life as beast, he makes her go to her father. He gives her the Magic Mirror so she can always see him. Belle leaves and the objects are heartbroken that their chances to be human again have been dashed. They realize that the Beast has learned to love, but it wasn’t enough; he needed to be loved in return for the spell to be broken. The Beast is inconsolable at the loss of his beloved Belle (IF I CAN’T LOVE HER [REPRISE]- M Solo).

Belle arrives back in the village to find the townsfolk and Monsieur D’Arque preparing to take her father away. Gaston offers to save her father if she will marry him and again she refuses. When her father tells the people again of the Beast, they all laugh at him. Belle shows them the Beast in the Magic Mirror to prove that her father is not insane. Gaston senses that Belle has special feelings for the Beast. He decides that the perfect way to get back at Belle for refusing his hand is to kill the Beast. He convinces the townspeople to help him in his mission and the angry mob goes off to the castle (THE MOB SONG- Chorus). The mob attacks the castle and the enchanted objects fight back valiantly (THE BATTLE- Orchestral). Gaston finds the Beast alone in the West Wing and tries to kill him. In the fight Gaston is pushed over the edge of a balustrade. The Beast saves him and is rewarded by a knife in the back. Belle has come out on the balcony and the sight of her gives the Beast the strength to fight back at Gaston. Gaston falls off the Balcony and is killed. The wounded Beast collapses inside the castle with Belle at his side. As the Beast lies dying Belle professes her love for the Beast. She does this just as the last petal is falling from the rose. The Beast rises from the floor and begins spinning in the air. The spell has been broken and the Beast is transforming back into the handsome Prince (TRANSFORMATION- M/F duet).

The Prince and Belle run to see if the other objects are transformed as well. Mrs Potts, Lumiere, Cosgworth, Chip, Babette and Madame de la Grande Bouche are all overjoyed to be back to their normal selves. As the music swells in the background, Maurice gives the Beast Belle’s hand in marriage and the company comes together to celebrate the new couple (BEAUTY AND THE BEAST [REPRISE]- Chorus)

NOTES ON THE PRODUCTION

The opening of Beauty and the Beast on Broadway marked The Walt Disney Company’s first foray into the world of legitimate theatre. The Broadway community was not sure what to expect from the company, but since Disney was the single producer of the show, they had no one to answer to but themselves. The community was afraid of what the implications of Disney’s entry into the Broadway world would be. As a result, the show did not receive the critical reception it deserved. Audiences were entranced by the clever costumes and the Menken/Ashman/Rice score, but the critics were not as kind. The show received mixed to good notices.

The show was also lacking in the award department. The show was nominated for 10 drama desk awards, but lost in almost every category to the new Sondheim musical Passion. It was also nominated for nine 1994 Tony Awards including Musical, Book, Score, Actor, Actress, Featured Actor, Director, Costumes, and Lights, but managed to pick up only the one for Ann Hould-Ward's clever costumes.

The show did manage to find its audience and has proven to be very successful for the Disney Company. The show been successfully produced around the world. In comparison, Beauty’s major competition that year, Passion, while a brilliant piece by one of the decade’s most successful composers, barely ran a season.

The main problems with possible productions of this musical are rather simple. Disney holds the rights to the show and outside of licensing it to production companies in other countries, they have given the rights to an amateur production only once. Since the show is still running commercially, it seems as if it will be quite some time before the rights are released to the general producing public.

That said, what are the other issues that need to be addressed when attempting to mount a production of this piece. First of all, although the show was given a lavish first production by Disney, many of the sets and costumes could be realized in simpler ways and could be done on a much more modest scale. The original production was very literal to the animated feature and created many design problems for the team creating the show. At this time, Disney is mounting a new version of the show to tour the United States. It will be, by far, the smallest production of the show to date. Many of the grand set pieces have been reconceived to allow the show better mobility and the entire show has been altered to allow for these changes. What cannot be skimped upon, however, are the special effects. The hag has to transform into the beautiful enchantress, the prince has to transform into the beast, and above all, he has to make a dramatic transformation back at the end of the show.

SONGS OF SPECIAL INTEREST

Instrumentation:

Script: NP

Vocal Selections: Hal Leonard Corp.

Record:

Rights: Not Available

Visit the Broadway Beauty and the Beast web site

DO I HEAR A WALTZ?

Book: Arthur Laurents
Music: Richard Rodgers
Lyrics: Stephen Sondheim
(Based on Arthur Laurents’ The Time of the Cuckoo)

ORIGINAL PRODUCTION

The 46th Street Theatre, March 18, 1965 (220 perf.)
Director: John Dexter
Choreographer: Herbert Ross
Musical Director: Frederick Dvonch
Orchestration: Ralph Burns

Principals:
Leona Samish- Elizabeth Allen- Mezzo
Signora Fioria- Carol Bruce- Alto
Eddie Yaeger- Stuart Damon- Baritone
Jennifer Yaeger- Julienne Marie- Mezzo
Renato Di Rossi- Sergio Franchi- Tenor
Giovanna- Fleury D’Antonakis- Mezzo
Mr. McIlhenny- Jack Manning- Baritone
Mrs. McIlhenny- Madeline Sherwood- Mezzo
Chorus and Smaller Roles: 2M, 2 M Children minimum

SYNOPSIS

The play opens in Venice where Leona Samish, an attractive romantic, marvels at the sights. With a suitcase in each hand, she sings about the miracle of a city floating on water while the enchanting gondolas and pigeons fluttering about the square. A young boy, Mauro, offers to take her to Signora Fioria’s and carry her suitcases. Leona is so busy looking at everything she naively plunges into the canal, but nothing can dampen her excitement (SOMEONE WOKE UP- F Solo).
She arrives at the Pensione Fioria to discover that the guests are all Americans. The forty-year old owner, Signora Fioria, explains how pleased she is at their arrival (THIS WEEK AMERICANS - Sc to F Solo). After brief introductions, the guests tell how they came to Italy and reveal the inconveniences of flying (WHAT DO WE DO? WE FLY!- Small Mixed Chorus). Leona is left alone to muse over her loneliness, which is amplified by the romantic atmosphere of Venice.
On a morning shopping trip, Leona meets Renato Di Rossi, a forty-year old owner of a curio shop. When she expresses interest in an antique goblet Renato enthusiastically expresses admiration (SOMEONE LIKES YOU- Sc to M Solo). He gives her a lesson in antique shopping (BARGAINING- Sc to M Solo) and manages to obtain her Venice address.
That night, Leona ventures into the Piazza San Marco where she orders drinks for two at a cafe. She knows no will join her but doesn’t want anyone to think she is alone (HERE WE ARE AGAIN- F Solo). Di Rossi approaches her, sees the two drinks and graciously retreats.
Di Rossi arrives at the Pensione and charms Leona by giving her two precious antique Italian goblets. Mr. and Mrs. McIlhenny arrive and show Leona six of the same goblets and Leona is outraged that Di Rossi tried to deceive her. After the McIlhennys leave DiRossi insists that the goblets her gave her were originals, the others copies. He asks her out and she thinks over the prospect. The two agree to meet later (THINKING- Sc to M/F Duet).
Eddie Yaeger, a married playboy guest at the Pensione, flirts with Fioria who is very interested in some late night romance. Giovanna, Fioria, Eddie and the McIlhennys prepare for the evening (HERE WE ARE AGAIN [REPRISE]- Mixed Chorus).
As Leona relaxes at the Pensione garden awaiting Di Rossi’s entrance, Vito, a young boy, arrives with the message that Di Rossi will be late. Leona finds out that Vito is really Di Rossi’s son and is appalled to think she is dating a married man. Jennifer, after fighting with Eddie, invites Leona to a movie and the two exit. Eddie and Fioria, under the guise of a language lesson, go to Giovanna and arrange for an assignation in a gondola (NO UNDERSTAND- Sc to 2F/M Trio). Di Rossi arrives and forces Leona, who has returned in time to see Eddie and Fioria, to make the most of their mutual attraction. (TAKE THE MOMENT- Sc to M Solo). She carefully listens and accepts his offer for an evening on the piazza.
Act II begins after a night alone at the movies for Eddie’s wife, Jennifer. Used to his infidelity, she hopes that he will return to her (MOON IN MY WINDOW- F Trio), Fioria and Leona echo the same song from their windows.
Eddie and Jennifer decide to leave Italy in order to save their failing marriage (WE’RE GONNA BE ALL RIGHT- Sc to M/F Duet).
Di Rossi arrives to bring Leona a garnet necklace, which she can’t refuse because she suddenly hears a waltz and knows she is no longer afraid of involvement (DO I HEAR A WALTZ- F Solo). She tells Di Rossi she must soon return to America but he begs her to remain in Venice (STAY- Sc to M Solo).
Before she leaves, Leona decides to throw a party for everyone at the Pensione. They all remark on Leona and Di Rossi’s happiness, not aware that he is a married man (PERFECTLY LOVELY COUPLE- Mixed Chorus).
Leona is angered to discover Di Rossi didn’t pay for the necklace. When a man arrives at the party to collect she gives Di Rossi the money, but vents her anger on all those at the party. She realizes too late that most of her distrust of Di Rossi stemmed from distrust of herself. She thanks him for everything he has done for her (THANK YOU SO MUCH- Sc to M/F Duet) and returns to America ready to begin again with someone new.

NOTES ON THE PRODUCTION

Some interesting facts about the show can be found in the book Sondheim and Co. The songs are good to study in a class situation and the show might be best presented in capsulated form as part of a dinner theatre offering. It will appeal to audiences who are curious about a Richard Rodgers/Stephen Sondheim collaboration, but otherwise will probably not be a large box office draw.
Companies wishing to produce the essence of the show without the expense of re-creating Venice or using a large Broadway style ensemble may want to stage the production on a very small stage. Making the show a more intimate musical without the use of a full chorus would help center on the psychological ramifications of the characters.

SONGS OF SPECIAL INTEREST

"Bargaining," tenor solo, potential for audition if shortened, allows for varied characterizations
"Someone Woke Up," mezzo, up-tempo solo, possible for audition, some movement, shows warmth and abandon
"What Do We Do? We Fly!" comic, mixed chorus, clever lyrics, good for beginning choreographer

Instrumentation: 4 reeds, 2 trumpets, 3 trombones, percussion, harp/celeste, guitar/mandolin, 4 violins, 2 violas, 2 cellos, bass, piano/conductor
Script: Random
Score: Williamson
Record: Columbia
Rights: R & H

DO RE MI

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

ORIGINAL PRODUCTION

St. James Theatre, December 26,1960 (440 perf.)
Director: Garson Kanin
Choreographer: Marc Breaux and Deedee Wood
Musical Director: Lehman Engel
Principals:
Kay Cram- Nancy Walker- Alto
Hubie Cram- Phil Silvers- Baritone
Fatso O’Rear- George Mathews- VTI
Skin Demopoulos- George Givot- VTI
Brains Berman- David Burns- VTI
Thelma Berman- Marilyn Child- VTNE
Tilda Mullin- Nancy Dussault- Soprano
John H. Wheeler- John Reardon- Tenor
Chorus and Smaller Roles: 12F/12M, some doubling required

SYNOPSIS

Kay Cram, a patient character woman in her late 40s, waits in a seedy nightclub for her husband, Hubie (WAITING, WAITING- F Solo), a middle-aged wheeler-dealer. He arrives in time to witness "The Swingers," a female singing group, pay a tribute to the head of the jukebox industry, John Henry Wheeler (ALL YOU NEED IS A QUARTER- F Trio to F Chorus). During the song, Hubie moves his chair in front of Wheeler to get away from the confusion of sitting near the kitchen. Two waiters pick up Hubie and his chair and carry him out. Kay follows.
Later that night, in the Crams’ bedroom, when Hubie tells Kay he has to find a new scheme to make him rich and important, she implores him to be satisfied with a job in her father’s laundry (TAKE A JOB- Sc to M/F Duet). She wishes him a happy anniversary and urges him to be happy but he remembers his former hoodlum friends Fatso O’Rear, Skin Demopoulos and Brains Berman and decides to con them into a partnership. He rushes out the door leaving Kay by herself.
In Fatso’s Ice Cream Parlor in Union City, New Jersey, the teenagers are dancing to the jukebox (ALL YOU NEED IS A QUARTER- Dance). Fatso starts to lock up but Hubie enters, extolling the honesty of a jukebox venture (IT’S LEGITIMATE- Sc to M Duet). Fatso agrees and the music continues as Brains and Thelma Berman are seen in front of a chicken house. Fatso and Hubie mime their scheme to Brains who joins them and waves farewell to Thelma. The three move to a box at Hialeah race track where they enlist Skin in their business (IT’S LEGITIMATE- Sc to M Quartet). The number ends as they move to their new business on Broadway, Music Enterprise Associates, Inc. (MEA).
When John Henry Wheeler, the jukebox magnate, hears of the new company Hubie has formed, he tells a reporter he is unworried by this new competition because he knows the formula for records that sell (I KNOW ABOUT LOVE- M Solo).
In a Greenwich Village Zen Pancake Parlor, Hubie, Fatso, Skin and Brains try to put some muscle on proprietor James Russell Lowell IV, a Japanese devotee who promptly karate chops Brains. Everyone is overwhelmed, including waitress Tilda Mullin.
In the MEA offices, Brains tells Wolfie, a ferret-looking individual, that he wants out, but Hubie tells his partners the new record promotion plan isn’t working because they have no talent to perform new songs. He is unable to find a singer he can afford until he remembers the waitress he heard singing at the pancake house. After auditioning several untalented performers, such as a plump Marsha Denkler, a hillbilly singer named Irving Feinberg, and a German girl playing the concertina, he goes in search of Tilda (AUDITION- F/M Solo Sections).
Hubie auditions her at the pancake house and convinces Tilda that she can be a sensation (AMBITION- Sc to M/F Duet). When she discovers people get paid for singing and realizes she could financially help the children back home, she agrees. Hubie’s hunch pays off because Tilda Mullin, waitress turned singer, is a tremendous success, as evidenced by an announcer reeling off and a reporter commenting on her top forty standing.
In an empty recording studio, Kay greets Hubie by telling him she is busy buying things he can’t hock when this deal falls through. The musicians and partners enter for the recording session, followed by Wheeler and the Swingers. Tilda enters and sees Wheeler at the same time he notices her. There is a chord as fireworks pop. They are immediately infatuated (FIREWORKS- M/F Duet). Fatso tells Wheeler to get out of their recording studio and he leaves with the Swingers. Hubie busies himself with the orchestra and demonstrates how to play the various instruments. Everyone watches in amazement.
At the Imperial Room, Tilda is the headliner with a girl backup chorus (WHAT’S NEW AT THE ZOO- F Chorus). Hubie’s gangster-type partners, who discover Wheeler dancing with Tilda (ASKING FOR YOU- M Solo), are all for roughing him up, but Hubie convinces them to let him take care of the matter. He crosses the room to Wheeler’s table where he proceeds to tell Wheeler about all the old movies on TV featuring Hollywood tough guys. He hopes that Fatso, Skin and Brains think he is forcefully telling him off (THE LATE, LATE SHOW- L to M Solo with imitations of Cagney, Bogart etc.). Hubie’s plan fails when his partners, unable to restrain themselves, get into a brawl and are thrown out of the club. Kay watches Hubie being carried off as the curtain falls on Act I.
Act II opens in Hubie and Kay’s bedroom. Hubie is reading a newspaper article about Kay’s former boyfriend who is now a successful lawyer. Kay tries to bolster his spirits and assures him that she wouldn’t want to be married to anyone else (ADVENTURE- Sc to M/F Duet).
In Wheeler’s office, Wheeler asks Tilda to marry him (MAKE SOMEONE HAPPY- Sc to M/F Duet) and she happily agrees.
In the upgraded office of MEA, the partners are upset that Tilda has married Wheeler. Fatso calls in a large, psychopathic thug and Kay worries that things are going too far.
At a Senate investigation committee, the crowd wonders who "Mr. Big," of the jukebox racket is (VIP- Mixed Chorus). Fatso, Brains and Skin subsequently take the stand and finger Hubie (VIP-3M Solos).
The Senate investigation ends Hubie’s involvement in the entertainment business. He realizes how empty and phony his life has been and soliloquizes about his failures (ALL OF MY LIFE- M Solo). In the court chambers, where Hubie sits alone, contemplating his future, Kay arrives to convince him it isn’t too late to start over. (FINALE- Company).

NOTES ON THE PRODUCTION

The book, occasionally thin, is a good vehicle for performers who have the qualities of Phil Silvers and Nancy Walker. Some of their duets are excellent studies in character comic timing and Hubie’s "Late, Late Show" is a brilliant audition piece for a performer who can handle impressions of old film "tough men." There are a number of good roles for the gangsters. The part of Tilda, in the hands of a good actress and singer, is a talent showcase. The script, with prudent editing of the extraneous material could be a highlight of any company’s season. Some of the scenes, products of the times they were written for, are unnecessarily "big."
The costumes, many of which are the club chorus girls, are basically contemporary and not complicated to obtain. The sets may be trimmed and combined i.e. the opening nightclub and the Imperial room, where Tilda eventually performs, could be the same. The ice cream parlor, chicken ranch, and box at Hialeah aren’t absolutely necessary, as the scenes are very rapid and have an "in one" quality. The scenes may be played in front of a curtain with simple props to denote location. The proposal scene in Wheeler’s office may be located elsewhere to save building a set that is only used for one short scene.
The chorus, considered in terms of the unedited script, is rather large. It is possible to trim this, possibly even to cut it in half, if the larger scenes are minimized and the size of the stage is smaller.

SONGS OF SPECIAL INTEREST

"All You Need Is a Quarter," F Trio, comedic spoof on singing group of late 30s, good for movement
"All of My Life," Baritone, dramatic solo for a character actor, excellent for dramatic intensity
"Ambition," up-tempo, energetic, baritone and soprano, exciting, good for showcase
"Adventure," comic M/F duet with female comedienne featured, nice actable specifics that show off comic flair, needs abandon
"I Know About Love," Tenor Solo, audition potential, shows range and make strength
"The Late, Late show," excellent for an audition, baritone, shows characterization skills, comedic flair and acting ability
I "Take a Job," comic counterpoint duet for male and female character actors

Instrumentation: 3 violins, cello, bass, 5 reeds, horn, 3 trumpets, 3 trombones, 2 percussion, piano/conductor
Script: NP
Score: Chappell
Record: RCA
Rights: Tams-Witmark

DOONESBURY

Book and Lyrics: Gary Trudeau
Music: Elizabeth Swados

ORIGINAL PRODUCTION

Biltmore Theatre, November 21,1983 (104 perf.)
Director: Jacques Levy
Choreographer: Margo Sappington
Musical Director: Jeff Waxman
Orchestration: Elizabeth Swados

Principals:
Roland- Reathel Bean-
Mike Doonesbury- Ralph Bruneau-
Mark- Mark Linn-Baker-
B.D.- Keith Szarabajka-
Boopsie- Laure Dean-
Zonker- Albert Macklin-
Duke- Gary Beach-
Honey- Lauren Tom-
J.J.- Kate Burton-
Joanie- Barbara Andres-
Provost- Peter Shawn-
Chorus and Smaller Roles:

SYNOPSIS

As Act I begins we see a scrim of the White House. A press conference is in progress where Reagan is asked about the tuition tax credit program. Reagan replies that government should get out of education because, in 1979, the student loan program cost the taxpayers...he can’t remember the amount.
The White House scrim is raised, revealing the living room of Walden Commune. Seated in a swivel chair in front of the television is Mike while Mark is sprawled out on a couch in the center of the room. Positioned directly behind the television, Roland, resplendent in full news correspondent regalia, is delivering a report to an attentive Mike. Roland is asking, "Who is today’s college student?" Mike and Mark discuss how unbelievable it is that graduation is here (GRADUATION- Mixed Chorus). Everyone living at Walden discusses their plans together.
The only one who has any kind of plan is B.D., who has been drafted into professional football and Boopsie, his girlfriend, will follow him and become a cheerleader. Mike tells Mark that he will ask J.J. to marry him (JUST ONE NIGHT- M Solo).
On the back porch of Walden Commune, Zonker is misting his plants, Arnold, Ginger, Ralphie and Laura. The plants are talking to him about California. Laura asks him about his tanning career. Zonker tells her that he isn’t on the tanning circuit anymore (I CAME TO TAN- Mixed Chorus and Plants).
Scene three takes place in the Los Angeles County Courtroom where Zonker’s Uncle Duke is on trial. Under the stern gaze of the presiding Judge, Duke is sitting in the witness chair, facing the jury. Off to one side, Honey waits to be called as a character witness while Duke tells the court that he has purchased ten kilograms of cocaine at the direction of the state department. They know that he is lying so Duke attempts to win his case with pity (GUILTY- M Solo).
Next, we are again in Walden. Mike is dialing the phone while he flips through a plastic index card file. Mark is sitting on the sofa. To the right of the living room set, we see another telephone set on a small table. As it begins to ring, J.J. enters stage left at a dead run. She answers the phone. Mike is checking to see if she is coming to the graduation ceremony and also what time her train will arrive. He accidentally, tells her that Joanie, J.J.’s mother, is coming. J.J. is furious and slams down the receiver. Joanie enters with baby Jeffrey. She reminisces with the crowd. Boopsie tells how Joanie said that a woman could now have it all including career and family (I CAN HAVE IT ALL- F Solo and M Chorus). Boopsie and B.D. exit. Mark tells Joanie that Mike may ask J.J. to marry him. Joanie, a little shocked at the possibility of being a grandmother, likes the idea.
Scene five opens in the courtroom. We see Duke and Honey conferring in the back of the courtroom. The Judge enters and sentences Duke to five years probation and five years directing a drug rehabilitation center, saving those like himself.
Scene six is the White House scrim. Reagan and Clark discuss acid rain and the fact that Canada has been giving the U.S. a lot of heat about it. Reagan asks if they can invade. Clark leaves to check if there are any American lives that need protecting.
As we open to scene seven, we are again back at Walden. Mark is on the phone with Roland while Mike sits in his swivel chair, working on his schedule. J.J. arrives early, which puts Mike into a little fit. He tries to propose to her but can’t get it out They talk about getting it together (BABY BOOM BOOGIE BOY- M and F Duet). Joanie enters and Mike attempts to get mother and daughter to talk but they end up fighting instead. J.J. runs out of the house.
The setting for scene eight is WABY radio station where Mark and Roland are seated behind a console desk. Roland is interviewing Mark. After the interview, Roland tells Mark that he has a brilliant career as a broadcast journalist and asks the audience to let the station manager know if they agree with this. People begin to call and say they want Marvelous Mark. Mark stands up and starts to break dance (BABY BOOM BOOGIE BOY- M Solo).
Scene nine opens at Walden later that day. Mike is in the kitchen preparing dinner. Out in the living room Zonker is trying to build a beer can pyramid on top of the television. Joanie is at the dinner table, discreetly nursing her baby while beside her on the floor, Boopsie is doing exercises. There is some humorous dialogue before dinner is on the table. When they do all sit for dinner no one is quite sure about what they are eating (ANOTHER MEMORABLE MEAL- Mixed Chorus).
Act II opens at Walden the next morning. Mike is sleeping on the living room couch. Outside the house, we hear the roar of an approaching bulldozer. As the din grows louder, Mark emerges from his bedroom. He is wearing pajama bottoms and obviously has just been awakened. It seems that Duke has bought the commune. The Walden residents think that it is going to be turned into a drug rehabilitation center. They can not believe that this is happening to their beloved commune (JUST A HOUSE- Mixed Chorus). During the number, Duke storms through the front door. He is followed closely by Honey, who is wearing a hard hat. Joanie, who happens to be a lawyer, attempts to discuss this with Duke and, when he refuses, she tells him that she will get an injunction from the zoning office. They all leave with Joanie except for J.J., who is very reluctantly left with the baby. As soon as everyone leaves, we hear the baby crying.
Scene two opens again on the White House scrim. Reagan is interviewing Jeff, a medical student about Grenada. Jeff unintentionally embarrasses the President by saying that he thought an invasion was occuring when he spied the parachutes landing on the island.
The scene switches to the front yard of Walden. Boopsie and B.D. are walking out to the mailbox. Offstage, we hear Duke’s bulldozer start up again. Boopsie looks over her shoulder to survey the damage Duke has caused. B.D. gets a letter telling him that he is getting traded from Dallas to Tampa. Boopsie tries to comfort him, but B.D. exits while Honey enters. Boopsie talks about B.D. while Honey discusses what a complicated man Duke is (COMPLICATED MAN- F Duet).
Scene four, again, takes place on the commune. Zonker is snorkling in Walden Puddle when Duke enters. Duke tells Zonker that he is building expensive condos on the property instead of a rehab center (REAL ESTATE- M Duet). He then offers Zonker a job, which he accepts.
In the Walden living room, J.J. is with the baby on the sofa. Mike enters and sees the baby with a mustache drawn on him. He tells J.J. that she is missing out on quite a bit by holding a grudge against her mother. He exits as Joanie enters, laughing at the mustache. The J.J. and Joanie decide to forgive one another (MOTHER- F Duet). Roland arrives for the graduation interviews. He tells Mark that a Long Island station wants him. It’s a perfect job for Mark because it’s public radio. Roland calms B.D.’s fears by congratulating him on his trade to Tampa. Then he comments that the new game in town is "making it". The Reagan’s have made it alright to be rich again (IT’S THE RIGHT TIME TO BE RICH- M Duet). Boopsie, Mark and Zonker enter bedecked in full preppy regalia (MUFFY AND THE TOPSIDERS- Mixed Chorus). Zonker tells all that he has found employment as a tanning director for Walden Estates. Mike tells him that he has sold out.
Outside, the bulldozer has started up again and we hear it approach. Zonker can’t believe his friends don’t understand why he accepted the job. The roar has become deafening and, as the four turn around to see what’s happening, there is a terrible crash.
The boys scatter and J.J. screams and dives down behind the couch. As the dust clears, Honey steps in through what’s left of the front door. Duke surveys the wreckage around him and he hops down from the bulldozer cab onto the back of the sofa. Honey exits to get the tool kit. Duke takes a beer out of the refrigerator and slumps down on the kitchen floor. It seems that he is having problems with the drugs he is taking. Mike asks J.J. to marry him and she accepts. They discuss finally having sex while Honey contends with Duke.
Scene six is set at graduation an hour later. All the graduates are present and Roland is doing a stand up report on the proceedings. All receive their diplomas but when Zonker is called to the platform, he panics. Mike and Mark drag him up. He receives his diploma. The company sings (GRADUATION- Company) and they all pose for a final picture.

NOTES ON THE PRODUCTION

SONGS OF SPECIAL INTEREST

Instrumentation: Script: Holt, Rinehart and Winston Score: Record/CD: MCA
Rights: Samuel French

DREAMGIRLS

Book and Lyrics: Tom Eyen
Music: Henry Krieger

ORIGINAL PRODUCTION

Imperial Theatre, December 20, 1981 (1,521 perf.)
Director and Choreographer: Michael Bennett
Musical Director and Orchestration: Harold Wheeler

Principals:
Deena Jones- Sheryl Lee Ralph- Mezzo
Lorrell Robinson- Loretta Devine- Soprano
Effie Melody White- Jennifer Holliday- Mezzo
Michelle Morris- Deborah Burrell- Mezzo
Curtis Taylor, Jr.- Ben Harney- Tenor
James Thunder Early- Cleavant Derricks- Tenor
C.C. White- Obba Babatunde- VTI
Marty- Vondie Curtis-Hall- VTI
Jerry- Joe Lynn- VTI
Wayne- Tony Franklin- Baritone
Frank- David Thome- VTI
Chorus and Smaller Roles: 10M/10F, can be reduced with doubling

SYNOPSIS

Scene I takes place at the Apollo Theatre where a talent contest is in progress. The Strepp Sisters are singing (I'M LOOKING FOR SOMETHING- F Chorus).
Seeing the Strepp sisters performing, Deena enters, wondering if her group, the Dreamettes, is too late for the contest. Lorrell, Effie and C.C. discuss the possibility of winning the contest and what this could mean. While the Dreamettes are talking offstage, the Strepp sisters can be heard on stage. Next Little Albert and the Hi-Tones are introduced on stage. They can be heard in the background (GOIN' DOWNTOWN- Mixed Chorus). The Dreamettes continue their conversation, discussing wigs and dresses. Big Billy Turner is introduced to the audience next (TAKIN' THE LONG WAY HOME- M Solo).
Backstage, Marty, the manager of Jimmy Early, approaches the Dreamettes with a proposition. He wants them to sing backup for Jimmy. They refuse, pinning all hopes on the talent contest. The Dreamettes are introduced last (MOVE- F Chorus).
The audience applause is loud, but, when the announcements are made, it is Big Billy Turner that wins. The Dreamettes are bitterly disappointed until Curtis approaches them, asking to manage them. He tells them to sing backup behind Jimmy and then guarantees them a ten week engagement on the road. They agree and Jimmy goes on stage with the Dreamettes (FAKE YOUR WAY TO THE TOP- M Solo and F Chorus).
Later, C.C., the writer for the Dreamettes, is asked by Curtis to write songs for Jimmy. Curtis thinks that C.C.'s music is successful because it's what the people want (CADILLAC CAR- Mixed Chorus).
Next we see the group in limbo during their long travel engagement. Jimmy, Effie and C.C. are still singing "Cadillac Car" as they drive. Deena nervously stops and calls her mother as the excitement builds.
Scene three takes place in a recording studio where Jimmy and the Dreamettes are recording "Cadillac Car". In the background we hear a voice reporting that the record has hit number 60 on the charts. Effie tries to convince Curtis to take the night off and bring her to a movie but he refuses. The voice continues until the song is at number 32.
Scene four takes place in limbo again on the road. Curtis tells C.C. and Jimmy that what they need is change from rhythm and blues to a more popular sound. Marty, Jimmy's friend and manager, disagrees, but it is evident that they are on the way to doing just that (STEPPIN' TO THE BAD SIDE TODAY- Mixed Chorus).
Scene five opens with Jimmy trying to persuade Lorrell to sleep with him. She refuses because he is a married man. After she leaves, Curtis enters. He attempts to talk Jimmy into dropping Marty and taking him on as manager. Jimmy explains that Marty has been with him since "he was a kid singin' in the streets." He will not drop him. Curtis promises that he will get them into the Atlantic in Miami.
Scene six is set in rehearsal song. Effie is trying to sing C.C's. new song but Curtis has changed the beat and she doesn't feel comfortable with it. Effie knows from experience that it is wrong but Curtis refuses to listen. Curtis says that C.C. and he will make it better, but there is insincerity in his voice. Effie tries to get him to take her out again but he says that he has to work to do now. He agrees to taker her out later. When she leaves, Curtis tells C.C. that he wants Deena to sing lead. C.C. realizes that Deena's voice will go down better with a white audience. After the movie, Effie and Curtis return. While Curtis calls Miami, Effie begins to sing to him. All join in (PARTY, PARTY- Mixed Chorus). During the number, Jimmy finally convinces Lorrell to sleep with him and Curtis gets the gig in Miami.
Scene eight takes places place onstage in Miami. Jimmy and the Dreamettes are on (I WANT YOU BABY- M Solo and F Chorus). After the show the Dreamettes and Curtis are alone in a hotel room. He tells them that he is breaking Jimmy and the Dreamettes up. They are going to Cleveland and he is changing their name to the Dreams. He tells them that Deena will now do leads. Effie, crying, thinks that it is because Curtis doesn't like the way that she looks. They all try to console her (FAMILY- Mixed Chorus).
In scene nine, the group is performing in Phoenix. Marty is seen arguing with Curtis. Marty tells Jimmy to choose between them and leaves. An announcer presents the Dreams to the audience (DREAMGIRLS- F Chorus). After the number, the Dreams do an interview with reporters. The whole sequence is sung (PRESS CONFERENCE- Mixed Chorus). Deena receives attention from all and Curtis tells her it's only the beginning while Effie watches (ONLY THE BEGINNING- M Solo).
Scene ten consists of a performance montage. The Dreams sing at the Hollywood Palace (HEAVY- F Chorus). Effie has faded out during the last few vamps. The scene shifts to another location and Deena and Effie are arguing. Effie accuses her of having a relationship with Curtis. They all enter into the fight against Effie.
Scene eleven opens in Las Vegas. A tap dance team rehearses on a bare stage. Deena is seen with a travel bag. She goes to the dressing room already occupied by Lorrell. She is just returning from Chicago where she has seen her very sick mother. C.C. enters and the group discusses the problems that Effie has been causing. Jimmy enters. They haven't seen him in awhile. Effie enters while Jimmy tells them what he has been doing. Soon Michelle Morris enters. Effie grasps that Michelle is here to replace her just as Curtis, who was supposed to tell her previously, enters. He tries to explain why she is being dropped (IT'S ALL OVER- Mixed Chorus). Effie tells them that she isn't going (AND I AM TELLING YOU I'M NOT GOING- F Solo). The scene switches to the Las Vegas Hilton where the announcer has just presented Deena and the Dreams (LOVE LOVE YOU BABY- F Chorus).
Act II opens with the announcer welcoming all to the 1970 world tour of Deena Jones and the Dreams (DREAMS MEDLEY- F Chorus). Another press conference occurs with Michelle trying to advertise for a husband. The reporters ask about Effie White. The situation becomes tense, but Curtis gives them a standard line about the buy out being "clean and fair". The reporters don't believe him. We discover that Deena and Curtis have married.
Scene two opens in a Chicago nightclub where Marty is trying to talk Jerry, the manager, into hiring Effie. Jerry doesn't want too. Marty is attempting to be very persuasive until Effie finds that she will be singing with someone she is unfamiliar with and refuses. Marty takes her aside, telling her it's the last chance that he will give her. She agrees to sing, but Jerry doesn't want to hear her. She sings anyway (I AM CHANGING- F Solo).
The setting in scene three is a Vogue photo session. The photographers ask Deena, Lorrell and Michelle for one more picture (ONE MORE PICTURE PLEASE- Mixed Chorus). As the photographers continue, the dialogue is sung. C.C. is furious because Curtis has completely changed her new song. Deena tells Curtis that she wants to move on to acting, but he tells her that it's not the time. Deena and Curtis sing a love song (WHEN I FIRST SAW YOU- M and F Duet).
Scene four opens at a N.A.A.C.P. benefit. The Five Tuxedos are doing a number (GOT TO BE GOOD TIMES- M Chorus). Lorrell and Jimmy are off stage. She tells him that they are celebrating their seven-year relationship, but Jimmy doesn't want to hear it. Lorrell wants marriage but Jimmy refuses (AIN'T NO PARTY- M/F Duet). Next the announcer presents the mellow sounds of James T. Early (Jimmy) (I MEANT YOU NO HARM- M Solo). In between the number, snips of conversation sung by Lorrell, Michelle and Deena are heard. Wayne has asked Michelle to marry him and she has accepted (QUINTETTE- M/F Duet). Jimmy, on stage, picks up the pace (THE RAP- M Solo and Mixed Chorus). Between Jimmy's lines, Marty convinces C.C. to write for Effie. Curtis tells Jimmy that he dislikes the soul music that Jimmy prefers to sing, but Jimmy says that he doesn't trust the pop music. Curtis tells him that he’s gotten old. Jimmy replies that they are through because of the tricks that Curtis is pulling.
Scene five is set in Chicago as Effie meets C.C. again (I MISS YOU OLD FRIEND- Mixed Chorus). C.C. has brought her new song for her (ONE NIGHT ONLY- F Solo and F Chorus). Curtis discovers that Effie's record is a bigger hit than the Dreams, but he fixes it so that this will change.
Scene six begins in Los Angeles where the Dreams are on their American Tour. They sing "One Night Only" and beat out Effie's record. Another press conference occurs because Deena will be starring her first film. The reporters ask her about this and the problems in her marriage. Both Deena and Curtis deny marital problems, but when the reporters leave they argue about the film.
The Dreams and Deena are again onstage in Chicago (I'M SOMEBODY- F Chorus). Marty, C.C. and Effie enter, although supposedly offstage. They confront Curtis with what he has done and Effie tells him that she believes in herself (FAITH IN MYSELF- F Solo). Marty, C.C. and Effie's lawyers will be suing Curtis as well as the Dreams for what he has done. Deena enters. She tells Effie that she didn't know what Curtis was doing and they discuss their past friendship. Deena confronts Curtis, but he says that he did it for her. She tells him that she's leaving him.
The last scene, eight, is set at the Metropolitan Opera House. It is the Dreams’ farewell performance (HARD TO SAY GOODBYE MY LOVE- Mixed Chorus).

NOTES ON THE PERFORMANCE

Dreamgirls was the winner of six 1982 Tony Awards for Best Book, Lighting, Choreography, Supporting Actor (Cleavant Derricks), Actor (Ben Harney) and Actress (Jennifer Holliday).
Dreamgirls is set during a period of time in the 60s when the trio pop groups, i.e. the Supremes and the Temptations, were coming into vogue. The play crosses between fabulously mounted onstage sequences and the backstage harshness that often went on in this form of entertainment.
This show is a difficult one for a small company because it requires a lot of money. The show’s costumes, sets and props must be able to convey the group’s rise from relative anonymity to the glamorous world of pop music. In the original Broadway production a single Costumes sequence for a musical number cost as much as the entire costume budget for a small college or community theatre. This may be the type of piece that would be better in concert version for those with a limited budget.

SONGS OF SPECIAL INTEREST

"I’m Not Going," Mezzo Solo, powerful, incredibly difficult for a class study, requires focused acting of many emotions
"Cadillac Car," Featured Tenor with Chorus, a fun song, shows character, could be used as an audition for a revue
Instrumentation: 3 reeds, 3 trumpets, 2 trombone, bass, guitar, synthesizer/piano, synthesizer, percussion, drums, piano
Script: NP
Score: NP Record/CD: Geffen Records Rights: Tams Witmark

ERNEST IN LOVE

Book and Lyrics: Anne Croswell
Music: Lee Pockriss
(Based on the play The Importance of Being Earnest by Oscar Wilde)

ORIGINAL PRODUCTION
Gramercy Arts Theatre, May 4, 1960 (# perf.)
Director: Harold Stone Choreographer: Frank Derbas Musical Director: Liza Redfield Orchestration: Gershon Kingsley
Principals:
Lane- Alan Shayne-
Jack Worthing- John Irving-
Perkins- George Hall-
Algernon (Algy) Moncrieff- Louis Edmonds-
Gwendolen Fairfax- Leila Martin-
Cecily- Gerrianne Raphael-
Lady Bracknell- Sara Seegar-
Miss Prism- Lucy Landau-
Reverend Doctor Chasuble- George Hall-
Effie- Christina Gillespie-
Chorus and Smaller Roles: 4M/2F minimum

SYNOPSIS

Act I begins on a London street lined with shops. It is 4:30 p.m. on a summer afternoon. Lane, Algernon Moncrieff’s manservant, enters carrying a marketing basket. He stops to examine cucumbers while Perkins, the manservant of Jack Worthing, enters. The two men speak and Perkins discovers that Miss Fairfax will be visiting Algernon for tea that evening. The Greengrocer and the Bootmaker approach both Lane and Perkins telling them that their respective masters owe them money. Next, the Dancing Master and the tobacconist approach them with the same information. Lane and Perkins convince the creditors that life would be a mess if the rich paid their bills (COME RAISE YOUR CUP- Mixed Chorus).
When the lights rise we see the living room of Jack Worthing’s flat at The Albany. Jack is seated in a chair, writing a note to Miss Fairfax asking to see her. Perkins enters with Jack’s boots and Jack tells him that he will propose to Miss Fairfax that day. Then he asks him how to do it (HOW DO YOU FIND THE WORDS- M Solo). Throughout the number, Jack has been dressing for his meeting and he is ready to leave by the end.
Scene three opens in Gwendolen Fairfax’s dressing room where hats of all sizes and shapes are spread about the room. She is trying to find the proper hat to wear to her engagement. Gwendolen tells Alice the importance of wearing just the right hat (THE HAT- F Duet).
It is now scene four and the setting is the living room of Algy’s flat. Tea things are set out and Lane is giving the final once over to the flat as Algy enters. He is concerned about whether or not cucumber sandwiches have been made for Lady Bracknell. Jack enters the room and Algy tells him that he does not give his consent for him to marry Mrs. Fairfax. Being Miss Fairfax’s first cousin, he feels that he has the right. Next Algy tells him that he has discovered a cigarette case of Jack’s with an inscription that says it is from Cecily. After attempting to lie his way out, Jack tells Algy that the cigarette case is from his charge, Miss Cecily Cardew, who thinks that Jack has a younger brother, Ernest, who lives in town. Jack has told her this because he then has an excuse to go into town anytime that he wants to by saying that his wild brother Ernest is in trouble. Algy wishes to visit Miss Cecily but Jack refuses to let him near her. Algy tells Jack that he has a friend, Bunbury, who is in extremely poor health and, much like Jack’s Ernest, Algy uses him to escape from whatever place he wants to (MR. BUNBURY- M Duet).
After the number, the doorbell rings and Lane enters with Aunt Augusta and Miss Fairfax. Aunt Augusta begins to gossip. She tells Algy that she has set up a dinner engagement for him with Mary Farquar. Algy begs to be excused, as his sick friend Bunbury needs him. Lady Blacknell and Algy exit to look at some music in the other room and Jack tries to sum up the courage to propose to Gwendolen. She helps him to do it, then accepts (PERFECTION- M and F Duet). Strangely, after the number, Gwendolen tells Jack that she has always imagined that her husband would be named Ernest. Jack, who has told her that his name is Ernest, becomes a little concerned over this. He makes plans to be christened Ernest at once. Lady Bracknell enters and finds the two in a passionate kiss. She is not pleased to hear of the engagement. She begins to ask Jack questions about his financial situation and family background. When she discovers that Jack was an orphan, found in a handbag by a rich gentleman, she can not condone the marriage (A HANDBAG IS NOT A PROPER MOTHER- M and F Duet).
Algy enters, humming and Jack tells him that he has to get rid of Ernest this week. Cecily will be disappointed but she will forget him soon enough. Algy becomes more and more interested in Cecily. Gwendolen enters and asks for Jack’s address in the country so that they can keep in touch, even though her mother may prevent their marriage. Algy hears the address. Jack and Gwendolen exit. Lane enters with Algy’s traveling gear and Algy tells him that they are off to the Worthing Manor House, Jack’s country house (MR. BUNBURY [REPRISE]- M Duet).
Scene five is set in the garden of the Manor house. Miss Prism is seated at a table, knitting. She chides Cecily for watering the plants when she should be studying. Cecily tells Miss Prism that she wishes Ernest, Jack’s brother whom she has never seen, would visit. Miss Prism is not so sure that it would be wise to have such a wild man around. The Reverend, Dr. Chasuble, enters and, while Cecily is supposed to be studying, he and Miss Prism go for a walk. Effie, the maid, enters with the message that Ernest Worthing has just arrived (A WICKED MAN- F Solo). After the number, Effie enters with Algy who is pretending to be Ernest. Algy and Cecily have a witty conversation, both enjoying each other’s company, and walk offstage. Dr. Chasuble and Miss Prism return, discussing marriage in an entirely metaphoric way (METAPHORICALLY SPEAKING- M and F Duet). During the song, they join hands and dance. At the end of their dance, arms about each other, their backs are to the audience. Jack enters slowly and does not see them. He practices woeful gestures, dressed in the deepest mourning, with a crepe hat band and black gloves. He carries a long black bordered handkerchief, which he is practicing waving dramatically about. His rehearsal brings him right up to the backs of Prism and Chasuble and all three turn, startled. Jack tells them that his brother, Ernest, is dead. Jack asks Chasuble to do the funeral then asks him to christen him in the afternoon and Chasuble agrees. Cecily bursts in on this depressing scene with the good news of Ernest’s arrival, but Jack doesn’t believe it until Algy enters. When all leave except the two friends, Jack angrily tells Algy to leave. Jack exits. Algy enjoys the predicament (A WICKED MAN [REPRISE]- M Solo).
Act II opens with Effie and Lane on the sofa in a lengthy, but not improper embrace. They discuss love and sex and the upper classes (YOU CAN’T MAKE LOVE- M and F Duet).
Scene two is set in the garden. Cecily is in the summerhouse, writing in her diary, when Algy enters. He begins to complement Cecily while she writes it down (LOST- M and F Duet). He proposes to her and she accepts. Ironically, Cecily tells Algy that she is glad that he is named Ernest. Algy makes plans for a christening.
Miss Fairfax is announced and enters. She and Cecily size each other up (MY FIRST IMPRESSION- F Duet). A hilarious discussion ensues which ends in complete confusion. Both women think that Ernest has proposed to both of them. They are extremely angry, thus very cool to each other. Jack enters and, soon after, Algy enters. The whole truth is told and both women unite in their condemnation of the men. The two women exit arm in arm. Jack can’t understand how Algy can be calm enough to eat (THE MUFFIN SONG- M Duet).
Scene three begins in the morning room of the manor. Gwendolen and Cecily are at the open window, looking out onto the garden. They begin to discuss how the two men should be dealt with. The two men enter and try to explain themselves. They add that they will both be christened Ernest that very afternoon. The women are pleased to have men who will sacrifice their names for them (OUR ETERNAL DEVOTION- Mixed Chorus).
As the song ends, the couples embrace. Effie enters and coughs discreetly. Lady Bracknell follows her in and, when she learns that the two couples are engaged, she is horrified. She again asks Jack questions about his financial status and family background. Lady Bracknell refuses her consent for Jack and Gwendolen, but gives it for Algy and Cecily. In return, Jack refuses his consent for Cecily’s marriage. By doing this he has put the situation in Lady Bracknell’s hands (A HANDBAG IS NOT A PROPER MOTHER- Mixed Chorus). Cecily refuses to spend the rest of her life with Miss Prism. When Lady Bracknell hears the name Prism she asks to see her and exits. The two unhappy couples stay and discuss the situation (THE MUFFIN SONG [REPRISE]- Mixed Chorus). At the end of the number, Lady Bracknell calls from offstage.
Scene four is set on the lawn in front of the church. Chasuble and Prism are present. The others enter and Lady Bracknell recognizes Miss Prism. She angrily speaks to her. It seems that Miss Prism worked for Lady Bracknell a long time ago. She left her job exactly twenty-eight years ago, taking Lady Bracknell’s infant nephew with her. Miss Prism explains that she accidentally left the child in a handbag in a cloakroom at one of the larger railway stations. Jack begins to guess at who that baby in the handbag was. It seems that the wealthy man who adopted him found him at a railway station exactly twenty-eight years ago. Jack is the nephew of Lady Bracknell and the elder brother of Algy. Also, Jack’s name actually is Ernest, after their father. Because Jack is her nephew, Lady Bracknell agrees to the marriage (ERNEST IN LOVE- Mixed Chorus).

NOTES ON THE PRODUCTION

Ernest In Love opened at the same time as The Fantasticks and received better reviews. However, it did not enjoy the same record breaking run or fame.

SONGS OF SPECIAL INTEREST

Instrumentation: 3 reeds, bass, piano
Script: MTI
Score:
Record/CD: Columbia Rights: MTI

EVITA

Music: Andrew Lloyd Weber
Lyrics: Tim Rice

ORIGINAL PRODUCTION

The Broadway Theatre, September 25, 1979 (1,567 perf.)
Director: Harold Prince
Choreographer: Larry Fuller
Musical Director: Rene Wiegert
Orchestration: Hershy Kay and Andrew Lloyd Weber
Principals:
Eva- Patty LuPone- Mezzo
Che- Mandy Patinkin- Tenor
Peron- Bob Gunton- Baritone
Peron’s mistress- Jane Ohringer- Mezzo
Eva (matinees)- Terri Klausner- Mezzo
Magaldi- Mark Syers- Baritone
Chorus and Smaller Roles: 12M/12F

SYNOPSIS

The play opens in a Buenos Aires movie theatre on July 26, 1952, where a movie is being shown. The screen blurs to show images of tragic faces as an announcement is made that Eva Peron has died. Her funeral, equal to that of any Pope, begins as the chorus moves around the coffin (REQUIEM FOR EVITA- Mixed Chorus). A young revolutionary student named Che comments on the insanity in Argentina over this woman, Eva Peron (OH WHAT A CIRCUS- M Solo). The crowd continues lauding her praises as a young girl moves forward and sings the words of the dead Evita (DON’T CRY FOR ME ARGENTINA- F Solo). During the entire funeral sequence, the movie screen depicts the tragic faces of members of the company in mourning.
The screen flies out and is replaced by black strips of cloth. Acting as narrator, Che comments on Evita’s life. The scene flashes back to 1934 and a nightclub in Evita’s village, where Magaldi, a man of mediocre talent, is performing (ON THIS NIGHT OF A THOUSAND STARS- M Solo).
After a brief affair, Evita asks Magaldi to take her to Buenos Aires. He is hesitant (EVA BEWARE OF THE CITY- M/F Duet and Family Chorus), but she relentlessly convinces him to take her to the city (BUENOS AIRES- F Solo and Dancers).
Upon arriving in Buenos Aires she promptly dumps him, for she has set her sights set on men who will further her dreams of an acting career. The screen shows scenes of Buenos Aires, and Che comments on various lovers that Evita uses as she moves up the social ladder (GOODNIGHT AND THANK YOU- M/F Duet and Male Chorus).