JACK AND THE BEANSTALK (Music by Jeanne Bargy and Jim Eiler: Book and Lyrics by Jim Eiler) SYNOPSIS A new twist on the old pantomime story wherein Jack climbs the beanstalk to find a good giant and a tapdancing Golden Goose. Along the way, he encounters his long-lost father (a victim of – what else? –amnesia) and a villainous Baron. This delightful zany cartoon adaptation of a favourite story will enhance the repertoire of any performing company and is sure to delight even the most jaded of audiences! STORY Act 1 Jack Sprague is milking his cow, Betsy, as his morning comes to an end. His mother joins him outside with some mending and, with their neighbours, they observe what a beautiful day it is. Moments later, the evil Baron shows up, asking for the Sprague's annual tax money. They reveal that they do not have it. He offers to assist them by proposing to Mother, who promptly spurns his advances, claiming her husband, and Jack's father, will eventually return. The Baron gives them until the next day to come up with the tax money or else he will throw the two into jail. When Jack tries to refuse, the Baron puts both Jack and his mother in a trance, revealing his magic powers. He releases them from the trance and leaves them to come up with the money. Jack and his mother are at a loss for what to do. They decide the only way to pay their taxes is to sell their cow, Betsy. Mother says goodbye to Betsy, and sends Jack and the cow to the market to get a good price. The Baron overhears their conversation and quickly forms a plan. He disguises himself as a peddler, approaches Jack and offers to sell him magic beans in exchange for the cow. The Baron explains that once planted and watered, the beanstalk will grow while Jack is asleep. He claims that atop the beanstalk there is a castle with a golden goose which lays golden eggs, and that this goose will make Jack rich. Jack accepts the trade. Back at the Sprague's house, Jack's mother is furious with him for trading his cow for beans. She is sure they will be thrown into jail. Jack tries to comfort her as he plants the beans. The next morning there is a beanstalk leading up to the sky; Jack and his mother are in disbelief but he decides to climb the beanstalk and get the goose. His mother desperately begs him not to go, worried he might never return. Jack bids his mother goodbye and assures her that he will return. Jack makes it to the top of the beanstalk into a strange land where everything is bigger. A housekeeper, assistant, and natives of the land find him and insist that he leave, for he is in the land of the giant. Jack, who insists he must find the golden goose, becomes trapped when the giant appears from inside of the castle. The Giant finds him hiding amongst the flowers. When Jack tries to explain his intentions, the Giant becomes infuriated. Act 2 Now, within the Giant's laboratory, Jack has been taken prisoner and strapped into an experimental chair. The Giant explains that he is not only a great Giant, but also a great scientific inventor. The Giant uses his inventions to calm Jack down, then injects him with Giant Truth Serum to learn if he is really a spy. Under the effects of the serum, Jack explains that he learned of the golden goose from an old peddler, and came
to take it to help pay for his family's taxes. The Giant feels sorry for Jack, gives him food and shows him his golden harp, which plays on its own. After the harp's performance, the Giant shows Jack his greatest invention: the Golden Goose. Not only does the Goose lay golden eggs, but it also talks and sings. After the Goose's performance, the Giant tells Jack that he will be his new assistant and stay there forever. Jack says he must go home for his mother, but the Giant explains that he will be given 'Forget Who You Are' Formula. The Giant asks his current Assistant to deliver the Formula to Jack and leaves to inspect the castle. The Assistant pulls Jack aside and tells him if Jack pretends to have been given the Formula, they can escape during the night. In return, the Assistant asks that Jack help him find out who he is. The Giant returns and convinced the Formula has worked, the Giant goes to bed. Once asleep, the Assistant wakes up Jack and they make their escape. While trying to escape, Jack accidentally bumps into the goose, which honks, raising the alarm. The Housekeeper enters, but Jack and the Assistant are able to fool her into thinking the wind woke up the goose. After all has settled down, they attempt to escape again but Jack decides he must take a golden egg. The alarm starts again and Jack and the Assistant make a run for it, followed by the Housekeeper, the Goose, the Harp and the Giant. Back on the ground, the Baron chases Jack's Mother around her house. He puts her under a spell to make her agree to be his wife. Jack returns with the Assistant and a golden egg, but the Baron puts a spell on them and steals the egg. He then sees the Giant coming down the beanstalk with the Goose, and cuts down the beanstalk with an axe to get to the Goose. But when The Baron tries to steal it, the Giant subdues him with one of his formulas. Once the Baron is knocked out, the Giant wakes up Jack, the Assistant, and Jack's Mother. Jack's mother discovers that the Assistant is her husband. The Giant, realizing that the Baron is the one who keeps going for his Goose, gives him a Sweetness and Light Formula which transforms him into a sweet angel. After all has been fixed, the Giant realizes he cannot go home because his beanstalk has been chopped down. The now friendly Baron offers for the Giant to stay in his castle, as it has room for him and all his inventions, including, of course, the Golden Goose. Scenes and Settings ACT 1 • Scene 1: Jack's Farm, morning. • Scene 2: Top Of The Beanstalk, Immediately following. ACT 2 • Scene 1: The Giant's Laboratory, Afternoon, then Evening • Scene 2: Jack's Farm, The Next Morning PRINCIPALS: - 4-5 Male, 3-4 Female, Cow. • Jack Sprague - Juvenile. He needs to move well and be able to dance. Mid-teens (Baritone) • Mrs. Sprague - Jack's mother. Mid-thirties (Soprano) • The Assistant - A fatherly type and actually Jack's father suffering from anmesia. Mid-thirties (Baritone) • The Baron - The baronial villain, powerful and dynamic. (Baritone) • The Giant - Should be as tall as possible; In this version he is not the villian, but a loveable,comedic character. Should be able to dance and move well and have a good sense of timing and farce. (Baritone) • The Golden Goose - Should be a farcical actress with ability to perform all the old vaudeville style moves. (Mezzo or Pop Voice) • The Golden Harp (Male or Female) - A mechanical, robot-like creation of the Giant. (Tenor or Soprano) • The Housekeeper - Should be as small as possible in contrast to the Giant (Soprano) • Chorus - Neighbours and Beanstalk People
MUSICAL NUMBERS 1. A Magical Musical Day - Jack, Mother, Cow, Neighbours 2. Goodbye Little Cow - Mother, Cow 3. Magic Beans - Baron, Jack 4. Gonna Climb Up -Jack, Mother 5. Go 'Way - Housekeeper, Beanstalk People 6. Fee, Fi, Fo, Fum - Giant, Beanstalk People, Jack 7. Giant's Tango - Giant 8. Plink-a, Plunk-a - Harp 9. Goose - Goose 10. We Must Get Out Of Here - Housekeeper, Jack
JACK SPRATT, VC Music by Peter Allwood, book by Jeremy James Taylor and David Scott SYNOPSIS This show from the National Youth Music Theatre won an award at the Edinburgh Fringe Festival. Set in Edwardian England just prior to the First World War, it tells the story of the Spratt children, sent away to school in the Lake District, and particularly young Jack, who finally conquers his fear of water to earn the respect of his schoolmates. An emotional tale to captivate audiences, with a score that mixes music hall melodies and Elgarian nobilmente. Suitable for secondary school and youth groups. STORY ACT ONE Captain Henry Cadogan sits in a trench in the Somme in 1918. He is reading a letter from Nurse Irwin. She writes about how she misses him and how she often thinks of him. She reminisces of times four years past when they were together, writing of picnics and swims, and wonders what ever happened to Spratt, a young man they taught to swim and who once rescued Henry. She remembers how brave he was and wonders if he is still as brave now that he is a soldier. Just then, Spratt runs in and delivers a note to Henry. He is stationed with him. Henry tells him he thinks it is almost time to go-there are explosions all around and they are getting closer and worse. Henry finishes the letter and gives the sign that it is time to move. Spratt panics for a moment, but then Henry urges him onward. It is 1914 on the shores of Lake Windermere. The boys of St. Michael's are in the midst of a dry land swimming class. The instructor assures them that by learning all the techniques on land they will be far better swimmers than those who just struggle to learn in the water. He tells them how swimming and singing are similar in that they both are good for the lungs and the soul. He makes them sing the motto to show that music and muscle can go hand in hand. ("Swim for Victory") As they sing and practice, the girls from St. Catherine's come by, for they are in the middle of a leisurely day of picnicking and picking flowers. The boys' instructor tells them that they will have three new boys joining them. A train has just pulled into Oxenholme Station and Agnes, age 12, Dick, age 15, and Jack, age 11 step off. The three Spratt siblings seem a bit lost and have notes pinned to them saying, "To be delivered to the Warden of St. Michael's, Kendal." Next, Maggie and Geordie Irwin rush in, having just arrived as well. The Porter gathers the boys and girls together and readies to send them on their own ways. The siblings that are being separated all must say goodbye, and wonder what life will be like now. ("Oxenholme Station") The boys are on their way to St. Michael's. Joss, the post boy, and Dick are getting acquainted. Dick explains that he has been sent here because he is a pickpocket and he can't help himself. Meanwhile, Jack is talking to Curly who is one of the school monitors. He has brightened up quite a bit from the sullen state he was in at the station. Dick explains that he has never been out of London before, so if you show him wide-open spaces and frogs and sheep he gets quite excited.("Never Been Away from London") Mr. Kingsley takes a moment on the way to explain to the boys what St. Michael's is, for they have been told nothing. It is a home for boys where they live and relax and eat and learn. The home is best known for it's swimming prowess. At the mention of swimming, Jack begins to panic-he is afraid of water. The girls have arrived at St. Catherine's. They are greeted by all of the girls from the home, as well as Lady Cadogan who is the home's chief patroness, and her children, Olivia and Henry. The girls then sing a welcome song to the new arrivals. ("Welcome to St. Catharine's")Agnes suddenly realizes she has her brother
Jack's medication and she speaks up asking what to do. The staff women ignore her. This angers Maggie, and she yells at them for not dealing with the problem. Henry stays behind for a moment to applaud Maggie's outburst. Then, Miss Appleyard confronts Maggie. Maggie does not apologize or show remorse, she still stands up for herself. Miss Appleyard is pleased in a way at how honest Maggie is and that she questions things. This is new for the home, for most girls just go along with things as they are. The two form a bit of an alliance with one another. A bunch of the girls come back out wondering what sort of punishment Maggie has gotten. She explains that she likes Miss Appleyard and that they want to make the world a better place. The other girls don't understand, most cannot read or write and never have thought or dreamt. Maggie tries to encourage them. ("Get Out There!") Back at St. Michael's the boys have just finished evening prayers when the staff has an announcement. Two more boys have passed their swimming proficiency exam and another boy has received a bronze medallion. No boy in the past six years has left the home without being able to swim. It is now wash time and the boys are all assembled and bowls of water prepared. The boys sing about water being everywhere, for washing for drinking for swimming. ("Water Water") Jack is pretty afraid of the whole scene. The Cadogan family is sitting around. It has been a week since the new children have come. A post comes from the War Office. Lord Cadogan must go to London to see the War Minister. The situation seems badthey want more munitions and gunpowder. The heads of the two schools arrive to give a briefing on the new children. The first exhibition swim of the year is coming up, and Henry is asked to lead the boys in a swim across Lake Windermere. The girls have all gotten together, and it is obvious that Maggie has become quite popular. She is the confidant of many of the girls. Just then, the boys arrive for country dancing. Agnes reunites with Jack for the first time and finds out how terrified he is that they are trying to teach him to swim. She tries to encourage him that he can do it. When Miss Marchant, the head mistress scolds them for not dancing and makes a remark about Jack not swimming, Agnes lashes out and sticks up for her brother. She is lead away by Miss Marchant and Maggie approaches Jack as Henry watches from a distance. Maggie convinces Jack to let her teach him to swim. They will meet every morning before breakfast and be back by roll call. Henry hears the plan and approaches asking if he might join in. Jack runs off to go dance, and Maggie and Henry are left alone for a moment. They catch up, then Henry rushes off to go practice swimming; he has never swam across the lake before. Maggie spends a moment alone reflecting on the help she is giving and the changes she has been making. ("Whichever Way We Go") Dick and Joss and a few other troublemakers have gathered to trade cigarettes and to come up with some new schemes to make money. Meanwhile, the boys are gathered by the lake for their final swim lesson before the exhibition. ACT TWO The boys have all been assembled and Lord Cadogan addresses them. He explains about the war that has broken out in Europe and that as of midnight that night, August 4, England has declared war on Germany. The girls are assembled as well and being spoken to about the same subject. They are being told that all efforts now will be wartime efforts and that they must do their part supporting the men who are fighting and the people who lose loved ones in war. They are supposed to have a sock knitting class every night now. This puts Maggie over the edge, and she shouts out and insists they must really support the war by learning to be nurses and truly help the troops. All the girls jump up and applaud and support her while the staff women have a heated argument about what to do. Activities will be changed for the boys too-there will be serious cut backs and they will be training for war. The one thing that is agreed upon is that the swimming exhibition will still happen and the money raised will go to the war efforts.
Miss Marchant is arguing with Miss Appleyard in her office. She feels that not only is Miss Appleyard encouraging Maggie and the other girls but enabling them. Maggie is called in is told that she must apologize. She is defiant but Miss Appleyard assures her that, "to win a big war, you must lose a few small battles." Angry and humiliated, Maggie apologizes. Some boys, including Henry, are trying to get through to Jack. With all the talk of the swimming he is terrified again. Finally, he lets loose and explains where the fear comes from. Back at home, his siblings were never around and he was often alone with his mother. She did not like him and used to lock him in a cupboard. Even worse, she used to hold his head under water until he couldn’t breathe. Many of the children wonder to themselves what it is like to have a mother who truly loves you. ("What's it Like to 'Ave a Mother") The troublemakers have gathered again and have a plan in motion. They will get treacle toffee from the mines near the home and send it to Dick's friends in London for a profit. They are not worried about the war; they plan to become rich with their scheme. Meanwhile, Maggie and Henry are at the lake with Jack for his swimming lesson. He hesitates at first but once he is in and going they are amazed at what a natural he is. He seems to have conquered his fear and is even a very good swimmer. Geordie is there too, and they all tease Henry about not having swum across the lake before. Jack jokes that he will swim with him and will hold his hand when he does the swim at the exhibition. The boys have arrived with the Maypole to set up for the next day's festivities. Geordie is looking for Jack and Maggie whispers to him that he is out swimming with Henry. He swam a mile and a half the day before. There are claps of thunder-a storm seems to be moving in. They are worried about being able to swim; by the lake there tend to be electrical storms with lots of lightning. Finally, the three boys who will join Henry on the swim are announced. The troublemakers are convened at the train station. They are going to ride up to the mine, stock up and bring back the loot to send out on the next train. Hannah, one of the girls involved, runs in and tells Joss that she just found out the mine is not a treacle mine but is filled with gunpowder. There is an electrical storm going on and the boys are probably smoking. They are in great danger in a mine filled with gunpowder. The two rush off to catch the other boys. Alarms are going off at St. Michael's and all the boys are gathered for a roll call. There has been a huge explosion at the mine and two bodies were found. They find out that Dick and Midgeley, his partner in crime, are missing. Joss and Hannah have been brought in and Hannah, in a panic, tells everything and blames it on Joss. The staff are gathered that next morning in the office. They cannot believe the night that just occurred. One boy is dead and one is critical. The children send a representative to tell the staff that despite what has happened they wish for the day’s activities to continue. The staff agrees that they, too, would like to see this happen. The Spratt children along with Maggie come in and are informed that their brother has been killed. Jack explains that Midgeley was supposed to have been swimming and that he wishes, as a tribute to his brother, to swim in his place. All gather at the lake, and the festivities carry on as planned. There are great performances and much rejoicing as well as a few somber moments to remember the boys who were in the accident. Then the swimmers take their place. Henry and the other two boys dive in leaving Jack trembling on the side. He summons the courage and dives in. Maggie is sitting in her hospital tent back in 1918 in the thick of the war. She is writing a letter to Henry about how she is where she wanted to be but they are all tired of war. She imagines that she is very near him and just hopes that this will be over soon. Just then, Henry, led by Spratt push through the warfare and arrive at the hospital tent. Spratt lies Henry down; he has shrapnel in his leg. At first none of them recognize each other then slowly they realize. The three are reunited again.
CAST - Large (over 20) (17 Men/14 Women). Chorus Principals: - 5 female (2 non-singing), 8 male (2 non-singing) • Jack Spratt • Dick Spratt • Arthur Midgeley • Stanley Jebbs • Charlie Jebbs • Jimmy Butcher • Frank Smedley • Gordie Irwin • Curley Smith • Percy Purcell • Henry Barnes • Derek Kingsley • Arthur Penner • Agnes Spratt • Maggie Irwin • Bertah Stackey • Ellen Shaw • Minnie Underwood • Martha Tinkler • Mary Tinkler • Alice Spanswick • Betty Brown • Miss Marchant • Rosemary Appleyard • Lord Cadogan • Lady Cadogan • Henry Cadogan • Olivia Cadogan • Fred Hanley • Joss Tyson • Hannah Banks MUSICAL NUMBERS: 1. Swim For Victory - Barnes, Boys, Girls 2. Oxenholme Station - Geordie, Jack, Maggie, Agnes 3. Never Been Away From London - Dick 4. Treacle Toffee - Dick, Joss 5. Welcome To St. Catherine's - Girls 6. Get Out Of There - Maggie, Girls 7. Water Water Everywhere - Smedley, Midgeley, Dick, Solo, Boys 8. Pathway To Heaven - Ellen, Minnie, Girls 9. Whichever Way We Go - Maggie 10. What It's Like to 'Ave A Mother? - Jack, Maggie 11. For Our Land - Curley, Company INSTRUMENTATION: flute, oboe, clarinet, bassoon, 2 horns, trumpet, trombone, percussion, strings
JACK THE RIPPER Book and Lyrics by Ron Pember and Denis de Marne. Music by Ron Pember Director/scenery/costumes: Reginald Woolley; Pianos: Geoffrey Brawn and Tim Higgs Musical Director: Tim Higgs Scenic Design Doreen Hermitage Players' Theatre, London - 25 June, 1974 (season) Produced at the Ambassadors Theatre, London, 17th September, 1974. Transferred to the Cambridge Theatre 17th February, 1975. Closed 12 April, 1975 (228 perfs) SYNOPSIS The play is a musical reconstruction of incidents relating to the East End murders which took place between Friday, August 31st and Friday, November 9th, 1888. A solution of Jack the Ripper's identity is hinted at, but the play is an atmospheric commentary rather than an historical re-enactment, shifting between reality and artificiality, with characters representing "real" people as well as members of the music hall audience and players. It is an essential feature that some characters are called upon to play more than one role. They thus have a life within the Music Hall and also in reality. The Chairman also plays the authoritative roles of Sir Charles Warren, the Magistrate, and the Dock's Foreman, while Montague Druitt is also known as Toynbee and plays the villain in the melodrama and the magician. CASTING For the chorus The chorus are on stage for much of the play, being involved both as the audience in the Music Hall scenes and as inhabitants of Whitechapel. Singing Principals Polly, Marie, Annie, Lizzie, Martha. The Chairman and Police Sergeant Coles. Other Principals Montague, Daniel, Dinky, Bluenose, Slop and Lord Overcoat. jrORIGINAL CAST: - (Character name in italics) • Marie Kelly - Terese Stevens • Lizzie Stride - Eleanor McCready • Annie Chapman - Maria Charles//Elaine Holland • Polly Anne Nicholls - Linda Rusby • Liza Pearl - Bernice Adams • Martha Tabram - Christine Edmonds • Catherine Eddowes - Adrienne Frank//Sandra Holloway • Frances Coles - Helena Chenel • Montague Druitt - Ian Ruskin//Howard Southern • Chairman - Peter Spraggon • Daniel Mendoza - Roy Ston • Dinky ninety-eights - Nigel Williams//Jonty Miller • Blue Nose Stack - Mike Fields/Derek Connell • Lord Overcoat - Gerald Taylor • Police Sergeant Coles - John J. Moore/Charles West • Morrie Abraham - Stanley Davis//out • Wally Kingsnorth - John Denton • Wilkie Harrington - Graham Richards • Bertie Self - David Urwin//Alan C. Turvey • Bibby Beddoes - Harry Goodier
THE SCENES The fore-stage area represents a Victorian Music Hall with tables, chairs, and a table for the Chairman. Where possible this should be extended into the auditorium in order to link the Audience closely with the Music Hall scenes. Upstage of this is a raised area framed with a false proscenium decorated with lights, which are brought up when a Music Act is being performed. The area beyond represents the "real" streets of Whitechapel MUSICAL NUMBERS 1. Saturday Night - Polly, Company 2. Sing, Sing – Company 3. Generally Nice - Marie Kelly 4. God Bless Us - Company 5. Goodbye Day - Marie Kelly, The Girls 6. What a Life - The Gang, The Girls 7. Love - Marie Kelly 8. Ripper's Going to Get You - Daniel, Annie, The Gang 9. Charlie and Queenie - Lizzie, Chairman 10. Half a Dozen Pints - Marie Kelly 11. There's a Boat Coming In – Company 12. Look At Them – Company 13. Suspects - Daniel, Martha, The Gang 14. Policeman's Chorus - PS Coles, Constables 15. Step Across the River - Marie Kelly, Lizzie 16. Montage – Company 17. Saturday Night (Reprise) - Company ORCHESTRATION Electric guitar, bass guitar and drums Discography Jack the Ripper by Original 1975 London Cast
JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS (Music by Jacques Brel: Based on Brel's Lyrics and Commentary: Production Conception, English Lyrics and Additional Material by Eric Blau and Mort Shuman) Village Gate Theatre - Off Broadway 22 January, 1966 (1847 perfs) Duchess Theatre, London 1968 (41 perfs) A kaleidoscope of musical experiences which covers all the human emotions and more. This revue of the art of Jacques Brel brings to the stage his life expressed through his words and music. Stimulating and heartfelt, more than a musical, a super musical. THE STORY The pointed, passionate and profound songs of Belgian songwriter Jacques Brel are brought to vivid theatrical life in this intense musical experience. Brel's legendary romance, humour and moral conviction are evoked simply and directly, with four actors, four musicians and four stools. The result is a powerful, intimate, bold and emotional evening of theatre. Brimming with flair, attitude and European sophistication, these rich compositions bring to mind the groundbreaking work of Kurt Weill and Bertolt Brecht, creating a universe all their own that consistently startles with its daring, candour and insight. The sheer musical poetry of each song supports many layers of interpretation, giving the show a new and unexpected meaning with every new cast and production team that takes it on. PRINCIPALS: 2 Male, 2 Female (may be expanded). INSTRUMENTATION: Piano (doubles celeste), Electric Guitar (doubles mandolin, acoustic guitar), Bass (doubles electric bass), Percussion. MUSICAL NUMBERS: 1. Alone 2. Amsterdam 3. Bachelor's Dance 4. The Bulls 5. Carousel 6. The Desperate Ones 7. Fannette 8. Funeral Tango 9. Girls and Dogs 10. I Loved 11. If 12. If We Only Have Love 13. Jackie 14. Madeleine 15. Marathon 16. Marieke 17. Mathilde 18. The Middle Class 19. My Death 20. Next 21. The Old Folks 22. Sons Of 23. The Statue 24. Timid Frieda 25. You're Not Alone Libretto: ISBN: 0-8222-1905-0
JAILHOUSE ROCK Music and lyrics by Rob Bettinson and Alan Janes. Directed by Rob Bettinson; Décor by Adrian Rees; Lighting by Alistair Grant; Sound by Simon Baker; Choreography by Drew Anthony; Musical Director - Julian Littman; Fights by Terry King; Assistant Director - Matt Salisbury Piccadilly Theatre, London - 19 April, 2004 - 1 January, 2005 SYNOPSIS Based on the classic 1957 film starring Elvis Presley, Jailhouse Rock - The Musical has been adapted for the stage by Rob Bettinson and Alan Janes, the writer/director team behind the hugely successful global hit Buddy Featuring a rich catalogue of 1950s rock 'n' roll classics, but not the title track or the Lieber & Stoller songs, the show tells the story of Vince Everett, a young man from the wrong side of the tracks who discovers his own unique musical talent whilst doing time in jail and emerges to become the world's greatest rock 'n' roll star. With more than a little help from Peggy Van Aulden, a rising young record producer, Vince's road to stardom is filled with passion and conflict as Vince feels the pressure that money and fame can bring. Prison inmates, shifty record producers, Hollywood starlets, crafty lawyers and a variety of other characters fill the stage as we follow Vince's story from penniless convict to rich and famous rock 'n' roll star. The cast plays and perform all the songs live on-stage in a vibrant and energetic production which appeals to everyone, with plenty of classic hits to satisfy the die-hard Elvis fans! ORIGINAL CAST : Marion Kombou - Vince Everett Roger Alborough - Hawk Houghton Lisa Peace - Peggy van Auldan Gilz Terere - Quickly Robinson Dominic Colchester - Judd Hardy / Jack Lees Melanie Marcus - Mary Lou / Lori Jackson / Sheri Wilson Mark Roper - Mr Johnson / Governor / Landlord / Film Director Annie Wensak - Mrs Johnson / Mrs Everett Gareth Williams - Mr Shaws ENSEMBLE: John Bannister, Anna Carmichael, Alison Carter, Caroline Dennis, Roxy Harris, Sean Stewart Johnson, Kevin Oliver Jones, Tim Parker, Simon Parrish, Michael Quinn, Benedict Relton, Jo Servi, Steve Simpson and Otto Williams
JAMAICA A Musical Comedy in Two Acts, 17 Scenes. Book by E. Y. Harburg and Fred Saidy. Music by Harold Arlen. Lyrics by E. Y. Harburg. Opened 31 October 1957 at the Imperial Theatre, closing for vacation 28 June 1958; reopened 11 August 1958 at the Imperial Theatre and closed 11 April 1959 after 558 performances. SYNOPSIS The setting is a tropical, relatively apolitical paradise called Pigeon's Island, off Jamaica's coast. There a poor, handsome fisherman, Koli loves the beautiful Savannah. But Savannah spends her hours dreaming of living in New York. A hustling dude, Joe Nashua has come to the island to exploit pearl-diving possibilities in its shark-infested waters. Savannah sees in him an all-expenses-paid trip to the big city. However, when Koli saves the life of Savannah's little brother during a hurricane, she comes to face reality and accepts her island suitor. She visits New York only in a dream ballet. CAST (in order of appearance): Koli Quico Savannah Grandma Obeah Ginger Snodgrass Hucklebuck Island Women The Governor Cicero Lancaster First Ship's Officer Second Ship's Officer Joe Nashua Dock Worker Radio Announcer Dancers; Islanders: SCENES AND SETTINGS The action takes place on Pigeon Island, a mythical island off Jamaica at the present time. Act 1 Scene I: Grandma Obeah's shack. A day in spring. Scene 2: The knoll near Grandma's shack. Next day. Scene 3: Ginger's hut. That evening. Scene 4: Grandma's shack. Later that evening. Scene 5: Koli's boat. the same night. Scene 6: Dockside. The next morning. Scene 7: The Governor's mansion. A few days later. Scene 8: A night club. Scene 9: The beach at night. Scene 10: Grandma's shack. Early evening. Scene 11: Dockside. Next morning. Act 2 Scene 1: A bluff on the coast. Three days later. Scene 2: The Governor's mansion. Next afternoon. Scene 3: A room in the Governor's mansion. A few days later. Scene 4: Koli's fish market. Next day. Scene 5: The Governor's mansion. The same day. Scene 6: The knoll. Later afternoon of the same day. MUSICAL NUMBERS: 1. Savannah - (Koli, Men) 2. Savannah's Wedding Day (Grandma Obeah, Snodgras, Hucklebuck, Quico, Chorus) 3. Pretty to Walk With (Savannah, Chorus)
4. Push the Button - (Savannah, Chorus) 5. Incompatibility (Koli, Men) 6. Little Biscuit (Cicero, Ginger) 7. Cocoanut Sweet (Savannah) 8. Pity the Sunset (Koli, Savannah) 9. (Hooray for De) Yankee Dollar (Ginger, Chorus) 10. What Good Does It Do? (Ginger, Cicero, Koli, Quico) 11. Monkey in the Mango Tree (Koli, Men) 12. Take It Slow, Joe (Savannah) 13. Beach at Night—Dance 14. Ain't It the Truth (Savannah) 15. Leave the Atom Alone (Ginger, Chorus) 16. Cocoanut Sweet (reprise) (Savannah) 17. For Every Fish (There's a Little Bigger Fish) (Grandma Obeah, Men) 18. I Don't Think I'll End It All Today (Savannah, Koli, Chorus) 19. Napoleon (Savannah) 20. Ain't It the Truth (reprise) (Savannah, Chorus) 21. Savannah (reprise) (Savannah, Koli, Chorus) DISCOGRAPHY Jamaica (Original Broadway Cast Recording)
JANE EYRE A Musical in Two Acts. Book and additional lyrics by John Caird. Based on the novel of the same name by Charlotte Bronte. Music and lyrics by Paul Gordon. Opened 10 December 2000 at the Brooks Atkinson Theatre and closed 10 June 2001 (210 perfs). STORY: Act One Narrating her story, Jane Eyre looks back on herself as an unhappy and mistreated child. Young Jane is an orphan barely tolerated by Mrs. Reed, the wife of her late uncle, and brutalised by her sadistic son, John. Mrs. Reed sends the spirited Jane to a charitable school for girls run by the self-righteous and cruel Mr. Brocklehurst. Lowood Institution is a grim and unhealthy place only made bearable for Jane by the presence of an older girl, Helen Burns, who shares with her a love of books, art and nature. Helen teaches Jane that forgiveness is all that makes life worth living. During an outbreak of typhus at the school, Helen becomes sick and dies. Jane is comforted by daily visits to her grave. She survives the school long enough to grow up and become a teacher there, but she yearns for freedom. Jane obtains a post as governess to a young French girl, the ward of the mysterious Mr. Rochester of Thornfield Hall. The housekeeper, the chatty if slightly deaf Mrs. Fairfax, welcomes Jane to the house. Jane quickly warms to her pupil, Adele, and to life at Thornfield, especially after the appearance of the darkly brooding and sardonic Mr. Rochester. Rochester explains the presence of his ward, Adele, and his dissipated past. Despite their differences, Rochester and Jane are drawn to each other, though their feelings remain unspoken. In the middle of the night, a mysterious Figure sets fire to Mr. Rochester's bed, and Jane saves Rochester's life by dousing the fire with a basin of water. Jane realises that she is falling hopelessly in love with Rochester, but he seems incapable of returning her love, though clearly attracted to and intrigued by her. He invites several fashionable aristocrats for an extended stay and pays court to one of them, Blanche Ingram, a beautiful lady of rank who pledges her devotion to the finer things. When a man named Mason joins the house-party, Mr. Rochester is inexplicably shaken, and makes Jane promise to stand by him always. Jane hopes to allay his torment, which appears to be caused by the unnamed Figure on the upper floor of Thornfield, whom Jane believes to be Grace Poole, a close-mouthed seamstress. Rochester is in despair about his feelings for Jane, while she prays that she can bring him peace. The inarticulate cries of the mysterious Figure from the attic haunt both of them. Act Two A sense of irrational attraction and dread is expressed by the Ensemble as Mason attempts to confront the mysterious Figure and is viciously attacked by her. Mr. Rochester enlists Jane's assistance to treat Mason's wounds, while telling her nothing of the cause of the attack. Rochester tells Jane he is to be married, and she tells him in return that, if such be the case, she must leave Thornfield. Seeming not to care, he leaves the decision to her. In a moment of desperate self-honesty, she paints an unsparing portrait of herself, and a flattering one of the gorgeous Blanche. Out walking in the garden, the lovely Blanche calculates Thornfield's (and Mr. Rochester's) net worth while Jane sadly contemplates having to leave them.
The listless houseguests are delighted when "the Gipsy" arrives to read their palms, but are so upset by their fortunes that they soon break up the party and go home. Rochester has chased Blanche away, and finally confesses his love to an incredulous Jane and asks her to be his wife. The happiness of the couple somewhat disconcerts Mrs. Fairfax but plans go ahead for the wedding. On the wedding morning, however, the dreadful secret of the Figure in the attic is revealed. Rochester tries to hold on to Jane, but they both know her conscience will never allow her to stay by his side as anything but his wife. Jane runs off, taking nothing with her and leaving behind a desperate Rochester. The madwoman in the attic runs amok, setting fire to Thornfield Hall and luring Rochester onto the burning roof as he attempts to save her. Alone and penniless, hungry and exhausted, Jane makes her way back to her childhood home at Gateshead Hall. There she meets St. John Rivers, a young clergyman living in the house of her dying aunt, Mrs. Reed. St. John tries to reconcile Jane and Mrs. Reed, but despite Jane's genuine application of Helen Burns' philosophy of forgiveness, Mrs. Reed dies a bitter and despairing woman. St. John also decides that Jane would make the perfect wife for a missionary, and a reluctant but grateful Jane is almost ready to accept when she hears "The Voice Across the Moors." She feels she cannot leave England until she learns what has become of Mr. Rochester. Now a woman with her own money - inherited from her aunt - she returns to find Thornfield a burnt out shell. Jane discovers Mason there at the grave of his sister, Bertha Mason Rochester, the doomed madwoman of the attic. Mason tells Jane of the fire, and of Rochester's sad fate. Reunited with Rochester, now blind and partially crippled, but a free man at last, they declare themselves "Brave Enough for Love" CAST - (in order of appearance): Jane Eyre Young Jane Young John Reed Mrs. Reed Mr. Brocklehurst Miss Scatcherd Marigold Helen Burns Schoolgirls Mrs. Fairfax Robert Adele Grace Poole Edward Fairfax Rochester Bertha Blanche Ingram Lady Ingram Mary Ingram Young Lord Ingram Mr. Eshton Amy Eshton Louisa Eshton Colonel Dent Mrs. Dent Richard Mason The Gypsy Vicar St. John Rivers The action is set in England in the 1840s at Gateshead Hall, Lowood School, Thornfield Hall and the surrounding Yorkshire Moors. MUSICAL NUMBERS ACT 1 1. The Orphan - Jane 2. Children of God - School Girls, Mr Brocklehurst, Mrs Reed, Miss Scratcherd, Ensemble 3. Forgiveness - Mary Ingram, Young Jane, Jane 4. The Graveyard - Jane, Young Jane, Ensemble 5. Sweet Liberty - Jane , Ensemble 6. Perfectly Nice - Marguerite, Adele, Jane 7. As Good as You - Edward 8. Secret Soul - Jane, Edward 9. The Finer Things - Blanche 10. Oh How You Look in the Light - Edward, Blanche, Ensemble 11. The Pledge - Jane, Edward 12. Sirens - Edward, Jane, Miss Scratcherd
ACT 2 13. Things Beyond This Earth - Ensemble 14. Painting Her Portrait - Jane 15. In the Light of the Virgin Morning - Jane , Blanche 16. The Gypsy - The Gypsy 17. The Proposal - Jane , Edward 18. Slip of a Girl - Marguerite, Jane , Robert, Adele 19. The Wedding - Ensemble 20. Wild Boy - Edward, Jane , Bertha, Ensemble 21. Sirens (reprise) - Jane , Edward 22. Farewell Good Angel - Edward 23. My Maker - Jane , Ensemble 24. Forgiveness (reprise) - Mrs Reed, Jane , Ensemble 25. The Voice Across the Moors - St John Rivers, Jane , Edward 26. Poor Sister - Richard Mason, Jane 27. Brave Enough for Love - Jane , Edward, Ensemble DISCOGRAPHY: Original Broadway Cast Recording - Sony Classical SK 89482
DER JASAGER (He Who Says Yes) Opera for schoolchildren. Libretto by Bertolt Brecht; Music by Kurt Weill. Based on the Japanese No play Teniko. First broadcast 23rd June, 1930. Premiered 24th June, 1930 - Zentralinstitut für Erziehung und Unterricht, Berlin American Premiere - The Music School of Henry Street Settlement, New York at the Playhouse, Grand Street - 25th April, 1933 STORY A teacher leads an expedition to the mountains to get medicine for the victims of a village epidemic. With him is a boy whose mother is ill. On the way the boy himself falls ill and is asked whether he will agree to be left behind as custom dictates, He answers yes and, in accordance with his own wish, is hurled into the valley by the other members of the party. CAST: • The boy - treble • The mother - mezzo-soprano • The teacher - baritone • First student - treble or tenor • Second student - treble or tenor • Third student - treble or baritone DISCOGRAPHY Der Jasager coupled with Down in the Valley (Gundlach, Campus Cantat)
JASON AND THE ARGONAUTS Music by Charles Miller | Book and Lyrics by Tim Sanders | Original Concept by Paul Carpenter SYNOPSIS Jason seeks the Golden Fleece and Hera, the Queen of Heaven, needs a man. Standing in their way is a trio of bickering New York goddesses, the bongtoting King of Colchis and Medea, a teenage sorceress who never asked for the gig. But when Aphrodite decides to cast a spell of her own, love is in serious danger of Conquering all! Sail with the Argonauts, twerk on the beach and dive into a pool party on Paradise Heights - there’s even a Greek Chorus to sing off the chandeliers! Here's one big fat Greek legend that’s guaranteed to explode a few myths... "You can dress it up all ya like honey, but at the end o' the day, it's a yellow sweater!" MUSICAL NUMBERS 1. Golden Boy From Greece - Hera, Jason, Greek Chorus, Goddesses and Heavenly Boys 2. Oedipus Thing - Greek Chorus 3. Seize The Day - Chiron, Jason and Hera 4. The Night That You Were Born - Jason, Chiron, Greek Chorus, Aeson, Polymele, Thugs/Servants and Goddesses 5. Stranger That I Love - Jason, Polymele and Greek Chorus 6. Hope On The Horizon - Hera, Jason, Greek Chorus, Goddesses and Chiron 7. Meanwhile (Part 1) - Hera, Goddesses and Greek Chorus 8. The World Is My Oyster - Hera and Greek Chorus 9. Paradise Heights - Goddesses, Leon, Jason, Polymele, Servants, Guests, Zena and Johnny 10. You Filled My Heart - Polymele and Jason 11. Meanwhile (Part 2) - Hera, Jason, Argo, Goddesses and Greek Chorus 12. Jason And The Argonauts - Jason, Argonauts, Greek Chorus, Goddesses, Citizens, Medea and Apsyrtus 13. No One Can Stop Me Now - Jason, Hera, Zeus, Argonauts, Polymele and Pelias 14. The Storm - Jason, Argonauts, Greek Chorus, Zeus, Hera and Goddesses 15. Here And Now - Medea and Apsyrtus 16. Colchis - Jason, Argonauts, Apsyrtus, Papa Aetes, Medea, Greek Chorus, Goddesses and Guards 17. Now I Know What Love Is - Jason, Medea and Argonauts 18. The Winning Of The Fleece - High Priestess, Priestesses, Jason, Medea, Argonauts, Papa Aetes, Apsyrtus, Greek Chorus, Goddesses and Guards 19. Unbreakable Hearts - Argonauts and Hera 20. Get Ya Hands Off O' Him! - Hera, Goddesses and Greek Chorus 21. My Special Day - Medea, Maids, Hera, Apsyrtus, Jason, Goddesses, Papa Aetes, Guests and Argonauts 22. Champion Of The Fleece - Argonauts and Greek Chorus 23. Now I Know What Love Is Reprise - Jason, Medea, Zeus and Hera 24. Polymele's Dream - Polymele, Hera, Goddesses and Greek Chorus 25. Hope On The Horizon Reprise - Jason, Medea, Argonauts, Pelias, Greek Chorus, Goddesses and Chiron 26. The Temple - Priests/Priestesses, Jason, Chiron, Hera, Goddesses, Pelias, Medea, Polymele, Greek Chorus, Argonauts and Citizens 27. Curtain Call - Full Company
Cast • JASON - Young and geeky hero who seeks the Golden Fleece. • GREEK CHORUS - Six savvy and sexy young women who tell the story. (ALPHA, BETA, GAMMA, DELTA, KAPPA & PI) In Thessaly: • CHIRON - (keer-ron) A kind and loyal centaur. Jason’s guardian. • AESON - (ee-son) Jason’s father and King of Thessaly (minor non-singing). • POLYMELE - (polly-mee-lee) Jason’s mother and Queen of Thessaly. • LEON / JOHNNY / ZENA - Hotel Manager / Comedian / Ventriloquist – all at Paradise Heights • KING PELIAS - (pay-lee-ass) Jason’s villainous uncle - usurper King of Thessaly. In Heaven: • HERA - (heer-a) haughty Goddess Queen of Heaven - creates and loves Jason. • ARTEMIS - (ar-ter-miss) Goddess of wisdom and war – Smart. Hera’s upstart rival. • APHRODITE - (aff-ro-die-tee) Goddess of beauty and love – a romantic and sincere. • ATHENE (a-thee-nee) Virgin Goddess of the hunt – fun loving, a bit goofy. • ZEUS - (zee oose) King of the Gods – wimp with a booming voice - a gangster. On The Argo: • ARGO - (ar-go) Argonaut. Avuncular old shipwright who builds The Argo. • HERCULES - (her-cu-leez) Argonaut. Strongest (& most tactless!) man in the world. • ORPHEUS - (or-fee-us) Argonaut. Gorgeous street soul musician and poet. A dude. • ATALANTA - (at-a-lan-ta) female Argonaut – ‘bombshell’ and renowned archer. • LYNCEUS -(lyn-key-us) Argonaut. Eager young lad with x-ray eyes. The lookout. • CASTOR & POLLUX - (cas-ter & poll-ucks) Argonauts. Posh and proper identical twins. Olympic athletes straight out of ‘Chariots of Fire’. On Colchis: • PAPA AETES - (ay-teez) Svengali King of Colchis. Keeper of the Golden Fleece. • MEDEA - (med-day-a) New age Daughter of Papa Aetes. A feisty teen sorceress. • APSYRTUS (ap-su-tuss) Malevolent eldest son of Papa Aetes. The Crown Prince. • HIGH PRIESTESS - Guardian of the Fleece. A loud and theatrical charlatan. • PASTOR - A wild and outlandish ‘man of the cloth’ with long hair and beard. • ALSO: Boys, Girls, Servants, Thugs, Guards, Citizens, Maids, Priests and Priestesses. • SCENES AND SETTINGS Jason & The Argonauts is set in Ancient Greece in a variety of locations including a mountainside, the Paradise Hotel, Heaven, The Argo ship, a beach, a fortress and a temple.
THE JAZZ SINGER A musical in 2 Acts based on the play by Samson Raphaelson, and the film of the same name. Book by Richard Sabellico, Music and Lyrics - various. Jewish Repertory Theatre, Off Broadway - Opened 23rd October, 1999; closed 21st November, 1999 (8 previews, 22 perfs) SYNOPSIS In Chicago, Jack attends a concert of sacred songs performed by renowned cantor Yossele Rosenblatt. Jack is reminded poignantly of his father. About to board a train for the next stop on the tour, Jack learns that he's won a chance for the big time: a spot in a Broadway revue, which will bring him close to both Mary and his treasured mother, whom he's not seen in ages. At the Rabinowitz home, Sara organises presents that have arrived in celebration of her husband's sixtieth birthday. It is also the day of Jack's return. Greeted warmly by his mother after his long absence, he surprises her with an expensive piece of jewellery. At his father's piano, he sings and plays Irving Berlin's "Blue Skies" for her, one of the tunes he will try out in the Broadway show. Jack's father enters and watches Jack perform for a few moments. Stunned, he shouts “Stop!” Jack tries to explain his modern point of view, but the appalled cantor banishes him: "I never want to see you again — you jazz singer!" As he leaves, Jack makes a prediction: "I came home with a heart full of love, but you don't want to understand. Some day you'll understand, the same as Mama does." Sara fears Jack will never return: "He came back once, Papa, but — he'll never come back again." The cantor slumps defeatedly. Two weeks after Jack's expulsion from the family home and twenty-four hours before opening night of April Follies on Broadway, Jack's father becomes gravely ill. Jack is asked to choose between the show and duty to his family and faith: in order to sing the Kol Nidre at temple in his sick father's place for Yom Kippur the following night, he will have to miss the big premiere. Dress rehearsal is at one o'clock the next day. Jack is told, "Come full of pep!" That evening, the eve of Yom Kippur, Yudleson tells the Jewish elders, "For the first time, we have no Cantor on the Day of Atonement." Lying in his bed, weak and gaunt, Cantor Rabinowitz tells Sara that he cannot perform on the most sacred of holy days: "My son came to me in my dreams — he sang Kol Nidre so beautifully. If he would only sing like that tonight — surely he would be forgiven." As Jack prepares for rehearsal by applying blackface makeup, he and Mary have a heated discussion about his career aspirations and the familial pressures they agree he must rebuff. Sara and Yudleson comes to Jack's dressing room to plea for him to come to his father and sing in his stead. Jack is torn. He delivers his performance, and Sara sees her son onstage for the first time. She has a tearful revelation: "Here he belongs. If God wanted him in His house, He would have kept him there. He's not my boy anymore — he belongs to the whole world now." Jack returns to the Rabinowitz home after the rehearsal. He kneels at his father's bedside and the two converse fondly: "My son — I love you." Yudleson assumes that he has come to replace Cantor Rabinowitz at the Yom Kippur service; Sara encourages him as a way to heal his father. Just then, the producer and Mary arrive to urge Jack to return with them to the April Follies premiere. The producer warns Jack that he'll never work on Broadway again if he fails to appear on opening night. Jack can't decide. Mary challenges him: "Were you lying when you said your career came before everything?" Jack is unsure if he even can replace his father: "I haven't sung Kol Nidre since I was a little boy." His mother tells him, "Do what is in your heart, Jakie — if you sing and God is not in your voice — your father will know." The producer cajoles Jack: "You're a jazz singer at heart!" At the theater, the opening night audience is told that there will be no performance. Jack sings the Kol Nidre in the synagogue in his father's place. His father listens from his deathbed to the nearby ceremony and speaks his last, forgiving words: "Mama, we have our son again." The spirit of Jack's father is shown at his side in the
synagogue. Mary has come to listen. She sees how Jack has reconciled the division in his soul: "a jazz singer — singing to his God." "The season passes — and time heals — the show goes on." Jack, as "The Jazz Singer," is now appearing at the Winter Garden theater, apparently as the featured performer opening for a show called Back Room. His beloved mother sits alongside Yudleson in the front row of the packed theater. In blackface, Jack performs the song "Mammy" for her, and for the world. MUSICAL NUMBERS: 1. Whispering 2. Let Me Sing and I'm Happy 3. I'm Sitting On Top Of the World 4. Wus Geven is Geven Un Nito 5. I Want a Girl 6. Baby Face 7. My Blushin Rose 8. You Made Me Love You 9. April Showers 10. Mammy 11. I'm Just Wild About Harry 12. Sonny Boy 13. Kol Nidre 14. Play Me a Simple Melody Medley 15. Carolina In the Morning 16. Midnight Choo-Choo 17. Waiting For the Roberts E. Lee 18. Swanee 19. April Showers Cast • Sara Rabinowitz • Mary Dale • Cantor • Jack Rabinowitz • Yudelson • Producer
THE JAZZ TRAIN A Musical Revue "Dedicated to the Negro People" Conceived by Mervyn Nelson. Music and Lyrics by J.C. Johnson. Choreography by Herbert Harper. Scenery & Costumes by Loudon Sainthill. Orchestrations by Peter Knight Piccadilly Theatre, London - 26 April, 1955 (111 perfs) SYNOPSIS The Jazz Train was 'A Musical Dedicated To The Negro People', but was not a conventional book musical. The 'train' was made up of 'cars' (coaches), each one representing a different period or stage in the evolution of black American popular music as seen through the eyes of Mervyn Nelson, the director and devisor of the show. The railroad journey started with a prologue, I Got A Train, sung by Jeff Williams, the engineer (driver) of the powerful engine, before it started to roll in the 'Congo Car' with a happy vibrant ritual dance which at once reminded the audience of the African roots of American black people. The horrors of slavery, and importance of religion to early slaves, were dealt with in the 'Spiritual' and 'Plantation' cars, but the show quickly developed into a celebration of success through 'Minstrel', 'Blues', 'Show' and 'Calypso' cars. The Jazz Train, strangely billed as 'The Broadway Smash Hit' despite the fact that it had only been seen in a New York night-club, was a moderate success, running for 111 performances after its April 26, 1955 opening night at the Piccadilly Theatre. At first sight it was simply a continuation of the Blackbirds tradition of Afro-American revue, but in the three decades that separated the shows important social and political events had occurred giving pride to the black people of America. The cast impersonated many great black performers: impressions of Paul Robeson, Florence Mills, Louis Armstrong, Ethel Waters and Bessie Smith were featured in a section called 'Stars', and in the 'Show Car' there were excerpts from Porgy and Bess, Carmen Jones and the original Blackbirds. The show introduced the great Bertice Reading to English audiences singing the tale of Frankie and Johnny and impersonating Bessie Smith; Lucille Mapp was another name which would soon become familiar to London theatregoers. Of the men, Edric Connor stood out as the preacher in the Holy Roller Car, and as the whiskered Mr. Interlocutor in the Minstrel Car. Isabelle Lucas, at this point in her career still in the chorus, would develop into a respected performer. Energy and excitement abounded in The Jazz Train and it was not a show for those wanting a quiet night out. This was a rather long train, kept moving largely through the medium of African and American dance. The entire cast frequently appeared on stage at the same time, and at one point even spilled into the auditorium. The show moved easily from spiritual to rowdy night club scene and the finalé was the confident 'No Journey's End To My Train' performed by the cast packed into a railway car that took over the stage. However, for all its colour and verve the show remained episodic, picking its specimens of black achievement at will; and this made the production more akin to an elaborate cabaret than a revue. Taken from the liner notes to the Sepia Records reissue of the Parlophone recordings. (SEPIA 1062)