Shows "C"

• 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.

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