Shows "I"

I CAN GET IT FOR YOU WHOLESALE A Musical Play in Two Acts, a Prologue and 17 Scenes. Book by Jerome Weidman based on his novel of the same name. Music and lyrics by Harold Rome. Sam S. Shubert Theatre, New York - 22 March 1962 (300 perfs) Synopsis I Can Get It for You Wholesale takes a hard-boiled look at the cut-throat world of New York's garment district projecting itself as a contemporary piece with a dateless story. Harry Bogen is cold, pushy, and determined — determined to rise to the top by whatever means are required. He starts as a small-time strike breaker, moves into the garment business with a few partners, and then shoves them out of his way. He ignores the pleas of his good-hearted mother and his adoring girlfriend and neighbour, Ruthie Rivkin, to act ethically. He would even ditch Ruthie for a cheap, flamboyant nightclub performer, Martha Mills. When, after all his machinations, he ends up a bankrupt, only his mother and Ruthie are there to console him. The ending does not necessarily imply that simplicity and goodness are the best rewards but only that Harry is neither ruthless nor cunning enough to attain his goals. CAST - (in order of appearance): Miss Marmelstein Maurice Pulvermacher Meyer Bushkin Harry Bogen Tootsie Maltz Ruthie Rivkin Mrs. Bogen Martha Mills Mario Mitzi Eddie Blanche Bushkin Teddy Asch Buggo Miss Springer Velma Lenny Norman Manette Gail Rosaline Noodle Sam Moxie Sheldon Bushkin Edith MUSICAL NUMBERS 1. (He's Not a) Well Man - Miss Marmelstein,Maurice 2. The Way Things Are - Harry 3. When Gemini Meets Capricorn - Ruthie, Harry 4. Momma, Momma - Harry, Mrs. Bogen 5. The Sound of Money -Harry, Martha, Mitzi, Mario, Eddie 6. (The) Family Way - Mrs. Bogen, Harry, Ruthie, Teddy, Blanche, Meyer 7. Too Soon - Mrs. Bogen 8. Who Knows? - Ruthie 9. Have I Told You Lately? - Blanche, Meyer 10. Ballad of the Garment Trade - Miss Marmelstein, Ruthie, Blanche, Harry, Teddy, Meyer, Company 11. A Gift Today - Sheldon, Harry, Mrs. Bogen, Blanche, Meyer, Ruthie 12. Dance - Blanche, Meyer, Sheldon

13. Miss Marmelstein - Miss Marmelstein 14. The Sound of Money (reprise) -Harry 15. A Funny Thing Happened (On My Way to Love) - Ruthie, Harry 16. What's In It for Me? - Teddy, Martha 17. What Are They Doing to Us Now? - Miss Marmelstein, Buggo, Tootsie, Manette, Gail, Miss Springer, Creditors 18. Eat a Little Something - Mrs. Bogen, Harry 19. Epilogue - The Company SCENES AND SETTINGS Prologue: Seventh Avenue, New York City, 1937. Act 1 Scene 1: Office of Maurice Pulvermacher, Inc. Scene 2: Seventh Avenue. Scene 3: A Bronx Stoop. Scene 4: Mrs. Bogen's Kitchen in the Bronx. Scene 5: Club Rio Rhumba. Scene 6: Mrs. Bogen's Kitchen. Scene 7: A Bronx Stoop. Scene 8: Apex15 Modes, Inc. Scene 9: Apex Modes Showroom. Act 2 Scene 1: Harry Bogen's Penthouse. Scene 2: Apex Modes Inc. Scene 3: Apex Modes Inc. Scene 4: The Club Rio Rhumba. Scene 5: Apex Modes Showroom. Scene 6: Mrs. Bogen's Kitchen. Scene 7: Office of Maurice Pulvennacher, Inc. Scene 8: Seventh Avenue. Discography Presented across 2CDs, the release presents the Original Broadway Cast Recording, newly remastered from stereo reel-to-reel tape, alongside the show’s original studio demo recordings. The release is complemented by a bonus disc of cover recordings from ‘I Can Get it For You Wholesale’ including a never before released on CD instrumental album by Sy Oliver and His Orchestra. The disc also includes a plethora of pop covers from Harold Rome’s score by such artists as Tony Bennett, Robert Goulet, Jerry Vale and Edmundo Ros. The release is further complemented with detailed sleeve notes by Broadway historian and Harold Rome scholar George Dansker.

I CAN'T SING 2 Act Musical: Music Steve Brown; Lyrics Harry Hill & Steve Brown; Book Harry Hill. - Based on the television show, The X Factor London Palladium - Premiere 26 March 2014 - Closed 10 May, 2014 SYNOPSIS The tale starts in a suburban house in 1971 with a schoolboy Simon dreaming of how he will make a fortune. The main story is about X Factor hopeful Chenice, a would-be astrobiologis twho lives in a caravan under a flyover with her terminally ill grandfather in an iron lung, and Max, a ukulele-playing plumber.. She is persuaded by her adoring plumber, to audition for The X Factor. She has never heard of X Factor but it could be her route out of poverty.Their romance blooms as everything around them shimmers with glitz and deception. We follow the fortunes of Chenice whose grim back-story makes her the envy of her fellow contestants, and Max, her troubadour plumber from Rochdale who yearns to get back to descaling shower-heads. Neither is comfortable in the mould reality TV tries to squash them into. Chenice and Max becoming finalists and their burgeoning love is jeopardised by Machiavellian, behind-thescenes manouevring. MUSICAL NUMBERS Act I 1. Overture - Ensemble 2. If That's Not Entertainment - Young Simon, Ensemble 3. It Could Be Me - Max, Brenda, Vladimir, Alterboyz, Ensemble 4. Life Is Lovely - Chenice, Grandpa, Ensemble 5. Please Simon - Brenda, Vladimir, Alterboyz, Soul Star, Ensemble 6. All Woman - Brenda, Liam, Ensemble 7. I Can't Sing! - Chenice, Max, Barlow 8. Better than That - Hunchback 9. The Hugging Song - Liam 10. Missing You Already - Chenice, Max 11. X Factor Fever - Chenice, Max, Liam, Brenda, Ensemble Act II 12. Here Come the Judges - Brunhilde, Liam, Gerrard Smalls, Simon, Jordy, Louis, Ensemble 13. Uncomplicated Love - Simon, Gerrard Smalls, Max, Ensemble 14. Uncomplicated Love (reprise) - Barlow 15. Falling in Love with Myself - Jordy, Chenice, Ensemble 16. Make a Wish... It Happens - Alterboyz, Ensemble 17. Fabulous - Simon, Ensemble 18. A Song I Wrote for You - Max 19. I Can't Sing! (reprise) - Brenda, Ensemble 20. X-Tasy - Chenice, Ensemble 21. Journey to a Dream - Hunchback, Ensemble 22. You Can Sing! - All CAST Simon Chenice Max Barlow Liam O'Deary Hunchback Gerrard Smalls Jordy Louis Brenda Grandpa Security Guard Undertaker Brunhilde Vladimir Alterboyz Young Simons Voiceover

I DO! I DO! (Music by Harvey Schmidt: Book and Lyrics by Tom Jones: Based on 'The Four-Poster' by Jan de Hartog) 46th Street Theatre, Broadway - 5 December, 1966 (520 perfs) Lyric Theatre, Hammersmith - 16 May, 1968 SUMMARY The story of two people who have taken that most important step - marriage. in a warm sentimental fashion we follow the ups and downs of Agnes and Michael with love shining through all the smiles and tears. The perfect musical opportunity for a virtuoso performance from two characters. THE STORY: Act One A bedroom, complete with four-poster bed, chaise longue and easy chair. There are two dressing tables downstage on either side. Michael and Agnes sit at the tables, getting dressed for their wedding. They finish their makeup and don their wedding apparel. They move through the ceremony, complete with Agnes throwing the flowers and the two going out into the audience to shake hands and welcome guests. Finally, Michael carries Agnes back across the threshold and they fall into the bed (Prologue). Agnes’ feet hurt. Michael removes her shoe and kisses her foot. Agnes protests; a little drunk, a little weepy and very nervous. Michael professes his belief that they were married in a former life, and his sweetness makes her cry. We get a glimpse of the Michael that we will soon get to know when he ruins her happy moment by pointing out to her that she should go ahead and cry, as her youth is over. They nervously and elaborately prepare for the wedding night. They climb clumsily into bed and pull the covers back to find, to their horror, a pillow embroidered with the words, God Is Love. Michael awkwardly turns out the light. They say goodnight to each other, and Agnes admits that she’s never seen a naked man (Goodnight). There is an uncomfortable silence. Finally, they kiss and embrace passionately. A spotlight comes up on Michael, sitting on the lip of the stage. He stretches and smiles and tells the audience a surprising secret: contrary to conventional wisdom, he actually loves his wife (I Love My Wife). He wakes her and they dance together. He falls asleep, and she puts the God Is Love pillow under his head, tucks him in and kisses him. The music becomes soft and tender as Agnes straightens the room. She folds his clothes and puts them away, gets the robe that is hanging at her dressing area and slips into a new outfit. We see that she is very, very pregnant. She ruminates on impending motherhood (Something Has Happened). In the following blackout, we hear an old-fashioned, hand-rung bell as Michael calls for Agnes. He is in bed with a washcloth on his head as she enters – still hugely pregnant – pushing a bassinet. Michael is having sympathetic labor pains and is very needy and upset. He already feels displaced by the baby to come. Sitting on his lap, Agnes goes into labor. As Michael goes for the doctor, they promise to each other that they will never let anything happen to their relationship. Lights come up on Michael pacing, worrying and praying that his wife and baby survive (The Waiting Room). All is well; Michael has a son. He tosses cigars into the audience. Agnes enters, pulling a clothesline strung with diapers and baby clothes. Michael now realizes that he has a family for whom he needs to provide (Love Isn’t Everything). Agnes then has a girl. Now Michael knows that he really needs to make money. Despite the stress, love isn’t everything... but makes it all worth it. The tension between Agnes and Michael starts to

become palpable. Michael has become very self-involved and self-important about his work and success as a novelist. He treats her as a lowly domestic as he lectures the audience on writers and writing, themes and works. She interrupts him in the middle of his diatribe and calls his work dull. He corrects her grammar, criticizes her cooking and habitual lateness, insisting that she accompany him to literary parties at which she feels uncomfortable. She counters that she also has a list of irritating habits (Nobody’s Perfect). They return from the party and argue bitterly. He admits to having an ongoing affair with a younger woman. He blames Agnes for driving him away. He also points out that everyone knows that men get better with age and women get worse (A Well Known Fact). Agnes exits in disgust, and Michael finishes the song, making a fast, showy exit, a matinee idol in all his glory. In response to Michael having criticized her shopping habits, Agnes starts parading the extravagant items on her dressing table. She fantasizes about what her life would be like if she were a saucy, single divorcee, partying the night away (Flaming Agnes). Michael reappears to finish their discussion. She tells him to get out; he refuses, since, he claims, it is his house and his mortgage. She resolves to leave, taking the checkbook with her. He begins throwing her things into a suitcase: her alarm clock, her nightgown, her cold cream and the God Is Love pillow. Their eyes are now wide open about each other... and it isn’t pleasant (The Honeymoon Is Over). She stalks out, with her ermine thrown over her nightgown, and the Flaming Agnes hat set determinedly on her head. He waits for a moment, certain of her return. When she doesn’t come back, he rushes after her. We hear a struggle and he reappears, dragging her into the room. They fight and he throws her on the bed. His anger dissipates. Looking at her pleadingly, he tells her of his loneliness and regret. Her eyes fill with tears and she acknowledges that no one is perfect (Finale – Act I). They lie together and embrace. Act Two Agnes and Michael are in bed, celebrating New Year’s Eve. The God Is Love pillow is gone, as is the gaudy chandelier. Time has passed; their children are teenagers now, celebrating at New Year’s Eve parties of their own. Agnes and Michael are getting older (Where Are the Snows?). Michael is angry that their son hasn’t returned and goes downstairs to wait for him. He storms back into the room, having found bourbon in his son’s room. They argue about parenting, and Michael takes a swig from the bottle, only to discover that their son has filled the bottle with the cod liver oil that his mother thought she was administering for three years. We hear that, offstage, Michael has confronted his son at the door with the razor strap, only to discover that his boy is a man, dressed in his father’s tuxedo. Michael and Agnes reflect on the dreams and regrets of their early married years. Agnes asks Michael if he is disappointed. He is not (My Cup Runneth Over). They fantasize about their children growing up and moving out. They make plans for their middle age and retirement: he’ll finally finish his Collected Tolstoy; she’ll cruise to Tahiti and learn to do the hootchi-koo; he’ll play the saxophone, she the violin (When the Kids Get Married). Later, Michael is dressing with little success for his daughter’s wedding. He is not pleased with his little girl’s choice of husband (The Father of the Bride). Agnes enters, crying. The stained glass window appears again, and Michael and Agnes watch the ceremony. They wave to the departing couple and go home to face an empty nest. Agnes faces her transition to middle age. She doesn’t know what to be now that her children no longer need her as much (What Is a Woman?). Michael enters the scene with two packages, but Agnes announces that she’s going away; she doesn’t love Michael anymore. She feels that he neither understands nor appreciates her, and reveals her infatuation with a young poet. Michael confesses his love and concern for his wife. He shows her that he loves her, and she breaks down, laughing and crying at once. He gives her a charm bracelet with a charm for each of them, one for each of their children and room for many grandchildren. She feels much better. They dance together and multi-colored ribbons cascade from above (Someone Needs Me).

The music changes, becomes softer and more carousel-like as, together, they pick up the boxes and papers. They begin to pack up the house (Roll up the Ribbons). The music continues as they go to their dressing tables and apply old-age makeup, wigs and whiten their hair. It’s eight a.m., and the much older Michael and Agnes are moving to a smaller apartment. They are gathering the last bits and pieces to take along with the movers. He pulls out a steamer trunk and finds the God Is Love pillow. Agnes wants to leave the pillow for the newlyweds who have bought the house, but Michael refuses. He was mortified to find it on their wedding night and won’t have another young groom traumatized. Agnes sends Michael to look for a bottle of champagne and sneaks the pillow back under the covers. Michael returns with the champagne, but they determine that they won’t drink it, since it’s too early. They look at each other across the bed and remember what a good life they’ve had (This House – Finale). They take a last look around and leave the room together. Michael comes back in for the champagne and finds the God Is Love pillow under the covers. He puts it on Agnes’ side of the bed and the champagne on his side before exiting. The curtain falls on the home. CAST: 1 Male, 1 (Michael) Female. (Agnes) MUSICAL NUMBERS: Act I 1. All the Dearly Beloved - Michael and Agnes 2. Together Forever - Michael and Agnes 3. I Do! I Do! - Michael and Agnes 4. Good Night - Michael and Agnes 5. I Love My Wife - Michael 6. Something Has Happened - Agnes 7. My Cup Runneth Over - Michael and Agnes 8. Love Isn’t Everything - Michael and Agnes 9. Nobody’s Perfect - Michael and Agnes 10. A Well Known Fact - Michael 11. Flaming Agnes - Agnes 12. The Honeymoon Is Over - Michael and Agnes Act II 13. Where Are the Snows - Michael and Agnes 14. When the Kids Get Married - Michael and Agnes 15. The Father of the Bride - Michael 16. What Is a Woman - Agnes 17. Someone Needs Me - Michael and Agnes 18. Roll up the Ribbons - Michael and Agnes 19. This House - Michael and Agnes INSTRUMENTATION Reed I (piccolo/flute/clarinet) Reed II (flute/clarinet/bass clarinet), Reed III (oboe/cor anglais/clarinet), Reed IV (clarinet/bassoon), 2 horns, 2 trumpets, trombone, 2 percussion, harp, 2 pianos db celeste, 4 violins, 2 violas, 2 cellos, double bass DISCOGRAPHY I Do! I Do! (1966 Original Broadway Cast) Cast Recording Edition by Harvey Schmidt (1993)

I HAD A BALL A Musical Comedy in 2 Acts. Book by Jerome Chodorov. Music and lyrics by Jack Lawrence and Stan Freeman. Martin Beck Theatre, New York - 15 December 1964 (199 perf). SYNOPSIS: ACT I The curtain rises to reveal part of the Coney Island Boardwalk. At an open window a sign reads "Garside, The great Psychologist". Garside speaks directly to the audience and introduces us to the story. Families with children come marching in singing a joyous anthem and are greeted by the Coney Island characters. Stan, the Shpieler, just released from a short prison sentence has made his way back to Coney and finds his old friend Garside. Garside gets Stan on his couch and tries to convince him that romance is in his future. At first Stan laughs but then admits that he has been longing for romance. Meanwhile, Miss "Under-the-Boardwalk" Addie, a curvaceous beauty who has also returned to Coney, brags and shows off to the fellas. The Alley-Gang tease Addie about her sexual peccadilloes. Garside decides to use his talents to bring Stand together with Jeannie, the ferris-wheel operator. Jeannie claims to have no interest in men and feigns a satisfaction in being alone. In his salon, Garside is playing around with a crystal ball which he has named "Sam." To his amazement, he begins to see the future in the ball and pleads with his adopted guru for help. At the same time Ma Maloney, the local busybody, has decided that it is time to refashion dowdy-looking Jeannie into a glamour girl. Garside begins to advise Stan, Jeannie and Addie about their love lives. Stan is convinced by the Gang that he has a happy future and is roused to hallelujah and belief. Garside, however, has bungled his predictions and watches as two couples mismatch - Jeannie winds up with the loan-shark, Brooksie, while soft-hearted Stan ends up with piranha Addie. ACT II Ma and the Alley Gang are bemoaning the lousy summer weather and the lack of business at Coney. Their biggest complaint is the lower class customers they are attracting. Stand and Brooksie have become successful entrepreneurs and join in a game of one-upsmanship. Jeannie, however, is optimistically trying to make the best of her bad marriage to Brooksie. At a big party in her honour, she takes centre stage. The festivities are broken up when Brooksie burst in, pulls Jeannie aside and tells her that he is out of money. The ferris-wheel has been sold to cover big losses and even now he tries to get her remaining cash. Sadly, disillusioned, Jeannie is again alone. Things are no better for Stan, who has caught his "tzotskella" Addie playing around with other men. He realises he is doomed to endure the slings and arrows of "the fickle finger of fate." Garside seizes this opportunity to correct his mismatches and brings Addie and Brooksie together. A chase scene in the Tunnel of Love ends as Jeannie and Stan discover that they are meant to be soul mates. With two new couples wrapped in each other's arms, Garside congratulates himself and "Sam" on their success!

CAST (in order of appearance): • Garside • Stan the Shpieler • Jeannie • The Alley Gang (4): Gimlet: Joe the Muzzler: Ma Maloney: George Osaka: Morocco: Morocco. • Lifeguard • Jimmy • Officer Millhauser • Brooks • Addie Chorus of Children, Singers, and Dancers: SCENES AND SETTINGS: Act 1: In and around Coney Island on the Fourth of July. The time is the present. Act 2: Sixty days later. MUSICAL NUMBERS ACT 1 1. Coney Island, U.S.A. - Joe the Muzzler, Ma Maloney, George, Gimlet, Children, Ensemble 2. The Other Half of Me - Stan 3. Red-Blooded American Boy - Brooks, Gimlet, Joe the Muzzler, Ma Maloney, George 4. I Got Everything I Want - Jeannie 5. Freud - Garside 6. Think Beautiful Ma Maloney, Jeannie, Joe the Muzzler, George, Gimlet, Ensemble 7. Addie's at It Again - Addie, Joe the Muzzler, George, Gimlet 8. Faith - Stan, Gimlet, Joe the Muzzler, Ma Maloney, George, Children, Ensemble 9. Can It Be Possible? - Stan, Jeannie, Brooks, Addie, Garside ACT 2 10. The Neighborhood Song - Gimlet, Joe the Muzzler, Ma Maloney, George, Ensemble 11. The Affluent Society - Stan, Brooks 12. Boys, Boys, Boys - Addie, Lifeguards 13. Fickle Finger of Fate - Stan 14. I Had a Ball - Jeannie, Gimlet, Joe the Muzzler, Ma Maloney, George, Morocco, Ensemble 15. Almost - Jeannie 16. You Deserve Me - Garside, Brooks, Addie 17. You Deserve Me (reprise) - Garside 18. Tunnel of Love Chase - Garside, Stan, Jeannie, Millhauser, Ensemble DISCOGRAPHY I Had a Ball (1964 Original Broadway Cast)

I LOVE MY WIFE Music by Cy Coleman, Lyrics by Michael Stewart, Book by Michael Stewart from the play Viens Chez-moi, J'Habite Chez une Copine by Luis Regio Opened Ethel Barrymore Theatre 17 April, 1977 (857 perfs) Prince of Wales Theatre, London 6 October, 1977 (401 perfs) SYNOPSIS: Set in Trenton, New Jersey, Alvin and Wally have been friends from high school but their working lives are very different. Wally is a public relations executive. His friend, Alvin, is a furniture removal man, and, for him, that is the best job on earth. Over a beer in a restaurant, Wally feels that a threesome in bed would improve his public relations no end! Alvin also feels that a further bed companion might just make bedtime a little more interesting and a bit warmer! Alvin suggests to Cleo, his wife, that it would be nice to share their bed with Monica, Wally's wife, for once. Cleo thinks it will be nice to share a bed with Wally. In the end, whichever of the two come in first will be their bedtime companion for the night. Of course, Wally and Monica come in at the same time! When Monica goes to visit her mother, the other three talk about the situation. "Shall it be Wally and Cleo, Wally and both women, or a foursome?They finally agree on the last suggestion and that Christmas Eve would be a nice night for it. It's Christmas Eve. Wally and Monica open their presents at home. Wally hints that the real present is arriving at 9 o'clock for dinner - and then for the swap. Monica is livid but when Alvin and Cleo arrive she agrees to take part. Everyone is too excited to eat dinner though, so how about some 'pot' to help them relax? They undress and all scramble into bed but, by now, Wally is hungry. Afterwards, Wally consults a sex manual but all the routines suggested in it seem too complex for beginners. They start with #1, Loop the Loop. But it is no good. Their hoped-for orgy fizzles out. Not to worry, Alvin and Wally arrange to meet again at their local bar after the holiday festivities. Monica and Cleo meet again at the shops where they are exchanging their Christmas presents from their husbands for something they really like. Both couples contentedly part, their friendships intact. CAST: Alvin - A public relations executive (a nerd) Wally - Furniture Removal Man - brash, selfconfident. Cleo - Alvin's Wife Monica - Wally's Wife MUSICAL NUMBERS Act I 1. We’re Still Friends - Company 2. Monica - Alvin, Monica and Four Guys 3. By Threes - Wally, Alvin and Harvey 4. A Mover’s Life - Alvin and Four Guys 5. Love Revolution - Cleo 6. Someone Wonderful I Missed - Monica and Cleo 7. Sexually Free - Alvin, Cleo and Wally Act II 8. Hey There, Good Times - Harvey, Stanley, Quentin and Norman 9. Lovers on Christmas Eve - Monica, Wally and Norman 10. Scream - Harvey, Stanley, Quentin and Norman 11. Everybody Today is Turning On - Alvin and Wally 12. Married Couple Seeks Married Couple - Alvin, Cleo, Wally and Monica 13. I Love My Wife - Alvin and Wally DISCOGRAPHY I Love My Wife: A Musical (1977 Original Broadway Cast) by Cy Coleman

I LOVE YOU BECAUSE A Musical in 2 acts. Music by Joshua Salzman; Book and Lyrics by Ryan Cunningham after Pride and Prejudice by Jane Austen Village Theatre – Off-Broadway Landor Pub Theatre – London, England SYNOPSIS The story begins with Austin Bennet, a young greeting card writer who has his whole life planned out, preparing for a date with his long term girlfriend Catherine. Arriving to her apartment Austin finds Catherine in bed with another man. Dejected, Austin goes to his local bar, where his brother, Jeff, the eternal bachelor, tries to cheer Austin up by telling him the best way to win a woman back is by being completely indifferent to her. Meanwhile, Marcy, a flighty photographer, pours her heart out to her best friend, Diana, about her difficulty in finding the perfect man. Diana, an actuary, tells Marcy that the best way to find the perfect man is to find a man who is absolutely wrong, which she proves through a series of calculations. Jeff sets up a double date for himself and Austin, where Austin meets Marcy for the first time. In an attempt to be indifferent to Catherine, he tries to win over Marcy. Austin tries to tell Marcy of his sensitive side, but continually ambushes himself by bringing up his ex-girlfriend. Jeff 's courtship of Diana goes notably better until Jeff injures his back in a bedroom accident and is rushed to the hospital. Marcy is convinced that Austin would make a perfect rebound man, and after trying to track down Austin for many weeks, Marcy finally corners him at the coffee shop across from the hospital, where Austin sits writing. Marcy discovers that Austin is now trying to win Catherine back by writing her the perfect poem. Marcy tries to keep Austin from writing a cliché laden greeting card poem. She shows him that the lack of romance in his ordered and mannered way of life is evident. Austin calls Catherine, and when her response is all that Marcy predicted it would be Austin agrees to let Marcy help him. Marcy tries to teach Austin the difference between the clichéd romance of a greeting card and the honest romance of a poem. He learns well, but Marcy tells him not to send the poem for six months. However, Jeff accidentally sends the poem early. The response from Catherine comes on a post card that Marcy intercepts. She takes Austin out for dinner so that she can break it to him gently. Austin has a bit too much to drink and finally grasps all of Marcy's lessons of saying what you honestly feel. He explodes at the waiter when he tries to charge Marcy too much for dinner. Austin feels liberated, and Marcy feels like someone actually stood up for her. They both feel a way they haven't before, and they tell each so. However, just as they are about to to a kiss, Marcy breaks the news about Catherine to Austin. Crushed, Austin blames the failure on Marcy, who turns on Austin and yells that the reason for his failure is his insistence on having a completely ordered and structured life. This fight ends with the two sleeping together. Meanwhile Jeff and Diana come to an understanding. After sleeping with Marcy, Austin runs home and tells Jeff that he might be in love with Marcy. Jeff warns Austin that he is letting his emotions get the better of him, and that he should keep his feelings to himself. Austin wonders what he should. Ultimately Austin runs off and tells Marcy how he feels, but she is not ready to feel the same way, and she tells Austin so. Austin returns home to find Catherine waiting for him. Marcy wanders the streets of New York thinking about what she has done. The ensemble appears and helps Marcy convince herself that she is better off alone. Diana tires of her and Jeff 's "friends with benefits" situation, and asks Jeff to become exclusive. Jeff warns her that becoming exclusive will only end in heartache. Marcy decides that she does return Austin's affections even though he is so wrong for her. She tells him so.

Austin, now back with Catherine, still hurt by Marcy's earlier rejection, and reeling from her tactless attempt to apologise, sends her away. Austin, Marcy, Diana, and Jeff, all deal with their heartache. Marcy and Diana go to the bar where the Bartender and Cocktail Waitress sympathise with them. Austin returns home and finds Diana and Jeff making up. They convince him that Marcy is the woman for him. Before running to Marcy, Austin takes a moment to say goodbye to his old lifeand runs off to find Marcy, and tells her that she is completely wrong for him, and he is completely wrong for her, and he doesn't love her anyway. He loves her because of their differences. CHARACTERS • Austin Bennet (25; tenor to A): greeting card writer. • Jeff Bennet (28; baritone to G [optional A]): pedi-cab driver. • Marcy Fitzwilliams (24; soprano, strong mix to F, belt to D): photographer. • Diana Bingley (27; alto to D): actuary. • Cocktail Waitress, Barristers, Neighbour, Chinese Food Restaurant Manager, Nyc Woman (soprano) • Bartender, Barista, Waiter, Chinese Food Restaurant Waiter, Nyc Man (bari-tenor) INSTRUMENTATION - (5 musicians) Piano/Conductor; Electric keyboard; Reed (Soprano Saxophone, Alto Saxophone, Flute, Clarinet, Bass Clarinet, Oboe); Bass (Acoustic and Electric); Drums/Percussion MUSICAL NUMBERS 1. Another Saturday Night In New York 2. Oh What A Difference 3. But I Don't Want To Talk About Her 4. Coffee 5. The Perfect Romance 6. Because Of You 7. We're Just Friends 8. Maybe We Just Made Love 9. Just Not Now 10. Alone 11. That's What's Gonna Happen 12. Even Though 13. But I Do 14. What Do We Do It For? 15. Marcy's Yours 16. Goodbye 17. I Love You Because DISCOGRAPHY I Love You Because (2006 Original Off-Broadway Cast)

I LOVE YOU, YOU'RE PERFECT, NOW CHANGE Book and lyrics by Joe Di Pietro. Music by Jimmy Roberts. Originally Produced in New York by James Hammerstein, Bernie Kukoff and Jonathan Pollard. Original Direction by Joel Bishoff. Originally produced by the American Stage Company, James N. Vagias, Executive Producer. Long Wharf Theatre - 1 August 1996 - 27 July, 2008 ( 20 previews and 5,003 perfs) SYNOPSIS: This celebration of the mating game takes on the truths and myths behind that contemporary conundrum known as "the relationship". Act l details the journey from dating and waiting to lovers and marriage, while Act II reveals the agonies and triumphs of in-laws and new-borns, trips in the family car and pick-up techniques of the geriatric set. This hilarious revue pays tribute to those who have loved and lost, to those who have fallen on their face at the portal of romance, to those who have dared to ask, "Say, what are you doing Saturday night?" CAST: - 2 men, 2 women (could be easily expanded) MUSICAL NUMBERS Act 1 Scene 1: "Prologue" "Prologue" "Cantata for a First Date" Scene 2: "Not Tonight, I'm Busy, Busy, Busy" Scene 3: "A Stud and a Babe" "A Stud and a Babe" Scene 4: "Men Who Talk and the Women Who Pretend They're Listening" "Single Man Drought" "Why? 'Cause I'm a Guy" Scene 5: "Tear Jerk" "Tear Jerk" Scene 6: "The Lasagna Incident" "I Will Be Loved Tonight" Scene 7: "And Now the Parents" "Hey There, Single Gal/Guy" Scene 8: "Satisfaction Guaranteed" Scene 9: "I'll Call You Soon (Yeah, Right)" "He Called Me" Scene 10: "Scared Straight" Scene 11: (untitled) "Cantata Reprise #1" "Wedding Vows" Act 2 Scene 1: (untitled) "Cantata Reprise #2"

"Always a Bridesmaid" Scene 2: "Whatever Happened to Baby's Parents?" "The Baby Song" Scene 3: "Sex and the Married Couple" "Marriage Tango" Scene 4: "The Family that Drives Together..." "On the Highway of Love" Scene 5: "Waiting" "Waiting Trio" Scene 6: (untitled) "Shouldn't I Be Less In Love With You?" Scene 7: "The Very First Dating Video of Rose Ritz" Scene 8: "Funerals are for Dating" "I Can Live With That" Scene 9: "Epilogue" "Epilogue" "I Love You, You're Perfect, Now Change" INSTRUMENTATION: piano, violin, bass DISCOGRAPHY I Love You, You’re Perfect, Now Change (The Hilarious New Musical Revue) OCR Varèse Sarabande VSD-5771

I MARRIED AN ANGEL A Musical Comedy in 2 Acts, 11 Scenes.. Book by Richard Rodgers and Lorenz Hart adapated from the Hungarian musical play "Angyalt vettem feleségül" by János Vaszary. Music by Richard Rodgers. Lyrics by Lorenz Hart. : Staged by Joshua Logan. Settings by Jo Mielziner. Choreography by George Balanchine. Sam S. Shubert Theatre, New York - Opened 11th May, 1938; closed 25th February 1939 (338 perfs) SYNOPSIS: The story has as its hero a banker and ladies' man, Willie Palaffi. His bank is in trouble and so is his courtship of Anna. In a rash moment Willie breaks off the affair and swears that he will marry no one but an angel. When the gods wish to punish they answer - and an angel flies into Willie's rooms. He marries her and promptly clips her wings. But the gods above are snickering. Her open angelic ways cause endless embarrassment until Willie's sister, the Countess Palaffi, indoctrinates her brother's angel in the ways of the world. A vengeful Anna spreads tales about the bank's problems. But Willie's backer, Harry, arrives to save the day. Even his arrival would have been too late had not the Countess again stepped in to help. She bribes the cab drivers who are bringing the creditors to drive so slowly that the creditors appear only after Harry and Willie have agreed terms. (Story condensed from "A Chronicle of American Theatre" by Gerald Boardman ISBN 0-19-502356-0 MUSICAL NUMBERS: 1. Did You Ever Get Stung? - Count Willy Palaffi, Countess Peggy Palaffi, Peter Müller 2. I Married an Angel - Count Willy Palaffi 3. Musical Interlude —The Modiste - Count Willy Palaffi, Angel, Modiste, 1st Vendeuse, 2nd Vendeuse 4. Honeymoon Ballet - Angel, Count Willy Palaffi, 1st Dancer, Corps de Ballet 5. I'll Tell the Man in the Street - Countess Peggy Palaffi, Harry Mischka Szigetti 6. How to Win Friends and Influence People - Anna Murphy, Peter Müller, Ensemble 7. Finale Act I - Count Willy Palaffi, Countess Peggy Palaffi, Angel 8. Spring Is Here - Count Willy Palaffi, Countess Peggy Palaffi 9. Musical Interlude — Angel Without Wings - Angel, Lucinda, 1st Vendeuse, 2nd Vendeuse, 1st Stenographer, 2nd Stenographer, Arabella, Florabella 10. A Twinkle in Your Eye - Countess Peggy Palaffi 11. I'll Tell the Man in the Street (reprise) - Harry Mischka Szigetti 12. At the Roxy Music Hall - Anna Murphy 13. Roxy's Music Hall - Danced by Cast, Ensemble 14. Finale - Act II - Entire Company

CAST: - (in order of appearance): • Major Domo • Two Guests • Olga Madayn • General Lucash • Guest • Peter Müller • Count Willy Palaffi • Countess Peggy Palaffi • Anna Murphy • Angel • Justice of the Peace • Valet de Chambre • Femme de Chambre • Modiste • First Vendeuse • Second Vendeuse • Harry Mischka Szigetti • Duchess of Holstein-Kuhhoff • First Clerk • Second Clerk • First Stenographer • Second Stenographer • Lucinda • Clarinda • Philomena • Rosalina • Seronella • Arabella • Florahella • Premier Danseur • Ladies of the Ballet: Gentlemen of the Ballet: SCENES AND SETTINGS: Act I • Scene 1: Willy's Salon, a spring evening. • Scene 2: Willy's Study, later that evening. • Scene 3: Bedroom in a Paris Hotel. The Next evening, the next morning. • Scene 4: Honeymoon Ballet. • Scene 5: Willy's Study, noon, one month later. • Scene 6: Willy's Salon, immediately after. Act 2 • Scene 1: Palaffi's Brothers' Bank, five minutes to four that afternoon. • Scene 2: Angel's Boudoir, that evening. • Scene 3: Harry's Salon, later that evening. • Scene 4: Dream of Roxy's Music Hall. • Scene 5: Harry's Salon, six o'clock the next morning. DISCOGRAPHY I Married An Angel - Studio Cast Recording

I MARRIED WYATT EARP Book by Thomas Edward West and Sheilah Rae, lyrics by Sheilah Rae, music, Michael Brourman; Suggested in part by I Married Wyatt Earp edited and collected by Glenn G. Boyer 59E59 Theater B. First preview 20 May 2011, Opened 24 May. closed June 12, 2011; 3 previews, 18 performances SYNOPSIS Young Josie Marcus is nothing like the girls back home. Passionate and fearless, she leaves behind her upper class Jewish family for the adventure of Tombstone, Arizona—home of legendary lawman Wyatt Earp. Eleven gutsy women give voice to the untold story of the American frontier in this compelling new musical. MUSICAL NUMBERS 1. Prologue 2. Don't Blame Me for That 3. Unpacking Dreams 4. Nothing Like the Girsl at Home 5. When a Maiden Makes a Promise 6. I Ain't Gain' Back 7. High Class Attraction 8. Mama, Oh Mama 9. They Got Snakes Out Here 10. Pins and Needles 11. Don't Blame Me for That (reprise) 12. Didya Hear? 13. Little Black Sheep 14. Mama, Oh Mama (reprise) 15. It's Different This Time 16. Pins and Needles (reprise) 17. Don't Blame Me for That (reprise) 18. In the Cards 19. Room to Breathe 20. The Dust, Games Are Everywhere 21. I'd Do It All Again 22. Stand Your Ground 23. Pins and Needles/ Shootout 24. All These Years SCENES AND SETTINGS Los Angeles, Cailifornia, 1944; Tombstone, Arizona, 1879-1881

I PAGLIACCI Music by Ruggero Leoncavallo, Libretto by Ruggero Leoncavallo English translations by either Frederic Weatherly or Tom Hammond THE STORY (Montalto in Calabria, Sicily; The Feast of the Assumption circa 1870) A troupe of strolling players arrives in the Sicilian village of Calabria to perform a comic play. Having drummed up support for the production amongst the townsfolk, Canio retires to the tavern for a drink while Tonio takes advantage of Canio's absence to declare his love for Nedda. She firmly rejects his advances and is forced to defend herself with a whip when he tries to kiss her. Nedda is in love with Silvio who has persuaded her to elope with him after the play that night. However, Tonio overhears their declarations of love and, seeking revenge on Nedda, informs Canio of her betrayal. Canio returns too late to catch her lover but, threatening her with a knife, demands to know his name. She refuses and he is only prevented from carrying out his threats by Peppe who disarms him and persuades them all to get ready for the performance. At first the play exactly mirrors events to date - Taddeo's professions of love for Columbine are rejected in favour of Harlequin's and when Pagliaccio discovers she has a lover he demands that she confess his name. It soon becomes clear, however, that Canio is referring to Nedda's lover in reality and is no longer acting the part of Pagliaccio. When she declares that she will never divulge his name, Canio, in a jealous rage, lunges at her with a knife and strikes her down. As she collapses, she calls for Silvio thereby identifying her lover. As he rushes to her side, he too is fatally wounded by Canio, and the "comedy" comes abruptly to a close amid much confusion. Principal Characters (plus Chorus) Nedda (Actress Wife of Canio/Columbine) Canio (Leader of a Troupe of Strolling Players1Pagliaccio) Tonio (a half-witted Hunchback and knockabout Comedian1Taddeo) Peppe (an Actor/Harlequin) Silvio (a Peasant) Principal Musical Numbers Intermezzo (Orchestra) Stridono Lassu (Nedda) Vesti La Giubba (Canio) Un Tal Gioco (Canio) No, Pagliaccio Non Son! (Canio) INSTRUMENTATION 2 Flutes (1 Piccolo) 2 Oboes (1 Cor Anglais) 2 Clarinets (1 Bass Clarinet) 3 Bassoons 4 Horns 3 Trumpets 3 Trombones 1 Tuba 1 Timpani 3 Percussion 2 Harps 1 Bells Strings On-stage violin, oboe, trumpet, bass drum 1 Full score

I REMEMBER MAMA Music by Richard Rodgers, lyrics by Martin Charnin, book by Thomas Meehan, additional lyrics by Raymond Jessel based on the play by John Van Druten from stories by Katherine Forbes Majestic Theatre - 31 May, 1979 (108 perfs) SUMMARY: This musical version of the famous play was Richard Rodgers' final work before he died. Katrin, a successful writer, reads from her memoirs, reliving her memories of her Norwegian mother and family. She takes us back to San Francisco at the turn of the century when she was sixteen, and we learn that Dada has lost his job and may have to take his family back to Norway. Only when Katrin finally manages to sell her first story to a magazine do they manage to stay in America. THE STORY: Katrin Hansen is a successful writer but the scene she describes at the opening of the show is from a much earlier time - when she was a young girl in San Francisco. She recalls the house where she grew up describing her three sisters, Christine, Johanna and Dagmar, her brother Nils and her father but best and most of all she says, "I Remember Mama." We are transported back in time and we meet the family including Katrin at the age of 16. Papa, a worker at the local shipyard, brings home some violets and his hard-earned 22 dollars for Mama's household bank account. There never seems to be enough money - Katrin wants some new shoes, Nils needs books for high school - but Mama is ever the optimist. Katrin is determined to become a writer and begs to be allowed to stay up late so that she might be touched by the muse of inspiration. She tells her mother of all the wonderful characters who visit writers at night. The following day is Mama and Papa's anniversary and they are throwing a party. Most of the relatives are coming - Aunt Sigrid, Aunt Jenny and Aunt Trina, who has fallen in love with the local undertaker - and many of Hansen's friends. Katrin asks whether or not everyone will dance until dawn, just as they do in Dickens' novels. Mama tells that not everything is to be found in books - look around and observe the wonders that abound. After everyone takes their leave, Papa and Mama wander out onto the porch. Things aren't going too well at the shipyard and Papa is concerned. Mama realises that so much of her life is concerned with the welfare of the children that she completely overlooks the concerns of her husband. They drink a toast and reaffirm their love for each other. We move forward six months and Papa has lost his job. He thinks he might take his family back to Norway where work can be found but Mama wants to stay in San Francisco. The three Aunts arrive warning of the imminent arrival of Uncle Chris - the unofficial head of the Halvorsen family. Trina will marry her undertaker if Uncle Chris gives his permission even though Uncle Chris is a disagreeable man. The family take notice of him because he has the family fortune. He arrives but when he learns that the undertaker is Swedish he refuses to give his permission. Dagmar, the youngest daughter, has been complaining of feeling unwell. Uncle Chris and Mama take her to hospital where appendicitis is diagnosed and which necessitates an operation to remove it.

A few days later, Uncle Chris is getting ready to return home to his ranch. He finds out that Trina's undertaker is not only Swedish but is a Methodist. He restates his opposition to the alliance and again refuses his permission for a marriage to take place. Papa has still not found a job and the landlord is insisting on the payment of outstanding rents by July or the family will be evicted. Papa receives a letter offering him a job in Norway. He says he will go, find a house and then send for Mama and the children. The children don't want him to go but Mama says that she and the children will stay in America. We move forward in time to spring 1911. Papa is gone and Mama has to work harder than ever to make ends meet. Katrin has tried, unsuccessfully to sell one of her stories in order to help with the family finances. Aunt Jenny comes over to give Mama some advice: "take the children and go to Norway to be with Papa." Mama will not go. She is still angry and feels that it was wrong of Papa to leave the family. Katrin sees in the newspaper that a famous writer, Dame Sybil Fitzgibbons, is making an appearance at the Fairmont Hotel. Mama comes up with the idea that Dame Sybil could read and appraise Katrin's stories and duly takes Katrin down to the hotel to meet with the writer. Mama convinces Dame Sybil to read the stories and returns with a a piece of advice for Katrin - write about what you know, not what you have read in other books. Uncle Chris is dying and the family assembles at his ranch. As he has been secretly married for years, the Aunts won't inherit anything but before he dies, he gives Trina permission to marry the undertaker. He tells Mama to go to Norway to be with Papa - she is tempted. Mama eventually decides that she will take the children and go to Norway. Katrin wants to stay in San Francisco and lead her own life. She is now 17 - the same age as Mama was when she married Papa. Suddenly Mama realises how much time as passed and that her little girl has suddenly become a woman. As the family begins packing for the journey to Norway Papa reappears. He couldn't bear to be any longer without his family and realises that America is the place for them all. A letter comes for Katrin from Colliers Magazine with a payment of $500 - for the publication of her first story. She has taken Dame Sybil's advice and written about her family. Everyone is together again, and gathers around Katrin to hear her read the story: "For as long as I could remember, the house on Steiner Street had been home ... all of my earliest memories are of my family and of that house on Steiner Street. I remember, with love, all who lived there, but best, and most of all, I remember Mama." CAST: - 4 men, 5 women, 1 boy, 4 girls, chorus Katrine Mama Papa Uncle Chris Mr. McGuire Aunt Sigrid Nurse Christine Aunt Trina Dame Sybil Fitzgibbons Dagmar Lucie Doctor Anderson Mr. Thorkelson Johanna Aunt Jenny Nils Steiner Street neighbours INSTRUMENTATION: 2 flutes (2nd db. piccolo), oboe db. cor anglais, 2 clarinets, bassoon db bass clarinet, 3 horns, 2 trumpets, trombone, tuba, 2 percussion, harp, piano db. celeste, strings

MUSICAL NUMBERS: 1. Easy Come, Easy Go 2. Ev'ry Day 3. Fair Trade 4. I Remember Mama 5. It Is Not the End of the World 6. It's Going To Be Good To Be Gone 7. Lars, Lars 8. A Little Bit More 9. Lullaby 10. Mama Always Makes It Better 11. A Most Disagreeable Man 12. Such Good Fun 13. Time 14. Uncle Chris 15. A Writer Writes at Night 16. You Could Not Please Me More DISCOGRAPHY Studio Cast Recording

I WAS A TEENAGE JEKYLL & HYDE Musical Play Book and lyrics by Randall Lewton. Music by Peter Miller SYNOPSIS Eustace Crucible, crazed chemistry teacher, has found a formula to enhance his appearance and intelligence. But courage fails him and he persuades downtrodden Sylvester Jekyll to drink the potion transforming him into Hyde, a super-cool, handsome, laid-back youth. Between momentary flashbacks to his real self, Hyde learns of people's true feelings for Sylvester and, in the end, decides to be himself. Cast: 11 main speaking roles. Large supporting cast. Various simple interior and exterior settings Vocal score available.

I'D RATHER BE RIGHT A Musical Revue in 2 Acts. Book by George S. Kaufman and Moss Hart. Music by Richard Rodgers. Lyrics by Lorenz Hart. Book staged by George S. Kaufman. Alvin Theatre, New York - Opened 2nd November, 1937; transferred to the Music Box Theatre 23rd May, 1938: closed 9th July, 1938 (290 perfs). Although billed as a Musical Revue, this show is most often referred to as a musical comedy. SYNOPSIS A satire on the American political scene. The plot concerns Peggy and Paul - who can't get married until Paul gets a raise - and he won't get that raise until the national budget is balanced! Paul dreams that he and Peggy meet President Roosevelt in Central Park sitting on a bench. He promises to help them out, but all his efforts to balance the budget are in vain and he advises the couple to have faith in themselves and get married anyway. When Paul wakes up he decides to do just that! Songs include ;Have You Met Miss Jones?';' Labor Is The Thing' and 'Off The Record.' CAST: - 8 men, 5 women, chorus (in order of appearance): Peggy Jones Phil Barker The President of the United States His Secretary The Postmaster General The Secretary of the Treasury The Secretary of State The Secretary of Labour The Secretary of the Navy The Secretary of Commerce The Secretary of Agriculture The Secretary of War The Secretary of the Interior The Attorney-General The Chief Justice James B. Maxwell Federal Theatre Director Social Service Messenger The President's Mothe A Butler The Judge's Girl Sistie Buzzie Tony Joe Acrobats, Band, Singer and Dancers MUSICAL NUMBERS: ACT 1 1. A Homogeneous Cabinet - (Cabinet Members) 2. Have You Met Miss Jones? - Peggy Jones, Phil Barker 3. Take and Take and Take - Judge's Girl, Dancer, Ensemble 4. Spring in Vienna (Title changed to Springtime in Milwaukee) - Tony + dancers & Ensemble 5. A Little Bit of Constitutional Fun - Judge's Girl, Ensemble 6. Sweet Sixty-Five - Peggy Jones, Phil Barker + Dancers 7. We're Going to Balance the Budget - US President, Company ACT 2 8. American Couple (Ballet) (Replaced with What's It All About) 9. The Girl: The Mother: The Boy: The Father: The Minstrel: A Flower Girl: A Photographer: Best Man: The Nurse: The Teacher: The Son: Ringmaster: Clown: Bareback Rider: A Seal: Another Mother: Another Father: The Son, grown up: His Girl: 10. Labour Is the Thing - James B. Maxwell, Ensemble 11. I'd Rather Be Right - Peggy Jones, Phil Barker, Judge's Girl, US President, Ensemble

12. Off the Record - US President 13. A Baby Bond - Secretary of the Treasury INSTRUMENTATION: Reed I (flute, piccolo, tenor sax), Reed II (oboe, cor anglais), Reed III (clarinet, alto sax), Reed IV (clarinet, bass clarinet, alto sax), Reed V (clarinet, bassoon, tenor sax), horn, 3 trumpets, trombone, drums, harp, piano, strings

THE IDEAL GNOME EXPEDITION Musical play by David Wood SYNOPSIS After rescuing a toy duck from the dustbin in their back yard, Mr Fisher and Mr Wheeler, two temporarily nomadic garden gnomes, decide to venture into the big, wide world. Their objective is to find a holiday island, just like the "Big Ones", but being unused to the hazards of the town, they almost don't make it. Although nothing turns out quite as expected, they all agree that it is the best holiday they've ever had. CAST: 6 Characters - male or female SETTINGS: A back yard; an alley; an adventure playground; a street; a traffic island.

IDOL - THE MUSICAL Musical. Music and Lyrics by Jon Balcourt, book and lyrics by Bill Boland. Concept and additional book and lyrics by Todd Ellis 45th Street Theatre, Off-Broadway - Opened and closed 12 August, 2007 (47 previews, 1 perf) SYNOPSIS The lights fade up on a silhouetted statue. Robed members enter slowly, as if in a procession, and begin to circle the statue. When the cloth is stripped away the audience realizes this is a fan club for Clay Aiken! Emily, the leader of the group, takes the members through the meeting's traditional schedule and agenda. We are introduced slowly to the different members of the group: JD, who is a jock that wants to get out of the small town, Connor, a nerdy pianist who seems to have trouble fitting in, Cicada, the human dictionary who gets in everyone's way, Kodi, the theatrical ham who never ceases to make an entrance, Cass, the gothic masochist who spends more time poking pins into her doll than paying attention at the meeting, Alex, the tough tomboy who constantly tries to avoid Duncan, and Duncan, the goofy "cowboy" who is constantly after Alex's attention. As the meeting progresses the members share their discontent with living in a small town, and reflect on life outside. An unexpected guest appears as the meeting continues. Adrienne, Emily's sister, has returned from her audition for American Idol (though unsuccessful) and tries to play it off as if she is a big star-to-be that has the know-how to whip the hapless group into shape in time for a competition coming to town: to be the opening act for Clay Aiken's new tour! The group decides to create a song and dance number that will knock Clay's socks off, but it cannot be completed with the discipline and focused required in all rehearsals. JD is practicing basketball after the meeting, and happens upon a pole in the garage that the club uses to gather. Slowly he morphs from a basketball playing hip-hop dancer to a pole-dancing male stripper wannabe. Kodi, Cicada, and Emily enter and catch him in the act, almost speechless, but laughing it off, nonetheless. Shortly after, Alex and Duncan enter in a fight once again (as always), with Duncan pleading for Alex to give him a chance and let him take her out on a date. JD admits to the group that he didn't get the basketball scholarship he claimed he was rewarded, and instead has different plans for his future. Connor is home working on the music to the song he is writing for the group to perform. While at home, Cass enters behind him unannounced and catches him at the piano with his pants down (a way of relaxing while practicing, he claims). The tension between the two is evident, and it is clear that there are shared feelings from both sides, however neither is strong or brave enough to take a step towards admitting it. When the two are almost about to kiss, Adrienne interrupts the romance, and Cass leaves to go to rehearsal. Adrienne gives Connor some new music she says she wrote as a backup to the act they are already working on, and demands he play it for her to practice. Connor is stunned and has realized that Adrienne is planning the act to sabotage the group's chances of winning so that she can steal the spotlight. She laughs, and tells him it's too late and the others will think he was in on it with her. She leaves to go run rehearsal, and Connor is left wondering what to do. At rehearsal, the group practices the mundane, cheesy number for the last time. Adrienne and Connor enter during the rehearsal and the group soon realizes what has been going on, and blames Connor for doublecrossing them. They leave one by one, and it seems like the group of friends has fallen apart. Adrienne leaves Connor to himself, enjoying her success as she exits the garage. Emily is passing her time working on a clay bust of Clay's head, and begins to believe that it takes on all too