CABARET Musical in 2 acts. Book by Joe Masteroff: Based on the play I Am A Camera by John van Druten and The Berlin Stories by Christopher Isherwood. Music by John Kander, Lyrics by Fred Ebb. Broadway production directed by Harold Prince . Produced for the Broadway Stage by Harold Prince Broadhurst Theatre, Broadway 20 November, 1966 (1166 perfs) SYNOPSIS The scene is a sleazy nightclub in Berlin as the 20s are drawing to a close. Cliff Bradshaw, a young American writer, and Ernst Ludwig, a German, strike up a friendship on a train. Ernst gives Cliff an address in Berlin where he will find a room. Cliff takes this advice and Fraulein Schneider, a vivacious sixty-year old, lets him have a room very cheaply. Cliff, at the Kit Kat Club, meets and English girl, Sally Bowles, who is working there as a singer and hostess. Next day, as Cliff is giving Ernst an English lesson, Sally arrives with all her luggage and moves in. Ernst comes to ask Cliff to collect something for him from Paris; he will pay well for the service. Cliff knows that this will involve smuggling currency, but agrees to go. Ernst's fee will be useful now that Cliff and Sally are to be married. Fraulein Schneider and her admirer, a Jewish greengrocer named Herr Schultz, also decide to become engaged and a celebration party is held in Her Schultz shop. In the middle of the festivities Ernst arrives wearing a Nazi armband. Cliff realises that his Paris errand was on behalf of the Nazi party and refuses Ernst's payment, but Sally accepts it. At Cliff 's flat Sally gets ready to go back to work at the Kit Kat Klub. Cliff determines that they will leave for America but that evening he calls at the Klub and finds Sally there. He is furious, and when Ernst approaches him to perform another errand Cliff knocks him down. Sally sings her big number "Come to the Cabaret". Next morning Cliff is alone, packing to go home. Schultz comes into say he is moving to another part of Berlin. Sally arrives looking ill and without her fur coat; she has sold it to a doctor who has performed an abortion to get rid of her baby. She tells Cliff she is not going to America with him. Leaving Berlin on the train, Cliff recalls the events of his life there. The Master of Ceremonies reminds the audience that he promised that they would forget their troubles. SONGS 1. Cabaret 2. Don't Tell Mama 3. If You Could See Her 4. It Couldn't Please Me More 5. Married 6. Meeskite 7. The Money Song 8. Perfectly Marvellous 9. So What? 10. Telephone Song 11. Tomorrow Belongs to Me 12. Two Ladies 13. Welcome to the Cabaret (Wilkommen) 14. What Would You Do? 15. Why Should I Wake Up?
CAST: 14+ Male: 12+ Female plus extras and stage band. Master of Ceremonies (Emcee) Clifford Bradshaw Ernst Ludwig Customs Official Frau Schneider Herr Schultz Telephone Girls Kit Kat Kittens Maitre D' Max Bartender Sally Bowles Two Ladies Sailors Frau Wendel Herr Wendel Frau Kruger Herr Erdmann Kit Kat Girls Bobby Victor Greta Felix ORCHESTRATION: Reed 1, 2, 3 & 4; Horn; Trumpet 1 & 2; Trombone 1 & 2; Percussion; Violin 1 & 2; Viola: Cello; Bass; Guitar-Banjo; Accordian-Celeste Associated Feature Articles: Cabaret DVD - Special Edition Original Film Soundtrack Original Broadway Cast Recording
THE CABARET GIRL A musical comedy in 3 acts by George Grossmith and P. G. Wodehouse. Music by Jerome Kern. Winter Garden Theatre, London : Opened 19th September, 1922; closed 11th August, 1923 (361 performances) SYNOPSIS Marilynn Morgan is a chorus girl who tries to get a job in the glamorous troupe of the All Night Follies at the same time, pursuing her love affair with the aristocratic hero, Jim Paradine. Involved in their affairs are the producers of the cabaret, Messrs Gravvins and Gripps. They drss up a lot of peasants as aristocrats with the aim of impressing Marilynn's young man's parents into consenting to a wedding. It all backfires and Marilynn flees back to London, and showbusiness, where she gets her cabaret job and her young man comes to claim her, family, or inheritance or no. STORY The hero, James (“Jim”) Paradene is the nephew of the Marchioness of Harrogate. He has been left a small fortune by his father, on condition that he must marry a lady who meets with the approval of the Marchioness and her son, the Marquis of Harrogate. Unfortunately, Jim wishes to marry Marilynn Morgan, but his trustees disapprove of her because she is a chorus girl. Act 1: The Showroom of Messrs Gripps & Gravvins, Music Publishers, Bond Street Jim comes to the offices of Gripps and Gravins looking for a song to sing at his local village concert. When Marilynn also arrives, to audition for a cabaret that Gripps and Gravvins are producing, Jim tries to persuade her to give up her career and settle with him in the country, but she refuses and suggests that they should part. Jim, however, has an idea: if he and Marilynn pretend to be married, his trustees will no longer be able to withhold their approval. Gravvins has “a little place in the country”, “The Pergola” at Woollam Chersey, Hertfordshire, and invites the young couple to visit it. Act 2: “The Pergola”, Woollam Chersey Jim and Marilynn arrive at “The Pergola” in the guise of a honeymoon couple. The plan is that Gravvins will invite the local aristocracy to a garden party, to meet the honeymoon couple, with the intention that the Marchioness will be impressed with Marilynn’s social standing. But all the notables of the district are away on holiday, so the members of the Gripps & Gravvins cabaret troupe are enlisted to impersonate them. Gravvins himself takes the part of the local vicar, but the plot is unmasked when the real vicar appears. Marilynn, thoroughly embarrassed, admits her part in the deception and announces that she will have nothing more to do with Mr James Parradine, before fleeing the scene. Act 3: “All Night Follies” at The Cabaret Marilynn is performing in the Gripps & Gravvins production, “All Night Follies”, at The Cabaret, where Jim comes looking for her. He has realised that he cannot expect Marilynn to give up the bright city lights and is prepared to go along with her wishes if she will agree to marry him. The curtain falls before the Marchioness and her son have given their approval, but as she has expressed admiration for Marilynn and he has fallen for the charms of Lily de Jigger, another member of the cast, a happy ending seems probable.
CAST: (in order of appearance) Marchioness of Harrogate Marquis of Harrogate Effie Dix Miss Simmons Miss Tompkins Miss Witmore Miss Browlow Commissionaire Customer Mr Gripps Mr Gravvins Jim Paradene Harry Zona March April Little Ada Lily de Jigger Marilynn Morgan Feloosi Quibb Mrs Drawbridge Mayor of Woollam Chersey Laburnum Brown Lilac Smith Poppy Robinson Hyacinth Green Tulip Williams Vicar of Woollam Chersey Box office keeper Cabaret dancer Cabaret singer and chorus MUSICAL NUMBERS Act I 1. Overture/Introduction 2. Chorus: "Love song is ended" 3. Song: "You want the best seats" 4. Duet: "Mr. Gripps, I've just been thinking" 5. Song: "There she stood" 6. Duet: "Journey's End" 7. Sextet "Whoop-de-doodle-do" 8. Scene: "Dancing Time" 9. Duet "Dancing Time" 3:58 10. "Great news, boys!" 11. Finale: "My little place" Act II 12. Opening: "The Pergola Patrol" 13. Scene: "Praise for our zeal" 14. Song: "Shimmy with me" 15. Song: "Oh, dear days of long ago" 16. Scene: "We've escaped?Looking all over" 17. Trio: "Oh, I feel so nervous" 18. Finale Act II: "What do you think" Act III 19. Opening: "Good evening" 20. "London, brighter London" 21. Song: "Kahlua" 22. Finale: "Oriental dreams" Cast Recording
CADDIE WOODLAWN By Susan C. Hunter and Tom Shelton Based on the novel by Carol Ryrie Brink In 1935 Carol Ryrie Brink wrote the Newbery-award winning novel, CADDIE WOODLAWN, based on the childhood of her grandmother, Caroline Woodhouse. She had collected the stories that her grandmother had often recounted of her adventures as a pioneer child settling the wilderness of Wisconsin in the mid 1800’ Carol Ryrie Brink's Newberry award-winning novel Caddie Woodlawn has been brought to exuberant life as a musical. Caddie (the iconic, highspirited Wisconsin pioneer girl beloved by generations of readers) leads her willing siblings in a series of thrilling adventures, not always with the approval of her traditional Bostonian mother. Her father, however, encourages her antics, that she might thrive amidst the new, tougher ways of the west. Caddie Woodlawn, a Musical Drama, is written to be performed by any size theatre group. With full casting there are roles for 8 adult men, 7 adult women and 18 children of various ages. With doubling and tripling of roles the possibilities are endless. There is also a 1 hour cut, for 8 actors to serve the needs of Theatre for Young Audiences. THE STORY Songs in parentheses ACT I A lonely hillside in Wisconsin. The stage comes alive with a barn raising. (Wisconsin Welcome) The WOODLAWNS, appear, freshly arrived from Boston. In the midst of the excitement, young CADDIE is scolded by her mother for her unladylike behavior. When a group of Native Americans, led by INDIAN JOHN, enter, the family is afraid, but MR WOODLAND, father, welcomes them and agrees to repair their rifles. CADDIE and INDIAN JOHN become friends, bonding over her flaming red hair. Tragedy strikes the family when baby MARY dies. (Graveyard Hymn) Overcome with grief MRS WOODLAWN agrees to allow CADDIE to live an outdoor tomboy existence in an attempt to make her healthy enough to survive the rigors of pioneer life. As the years pass CADDIE and her brothers TOM and WARREN become inseparable chums and fellow tricksters. (We Are We) They even manage to torment their refined cousin ANNABELLE, (Quaint and Rustic) Until ANNABELLE turns the table on them with a few tricks of her own. ACT II An important letter arrives informing MR WOODLAWN that he is heir to an estate, with one caveat: he has to renounce his American citizenship and move to England (Breeches and Clogs). As the family ponders whether to leave Wisconsin, a new crisis arrives with the news that the Indians are planning to massacre the local settlers. MR WOODLAWN, even though he thinks it is a ,”tavern rumor” agrees to allow all the settlers under his roof until the scare is over. (Waiting) CADDIE overhears one of the settlers plotting to kill the Indians. She saddles her horse to warn the tribe. Indian John returns with her and assures MR WOODLAWN that there is no danger. One of the settler
threatens to kill the chief until MRS WOODLAWN bravely intervenes. The scare is over but MRS WOODLAWN scolds CADDIE furiously for taking matters into her own hands at peril of her life. The argument escalates and CADDIE runs away from home. A stop at MARY’S grave provides CADDIE with time to think and understand her mothers position. (A Change in the Wind) The family votes to stay in Wisconsin and brave the wilderness. MRS WOODLAWN and CADDIE reconcile. The family looks forward to becoming part of the tapestry that is Wisconsin (Wisconsin Welcome reprise for bows) CAST (Leading Roles include:) • CADDIE WOODLAWN – Redheaded scamp, reckless and brave, refuses to be "a lady," 13 years old, High-belt Alto • ROBERT IRETON – A cheery Irishman, taken to singing, dancing, and handing out good advice, Bari-Tenor • ANNABELLE GRAY – Cousin to the Woodlawns, a graduate of finishing school, finds Wisconsin “quaint and rustic," Soprano • JOHN WOODLAWN – Caddie’s father, handsome and gentle, with quiet strength, Baritone • HARRIET WOODLAWN – Caddie’s mother, refined, wants the same for her children, Alto • TOMWOODLAWN – Caddie’s mischievous older brother, full of fun and pranks, about 14 years old, Boy Tenor • WARREN WOODLAWN – Caddie’s younger brother, about 10, always trying to keep up with the other two, full of energy, Strong child singer • REVEREND TANNER – The Circuit Rider, hails from Boston, High Baritone • MIXED CHORUS - Men, Women and Children with many featured solos. MUSICAL NUMBERS 1. Wisconsin Welcome 2. Wisconsin Anthem 3. Graveside Hymn 4. We Are We 5. Tom's Tall Tale 6. The Oath 7. Quaint and Rustic 8. The City of Boston 9. Breeches and Clogs 10. Waiting 11. O'Grady's Fiddle 12. A Change in The Wind 13. Paddy's Lament 14. Epilogue CAST RECORDING
LA CAGE AUX FOLLES Book by Harvey Fierstein (Torch Song Trilogy) Music and lyrics by Jerry Herman (Mame and Hello, Dolly)! Based on the play by Jean Poiret Palace Theatre, Broadway - 21 August 1983 (1761 perfs) London Palladium - May 7, 1986 (301 perfs) As a long-running Paris boulevard comedy, later as a highly original classic film, and more recently as one of the decade's biggest Broadway musicals and a major hit in the West End at the Palladium, La Cage aux Folles has millions of fans. Jerry Herman's music and Harvey Fierstein's book add new dimensions to the story of the homosexual lovers whose twenty years of domestic tranquillity are shattered when a son, fathered during a one-night heterosexual fling, decides to marry the daughter of a bigoted politician. STORY Georges and his friend Albin, stage name Zaza, run a St Tropez nightclub, La Cage aux Folles, where the stars and the chorus line are mainly men in drag. Georges and his friend have lived happily together for many years. Their apartment is also home to their black 'maid' Jacob. And, as of today, Georges' son Jean-Michel (the result of a casual liaison some twenty years before). JeanMichel has news. He's engaged to Anne. That's the good news. The bad news is that her father is head of the Tradition, Family and Morality Party, whose sworn aim is to close the local drag clubs. And her parents want to meet their daughter's future in-laws, including his real mother. Jean-Michel has described Georges as a retired diplomat, which could lead to trouble. Jean-Michel has a solution. Albin will absent himself for the visit - and all the furniture will be changed for something less spectacular. When he finds that he's to be marginalised, Albin is deeply hurt. Has he not brought up Georges' son, man and boy, and been a good mother? He quits the club in a thoroughly justified huff. Next morning Georges finds Albin on the beach and suggests he dresses up as a macho uncle Al. Why not? Back at the apartment, now transformed into a cell reminiscent of a monastery, Georges receives a telegram. Jean-Michel's mother Sybil isn't coming. What to do? A ring at the door. Anne's parents arrive. Albin flees to his room, emerging as a buxom forty-year-old. Jacob has burned the dinner. A trip to a local restaurant, Chez Jacqueline, belonging to an old friend of Albin and Georges, is quickly arranged. No one has briefed Jacqueline on the situation and she asks Albin for a song. Alas, as Zaza, he completely forgets himself and at the song's climax tears off his wig, revealing his true identity. Back at the apartment the Dindons make their disapproval known. Their daughter is not persuaded. She's in love with Jean-Michel and will stay with him. The Dindons prepare to leave. Their way is blocked by Jacqueline, who has arrived with the Press! How piquant to have a picture of the most notorious anti homosexual with the most famous St Tropez homosexuals. Georges and Albin have a solution. Anne and their son must be allowed to marry, of course. And the Dindons will be allowed to escape - through La Cage aux Folles next door! And that is what happens, with the Dindons dressed as artistes of the revue, and Mr Dindon as the ugliest drag queen imaginable! So all ends happily - at least for everyone for whom it should. MUSICAL NUMBERS: 1. We Are What We Are - Les Cagelles 2. A Little More Mascara - Albin and friends 3. With Anne On My Arm - Jean-Michel
4. With You On My Arm (Reprise) - Albin and Georges 5. The Promenade - Townspeople 6. Song On the Sand - Georges 7. La Cage Aux Folles - Albin and Les Cagelles 8. I Am What I Am - Albin 9. Masculinity - Georges and Albin 10. Look Over There - Georges 11. Cocktail Counterpoint - Georges, Dindon, Mme. Dindon, Jacob 12. The Best of Times - Albin, Jacqueline and Patrons • "It's a family show ... a glittering, fast-stepping extravaganza..." New York Daily News • "... glitz, showmanship, good cheer ... unflagging tunefulness..." New York Times • "Funny, glitzy, novel, saucy and with some decent human feelings in the ventricles of its sentimental heart..." Daily Telegraph • "It catches at the heartstrings ... " Daily Mail THE CAST: (M 10, F3, chorus of 10M, 2F extras) • Georges • Chantal * • Monique * • Dermah * • Nicole * • Hanna * • Mercedes * • Bitelle * • Lo Singh * • Odette • Angelique * • Mme Renaud • Paulette • Phaedra * • Clo-Clo * • Francis • Jacob • Albin • Jean-Michel • Anne • Jacqueline • M. Renaud • Hercule • Etienne • Babette • Colette • Tabarro • Pepe • Edouard Dindon • Mme. Dindon • Les Cagelles"| • St Tropez Townspeople THE SCENES: Various interior and exterior settings ORCHESTRATION Reeds 1-5, Trumpets 1+2, Horns 1+2, Trombone 1+2, Drums, Percussion 1+2, Violins A+B, Cello, Bass, Guitar/Banjo, Harp, Accordion/Electric Keyboard CAST RECORDING
CALAMITY JANE Music by Sammy Fain, lyrics by Paul Francis Webster, adaptation by Phil Park and Ronald Hanmer Original British theatre production - 27 August, 1979 - ForumTheatre, Billingham This musical Western is adapted from the celebrated stage-play and film. SYNOPSIS 'Calam' dresses like a man, totes a gun and drives the Deadwood City stagecoach. Well-meaning, but disaster-prone, she tries to help the local saloon proprietor out of a jam by promising to fetch a music-hall star from Chicago. A hilarious comedy, it nevertheless has many tender moments and some very famous numbers, including "Secret Love", "Black Hills Of Dakota, "Deadwood Stage" and "Windy City". STORY: Deadwood City's two most famous peace officers, Calamity Jane and Wild Bill Hickock, get involved in saving the neck of Henry Miller, the local saloon operator. It seems that "Millie" has been promoting a beautiful actress named Frances Fryer, but Frances turns out to be a boy, Francis. Millie's attempt to cover up is soon unmasked by the angry miners, and To keep the peace, Calamity sets out for Chicago to bring back the miner's real heart-throb, Adelaide Adams. In Chicago Calamity mistakes Adelaide's maid, Katie Brown, for the actress and hauls her back to Deadwood. Onstage Katie is greeted warmingly, but breaks down and confesses that she is not the famous star. Calamity once more has to restore order and persuades the audience to give Katie a chance. They do, and she wins the heart of every male in town including Calamity's dashing love hope, Lt. Danny Gilmartin. Calamity reluctantly overcomes her jealousy over losing Danny and discovers her true love for Wild Bill. MUSICAL NUMBERS: 1. Deadwood Stage 2. Adelaide 3. Everyone Complains About the Weather 4. Weather Dance 5. Men 6. Careless with the Truth 7. A Hive Full of Honey 8. Adelaide's Ballet 9. Weather Dance lesson 10. I Can Do Without You 11. 'Tis Harry I'm Planning to Marry 12. Windy City 13. Keep It Under Your Hat 14. Exaggeration Ballet 15. Higher Than a Hawk 16. A Woman's Touch 17. Love You Dearly 18. The Black Hills of Dakota 19. Secret Love CHARACTERS • Calamity Jane (Low G (Opt. F) to D Flat (Opt. E. Flat) The hard-bitten, gun-totin' heroine, who tries to behave like a man but can't help loving like a woman. In order to hold her own in a man's world, she dresses, speaks, rides and shoots like a man ; groomed and dressed in proper feminine fashion, she is revealed as a beautiful girl-and the transformation is quite startling. • Wild Bill Hickock ( B Flat to E Natural) - Aged about 35, and a handsome figure of a man, he is an ex-peacc-officer turned professional gambler. Good-natured, with a sense of humour. In love with Calamity Jane, but doesn't know it. • Lieutenant Danny Gilmartin ( B Flat to E Flat) - A young officer attached to the nearby fort. He
is the man Calamity Jane dreams about, but he falls in love with somebody quite different. • Katie Brown(Low F Sharp to C Sharp) - A stage-struck city-girl who poses as a famous actress, but has good looks and talents of her own. • Henry Miller (Non-singing) - Proprietor of " The Golden Garter ", Deadwood City's saloonhotel-theatre. Aged about 50, he is nervous and erratic-giving the impression that he is constantly only one jump ahead of a nervous breakdown. • Susan (Non-singing) - Miller's young, friendly and pretty niece. • Francis Fryer ( B Flat to D) - A song-and-dance man more at home in the vaudeville theatres of the Eastern States than in the Wild West. • Adelaide Adams (Low F Sharp to B (Opt. D)) - A highly-paid vaudeville star and celebrated " beauty " of the period ; off-stage, a selfish and conceited woman. • Rattlesnake (Non-singing) - A bewhiskered old fossil who drives the stage-coach. • "Doc" Pierce (Non-singing) - Deadwood City's doctor/undertaker, with doubtful qualifications but considerable experience. A poker-playing pal of Hickock's. • Joe (Non-singing) - Bartender of "The Golden Garter" • Hank and Pete - Two Scouts. • Colonel of Fort Scully. • Cowpunchers, Bullwhakers, Prospectors, Trappers, Indians, Women of the town, Chorus Girls, Officers, Soldiers and their Wives, Stage Coach Passengers, etc PRINCIPALS: - 4 female, 7 male INSTRUMENTATION: Reed I (alto sax, clarinet), Reed II (alto sax, clarinet), Reed III (tenor sax, flute), Reed IV (tenor sax, clarinet), horn, 3 trumpets, 2 trombones, percussion, guitar, piano, strings DISCOGRAPHY Studio Cast Recording TER CDTER2 1215 (Complete) DRESS PLOT CALAMITY JANE Act One Scene 1. - A much-worn masculine-cut suit of deerskins, with shoulder-tassellings, ankleriding-boots, etc. Act Two A simple, spring-gay dress. Scene 2. An elegant ball-dress, with a white pettitcoat, silk stockings, smart shoes, long white gloves-all concealed beneath an incongruous man's overcoat, very big and heavy looking. Scene 5. Bridal gown. BILL HICKOCK Act One - Riding-slacks, with gun-belt, patterned shirt, jacket with decorative facings. Act Two - Scene 1. As Act One, but with riding jacket and ten-gallon hat. Scene 2. Dark trousers, shirt and cravat, Gaylord Ravenal jacket, hat. Scene 5. Dark trousers, shirt with collar and tie, more formal jacket with silk facings. LIEUT. DANNY GILMARTIN Act One - Scene 1. American military post-Civil-War duty-uniform, torn in places, mudded as from a fall, blood-marked on front of one shoulder Scene 3. A clean, unitorm version of the same duty-uniform. Act Two Scene 1. As Act One Scene 3, with cap and gauntlets.
Scene 2. (Onwards) : Full dress uniform. KATIE BROWN Act One Scene 2. Well-fitting dress- smart, but simple. Scene 3. (a) Same, with travelling coat and bonnet. (b) Stage-dress of the period. Act Two Scene 1. Simple, spring-gay dress. Scene 2 and 3. Ball-gown, cloak. Scene 5. Bridal gown. HENRY MILLER Act One Sober, middle-aged suit of the period. Act Two Scene 2 and 3. Evening suit, overcoat. Scene 5. Morning suit of the period. SUSAN Act One - Pretty teenage dress. Act Two Scene 2 and 3. Young-style ball-dress with simple cloak and head-scarf. Scene 5. Bridal gown. FRANCIS FRYER Act One Scene 1. (a) Slick city-suit of the period, slightly theatrical. (b) Woman's vamp-style stage-dress -with all accessories (female impersonation). Scene 3. As Scene 1 (a). Act Two Scene 2 and 3. Smart evening suit of the period, overcoat. Scene 5. Bridegroom's morning suit. ADELAIDE ADAMS Act One Scene 2. Over-stylish dress of the period, with stole, striking hat, etc., to give successful-actress-off-stage impression. RATTLESNAKE. Act One Seedy "Western old-timer" outfit. Act Two Scene 2 and 3. Smartened-up version of same character, with seen-better-days overcoat. Scene 5. Ill-fitting tail-suit, battered top-hat. DOC PIERCE Act One Darkish slacks, belt, white shirt. Act Two Scene 2 and 3. Oldish black-suit, collar and tie, overcoat. Scene 5. Same suit, flower in buttonhole.
• MALE CHORUS Optional variations on the "cowboy" and "prospector" outfits of the period (riding slacks, chaps, gun-belts, coloured /patterned openneck shirts, some with neckerchiefs, leather jerkins, etc.) Some more decorative jackets, cravats, etc., for the party scene. Military duty and dress-uniforms of the period. • FEMALE CHORUS Period dresses of "Dodge City" style. Some "lady-like" dresses of the period. Party-dresses, with cloaks. • DANCERS Period chorus-girl dresses for the Can-Can. ADAPTERS' NOTE ON Scenery The play requires three main sets, and our basic suggestion is that the largest, THE GOLDEN GARTER, should remain more or less permanently set. Act One This Act would seem to present no problem, since THE GOLDEN GARTER set, used for the first and third of the three scenes, would not be affected by the intermediary Scene 2, which is a small downstage set for which the backing can be either a frontcloth or a hinged flat. Act Two It is suggested that during the interval the FORT SCULLY set (middle-sized) should be pre-set within THE GOLDEN GARTER set, and that the CABIN set should be pre-set within the FORT SCULLY Set. (To facilitate this, all movable props would obviously be cleared from THE GOLDEN GARTER set, and the "stage" and bar-counter shifted upstage if practical and if necessary.) Thus the Act would open on the CABIN set (the smallest of the three) and during Scene 2 (front-cloth) this would be struck to reveal FORT SCULLY for Scene 3. Then, during Scene 4 (front-cloth again) the FORT SCULLY set would be struck to reveal THE GOLDEN GARTER again, for the final scene. An alternative plan would be to set only the CABIN within THE GOLDEN GARTER for the opening of this Act, in which case it would have to be practical to strike the CABIN and replace it with FORT SCULLY, still within THE GOLDEN GARTER, during the front-cloth Scene 2. The above suggestions are made with all due deference to the ingenuity of the Director and /or the Stage Director who will have in mind the practicalities of the stage and the style and scale of the scenery it is desired to use. PHIL PARK / RONALD HANMER THE ORCHESTRA The complete orchestra for Calamity Jane comprises 3 Trumpets, 2 Trombones, 4 Saxes, Horn, Violins A.B.C., Viola, Cello, Bass, Guitar, Drums and Piano. The 1st Alto, 2nd Alto and 2nd Tenor Saxes double Clarinet; the 1st Tenor Sax doubles Flute. However, in the event of Saxes not being available, parts are provided for non-doubling Flute and 1st and 2nd Clarinets. A 3rd Clarinet may be added by playing the whole of the 2nd Tenor Sax part on Clarinet. A special orchestral piano part is supplied, which should be used; the pianist should NOT use the vocal score. The Violin parts are printed Violin A to one book; Violin B and C together in a second book. The minimum combination for a successful performance is 2 Trumpets, 1 Trombone, 3 Saxes (or 3) Woodwind), 3 Violins, Cello, Bass, Drums and Piano. Thereafter, instruments should be added in the following order; 2nd Trombone, 2nd Tenor Sax (or 3rd Clarinet), 3rd Trumpet, additional Violins, Viola, Horn and Guitar. All parts are cued where necessary, and the vocal score has complete instrumental marks and cues for the conductor's guidance. RONALD HANMER.
SYNOPSIS OF SCENERY Act One • Scene 1. "THE GOLDEN GARTER" Deadwood City, Dakota Territory. • Scene 2. THE STAR DRESSING-ROOM Bijou Theatre, Chicago. • Scene 3. "THE GOLDEN GARTER" again. Act Two • Scene 1. CALAMITY JANE'S CABIN. • Scene 2. A TRAIL through a Pass in the Black Hills. • Scene 3. FORT SCULLY. • Scene 4. THE TRAIL again. • Scene 5. "THE GOLDEN GARTER" MUSICAL NUMBERS 1. "THE DEADWOOD STAGE" (Calamity and Ensemble). 2. "CARELESS WITH THE TRUTH " (Calamity, Bill and Men). 3. "ADELAIDE " (Bill and Men). 4. "EV'RYONE COMPLAINS ABOUT THE WEATHER" (Fryer). 5. "MEN!" (Calamity). 6. "HIVE FULL OF HONEY" (Fryer). 7. "I CAN Do WITHOUT YOU" (Calamity and Bill). 8. "IT'S HARRY I'M PLANNING TO MARRY " (Adelaide and Stage- Door-Johnnies). 9. "WINDY CITY" (Calamity and Chorus). 10. "KEEP IT UNDER YOUR HAT" (Katie). 11. "A WOMAN'S TOUCH" (Calamity and Katie). 12. "HIGHER THAN A HAWK" (Bill). 13. "THE BLACK HILLS OF DAKOTA " (Chorus). 14. "LOVE YOU DEARLY" (Katie and Danny). 15. "MY SECRET LOVE" (Calamity). FULL SCORE CAST RECORDING ORIGINAL FILM SOUNDTRACK DVD - CALAMITY JANE Doris Day - Forever associated with the role of Calamity in the film “Calamity Jane”
CALL ME MADAM Music and lyrics by Irving Berlin, book by Howard Lindsay and Russell Crouse Imperial Theatre, Broadway - Oct. 12, 1950 644 (perfs) London Coliseum, 15 March, 1952 One of the great musicals of all time - the story of Sally Adams, "The hostess with the mostest", who becomes US Ambassador to the tiny duchy of Lichtenburg, captivating the handsome Prime Minister and encouraging the romance of her aide with an enchanting young Princess. Of course, the 'stuffed shirts' in Washington conspire to get her recalled, but all ends happily, helped along by songs such as "You're Just in Love", "It's A Lovely Day Today" and "Marrying For Love". SYNOPSIS The action of this play, according to the authors, is laid in the two mythical countries of Lichtenburg and the United States of America, and tells the story of Sally Adams, an exuberant, wealthy widow appointed Madam Ambassador to the Grand Duchy. Her outrageous lack of knowledge of etiquette and tradition makes most amusing entertainment. Sally Adams has such songs as "The Hostest With the Mostest", Washington Square Dance", Can You Use Any Money Today?", "The Best Thing For You Is Me" and "You're Just In Love". All of these, though undemanding in range, need punching delivery by a full-voiced mezzo. Other numbers are "The Ocarina", "Once Upon a Time Today" and the famous "It's A Lovely Day Today" shared by the juvenile girl and boy, both of whom should be competent singers and move well. The role of Cosmo Constantine, who becomes Prime Minister of the Duchy calls for an actor with baritone voice. There are many small, non-singing roles including an excellent opportunity for two elderly performers in the roles of the Grand Duke and Duchess who make their first appearance just before the end of the play to prove that Madam Ambassador, despite her unorthodox behaviour is, after all, a very great diplomat. The dignified playing of this little episode provides great contrast to the brashness that has preceded it and makes a delightful climax. The master craftsman who created Annie Get Your Gun serves not only his principals as well in Call Me Madam but is equally kind to his chorus. He gives them some excellent ensembles on their own, demanding nothing in return except good signing from medium range voices, fine diction and a sense of modern rhythm. STORY: Sally Adams, Washington's "hostess with the mostes'," is named Ambassador to the Grand Duchy of Lichtenburg - a tiny kingdom steeped in royal custom and rapidly changing coalition governments. Kenneth Gibson, an eager young diplomat, is assigned to be her aide. True to her almost total disrespect for protocol, Sally arrives late in Lichtenburg. There she encounters foreign minister Cosmo Constantine, not, however, to the degree her romantic nature would like. Worse yet, Cosmo refuses American foreign aid. Sally gets talked into a scheme to get Cosmo elevated to Prime Minister to make way for a new foreign minister eager to accept American money to "save" the country. When the loan is all but consummated, Cosmo finds out about it and resigns. This ruins all possibilities for another coalition, and the country must hold its first general election in twenty years. Sally openly campaigns for Cosmo, forcing her recall to Washington for becoming involved in another government's internal affairs. Kenneth, too, commits a grave diplomatic error by falling in love with the Princess Maria and arranging secret meetings with her. However, a spirit of democracy is over Lichtenburg. The princess is granted permission to ask Kenneth to marry her. Elected Prime Minister, Cosmo visits Sally in Washington to grant her the royal order of Dame and revive their "acquaintance."
CAST: 6 men, 3 women, (20 speaking parts, 8 principals), chorus Sally Adams, carries the show with good acting and powerful voice. Kenneth, strong, handsome singer. Cosmo Constantine, warm character actor, sings little. Princess Maria, good voice. Three touring senators, mostly straight roles, but lead one number. Pemberton Maxwell, straight role. Four principal dancers. Several ocarina players. Separate singing and dancing choruses. Total cast, 30-45. MUSICAL NUMBERS 1. OVERTURE 2. OPENING CHORUS AND DANCE "Mrs. Sally Adams" 3. SONG (Sally) "The Hostess with the Mostes' on the Ball " 4. ENCORE (Sally) "The Hostess with the Mostes' on the Ball " 5. SONG AND DANCE (Sally and Chorus) "The Washington Square Dance" 6. MUSIC TO CHANGE SCENE. 7. SONG (Cosmo and Chorus) "Lichtenburg" 8. SONG (Sally) "Can you use any money today " 9. DUET (Cosmo and Sally) "Marrying for love " 10. FANFARE-OPENING SCENE 6 . 11. SONG and DANCE (Princess Maria and Chorus) "The Ocarina" 12. DUET (Kenneth and Princess Mama) "It's a lovely day today" 13. ENCORE-SONG AND DANCE (Kenneth and Chorus) "It's a lovely day today" 14. CORRIDOR SCENE 15. REPRISE (Kenneth and Princess Maria) "It's a lovely day today" 16. SONG (Sally) "The best thing for you " 17. FINALE-ACT I (Sally) "Can you use any money today?" 18. ENTR'ACTE ACT II 19. OPENING-(Cosmo and Chorus) "Lichtenburg" 20. SONG AND DANCE (Sally and Chorus) "Something to dance about" 21. REPRISE "Something to dance about" 22. SONG (Kenneth) "Once upon a time, today " 23. TRIO (Wilkins, Brockbank and Gallagher) "They like Ike " 24. REPRISE-DUET (Kenneth and Princess Maria) "It's a lovely day today" 25. DUET (Kenneth and Sally) "(I wonder why) You're just in love " 26. ENCORES (ad lib) "(I wonder why) You're just in love " 27. REPRISE (Sally) "The best thing for you " 28. REPRISE "The best thing for you " 29. REPRISE-DUET (Kenneth and Princess Maria) "It's a lovely day today " 30. REPRISE (Chorus) "Mrs. Sally Adams" 31. FINALE (Sally and Chorus) "You're just in love " 32. CURTAIN MUSIC
INSTRUMENTATION: Reed I (flute, piccolo, clarinet, alto sax), Reed II (clarinet, bass clarinet, alto sax), Reed III (clarinet, oboe, cor anglais, tenor sax), Reed IV (flute, clarinet, tenor sax), Reed V (clarinet, bass clarinet, alto sax, baritone sax, bassoon), horn, 3 trumpets, 2 trombones, piano, guitar, percussion, strings. SCENES AND SETTINGS: 2 acts, 13 scenes, 5 full stage sets, 3 drop sets, which are a series of painted cloth panels rather than 1-piece drops, and 1 partial stage set (Sally's sitting room in Lichtenburg). ACT I Scene 1: Office of the Secretary of State. Scene 2: Sally's Living Room in Washington. Scene 3: Public Square in Lichtenburg. Scene 4: Reception Room in the American Embassy. Scene 5: Public Square in Lichtenburg. Scene 6: The Lichtenburg Fair. Scene 7: A Corridor in the Palace. Scene 8: Sally's Sitting Room in the Embassy. ACT II Scene 1: The Public Square. Scene 2: The Embassy Garden. Scene 3: The Public Square. Scene 4: Sally's Sitting Room. Scene 5: Sally's Living Room in Washington. PERIOD AND COSTUMES: The mid-1950s in two mythical countries; one is called Lichtenburg, the other the United States of America: Washington party gowns and formal wear, Bright folk costumes, Royalty everyday dress, Festival costumes, Potato bug costumes (2) CHOREOGRAPHY: Square dance, folk, dance specialties, couples dance interludes during the festival, brief passages of waltz, tango, Charleston, blues, rumba, fox trot. DVD - Call Me Madam Studio Cast Recording Original Film Soundtrack Vocal Svore
THE CALL OF THE PIPER Musical for children Book by Liz Berwick, Music by Dorothy Everhart. Seven lonely children for differing backgrounds in Victorian London find themselves transported to the Kingdom of Scholastica, once a musical country, but now a tyrannical state under the rule of the Sum King. The staff, former ministers of the deposed High C, explain to the children that they have been sent for a specific purpose and cannot return home until they have found the missing Golden Triangle which will end the reign of slavery and terror. The children set about the task encountering many exciting adventures. CAST: 36 named parts. Extras. Various simple settings.
CAMELOT Music by Frederick Loewe; Libretto and Lyrics by Alan Jay Lerner; (based on "The Once And Future King" by Majestic Theatre, New York - December 3, 1960 (873 perfs) Theatre Royal, Drury Lane, London - August 19, 1964 (518 perfs) THE STORY (5th century Britain) Guenevere journeys to Camelot to become Arthur's Queen. The entire court, apart from Arthur whom she has never met, comes to greet her. Nervous and shy, he is hiding in nearby woods. Presently, he is joined by Guenevere who has slipped away from the ceremony of welcome. They are soon charmed by each other and go forth happily to the wedding. Arthur's tutor, the magician Merlin, is lured away but not before he has inspired Arthur to favour the establishment of peace and brotherhood. The fame of Arthur's Order of the Round Table brings the cream of Europe's knighthood to Camelot. No knight is more renowned than Lancelot du Lac, although the Queen and courtiers think the young Frenchman's reputation must be inflated. She encourages three knights to challenge him in the lists. Lancelot quickly defeats all three knights in the jousting match and the Queen becomes attracted to him and he finds himself in love with her. Torn between this love and his devotion to Arthur, he asks permission to leave Camelot for foreign conquests. Two years later he returns to be made a Knight of the Round Table and realises that he still loves Guenevere. Mordred, Arthur's illegitimate son, arrives at Camelot to dishonour the King in order to gain the throne. With the help of his sorceress aunt, Morgan le Fey, he traps Arthur in the forest. Then Mordred finds Lancelot in the Queen's Chambers, accuses him of treachery and imprisons him. Lancelot escapes but Guenevere is sentenced to burn. She is rescued by Lancelot at the last moment and he takes her off to France. Arthur must now wage war on France, even though he forgives Lancelot and Guenevere before the battle. As a final gesture of hope for the future, Arthur sends a young boy, Thomas Mallory, back to England with orders to tell another generation of Camelot's ideals. MUSICAL NUMBERS 1. I Wonder What The King Is Doing Tonight - Arthur 2. The Simple Joys of Maidenhood - Guenevere 3. Camelot - Arthur, Guenevere 4. Follow Me - Nimue 5. C'est Moi - Lancelot 6. The Lusty Month of May - Guenevere & Ensemble 7. Take Me To the Fair - Guenevere, Knights and Ensemble 8. How To Handle A Woman - Arthur 9. The Jousts - Arthur, Guenevere & Ensemble 10. Before I Gaze At You Again - Guenevere 11. Fie On Goodness - Knights, Male Ensemble 12. If Ever I Would Leave You - Lancelot
13. The Seven Deadly Virtues - Mordred 14. What Do The Simple Folk Do - Arthur, Guenevere 15. The Persuasion - Mordred and Morgan le Fey 16. I Loved You Once In Silence - Guenevere 17. Guenevere - Ensemble CHARACTERS: • Arthur • Merlin • Guenevere • Lancelot • Pellinore • Mordred • Morgan le Fey • Tom of Warwick • Sir Dinadan • Sir Lionel • Sir Sagramore • Sir Clarius • Squire Dap • Lady Anne • Lady Sybil • Guilliam • Colgrevance • Bliant • Castor • Two Heralds • A Page • Nimue • Lord and Ladies of Camelot SCENES AND SETTINGS ACT I Scene 1 - A hilltop near Camelot, a long time ago Scene 2 - The same - as night falls Scene 3 - The Royal Ante-Chamber - five years later Scene 4 - The Countryside near Camelot - a few months later Scene 5 - A garden near the castle - immediately following Scene 6 - The Ante-Chamber - two weeks later Scene 7 - The Jousting Fields - first light the following Saturday Scene 8 - The same - the Jousts - that day Scene 9 - The Ante-Chamber - late afternoon the same day Scene 10 - Outside the Chapel - that night Scene 11 - The Great Hall - immediately following ACT II Scene 1 - The Castle Terrace - a few years later Scene 2 - The Ante-Chamber - a month later Scene 3 - Near the forest of Morgan le Fey - next day Scene 4 - The Forest of Morgan le Fey - immediately following Scene 5 - A castle corridor - that night Scene 6 - the Bedchamber - immediately following Scene 7 - The Battlements - several days later Scene 8 - France, between the opposing armies - some weeks later INSTRUMENTATION (Total number of books = 16) 2 Violins I/II; 2nd Reed Oboe/Cor Anglais; 1 Trombone I; 1 Violin III; 3rd Reed Clarinet l/Alto Sax; 1 Trombone II; 1 Viola; 4th Reed Clarinet II/Bass Clarinet; 1 Percussion; 1 Cello; Alto Sax/Tenor Sax; 1 Conductor Score - annotated vocal score; 1 Double Bass; 1 Trumpet I; 1st Reed Flute/Picc; 1 Trumpet II; Vocal Score OLCR OFST Recording
CAN-CAN Music & Lyrics by Cole Porter Book by Abe Burrows Produced for the Broadway stage by Feuer and Martin Shubert Theatre, Broadway 7 May, 1953 (892 perfs) London Coliseum October 14, 1954 (394 perfs) SYNOPSIS Can Can is a delightful show about Paris in the 1890s, a time remembered for artists, music, dance and most of all, love. The show concerns the lives, loves and pure zest for life of some of the more Bohemian citizens of Paris. The show contains the famous "Garden of Eden" ballet and some entrancing Cole Porter songs such as "C'est Magnifique", "I Love Paris", "Allez-vous-en" and "Can Can" which flow logically for the context of the story. STORY La Môme Pistache owns a café in Montmartre. One of the major attractions it offers is the scandalous dance. the can-can. The heroine is frequently in trouble with the law as a result. As the show opens, the can-can girls are being release, yet again, from the court as a result of the reluctance of the police to testify against them. In frustration, Judge Aristide decides to go to the café himself to gather evidence. Meanwhile, Claudine, a laundry girl who moonlights as a can-can dancer, is fending off a pass from Hilaire, an art critic. Claudine is very much involved with s sculptor and does not want further problems. Aristide arrives at the café and he, and the owner, fall for each other. He does not reveal his identity and La Môme uses all her wiles to evade the prosecution of her girls. She bribes the police and names names. The judge's identity is revealed by the girls and in the middle of the can-can there is a flash from a camera - the judge has his evidence. Meanwhile, Hilaire plans to hold an elaborate ball at the café. Claudine agrees to have dinner with him so that she can obtain a favourable review for her Sculptor friend, Boris. But, with the café girls and the proprietress locked up, can the ball go ahead? But, of course: all are released pending prosecution and Aristide, with an attack of conscience, urges Pistache to escape. He kisses her but there is another camera flash but this time it is the judge who provides the evidence. Next day, the newspapers print his photograph and, at the same time, Boris criticises Boris's work. Boris challenges Hilaire to a duel and promptly faints. Hilaire is shamed into writing an ecstatic review of Boris's work. Aristide is disbarred and ostracised by his legal colleagues. Pistache arranges for Aristide and herself to be arrested, to give him a chance to clear his name in court. Together, with the aid of the girls, they prove there is nothing wrong with a harmless little can-can. CAST: - Male 15+; Female 7+ plus chorus and dancers PRINCIPAL CHARACTERS: • La Môme Pistache - Owner of the Bal du Paradis • Aristide Forestier - A Judge • Boris Adzinidzinadze - A Bulgarian sculptor
• Claudine - A soubrette • Hilaire Jussac - An art critic • Théophile and Etienne - Parisians ORCHESTRATION: Violin 1, 2, 3 & 4, Viola; Cello; Reed 1, 2, 3, 4 & 5; Horn 1, 2 & 3; Trumpet 1 & 2; Trombone; Percussion; Guitar; Piano-Celeste MUSICAL NUMBERS: 1. Allez-vous-en (Go Away) 2. C'Est Magnifique 3. Can-Can 4. Come Along With Me 5. Everyman Is a Stupid Man 6. The Garden of Eden Ballet 7. I Love Paris 8. If You Loved Me Truly 9. It's All Right With Me 10. Live and Let Live 11. Maidens Typical Of France 12. Montmart' 13. Never Give Anything Away 14. Never Be An Artist OFST VOCAL SCORE STUDIO CAST RECORDING OBCR
CANDIDE (Music by Leonard Bernstein: Lyrics by Richard Wilbur: Book adapted from Voltaire by Hugh Wheeler: Additional lyrics by Stephen Sondheim and John Latouche) Martin Beck Theatre, Broadway - December 1, 1956 (73 perfs) Saville Theatre, London - April 30, 1959 (60 perfs) This brilliant musical setting of Voltaire's classic novel of the trials and tribulations of four young philosophers thrust by their tutor, Dr. Pangloss, into a cynical and predatory world has achieved a classic status in the musical repertoire. STORY After the overture our fable opens in Westphalia, at Schloss Thunder-tenTronck. Candide, illegitimate nephew to the Baron, is scorned by the Baron's son, Maximilian, and loves his beautiful daughter, Cunégonde. Maximilian is in love with the maid, Paquette. The young people are happy because their professor, Doctor Pangloss, instils in them an undiluted optimism - an optimism that is the best of all possible worlds. In the Schloss park, Candide and Cunégonde declare their love. The Baron, however, is outraged at suggestions of their marriage, considering Candide a social inferior. The young man is expelled from the castle and wanders alone, still retaining his ingrained optimism. Though he has lost his love he consols himself with the thought that it must be for a reason. Candide is press-ganged into the Bulgar army, which attacks and destroys the Schloss. The inhabitants are killed, including Cunégonde who is first raped. Full of sadness, Candide roams on until he comes across the ever-optimistic Pangloss, who has been wounded and now sports a metal nose. With no money, they sail to Lisbon on a merchant ship, where they witness a catastrophic earthquake. Then they are arrested as heretics, Pangloss hanged and Candide flogged. But, still hopeful, Candide travels on. In Paris, a mysterious beauty has great men fighting over her. Candide recognises Cunégonde who brushes aside her apparent rebirth. Killing the two men who dominate her life, Cunégonde flees to Cadiz with her jewels, Candide and her companion, a game Old Lady. They are robbed and the Old Lady sings for money, telling her listeners how easily she can swap nationalities. Accepting a commission to fight for the Jesuits in South America, the companions set sail. In Buenos Aires, they are startled to discover Maximilian and Paquette, both apparently risen from the dead, just like Cunégonde. The Governor of Buenos Aires falls for Cunégonde and, again, Maximilian deems Candide unfit for his sister. Inadvertently, Candide stabs Maximilian and flees into the forest. After many adventures, including discovering Eldorado, he sends treasure to buy Cunégonde back from the Governor, and a message for her to meet him in Venice. Working his way to Italy, in the Dutch colony of Surinam, Candide meets Martin, a professional pessimist. But even Martin's arguments cannot dent the young man's hopeful outlook. To get to Cunégonde. Candide buys a ship from the trader Vanderdendur. The vessel sinks, but Candide is rescued by a raft on which he discovers the miraculously restored Pangloss. Reaching Venice at last, they find that Maximilian has been reanimated for a third time. He is the Prefect of Police there and is under the thumb of crooks. Moreover, Cunégonde. and the Old Lady slave day and night to earn a living in the casino. Together again, the four attempt to console each other and buy a small farm outside the city to start afresh. Here, Candide considers his life. His illusions have been shattered, especially about the self-seeking Cunégonde. Then it dawns upon him that life is really neither 'good' nor 'bad', but there to be lived and made the best of. He is reconciled to Cunégonde. and his love for her is now on a new, mature basis.
PRINCIPALS: - 3 Male, 3 Female. • Candide • Cunégonde • Voltaire • Dr Pangloss • Old Lady • Captain • Governor • Vanderendur • Chorus: playing about 50 different characters. MUSICAL NUMBERS: 1. Life Is Happiness Indeed 2. Best Of All Possible Worlds 3. Oh Happy We 4. It Must Be So 5. Glitter and Be Gay 6. Auto-da-fé 7. Candide's Lament 8. You Were Dead You Know 9. I Am Easily Assimilated 10. Ballad of the New World 11. My Love 12. Eldorado 13. Sheep Song 14. The Governor's Waltz 15. Bon Voyage 16. Quiet 17. What's the Use 18. Make Our Garden Grow DISCOGRAPHY: • Original Production - CD Sony SK-48017 • New York City Opera Production - New World NW 340/341 • New Broadway Cast Recording - RCA Victor 09026-68835-2
THE CANDY SHOP A Summer Entertainment (Musical Comedy) in 2 Acts. Book by George V. Hobart. Music and lyrics by John L. Golden. (Additional lyrics by Henry Blossom.) Knickerbocker Theatre, New York - 27th April - 12th June, 1909 (49 perfs). SYNOPSIS The story tells of the adventures of Jack Sweet after his own father accuses him of theft. Jack and his friends go to Coney Island, where Jack obtains a job as a waiter. He falls in love with Hilda Noble who turns out to be an heiress. Jack clears his good name in time for a happy ending. CAST: John Sweet, proprietor of the candy shop Jack Sweet, his son Hilda Noble, a shop girl Saul Wright, a tailor Sally Ann, his daughter Gilbert Grand, a soda fountain attendant Mrs. Gregory, a widow Mrs. Bashfield, in charge of the candy shop Mrs. Montrose Quilligan, a suffragette Ned Johnson, a proprietor at Coney Island Rufus, a detective Genevieve, cashier in the candy shop Mr. Squills, a candy drummer Miss Glick Miss Meddle Sue, Settle, the Alimony Sisters Friends of Mrs. Gregory, Shop Girls, Matinee Girls, Dancing Girls, Chicago Girls, Yachtsmen, etc. MUSICAL NUMBERS (programme) ACT 1 1. Opening Chorus (Working, clerking, selling candies, etc.) 2. "Now That I've Got It, I Don't Want It " (Solo and Chorus) - John, Girls 3. "Just We Two" (Duet) - Jack, Hilda 4. "Honey Bunch" (Solo and Ensemble) - Jack, Sue, Settle 5. "I've Been Married Once" (Solo) - Saul 6. "In Vaudeville" (Duet and Ensemble) - Gilbert, Hilda 7. "You're My Girl" (Duet) - Gilbert, Hilda 8. Finale (Who Among You Stole That Jewel?) - Entire Company ACT 2 9. Opening Chorus (There Is an Island) - Entire Company 10. "By Wireless" (Double Octette) - Boys, Girls 11. "Help! And the Villain Goes to Jail" (Solo and Chorus) - Sally Ann 12. "Chinese Love Song" (Duet) - Gilbert, Hilda 13. "Mr. Othello" (Solo) - Mrs Gregory 14. "Meet Me Down on the Corner" - Gilbert, Sally Ann SCENES AND SETTINGS Act 1: The Candy Shop. Act 2: Coney Island
MUSICAL NUMBERS (vocal score) ACT I - The Candy Shop. 1. Opening Chorus - "Working, clerking, selling candies to the ladies and the dandies, packing bon-bons sweet, for the girls and the boys a treat..." 2. Song - John Sweet - "When I was but a simple youth I found I had a very sweet tooth; oh, I was fond of candy! ... No one could blame you for that, sir..." 3. Duet - Jack Sweet and Hilda - "I know you're just a little candy shop girl, selling bon-bons all the day, working till I'd almost think you'd drop, girl..." 4. Duet (composed by W. E. MacQuinn and John L. Golden, quartet arranged by Ribé Danmark).- Jack and Girls, with Male Quartet - "The dearest girl I ever knew I tried to win with pet names rare. I called her Sweetie, I called her Ootsey-oo ..." 5. Song - Saul - "Have you ever had a sneaky feeling stealing down your spine? Your head was hot, your feet were full of chills; your appetite was missing..." 6. Duet - Gilbert and Hilda - "I tell you, kid, these actor folks are getting all the stuff - thousands ev'ry week in Vaudeville. We could get it too..." 7. Duet - Gilbert, Hilda & Chorus - "Songs that are sung of a fellow's own girl can't go wrong; easy to catch and to keep you a-whirl. (The girl?) No, the song." 8. Finale Act I - "Who among you stole that jewel; answer me and go! Did you?" etc... "You? Someone saw it, someone had it, someone must confess..." ACT II - Coney Island. 9. Chorus - "There is an Island where pleasure's a-whirl, down by the shores of the ocean; ev'ryone there is a boy or a girl, beaming with love and devotion..." 10. Chorus - "Mister Wireless Operator, can't you find my beau? He's somewhere across the sea. By wireless ... I can try if you'll dictate..." 11. Song - Sally and Chorus - "I never had no teacher and I never went to school, but I learned myself to read, and that's the truth. To study, as a starter..." 12. Chinese Love Duet - Gilbert and Hilda - "China Boy he lik-a serenade a lily girl, so he sing a lilly chinee tune. China Boy he kind-a velly poor jus' now..." 13. Song - Mrs. Gregory and Chorus - "Miss 'Liza and her Ephriham went to a Shakespeare show; she'd never seen a tragedy before..." 14. Ensemble - "Down on our block, ev'ry night about eight o'clock ... wasn't it great! After the meal from the house the boys and girls would steal......" The Candy Shop: 1909 Musical Comedy: Complete Book and Lyrics (Historical Libretto Series 25)
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