Shows F

4 GUYS NAMED JOSÉ … and Una Mujer Named Maria Musical in 2 acts. Book and Song Selection by: Dolores Prida; Conceived by: David Coffman and Dolores Prida; Director's Book by: Susana Tubert. Lyrics by: Various; Music by: Various Musical Supervision and Arrangements by: Oscar Hernandez John Houseman Theater, Off-Broadway - 21 April, 2000. Transferred to the Blue Angel Theater, opened 18th September, 2000, Closed 4th March, 2001 SYNOPSIS Four young Latino men have a chance meeting at Burrito World in Omaha and discover they share the same name! Even though their ancestral roots are different (one is from Puerto Rico, one is from Cuba, one is from Mexico and one is from the Dominican Republic), not only do they share a common name, they share a common dream: to stage a show of Latin standards that puts forth a positive image to counteract Latino stereotypes. Enter Maria, a beautiful woman who provides a romantic interest as the gentlemen vie for her attentions. Performed in Spanish and English, 4 Guys Named José… And Una Mujer Named Maria features some of the most evocative Latin music ever written (including such standards as La Bamba, Guantanamera, I Like It Like That and Bésame Mucho) sung in four and five-part harmony. The show is brimming with the zest of life intrinsic to the Latino culture. STORY ACT I Jose Cubano, Jose Domincano, Jose Mexicano and Jose Boricua met in Burrito World in Nebraska. They decided that since they each love to sing and dance so much they should put on a show of the golden oldies they learned from their parents. The local Veteran’s Hall is thus transformed into a tropical paradise. The 4 Guys introduce themselves and their onstage band, El Trio Los Omahaenos. With 'Maria Bonita' they expect the entrance of their fifth performer, Maria. She doesn’t arrive. The men panic until they hear activity offstage. They again prepare for Maria’s entrance. She arrives. But she is the wrong Maria. This Maria begins her wild story: the original Maria, her roommate, could not make the show and she’s taken her place but her boyfriend dumped her that day, so she’s a mess. With she culls sympathy from the audience and the 4 Guys about her broken heart. Jose Cubano, however, scolds them. They are not following what has been scripted for the show. They shoo Maria offstage so that she can get into costume and entertain the audience as to how they all met at Burrito World. When Maria returns, Jose Cubano gives Maria cue cards to keep her on track. She takes the first opportunity not to follow them. Jose Cubano gently guides her back to the script. The company gives the history of Latin music and prepares the audience to hear lyrics in both Spanish and English. This leads into 'Frenesi', a song about passionate love. They fall into a Spanish lesson game with the audience. Next, the 4 Guys give a lesson to the audience in Latin Dance which begins with 'Cumbia' and goes into a Cuban Conga, a Merengue of Santo Domingo, and Salsa. Maria jumps in. But the men have not rehearsed a dance number with the other Maria. Eventually, they permit her to join them. Something about her dancing

entrances the men. They are all smitten with her. Now begins a competition for Maria’s affections. Maria is cast as the muse. She begins and is soon serenaded by the 4 Guys. Maria expresses her present distaste of romance which leads into the men wooing her. Maria has had enough. She sings about enforcing her cynicism of love and romance. ACT II At opening Maria is dressed as a traditional peanut vendor. The 4 Guys join her. Changing tone, the company performs the traditional Puerto Rican plena featuring Maria as a Puerto Rican girl leaving New York. Jose Boricua tells the audience of his family’s immigrant history. Jose Cubano, Jose Mexicano and Jose Dominicano also tell about their homelands. Maria then goes off-script for a third time to wonder aloud if the man who just dumped her still thinks of her fondly. The 4 Guys quickly get her back on track. The men then fight over Maria’s attention. Each Guy is convinced that Maria carries his particular Latin heritage. Maria, however, gives them the truth - she is from LA. One by one, each Jose tells the truth of his origin as well. The 4 Guys ask Maria to make a choice between them. To their great surprise she chooses the band’s piano man, Jose de Nebraska! Mariasings in celebration. MUSICAL NUMBERS 1. Feel It - 4 Guys 2. Perfidia - Maria 3. Then & Now Medley - 4 Guys, Maria 4. La Cumbancha - The Company 5. Nonsense Songs - The Company 6. Mambo Fuego - The Band 7. Las Mulatas Del Cha Cha Cha - 4 Guys 8. Amor, amor - Maria and Company 9. Te Quiero dijiste - Jose Dominicano 10. Besame Mucho - Jose Cubano 11. Quien sera/ Quizas, Quizas, Quizas - Jose Boricua/Jose Mexicano 12. Es Mentiroso - Maria and Company 13. La Manisera - Maria and Company 14. Nostalgia Medley – 4 Guys 15. Mi tierra - Maria and Company 16. Rhythm Divine - Maria and Company 17. Maria Medley - 4 Guys 18. Piensa En Mi - Maria 19. Bang Bang - The Company CAST THE CHARACTERS All five characters are, as we find out at the end of the show, born in the U.S.A. - they are Americans of Latin American descent. They do not have funny Frito Bandito accents. They speak regular American English sprinkled with Spanish words and phrases. They don't all have to be good looking and buff, but each must have charming qualities all his own. (Some of the characters’ attributes may change based on casting.) Character Breakdown: • JOSE CUBANO Older, suave (preferably a baritone). Tends to lecture and to take control of the situation. At times he gets carried away with flowery, long-winded speeches. Teaches Spanish at the University of Nebraska in Omaha. Born in Miami. the show was his idea...or so he likes to think.

• JOSE DOMINICANO Handsome, all business but fun. He's a computer programmer at Mutual of Omaha Insurance Company. Born in St. Paul, Minnesota. Although he's sexy, he's not always aware of it. He's a true romantic, in the old-world sense of the word. • • JOSE MEXICANO Younger, sweet, with show-business ambitions. He's a waiter at Burrito World in Lincoln, Nebraska. In the summer he plays "the villain" in the melodramas presented at the Mahoney State Park (which is located between Lincoln and Omaha.) Born in Chicago. • JOSE BORICUA Handsome, a lady's man, streetwise. A little vain and definitely a show-off. He's a youth counselor at Boys Town in Omaha. In his youth he was a "bad boy" himself. He was born in Brooklyn, New York. • MARIA A beautiful sultry Latin siren. Sharp-tongued and no-nonsense, She feels somewhat uncomfortable playing the "beautiful Maria" role -- but this does not stop her from always singing her heart out. She's obsessed with the man who dumped her. She's all the MARIAs and none of the MARIAs. She has a multicultural background. She was born in Manhattan and raised in Minneapolis. INSTRUMENTATION: Orchestrations by Oscar Hernandez Drums Percussion DISCOGRAPHY 4 Guys Named Jose: (Original Cast)/...And Una Mujer Named Maria!

42nd STREET Music by Harry Warren Lyrics by Al Dubin: Book by Michael Stewart & Mark Bramble: Based on the novel by Bradford Ropes : Direction and dance by Gower Champion : Originally produced on Broadway by David Merrick Winter Gardens Broadway - 25 August, 1980 (3486 perfs) Theatre Royal, Drury Lane - 8 August, 1984 42nd Street has been described as the definitive backstage musical - a show about a show. STORY: Act I It begins just as the auditions for a fictitious Broadway musical, Pretty Lady, are drawing to a close. One young dancer, Peggy Sawyer, has not made it to the auditions on time but, luckily for her, her unceremonious entrance has caught the eye of the show's leading man, Billy Lawlor, who promises to help her secure or audition. Unfortunately, the director is too busy to deal with latecomers. The same goes for revered producer - Julian Marsh, who arrives to give his pre-rehearsal pep-talk. Peggy is ordered to leave the theatre and shortly after, the star of the show, veteran leading lady Dorothy Brock, arrives with her sugar-daddy, Abner Dillon. Dorothy is proving to be something of a headache for producer Marsh. She has only landed the starring role because Dillon is the show's principal backer, and is therefore determined to play the role of star up to the hilt. However, her petulance and threats to walk out, taking Dillon's cash with her, hold little sway with the producer, who will not be ordered about by anyone. Eventually Dorothy does start to rehearse, albeit sulkily. During a break in rehearsals, Dorothy meets Pat Denning, an ex-lover end partner from her vaudeville days. She is still in love with him but does not want to risk the situation she has with the rich Abner Dillon, and the starring role in Pretty Lady that goes with it. Dorothy and Denning arrange to meet only when Dillon is not around. Meanwhile, Peggy has returned to the theatre to collect her purse, which she had forgotten during her hurried exit, There she is invited by some of the other dancers to lunch at a nearby tea-room. The girls decide to dance to the tea-room, and Peggy joins in, showing that she con manage even the most difficult dance steps. After lunch, the group dance back to the theatre where they learn that the chorus is one girl short. The producer declares that he has a good mind to employ the first girl who comes past. Peggy realises that this is her chance and, to demonstrate her dancing ability, gives an impromptu performance right there in the street. Marsh is impressed and hires Peggy on the spot. Billy and Dorothy Brock rehearse the love scene under the watchful eye of Abner Dillon. At one point, he insists that handshakes are substituted for kisses, Peggy, who hasn't had sufficient time to prepare for her first dance number, makes a mess of the routine, causing Dorothy to lose her temper. Peggy faints and has to be taken to Dorothy's dressing room to recover. There she is received by Denning, who is waiting to meet Dorothy. Unfortunately, Dorothy walks in just as Denning is administering to the unconscious Peggy. She is furious at what she sees. At this point Dillon barges in and Denning has to be passed off as Peggy's boyfriend to avoid a scene. Meanwhile the producer is getting increasingly worried about Dorothy's actions and the risks they pose to the show, so he arranges for a friendly gangster to run Denning out of town. Without saying goodbye to Dorothy, Denning ups and leaves for Philadelphia. Unknown to him, however, the out-oftown tryout of Pretty Lady has been rescheduled at the last minute - to Philadelphia! At the final rehearsal, Dorothy gets annoyed at being left out of the big dance number. At a party that evening, she gets drunk end tells Dillon what she really thinks of him, before ringing around to try and find Denning. Marsh reacts by calling his gangster friend, but is overheard by Peggy, who rushes to warn Dorothy,

only to find Denning waiting in Dorothy's room. Again Dorothy appears and catches the two together and, in a fit of jealousy, orders them both to leave her alone. Miraculously, the show manages to open on time, and all seems to go well until Peggy is accidentally pushed into Dorothy's path by another dancer. Dorothy falls and cannot get up. The curtain comes down, and the producer sacks Peggy on the spot. An announcement goes out that the performance has been abandoned. Act II Dorothy has broken her ankle and will not be able to continue. It seems as if the whole production will have to be cancelled. The dancers, aware that they will be out of a job, try to convince themselves that something can be done. Suddenly one of them has an idea: why not just replace Dorothy? They all agree that Peggy is the girl for the job and quickly convince Marsh, who decides to head back to New York and perform the show with Peggy in the lead role. The only problem is that Peggy has been sacked. Marsh rushes to Broad Street station, where he finds his potential leading lady despondent and ready to forget about a life in show business. Marsh tries to convince her with visions of Broadway, his words are echoed by the rest of the cast until, suddenly, Peggy agrees. She now has a mere 36 hours in which to learn all the songs and dance numbers, under Marsh's unyielding direction. On the big day, she is visited by Dorothy, who explains how her broken ankle come as a blessing in disguise. It made her realise that love is more important then stardom She tells Peggy that she is now married to Denning, and wishes the new leading lady good luck. That night Marsh wills Peggy onto the stage with the immortal words, "You're going out there a youngster, but you've got to come back a star!" The performance is a tremendous success, and Peggy Sawyer is hailed as a new star of the stage. She is invited to a big party at the Ritz, but decides instead to go to the smaller party held by the chorus kids. And after the show she stays behind for a moment to thank the man who has made it all possible, Julian Marsh. CAST: Male 12, Female 9 plus singers, dancers and non-speaking roles (in order of appearance) • Andy Lee • Oscar • Mac • Annie • Maggie Jones • Bert Barry • Billy Lawlor • Peggy Sawyer • Lorraine • Phyllis • Julian Marsh • Dorothy Brock • Abner Dillon • Pat Denning • Thugs • Doctor Chorus SCENES AND SETTINGS The action takes place during 1933 in New York City and Philadelphia. Act 1 Scene 1: 42nd Street Theatre, New York City. Scene 2: Gypsy Tea Kettle. Scene 3: On Stage. Scene 4: Dorothy Brock's Dressing Room. Scene 5: On Stage. Scene 6: Arch Street Theatre, Philadelphia. Scene 7: Regency Club and Dorothy Brock's Suite at Hotel Stratford. Scene 8; Opening Night, Arch Street Theatre, Philadelphia. Act 2 Scene 1: Outside Dorothy Brock's Dressing Room, ten minutes later. Scene 2: Dressing Rooms at the Arch Street Theatre. Scene 3: Stage of the Arch Street Theatre. Scene 4: Broad Street Station, Philadelphia. Scene 5: 42nd Street Theater, New York City. Scene 6: Peggy's Dressing Room. Scene 7: Opening Night of Pretty Lady, 42nd Street Theatre, New York City. Scene 8: Backstage.

MUSICAL NUMBERS 1. Audition (42nd Street instrumental) - Andy Lee, EnsemblePlaybill 2. Young and Healthy - Billy Lawlor, Peggy Sawyer 3. Shadow Waltz (from Golddiggers of 1933 film) - Maggie Jones, Dorothy Brock, Girls 4. Shadow Waltz (reprise) - Dorothy Brock 5. Go into Your Dance (from Go Into Your Dance film, 1935) - Maggie Jones, Peggy Sawyer, Annie, Andy Lee, Lorraine, Phyllis 6. You're Getting to Be a Habit With Me - Dorothy Brock, Billy Lawlor, Peggy Sawyer, Ensemble 7. Getting Out of Town (Excerpt from 'Gotta Go to Town' fromThe Laugh Parade, film) (Lyrics by Mort Dixon.) - Pat Denning, Bert Barry, Maggie Jones, Annie, Dorothy Brock, Ensemble 8. Dames (from Dames film, 1934) - Billy Lawlor, Ensemble 9. I Know Now (fromThe Singing Marine film, 1937) - Dorothy Brock 10. I Know Now (reprise) - Billy Lawlor, Girls 11. We're in the Money (from Golddiggers of 1933 film) - Annie, Peggy Sawyer, Lorraine, Phyllis, Billy Lawlor, Ensemble 12. Act One Finale - Dorothy Brock, Peggy Sawyer, Full Company 13. Sunny Side to Every Situation (from Hard to Get film, 1938) (Lyrics by Johnny Mercer.) - Annie, Ensemble 14. Lullaby of Broadway (from Golddiggers of 1935 film) - Julian Marsh, Full Company 15. Abouta Quarter to Nine (from Go Into Your Dance film, 1935) - Dorothy Brock, Peggy Sawyer 16. Pretty Lady Overture - Orchestra 17. Shuffle Off to Buffalo - Annie, Bert Barry, Maggie Jones, Girls 18. Forty-Second Street - Peggy Sawyer, Billy Lawlor, Ensemble 19. Forty Second Street (reprise) - Julian Marsh ORCHESTRATION Bass; Reed 1, 2, 3, 4 & 5; Horn; Trumpet 1, 2 & 3; Trombone 1 & 2; Percussion; Piano/Celeste; Bass 42nd Street (Original Cast Recording)

45 MINUTES FROM BROADWAY Musical. Adapted from the George M. Cohan musical by June Walker Rogers Original production opened January 1, 1906 at the New Amsterdam Theatre (90 perfs) Synopsis The irresistible excitement of George M. Cohan's music and the period charm of his most enjoy able libretto are put into a modem school situation and with this you have the best of all (musical) worlds! "Let's do a musical!" is the cry from the members of the school's drama club. The problem is, which one? This common dilemma is solved by the appearance of an old theatrical trunk filled with the memorabilia of early show business days, such as some George M. Cohan props; his derby straw hat and cane and a script of 45 Minutes from Broadway. Miss Templeton, the teacher, and Jason, the student director, guide the cast through the auditions and casting and presentation of the old Cohan musical. This is an example of a show withina-show, complete with such rousing George M. Cohan numbers as "I'm a Yankee Doodle Dandy, " "Give My Regards to Broadway" and "You're a Grand Old Flag." SCENES AND SETTINGS Act 1: Exterior of Castleton Mansions in New Rochelle. Morning Act 2: Interior. Evening Act 3: Railroad Station. Next Morning CAST: 7m., 6w., extras, chorus. Orchestration available. MUSICAL NUMBERS (original) Gentlemen of the Press - Policemen and reporters (I Want to be a) Popular Millionaire - Tom Bennett and Chorus Mary is a Grand Old Name - Mary Jane Jenkins Forty-Five Minutes from Broadway - Kid Burns and chorus So Long, Mary - Mary Jane Jenkins Forty-Five Minutes From Broadway: A Melifluous Musical Merriment (1959 Television Cast) by George M. Cohan

1492 (Up to Date or Very Near It) An operatic extravaganza in 3 acts 9 scenes. Words by R.A. Barnet. Music by Carl Pflueger The show has been described as “a musical, historical, mellow drama [sic] that threw together bits of opera comique, comic opera, stereopticon projections, extravaganza, farce-comedy, vaudeville, local comedy, burlesque, and even minstrelsy. Opened 15 May, 1893 at Palmer's Theatre and closed 1 July 1893 for summer holiday; re-opened 26 August 1893 at Palmer's Theatre; Second Edition opened 5 February 1894 at the Garden Theatre; revised version opened 27 August 1894 at the Garden Theatre for 52 performances; production closed 13 October 1894 after a total of 452 performances. CAST: (with the names of the original players) •Ferdinand of Aragon, King of Spain: WALTER JONES •Charley Tatters, a fringe on the edge of the crust of society: WALTER JONES. •Alonzo de Quintanilla, royal treasurer: EDWARD M. FAVOR. •Don Juan, the King's son, aged four: W. H. Sloan. •Felix, of the tribe of coppers: W. H. Sloan. •Captain Martin Pinzon, Don Pedro Margerite, Conspirators of the old-fashioned type: CHARLES F. WALTON, JOHN C. SLAVIN. •Charles VIII, King of France: Louis de Smith. •Don Ferdinand Allegro: Yolande Wallace. •Adolphus Fitznoodle, a regular chappie, up-to-date: YOLANDE WALLACE. •Maid Mabel, a sailor lassie: YOLANDE WALLACE. •Maid Marion, a sailor lassie: •Eileen Karl. The Royal Herald: Eileen Karl. •Ward Knickerbocker, cacique of the 400: C. J. Alden. •Jim Confidence, of the tribe of buncoes: C. J. Alden. •Bob, a New York newsboy: James Lee. •Erasmus, a vender of maize: Frederic Howard. •Isabella of Castille, Queen of Spain: RICHARD HARLOW. •Fraülein, a German waif: THERESA VAUGHN. •Infanta Joanna, in love with Columbus: THERESA VAUGHN. •Infanta Catalina, her sister: HATTIE WILLIAMS. •Mary Ann Kehoe of the Royal Household of the new world: EDITH SINCLAIR. •Christopher Columbus: MARK SMITH. Courtiers, Ladies, Peasants, Students, Ballet, Amazons, Newsboys, Moors, Sailors, Bull Fighters, Soldiers, Pages, Standard Bearers, Casino Girls, etc.

SCENES AND SETTINGS Act 1: • Throne Chamber in the King's Palace. Act Drop: Exterior of the World's Fair. Act 2 Scene 1: On the Ocean. Scene 2: Vision. The Discovery of America, 1492. Scene 3: The Progress of Enlightenment. Scene 4: The Real Discovery of Columbus. Scene 5: The Statue of Liberty, New York Harbour. ( Scene 6: Columbus returns to Earth. Discovery of Madison Square, 1892. Act Drop: Entrance to the World's Fair. Act 3 Scene 1: Royal Kitchen in the Palace. Scene 2: Spanish Palace up to date. Changing to the new electrical scene, The Ideal Home of Columbus. Musical Numbers 1. Opening Chorus - "Give us cash, give us cash" 2. The Treasurer's Song (arranged from Genée) (Quintanilla with Chorus) - "What provokes a gladsome smile" 3. DUET - (Joanna and Columbus) - "I've dared to whisper that I love thee" 4. The King's Song - (King with Chorus) - "You all think dignity does pervade royalty" 5. a) GRAND PROCESSIONAL & BALLET (Chorus) - "Ferdinand of Aragon" 6. b) Queen's Song - (Queen & Chorus) "Isabella is a sov'reign of notoriety" 7. SPANISH DANCE (wr. by Aberano Colon) 8. FINALE Act 1 - (Chorus & Queen) - "Adios bella Hispania" 9. COLUMBUS' VISION - (Columbus & chorus (off)) - "Toss'd and shaken by the billows of the deep" 10. CHORUS OF NEWSBOYS - (Newsboys) - "Herald, Tribune and Times" 11. CONSPIRITORS' MUSIC 12. CASINO GIRLS' CHORUS - "We are careless chorus maidens" 13. FINALE ACT II - "Our national song, what is it?" 14. BARCAROLLE (arr. from a Spanish air) - "Ye mariners of Spain, bring back my love again" 15. VOCAL MARCH - RETURN OF COLUMBUS - "Onward, onward with great pomp and show" 16. AMAZON MARCH (SPANISH) 17. a) BALLET MUSIC b) SOLO c) Finale 18. FINALE - (Columbus, Joanne & company) - "Now the prize is mine" APPENDIX TOPICAL SONG - Wait Till the Sweet Bye and Bye The Hen and the China Egg

FADE OUT - FADE IN A Musical comedy in 2 acts, 19 scenes: Book and lyrics by Betty Comdon and Adolph Green: Music by Jule Styne Original production directed by George Abbot; dance and musical numbers arranged by Ernest Flatt Produced for the Broadway stage by Lester Osterman and Jule Styne Mark Hellinger Theatre - 26 May, 1964 (271 perfs) The show is set in Hollywood, in the film capital's heyday. An unpromising chorus girl is accidentally given the starring role in a new movie. When the mistake is discovered heads roll and the film is securely canned in a vault. But Rudolf, the nephew of the studio's top man, takes a liking to the girl, Hope Springfield, and arranges for a preview. The movie is a success, Hope is a star and she and Rudolf go off hand in hand. The show offers opportunities for cameo impersonations of the great film stars of the 30s, whilst its portrait of the studio head, Lionel Z. Governor is a direct take-off of Louis B. Mayer. Governor shared Mayer's notorious eye for starlets and his grudging nepotism. The characterisation is wickedly exaggerated , with Governor requiring a full-time psychiatrist at his side and with his hatred of his fourth nephew so great he can no longer say "four". MUSICAL NUMBERS 1. Call Me Savage 2. Close Harmony 3. The Dangerous Age 4. Fade Out, Fade In 5. Fear 6. Fiddler and the Fighter 7. A Girl To Remember 8. Go Home Train 9. I'm With You 10. It's Good To Be Back Home 11. Lila Tremaine 12. My Fortune Is My Face 13. My Heart Is Like a Violin 14. What Is This Thing I've Got 15. They're At the Post 16. Usher From the Mezzanine CAST: - In order of appearance (Male - 16+; Female - 9+; plus chorus) Byron Prong Helga Sixtrees Pops Rosco Billy Vespers Lyman Hope Springfield Rex Ralph Governer Rudolf Governor Frank Governor Harold Governor Arnold Governor Myra May Melrose Miss Mallory Custer Corkley Max Welch Lou Williams Dora Dailey Lionel Z. Governor Dr. Anton Taurig Gloria Currie Madame Barrymore Teenagers, Autograph Kids, waiters, extras, Publicity Men, Photographer, etc

SCENES AND SETTINGS The action takes place in New York and Hollywood in the mid-1930s. Act 1 Scene 1: In front of Grauman's Chinese Theatre. Scene 2: Gate-F.F.F. Studio. Scene 3: On the Lot. Scene 4: Executive Dining Room. Scene 5: Wardrobe Department. Scene 6: On the Set. Scene 7: Dora Dailey. Scene 8: Dr. Taurig's Office, Vienna. Scene 9: On the Set. Scene 10: Executive Dining Room. Scene 11: The Bungalow. Act 2 Scene 1: Gate-F.F.F. Studio. Scene 2: Dora Dailey. Scene 3: Wardrobe Department. Scene 4: A Street. Scene 5: L. Z.'s Office. Scene 6: On the Set. Scene 7: In front of Grauman's Chinese Theatre. Scene 8: In front of Grauman's Chinese Theatre. DISCOGRAPHY: Original Cast Recording

FALLING IN LOVE AGAIN Book by Lawrence Roman suggested by Martin Flossmann's play Marlene This fascinating musical puts under the spotlight how a legend is created - the legend that is Marlene Dietrich. Set in the present day at an American military base in Germany, a small theatre group providing entertainment for the troops give us their differing insights into this complex and intriguing woman. The show includes famous songs like 'Lili Marlene", "The Boys In The Backroom", "Honeysuckle Rose" and, of course, the title song. Cast: 4 male, 2 female, no chorus INSTRUMENTATION: piano Vocal Score and Libretto on hire only Falling in Love Again: Illusions/Original Recordings 1930-1949

FALSETTOLAND A Musical: The Third in the "Marvin Trilogy" * - Book by William Finn and James Lepine; Music by William Finn; Lyrics by William Finn. Playwright's Horizons Theatre, Off-Broadway - 6 May, 1990 (215 perfs) Musical Arrangements: Michael Starobin Costumes: Franne Lee Lighting Design: Nancy Schertler Musical Director: Michael Starobin Set Design: Douglas Stein SYNOPSIS Marvin leaves his wife and young son for his male lover, while his psychiatrist moves in with his wife, At the end he is left with nothing except the possibility of a relationship with his son who is terrified of growing up just like Dad. STORY The year is 1981. Mendel the psychiatrist shines a flashlight into the audience on a dark stage, welcoming us to “Falsettoland,” the conclusion to March of the Falsettos. The cast has been enlarged by two, Marvin’s lesbian neighbors Dr. Charlotte, an internist, and Cordelia, a “shiksa” caterer. Marvin has realized that it’s “About Time” that he grows up and gets over himself. He has called a truce with Trina and he has managed to maintain his relationship with Jason, who is now preparing for his Bar Mitzvah. He has not seen his exboyfriend Whizzer for two years and has still not gotten over him. One day, when she arrives to take custody of Jason for the week, Trina informs Marvin that it is now time to start planning Jason’s Bar Mitzvah, probably the last pleasant thing the ex-couple will ever do together. The pair immediately starts bickering, to Jason’s dismay and Mendel’s amusement. Mendel encourages them to have a simple party, but Trina (and Cordelia, the caterer) will have none of it. It is the “Year of the Child” after all, the year that every Jewish parent dreams of: the year their child is bar mitzvahed and they can spend insane amounts of money celebrating. The scene moves to Jason’s Little League Baseball game. While at bat, Jason has a lot more on his mind than the game. He is trying to decide which girls to invite to his bar mitzvah: the girls he should invite, or the girls he “wants” to invite; reaching a discussion in this delicate situation would be a “Miracle of Judaism.” Everyone is sitting “watching Jewish boys who can’t play baseball play baseball” and getting a little too into it, when Whizzer suddenly arrives: Jason had asked him to come (“The Baseball Game”). Marvin is struck by how little he’s aged, and a tentative offer of reconciliation is offered just as Jason, miracle of miracles (and thanks to some helpful batting advice from Whizzer), actually hits the ball. He’s so shocked he forgets to run. An interlude: “A Day in Falsettoland.” In Part One, “Dr. Mendel at Work,” Mendel listens to the blather of a yuppie patient and agonizes over being a 1960s shrink stuck in the 1980s, and how his work is taking a toll on his marriage to Trina. In Part Two, “Trina Works It Out,” Trina reveals Marvin and Whizzer are back and wonders why that is bothering her. In Part Three, “The Neighbors Relax,” Mendel and Trina jog and discuss Marvin and the bar mitzvah, and Dr. Charlotte comes home to Cordelia cooking “nouvelle bar mitzvah cuisine.” Cordelia asks Charlotte how her day was at the hospital, and Charlotte exclaims that today was a rare day without a death. Meanwhile, Marvin and Whizzer play racquetball and bicker when Whizzer beats Marvin soundly. All reflect on how wonderful life is. The peace doesn’t last long. Marvin and Trina are warring over every single aspect of the bar mitzvah, which

makes Jason want to just call the whole thing off (“Round Tables, Square Tables”). It is up to Mendel to console the boy, telling him that “Everyone Hates His Parents” at his age, but everyone also gets past it and moves on to hate them less. Marvin sits in bed one morning, looking at the sleeping Whizzer, wondering at how much he loves him (“What More Can I Say?”). Dr. Charlotte, meanwhile, has started to become aware that “Something Bad is Happening” among young gay men in the city, who arrive at the hospital sick with a mysterious illness that no one seems to know anything about. Rumors are spreading, but the disease is spreading faster. Then Whizzer collapses during a game of racquetball (“More Racquetball”). As Whizzer enters the hospital with a disease that the audience immediately knows to be AIDS, Trina begins to see her world fall apart around her as someone she shouldn’t care about but does anyway is clearly sick. She is barely “Holding to the Ground” and this blow to her family may just be too hard to handle. In Whizzer’s hospital room, the entire cast gathers to cheer him up, everyone commenting on how good he looks. Marvin provides love, Cordelia chicken soup and Mendel some terrible jokes. Everyone agrees that it’s “Days Like This” that make these secular Jews believe in God. Only Jason, in childish honesty, is able to tell Whizzer the truth: that he looks awful. Mendel and Trina sit Jason down and give Jason the option of “Canceling the Bar Mitzvah” if he feels he can’t go through with it, and Jason is finally told that Whizzer may not recover. Marvin sits in Whizzer’s hospital room, soon joined by the Lesbians, and the four “Unlikely Lovers” wonder how much longer their love can last. As Whizzer’s condition worsens, Jason turns to God, asking him to let Whizzer get better (“Another Miracle of Judaism”); he’ll even get bar mitzvahed if Whizzer gets better. But it’s to no avail, because, as Dr. Charlotte reiterates, “Something Bad is Happening” to Whizzer (“Something Bad Is Happening (reprise)”). He is soon deathly ill, and he steels himself to meet his maker, reflecting bravely that “You Gotta Die Sometime.” Suddenly everyone bursts into the hospital room. Jason has had an epiphany: he wants to hold his bar mitzvah in Whizzer’s hospital room so he can be there (“Jason’s Bar Mitzvah”). Trina couldn’t be prouder, and everyone, for some reason, can only think how much Jason looks like Marvin. Jason is bar mitzvahed, entering Adulthood as Whizzer begins to leave his, for Whizzer can suddenly take no more, and is taken out of the room. Marvin is left alone. He sits and reflects on his relationship with Whizzer (“What Would I Do?”). Whizzer appears, dressed as we first saw him, and the two sing together one last time, and then Whizzer is gone. Marvin is comforted by his family, now short a member, as Mendel bids us goodnight from the crazy, sad world known as “Falsettoland.” MUSICAL NUMBERS: 1. Falsettoloand - Company 2. About Time - Marvin 3. Year of the Child - Dr. Charlotte, Cordelia, Marvin, Trina, Mendel & Jason 4. Miracle of Judaism - Jason 5. Thwe Baseball Game - Everybody 6. A Day in Falsetoland - Everybody 7. Round Tables, Square Tables - Jason, Trina, Mendel & Marvin 8. Everybody Hates His Parents - Mendel & Jason 9. What More Can I Say - Marvin 10. Something Bad is Happening - Dr. Charlotte & Cordelia 11. More Racquetball - Marvin & Whizzer

12. Holding to the Ground - Trina 13. Days Like This - Marvin, Whizzer, Cordelia, Trina, Mendel, Jason & Dr. Charlotte 14. Cancelling the Bar Mitzvah - Trina, Mendel & Jason 15. Unlikely Lovers - Marvin, Whizzer, Cordelia & Dr. Charlotte 16. Another Miracle of Judaism - Jason 17. Something Bad is Happening (Reprise) - Dr. Charlotte 18. You Gotta Do Something - Whizzer 19. Jason's Bar Mitzvah - Jason, Whizzer, Marvin, Trina, Mendel, Cordelia & Dr. Charlotte 20. What Would I Do? - Marvin & Whizzer * The "Marvin Trilogy" In Trousers March of the Falsettos Falsettoland

FAME - THE MUSICAL Music by Steven Margoshes, lyrics by Jacques Levy, book by José Fernandez. : Based on a concept by David DeSilva. Title song by Dean Pitchford & Michael Gore. Cambridge Theatre London - 7th June 1995 – 28th September 1996 Victoria Palace Theatre, London - 11th November 1997 – 17th January 1998 Prince of Wales Theatre, London - 15th October 1998 – 16th January 1999 Victoria Palace Theatre, London - 3rd October 2000 – 9 September 2001 Aldwych Theatre, London - 20th September 2001 – 31 August 2002 Little Shubert Theatre, Off-Broadway 7th October 7, 2003 (previews), 11th November, 2003 (official), to 27th June, 2004 (264 perfs and 40 previews) Shaftesbury Theatre, London - 8 May 2007 – 1 September 2007 SYNOPSIS This new stage version of the film and TV series follows some students at New Yorks School of the Performing Arts through their four year course. We see them coming to terms with life and relationships; we see those who persevere, who are resilient - and those who are not. Above all, we see them perceiving the need to strive for excellence. The cast must be ethnically mixed and be able to perform classical to 'rap music and dance going from ballet through modem to hip-hop - as contemporary as MTV, but live and kicking! STORY ACT ONE A group of vibrant, energetic young people, African-American, white, Hispanic, rich and poor alike, converge on 46th Street to audition for the chance to study at the famous New York High School of Performing Arts. Praying they make "P.A.", the students tear open a letter from the school, learn of their acceptance and begin a joyous dance of celebration. On the first day of school, the freshman meet Miss Sherman, their English teacher, who warns them that it takes a lot more than dreams to succeed at "P.A." The students, with a mixture of excitement, trepidation and raw energy, acknowledge that what it really takes to succeed is hard work. Drama Class. Nick and Serena rehearse a scene and discuss their life experiences. Nick's goal in life is to move people emotionally. Mr. Myers, the drama teacher asks his students to recall how a physical sensation can trigger an emotional response. Joe, a funny, uninhibited young man, graphically recounts the very personal reactions that occur whenever he thinks of a certain beautiful girl in dance class. Dance Class. Tyrone, a sexy, streetwise African-American, is partnered with Iris, a very wealthy, classicallytrained dancer. Iris obnoxiously derides Tyrone's lack of classical dance experience. Tyrone, enraged at her comments, begins a rap which expresses his anger. Iris apologizes and, unexpectedly, kisses him passionately. While Nick and Serena rehearse another scene, she tells him of her yearning to try something romantic and passionate. It becomes obvious Serena is in love with Nick. Nick, concerned only with acting, becomes upset and leaves. Heartbroken, Serena laments her unrequited love. At lunch, Carmen, a self-assured, cocky Latina spitfire, dreams of seeing her name in lights and people gasping as she walks down the street. The other students join in her fantasy and begin an exciting, electrifying dance.

The hallway. Miss Sherman expresses concern over Tyrone's care-free attitude towards education and threatens to keep him out of the Fall Festival if his grades don't improve. Miss Bell overhears this and argues that Tyrone's artistic talent is more important than his academic ability. As Tyrone threatens to drop out of school, the other students try to focus on the reason why they are really there. ACT TWO After two arduous but rewarding years, the students now begin their junior year with the P.A. Fall Festival. Dance rehearsal. Mabel, a bit overweight for a dancer but full of spunk and wit, complains about the water her body is retaining. In a hilarious yet touching turn, she prays aloud for God's help in keeping her from becoming "the world's fattest dancer". The scene shifts. Serena enters to see Carmen and Nick kissing. Heartbroken once again, Serena tearfully remembers one of the first lessons she learned at P.A. and tries to channel her emotions into her acting. Carmen confronts Schlomo with her plan to leave school and go to Los Angeles. She has met a Hollywood agent named Elliot Greene, who is sending her a plane ticket. Schlomo begs her not to go. He has seen her get into Elliot’s limousine outside of school before and accuses her of using cocaine with him. Schlomo tells Carmen he loves her, but when he realizes he is powerless to stop her, he turns his attention to his violin. In Miss Sherman’s English class, Tyrone is spotted reading a Superman comic book. Miss Sherman confronts him by forcing him to stand up in front of the class and read from the comic book. Embarrassed, he accuses her of trying to make him look stupid: "Wanna fail me again? Go ahead. I’ll pass in summer school, bitch." Miss Sherman gives him a resounding slap in the face and walks off. Defensively, Tyrone says to his shocked classmates he doesn’t need her help. "I’m choreographin' my own life." This leads to his fantasy dance number, "Dancin’ on the Sidewalk." Confronting his pain and frustration, Tyrone goes to the blackboard, writes “I Will Read,” and runs off. Miss Sherman enters, sees what he has written, and is deeply touched. A baroque trumpet-call sounds as the drama students rehearse Romeo and Juliet. Joe, insecure playing Romeo, has been ad-libbing. Serena pleads with him to be serious in the part. Nick offers to show him how to play Romeo and winds up kissing Serena in their first romantic moment. Tyrone asks Iris why she has been avoiding him all year. She says she doesn’t want to be tied to a loser. He takes out a copy of Leaves of Grass and reads to her, showing her he has a whole new attitude about learning. They dance a pas de deux. Mr. Sheinkopf, Mr. Myer and Miss Sherman confront Miss Bell about influencing a summer school teacher to pass Tyrone even though he never showed up. They insist he must repeat the year. But the Dance Theatre of Harlem is ready to take him, says Miss Bell. “Let them wait!” says Mr. Sheinkopf. Miss Bell, left alone with Miss Sherman, finally admits she may be losing her perspective and suggests she take a sabbatical. Carmen is standing in front of the school looking physically wasted and disoriented. She spots Schlomo and after a warm embrace, she tells him the truth about her experiences in Hollywood. Carmen promises him she is going to go for her equivalency diploma, but right now she needs money. He gives her a couple of dollars and sadly departs. At the farewell party, everyone is dressed up and the celebration is loud and festive. Tyrone tells Miss Sherman he is going to repeat his senior year and give her another chance to whip him into shape. Joe announces not only is Lambchops finally wearing a dress, but he is going to be opening at a comedy club - and they’d all better be there. Serena is on her way to Brooklyn College and Nick is headed for Yale. They wonder about their future together.

CAST: The Students - 5 men, 5 women, 8 chorus (expandable); The Teachers - 2 men, 2 woman The Actors: Serena Katz Nick Piazza Joe (Jose) Vegas The Musicians Schlomo Metzenbaum Grace Lamb (Lambchops) Goodman King (Goody) The Dancers Carmen Diaz Tyrone Jackson Iris Kelly Mabel Washington The Teachers Miss Sherman (English) Miss Bell (Dance) Mr Sheinkopf (Music) Mr Myuers (Drama) CHARACTER BREAKDOWN • Carmen Diaz - A sexy and confident, but cocky, dancer with a big ego. Carmen is determined to make it big and is obsessed with the idea of fame, nearly to a fault. - Female, 15-20 yrs old ( Range: A3 - F5) • Ensemble - STUDENTS • Goodman King - A musician who is in Schlomo's band. He is believed to be Schlomo's best friend. - Male, 15-20 yrs old ( Range: F3 - G#4) • Grace Lamb (Lambchops) - loud, confrontational rock chick and tomboy who plays the drums for Schlomo's band. She often loses her temper and it is implied that she does not take school seriously. - Female, 15-20 yrs old ( Range: A3 - B4) • Iris Kelly - A very talented, graceful ballet dancer who often comes across as snobbish and mean because of her insecurities with herself. She shares a difficult relationship with Tyrone. Female, 15-20 yrs old ( Range: D4 - F5) • Joe Vegas - An acting student. Loud, funny, and comical. He develops a crush on Carmen. - Male, 1520 yrs old ( Range: C3 - C5) • Mabel Washington - A loud and overweight dancer and singer who is desperate to shed the pounds but can't resist food. Often speaks her mind and gives out advice to others in their times of trouble. - Female, 15-20 yrs old ( Range: D4 - E5) • Miss Esther Sherman - A strict, old-fashioned English teacher who loves her students despite the fact that she comes down hard on them. - Female, 30-50 yrs old ( Range: F3 - E5) • Miss Greta Bell - A dance teacher with a passion for different styles of dance. Believes that dance is a way of life and is very protective of her students. - Female, 35-50 yrs old ( Range: A3 - E5) • Mr. Myers - A laid back drama teacher with an obsession for human psychology. - Male, 35-50 yrs old (Speaking Role) • Mr. Sheinkopf - European Music tutor with a love for classical music and dislike for all things rock and roll. - • Male, 35-50 yrs old (Speaking Role) • Nick Piazza - Ambitious, enthusiastic, classical actor who is very serious about his craft. He holds a hidden romantic interest for Serena. - Male, 15-20 yrs old (Range: A2 - G4) • Schlomo Metzenbaum - A classical violinist who starts a rock band. He is fed up from the strain of his famous violinist father's expectations. He is very wise and academically clever. - Male, 15-20 yrs old (Range: C3 - F4) • Serena Katz - A shy and timid, yet keen and enthusiastic actress. She is attracted to Nick. - Female, 1520 yrs old (Range: G#3 - Eb5) • Tyrone Jackson* - A talented but dyslexic hip hop dancer who comes from a poor background. Shares a difficult relationship with Iris. - Male, 15-20 yrs old (Range: D3 - Bb4) *Alternate casting: JACK ZAKOWSKI - Headstrong, able, dancer. A functional illiterate from a poor background and Russian immigrant student from Brighton Beach in Brooklyn. Male, 15-20 yrs old

MUSICAL NUMBERS: 1. Hard Work - Company 2. I Want To Make Magic - Nick 3. Can't Keep It Down - Joe and Students 4. Tyrone's Rap - Tyrone 5. There She Goes - Carmen & Students 6. Fame - Carmen & Students 7. Let's Play a Love Scene - Serena 8. The Teachers' Argument - Miss Bell & Miss Sherman 9. Hard Work (Reprise) - Students 10. I Want to Make Magic (Reprise) - Nick & Students 11. Mabel's Prayer - Mabel & Girls 12. Think of Meryl Streetp - Serena 13. Dancin' on the Sidewalk - Tyrone & Students 14. These Are My Children - Miss Sherman 15. In L.A. - Carmen 16. Let's Play a Love Scene (Reprise) - Nick & Serna 17. Bring On Tomorrow - Company 18. Fame (Dean Pitchford & Michael Gore) INSTRUMENTATION: Reed (flute/clarinet/soprano sax/alto sax/tenor sax): Trumpet db. flugel horn: Trombone : Electric Guitar : Percussion : 2 Keyboards : Bass Guitar. DISCOGRAPHY: Original Cast Recording

FAME GAME by Daniel O'Brien & Graham Robb Can Jack, the popular finalist in the global television phenomenon that is 'Fame Game', break free of his indie rock shell to become the crooning ballad singer that the network want? Aspiring indie rocker Jack stakes his integrity when he enters the TV talent competition Fame Game. This wickedly funny new musical charts Jack's struggle to survive the network's manipulations and the cynical celebrity tabloid jungle. An entertaining and contemporary youth musical, Fame Game recently opened at one of the Fringe's most exciting theatre spaces, Rocket Venue, receiving rave audience feedback and an invitation to perform at 'Best of the Fest Musicals'. CAST: M4 F6 Principals, large support cast (flexible - roles can be doubled for smaller companies. Some male roles can be converted to female to accomodate a largely female cast) . Staging: Flexible staging requirements - can vary from a simple to elaborate set. Main set is Fame Game Studio itself.

FAME TAKES A HOLIDAY A musical in 2 Acts by Cassandra Danz, Mary Fulham, Warren Leight. La Mama Experimental Theatre Club - Off Broadway Company - 26 October, 2000 - 19 November, 2000 (14 perfs, 2 previews) SYNOPSIS The story of the High Heeled Women, a four-girl cabaret act, takes place on the two worst nights of their show biz lives. Onstage, they perform a tightknit madcap comedy revue; backstage, they struggle desperately to keep their act together. Fame is the story of a hopeful troupe of comediennes whose dreams of success are undermined by one of its members. Clever lyrics and tunes include a notable Edith Piaf parody (“Je Ne Regrout Rien”) and a torch song in which a jilted Jane, attired in a leopard cocktail dress, yearns for the return of her lothario, Tarzan. By the play’s end the High Heeled Women have lost everything, including their clothing, but they have learned the true meaning of success. CAST Dee Dee Lavender Crystal Polly MUSICAL NUMBERS Girls, Girls, Girls Dream, Dream, Dream I Got the Music Eleanor's Boogie Just Another Jane Je ne regrout rien Ballet for All Ages and Boys Too Book Me Jesus Kish Mir In Tuchas Finale INSTRUMENTATION: Piano/Conductor and instrumental CD. SCENES AND SETTINGS The Action takes place at New York City's Cops Nightclub and the Masonic Lodge in Perth Amboy Libretto ISBN: 0-8222-1796-1

A FAMILY AFFAIR Musical comedy in 2 acts: Music by John Kander : Book by James and William Goldman: Lyrics by James Goldman and Jolin Kander Billy Rose Theatre, Broadway - January 27, 1962 (65 perfs) STORY: ACT ONE A Family Affair is a musical set in Chicago that tells the story of a family wedding (from engagement to the big day) and all that goes into it. We don't just see the lovely side of the bride and groom. We get to see the inner workings of all parties involved (especially the families) as they prepare for that "special day." As the show opens, we see Gerry Siegel, a young successful Harvard graduate lawyer, proposing marriage to Sally Nathan, an attractive young woman. She accepts and they sing a love duet perfect for two people about to be wed, "Anything For You." It all seems wonderful. The scene then shifts to Alfie Nathan's den where we meet Sally's bachelor uncle/guardian. Sally's parents died long ago, and Alfie has been both father and mother to her. He is sobbing as he phones Gerry's parents, Morris and Tilly Siegel. Morris answers the phone. Alfie informs them of the wedding. Upon hearing the news, Morris and Tilly elatedly rush over to Alfie's house to greet the waiting wedding couple. The wedding plans begin. Gerry and Sally have decided to have a small "family affair" right in Alfie's living room. Will this small wedding be fine enough for all parties involved? Only time will tell with two Jewish families battling it out to the end. But for now, everything seems to be "Beautiful." Later that night, back at the Morris house Tilly ruminates about all that she has missed in her life as far as weddings are concerned. She and Morris eloped and their own daughter, Babs, got married in the army. They have never really "experienced" a family wedding. Even though Alfie is technically "mother of the bride," Tilly can't help but wonder if he might not need just a little help with the everything. After all, he's just a bachelor uncle/guardian who is really a successful real estate man. What does he know about planning a wedding? Tilly promises Morris that she will not interfere. She just tells everyone she can phone that "My Son, the Lawyer" is getting married. The next day Alfie tries to make a few calls and tell people about the wedding, but finds that there is no one to tell - Tilly has beat him to it. Alfie feels a bit left out, but moves forward to plan the wedding. He makes a few mistakes here and there, but Tilly is right there ready to "help out." At the bridal shop Tilly and Alfie politely fight as they help Sally purchase her trousseau. Tilly doesn't think anything is quite right, and Alfie would just like to get the job over and done with. No one really seems to care what Sally thinks. To top everything off, Alfie announces that his living room will only hold forty guests - twenty for the bride, twenty for the groom. Tilly is horrified - she has many relatives and friends whom she must invite. After further fighting about the bridal dresses, Tilly and Alfie both leave. Sally and Babs, her future sister-in-law, stay and sing about the joys of all this in "Every Girl Wants to Get Married." At his country club Alfie tells his friends about the "trousseau experience." As the guys laugh about the whole affair, they ask Alfie about the day when he finally gets married. Alfie has no plans to get married. His friend, Weaver, says that there must be plenty of "right girls" who liked to get married. Alfie says that unfortunately that's just the problem. There are too many "Right Girls" who don't get into any trouble - what fun is all that? Tilly throws an "engagement luau" in her backyard for a variety of reasons. First-of-all, she wants to show Alfie just how great a back yard would be for a wedding. Maybe then, he'll move the wedding from his living room to his yard so she can invite more guests. Tilly's entire family meets him at this luau, and ultimately, Alfie is tricked into moving the wedding to his lawn. To top things off, Tilly (who has vacationed in Hawaii) dances "Kalva Bay" in hopes that the young couple will choose that spot for their honeymoon.

The gifts start arriving soon, and the pressure gets to Sally when she gets three toasters all in Marshall Field boxes which upon returning she finds to have actually come from wholesale outlets. Tilly has also picked out an apartment for the couple. As upset as Sally is, Gerry calms her down by saying it doesn't matter where they live as long as they're together - "There's A Room In My House." faAlfie is further upset because he won't have his niece embarrassed on his lawn at her own wedding by having fewer guests than the groom's family. Alfie has a small family; nevertheless, he tries to dig up enough relatives to match the Siegel's. To him the whole thing is like a big football game. In his mind we see an imaginary musical football game with both families fighting it out to see how the wedding will be done. Ultimately, Alfie decides that the wedding will be at his house - his way. Unfortunately, all that only existed in Alfie's mind because the wedding gets so big that it has to be moved to the country club with 400 guests. He hires, Hazel Lumpe, a wedding consultant - a woman Tilly doesn't like. Hazel is ready to do things her way - not Tilly's way - not even Alfie's way. Pretty soon all parties are fighting about everything from the band to dresses to cake to rabbi in a very ironical number called "Harmony." With Hazel Lumpe now in charge Alfie is going crazier than ever. The arriving gifts are also just getting weirder. Tilly's constant complaining has Morris also going crazy and he suggests that the kids just elope. Alfie and Tilly finally have a fight to end all fights. The act ends with Alfie throwing everyone out of his house, and Sally and Gerry wondering if they even want to get married at all. ACT TWO Back at her own house, Tilly is furious. How dare Alfie throw her out of his house like that? Tilly decides that neither Alfie nor any of his relatives will be invited to the bridal dinner. Morris has had enough and puts his foot down - he wants them to apologize to Alfie. She says that she will most certainly not do that. Instead, she fights with her husband and demands justice. Yes, she talks about this wedding a lot, but Morris also talks about their approaching vacation to Greece. "Now Morris" Isn't it the same? Morris replies that it is not the same. Singing "Now Morris" he echoes back to her all the things he has endured with his wife over the years. Back with Alfie we see that he is breaking out in hives because of all this. He is further agitated to learn from Gerry and Sally that neither he nor his relatives are welcome to the bridal dinner. After hearing this, he is out for blood. At the bachelor party, neither Alfie nor Morris shows up. Nevertheless Gerry and his brother-in-law have a "Wonderful Party" with a myriad of people in the bar. Sally comes to talk with her uncle. Should she marry Gerry? Is her future with him going to be just like this entire engagement period? Unfortunately, her uncle is more concerned with getting the wedding his way and getting "Revenge" then in helping his troubled niece figure out what's best for her. Sally goes to bed while Alfie broods and at 4AM ultimately calls his own rabbi to preside at the service and also orders the cake from the place he originally wanted to get it. At the rehearsal dinner, Morris isn't talking to Tilly. He has canceled their dream vacation to the Greek Islands. Morris can't keep up with this anymore and just leaves Tilly alone. She sings "Summer Is Over." realizing that her actions have done more than simply upset Alfie. Alfie arrives at the country club and we find that there are indeed three cakes (Tilly had her brother, the baker, make one). Hazel, the wedding consultant throws her two cents, too, and once again no one is talking to each other - just casting blame. Gerry and Sally finally step forward and tell them that they are all selfish, petty and egocentric. It's true. Tilly, Morris, and Alfie have all acted terribly. Alone, each tells us "I'm Worse Than Anybody." We find Gerry and Sally alone. They find that there are three rabbis - Gerry doesn't know what to do. Sally finally speaks her mind and says that she wants a man who knows what to do. He does know what to do - love her forever. Ultimately, they pledge to each other and Gerry sings that "What I Say Goes." In the last scene, Tilly, Morris, and Alfie also make up and the wedding is beautiful.