Shows B

BUSKER ALLEY Music by Robert and Richard Sherman. Based on the 1938 British Motion Picture, St. Martin's Lane (The Sidewalks of London). Kaye Playhouse, Hunter College, New York - One night concert version 13th November, 2006 SYNOPSIS Act 1 At a World War Anniversary Gala, staged in the closing decade of the twentieth century, a tribute is underway honouring the entertainers who tirelessly raised England's morale during the darkest days of the London Blitz. The most famous of these have already received their accolades as Dame Libby St. Alban - a major star of the English Musical Theatre - honours all the not-so-well-known performers by focusing on her own personal favourite. As she names Charlie Baxter, we fade back to 1938. and meet that endearing - though far from young - street entertainer who had originally made a busker of her years before the Declaration of War. Joining Charlie is an even older street 'artiste' - a reciter of poetry - Arthur, who introduces his paramour, Gladys - a woman in her sixties who is accompanied by her dog, Mate. Wearing a fringed shawl and paper leis. Gladys performs her comical Hula Love Song. When Charlie follows that Libby. a young and curiously attractive street waif, darts forward and snatches a sixpence from amongst the coins that passers-by have dropped into his cap on the pavement. Charlie catches her at it and during the ensuing struggle a passing Policeman - misunderstanding Libby's distress - intercedes on her behalf, warning Charlie "I'm not 'avin' any disturbance from you bloomin' buskers". Libby slips away and into a nearby bar - a haunt of theatre people - where she attracts the attention of Prentiss James, a successful songwriter. While chatting with him, she surreptitiously steals his cigarette case. Charlie, hovering by the bar's entrance, sees this and tails Libby, eventually spotting her sneaking into a deserted mansion. Through a broken window. Charlie watches Libby - alone - pretending to entertain an imaginary gathering of admirers with a fable of her triumphant rise to fame. As she waltzes around with an invisible Maharaja, Charlie climbs through the window and corners Libby, demanding the return of the stolen trophies. Libby, believes she deserves what she has pilfered. Their ensuing quarrel is overheard by a Policeman on his beat who blows his whistle and calls out, "Who's in there?" Charlie and Libby race away soon stopping under a railway arch to catch their breath. Libby berates Charlie for causing her to lose her "bloomin' digs," while buskers beneath a nearby lamp post harmonise. Charlie invites Libby to stay with him until she can find some other place. She reluctantly agrees and trails after him as he briskly heads home Once there, he offers her his bed, tactfully positioning an old Chinese screen between Libby and himself. "Don't worry," he assures her, "I only goes where I'm invited!", On the other side of the battered screen, he settles into his lumpy old armchair and nods off. Elsewhere - in the moonlight - Arthur is trying to persuade Gladys to enjoy the "happy give-and-take" of married life. Gladys insists she's just fine as a 'solo,' but duets with Arthur anyway. When Charlie awakens, he peers over at the sleeping Libby and wonders what to do with her. He resolves to send her packing but, when she awakens, she surprises him by doing a wonderfully cheeky imitation of Gladys' hula routine. Spontaneously, and against his better judgment, Charlie invites her to join his act. Taken aback by what she fears might be a gesture of charity, Libby mulls over Charlie's offer while he goes to get her a cup of tea. She fixes her hair, using the shiny back of the frying pan that is Charlie's shaving mirror. On his return, Libby agrees to his proposition, and wasting no time, he begins teaching her his song: Moonlight In Brighton; she on the ukulele he'd used as a child - Charlie strumming on one that had belonged to his busking dad.

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