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KATINKA Music by Rudolf Friml: Book & Lyrics by Otto Harbach 44th Street Theatre 23 December 1915 (220 perfs) First produced at the Park Theatre, Morristown, NJ 2 December, 1915 Shaftesbury Theatre, London - 30 August, 1923 (108 perfs) SYNOPSIS: Out of a sense of duty Katinka has married Boris Strogoff, the Russian ambassador to Austria. Her real love is Ivan Dimitri, an attaché. Ivan's American friend, Thaddeus Hopper helps Katinka escape and hides her in his house. When Mrs Hopper becomes suspicious and angry, Hopper pays Arif Bey to conceal Katinka in his harem. By error, Mrs Hopper is placed in the harem. At a Viennese café the principals are all gathered. When a lady named Olga announces she is Boris' lawful wife, a happy ending follows. STORY: Act 1 The play opens in Yalta at a villa on the Black Sea. Reluctantly following her mother's wishes, Katinka marries Boris Strogoff, the Russian Ambassador to Austria, although she is really in love with his attaché, Ivan Dimitri, and he with her. After the wedding, Thaddeus Hopper, a wealthy American and Ivan's friend, helps her escape to Turkey. Act 2 Ivan and Boris Strogoff 's servant Petrov arrive in Istanbul hoping to find Strogoff 's first wife Olga, who chose to live in a harem rather than remain married to him. If she is found, Strogoff 's marriage to Katinka can be annulled on grounds of bigamy, leaving her free to marry Ivan. Katinka and Thaddeus Hopper are also in the city, where she is staying in Hopper's rooms. The arrival of Hopper's wife, Helen, causes complications when she becomes suspicious of the arrangements. Hopper has arranged for Katinka to be hidden in the harem of Izzet Pasha, but Arif Bey, Pasha's warden, mistakenly carries Mrs. Hopper off to the harem instead of Katinka. Meanwhile, Herr Knopf is planning to open the Café-Turkois-in-Vienna and has come to Istanbul looking for women to work there. Helen is amongst those he takes back to Vienna. Act 3 The main characters are all in Vienna where they have assembled at Herr Knopf 's café. Olga, who had been living in Izzet Pasha's harem under the name of "Nashan", reveals her true identity. The Hoppers are reconciled, and Katinka and Ivan are reunited. MUSICAL NUMBERS Act I 1. Vienna Girls - Ivan and Chorus 2. The Bride - Boris, Katinka, Tatiana and chorus 3. One Who Will Understand - Katinka and chorus 4. Katinka - male quartet 5. In A Hurry - Thaddeus Hopper and chorus 6. 'Tis the End - Ivan and Katinka 7. Russian Dance

Act II 8. Charms Are Fairest When Hidden - Olga and chorus 9. Your Photo - Mrs Hopper and boys 10. Allah's Holiday - Olga and chorus 11. The Weekly Wedding - Mr and Mrs Hopper 12. I Want All the World To Know - Ivan 13. Circassian Dance 14. Rackety-Coo! - Katinka and chorus Act III 15. My Paradise - Ivan 16. Ballet Divertissement 17. Mignonette - Russian Dance 18. I Want To Marry A Male Quartet - Mrs Hopper and boys 19. Skidikiscatch - Hopper, Katinka, Ivan, Knopf, Arif and Olga 20. I Can Tell By The Way That You Dance, Dear - Mrs Hopper and girls CAST: • Varenka - Katinka's maid • Petrov - an old servant to Boris • Boris Strogoff - Russian Ambassador to Austria • Katinka - his bride • Tatiana - Katinka's mother • Ivan Dimitri - (Katinka's sweetheart), an attaché to the Russian Ambassador • Thaddeus Hopper - a wealthy American • Halif - a Circassian slave-trader • Knopf - manager Café-Turkois-in-Vienna • Abdul - a harem assistant • Arif Bey - warden of Izzet Pasha's harem • Olga (Nashan) - first wife to Boris • Mrs Helen Hopper - Thaddeus Hopper's wife • M. Pierre - porter at the Hôtel Riche, Constantinople Guests, travellers, visitors, Austrian and Russian officers, Vienna dancers, American and Turkish girls, bridesmaids, flower-girls, slave-girls, barmaids, serving-maids, flunkies, waiters, etc., etc.

KEAN A Musical Comedy in 2 Acts, a Prologue and 12 Scenes. Book by Peter Stone from the comedy of the same name by Jean-Paul Sartre, based on a play by Alexandre Dumas. Lyrics by: George Forrest and Robert Wright. Music by: George Forrest and Robert Wright. Broadway Theatre, New York - Opened 2nd November, 1961, closed 20th January, 1962 (92 perfs) SYNOPSIS The swaggering adventures of noted Eighteenth Century actor Sir Edmund Kean come to breathtaking life in the Wright and Forrest musical Kean. Considered the greatest Shakespearean actor of his time, he was as well known for his rowdy behaviour offstage as he was for his stellar performances onstage. The plot of Kean finds the actor juggling two women in his life: the lovely Elena, married to the Danish Ambassador and Anna, a young aspiring actress. Complications ensue as Kean works to perfect his art and keep his paramours from finding out about each other. Originally a vehicle for the late, great musical actor Alfred Drake, Kean is filled with soaring melodies and graceful lyrics that could only come from the pens of Robert Wright and George "Chet" Forrest (Kismet, Magdalena, Anastasia Affaire, Grand Hotel: The Musical). STORY: During the Overture we are introduced to a spirited mountebank (Christie) outside the Theatre Royal, Drury Lane hawking pictures of Edmund Kean, 18th century London's leading Shakespearean actor. As he sprints off the stage, we find ourselves inside the theatre where the curtain has just fallen on Hamlet and we meet the legend in the flesh. Kean is furious with his Laertes (Barnaby) claiming that he was nearly run-through in one of the sword fights. Kean doesn't get to finish this rather heated disagreement as he is summoned by the applause of his adoring fans to take another bow. There is already more than a hint of the discrepancy between the on and off-stage personas of this talented man. Safely back in his dressing room, Kean is informed by his factotum (Solomon) that he has been invited to a ball to honour the Prince of Wales given by the Danish ambassador (Count de Koeberg ). Kean's interest is aroused, but he decides it unwise to accept the invitation as he is having an affair with the Ambassador's wife (Countess Elena de Koeberg)! Solomon produces a letter from Anna Danby, a beautiful young woman who attends all of Kean's performances. The discussion of Miss Danby is interrupted by the entrance of her fiancé, Lord Neville. Miss Danby is missing and Lord Neville, knowing of her infatuation with the actor, is certain that Kean has information of her whereabouts. Kean is flattered, but denies any complicity in the young woman's disappearance. Upon Neville's exit, Kean informs Solomon that he has changed his mind and will attend the ball at the embassy. Kean begins to realise that the characters he performs on stage are virtually indiscernible from the "character" he has become in real life. Gossip is afoot at the Embassy as the ladies and gentlemen of the court dance a stately Polonaise. Lady Amy Goswell is trying to dissuade her dear friend, the Countess, from pursuing the affair with Kean knowing that he is a renowned drunk, debaucher and womaniser. The Prince of Wales enters the elegant ballroom and announces there is a rumour Kean has run off with Miss Danby for financial gain, but the renowned actor,

never one to miss a cue, enters, denies the affair and produces a letter allegedly written by Miss Danby. The Countess reads the letter and assures the crowd that its contents completely vindicate Kean. The letter, in actuality, is an invitation from Kean for the Countess to join him the next evening in his dressing room! He sets the scene for their indiscretion by directing her to wear a veil and use a secret passage. Kean and the Countess acknowledge their deceit with a knowing glance at her exit. As the assembled company is called to dinner, the Count informs Kean that he is not welcomed as a guest at his table. Left alone with his thoughts, Kean sings of the passion yet to be experienced at the clandestine meeting he has just arranged with the Countess ("Sweet Danger – Reprise"). Outside the Drury Lane Theatre we find a vivacious crowd of street vendors, acrobats and theatre-goers singing a merry tune while eagerly awaiting the evening's performance. The excited crowd proclaims their favourite actor to be the "King of London." Inside the "King of London's" dressing room we find Kean anticipating the arrival of the veiled Countess. Solomon tries vainly to discuss the numerous debts the actor owes, but is assured that amorous attention will persuade the Countess to pay those bills. The Prince of Wales storms into the dressing room, very aware that the letter read by the Countess was the identical love letter that Kean sends to all of his mistresses! The Prince makes an offer - abandon the Countess as a mistress, and he will pay the actors' debts. A veiled woman enters from the secret passage and the Prince, despite his suspicions, remains a gentleman and excuses himself. Kean is shocked to discover that the woman under the veil is not the Countess, but the beautiful Anna Danby! She admits that she has run away from her fiancé, Lord Neville, to become an actress and beseeches Kean to take her – as an apprentice in his company. After an audition to discern her talents Kean agrees to her proposal and she happily exits. Kean settles back to prepare for the evening's show by having another drink. In a reflective moment before his entrance as "Romeo" he sings of his love for the Countess. Meanwhile, on the foggy banks of the Thames outside the disreputable Green Frog Tavern, Lord Neville and his henchman are plotting to discredit Miss Danby, while, inside, the tavern has erupted in song. When Kean arrives he and joins in the singing taking a verse for himself. As the number ends and the customers of the tavern return to their pursuits. Miss Danby, arriving at the tavern, sees Solomon and informs him that she is here at Kean's invitation. Kean reads the note she received and denies its authorship. The letter must be part of a trap concocted by Lord Neville! Kean surmises that Neville's plan is to have Anna abducted from the tavern and ravaged, so that in her disgraced condition she'll have to marry any man that would still accept the damaged goods as a wife – namely Neville. Anna unashamedly reveals that Neville's plan won't work as she is already considered "damaged goods" from a previous dalliance. Besides, her plan is to marry Kean, because he needs a wife. Their conversation is interrupted when Kean is informed that the actress scheduled to play Desdemona the next evening has left town. In desperation, he offers the role to Anna. Lord Neville arrives and Kean challenges him to a duel for writing the letter to Miss Danby and forging his name. Neville says that a duel between them is impossible as a peer of England cannot fight a mere actor. Kean enlists the help of his fellow players to stage a divertissement and shame Neville. As "victor" of the conflict, Kean tells a trio of prostitutes to finish Neville off. Neville leaves the pub in shame as the crowd again congratulates Kean as the "King of London." In the dressing room the following evening we find Solomon and Anna rehearsing Othello as Kean has not been seen since he left the Green Frog. A very hung-over Kean enters, not remembering that he asked Anna to play Desdemona. He realises that it doesn't really matter who plays the role because he's never going to act again! But, as the evening's performance is a benefit for Old Victor, Kean realizes that he and the show must go on, hangover or not. Anna tends to his aching head with a cool cloth, but Elena enters through the secret passage and interrupts the scene. A verbal sparring match between the women erupts and Kean tries to intervene. Anna exits into the secret passage hoping never to see her rival again. Kean asks Elena why she didn't join him at the Green Frog and she reveals that her husband has begun to

suspect the affair! Kean admits that he is jealous, not of her husband but of the Prince! Elena informs Kean of her own petty jealousy - if he appears on stage with Anna there will be grave consequences. She will be sharing a stage box with the Prince and can't be held accountable for her actions if her demands aren't met. They have reached a stalemate and she exits into the secret passage. The Count and the Prince enter the dressing room stating that they heard a woman's voice while still outside the door. Kean admits nothing and the disgruntled Count exits. The Prince asks the identity of the veiled woman, suspecting that it was the Countess Elena. Kean assures him that it was not, and asks the Prince not to share his box with the Countess at this evening's performance. The Prince says that he would agree on the condition that Kean never sees Elena again. When no agreement is reached, the Prince exits. Anna re-enters from the secret passage and they review the "Othello" scene again, complete with Desdemona's strange "Willow Song." On the other side of the curtain, we find the nobles greeting each other. Neville enters sporting black tie and black eye and tells the Countess that her lover and Miss Danby were at the Green Frog together! The Countess becomes even more upset when the curtain rises and Anna is playing Desdemona. The battle is on! Elena inquires rather loudly of the Prince if Miss Danby could be any worse in the role of Desdemona! Both Anna and Kean begin to forget their lines as Neville shouts that Kean is a fool. Kean quickly tries to resume the scene, but despite Solomon's prompting Anna is still lost. Elena asks, "Why doesn't he kill her and have done with it?" Kean leaps towards the Prince's box and demands silence! The audience responds with jeers and shouts and Kean begins verbally to attack them too. Kean asks the crowd "Who is Kean? An actor? A person?" The disgruntled and confused Kean relinquishes his title as "King of London" and offers his "subjects" back to the Prince as he storms offstage. The angry crowd exits the theatre demanding satisfaction for the offensive behaviour of their former favourite actor. Kean has offended the Prince of Wales and is therefore a traitor! He is no longer the "King of London" but the King of Clowns. Christie and the acrobats (Tim, Pip and David) try to assuage the crowd realising that their livelihood is over if they don't win them back. They devise a plot to change the spirits of the crowd with an optimistic song. We find Kean in his sitting room where he has spent the night staring into the mirror. Barnaby, Ben, and Francis offer him a bottle of whisky to drown his troubles but he responds it does not matter as he shall never act again! They exit as he resignedly awaits his arrest for publicly insulting the Prince. A series of hasty encounters begins - Anna enters and states that she has been offered a contract in New York and is leaving for America. Solomon enters and announces that the Countess has arrived and Anna is quickly ushered into the secret passageway. The Countess enters and Kean begs her forgiveness, trying to convince her that they must escape together. The Count's voice is heard outside the door and Elena heads for the first secret passage only to find that Anna is already hiding there! She secrets herself in the second passage as the Count enters demanding satisfaction. He knows that there is a woman hiding in the passage and he suspects that it is his wife! Anna enters from the first passage and discredits her own reputation to save Kean from duelling with the Count. Two Guardsmen enter and arrest Kean by order of the Prince of Wales. The evening's performance is about to begin, Kean is stopped as he crosses the stage by the Prince who dismisses the guards. The Prince admits that he, Kean and Elena are all very much alike – dependant on the love of others, but all three quite incapable of loving. The Prince offers Kean a choice – prison or a public apology. The Prince goes to join Lady Goswell as the other nobles gather in their private boxes. Kean tells the stage manager to raise the curtain and begins his public apology to the Prince. The Prince soon realises that Kean is not using his own words, but those of the Bard to fashion his "Apology." As lights cast three enormous shadows on the wall behind him, Kean calls for an ending to this lifetime of confusion. Who is he really? Othello? Hamlet? Richard? Does he deal in truth only through the illusion of the stage? As the curtain falls, Kean begs the audience that created this illusion finally to make him real!

CAST • CHRISTIE - A 16-year-old street-vendor and acrobat; a Mountebank. ( Soprano: E flat - High A flat) • EDMUND KEAN - The most famous Shakespearean actor of the 18th Century, whose last words were, "Dying is easy. Comedy is hard." Late 30's - early 40's (Baritone: Low A flat - High F) • BARNABY - An actor, member of the Drury Lane Company, friend of Ben and Francis. • STAGE MANAGER - For the Drury Lane Theatre • BEN - A heavy-set actor, member of the Drury Lane, friend of Barnaby and Francis. • FRANCIS - An actor, member of the Drury Lane, friend of Ben and Barnaby. (Tenor: F - High A) • SOLOMON - Kean's factotum; his aide. (Baritone: B flat - E flat) • LORD NEVILLE - A nobleman and fiancé of Anna Danby. (Bass: Low G - Middle C) • COUNTESS ELENA DE KOEBERG - Wife of Count de Koeberg, Kean's paramour (Mezzo-Soprano: B - High G sharp) • LADY AMY GOSWELL - Friend of the Countess (Alto: B - D) • COUNT DE KOEBERG - The Danish Ambassador, husband of Elena de Koeberg. • MAJOR-DOMO - Head servant of the Embassy • PRINCE OF WALES - The Regent of England and the future King • ANNA DANBY - A rich and beautiful young woman. She is engaged to Lord Neville, but wishes to pursue a career as an actress under Kean's tutelage. (Soprano: B - High B flat) • PROP-BOY • STREET GIRL • HENCHMAN - In league with Lord Neville to discredit Anna Danby • PETER POTT - The proprietor of The Green Frog, a disreputable tavern on the banks of the Thames. • WINIFRED WATLINGTON SPARROW - A Prostitute • CAROLINE ROSA ST. ALBANDS - A Prostitute • ANASTASIA BOLT - A Prostitute • TIM - An acrobat • PIP - An acrobat • DAVID - An acrobat • PATRICK - An acrobat • LORD DELMORE - A fop (Baritone: B - E) • TWO GUARDSMEN OTHERS Lords, Ladies, Actors, Stagehands, Sailors, Boxers, Musicians, Barmaids, Prostitutes, Street Hawkers, Servants and Citizens of London. ORIGINAL CAST (in order of appearance): • Christie: Alfred DeSio. • Barnaby: Christopher Hewett. • Edmund Kean: ALFRED DRAKE. • Stage Manager: Alfred Toigo. • Ben: ROBERT PENN. • Francis: Arthur Rubin. • Solomon: TRUMAN SMITH. • Lord Neville: RODERICK COOK. • Countess Elena De Koeberg: JOAN WELDON. • Lady Amy Goswell: PATRICIA CUTTS. • Count De Koeberg: PATRICK WADDINGTON. • Lord Delmore: John Lankston. • Major-Domo: Martin Ambrose. • Prince of Wales: OLIVER GRAY. • Anna Danby: LEE VENORA. • Prop Boy: Eddie Ericksen. • Secretary: Joseph McGrath. • Maxwell: Larry Shadur. • Henchman: Martin Ambrose. • Pott: George Harwell. • St. Albands: Rene Jarmon. • Sparrow: Margaret Gathright. • Bolt: Gloria Warner. • Tim: Randy Doney. • David: John Jordan. • Pip: Paul Jordan. • Patrick: Charles Dunn. • Guards: Larry Shadur, John Wheeler.

Dancers: John Aristides, Barbara Beck, Johanna Carothers, Lois Castle, Charles Corbett, Kenneth Creel, Randy Doney, Judy Dunford, Larry Fuller, Mickey Gmunersen, Pamela Hayford, Jim Hutchison, Lisa James, Rene Jarmon, Richard byle, George Martin, Roger Puckett, Suanne Shirley. Singers: Martin Ambrose, Charise Amidon, Charles Dunn, Eddie Ericksen, Nancy Foster, Margaret Gathright, Maggie Goz, George Harwell, John Lankston, Joseph McGrath, Lispet Nelson, Mary Netturn, Larry Shadur, Susan Terry, Alfred Toigo, Gloria Warner, John Wheeler. MUSICAL NUMBERS • Penny Plain, Twopence Coloured - Christie • Man and Shadow - Edmund Kean • Mayfair Affair - Countess Elena, Lady Amy Goswell, Dancing and Singing Ensemble • Sweet Danger - Countess Elena, Edmund Kean • Queue at Drury Lane - Barnaby, Ben, Francis, Ensemble • King of London - Barnaby, Ben, Francis, Ensemble • To Look Upon My Love - Edmund Kean, Solomon • Let's Improvise - Edmund Kean, Anna Danby • Elena - Edmund Kean, Francis, Ensemble • Social Whirl - Countess Elena, Lady Amy Goswell, Prince of Wales, Count de Koeberg • The Fog and the Grog - Barnaby, Ben, Francis, Edmund Kean, Ensemble • Finale (Act 1) - Edmund Kean, Ensemble • Civilized People - Edmund Kean, Anna Danby, Countess Elena • Service for Service - Countess Elena, Edmund Kean • Willow, Willow, Willow - Anna Danby • Fracas at Old Drury - Barnaby, Ben, Francis, Christie, Ensemble • Chime In! - Christie, Barnaby, Ben, Francis, Ensemble • Swept Away - Countess Elena, Edmund Kean • Domesticity - Anna Danby, Edmund Kean • Clown of London - Ensemble • Apology? - Edmund Kean SCENES AND SETTINGS The action takes place in London in the early nineteenth century. Prologue: Drury Lane Theatre. The Stage. Act 1 Scene 1: The Danish Embassy. A Ballroom. Scene 2: The Street. Drury Lane. Scene 3: Drury Lane Theatre. Kean's Dressing Room. Scene 4: The Danish Embassy. A private room. And Carlton House. A private room. Scene 5: A Street in front of a Thames-side tavern. Scene 6: The Green Frog, a tavern. Act 2 Scene 1: Drury Lane Theatre. Kean's dressing room. Scene 2: Drury Lane Theatre. The stage boxes. Scene 3: The Street. Drury Lane. Scene 4: Kean's House. A drawing room. Scene 5: The Street. Drury Lane. Scene 6: Drury Lane Theatre. The Stage. DISCOGRAPHY Kean - Original Cast Recording

KES! THE MUSICAL adapted from Barry Hines' classic novel A Kestrel For A Knave. Music & lyrics by Terry Davies; Book and additional lyrics by Lawrence Till Bolton Octagon - September 14, 1995 (season) SYNOPSIS The musical, set in a northern industrial town, follows the story Billy Southworth and his learning of life from the fate of his pet bird. When writing the music for any type of project a great deal of the work involved is done long before a note hits the page. And when the music has a dramatic role to play the same inevitable questions are always immediately waiting. Firstly, what dramatic and emotional effects should the music have? And secondly, within the forces available what style of writing would best suit the subject matter and deliver the goods? With these questions addressed, the way forward hopefully becomes clear. At least that's the theory. With Kes! Lawrence and I wanted the music's dramatic and emotional range to be as broad as that of Barry Hines' book. The music would need to depict the pressures of much of Billy's world and against them to highlight the intimacy and exhilaration of his moments with the kestrel hawk he loves. Another essential ingredient would be periods of lightness and humour. Beyond this, whenever Billy is on stage I was keen for the music to describe events from his point of view, so that an audience would undertake the journey at his side rather than follow it with any perspective. Later, a few exceptions evolved when other characters are allowed to indulge their own specific fantasies. Style is always a tricky one. We had always intended that the songs should be lyrical and accessible but with an edge that could be sharpened up as required. Amongst the stylistic possibilities for Kes! were a cocktail of late 60s pastiches (The Beatles, The Rolling Stones. Jethro Tull, Bonzo Dog Doo Dah Band. etc) and folkbased melodies that might have been sung locally along with a flavour of colliery band music. Jud and the Librarian Jud (Chris Garner) and the Librarian (Julie Jupp) strut their stuff! (Photo by Ian T. Tilton) Happily. very soon after our initial work began the solution, for once, provided itself. I remembered writing a provisional song for Jim Cartwright's play The Rise and Fall of Little Voice a couple of years earlier which had been intended for an epilogue in which Jane Horrocks found herself "flying". Adjustments during rehearsals had resulted in alterations to the ending. Jane no longer flew and the song was cut. No lyric had been written for it. When I played the piece to Lawrence he was immediately very positive and the style question was solved at a stroke. The song now forms the core of the finale of Kes! This bit of luck occurred whilst we were settling on a provisional structure for the musical and taking decisions such as using the device of a girl's voice to represent Kes herself. Settling upon the make-up of the cast and band were also part of this process. We knew there would be five musicians and wanted them to be clearly visible in the auditorium. There can be balance problems between actors and musicians if not using an orchestra pit and if drums are involved, so it was the ideal chance to try something I've wanted to do for some time - write for an entirely non-acoustic band in a theatre. The MIDI technology involved has been around for some time but has seen little creative use in theatre work. MIDI is the system via which musicians send signals from otherwise silent instruments to the various

samplers and synthesiser-type boxes that produce the sounds. Samplers produce digital recordings of natural (or unnatural) sounds so that in addition to any number of musical instruments they can also play sound effects which can be incorporated into the music score. For example, the samples in Kes! turned out to include a mill (which plays the bass of the milkman's song) and the cartoon sound effects used when Billy reads a "Desperate Dan" story. Joining a standard fretless bass the instruments decided upon to play the samplers and synthesisers were two keyboards, a wind controller (a MIDI saxophone) and a percussion setup (MIDI drum kit and MIDI vibraphone). Now. happy with the instrumentation and a provisional list of characters, with a structure in place and decisions about style taken, we took a deep breath and started to write. Terry Davies - Composer MUSICAL NUMBERS: ACT I 1. The Cinema - Billy 2. Always Fleeing - Company 3. Mum's Lament - Mum 4. New Every Morning Is the Love (Can't Wait To Get Out) - School 5. You and Me - Mr Gryce 6. Fact and Fiction - Anderson and English Class 7. A Lifetime Of Saturday Nights - Company 8. Escape With Kes - Billy and Kes ACT II 9. Team Spirit - Sugden and Boys 10. Can't Wait To Get Out (Reprise) - School 11. Kes - Billy and Kes 12. My Dad, He'd Say - Billy and Mr Farthing 13. A Lifetime Of Saturday Nights (Reprise) - Betting Shop Punters 14. You and Me (Reprise) - Mr Gryce 15. Surviving the Day - The Teachers 16. No-one Can Catch Billy Now - Company CAST: • Youth Employment Officer • Jud, Billy's half brother • Librarian • Mr Gryce, Headmaster • Billy's Mother • Kes • Mr Sugden, Games Teacher • Anderson • Billy Casper • Mr Farthing, English Teacher • MacDowall plus chorus of school children

THE KID A Musical in 2 acts. Book by Michael Zam, lyrics by Jack Lechner, music by Andy Monroe; Based on the book The Kid: What Happened After My Boyfriend and I Decided to Go Get Pregnant by Dan Savage Acorn Theatre on Theatre Row, Off-Broadway; April 16—May 29, 2010 (Opened May 10); 21 previews, 45 performances. STORY Act I Dan is a gay sex advice columnist and his partner is Terry. The two initially become involved in a relationship with each other after bonding over a discussion of Gore Vidal. In a later scene, Dan attempts to convince Terry to leave a bathroom in a hotel where he locked himself inside after the two have an argument. The couple meet with other individuals who wish to become parents and adopt children. Dan composes a satirical letter to potential birth mothers listing entries which should obviously not be included. Dan and Terry meet with an adoption counsellor, named Anne, to go over their worries about becoming parents. The adoption counselor tells them, "Man or woman, gay or straight, what you’re facing is a long, long wait." The couple decide upon an open adoption process, where they will be able to meet the baby's birth mother. Melissa, a teenager who is pregnant and homeless, selects them as the couple to care for her child. She describes her life to Dan and Terry Act II Dan's mother informs him she knew he was gay as a child but did not meddle in his process of becoming a gay adult. She reassures him during a period of nervousness, telling Dan, "If you think this is scary, wait. Do you know how terrified I was when you first had measles?" Bacchus, the biological father of Melissa's child, appears and becomes involved in the decision regarding the outcome for the baby. Dan and Terry worry over whether Melissa will change her mind during the adoption process. After the child is born, the couple share the experience of holding their new baby together , and all ends happily. MUSICAL NUMBERS Act I I’m Asking You – Company The Kid – Dan, Dan’s Mother Terry... – Dan, Terry They Hate Us – Company The Kid (Reprise) – Ruth, Dan, Terry Nice – Anne, Dan, Terry Gore Vidal – Terry, Dan If You Give Us Your Baby – Dan, Terry, Susan Seize the Day – Company Her Name is Melissa – Dan, Terry, Anne Spare Changin’ – Melissa What Do You Say? – Company Act II We’re Asking You – Ensemble It’s Not Your Baby – Anne, Dan, Terry When They Put Him In Your Arms – Dan, Terry It Gets Better – Company Behind the Wheel – Bacchus I Knew – Dan’s Mother Beautiful – Terry, Dan 42 Hours – Dan, Terry, Melissa What About Him? My Kid – Dan

CAST: Reg Anne Dan's Mother Melissa Ruth Chad Susan Josh Dan Terry Bacchus INSTRUMENTATION Keyboards; acoustic guitar; electric, lap steel guitars; electric and acoustic bass; drums/ percussion

KILL THAT FLY! Revue devised by George Grossmith. Music: Melville Gideon and Bert Grant. Lyrics: Robert C. Tharp and Rube Goldberg. Alhambra Theatre, London - 14 October 1912 The Cast included: Henry Frankiss, J.F. McArdle, Mary Robson, Dorothy Selborne, Hugh E. Wright The Programme included I'm the guy (Grant-Goldberg) My Honolulu Honey Lou (Gideo- The Guide to Musical Theatre

THE KING AND I A musical play in two acts. Music by Richard Rodgers, book and lyrics by Oscar Hammerstein II based on "Anna and the King of Siam" by Margaret Landon St James Theatre, Broadway - 29 March, 1951 (1246 perfs) Theatre Royal, Drury Lane, London - 8 October, 1953 (926 perfs) SYNOPSIS Set against a dazzling and exotic backdrop The King and I is the moving story of Anna, an American governess, who tries to help an Eastern king to come to terms with the modern world, but he is unable to resist the forces of ancient customs. The conflict between Eastern and Western cultures inspired this well-loved musical, which has been revived professionally many times and is always a firm favourite with the public. The score includes "I Whistle A Happy Tune", "Hello Young Lovers", "Getting To Know You", "Something Wonderful" and "Shall We Dance?". THE STORY Anna Leonowens, a young English widow, arrives with her son Louis in Bangkok, capital of the kingdom of Siam, in the early 1860's. She has been engaged by the King to teach English and Western ideas to his family of many wives and many more children. Anna tells Louis how she will bravely face the dangers before them (I Whistle a Happy Tune) - and indeed she doubts whether her decision to come was right. At Court, her Western ideas quickly conflict with oriental traditions. The King's proclaiming of his belief in Western ideals does not stop him accepting a slave girl Tuptim as a gift from the King of Burma. Tuptim is repelled by him (My Lord and Master) and loves Lun Tha who has escorted her to Bangkok. When Anna meets the King, her doubts turn to anger when she discovers he has chosen to forget his various promises concerning salary and particularly that he had promised her a brick house next to the palace. She is only prevented from leaving by meeting the King's enchanting children (The March of the Siamese Children). She decides to stay; and the royal wives are keen to hear of the differences between their two cultures, and the similarity when it comes to love and family (Hello, Young Lovers). Anna instructs the royal children, the King's wives, even sometimes the King himself (Getting to Know You). They learn of the outside world, and wonders like snow, ice, and individual freedom. The King is fascinated, yet troubled, by these ideas (A Puzzlement). Anna has meanwhile befriended Tuptim and lent her the new American novel 'Uncle Tom's Cabin' but she is worried that Tuptim and Lun Tha are meeting secretly (We Kiss in a Shadow). Anna admires the King's strengths, but his stubbornness infuriates her. Lady Thiang, the King's first wife understands this and counsels patience, for she sees how much the King and Anna need each other. For all his stubbornness, pride and occasional cruelty, Lady Thiang says, he can sometimes do Something Wonderful. The King learns that a British diplomat is on the way to Bangkok, obviously to assess the King's hold on his country. Anna cleverly suggests that a European dinner, with all the Court in Western dress, and with a suitable entertainment (which the intelligent Tuptim could devise) would give Sir Edward Ramsay an excellent impression of an enlightened and sophisticated society - and of the King, too. The King is so impressed with 'his own idea' that he rewards the strong-willed "Mrs. Anna" with a firm promise of the brick house, as in their agreement.

The dinner is a great success; Tuptim's entertainment, a ballet entitled The Small House of Uncle Thomas (an outstanding feature of the score) will be her last act in Siam because Lun Tha has arranged an escape immediately afterwards, so they will be together for ever (I Have Dreamed). The 'subversive' message of the ballet's story worries the King momentarily, but Sir Edward's compliments and generous endorsement of his regime give the King great satisfaction. The plan has worked. The King and Anna, alone, congratulate each other and in the mood of celebration he asks her to teach him the polka (Shall We Dance?) As they dance, we see how the growing friendship is rapidly ripening into sexual attraction, but the mood is shattered when news comes that Lun Tha and Tuptim have been caught escaping. The secret police kill him, and the King, suddenly no longer a Westernised monarch, prepares to punish Tuptim with the whip. Anna upbraids him for this regression to barbarism, which has spoiled everything he has been striving to achieve. His arm falls, the whip drops, but he realises that his absolute power has evaporated and he flees the room, a broken man. Anna realises that she has so humiliated the King that she must leave Siam, but she is stopped from embarking by a note from him - he expresses his gratitude for all she has done, but says he is dying. Shocked, she returns to the Palace and finds him on his deathbed surrounded by wives and children, who now beg Anna not to leave them. She is deeply moved and realises how much she loves them and how much they need her. The dying King commands her to take notes from his eldest son, Prince Chulalongkorn, who will be the new King. The Prince, who has learned his lessons well from Anna, announces that there will no more bowing and scraping before him, but as his father dies and all present prostrate themselves, their obeisance is not only to the dead King but to the new one. CHARACTERS - Cast: 4 men, 3 women, 2 boys, chorus • Anna Leonowens - A young widow, in whose heart the pain of bereavement is still very strong. She is compassionate but business-like, and - almost - completely undaunted by the regal magnificence of her employer. She is presented in word, deed and song as an entirely sympathetic person. • Louis Leonowens - Her young teenage son, keen to acclimatise to the strange lifestyle at an Eastern Court and fiercely fond of his mother. • The Kralahome - The Prime Minister. A hard and bigoted official who obviously cannot understand why his master is flirting with Western ideas. • The King - He deserves our admiration for his efforts in trying to come to terms with Western ideas and ways of life, but the conflict between Eastern and Western values, combined with his inbred sense of being a Supreme Ruler, ultimately destroys him • Lady Thiang - Wise, composed and understanding, she can see clearly both sides of the King's nature and thus of her country's standing in the world. • Tuptim & Lun Tha - Star-crossed lovers who are pawns in the game of the giant rulers of the Far East. • Prince Chulalongkorn - The heir to the throne, whose mixture of filial piety and awareness of the need to change are partly a result of Anna's teaching and partly inherited from both his parents. • Sir Edward Ramsay - Anna's old flame and an important player in the diplomatic game for the friendship of Siam. SCENES AND SETTINGS: The Play is Divided into Two Acts. The Action Passes in and Around the King's Palace, Bangkok, Siam. Time: Early Eighteen Sixties.

MUSICAL NUMBERS: Act I 1. Overture 2. Opening ACT I (Arrival at Bangkok) 3. I Whistle a Happy Tune - Anna, Louis 4. Incidental For Dialogue (Entrance of Kralahome) 5. Exit: I Whistle a Happy Tune 6. Vignettes And Dance 7. My Lord and Master - Tuptim 8. Incidental For Dialogue 9. Hello, Young Lovers - Anna 10. Encore: Hello, Young Lovers 11. The March of Siamese Children 12. Postlude To the March of Siamese Children 13. Scene Before Curtain (Priests and Children) 14. A Puzzlement - King 15. School-Room Scene - Children and Wives 16. Getting To Know You - Anna, Wives & Children 17. Incidental (King) 18. We Kiss In A Shadow (Tuptim and Lun Tha) 19. Reprise: A Puzzlement (Prince and Louis) 20. Shall I Tell You What I Think Of You? - Anna 21. Something Wonderful - Lady Thiang 22. Change Of Scene (Pantomime) 23. Reprise: Something Wonderful - Lady Thiang 24. Change Of Scene (Postlude to “Something Wonderful”) 25. Scene (Anna and King planning party) 26. Fireworks 27. Finale Act I - Company ACT II 28. Entr’acte 29. Opening Act II 30. Western People Funny - Lady Thiang and Wives 31. Exit Of Wives 32. Dance of Anna and Sir Edward 33. Exit Of Anna, King and Sir Edward 34. Incidental “We Kiss in A Shadow” 35. I Have Dreamed - Lun Tha, Tuptim 36. Reprise: “Hello, Young Lovers” - Anna 37. The Small House of Uncle Thomas (Ballet) 38. Postlude Of Ballet 39. Incidental (Change of Scene) 40. Song Of the King - King 41. Shall We Dance? - Anna, King 42. Melos: My Lord and Master 43. Processional 44. Reprise: Something Wonderful (Letter Reading) 45. Polka Doloroso 46. Reprise: I Whistle a Happy Tune - Anna 47. Finale Ultimo 48. Exit Music INSTRUMENTATION: 2 flutes (2nd db. piccolo), oboe db. cor anglais, 3 clarinets (3rd db. bass clarinet), bassoon, 3 horns, 3 trumpets, 2 trombones, tuba, 2 percussion, harp, piano, strings Two Piano Arrangement available instead of orchestration DISCOGRAPHY The King and I - Original Broadway Cast Recording

KING OF CADONIA A Musical Play in two acts: Book by Frederick Lonsdale: Lyrics by Adrian Ross and Jerome Kern: Music by Sidney Jones Prince of Wales' Theatre, London - 3 September, 1908 (333 perfs) Daly's Theatre, Broadway (additional songs by M.E. Rourke and Jerome Kern - 10 January, 1910 (16 perfs) SYNOPSIS The action of the play is laid in one of those mythical territories where poetic licence reigns supreme and the vagaries of officials are recognised as part and parcel of the customs of the land. Cadonia appears to be an extremely unsettled country and to have a marked liking for a frequent change in the monarchy. Kings come and kings go, and each may have truly said hat "uneasy lies the head that wears the crown." The latest sovereign, Alexis, quickly tires of the limitations that are placed on his freedom and is by no means pleased that the day of his coronation will, in all probability, be the day of his earthly annihilations. He is aware that there is a conspiracy afoot to assassinate him, and accordingly, he shaves off his moustache and beard and makes good his escape. The disguise is so good that he avoids all recognition. It is then he meets the Princess Marie, the daughter of the Duke of Alasia, heir presumptive to the Cadonia throne. Following all true romantic precedents the princess falls in love with the handsome stranger and she is well pleased when she learns that the king has mysteriously disappeared. But her feelings of relief are not shared by her father, the duke, who dreads above all things being called upon to rule over such an unstable population as that of Cadonia. The disguised king associates himself with the conspirators, the chief of whom is posing as head gardener to the duke. Thus he learns their plans, and also succeeds in winning their favourable opinion, so much so that when the inevitable dénouement arrives they cannot but acknowledge that, at last, Cadonia has been fortunate enough to secure a monarch who may be trusted to rule his people discreetly and bravely. The princess is equally pleased to find that love and duty will now go hand-in-hand and the timid duke is no less delighted at the prospect of escaping forever the dangerous prerogatives of kingship. CAST: • The Duke of Alasia - Heir presumptive to the throne • Princess Marie - his daughter • Alexis - King of Cadonia • General Bonski • Captain Laski • Lieutenant Jules • Lieutenant Saloff • Panix - Secretary to the Duke of Alasia • Laborde - Head gardener to the Duke of Alasia • Bran - Servant to Captain Laski • Militza - Maid to Princess Marie • Stephanie - First Lady in Waiting to Princess Marie • Duchess of Alasia LADIES IN WAITING • Natine • Wanda • Ottaline • Fridoline Chorus of soldiers, gardeners, peasants, ladies of the Court, etc.

MUSICAL NUMBERS: Act I 1. As Happy As A King - Laski 2. Not A Little Bit Like You - Militza 3. The Man I Marry - Marie 4. Reasons of State - Marie, Duchess, Duke, Panix 5. Hail! The King - Chorus 6. Overrated - Alexis 7. The Barber - Laski & Chorus of Guards 8. The Lady Of the Castle In the Air - Marie and Alexis 9. Do Not Hesitate To Shoot - Duke 10. The Portrait - Marie, Alexis and Girls Act II 11. In the Swim - Militza 12. The Wind of Love - Marie 13. There's A King In the Land Today - Alexis 14. Situations - Militza 15. Things That I Know I Could Do - Duke 16. The Woman and the Man - Marie and Alexis 17. Change Partners - Stephanie and Laski 18. Disguises - Militza and Duke 19. Love and Duty - Marie and Alexis SCENES & SETTINGS: • Act 1 - The Gardens of the Duke of Alasia • Act 2 - The Palace of the King of Cadonia

KING OF SHERWOOD Book by Fred Edmonds; music by Thomas J Hewitt A burlesque on the Robin Hood classic story. Below is an extract from a review of the show at Southwick Community Theatre in 1988 kindly sent to us by Elaine Bailey. Lots of fun with Robin and maids Review by Marcus Agar Southwick Opera lit up the town last week with the dazzling wit and charm of their latest production, The King of Sherwood. The play, a burlesque on the Robin Hood classic was a true delight to watch. Robin, played by Simon Fry, was portrayed as a dashing, thigh-slapping tally-ho sort of chap, in true panto style. And he had most of the laughs too, although there were so many in this show and there plenty to go around. Even the pianist was brought into the hilarity, from the moment she paraded in on the arm of the producer and jolly compère, Gary Brighton, both clad in period costume. On the first night the packed auditorium sat through a night of good of song and dance, rewarding the players with their laughter and jeers. Robin and his merry men were accompanied on stage by Sherwood's even merrier maids, sprinkling the audience with ample servings of merriment and mirth with just a hint of smut for good measure. Even the extended interval was out of the ordinary. Everyone was invited to a Goose Fair in the courtyard, where you could drench the poor soul in the stocks, be knighted by King John, or indulge in a bit of kissing with a faire maiden - for a fee! This was my very first visit to a show at Southwick Community Centre, but it will certainly not be my last. There is some additional information regarding a production in 1921 at Farnhill History Group. The vocal score is strangely bereft of any further information other than what is reproduced below. Any further information about this operetta will be appreciated by emailing the GTMT webmaster CAST: • Robin Hood • Maid Marian • King Richard • Abbot • Sheriff • Little John • Much • Friar Tuck • Scarlet • Dame Scarlet • Sir Richard Lea • Edith • Dorothy • Ella Chorus of Maidens, Foresters and Men-at-Arms

MUSICAL NUMBERS Act I 1. Chorus (Foresters) - Foresters Free Are We 2. Chorus (Foresters) - Hail ! Robin Hood 3. Song (Robin Hood) - The King of the Wood 4. Chorus (Maidens & Foresters) - We Are Merry Maidens 5. Solo & Chorus - Willy Nilly, You Must Come With Me 6. Song (Friar Tuck) - A Universal Genius I 7. Chorus (Foresters) - Sing A Song of Sherwood 8. Duet (Abbot & Sheriff) & Chorus - A Gay Little Pig 9. Chorus (Foresters) - Enough, You Beaux 10. Song (Maid Marian) - Where Shall I Wander? 11. Duet (Robin Hood & Maid Marian) - Can I Trust This Stranger? 12. Song & Semi-Chorus (Sir Richard & The Three) - I'm a Penniless Knight 13. Final Chorus - Fairest Flowers of the Forest Act II 14. Opening Chorus - We Are Subjects of Our Queen 15. Solo (Dame Scarlet) & Chorus - I'm the Victim of An Accident 16. Recit & Chorus - Maidens, Arise 17. Song (Dame Scarlet) & Chorus - Always Be Kind To Your Husband 18. Duet (Friar Tuck & King) & Chorus - Oh, He Who Would Rough It 19. Song (Maid Marian) & Chorus (Girls) - What Sort of a Man? 20. Recit. & Chorus - Tell Me, Sir Richard 21. Recit. (Sheriff) & Chorus - Stay, I Have Been Consulting My Dial 22. Recit. (Sheriff & King) & Chorus - It Is the King 23. Duet (Abbot & Sheriff) & Chorus - Stone Us Till Existence Ceases 24. Song (Robin Hood) - England, Merry England 25. Finale - Always Be Kind To Your Husband COSTUME PLOT ARCHERS' DRESSES Full size bows, quivers and arrows, Lincoln green serge tunic and knickers, brown satteen bands, deep collar and cuffs, boots, and hat with pheasant tail. FRIAR TUCK Brown serge cassock with hood, rope girdle, sandals, and shaven wig. KING RICHARD Ordinary dress, " Coeur de Lion" pictures, head piece, tunic and leggings, to resemble chain-mail, and white long fur coat, sleeveless, with red cross in front. DAME SCARLET Red dress, laced bodice, sleeves to elbow, turned back with white, white muslin apron, and white muslin large handkerchief twisted round head and hanging down. MAID MARIAN Soft white dress, square neck, and large hanging sleeves, with silk or muslin head dress hanging over hair to the feet. VILLAGE MAIDENS Muslin or print short skirts, looped up over dress, laced bodice, muslin or lace cap.

KINGS AND CLOWNS A Musical in 2 acts. Book, Music & Lyrics by Leslie Bricusse. Designed by John Napier; lighting by Richard Pilbrow & Graham Large; Costumes by John Napier & Ann Curtis; Choreography by Gillian Gregory; Musical Director - Ed Coleman; Sound by David Collison. Directed by Mel Shapiro. Phoenix Theatre, London - 1 March, 1978 (34 perfs) Company Stage Manager - ROSEMARY CURR Deputy Stage Manager - ROGER COLLINS Assistant Stage Managers - JAMES CHATTO, CHRISTINE CROW Original Cast Henry - FRANK FINLAY Catherine of Aragon - ELIZABETH COUNSELL Anne Boleyn - DILYS WATLING Jane Seymour - MAUREEN SCOTT Anne of Cleves - ANNA QUAYLE Catherine Howard - COLETTE GLEESON Catherine Parr - SALLY MATES Will Somers (The Jester) - RAY C. DAVIS Mark Smeaton/Claude of Lorraine - MICHAEL HEATH Thomas Cromwelll/Cardinal Wolsey - MICHAEL NAPIER BROWN The Duke of Norfolk - CHARLES WEST Thomas Culpepper - MICHAEL HEATH Ensemble RICHARD RATCLIFFE, RICHARD WALSH, PHILIP GRIFFITHS, JEANNA L'ESTY, DORCAS JONES, JUNE SHAND The Orchestra Flute, Piccolo, Tenor Sax JOHN FRANCHI Flute, Piccolo, Oboe PETER HULL Oboe, CorAnglais, Clarinet TOM CRANE Clarinet, Bass Clarinet, Bassoon LENNY BYRNE Trumpet, Flugel Horn TREVOR BARBER Trombone, Euphonium ROY HUCKRIDGE French Horn JOHN WINCH French Horn HUBERT STAAR Cello NIGEL WARREN GREEN Cello PAUL KEGG Cello CATHY GILES Keyboard JO STEWART Bass, Bass Guitar NEIL CAMERON Percussion DICK HARWARD

MUSICAL NUMBERS ACT ONE 1. Overture 2. Kings and Clowns Jester, Henry, Company 3. Henry Tudor Jester, Company 4. Good Times Henry, Wolsey, Norfolk, Jester 5. To Love One Man Catherine of Aragon 6. Get Rid of Her! Henry 7. I'm Not! Anne Boleyn 8. The Grape and the Vine Henry, Smeaton 9. A Woman is a Wonderful Thing Henry 10. In Bed Jester, Norfolk, Cromwell, Company 11. My Son Henry 12. The Grape and the Vine (reprise) Henry, Jane Seymour, Anne Boleyn, Smeaton 13. Young Together Catherine of Aragon, Anne Boleyn, Jane Seymour 14. Henry Tudor (reprise) Jester, Company 15. Tomorrow With Me Henry, Jane Seymour ACT TWO 16. Entr'acte 17. Kings and Clowns (reprise) Jester 18. Could Anything Be More Beautiful? Henry 19. Bitch! The Wives 20. The Perfect Woman Henry, The Wives 21. Henry Tudor (reprise) Jester 22. Is Sad Anne of Cleves 23. Ten Wishes Catherine, Culpepper, Young People 24. Henry Tudor (reprise) Jester 25. Good Times (reprise) Catherine of Aragon, Anne Boleyn, Jane Seymour, Catherine Howard, Jester, Company 26. The End of Love Jane Seymour 27. A Man Is About To Be Born Henry 28. Sextet The Wives 29. Young Together (reprise) Henry, The Wives 30. Good Times (reprise) Catherine Parr 31. Finale The Company

THE KING'S EMERALD A Musical Comedy for Children: Music by Betty Roe; Book and Lyrics by John Tully. MUSICAL NUMBERS 1. Overture 2. Three Cheers for the King (Ladies, King, Queen) - "Three cheers for the King" 3. Reprise: Three Cheers for the King - (Alic, Mary, Sue, Ladies) - "There is the King" 3a. Reprise: Three Cheers for the King - "Three cheers for the King" 4. Hunting Song - (Forest Men) - "We hunt opn the mountains, we hunt in the glen" 5. What a Prince Am I - (Prince Paul, Aide and Soldiers) - "What a prince am I" 6. Trumpet fanfare 7. Heigh-Ho- (Foresters) - "Heigh-ho, there's grub to eat" 8. Treaty music 9. Here's Good Health - (Martha, company) - "Here's goods health to young and old" 9a. Dance music 10. Look At the Crowns! - (Martha, Edward, Mary, Alan, Sue, Foresters) - "Look at the crowns, look at the jewels" 11. Reprise: Three Cheers for the King - (Chorus) 12. Reprise: What a Prince Am I - (Chorus) 13. Love, Esteem and Affection - (Company) - "Love, estee and affection are better than pearls and gold" 14. Reprise: Three cheers for the King

KING'S RHAPSODY Devised, Written and Composed by Ivor Novello Lyrics by Christopher Hassall Produced at the Palace Theatre, London, 15 September, 1949 IVOR NOVELLO has an unerring instinct for knowing what the public wants in musical entertainment. King's Rhapsody, with its mid-European royal romance, lavish decor, melodious songs and colourful ballets, has been no exception, and however much the carping critic may protest as he looks back over a decade and a half of Novello mammoth musicals, that this is the mixture as before, the public continues to pack every house. SYNOPSIS King's Rhapsody tells the story of the king of Murania (known as Nikki), who twenty years before the play begins had renounced his succession to the throne for love of his mistress, Marta Karillos, who, nevertheless, had been a good influence in his life. On the death of his father, the King, Nikki is persuaded by his mother, Queen Elana, to return from exile in Paris and marry the young Princess Cristiane of Norseland, and so provide the throne with an heir. Characteristically Nikki is not at the palace to greet his bride-to-be when she arrives, and later, when he meets her for the first time, she is in her simple national costume and he takes her to be a lady-in-waiting. She does not disillusion him and they fall in love. Already Cristiane, whom Nikki believes he has not met, has angered him by demanding that he shall banish his mistress, and later outrages convention by inviting Marta Karillos to the Court Ball, so that she may take stock of the woman who is likely to be her enemy. Nikki revenges himself by opening the ball by dancing with Marta. Nikki awaits news of the birth of his son while making merry at Marta's villa, but when an angry mob breaks in seeking Marta's life it is the young queen who saves her by saying she is her dear friend. Once Murania has an heir to the throne, the government is eager to be rid of Nikki, who has never been popular with them, and, with Queen Elana on their side, the King is prevailed upon to abdicate in favour of his infant son. He bids farewell to his now much-loved young wife, and goes into exile. Ten years later, in Paris, he is informed by the Ambassador for Murania teat he must not set foot in his own country, or make any attempt to see his son, who is about to be crowned king. But Nikki is determined to witness his son's coronation and to see once again his beloved wife, and returns from exile, risking death. During the impressive ceremony in the Cathedral, Queen Cristiane, knowing secretly that Nikki is there, drops a white rose on the altar steps. When all have departed, Nikki picks up the rose, and is seen, a lonely figure, kneeling at the High Altar as the curtain falls. The Original Opening Cast Princess Kirsten PAMELA HARRINGTON Princess Hulda WENDY WARREN Mr. Trontzen JOHN PALMER Countess Vera Lemainken OLIVE GILBERT Princess Cristiane VANESSA LEE King Peter of Norseland VICTOR BOGGETTI Manservant HARRY FERGUSSON Jules MICHAEL ANTHONY Queen Elana of Murania ZENA DARE Vanescu ROBERT ANDREWS Nikki IVOR NOVELLO Marta Karillos PHYLLIS DARE Olga Varsov ANNE PINDER Madame Koska JACQUELINE LE GEYT Count Egon Stanieff DENIS MARTIN Major Domo ERIC SUTHERLAND Tormas GORDON DUTTSON Boy King JOHN YOUNG with the Pauline Grant Ballet and Lady and Gentlemen Choristers Directed by Murray MacDonald