HADDON HALL Light opera in three acts; music by Arthur Sullivan; libretto by Sydney Grundy. Savoy Theatre on September 24, 1892 (204 perfs). The opera, set at the eponymous hall, tells the story of Dorothy Vernon's elopement with John Manners in the 17th century. The piece was popular with amateur theatre groups, particularly in Britain, through the 1920s, but it has been produced only sporadically since then. SYNOPSIS It is 1660, just before the Restoration of the Monarchy. Sir George Vernon, a Royalist, is in a property dispute with his cousin, Rupert Vernon, a Roundhead (i.e., a supporter of Parliament). Sir George fears that this dispute will be resolved in favour of his cousin, who has strong ties to the current government, and that his family would lose Haddon Hall. To secure the estate's long-term future, Sir George has arranged a marriage between Rupert and his only surviving child, Dorothy Vernon. But Dorothy is in love with John Manners, the impoverished second son of the Earl of Rutland. Manners, who is also a Royalist, is of no use to Sir George, and he has forbidden their union. Prologue - The opera begins with an offstage chorus in praise of the "stately homes of England."^pAct I — "The Lovers" - Scene. —The Terrace. It is Dorothy Vernon's wedding day. The Vernons' maid, Dorcas, sings an allegory about "a dainty dormouse" (Dorothy) and "a stupid old snail" (Rupert), making clear that her sympathies lie with Dorothy, who is in love with "a gallant young squirrel" (John Manners). Sir George, Lady Vernon, and Dorothy enter. Sir George urges Dorothy to cheer up, so that she will make a good impression on her cousin, Rupert. Dorothy reminds her father that she loves John Manners. Sir George replies that Manners would be a suitable husband only if he will swear an oath in support of parliament. Dorothy knows that Manners will never do this, and Sir George orders her to marry her cousin. Dorothy asks for her mother's support, but Lady Vernon cannot help her. Oswald enters, disguised as a traveling seller of housewares. He is actually John Manners's servant, carrying a letter for Dorothy. He encounters Dorothy's handmaiden, Dorcas, and the two servants quickly become enamored of one another. When Dorothy appears, Oswald gives her the letter. Manners has proposed that they elope, and Dorothy must finally decide where her loyalties lie. When Manners arrives, Dorothy tells him that her father will not allow them to be married unless he forswears his support for the king. Manners reiterates that he will not compromise his principles, and Dorothy assures him that her love is stronger than ever. Rupert Vernon arrives with his companions, a group of Puritans. He has joined them because their connections to the current government will help him claim the title to Haddon Hall. But he admits that he is otherwise unsympathetic to the Puritan ideals of celibacy and self-abnegation. Rupert introduces the Puritans to the Vernon household, who make it clear they are not welcome. Sir George offers his daughter's hand, but Lady Vernon and Dorothy once again urge him to relent. Dorothy says she must be true to her heart. A furious Sir George orders her to her chamber, and threatens to disown her. Rupert and the Puritans are shocked to learn that they have been refused. ACT II — "The Elopement" Scene 1. — Dorothy Vernon's Door. It is a stormy night. Rupert and the Puritans are camped outside the house, because their conscientious scruples will not allow them to join the party indoors. They are joined by The McCrankie, a particularly strict Puritan from the Isle of Rum, in Scotland, who sings a song accompanied on the bagpipes. However, he is not beyond the occasional snort from his whisky flask, and he offers the Puritans a "drappie." After the rest of the Puritans leave, Rupert and McCrankie sing a duet about how they would rule the world, "if we but had our way." Dorcas enters to meet Oswald, but they intercept her. As no one else is looking, Rupert and McCrankie want to steal a kiss, but Dorcas rebuffs them.
Oswald arrives to tell Dorcas that the horses are saddled, and ready to go. She is fearful for Dorothy's safety, and Oswald promises that he will protect her. Manners enters, then Dorothy. She sings a farewell to her home, and they flee in a violent storm. Scene 2. —The Long Gallery. As the storm dies away, the scene changes to the Long Gallery. Sir George proposes a toast to "the grand old days of yore." Rupert and McCrankie drag in Dorcas, with the news that Dorothy has eloped with Manners. The frantic Sir George orders horses and gathers up his men to chase after them, with Rupert and the Puritans following. Lady Vernon predicts that the chase will be unsuccessful. Act III — "The Return" - Scene. —The Ante-Chamber. The chorus have all become Puritans, under Rupert's tutelage. Rupert informs them that the lawsuit has been resolved in his favour, and he is now Lord of Haddon Hall. Although he has generously permitted Sir George and Lady Vernon to remain on the estate, they have no intention of staying. Lady Vernon likens the loss of their home to the death of a rose. Alone together, she begs and then receives her husband's forgiveness, admitting that it was she who urged her daughter to flee. They re-affirm their love. Oswald enters, now in uniform, with the news that King Charles II has been restored to the throne, and claimed Haddon Hall as crown property. Rupert is in disbelief, and refuses to yield. Meanwhile, the Puritans decide to go on strike, practicing their self-effacing principles only eight hours a day. The chorus fling down their books and decide to dedicate their lives "to Cupid." Rupert seeks McCrankie's counsel, only to find that his friend has replaced his kilt with breeches. McCrankie explains that, after several snorts from his flask, he has finally decided to abandon Puritanism. A cannon sounds, and Manners enters with soldiers. He has a warrant from the king, re-instating Sir George as Lord of Haddon Hall. He introduces Dorothy as his wife. She explains that she had followed her heart's counsel, and her father forgives her. MUSICAL NUMBERS Introduction... "Ye stately homes of England" (Offstage Chorus) Act I — "The Lovers" 1. Today it is a festal time (Chorus) 1a. 'Twas a dear little doormouse (Dorcas and Chorus) 1b. When the budding bloom of may (Sir George, Lady Vernon, and Dorothy with Dorcas and Chorus) 2. Nay, father dear (Dorothy, Lady Vernon, and Sir George) 3. Mother, dearest mother (Dorothy and Lady Vernon) 4. Ribbons to sell (Oswald and Chorus) 5. The sun's in the sky (Dorcas and Oswald) 6. My mistress comes (Dorothy, Dorcas, and Oswald) 7. Oh, tell me what is a maid to say (Dorothy, Dorcas, and Oswald) 8. The earth is fair... Sweetly the morn doth break (Dorothy and Manners) 8a. Why weep and wait?... Red of the Rosebud (Dorothy) 9. Down with princes (Chorus of Puritans) 10. I've heard it said (Rupert) 11. The bonny bridegroom cometh (Chorus with Rupert and Puritans) 11a. When I was but a little lad (Rupert with Chorus) 11b. To thine own heart be true (Dorothy with Company) Act II —The Elopement Scene 1 12. Hoarsely the wind is howling (Chorus of Puritans with Rupert) 13. My name it is McCrankie (McCrankie) 14. There's no one by (Rupert and McCrankie) 15. Hoity-Toity, what's a kiss? (Dorcas, Rupert, and McCrankie) 16. The west wind howls (Dorcas, Oswald, and Manners)
16a. Oh, heart's desire (Dorothy and Manners) 16b. Storm Scene 2 16c. In days of old (Sir George and Company) Act III —The Return 17. Our heads we bow (Puritans and Chorus) 18. Queen of the Garden (Lady Vernon and Chorus) 19. Alone, alone... Bride of my youth (Lady Vernon and Sir George) 20. In frill and feather (Dorcas, Rupert, and Chorus) 21. Good General Monk (Oswald, Rupert, and Puritans) 21a. We have thought the matter out (Dorcas, Rupert, Puritans, and Chorus) 22. Hech mon! Hech mon! (McCrankie and Chorus) 22a. Scotch Dance 23. Hark! The cannon! (Company) CAST Royalists John Manners (tenor) Sir George Vernon (baritone) Oswald (tenor) Roundhead Rupert Vernon (baritone) Puritans The McCrankie (bass-baritone) Sing-Song Simeon (bass) Kill-Joy Candleman (non-singing) Nicodemus Knock-Knee (bass) Barnabas Bellows-to-Mend (bass) Major Domo (baritone) Dorothy Vernon (soprano) Lady Vernon (contralto) Dorcas (mezzo-soprano) Nance (mezzo-soprano) Gertrude (mezzo-soprano) Deborah (soprano) ARTHUR SULLIVAN • Haddon Hall . The recording also includes ERNEST FORD • Mr Jericho & FRANCOIS CELLIER • Captain Billy [SACD Hybrid Multi-channel]
HAIR The American Tribal Rock Musical in 2 acts: Book and Lyrics by Gerome Ragni and James Rado; Music by Galt MacDermot Produced for the Broadway Stage by Michael Butler Originally Produced by the New York Shakespeare Festival Theatre Biltmore Theatre, Broadway - (1836 perfs) Shaftesbury Theatre, London - 27 September, 1968 (1997 perfs) SYNOPSIS " ..... be free, no guilt, be whatever you are, do whatever you want, just as long as you don't hurt anyone". This Utopian philosophy incorporates many concepts which supply lyrics for a show comprised almost exclusively of rock musical numbers. In the age of Aquarius, a time of harmony and understanding, sex and drugs are used as vehicles to evade reality and the establishments. George Berger sets the mood in a song about his recent banishment from high school (Going Down). He learns of the draft notice received by his friend, Claude. Claude, whose only valuable possession, other than his freedom, is his Hair, tells of its joys, "Give me a head of hair, long beautiful hair, shining, streaming, flaxen, waxen ... let it fly in the breeze ... I want it long, straight, curly, fuzzy, snaggy shaggy ...." Sheila, a protester from NYU who lives with Berger and Claude, aspires to spread love. In an effort to please, Sheila buys Berger a yellow satin shirt, which he spurns. She feels rejected (Easy To Be Hard). Another girl, Crissy, alone in her thoughts, sings of a boy she once met and of her longings to meet him again (Frank Mills). The boys burn their draft cards, exhibiting devotion to peace (Hare Krishna). Claude puts his card into the fire, changes his mind and removes it. He has ambivalent feelings about escaping the draft (Where Do I Go?). The kids recognise there is no escape and to ease the immediate tension, Berger passes "joints" to all. Claude's hallucinations (Walking In Space) are images of war. Two of the group express their feelings about mankind (What a Piece of Work Is Man). Claude realises that once he is inducted into the Army, he will not be able to enjoy all of life's simple pleasures (Good Morning, Starshine and The Bed). He sees life in the streets offers no more fulfilment than life in the establishment. The stripping away of his feeling leaves him a feeling of doom. Dressed in a military uniform Claude enters the sanctum of the kids, but they are unable to see him (Eyes Look Your Last). The finale reveals Claude lying in his uniform on a black cloth in centre stage (The Flesh Failures). As a social commentary of our times, Hair provides an insight into the Flower Children of the '60s. As the first and most successful of the rock musicals, Hair represents a new element in musical theatre entertainment. STORY Following extensive tribal mood-setting, signaling a time. of change and introduction by shock, the action focuses on the plight of Claude's personal generation gap. Claude is a hippie with unsympathetic parents who are disgusted with him. They want him to get a job or join the Army. Uncle Sam obliges by serving Claude with his draft notice. The Tribe is so informed and many suggestions are offered to beat the rap. Berger, a dropout and dominating male Tribe member, leads the impromptu anti-establishment demonstration, following which Sheila arrives. She plays up to Berger, who can't be bothered. Claude wants Sheila in the worst way but receives the same cold shoulder Berger is handing out. Later at the "Be-In," Berger and Sheila host a draft card burning. Claude is last to burn. He puts his card in the flame, but withdraws it at the last minute. He has resigned to the draft. The Tribe decides there must be a proper sendoff. Amid the fes tivities Berger tries to persuade Sheila to share Claude's last night by promising himself as her reward. Sheila nixes the barter, but that night Berger steers Claude and Sheila together. For a while she plays
along, but breaks down to confess Berger's deal. However, Claude takes the initiative and casts his own spell over her, converting her to his own way of thinking. At the railway station Claude has lost his long hair and appears neatly dressed in uniform. Sheila arrives just in time for the farewell. Ignoring Berger, she stands proudly as Claude is summoned to step forward and join in the ranks. CAST 25 parts, 10 principals, Male 11 Female 10 (Total cast, 25-35.) Tribe: Chorus and Dancers & a large group of named extras although nearly every cast member has at least one featured part. All cast members sing, dance, and take part in choreographed movement. Balanced cast of Negroes and whites essential to original concept of show. Major portions of dialogue are carried by Berger, Claude, Sheila, Woof, Hud, Jeanie, Crissy, Mom, and Dad. Mom and Dad are the only "over-30" cast members MUSICAL NUMBERS: Abie Baby Ain't Got No Air Aquarius Bed Coloured Spade Donna Easy to be Hard Electric Blues Let the Sun Shine In Frank Mills Going Down Good Morning Starshine Hair Hare Krishna Hashish I Got Life I'm Hung Initials My Conviction Three Five Zero Zero Sodomy Walking In Space What a Piece of Work Man Is Where Do I Go? SCENES AND SETTINGS Stripped stage. One raked playing area intimate to the audience; very easy access to audience and back. Totem poles (scaffolding decorated with the accoutrements of an affluent society), ramps and levels, tattered clothes, hangings, hippie decorations and posters. "Love" and other graffiti painted here and there. PERIOD AND COSTUMES The turned-on hippie generation: Indianlike buckskin jackets, loincloths, moccasins, pants, blankets, tribal masks possible, tee shirts, sweat shirts, old military uniforms, a single sequined gown in which three girls can fit, Afro fashions, wild flower-power shirts, pants and shifts, Indian bead headbands, Levis, bell bottoms, saris, and other Now fashions. Black leather outfits for band. White Indian linen, gold-embroidered gown. CHOREOGRAPHY Rock idiom; latest steps can be inserted to beat with no problem. The whole show is choreographed production; a three-ring circus with upstaging everywhere, including the audience. Each sequence overlaps the other to lead the viewer constantly about the production area, hardly ever allowing audience to catch up. LIGHTING AND SPECIAL EFFECTS Strobe lights, psychedelic colored lighting aimed among the audience, fireworks, tightly controlled lighting that often changes rapidly, moving light projections, sound-mixing equipment required, hand mikes. Projection of dark mysterious men, FBI, and CIA agents. Police puppets. NOTE: Neither script nor score provides much in the way of production guidance in staging Hair. The shows major achievement was direction, a masterful circuslike presentation with more concurrent actions than any
single member of the audience could comprehend. Hair is perhaps best described as a complete assault on the senses with high-decibel music, flashing lights, cast members throughout the audience, and other gimmicks to create excitement and stimulation. Several rewrites were required during the run of the show to keep it current. Although it could be justified in many ways, the show's much celebrated nude scene served no purpose other than to generate publicity. Through the various transitions the ending and the part of Sheila were drastically rewritten to strengthen the show's anti-war theme. As rewritten there is no mention of a deal between Berger and Sheila. Nor does Claude have to win her over. In the revised version he simply goes off to war and is killed. ORCHESTRATION Trumpet 1, 2 & 3: Trombone: Percussion: Drums: Bass (electric): Guitar 1 & 2: Electric Piano: Baritone Sax DISCOGRAPHY Hair: The Musical (50th Anniversary Cast Recording)
HAIRSPRAY Music by Marc Shaiman: Lyrics by Scott Wittman and Marc Shaiman: Book by Mark O'Donnell and Thomas Meehan. Based on the John Waters 1988 Film. Neil Simon Theatre, Broadway - 15 August 2002 - 4 January, 2009 (31 previews; 2641 perfs) Shaftesbury Theatre, London - 30 October, 2007 - 28 March, 2010 (1000 + perfs) STORY ACT ONE It's early June, 1962, in blue-collar Baltimore. Surrounded by "45s" and teen magazines, Tracy Turnblad wakes up in her family's apartment over the Har-De-Har Hut, her father Wilbur's jokeshop. Teenager Tracy is a large girl with a high hairdo, abundant joie de vivre and rhythm in every inch of her body. Her obsession is the Corny Collins TV show on WZZ1, the after-school dance program that has made stars out of The Nicest Kids In Town. Everyday, Tracy and her shy best friend Penny rush to Tracy's house right after school to learn the latest dances and moon over Link Larkin, the show's resident dreamboat. Tracy's mother, Edna, a hardworking woman of vast proportions and enormous heart, takes in laundry to make ends meet. Penny's mother, Prudy Pingleton, disapproves of the "coloured" music, but to Edna, it's just good old black-and-white TV. On the Corny Collins Show, the reigning queen is the oh-so-perfect Amber Von Tussle, whose mother Velma happens to be producing the show. They are all excited about a coming nationwide prime-time Corny Collins spectacular live from the Eventorium, sponsored by Ultra Clutch Hairspray. The girl on the show who gets the highest popularity rating will be crowned Miss Teenage Hairspray, and Amber wants that crown almost as much as Velma wants it for her. The daily show is segregated except for once a month, when Motormouth Maybelle co-hosts "Negro Day." Velma complains that Corny spinning so much "race" music will lose them their sponsor, while Link asks Amber to go steady and gives her his Corny Collins Council ring. One of the girls on the show will be dropping out for a suspicious nine months, and auditions are announced for a replacement. Tracy and Penny are dying to go. Edna, Prudy and Velma each try to control their daughters, but the girls rebel. Tracy and Penny are late for the audition, due to a "stupid bus crash," but when Link bumps into Tracy, she hears a symphony. The girls on the Council, led by Amber, pick Tracy apart, and Velma won't even let her dance. Back in school and in detention again for outlandish hair-do, Tracy meets all the cool black kids in school, especially Seaweed, who teaches Tracy some fabulous moves that she uses at the Sophomore hop. DJ Corny Collins singles her out, and so does Link. All they had to do was see her dance. Next time we see her, she's on the show. Over Amber's objections, Link sings Tracy a love-song on the air on which Tracy brazenly joins in and they end it with a kiss. Not only does Tracy eclipse Amber, she also suggests that every day be "Negro Day" right on the air, much to Velma's fury. Tracy gets home to Edna, and the offers are pouring in. Mr. Pinky fromThe Hefty Hideaway ("quality clothes for quantity gals") wants her for his spokesgirl and "fashion effigy." Tracy wants Edna as her agent, but Edna is reluctant to leave the house. Tracy insists she get with the decade. Thanks to Mr. Pinky, the Turnblads are transformed from frumps to fashion-icons, extra-large deluxe. At school, Tracy is attacked by Amber in a game of dodgeball ("So tragic, I forgot to cry."), but Penny, Link and Seaweed come to her aid. Seaweed invites them all to a platter party at the record shop run by his mother, Motormouth Maybelle, in the black section of town. Tracy thinks that's so cool, but Seaweed says not everyone sees it that way. At Motormouth Maybelle's shop, Seaweed is joined in his song by his sister, Li'l Inez. Black kids and white kids are all dancing together when one by one, Amber, Velma, Edna and Wilbur arrive. Amber and Velma try to make Link leave with them, but he stays and they go. Tracy schemes with Maybelle to integrate the show, starting tomorrow on Mother Daughter Day. Maybelle will bring Li'l Inez,
with Tracy and Edna blocking the door behind them. Link chickens out, afraid that controversy will cost him his big break on the nationwide special, and he leaves. Tracy is heartbroken, but unwilling to back down. Edna feels she could "never appear on camera...at [her] current weight," but Maybelle insists that, like her, Edna is big, blonde and beautiful. Edna agrees, but as they reach the studio, their civil rights demonstration turns into a full-scale riot, and both protesters and protestees are loaded into a police paddy wagon. ACT TWO Almost every female character is in jail, waiting to be sprung from the Big Dollhouse. After Velma and Amber are pardoned, Wilbur posts bail for everyone else (by mortgaging the Har-De-Har Hut), but-thanks to some legal shenanigans by the Von Tussles to keep her out of the Miss Teenage Hairspray contest - Tracy is moved to solitary "refinement" Back at home, Wilbur is working on a giant joke can of hairspray, while Edna bewails Tracy's fate, and her own forgotten dreams of being a fabulous fashion designer. Even Mr. Pinky wants all his glamorous outfits back. She's feeling old and worn-out. But Wilbur knows just what to say. Link slips into jail past a sleeping guard to whisper to Tracy through the bars of her cell that he's through with Amber (who was just using him to look popular). He wants Tracy to be his girl and wear his Corny Collins Council ring. Meanwhile, Prudy's mother has tied Penny up in her room, but Seaweed comes to set her free. The four teens sing as Link cuts through the bars of Tracy's cell with a blowtorch made from a can of hairspray and a Zippo lighter. They run to Motormouth Maybelle's, where they plan their next move - the integration of the Miss Hairspray contest. Tracy is afraid of what it will cost her friends and family, but for Motormouth, it's too late to turn back. At the Baltimore Eventorium, armed guards surround the Miss Teenage Hairspray spectacular, as Corny and The Council Members sing their big opening number. A scoreboard of votes for Miss Hairspray shows Amber and Tracy are neck-and-neck. A man wheels on a giant can of hairspray, but Velma recognises him as Wilbur and thinking this Trojan Horse houses his "jailbird" daughter, calls the riot police away from the entrance to guard it. It's time for the contestants' new dance competition. With Tracy still at large ("at VERY large") Amber dedicates her number to Tracy, the Loser. Amber is claiming the prize as Tracy bursts in, followed by Link, Penny and Li'l Inez. The armed guards turn out to be Seaweed, Motormouth and the kids from the "wrong side of the tracks." Finally entering through the FRONT door, everybody joins in Tracy's dance and The Corny Collins Show is officially integrated, live and nationwide. The giant can of hairspray explodes to reveal Edna making her coast-to-coast television debut in a fabulous ensemble of her own creation. The dancing crowd then turns on Velma and Amber, inviting even them to admit You Can't Stop the Beat. CAST - in order of appearance Tracy Turnblad Corny Collins Amber Von Tussle Brad Tammy Fender Brenda Sketch Shelley IQ Lou Ann Link Larkin Prudy Pingleton Edna Turnblad Penny Pingleton Velma Von Tussle Harriman F. Spritzer Wilbur Turnblad Seaweed J. Stubbs Duane Gilbert Lorraine The Dynamites Mr. Pinky Li'l Inez Motormouth Maybelle Gym Teacher Matron Principal Guard Denizens of Baltimore INSTRUMENTATION Guitars I, II; Keyboards I, II, III: Electric Bass; Drums; Percussion; Reeds I, II; Trumpet; Trombone;Violin I, II, III, IV; Cello I, II
MUSICAL NUMBERS ACT ONE 1. GOOD MORNING BALTIMORE: - Tracy Turnblad & Ensemble 2. THE NICEST KIDS IN TOWN: - Corny Collins & Council Members 3. MAMA, I'M A BIG GIRL NOW: - Tracy Turnblad, Amber Von Tussle, Penny Pingleton, Edna Turnblad, Velma Von Tussle, Prudy Pingleton & Ensemble Girls 4. I CAN HEAR THE BELLS: - Tracy Turnblad & Ensemble 5. (THE LEGEND OF) MISS BALTIMORE CRABS: - Velma Von Tussle & Council Members with Tracy Turnblad, Penny Pingleton & Li'l Inez 6. IT TAKES TWO: - Link Larkin, Tracy Turnblad & Ensemble Guys 7. WELCOME TO THE '60s: - Tracy Turnblad, Edna Turnblad & "The Dynamites" 8. RUN AND TELL THAT!: - Seaweed J. Stubbs, Li'l Inez & Ensemble 9. BIG, BLONDE AND BEAUTIFUL: - Motormouth Maybelle, Tracy Turnblad, Edna Turnblad, Wilbur Turnblad, Velma Von Tussle & Company ACT TWO 10. THE BIG DOLLHOUSE: - Prudy Pingleton, Velma Von Tussle, Edna Turnblad, Amber Von Tussle, Li'l Inez, Motormouth Maybelle, Penny Pingleton, Tracy Turnblad & Ensemble Girls 11. GOOD MORNING BALTIMORE Reprise: - Tracy Turnblad 12. (YOU'RE) TIMELESS TO ME: - Wilbur Turnblad & Edna Turnblad 13. WITHOUT LOVE: - Link Larkin, Tracy Turnblad, Seaweed J. Stubbs, Penny Pingleton & Ensemble 14. I KNOWWHERE I'VE BEEN: - Motormouth Maybelle with The Dynamites & Ensemble 15. (IT'S) HAIRSPRAY: - Corny Collins & Council Members 16. COOTIES: - Amber Von Tussle & Council Members 17. YOU CAN'T STOP THE BEAT: - Company DISCOGRAPHY Hairspray (Original Broadway Cast Recording)- Sony Classical SK 87708
HALF A SIXPENCE A musical comedy in 2 acts, 18 scenes: Book by Beverley Cross; based on the novel Kipps by H.G. Wells; Music & Lyrics by David Heneker Cambridge Theatre, London - March 21, 1963 (677 perfs) Broadhurst Theatre, New York - April 25, 1965 (512 perfs) SYNOPSIS The play opens in Shalford's Drapery Emporium where Kipps works and lives as an apprentice draper. Ann, Kipps's childhood sweetheart, is in service so they don't get much chance to see each other. Kipps thinks that a lovers token might help the romance along but the next day brings news that is to change his life. He learns that solicitors are looking for him and consequently gets a little drunk. He is marched off to join his woodwork class run by Helen Walsingham. Kipps falls for her without much hope. Ann is cross with Kipps for not meeting her and walks out on him just before he learns that he has inherited a fortune. Spurred on by his new social standing Kipps proposes to Helen, but her family pressure makes him realise that Ann is his first and real love. Kipps and Ann marry but his yearning to maintain his social standing creates problems between them which are only resolved when a fortune is lost. A small fortune is offered to him ... he rejects it. "What a rum do everything is," he comments. STORY Act I Arthur Kipps is twenty years old and an apprentice in the Folkestone drapery of Mr Edwin Shalford. It is hard work, seven to seven, and strict discipline, bed at 930 and on line for work first thing, and woe betide if Shalford's motto of `Fishency, System, Economy' isn't the watchword of every day. Particularly economy. Kipps and his fellow apprentices resent their fife with the healthy resentment of youth, but only Sid Pornick who has taken up with Socialism has made any practical step towards fighting the system. When Sid tries to get the others to join him at a Fabian meeting, they squirm out their excuses—girls, sore feet, or, in Kipps' case, a meeting with Sid's sister Ann who's in domestic service down the road. He can't talk to girls, but Ann he's known since they were kids so that's different. Ann has a smart head and a tart tongue to put her brother's fancy ideas firmly in their place, and she also has a soft spot for the awkward Artie Kipps. She won't let him kiss her, kissing's soft, but she doesn't mind saying she'll be his girl and taking the half-sixpence he offers her as a lover's token. Artie's next meeting with Ann goes out the window when his employer volunteers him as a student at the Young Persons Association, an institution for keeping working class youth off the street by teaching them useful occupations, in which the Walsingham family, good customers at Shalford's emporium, are interested. But that evening, while the glum Artie is on his way to his unwanted class, he is the victim of a little accident, run down by an out-of-control cyclist. has-ocrThe cyclist in question is Mr Chitterlow, an actor and playwright of a flamboyant turn and the possessor of a coincidence. When Kipps introduces himself, Chitterlow performs a double-take. He has seen the boy's name in the daily newspaper one of those delightful advertisements that end 'may hear something to his advantage'. Chitterlow hurries his new friend off to a public house to celebrate his imminent good fortune and, while Chitterlow bonhomously spreads the news, Artie celebrates whatever it is that's coming to him with his first alcoholic drink and a rousing chorus song. The merry-making spills into the street and Kipps is spied by Shalford, disentangled from a lamppost and, expectations or no expectations, frog-marched off to the Young Persons Association. The class at the Association is taken by Miss Helen Walsingham, recently of London University and devoted
to good works. Unfortunately, Artie is a little the worse for drink and, instead of woodworking, succeeds in putting his hand through a glass panel. Helen tends his cut wrist and the boy is dazzled by her attentions. The next morning Ann calls at the emporium to find out why Kipps stood her up the previous night and the shop girls take delight in making the worst out of the events. Ann snaps back at them in his defence, but when Kipps appears she smacks his face and storms out. But better is in store for Artie. Chitterlow arrives with good news: it really is a fortune, Kipps has inherited an income of £1200 a year At that Kipps passes out, but he's himself again by the time Shalford comes in to give him the sack. With all the hauteur of the newly rich, Kipps resigns in an irrevocable fashion and the boys and girls join together to sing of his future.has-olc The new gentleman runs into the Walsinghams who are now decidedly keen to know him. Helen invites him to dinner, the son offers his services as a business adviser, and Mrs Walsingham exudes charm instead of condescension. As they leave, Kipps looks after Helen and dreams. She isn't, of course. She's a nice enough example of genteel, impoverished, seaside society whose university education has only served to make her less than content with life in Folkestone. She's not at all averse to the bright, well-off Artie. She invites him to join her at the forthcoming regatta and Artie is in seventh heaven. At the regatta on 'The Old Military Canal' Artie asks Helen to marry him and she accepts. She will make a gentleman of him. Young Walsingham calls for the champagne Artie has ordered at his suggestion, and the maid brings the bottle. It is Ann. When she hears from Artie's own lips that he has asked Helen to marry him, she flings the tray to the floor and pulling up her skirt takes the half-sixpence from her bloomers. Hurling it back at him she rushes out. Artie goes to follow her, but Helen puts out her arm and he turns back again as the rain pours down on their celebration. Act 2 Artie is forlorn and he doesn't heed Chitterlow who attempts to put woman trouble in its unimportant place in the scheme of things as Artie moons sadly over his loss. When it comes to the point, however, he goes back to the Walsinghams. In spite of his efforts and Helen's determined patience, he fits ill in such society and at Mrs Botting's Solarium Dance he commits further solecisms. Under constant criticism from the Walsinghams, he bites back his natural retorts and keeps on trying to be 'proper', but when he hears of the punishments that Ann has been subjected to following the incident at the regatta it is too much for him. He bursts out fulsomely against Mrs Boiling and refuses to apologise. has-scrWhen Helen and the other Walsinghams take Mrs Botting's part, he bundles them all together on the receiving end of an angry speech and ends up by calling the wedding off and running away down to the basement kitchen to find Ann. He's been a fool. She's his girl and she must come away and marry him. Ann is not keen on upsetting the order of things but, now that they've finally got round to talking on such a subject, she does love him. So Artie and Ann are married at a lively ceremony captured in a comical set of photographs. Married life begins in a rented house with Kipps still trying to be a gentleman and Ann not at all keen on having to have a maid when she'd rather do the work herself. When she answers the door to callers in her working clothes, Kipps 'gets angry and she can only answer,. Kipps is building a big house for them to live in When they quarrel he looks at the place where it will be, and dreams, not hearing Ann singing in counterpoint. But Kipps' plans are not going to come true. While he was still courting Helen, he gave all his money into the hands of young Walsingham as his financial manager, and Walsingham has played the market and lost every penny. Now Artie is more or less back where he started, but not quite. He sells up everything that is left, including the land where the big house was to have been, and they put together enough money to rent a little bookshop. There they live modestly and happily ever after... until one day Chitterlow turns up again. Once upon a time, back in the rich days, Kipps had given his friend £200 for a quarter share in a play, hoping
to help the great unproduced to finally make it to the stage. Now Chitterlow has made a hit. There will be money, oodles of it for them all. But Artie Kipps and his missis have been there before. The money may come or it may not; they are happy in their way of life and that's the way they will stay. As their friends go out to celebrate Chitterlow's good fortune, the Kipps family stay happily by their Christmas fire. CASTING: - 23 parts, 13 principals. (Total cast, 34-46.) Arthur Kipps, winning actor who can sing, dance, and play the banjo (latter can be faked). * Sid, Buggins, and Pearce, Kipps's singing and dancing buddies. * Ann, Kipps's true love, legit voice. * Helen, Kipps's other love, straight role, minor singing. * Flo Bates Mr Shalford Mrs Walsingham Chitterlow Young Walsingham Victoria Kate Emma Mrs Boating Laura, Gwendolin Lady Student Carshott Chester Coote Photographer Mr Wilkins, * Major Singing Roles: Others are straight roles with minor singing and dancing. Large singing and dancing chorus. Almost everyone dances at least a little. MUSICAL NUMBERS Act I Economy - Kipps and apprentices Half a Sixpence - Kipps and Ann Money To Burn - Kipps and men's chorus I Don't Believe A Word Of It - Ann and Shopgirls A Proper Gentleman - Kipps and chorus She's Too Far Above Me - Kipps If The Rain's Got To Fall - Kipps and Chorus The Old Military Canal - Chorus Act I Finale Act II The One Who's Run Away - Kipps and Chitterlow Long Ago - Ann and Kipps Flash, Bang, Wallop! - Kipps and ensemble I Know What I Am - Ann The Party's On The House - Kipps and Ensemble Half a Sixpence - Reprise - Kipps and Ann Finale SCENES AND SETTINGS 2 acts, 18 scenes, 9 full stage sets (including 3 drops), 4 scene drops. The original production used 1 large turntable. ACT I Scene 1: The Emporium. Scene 2: The Promenade. Scene 3: The Emporium. Scene 4: "Hope and Anchor" Bar. Scene 5: The Street. Scene 6: The Classroom. Scene 7: The Emporium. Scene 8: The Promenade. Scene 9: The Old Lighthouse. Scene 10: Military Canal Regatta. ACT II Scene 1: Mrs. Botting's Solarium. Scene 2: Kitchen. Scene 3: Photographer's Studio. Scene 4: Parlor of Rented House. Scene 5: The Pier. Scene 6: The Building Site. Scene 7: The Promenade. Scene 8: The Bookshop.
INSTRUMENTATION Violins I–II, cello, bass, reed I, II, III, IV, trumpet I, II, III, trombone I, II, guitar-banjo, percussion, pianoconductor. PERIOD AND COSTUMES Folkestone, England, 1900: apprentice clothes, blazers, white pants, straw hats, morning suits, bowlers, black dresses with white trimming, society gowns and day dresses of the period, sailor dresses, maids' uniforms, knickerbockers, male evening clothes, barmaid, rough-looking costumes for bar patrons, wool caps, mufflers. CHOREOGRAPHY Opening ballet: a day's business at the Emporium; soft shoe, modern, promenade, couples number, tableau, modern, photograph number. LIGHTING AND SPECIAL EFFECTS Some dramatic and special lighting (day and night). Lamps on set, independent lighting on canal barge, party lighting. DISCOGRAPHY Half a Sixpence (2016 London Cast Recording) [Live] Half A Sixpence - The Original Demo Recordings Half A Sixpence [Us Import] Original London Cast Recording
HALF IN EARNEST Music, Lyrics and Adaptation by Vivian Ellis in 3 acts: Based on The Importance of Being Earnest and other works of Oscar Wilde Belgrade Theatre, Coventry 27 March, 1958 (season) Bucks County Playhouse, New Hope, Pennsylvania - 17 June, 1957 (season) Welsh Theatre Company, Wrexham - 28 September, 1964 (tour) THE STORY - (Late Victorian England) John Worthing, who calls himself Jack in the country but Earnest in town, wants to marry Gwendolen Fairfax, daughter of the formidable Lady Bracknell. Worthing's background is so obscure - as a baby he was found in a handbag at London's Victoria Station - that Lady Bracknell strongly objects to the marriage. His friend in London, Algernon Moncrieff, discovers the whereabouts of the Worthin's country estate on which lives his pretty young ward, Cecily Cardew. She is under the tutelage of the governess, Miss Prism. The important question is whether Worthing is, or is not, called Earnest, because Gwendolen would never marry anyone whose name was not Earnest. Eventually comes the revelation that Worthing is actually the son of Lady Bracknell's sister. He was left in the handbag through the absentmindedness of the governess. His name is Ernest John Moncrieff and he is therefore the brother of his friend Algernon. Marriages are planned between Cecily and Algernon and Miss Prism and Dr Chasuable. Gwendolen feels able to marry Worthing because his name really is Earnest and he knows for the first time is his life the vital importance of being Earnest. In addition to the familiar characters of the well-known comedy, a small chorus is required to augment the singing, occupying what appears to the audience as two theatre boxes on each side of the stage. PRINCIPAL CHARACTERS (plus Chorus) John Worthing, J.P. (baritone) Algernon Moncrieff (baritone) Lady Bracknell (contralto) Cecily Cardew (soprano) PRINCIPAL MUSICAL NUMBERS Don't Touch the Cucumber Sandwiches (Algernon) A Bunburying I Must Go (Algernon) How Do You Propose To Propose? (Jack, Gwendolen) Foolish Love (Cecily) There's No Friend Like A New Friend (Cecily, Algernon) Christening Quartette (Algernon, Jack, Cecily, Gwendolen) The Social Scale (Lady Bracknell) INSTRUMENTATION - (Total number of books = 2) 1 Piano I 1 Piano II
HALLELUJAH BABY Musical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs) SYNOPSIS ACT I From underneath an open umbrella, Georgina, an attractive, contemporary black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - That's nice for a girl, she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show. In the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings. Harvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that blacks and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen. In the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several Congo Cuties and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud. Once more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again. To escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him comrade, not boy. Georgina declares that this is not the solution to their problems: Nobody can help you and me but you and me. They clash, Clem walks out, and Georgina expresses the irony of her situation. Harvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be. ACT II It's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act
Georgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams. It's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to get out of your little room and connect. Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma. At a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been driving tight and tiny for myself, and resolves to sing for everyone's supper - not just my own. As the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better. Ken Mandelbaum CAST (in order of appearance) Georgina Momma Clem Provers (4) Harvey Captain Yankee Calhoun Mary Mister Charles Mrs. Charles Tip and Tap Cuties (3) Prince Princess Sugar Daddy Bouncer Mistress Master Director Ethel Official Brenda Timmy G.l.s (4) Bus Driver Dorothy Maid Ensemble MUSICAL NUMBERS: 1. Introduction 2. Prologue - Georgina Scene l 3. Back in the Kitchen - Momma 4. My Own Morning - Georgina 5. The Slice - Clem, Provers, Tap 6. Farewell, Farewell - Calhoun, Captain Yankee, Georgina, Harvey Scene 2 7. Feet Do Yo’ Stuff - Georgina, Chorines, Tip, Tap 8. You Ain’t Gonna Shake Them Feathers No More - Clem 9. Watch My Dust - Clem 10. Smile, Smile - Clem, Georgina, Momma Scene 3 11. Witches’ Brew (Double, Double) - Georgina, Mary, Dorothy, Company
12. Breadline Dance 13. Bums (Ensemble) 14. Another Day - Harvey, Clem, Mary, Georgina 15. I Wanted to Change Him - Georgina 16. Being Good Isn’t Good Enough - Georgina ACT2 Scene I 17. Dance Drill (Clem’s Drill) Tip, Tap, G.I.s 18. Talking to Yourself ’ - Georgina, Clem, Harvey 19. Limbo Dance Night Club Patrons - (Ensemble) Scene 2 20. Hallelujah, Baby! - Georgina, Tip, Tap 21. Not Mine - Harvey SCENES AND SETTINGS The action takes place in this country from the turn of the century until now. ACT I Scene 1: 1900s. The kitchen. Scene 2: 1920s. A cabaret. Scene 3: 1930s. The bread line. ACT 2 Scene 1: 1940s. An Army camp, outside a night club. Scene 2: 1950s. A night club. Scene 3: 1960s. An apartment. DISCOGRAPHY Original Broadway Cast starring Leslie Uggams, Robert Hooks & Allen Case - Sony Broadway SK 48218
HAMILTON Music, Book and lyrics by Lin-Manuel Miranda based on the book by “Alexander Hamilton” by Ron Chernow The Public Theater, New York - January 20, 2015: SYNOPSIS Hamilton details Hamilton's life in two acts, along with how various historical characters influenced his life such as Gilbert du Motier, Marquis de Lafayette; Aaron Burr; John Laurens; Hercules Mulligan; Elizabeth Schuyler Hamilton; Angelica Schuyler Church; Peggy Schuyler; Philip Hamilton; Maria Reynolds; and former presidents George Washington, James Madison, and Thomas Jefferson. Act I The orphan Alexander Hamilton experiences a hard early life, and through his smarts, leaves his home, the island of Nevis ("Alexander Hamilton"). As a student at King's College in New York in 1776, Hamilton meets Aaron Burr, John Laurens, the Marquis de Lafayette, and Hercules Mulligan ("Aaron Burr, Sir"), and impresses them with his rhetorical skills ("My Shot"). The latter three and Hamilton affirm their revolutionary goals to each other, while Burr remains apprehensive ("The Story of Tonight"). Later, the daughters of the wealthy Philip Schuyler—Angelica, Eliza, and Peggy—go into town and share their opinion on the upcoming revolution ("The Schuyler Sisters"); it is at this time that Samuel Seabury warns everyone about the dangers of Congress while Hamilton disagrees and counters Seabury ("Farmer Refuted"), until King George III insists on his authority ("You'll Be Back"). During the New York and New Jersey campaign, Hamilton accepts a position as George Washington's aide-de-camp despite longing for field command ("Right Hand Man"). At a ball hosted by Philip Schuyler ("A Winter's Ball"), Eliza falls hopelessly in love with Hamilton, who reciprocates her feelings to the point of marriage ("Helpless"), as Angelica suppresses her own feelings for the sake of their happiness ("Satisfied"). After the wedding, Burr and Hamilton congratulate each other's successes ("The Story of Tonight (Reprise)") while Burr reflects on Hamilton's swift rise while considering his own more cautious career ("Wait For It"). As conditions worsen for the Continental Army ("Stay Alive"), Hamilton aids Laurens in a duel against Charles Lee, who had insulted Washington ("Ten Duel Commandments"). Laurens injures Lee, who yields, while Hamilton is temporarily suspended by Washington over the duel and is sent home ("Meet Me Inside"). There, Eliza reveals that she is pregnant with her first child, Philip, and asks Hamilton to slow down to take in what has happened in their lives ("That Would Be Enough"). After Lafayette persuades France to get involved on the colonists' side, he urges Washington to call Hamilton back to help plan the final Battle of Yorktown; Washington agrees ("Guns and Ships") but explains to Hamilton—who is convinced he should die a martyr and a hero in war—that he should be careful with his actions because whatever he does will be known for ages to come ("History Has Its Eyes on You"). At the Battle of Yorktown, Hamilton meets up with Lafayette to take down the British, revealing that Mulligan was recruited as a spy, helping them figure out how to trap the British and win the war ("Yorktown (The World Turned Upside Down)"). Soon after the victory at Yorktown, King George asks the newborn America how it will succeed on its own ("What Comes Next?"), while Lafayette returns to France with plans to inspire his people to have their own revolution. Hamilton's son Philip is born, while Burr has a daughter, Theodosia, and the two tell their children how they will do anything to protect them ("Dear Theodosia"). Hamilton receives word that his long-time friend John Laurens has been killed in a seemingly pointless battle after the war was won and throws himself into his work ("The Laurens Interlude/Tomorrow There'll Be More Of Us"). He co-authors The
Federalist Papers and is selected as Secretary of the Treasury by newly elected President Washington, amidst Eliza begging Hamilton to stay and Angelica moving to London with her new husband ("Non-Stop"). Act II Thomas Jefferson returns to America from being the U.S. ambassador to France, taking up his newfound position as Secretary of State, with friend and fellow Cabinet member, James Madison ("What'd I Miss"). In 1789, Jefferson and Hamilton debate Hamilton's financial proposals at a Cabinet meeting. Washington tells Hamilton to figure out a compromise to win over Congress ("Cabinet Battle #1"). Eliza and her family—along with Angelica, back from London—travel upstate during the summer, while Hamilton stays home to work on the compromise ("Take a Break"). Hamilton begins an affair with Maria Reynolds, making him vulnerable to her husband's blackmail ("Say No To This"). Hamilton, Jefferson, and Madison create the Compromise of 1790 over a private dinner, exchanging Hamilton's financial plan for placing the country's permanent capital on the Potomac River. Burr is envious of Hamilton's sway in the government and wishes he had similar power ("The Room Where It Happens"). Burr switches political parties and defeats Philip Schuyler, making Hamilton now a rival ("Schuyler Defeated"). In another Cabinet meeting, Jefferson and Hamilton argue over whether the United States should assist France in its conflict with Britain. President Washington ultimately agrees with Hamilton's argument for remaining neutral ("Cabinet Battle #2"). In the wake of this, Jefferson, Madison, and Burr decide to join forces to find a way to discredit Hamilton ("Washington on Your Side"). Washington decides to retire from the presidency, and Hamilton assists in writing a farewell address ("One Last Time"). A flabbergasted King George receives word that George Washington has stepped down, and will be replaced by Paris signatory John Adams ("I Know Him"). Adams becomes the second President and fires Hamilton, who, in response, publishes an inflammatory critique of the new president ("The Adams Administration"). Jefferson, Madison, and Burr confront Hamilton about James Reynolds's blackmail, accusing him of "[embezzlement of] government funds" ("We Know"). Desperate to salvage his political career by proving that he was merely lustful and not corrupt, Hamilton prophylactically publicizes his affair ("Hurricane") in the Reynolds Pamphlet, which wrecks his own reputation ("The Reynolds Pamphlet") and damages his relationship with Eliza, who, in a heartbroken retaliation, burns all the letters Hamilton wrote her, trying to erase herself from history ("Burn"). After graduating from college, Philip attempts to defend his father's honor in a duel with George Eacker ("Blow Us All Away") but is fatally shot ("Stay Alive (Reprise)"), leading to reconciliation between Alexander and Eliza ("It's Quiet Uptown"). Hamilton's endorsement of Jefferson in the 1800 United States presidential election ("The Election of 1800") results in further animosity between Hamilton and Burr, who challenges Hamilton to a duel via an exchange of letters ("Your Obedient Servant"). Hamilton writes his last letter in a rush while Eliza tells him to go back to bed ("Best of Wives and Best of Women"). Burr and Hamilton travel to New Jersey for the duel. Burr reflects on the moments leading up to the duel, stating that one of them will have to die. Burr and Hamilton walk the requisite ten paces, then Burr fires first, and time freezes as Hamilton reflects on his legacy, before throwing away his shot. Burr shoots him between the ribs and Hamilton dies, mourned by Eliza, Angelica, and the rest of the cast. Burr laments that though he survived, he is cursed to be remembered as the villain who killed Hamilton ("The World Was Wide Enough"). The musical closes with a reflection on historical memory. Jefferson and Madison reflect on Hamilton's legacy, as Eliza tells how she keeps Hamilton's legacy alive through interviewing war veterans, getting help from Angelica, raising funds for the Washington Monument, speaking out against slavery, and establishing the first private orphanage in New York City ("Who Lives, Who Dies, Who Tells Your Story"). As the musical ends, Eliza looks in the direction of the audience and lets out a tearful gasp.