Shows L

LADY AUDLEY'S SECRET Music by George Goehring, Book by Douglas Seale, Lyrics by John Kunz Eastside Playhouse Theatre Off-Broadway 3 October, 1972 (8 perfs) Synopsis England in the 1890s - an era of mystery. At Audley Court elderly Sir Michael Audley has just married a young and beautiful bride. The plot thickens as Captain Robert Audley, Sir Michael's nephew, and his friend George Tallboys arrive. Lady Audley is attracted by her handsome nephew but George seems to recognise her! With his sudden disappearance, a fire, inter-family intrigues and blackmail, the audience is drawn into a web of mystery which holds them right up to the final revelations. Story ACT ONE - The Lime Tree Walk leading to Audley court. As the curtain rises, the villagers are discovered in a tableau. Phoebe, maid to Lady Audley, and Luke Marks, her betrothed, are among the dancers. Luke tries to steal a kiss from Phoebe. She resists and he declares he'll break her high spirits when they are wed. Lady Audley comes running, closely followed by Sir Michael, who is 70 and, as such, out of breath. Lady Audley has planned a day filled with special festivities for Sir Michael’s birthday. He proclaims that she has made the last two years the happiest of his life. As they toast the finer things in life, Luke continues to seek an inappropriate kiss from Phoebe. She protests again and points to Sir Michael as a model gentleman. Luke is not impressed, noting that only two years ago Sir Michael's wife, Lady Audley, was a common governess. Finally, he leaves and Lady Audley asks Phoebe what's wrong. She explains that it was her mother's wish that she wed Luke. Unfortunately, her mother's judgment in choosing Luke as Phoebe's husband was a poor one. Sir Michael, who has been listening off to the side, praises Phoebe's sense of duty. Sir Michael's daughter, Alicia, arrives dressed in a riding habit and looking for Sir Michael's handsome nephew, Robert Audley. Alicia is annoyed that Robert is so late. She has driven her horse hard, for which Lady Audley criticiSes her. Alicia responds, "One can't always be smiles and honey as you are, my dear step-mother. It's better to let one's temper come out at once, then brood over unpleasant things in secret." Lady Audley responds that, "marriage is a wonderful cure for lover's impatience." Sir Michael decries Alicia's sour spirit, which reminds him of his first wife, Alicia’s mother. Phoebe, alone, reflects how much happier Lady Audley is in her marriage to Sir Michael than in her previous life as a governess. She remembers when she and Lady Audley shared an attic room and their closest secrets. She vows that Lady Audley's secret is safe with her. We hear the sound of Robert Audley singing a martial air off stage. He arrives with a flourish: a handsome young gentleman dressed in military uniform. His friend George enters with the luggage. Phoebe moves to take the luggage, startling George, who is not accustomed to the attention of servants. Robert asks after Lady Audley, whom he's never met. Phoebe describes Lady Audley as a fine woman. She exits with the luggage. "My uncle marry a governess!" Robert reflects that Sir Michael's first wife was a battleaxe who died after a horse bit her. "The poor beast had to be shot, of course. My uncle took to his bed for several weeks in the state of utter collapse. He was very fond of that horse.” George sympathises as he had lost his young wife. He tells the sad tale of having to leave his wife to make money in India, only to read her obituary before he could send for her.

Alicia arrives and greets Robert, who introduces his friend George. As Robert and Alicia kiss, George looks at a painting of Lady Audley and is startled to see the very image of his "dead" wife. He leaves. Alicia is annoyed that Robert has not asked her a particular question that she hoped he would. Lady Audley enters and is impressed by Robert’s good looks. Alicia becomes annoyed and leads Robert off. Lady Audley has reacted strangely to meeting Robert. Her heart pounds, her temples throb, and she can scarcely catch her breath. She reflects that Sir Michael, though good and kind, is old. She must secure her future in preparation for his death. She congratulates herself for convincing her first husband, George, of her premature demise. Suddenly, George appears and touches her shoulder. She turns with a shriek. "You are a traitress, Madam he says. He threatens to expose her. She complains that she thought herself deserted when he went off to India. She threatens to silence him using the power of her position. He is not impressed, as his friend, Robert Audley, will aid him. She pretends to feel faint and asks him to bring her water from the well. As he does, she strikes him with an iron rod and pushes him down the well. ACT TWO - The Conservatory in Audley Court — twelve months later. The butler and maid dance as they clean the room. Sir Michael enters with Alicia. He asks her to be patient with Robert as he has been distracted by the mysterious loss of his friend, George. He agrees to speak to Robert and hurry things along. Alicia confesses that she has been questioning Lady Audley’s sincerity. He tells her he will not tolerate having his wife spoken of in such a manner. Alicia pines after her sainted mother and Sir Michael pines after Abigail, his sainted horse. Lady Audley arrives, mistakenly jealous over their reverie. Alicia runs off and Sir Michael pursues her, trying to give her solace. Luke, drunk, enters and threatens to blackmail Lady Audley: he witnessed her pushing George down the well! She agrees to meet him tonight, bringing a hundred pounds. He kisses her roughly, promising her that there’ll be more than money to give him tonight. He goes off laughing. Robert enters bearing a letter of hers to George and accusing her of bigamy and, he suspects rightly, murder. She snatches the letter from his hand and reminds him that exposing her will tarnish the Audley family name forever. He demands that she leaves the country or he will expose her. He leaves and she decides to stick to her motto, “death or victory.” Alicia enters in tears, accompanied by Sir Michael. She’s upset because of Robert’s postponement of their marriage and the attraction she’s observed between him and Lady Audley. Lady Audley decides to use Alicia’s misplaced concern to her advantage. She tells them that it is true that Robert is in love with her. Lady Audley asks Sir Michael that Robert be sent away and he agrees. Robert enters announcing that he is going away for a few days. Robert asks that Lady Audley come with him to London. Sir Michael is aghast and demands that he leave immediately. They continue their argument until Sir Michael is overcome, grasps his heart and has to be carried off. Robert puts two and two together, concluding that his uncle’s intention must be the result of Lady Audley’s work. He leaves to set things right. On the road to Audley Court Luke is drunk again. Phoebe appears telling Luke that the landlord’s been around looking for the rent. He tells her that they’ll not have to worry about such things in the future. Inside the Castle Inn, Phoebe is alone when Robert arrives seeking a place to stay for the night. As Luke enters unseen, Phoebe starts to tell Robert of the Lady’s secret. Luke cuts her off. Robert decides to get Luke drunk and get him to reveal the great secret. He and Luke go off to get some ale. Lady Audley appears and, hearing that Robert is in the other room hides. The men return. Luke hits Phoebe when she refuses to get him more ale. Robert can’t contain himself and knocks Luke out cold. Robert and Phoebe leave as Lady Audley discovers Luke unconscious on the floor. Phoebe re-enters and Lady Audley sends her out, promising to catch up with her. Lady Audley determines to set the cottage ablaze

thereby ridding herself of the two men who threaten her security. She sets the fire and leaves. Luke awakes, staggers and falls in the smoke. On the road to Audley court, Phoebe is making her way to the hall as Alicia comes along. Alicia brings word that Sir Michael is failing and that she must find Lady Audley. She implores Phoebe to return to her house and retrieve Robert. Lady Audley appears and Phoebe gives her the bad news about Sir Michael. They see the fire rising in the distance but Lady Audley holds Phoebe’s arm and demands that she come with her to the Castle. Phoebe sees that Lady Audley must be part of some foul scheme cries for help. Lady Audley drags her off by the hair. On the Lime Tree Walk, moonlight falls on the old well. Lady Audley enters, dragging Phoebe. Robert arrives and sends Phoebe to try to help her husband. Lady Audley is shaken to find Robert alive. They exchange threats and struggle. Phoebe re-enters, leading Luke, who is near death; indeed, he collapses before he can accuse Lady Audley. Alicia arrives with Sir Michael, who promptly dies. Robert accuses Lady Audley of killing his friend George. At that very moment, George appears and Luke dies! Luke saved him! Just as they accuse Lady Audley, Phoebe reveals that, in truth, Lady Audley is mad! She describes her screaming in her sleep, begging that her mother not be taken away. (Her mother had been taken off to the insane asylum, and this is the madness that also courses through Lady Audley’s veins.) Overwhelmed, Lady Audley dies. MUSICAL NUMBERS: 1. The English Country Life - Ensemble 2. A Mother's Wish Is A Daughter's Duty - Phoebe 3. The Winter Rose - Lady Audley, Sir Michael 4. That Lady In Eng-a-Land - George, Robert 5. Civilised - Lady Audley, Robert, Alicia 6. Dead Men Tell No Tales - Lady Audley 7. An Old Maid - Alicia 8. Repose - Lady Audley 9. The Audley Family Honour - Lady Audley, Robert 10. La De Da Da - Lady Audley, Sir Michael, Alicia 11. I Know What I Knows - Luke, Ensemble 12. How? What? Why? - Robert, Lady Audley, Phoebe 13. Forgive Her, Forgive Her - George, Robert, Alicia, Lady Audley, Ensemble CAST: - 4 men, 3 women, small chorus • PHOEBE - The Lady's maid, Luke's love, simple • LUKE MARKS - A dissolute ruffian, brusque, stubborn • LADY AUDLEY - A pretty lady with a secret. Lovely, mannered and, alas, quite mad • SIR MICHAEL AUDLEY - elderly but kind, too trusting • ALICIA - Sir Michael's handsome daughter. Robert's youthful love (and cousin), fiery • CAPT. ROBERT AUDLEY - Sir Michael's handsome nephew. Young, handsome, upstanding, valiant • MR. GEORGE TALBOYS - Robert's grieving friend has a hot side • ENSEMBLE - A dancing maid and butler; A small chorus of villagers, drinkers, and four-man fire ensemble INSTRUMENTATION: Piano

LADY BE GOOD A Musical Comedy in 2 Acts, 6 Scenes. Book by Guy Bolton and Fred Thompson. Music by George Gershwin. Lyrics by Ira Gershwin. Orchestrations by Robert Russell Bennett, Charles N. Grant, Paul Lannin, Stephen Jones, Max Steiner, William Daly. Globe Theatre, Broadway - 22 January, 1923 (128 perfs) Liberty Theatre, Ney York - Opened 1 December, 1924; Closed 12 September, 1925 (330 Perfs) Prince of Wales Theatre, London 14 April, 1926 (326 perfs) Story The brother / sister team of Dick and Susie Trevor are down on their luck having been evicted from the family home for failing to pay their rent. In an effort to silence their growling stomachs they head for wealthy Jo Vanderwater's garden party. Dick is in love with Shirley Vernon but because he is broke, steers clear of her and is vulnerable to Jo's affluent charms. Meanwhile Susie is captivated by a charming "hobo" but tries to convince herself to like the eligible Jeff White instead. So the web is woven with the siblings listening to their heads, not their hearts. Watty Watkins the local lawyer tries to get Jo to help but discovers that it was Jo, with designs on Dick, who was behind the eviction in the first place. Jack the "hobo" expresses his affection for Susie but then leaves town. Flamboyant Manuel Estrada hires Watty to find a Jack Robinson because Manuel's sister married him in Mexico. This is important as Jack has become a millionaire on the recent death of his uncle. Watty begs Susie to help him in the task of getting the Robinson estate to pay off Senorita Estrada. This will require Susie to don a disguise which, for a payment of $50,000, she agrees to do. Dick, believing he can never afford his true love Shirley, proposes to Jo. Order is eventually restored in Act II. Dick professes his true love to Shirley and Watty and Susie (disguised) try to claim the money left by Jack Robinson's uncle. Jack, still dressed as a hobo, returns when he hears he is the heir to a fortune, but is shocked to find Susie, the lovely young girl he met earlier, claiming the money as his "widow". Susie does not know that her "hobo" is newly-wealthy Jack, nor that she is being used by Manuel Estrada, whose sister never really married Jack. Dénouement: Jack saves Susie from disgrace and proclaims his love, Dick and Shirley are reunited, Jo and Watty form a happy love knot. A multiple wedding is sure to close the curtain. MUSICAL NUMBERS 1. Hang on to Me - Dick Trevor, Susie Trevor 2. A Wonderful Party (Numberette) - Guests 3. End of a String - Ensemble 4. We're Here Because - Daisy Parke, Bertie Bassett, Guests 5. Fascinating Rhythm - Susie Trevor, Dick Trevor, Jeff 6. So Am I - Jack Robinson, Susie Trevor Oh, Lady Be Good J. Watterson Watkins, Girls 7. Piano Specialty 8. Finale - Ensemble, (Susie Trevor, J. Watterson Watkins) 9. Weatherman/Rainy Afternoon Girls (Opening Act 2) - Ensemble * 10. The Half of It Dearie Blues - Shirley Vernon, Dick Trevor

11. Juanita - Susie Trevor, Boys 12. Leave It to Love - Susie Trevor, Jack Robinson, Shirley Vernon, Dick Trevor 13. Little Jazz Bird - Jeff † 14. Insufficient Sweetie (Music and Lyrics by Cliff Edwards and Gil Wells) - Jeff 15. Who Takes Care of the Caretaker's Daughter (While the Caretaker's Taking Care)? - (Music and Lyrics by Chick Endor) - Jeff 16. It's All the Same to Me - (Music and Lyrics by Chick Endor) - Jeff 17. Carnival Time - Ensemble 18. Swiss Miss - (Lyrics by Arthur Jackson and Ira Gershwin) - Susie Trevor, Dick Trevor 19. Finale - Entire Company * Replaced by "Linger in the Lobby" - Ensemble † Replaced by a Speciality act during the original run. CAST • Dick Trevor: In Love with Shirley • Susie Trevor: Dick’s sister • Shirley Vernon: Loves Dick • Josephine Vanderwater: Also loves Dick • Jack Robinson: Disguised as a Hobo, in love with Susie • Buck Benson: A go getter for Life Magazine • Sammy Cooper: Photographer • J. Watterson “Watty” Watkins: A Slick Lawyer • Manuel Estrada • Rufus Parke: Trustee • Daisy Parke • Jeff: The Butler – Cliff Edwards • Bertie Bassett: Assistant to the Sheriff • Flunkey (Jenkins) • Victor Arden • Phil Ohman SCENES AND SETTINGS Act 1 Scene 1: Sidewalk in front of the old Trevor Homestead, Beacon Hill, Rhode Island. Scene 2: Entrance of the Vanderwater Estate. Scene 3: The Vanderwater Garden Party. Act 2 Scene I: The Anchorage Hotel, Eastern Harbor, Connecticut. Three days later. Scene 2: Garden of the Hotel. Scene 3: The Eastern Harbor Yacht Club. DISCOGRAPHY Lady Be Good - Studio Cast Recording

LADY DAY: A MUSICAL TRAGEDY A Musical Tragedy in 2 acts by Aishah Rahman; Music, Archie Shepp; Additional Music, Stanley Cowell, Cal Massey Academy of Music Brooklyn, Off Broadway - Opened 25th October, 1972: Closed 5th November, 1972 (32 performances) MUSICAL NUMBERS 1. No My Darling 2. Lover Man 3. In the Spring of the Year 1915 4. Song of Fate 5. Looking for Someone to Love 6. Billie's Blues 7. He's Gone 8. Strange Fruit 9. Beware Scat Song 10. Blues for the Lady 11. America on Her Back 12. Enough 13. God Bless the Child 14. A Year and a Day 15. I Know 'Bout the Life 16. What Would It Be Without You, 17. Professional Friends Duet 18. I Cried Like a Baby 19. Song to a Loved One CAST - showing multi-roles • Ronnie/Vi-Tone/Wino/Reporter/Guard • Ricky/Vi-Tone/Wino/Buttercup/Waiter • Sonny/Vi-Tone/Wino/Beware Scat/Reporter • Bullfrog/Vi-Tone/Wino/Cameraman/Shelly • Film Flam/Preacher/Freddie Freedom • Mother Horn/ Mom • Billie • Piano Player/White Club Owner/ Judge/Cop/Newsboy • Lester • Fanny/Flo • Anonymous White Woman/Gilly • Mort Shazer/Gangster • Dan/Levitt/Unknown Lover • Cellmate/Nurse SCENES & SETTINGS The action takes place yesterday, today, but not tomorrow in the eye of the Black Nation.

LADY IN THE DARK A Musical Play in Two Acts, 7 Scenes. Music by Kurt Weill, lyrics by Ira Gershwin, book by Moss Hart Alvin Theatre, New York, 23 January 1941 (467 perfs) Playhouse, Nottingham, England, 9 December 1981 A film version was produced by Paramount in 1944 with Ginger Rogers and Ray Milland. SYNOPSIS ACT I Liza Elliott, editor of the fashion magazine Allure, has come to consult Dr. Brooks, a psychiatrist. She insists she is physically well and normal in her behaviour, but has been suffering from seizures of depression and fatigue. Asked by Dr. Brooks to describe anything that comes to mind, however insignificant, Liza mentions a song learned in childhood, which now haunts her continually in moments of terror because she cannot complete it. She begins to hum the song's initial motif, and we are carried for the first time into Liza's dream world. She is no longer the conservatively dressed and prim editor but a radiant, red-haired beauty to whom all pay homage. The scene melts away, and Dr. Brooks points out that in this dream Liza sees herself as a glamorous woman, unlike her appearance in real life. Another contradiction is that while Liza tells other women how to be beautiful in her magazine, she herself does not take advantage of this advice. Back in Liza's office, a screen star, Randy Curtis, has come to be photographed for the magazine. After he leaves, Kendall Nesbitt, publisher of Allure and Liza's lover, arrives to inform her that his wife has finally agreed to divorce him and that they will soon be free to marry. This news does not have the expected exhilarating effect on Liza. On the contrary, she feels depressed and faint. Dismissing Kendall abruptly, she locks the door and falls wearily on a couch. Suddenly she begins to hum the child's tune, and drifts into another dream. In the dream which starts in her girlhood, she is going to marry Kendall Nesbitt, but Randy Curtis intervenes with a passionate declaration of love. In her indecision, she recalls a school play and suddenly the wedding ceremony degenerates into a nightmare. At her next session with Dr. Brooks, Liza reveals that her preference for simple clothes dates from early childhood. She says she has a dinner date with Randy which she intends to break. Dr. Brooks points out that her fetish for plainness is a refusal to compete with other women, and that her dread of marriage comes from the fear of having Kendall all to herself. These revelations so anger Liza hat she rushes impetuously out of the office. The next morning Liza comes late to her office, where a new issue of Allure is going to press. When Kendall enters, she tells him she does not want to marry him. She is also abrupt with her advertising manager, Charley Johnson, who, because Liza is "married to her desk", has no chance for advancement and is leaving. Randy comes to take her to dinner. She had forgotten she had made this date, but decides to dress elegantly for the first time and join Randy for a night on the town. ACT II Liza is in her office the following afternoon, where she cannot decide whether the cover design for the next issue will be a standard Easter cover or a circus scene. Magically the circus scene comes to life, with Russell Paxton, the photographer of Allure, as the ringmaster. The main event is a trial in which Liza is tried for her inability to make up her mind. Kendall Nesbitt gives evidence, there is an irrelevant but hilarious interruption and finally Liza tries to defend herself, but in vain. That evening, Liza returns to Dr. Brooks and tells him that she has experienced once again the hurt and

humiliation of her childhood. As she talks, Liza is carried back to the times when she was made to feel unattractive by her father, then scorned by her "prince" in a school play, and finally abandoned by her beau at the high school prom. Dr. Brooks emphasises that Liza, having lost a succession of boyfriends, sought refuge in being plain; that as a woman she has been denying herself this form of feminine identity. The lifting of the mental block brings release and she sings for the first time in its entirety the haunting song she has been trying to remember. One week later at the office, Liza is in better spirits than she has been in months, and Randy urges her to marry him. She has the strength he needs, he confesses, since he himself is actually weak. Liza asks for time to think this proposal over, when Charley enters to say goodbye. For the first time Liza recognises a salient truth that has so long been eluding her: it is Charley that she loves. She asks him to stay and share the stewardship of the magazine. CAST: - 9 men, 11 women, chorus CHARACTERS • Liza Elliott - The classic case of a successful career masking a deep-seated inadequacy as a woman. A combination of psycho-analysis and her relationships with several other men finally lead her out of the dark and to the ability to make the important decisions that she has evaded. (Soprano) • Maggie Grant - The loyal friend and helpmate of Liza; she is intelligent, forbearing and genuinely caring, but not sensitive enough to recognise Liza's real problem, though she thinks she does. (Speaking role) • Charley Johnson - World-weary, but the most genuine man in the Allure office or around Liza. And he is the only one who has sufficient strength not to need her. (Baritone) • Kendall Nesbitt - Supportive and mature, his relationship with Liza emerges as one of dependence and he has great difficulty in accepting that she will not marry him. (Baritone) • Randy Curtis - Superficially very attractive, he himself admits that he is lacking in self-confidence and sees in Liza a sheet-anchor, and that is something she cannot contemplate. (Baritone) • Russell Paxton - Fey and self-centred, but obviously a considerable professional asset to the magazine. (Baritone) • Alison du Bois - All French-polish on a very middle-American piece, she convinces nobody but herself. She displays insensitivity to atmosphere. (Speaking role) • Dr. Brooks - A patient and sympathetic professional. (Speaking role) • Miss Foster - Office stalwart. (Mezzo-soprano) • Miss Bowers - Miss Stevens - Office stalwarts. (Speaking roles) SCENES AND SETTINGS Act 1 Scene 1: Dr. Brooks' Office. Scene 2: Liza Elliott's Office. The same day. Scene 3: Dr. Brooks' Office. The next day. Scene 4: Liza Elliott's Office. Late that afternoon. Act 2 Scene 1: Liza Elliott's Office. Late the following afternoon. Scene 2: Dr. Brooks' Office. Later that evening. Scene 3: Liza Elliott's Office. A week later.

MUSICAL NUMBERS 1. Oh Fabulous One in Your Ivory Tower - Liza Elliott's Serenaders 2. The World's Inamorata - Liza Elliott, Miss Foster 3. One Life to Live - Liza Elliott, Russell Paxton 4. Girl of the Moment - Ensemble 5. It Looks Like Liza - Entire Company 6. Mapleton High Chorale - High School Graduates 7. This Is New - Rands Curtis, Liza Elliott 8. The Princess of Pure Delight - Liza Elliott, Children 9. This Woman at the Altar - Entire Company 10. The Greatest Show on Earth - Russell Paxton, Ensemble 11. Dance of the Tumblers - Albertina Rasch Dancers 12. The Best Years of His Life - Charley Johnston, Rands Curtis 13. Tschaikowsky - Russell Paxton, Ensemble 14. The Saga of Jenny - Liza Elliott, Jury, Ensemble 15. My Ship - Liza Elliott INSTRUMENTATION: flute db. piccolo, Reed I (clarinet, alto sax), Reed II (clarinet, bass clarinet, alto sax, baritone sax), Reed III (clarinet, oboe, tenor sax), 3 trumpets, trombone, percussion, piano, organ or harmonium, 2 violins, 2 celli, bass DISCOGRAPHY Lady in the Dark - a complete recording of this classic score by Kurt Weill, Ira Gershwin and Moss Hart. The Royal National Theatre Production headed by West End Diva, Maria Friedman, won the 1997 Evening Standard Award for Best Musical, and was nominated for an Olivier award for Best Musical.

LADY LUCK A musical play in 2 acts: Libretto by Firth Shephard based on His Little Widows by Rida Johnson Young & W.C. Duncan. Additional scenes by Greatrex Newman: Lyrics by Desmond Carter: Music by H.B. Hedley and Jack Strachey. Additional numbers by Richard Rodgers and Lorenz Hart. Carlton Theatre, London - 27 April, 1927 (324 perfs) STORY The story concerns three partners in a New York stockbroking firm, Messrs. Lester, Morton and Windy Bleugh. These gentlemen are very pleased with themselves as they have acquired a great deal of stock in the "Lady Luck" mine which is showing signs of striking paydirt. They are celebrating in the company of their friend Van Hoover, manager of the "Baby Face" theatrical company, and all the young ladies. The first drama is precipitated by by Van's leading lady who is throwing tantrums. The manager decides to sack her and, when Little Jane, the milliner's assistant auditions for him impromptu, she gets the job. The second crisis comes with a telegram to say that the "Lady Luck" mine has fizzled out at thirty feet, but hope revives when a messenger arrives to say that an uncle of Windy's has died and left him six million dollars on condition that he marries his widows - six of them as Windy's uncle lived in Salt Lake City! Everyone troops off to Utah where Windy is miserably married six times over - thinking all the time of Jane. Eventually, after a series of events involving Van and the motorised police and a lot of to-ing and fro-ing, the 'marriages' are annulled and wives shared round more equitably, with Windy getting his Jane. But lo! the six million dollars are in shares - in the "Lady Luck" mine which has not run out after all, so everyone is rich and happy and paired off in the true tradition of musical comedy. Condensed from 'The British Musical Theatre' by Kurt Ganzl. CAST: - in order of appearance • Maître d'hôtel • Van Hoover • Tommy Lester • Biff Morton • Wyndham Bleugh • Jane Juste • Page • Ezra Pettyjohn • Detective • Faith • Hope • Charity • Honor • Patience • Prudence • Officiating Elder • Speed Cop • Butler plus chorus and dancers MUSICAL NUMBERS: 1. Happy - Tommy Lester 2. Blue Pipes of Pan - Jane Juste 3. I've Learned a Lot From You - Tommy Lester 4. Syncopated City - Biff Morton 5. Sex Appeal - Wyndham Bleugh and Chorus of widows 6. Oriental Happiness - Wyndham Bleugh and Chorus of widows 7. Sing (Rodgers & Hart) - First Act Finale - Biff Morton and company 8. If I Were You (Rodgers and Hart) - Wyndham Bleugh and Jane Juste 9. Boadicea - Biff Morton, Wyndham Bleugh and Ezra Pettyjohn

THE LADY OF THE ROSE Die Frau im Hermelin (Book & lyrics by Rudolf Schanzer and Ernst Welisch) - Thalia-Theater, Berlin (1919); as The Lady of the Rose (book by Frederick Lonsdale. Lyrics by Harry Graham and Frederick Lonsdale. Additional songs by Leslie Stuart and Sigmund Romberg Daly's Theatre, London 21 February, 1922; as The Lady in Ermine (Book by Frederick Lonsdale and Cyrus Wood. Lyrics by Harry Graham and Cyrus Wood) Ambassador Theatre, New York 2 October 1922, transferred to Century Theatre, New York 29 January, 1923 (238 perfs) CAST • Colonel Belover • Count Adrian Beltrami • Baron Sprotti-Sprotti • Count Isolani • Captain Stogan • Dostal • Mirko (Orderly) • Suitangi (Silhouette Cutter) • Sophie Lavalle (Ballet Dancer) • Rosina (Maid to Mariana) • Mariana (Wife of Count Adrian Beltrami) MUSICAL NUMBERS: - include 1. Duet: Hide and Seek (Adrian & Mariana) 2. Trio: The Lady of the Rose (Adrian, Rosina & Mariana) 3. Solo: Silhouettes (Suitagni) 4. Trio: Thinking and Dreaming of You (Mariana, Adrian & Suitangi) 5. Ensemble: (Sophie, Suitagni, Sprotti & Girls) 6. Solo and Chorus: Land o' Mine (Belovar & Chorus of Soldiers) 7. Finale: Act 1 8. Opening chorus Act 2: Suitagni, Sprotti, Officers and Chorus 9. Solo and Chorus: With Me (Rosina) 10. Duet: A Woman's "No!" (Mariana & Belover) 11. Trio: When Men Grow Older (Suitagni, Sprotti & Sophie) 12. Duet: I Love You So (Mariana & Adrian) 13. Ensemble: Her Husband's Gone 14. Finale: Act 2 15. Musical Introduction: Act 3 16. Solo: Catch a Butterfly When You Can (Sophie & Chorus) - (Music by Leslie Stuart) 17. Duet: Our Flat (Suitagni & Rosina) 18. Finale: Act 3 SCENES AND SETTINGS Act 1: The Palm Court of the Castle Beltrami Act 2: The Picture Gallery at the Castle Beltrami Act 3: The Same

THE LADY OF THE SLIPPER or A Modern Cinderella A Musical Fantasy in 3 Acts, 5 Scenes. Book by Anne Caldwell and Lawrence McCarty. Music by Victor Herbert. Lyrics by James O'Dea. Globe Theatre, New York - Opened 28 October, 1912; closed 17 May 1913 (232 perfs.) CAST • The Crown Prince Maximilian • Prince Ulrich, his brother • Captain Ladislaw, aide-de-camp to Maximilian • Baron von Nix, Cinderella's father • Atzel, the Baron's butler • Mouser, the Baron's cat • Albrecht, a shoemaker • Louis, his assistant • Joseph, a milliner • Matthias, a furrier • Punks, Spooks, from the Cornfield • Cinderella • Romneya • Dollbabia, Freakette, Cinderella's step-sisters • The Fairy Godmothe • Valerie, maid at the Baron's • Sophia, Albrecht's wife • Irma, Joseph's wife • Clara, Louis' wife • Ludovica, Matthias' wife • Maida • Gretchen • Premiere danseuse • Courtiers, soldiers, ladies in waiting, Oriental women of the harem, etc: • Dancing Girls • Corps de Ballet • Halloween Kiddies MUSICAL NUMBERS (from the programme) 1. (Opening) Chorus - Tradesmen, their wives and Assistants 2. Fond of the Ladies - Atzel, Sophia, Irma, Clara, Ludovica, Maida, Gretchen, Chorus 3. Meow! Meow! Meow! - Cinderella, Mouser 4. Love Me Like a Real, Real Man - Cinderella, Punks, Spooks 5. All Hallowe'en - Cinderella, Kiddies 6. Witch Ballet - Dancing Girls 7. At the Bal Masque, introducing the French Quadrille - Dancing Girls 8. Princess of Far Away - Cinderella, Maximilian, Chorus 9. Them Was the Childhood Days - Punks, Spooks 10. Youth (Ballet) - Premiere danseuse, Corps de Ballet 11. Bagdad (Lyrics by Anne Caldwell.) - Punks, Chorus 12. (A) Little Girl at Home - Maximilian, Cinderella 13. Punch Bowl Glide - Spooks 14. The Drums of the Nations - Presenting the drums of the Crown Prince, the Drums of Leipzic, of Napoleon, of Britain, of North America, of Young America and of Dixie. 15. Harlequinade 16. Harlequinade: Punks, Spooks. Harlequin: Maida. Columbine: Clara. Cat: Mouser. Policemen 17. The Lady of the Slipper (March) - Captain Ladislaw, Chorus 18. Cinderella's Dream - Cinderella 19. Put Your Best Foot Forward, Little Girl - Maximilian, Court Ladies, Pages 20. Finale (And They Lived Happily Ever Afterwards)

From the score ACT I - Scene 1 - Kitchen in the Castle of Baron von Nix. 1. Overture 2. Opening Chorus of Tradesmen, their Wives and Assistants - "We are waiting for the Baron, to treat with him while decking out his 'fairs!' ..." 3. Song - Atzel - "I'm a whimsical sort of chap, reared in luxury's ample lap. Seldom ever I give a rap for what goes on about me..." 4. Romney Music 5. Duet - Cindy and Mouser - "Hey, diddle, diddle, the cat and the fiddle, thus runneth the ancient rhyme ... Meeow, meeow, meeow! Meeow, meeow! ..." 6. Trio - Cindy, Punks and Spooks - "The man who's never been in love excites my sympathy ... Then o'er us make a fuss ... For that's the case with us ..." 7. Duet - Punks & Spooks - "A garden party we attended not so long ago; a friendly Onion's strong appeal decoyed us to the show. It was the coming out..." 8. Duo - Cindy, Baron and Chorus - "I know a day in the year can beat all other days for fun ... I think I'm on to the day that you mean, October thirty-one! ..." ACT I - Scene 2 - On the way to the Palace. 9. Witches' Ballet 10. Finale Act I - The Ride to the Castle ACT II - Ballroom in the Palace of Prince Maximilian. 11. Opening Chorus - "Oh, the bal masqué is a place they say that will addle and muddle one's senses, for it's there you'll meet the rash and discreet..." 12. Entrance of Cinderella - "A Princess quite unknown, in golden chariot but now has entered through the Palace gate; Then give to her, I pray, in voices..." 13. Duet - Punks and Spooks - "I loved a little girl; we loved no other; some day she'll be a happy bride and groom. Her parents are her father and her mother 14. Ballet Suite 15. Song - Punks and Chorus - "Bagdad is a town in Turkey. On a camel tall and jerky you can journey there and see just how great it used to be..." 16. Song - (singer not specified) - "I don't know why it is-ski, I can't explain-ovich why ev'rything that's Russian gets to me; I've got a Russian sable..." 17. Duo - Cindy and Prince - "A little girl at home I'd like to have, I would, I swear ... A little girl at home? What do you mean? ..." 18. Punch Bowl Glide 19. Finale Act II - (Drums of all Nations) - "Her name, good friends, I know not; her name I cannot say. A radiant dream she came to me..." ACT III - Scene 1 - The Baron's Kitchen. Entre'Acte 20. Harlequinade 21. Opening Chorus - "Baron von Nix, Baron von Nix, soon with the suite of the Prince you can mix; Beat of the Drum tells us they come..." ACT III - Scene 2 - Throne room of the Prince's Palace. 22. Chorus of Girls - "This is not in any way a next-to-nature exposé, nor should you class it as a picture show. Rather, let us here confess..."

SCENES AND SETTINGS Time: Once Upon a Time— Act I: Scene 1: Kitchen in the Palace of Baron von Nix. Scene 2: On the Way to the Palace. Act II: Ball-room in the Palace of Prince Maxmilian. Act II: Scene 1: The Baron's Kitchen. Scene 2: Throne Room of the Prince's Palace.

THE LAND OF SMILES (Das Land des Lächelns) Music by Franz Lehár, adaptation by Hans May, Conrad Carter and Fred Tysh. Theater an der Wein 9 February, 1923 Theatre Royal, Drury Lane 8 May, 1931 Schubert Theatre, New York 5 September, 1946 Professional Versions: 1) English by Harry Graham (Musical content detailed below based on this version) 2) English by Christopher Hassall, 3) English by Jerry Hadley SYNOPSIS The original production in this country at Drury Lane starred the incomparable Richard Tauber. A touching story, it tells of the love of a noble-minded Chinese Prince for the daughter of a Viennese aristocrat - a hopeless love, because 'East is East and West is West . . .' At the top of the list of the score's famous songs is the unforgettable "You Are My Heart's Delight". STORY Act I The scene is the drawing room of Count Lichtenfel's house in Vienna in the year 1912. The Count is giving a party to celebrate the success of his daughter Lisa in a recent, important horse-show. In the background a waltz is played as Lisa appears. The guests propose her health and Lisa thanks them and invites them to join in the pleasure of the dance. The most prominent admirer of Lisa is the young Count Gustav von Pottenstein, an officer in the Hussars, popularly known as Gustl. He is desperately in love with Lisa but has never had the courage to tell her. This evening he means to do so for he has managed to save 20,000 Kroner, an amount which the government insisted that an officer should have before he marries. But Gustl is out of luck for Lisa has her heart set on another admirer, a Chinese diplomat, Prince Souchong, so she tells poor Gustl that they can only be friends, a proposal that he accepts with somewhat resignation. Prince Souchong who has already sent a fine present, now arrives and is not slow in letting us know of his passion, how he enters the room with beating heart to know that his loved one is near but he hides his ardour under his inscrutable Chinese facade. Lisa greets the Prince thanking him for his present which turns out to be a valuable family heirloom. She is entranced by his oriental ways and invites him to join her for tea. During the evening Prince Souchong receives a message from his Embassy to tell him that he has been made President of his country and that he must return to China immediately. Lisa realises that she is very much in love with him but is faced with having to make up her mind whether or not to accompany him to China or to remain, as her father tries to persuade her, in her own country and marry Gustl who is her proper partner. She decides that her love for Souchong is too strong and she leaves with him for China. Act II Lisa is now living in Peking as Souchong's wife. She is very happy, rich in her love and they have a great affection for each other. The President is praised by his loyal subjects and the virtues of their great country is expressed in song and a ballet. Souchong responds to the call of "The Yellow Jacket", the insignia of the highest office in the land. Souchong has a charming sister Mi, very European in her ways, to the horror of her uncle Tschang, the Mandarin, who deplores her appearance after a tennis game. She has been playing with Gustl who has got

himself appointed Austrian Military attaché to Peking so that he might keep an eye on Lisa. He enjoys the company of Mi. Lisa, hearing news of her family through Gustl, is becoming homesick and asks Souchong to let her visit her home, but is very much afraid of losing her and refuses permission. Added to this problem she learns, to her horror, that according to custom, Souchong is to have four wives in addition to herself. Souchong tries to assure her that it is a mere formality and that it is her he truly loves. Lisa is not to be placated, she tries to reason with him only to be told that a Chinese wife must obey her husband implicitly. Left with only Gustl to comfort her, she sings of her longing for her homeland. Souchong and Lisa quarrel and in the exchange of words Lisa says, "I hate you." Souchong's happiness is shattered, the love destroyed and he orders Lisa to be kept in the palace. Imprisoned in the women's quarters of the palace, Lisa decides to leave Souchong and plans her escape. She asks Gustl to help her. The only way out is through the Temple and they enlist the help of Mi who, although sorrowful at losing Gustl, agrees to help them get away. As they enter the Temple they come face to face with Souchong. He realises he can no longer hold Lisa. Tenderly he bids her farewell and asks Gustl to look after her. Souchong and Mi comfort one another in their loss. CAST - 7 female, 10 male Principals • Lisa - soprano • Prince Souchong - tenor • Mi (his sister) - soprano • Tschang (his uncle) - bass • Count Gustl von Pottenstein - tenor CHARACTERS - (In order of their appearance) • General Count Lichtenfels • Countess Roheim • Colonel Bloch • Captain Gustl Von Ploetz Lisa — General Lichtenfels’ Daughter • Franz — Butler • Lieutenant Rudi Von Westhof • Lore, Toni, Franzi, Valli - Lisa’s Friends • Four Young Officers • Prince Sou-Chong • Parlourmaids • Manservants • Fu-Li — Secretary of the Chinese Embassy • Prince Tschang — Prince Sou-Chong’s Uncle • Mi — Prince Sou-Chong’s Sister • Chi-Fu — Major-Domo of the Women’s Apartments • Wong-Tao — His attendant • The Four Brides • Chorus Of Guests, Officers, Chinese Servants, Slave-Girls, Mandarins, Soldiers, Pages & Dancers

NOTES • Countess Roheim - Mezzo-Soprano • Colonel Bloch - Baritone • Gustl Von Ploetz - Light Baritone • Lisa - High Soprano • Rudi Von Westhof - Singing Comedian, Light Baritone • Lore - Soprano • Toni - Soprano • Franzi - Alto • Valli - Alto • Four Young Officers - 1st Tenor, 2nd Tenor, 1st Bass, 2nd Bass • Sou-Chong - High Baritone • Parlourmaids - Two Sopranos, Two Altos • Menservants - Two Tenors, Two Basses • Mi - Soprano • Chi-Fu - Comedian, Baritone • Wong-Tao - Comedian, Bass • The Four Brides - Two Sopranos, Two Altos The “Four Young OfficerS”, taking part only in Nos.5a and 8a, and the four “Parlourmaids” and four “ Maidservants”, taking part only in No. 7, are played by Members of the Chorus. The name MI is pronounced “me” SCENES AND SETTINGS TIME 1912 • ACT I — A reception room in the house of Major-General Count Lichtenfels in Vienna. Evening. • ACT II — A Hall in the Palace of Prince Sou-Chong in Peking (China). Six months later. Afternoon. • ACT III —The Garden Pavilion of the Women’s Quarters in Sou-Chong’s Palace. A week later. Evening. MUSICAL NUMBERS ACT I Overture 1. One More Ball - (Lyric by Fred S. Tysh. Music adapted by Hans May) - Chorus 2. Waltz While You May (Lyric by Harry Graham) - Lisa and Chorus 2a REPRISE. WALTZ WHILE, YOU MAY - Orchestra 3. That’s When The Nightingales Sing (Lyric by Fred S. Tysh. Music adapted by Hans May) - Lisa 4. Let’s Be Friends (Lyric by Fred S. Tysh (after Harry Graham). Music adapted by Hans May) - Lisa, Gustl and Chorus 5. A Busy Time In Lover’s Lane (Lyric by Fred S. Tysh. Music adapted by Hans May) - Rudi, Lore, Toni, Franzi, Valli and Chorus 5a Reprise A Busy Time In Lover’s Lane - Rudi, Lore, Toni, Franzi, Valli and 4 Officers 6. Patiently Smiling (Lyric by Harry Graham) - Sou-Chong 7. A Cup of Tea With You (Lyrics by Harry Graham and Fred S. Tysh. Music adapted by Hans May) - Lisa, Sou-Chong and Chorus 8. You’re Not Too Old! (Lyric by Fred S. Tysh. Music adapted by Hans May) - Countess Roheim and Colonel Bloch

8a Reprise - A Busy Time in Lovers’ Lane - Lore, Toni, Franzi, Valli and 4 Officers 9. Lonely Serenade (Lyric by Harry Graham) - Sou-Chong and Girls Chorus 10. I Have Searched The Earth (Lyric by Fred S. Tysh. Music adapted by Hans May) - Lisa and Sou-Chong 10a Finale Act I (Lyric by Fred S. Tysh and Harry Graham. Music adapted by Hans May) - All 1st Act Principals and Chorus 11. Entr’acte ACT II 12. The Yellow Jacket (Lyric by Harry Graham and Fred S. Tysh. Music adapted by Hans May) - Sou-Chong and Chorus 13. The Chinese Ballet (Music adapted by Hans May) - Dancers 14. Love! What Has Given You This Magic Power? (Lyric by Harry Graham) - Lisa, Sou-Chong and Chorus 15. The Only Thing I Care About (Lyric by Harry Graham) - Mi and Girls Chorus 16. Love’s a Game! (Lyric by Harry Graham, revised by Fred S. Tysh) - Gustl, Mi and Chorus 17. You Are My Heart’s Delight (Lyric by Harry Graham) - Sou-Chong 18. Give Me A Girl! (Lyric by Fred S. Tysh. Music adapted by Hans May) - Chi-Fu, Rudi and Gustl 19. You Bring Back The Past (Lyric by Fred S. Tysh. Music adapted by Hans May) - Lisa, Gustl and Chorus 20. My Homeland (Lyric by Harry Graham. Music adapted by Hans May) - Lisa and Chorus 21. Day Of Days (Lyric by Fred S. Tysh. Music adapted by Hans May) - Sou-Chong, Brides and Chorus 22. Finale Act II (Lyric by Harry Graham and Fred S. Tysh. Music adapted by Hans May) - Lisa, Sou-Chong and Chorus 23. Entr’acte ACT III 24. And The End Is Goodbye (Lyric by Fred S. Tysh (after Harry Graham). Music adapted by Hans May) - Lisa and Slave-Girls 24a Reprise - You Are My Heart’s Delight - Sou-Chong and Chorus 25. On The Pai-Ho! (Lyric by Fred S. Tysh (Title by Harry Graham). Music adapted by Hans May) - Mi, Gustl, Rudi, Wong-Tao and Chorus 26. No Other Love (Lyric by Fred S. Tysh. Music adapted by Hans May) - Lisa, Gustl and Mi 26a REPRISE - Love’s a Game - Mi 27. Finale Act III (Lyric by Harry Graham and Fred S. Tysh. Music adapted by Hans May) - Lisa, Gustl, SouChong, Mi, and Chorus INSTRUMENTATION: flute, oboe, 2 clarinets, bassoon, 2 horns, 2 trumpets, 2 trombones, percussion, harp, strings. PROFESSIONAL VERSIONS: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 3 percussion, harp, celeste, stage music, strings DISCOGRAPHY Lehar: The Land of Smiles - English Chamber Orchestra & Richard Bonynge

LARGE AS LIFE A Revue London Palladium - 23 May 1958. Harry Secombe, Terry Thomas, Eric Sykes, Adele Leigh, Hattie Jacques, Johnny Pueleo, Harry Worth, Hetty King, Dick Henderson; G.H. Elliot & Max Russell Devised and produced by Robert Nesbitt; Décor by Edward Delany & Tod Kingman; Costumes by R. St. John Roper; Choreography by George Carden PROGRAMME 1. The World of the Theatre 2. Concerto for Three Buffoons - Harry Secombe, Eric Sykes, Hattie Jacques 3. The World of Opera - Adele Leigh 4. The World of Vaudeville - Latona, Graham and Chade 5. Enter a Man with a Chair - Harry Worth 6. The Modern Trend (The Top Graders) Harry Secombe, Eric Sykes, Max Russell 7. The Good Old Days Daly’s Operette - Adele Leigh & Ensemble Nights of Gladness Stage Door Johnnies - Harry Secombe & Harry Worth The Gaiety Girl - Lynnette Rae Another Lady - Hattie Jacques Stage Door Keeper - Max Russell Come on and Join Us at the Music Hall Lynnette Rae and Chorus featuring C.H. Elliott, Hetty King & Dick Henderson The Dear Old Strand -= Harry Secombe 8. Let’s All Go Down The Strand - The Company 9. The Big Top 10. Filling the Gap - Terry-Thomas 11. The World of Revue - Lynnette Rae & Girls introducing the Dior Dancers 12. Direct frfom the Military Tournament - Harry Secombe, Eric Sykes, Max Russell 13. Costume Drama (History in the Theatre) The Queen - Adele Leigh Marquis de Treville - Osborne Whittaker The Three Musketeers - Harry Secombe, Terry-Thomas, Eric Sykes 14. Playboys of the Western World - Johnny Pulio and the Harmonica Rascals 15. Con Voce - Harry Secombe 16. Everybody on Stage - The Company

THE LAST 5 YEARS Musical in 1 Act: Book, Music and Lyrics by: Jason Robert Brown Originally presented at Northlight Theatre Company, Skokie, Illinois. Minetta Lane Theatre, New York - 3 March, 2002 . Closed 5 May, 2002 (73 perfs) The Last Five Years Awards Seven Drama Desk Award Nominations Outstanding Musical Outstanding Actor in a Musical - Norbert Leo Butz Outstanding Actress in a Musical - Sherie Rene Scott Outstanding Music - Jason Robert Brown * Outstanding Lyrics - Jason Robert Brown * Outstanding Orchestrations - Jason Robert Brown Outstanding Set Design of a Musical - Beowulf Boritt One Outer Critics Circle Award Nomination Outstanding Off-Broadway Musical Two Lucille Lortel Award Nominations SYNOPSIS A contemporary song-cycle musical that ingeniously chronicles the five year life of a marriage, from meeting to break-up... or from break-up to meeting, depending on how you look at it. Written by Jason Robert Brown (Parade, Songs For A New World) The Last Five Years is an intensely personal look at the relationship between a writer and an actress told from both points of view. The show is presented in "forward time" as we follow the story of their relationship from Jamie’s perspective, starting with their first meeting and following through with their wedding and ultimate breakup. At the same time, Cathy relates the story in "reverse" - starting with their breakup and moving backwards in time until their first meeting at the end of the show. Made up mostly of solo turns, with beautiful music and alternately humorous and heartfelt lyrics, it is only in the middle of the show that Jamie and Cathy come together as Jamie proposes and the two are wed. Musicals about relationships are nothing new, but The Last Five Years manages to reinvent the familiar formula and offers up one of the brightest, freshest scores of the new century. Story Cathy and Jamie’s relationship has lasted five years. As the story begins, Cathy is at the beginning of the relationship and Jamie is at the end. With inter-cutting scenes, we watch Jamie move forward in time as Cathy moves backward. Cathy has just found a note from her husband, Jamie, signifying the end of their marriage. While she still struggles with their break-up, she feels he has easily moved on without her. Five years prior, Jamie has just met Cathy. He is soaring from the high of it. He recounts his past relationships, feeling as if he’s been waiting for her all his life. Cathy (moving backwards) is hopeful for the healing of their marriage. Jamie has come to meet her in Ohio where she has been working as a performer. She believes he will see her show and they will be able to spend time together. Though it’s her birthday, she is let down when he has to leave earlier than expected for a party back home. After their first date, Jamie has made a phone call to a potential literary agent—a contact made through his college professor. Unbelievably, this agent seems interested in his work. He is 23 years old. Soon his career

begins to soar and Jamie decides he wants to move in with Cathy. His life is moving at top speed, but no matter. He’s living the way he wants to. Catherine’s career is struggling. She’s been turned down by a theatrical agent. As she waits patiently during a book signing of Jamie’s someone asks her what it’s like to be married to a famous author. She expresses how she rides out his manic writing spells where he completely shuts her out emotionally then suddenly lets her back in. It’s their second Christmas together and Jamie reads a story he wrote for her. It is intended to inspire her to go out and pursue her dreams of becoming an actress. He tells her to quit her day job and go and be happy. He also tells her how lucky he is to be in love with her. Cathy has obtained a summer stock job in Ohio. The situation is less than desirable, but she’s trying to make the most of it. Meanwhile, Jamie is back in New York, his latest book a bestseller. Cathy writes a letter to Jamie as she anxiously awaits his visit. Jamie is alone preparing himself to propose to Cathy. She appears in her wedding dress and meets him at the altar. Physically together for the first time during this show, they exchange vows and promises of an undying love. Jamie, now married, begins to feel the temptation and attraction of other women he meets at parties. His success has made him the centre of attention, and though he feels the pull, he loves Cathy and believes his marriage will remain strong. He calls Cathy who is out of town working, and promises to meet her as soon as he can escape his publisher. Cathy has just auditioned for and been given another job. Cathy shares with her father the stress and difficulty of daily auditioning and daily rejection. At another audition, she flounders as a million different things about her life with Jamie race through her head. She is determined, however, to have her own career and not live in the shadow of her now-famous husband. Jamie is doing a reading at a bookstore. The passage he reads is a metaphor for Cathy’s drive and the feeling of his isolation from her. Jamie is in the middle of a fight with Cathy. He has just had a book published and wants her to go to the party the publisher is throwing for him. She refuses. He doesn’t feel supported by her and does not understand why she is angry. Cathy is driving Jamie to meet her parents. She is happy and excited and talks about her disappointments of the past in contrast to her bright future with him. Jamie wakes up beside another woman. He knows he must go see Cathy in Ohio. Fighting panic and a feeling of inevitability, he admits to the other woman that he has fallen in love with her. Cathy floats on air at the end of her first date with Jamie. They have shared their first kiss and she wants the magical moment to last forever. She bids him goodbye until tomorrow. At the same time, Jamie ends their relationship. He simply bids her goodbye. MUSICAL NUMBERS: 1. Still Hurting - Catherine 2. Shiksa Goddess - Jamie 3. See I'm Smiling - Catherine 4. Moving Too Fast - Jamie 5. A Part of That - Catherine 6. The Schmuel Song - Jamie 7. A Summer in Ohio - Catherine 8. The Next Ten Minutes - Jamie, Catherine 9. A Miracle Would Happen/When You Come Home to Me - Jamie, Catherine 10. Climbing Uphill - Catherine 11. If I Didn't Believe in You - Jamie 12. I Can Do Better Than That - Catherine 13. Nobody Needs to Know - Jamie 14. Goodbye Until Tomorrow/I Could Never Rescue You - Catherine, Jamie CAST: CATHERINE HIATT - Excellent actress and singer - Late 20s - Early 30's JAMIE WELLERSTEIN - Excellent actor and singer - Late 20's - Early 30's Discography The Last 5 Years (2002 Off-Broadway Cast)